by Mike Breen
11.06.2012
LISTEN: Mr. Dibbs Salutes Skandal Da Ruckus Man
Release of "Deadworld Reborn" to benefit late Hip Hop icon's family
One of the biggest names in Cincinnati Hip Hop, DJ/producer Mr. Dibbs, yesterday released a tribute EP in honor of late fellow local artist Skandal Da Ruckus Man. Skandal passed away last month after a battle with leukemia, leaving behind a legion of friends, fans, students and family, including his daughter, and conjuring a ton of heartfelt "R.I.P.s" from artists inspired by him.
About a year ago, Dibbs (born Brad Forste), one of the Midwest's most respected and influential turntablists, found himself in the hospital suffering from the effects of Cirrhosis of the liver, a shocking turn of events for fans that led to numerous artists reaching out to raise money to help with his medical bills. In the message included with his new 5-track release tributing Skandal called Deadworld Reborn, Dibbs writes that he actually was technically dead for 53 seconds while in the hospital, not too long after issuing his then-latest release, Deadworld.
Dibbs — a member of the popular Rhymesayers crew, tour DJ for Atmosphere and a founder of Cincy Hip Hop institutions like the DJ collective 1200 Hobos and the legendary Scribble Jam festival, to name but a few of his accomplishments — writes that he was in the hospital for several weeks but that it wasn't as bad as it could have been because his longtime friend Skandal was at the same hospital, fighting his leukemia, and the pair hung out together as much as possible.
"Holed up in the hospital for a few weeks, I was an inadvertent resident of an impromptu hip hop retirement home," Dibbs writes. "Battling leukemia on the floor above me was my longtime friend Marcus 'Skandal da Ruckus Man' Mitchell. An epic MC and producer, of equally epic bodily proportions, Skandal’s heart was big, but his production skills and lyrical largesse were even bigger. I dragged my sometimes half-incoherent ass, IV and all, down the hallways and into the elevator to visit my homie. The nurses always thought I was lost. Fuck that.
"I was FOUND…in the strong lifeline we’ve all come to know and love as Skandal. He was my pusher man…keep on pushin’, Dibbs, until you get to the other side of you."
Deadworld Reborn is a dynamic mix that blends tracks from Deadworld that feature artists ranging from Doseone, Brother Ali and Murs to Juliette Lewis and The Black Keys. The release also features the Dibbs/Skandal collaboration "Where Pigs Fly," which you can sample below.
Deadworld Reborn (which has already been drawing attention across the web) is available as a "pay what you want" download. All proceeds are being donated to Skandal's family and daughter Chloe. Click here to purchase Reborn and read the rest of Dibbs' tribute to the man he says "gave me back my fucking life."
According to Rhymesayers, the release will be issued on picture-disc vinyl soon, featuring the image at the bottom of this post.
"I wish I could be like that dude," Dibbs writes. "He made me feel important enough for me to be reborn. I am doing it. I am doing it now."
For more on Skandal, read Mildred Fallen's 2005 interview with him here, her recent tribute to him here and Kathy Y. Wilson's essay about him here.
by Mike Breen
11.02.2012
Music Tonight: Ironfest III, Rumpke Mountain Boys and More
• Ironfest, the multi-act concert event started by friends of late local music booster “Iron” Mike Davidson to benefit his daughter, is set for its third annual event tonight and Saturday at the new Southgate House Revival in Newport. Each night features a staggering amount of solid local bands from a variety of genres.
Tonight, catch Mad Anthony, State Song, Switchblade Syndicate, The Shanks, Goddamn Gravity, The New Void, Billy Wallace and the Virginia Blues, Vito Emmanuel, Jeremy Pinnell and the 55’s, Arlo McKinley and the Lonesome Sound, Chiva Knievel, Total Dudes, A Juliet Bender, Smoke Signals, Rising Shotgun, DC Project and Dead August.
Performing for Night 2 tomorrow are The Dopamines, Moonbow, Honeyspiders, Red Soul Rising, Unsinkable Molly Brown, Another Tragedy, The Tammy Whynots, 500 Miles to Memphis, The Sound Museum, SHIVS, Kelly Steward and the Restless Kind, The Mudpies, Martin Luther and the Kings, The Perfect Children, Buenos Crotches, Sticky Honey, The Andyman Hopkins Band and Queen City Radio, a very promising new group featuring Dan Mecher, former frontman for Turnbull ACs and Denial, former 500 Miles to Memphis bassist Jeff Snyder, longtime 500 Miles frontman Ryan Malott and Kevin Finkelmeier of Pete Dressman and the Soul Unified Nation and Denial fame.
Tickets are just $5 each night and music starts at 7 p.m. Click here and here for more info.
• One of Cincinnati’s most popular bands, Rumpke Mountain Boys, celebrate the release of their new album with a series of release parties in the region, kicking off tonight at Inner Circle (the former Annie’s location). Following the Cincinnati date, the Boys will perform for their growing fan bases in Lexington, Ky., Bloomington, Ind., Columbus, Ohio, and Cleveland, Ohio. The group’s new official full-length is titled Trashgrass, the name the members have given their eclectic, jammy, sometime trippy brand of Bluegrass. The band has all the markings of a standard Bluegrass troupe — mandolin, banjo, upright bass, acoustic guitar and vocal harmonies — but the members’ varied influences (they cite Grateful Dead, Ralph Stanley, Tom Waits and Jimmy Cliff among their key inspirations) make the end result its own organic, spontaneous beast. The seven-time Cincinnati Entertainment Award winners for Best Bluegrass act have performed at numerous festivals, shared the stage with artists like Ralph Stanley, Keller Williams, Yonder Mountain String Band and Del McCoury, and Vince Herman — a pioneer of the Rumpkes’ jammy take on Bluegrass with Leftover Salmon — called them “a party waiting to happen.”
Rumpke Mountain Boys perform tonight with the excellent local Reggae crew The Cliftones. The show starts at 9 p.m. and admission is $10 (or $12 for those ages 18-20). Visit rumpke.ning.com for more on the band.
The Rumpkes are probably one of the more documented bands in the area thanks to their allowance/encouragement of fans to record their live shows. Here's a video from this past March of the group performing the Folk/Jazz/Blues standard "Make Me A Pallet on Your Floor" at ekoostik hookah's springtime music fest in central Ohio.
• Strong local Rock/Pop act Majestic Man celebrates the release of its debut full-length, Manatee, this Friday at Mayday in Northside. Local bands The FrontRunners and Plastic Inevitables open the free show at 10 p.m. Manatee is loaded with melodic, well-written songs, but the varied groove the band manipulates throughout the album is just as distinct and magnetic. Be it the Jazz slink of “Someday,” the dubby sway of “Bodysnatcher” or the angled Funk of “Age of No Reason,” the music is rhythmically fascinating. The dazzling guitar playing and superb vocals add cohesion to Manatee, an album that shows Majestic Man to be one of the more gifted newer groups in the Cincinnati area. To preview and/or purchase Manatee, visit majesticman.bandcamp.com. Here's the new album track "Spanish":
• This past spring, prolific artist Jon Langford came to Cincinnati to open an exhibit of his visual artwork and perform a free concert with his group Skull Orchard at Over-the-Rhine club MOTR Pub. At the time, Langford spoke to CityBeat contributor Steve Rosen about his range of artistic endeavors.
“I have to do a lot of things,” he said. “I find it essential, honestly — spiritually and economically.” (Read the full interview with Langford here.)
Just prior to the springtime Cincy visit, Langford had come off a Midwest tour with perhaps his best known band outside of his first one — British Punk legends, The Mekons — Waco Brothers, the AltCountry outfit he records with for Bloodshot Records. Langford must’ve enjoyed his time in Cincinnati because tonight he's bringing the Wacos to MOTR Pub for a 10 p.m. show, one of only a trio of appearances currently scheduled for the group. The Brothers are bringing with them Paul Burch, the Nashville singer/songwriter with whom the band collaborated on this year’s Great Chicago Fire LP. The Chicago band Cannonball is also on the bill.
Here's a fan-shot video of Burch and the Wacos from earlier this year.
Click here for even more live music events in Greater Cincinnati tonight.
by Mike Breen
11.01.2012
Music Tonight: Walk the Moon and Bad Veins
A week after The Afghan Whigs played a thrilling homecoming show with fellow local greats Wussy at Bogart's, another pair of local bands making waves are set to play their hometown (or across the river from it).
Every time Cincinnati AltPop rockers Walk the Moon come home to play a show, it seems like their star has risen higher. The band is back in town tonight for a sold-out show at Covington's Madison Theater (which is also serving as the two-year anniversary party for the hard-hustling local music promo outlet, The Counter Rhythm Group).
Since last here, Walk the Moon's breakthrough single "Anna Sun" continues to get airplay across the globe, while the latest single, "Tightrope" (as heard in those much-played HP commercials) is picking up steam, as well. The group has also been on tour pretty much non-stop, performing all over North America and in Europe (after tonight's show, the group is off for a few days before resuming its headlining tour in Nashville). The band's Unplugged set for MTV also made it to the airwaves (not MTV, of course, but its HD sister, Palladia).
Check out the "Tightrope" clip below and a behind the scenes look at the making of it here.
Great local Indie Pop duo Bad Veins (fresh off their own cross-country tour dates, with even more coming up starting next week) open, along with L.A.'s Family of the Year. Bad Veins are currently prepping a new music video, as well; a clip for "Kindness" off of the duo's amazing The Mess We've Made Album. Here's a really strong video of the duo performing one of the new album's best tracks, "Don't Run," on the "Off the Avenue" series.
If you don't have tickets, you're going to have to do some hunting. As of this afternoon, there wasn't a single ticket available on StubHub for the concert.
Click here for more live music events in the Cincinnati area tonight.
by Mike Breen
10.31.2012
WATCH: Culture Queer's "U Bummin' Mr Drummond"
Local Art Pop foursome gets exposure for new clip via popular music site
"Aw, hell yeah," indeed! Yesterday, the hugely popular music website Consequence of Sound debuted the brand new, incredibly entertaining music video for Culture Queer's "U Bummin' Mr. Drummond," from the band's stellar, freshly-released new album, Nightmare Band.
The clip (which sadly doesn't feature a cameo from Conrad Bain) was filmed locally and directed by CQ's frontman Scott Fredette, who recently worked on a pair of excellent videos for Why? (and has worked on numerous other music videos and commercials over the years as part of local video production house Lightborne). The "Bummin'" clip features local "landmarks" and numerous friends of the band, including the "star" of the clip, Tim Willig (who, along with being a heck of a dancer, was formerly of local band Get Sweaty and his solo venture, TimProject).
Nightmare Band was released Oct. 16 and the Electro Art Pop rockers will be hosting a local release party for the LP on Nov. 10 at the Hoffner Lodge (4122 Hamilton Ave., Northside). The show will be in conjunction with Fredette's Decotrora exhibit, which is part of the city-wide Fotofocus event, and will include a plethora of other activities. April Combs and Fists of Love also perform for the free, all-ages, multimedia extravaganza. Click here for more info.
Preview the amazing Nightmare Band in full here.
The clip (which sadly doesn't feature a cameo from Conrad Bain) was filmed locally and directed by CQ's frontman Scott Fredette, who recently worked on a pair of excellent videos for Why? (and has worked on numerous other music videos and commercials over the years as part of local video production house Lightborne). The "Bummin'" clip features local "landmarks" and numerous friends of the band, including the "star" of the clip, Tim Willig (who, along with being a heck of a dancer, was formerly of local band Get Sweaty and his solo venture, TimProject).
Nightmare Band was released Oct. 16 and the Electro Art Pop rockers will be hosting a local release party for the LP on Nov. 10 at the Hoffner Lodge (4122 Hamilton Ave., Northside). The show will be in conjunction with Fredette's Decotrora exhibit, which is part of the city-wide Fotofocus event, and will include a plethora of other activities. April Combs and Fists of Love also perform for the free, all-ages, multimedia extravaganza. Click here for more info.
Preview the amazing Nightmare Band in full here.
by Mike Breen
10.29.2012
Music Tonight: Kishi Bashi
Kishi Bashi is the name for the solo work of Brooklyn, N.Y.’s K Ishibashi, who’s become one of the go-to violin players in the world of Indie music, touring and/or recording with of Montreal, Regina Spektor and Alexi Murdoch, among many others.
Also a founding member of the Indie/Synth Pop group Jupiter One, Ishibashi’s own material is an expansive brand of Art Pop, featuring looped, symphonic strings and voices mixed with magnetic, layered Electronic/Dance sounds and slanted Pop melodies, harmonies and structuring. The end result is laid out gorgeously on Kishi Bashi’s compelling debut full-length on Joyful Noise Recordings from earlier this year, 151a, coming off like a strange but compelling mix of Andrew Bird, Smile-era Brian Wilson and of Montreal.
Kishi Bashi performs a free show at Mayday (4227 Spring Grove Ave., Northside) tonight. The show starts at 9 p.m. with New York acid Folk Rock troupe Tall Tall Trees.
Click here to listen to/purchase 151a. And below is a stunning live performance of Ishibashi playing new album track "Manchester" for The Wild Honey Pie's "Buzzsessions."
by Mike Breen
10.26.2012
Review: The Afghan Whigs & Wussy at Bogart's
Two of Cincinnati's finest play much aniticpated homecoming show and exceed expectations
“I’ve been waiting for this for six months,” Afghan Whigs frontman Greg Dulli said to start off the Cincinnati-spawned Rock crew’s first concert in the Queen City since a Sept. 25, 1999, appearance at the same venue. That ’99 show turned out to be the Whigs’ last public concert anywhere before the group’s recent return on a global reunion tour earlier this year.
As the extended band built upon the swarming buzz of opener “Crime Scene (Part One),” a lot of fans in the audience could relate to Dulli’s excitement for a hometown show, something most for years thought would never happen. They’ve been waiting a lot longer than six months (when the show was announced), though. More like 13 years.
The show kicked off a little after 9 p.m. with Cincy favorites Wussy. The foursome is opening several of the shows on the Whigs’ current U.S. run. Though the group had some sound issues (they clanged away to get levels a little before starting, apologizing and telling the audience they hadn’t gotten a soundcheck), many in the crowd got swept away by the rockers’ ragged, emotive and infectious sound. Though the Cincinnati stop on the tour is obviously the show where the audience would be most familiar with Wussy (many fans around me were dancing and shouting every lyric back as co-frontpeople/singers/guitarists Lisa Walker and Chuck Cleaver switched off vocals), it was fascinating to see that moment on people’s faces when you can tell they’ve been lured in — “Hey, these guys are really good.” It bodes well for the band, which will join Heartless Bastards on tour as soon as the Whigs dates end.
Short on its trademark hilarious banner (a theme for the night, though in Wussy’s case, it was difficult to hear much of anything the members said between songs), Wussy busted through a great set that touched on all four of their studio album releases to date. Like the albums, that created a great “calling card” of a set for potential new fans, as Wussy moved from more emotionally moving, slow swaying songs (like opener “Waiting Room” from last year’s excellent Strawberry and the transcendent “Muscle Cars” from 2009’s self-titled effort) to its often humorous (though still often just as passionate) and punkish upbeat tunes like the uber-catchy “Happiness Bleeds” and the relentless, wired “Pulverized” (another Strawberry track).
The core quartet was rounded out by John Erhardt, a former bandmate of Cleaver’s in The Ass Ponys who added some tasty shading with his pedal steel guitar (unfortunately, his contributions were probably effected most by the weak sound, which often made him inaudible in the mix). Whigs bassist John Curley sat in on a song, putting a jolt into the crowd and leading bassist/multi-instrumentalist Mark Messerly to joke that, while everyone should be excited about the Whigs reuniting, they were now going to be treated to a “Staggering Statistics reunion” (Curley played in that local band with Wussy drummer Joe Klug; SS singer/guitarist Austin Brown was not present, so it was really a 2/3 reunion-ish).
Between sets, the anticipation of Whigs’ fans that could be seen on social media sites since the show was first announced six months ago was becoming palpable. The lights went down, the crowd erupted and The Afghan Whigs took the stage (adorned with a simple red backdrop, reminiscent of the one at the old Southgate House, and a shimmering disco ball) to kick off an hour-and-a-half-plus show that showed that this was far from the same band that performed at Bogart’s 13 years ago.
The Whigs have always been an amazing live band, but the current incarnation was a different kind of amazing — tight, focused and seemingly thrilled to be playing with each other again. Exemplifying the band’s decision to return for a full tour and do things smarter were the mere physiques of Curley and Dulli, who seemed to have recognized the unhealthy trappings of touring and preemptively hit the gym hard so they were ready for them. The always rail-thin original guitarist Rick McCollum was his usual enigmatic self, knocking out his brilliant, snaking leads while practically hidden on the far left of the stage. Though fairly subdued, occasionally McCollum stepped out of the shadows, doing his Jimmy Page-influenced stutter-step stage moves.
The Afghan Whigs were literally a different band than 13 years ago as well. Longtime associate Doug Falsetti was back on percussion and back-up vocals, but there were plenty of new faces — guitarist Dave Rosser and drummer Cully Symington (members of Dulli’s Twilight Singers) plus Rick Nelson, who played cello, violin and keys.
Perhaps the biggest difference between the Whigs that broke up in 1999 and the one that played last night was focus. I personally missed the funny, sometimes baiting banter for which Dulli’s infamous, but it made the show more powerful and fluid just sticking to the songs. The Afghan Whigs proved themselves one of the best live Rock & Roll bands on the planet right now with a no-BS set that hit upon songs from their entire career.
That was another “new thing” — the band’s last Bogart’s show featured no material from the Whigs’ first two SubPop albums (save standard finale “Miles Iz Dead” from Congregation). Last night, the band did “Miles” as the finale again, but also did ferocious versions of Congregation’s “I’m Her Slave” and “Conjure Me” and even “Retarded,” the fiery lead-off track from the 1990 SubPop debut, Up In It.
Instead of the swaggering “gentleman” teasing the crowd and making jokingly arrogant statements between songs, Dulli came off like a master frontman, taking off his guitar for the old R&B cover of “See and Don’t See” and roaming through the crowd, dancing frequently and, most importantly, hitting every note. Dulli has reportedly quit smoking and it has done wonders for his voice. In the past, he’d sometimes gasp for air doing a song like “Conjure Me” or nearly choke on some of the more throatier howls; last night, all cylinders were clicking and he hit all the right notes, including the “Yeah!” yells of “Retarded” (one of the best screams in Rock & Roll), which he's now nailing probably better than he has since the group recorded the song.
The more upbeat material from the Whigs’ swan song, 1965, got the crowd moving even more intensely as the Whigs grooved hard on their distinctive funkiness. And tracks from Gentlemen and Black Love were received like the classics they are, from the ominous “Fountain and Fairfax” and the whip-snap of “Gentleman” to the woozy teetering of “When We Two Parted” (which was given a bigger, sharper reworking), a hard and heavy “My Enemy” and a soaring “Faded,” one of the best “ballads” of the ’90s during which the group paid tribute to one of the best ballads of the ’80s, “Purple Rain.”
The Whigs have always quoted from other songs during their sets (kind of like how a Jazz saxophonist will sneak in various melodies while playing) and last night was no exception. Dulli inserted a touch of Prince’s “Little Red Corvette” into “66” (a holdover from their final touring days) and also worked up a snippet of The Emotions’ Disco classic “Best of My Love” as an intro. And during their most recent new song, a great cover of Frank Ocean’s “Lovecrimes,” Dulli (playing keys) segued into “Wicked Games” by Canadian R&B newcomer The Weeknd.
Early on in the set, Dulli thanked Wussy for opening up and remarked on how Cincinnati has always produced a ton of great bands. “Always has, always will,” he added. Those words carry a lot of weight coming from a Cincinnati music icon.
I came away from the show with one thought — “This can’t be it.” Yes, the group is returning for another Bogart’s show on New Year’s Eve, but The Afghan Whigs are better than they’ve ever been right now and, judging from various interviews, all three members are enjoying the experience immensely — why stop now? If they can get through this tour with those good vibes still peaking, why wouldn’t they make a new album and keep it going?
UPDATE: Here's is the full setlist from the Bogart's show Oct. 25 (from setlist.fm):
1. Crime Scene, Part One
2. I'm Her Slave
3. Uptown Again
4. What Jail is Like
5. Conjure Me
6. When We Two Parted/Over My Dead Body (Drake cover)
7. Gentlemen
8. Crazy
9. Best of My Love /66 (The Emotions cover)
10. My Enemy
11. Retarded
12. See and Don't See (Marie "Queenie" Lyons cover)
13. Lovecrimes /Wicked Games (Frank Ocean cover)
14. Going to Town
15. Who Do You Love?/Fountain and Fairfax (Bo Diddley cover)
16. Faded
Encore:
17. Miles Iz Ded
18. Into the Floor
As the extended band built upon the swarming buzz of opener “Crime Scene (Part One),” a lot of fans in the audience could relate to Dulli’s excitement for a hometown show, something most for years thought would never happen. They’ve been waiting a lot longer than six months (when the show was announced), though. More like 13 years.
The show kicked off a little after 9 p.m. with Cincy favorites Wussy. The foursome is opening several of the shows on the Whigs’ current U.S. run. Though the group had some sound issues (they clanged away to get levels a little before starting, apologizing and telling the audience they hadn’t gotten a soundcheck), many in the crowd got swept away by the rockers’ ragged, emotive and infectious sound. Though the Cincinnati stop on the tour is obviously the show where the audience would be most familiar with Wussy (many fans around me were dancing and shouting every lyric back as co-frontpeople/singers/guitarists Lisa Walker and Chuck Cleaver switched off vocals), it was fascinating to see that moment on people’s faces when you can tell they’ve been lured in — “Hey, these guys are really good.” It bodes well for the band, which will join Heartless Bastards on tour as soon as the Whigs dates end.
Short on its trademark hilarious banner (a theme for the night, though in Wussy’s case, it was difficult to hear much of anything the members said between songs), Wussy busted through a great set that touched on all four of their studio album releases to date. Like the albums, that created a great “calling card” of a set for potential new fans, as Wussy moved from more emotionally moving, slow swaying songs (like opener “Waiting Room” from last year’s excellent Strawberry and the transcendent “Muscle Cars” from 2009’s self-titled effort) to its often humorous (though still often just as passionate) and punkish upbeat tunes like the uber-catchy “Happiness Bleeds” and the relentless, wired “Pulverized” (another Strawberry track).
The core quartet was rounded out by John Erhardt, a former bandmate of Cleaver’s in The Ass Ponys who added some tasty shading with his pedal steel guitar (unfortunately, his contributions were probably effected most by the weak sound, which often made him inaudible in the mix). Whigs bassist John Curley sat in on a song, putting a jolt into the crowd and leading bassist/multi-instrumentalist Mark Messerly to joke that, while everyone should be excited about the Whigs reuniting, they were now going to be treated to a “Staggering Statistics reunion” (Curley played in that local band with Wussy drummer Joe Klug; SS singer/guitarist Austin Brown was not present, so it was really a 2/3 reunion-ish).
Between sets, the anticipation of Whigs’ fans that could be seen on social media sites since the show was first announced six months ago was becoming palpable. The lights went down, the crowd erupted and The Afghan Whigs took the stage (adorned with a simple red backdrop, reminiscent of the one at the old Southgate House, and a shimmering disco ball) to kick off an hour-and-a-half-plus show that showed that this was far from the same band that performed at Bogart’s 13 years ago.
The Whigs have always been an amazing live band, but the current incarnation was a different kind of amazing — tight, focused and seemingly thrilled to be playing with each other again. Exemplifying the band’s decision to return for a full tour and do things smarter were the mere physiques of Curley and Dulli, who seemed to have recognized the unhealthy trappings of touring and preemptively hit the gym hard so they were ready for them. The always rail-thin original guitarist Rick McCollum was his usual enigmatic self, knocking out his brilliant, snaking leads while practically hidden on the far left of the stage. Though fairly subdued, occasionally McCollum stepped out of the shadows, doing his Jimmy Page-influenced stutter-step stage moves.
The Afghan Whigs were literally a different band than 13 years ago as well. Longtime associate Doug Falsetti was back on percussion and back-up vocals, but there were plenty of new faces — guitarist Dave Rosser and drummer Cully Symington (members of Dulli’s Twilight Singers) plus Rick Nelson, who played cello, violin and keys.
Perhaps the biggest difference between the Whigs that broke up in 1999 and the one that played last night was focus. I personally missed the funny, sometimes baiting banter for which Dulli’s infamous, but it made the show more powerful and fluid just sticking to the songs. The Afghan Whigs proved themselves one of the best live Rock & Roll bands on the planet right now with a no-BS set that hit upon songs from their entire career.
That was another “new thing” — the band’s last Bogart’s show featured no material from the Whigs’ first two SubPop albums (save standard finale “Miles Iz Dead” from Congregation). Last night, the band did “Miles” as the finale again, but also did ferocious versions of Congregation’s “I’m Her Slave” and “Conjure Me” and even “Retarded,” the fiery lead-off track from the 1990 SubPop debut, Up In It.
Instead of the swaggering “gentleman” teasing the crowd and making jokingly arrogant statements between songs, Dulli came off like a master frontman, taking off his guitar for the old R&B cover of “See and Don’t See” and roaming through the crowd, dancing frequently and, most importantly, hitting every note. Dulli has reportedly quit smoking and it has done wonders for his voice. In the past, he’d sometimes gasp for air doing a song like “Conjure Me” or nearly choke on some of the more throatier howls; last night, all cylinders were clicking and he hit all the right notes, including the “Yeah!” yells of “Retarded” (one of the best screams in Rock & Roll), which he's now nailing probably better than he has since the group recorded the song.
The more upbeat material from the Whigs’ swan song, 1965, got the crowd moving even more intensely as the Whigs grooved hard on their distinctive funkiness. And tracks from Gentlemen and Black Love were received like the classics they are, from the ominous “Fountain and Fairfax” and the whip-snap of “Gentleman” to the woozy teetering of “When We Two Parted” (which was given a bigger, sharper reworking), a hard and heavy “My Enemy” and a soaring “Faded,” one of the best “ballads” of the ’90s during which the group paid tribute to one of the best ballads of the ’80s, “Purple Rain.”
The Whigs have always quoted from other songs during their sets (kind of like how a Jazz saxophonist will sneak in various melodies while playing) and last night was no exception. Dulli inserted a touch of Prince’s “Little Red Corvette” into “66” (a holdover from their final touring days) and also worked up a snippet of The Emotions’ Disco classic “Best of My Love” as an intro. And during their most recent new song, a great cover of Frank Ocean’s “Lovecrimes,” Dulli (playing keys) segued into “Wicked Games” by Canadian R&B newcomer The Weeknd.
Early on in the set, Dulli thanked Wussy for opening up and remarked on how Cincinnati has always produced a ton of great bands. “Always has, always will,” he added. Those words carry a lot of weight coming from a Cincinnati music icon.
I came away from the show with one thought — “This can’t be it.” Yes, the group is returning for another Bogart’s show on New Year’s Eve, but The Afghan Whigs are better than they’ve ever been right now and, judging from various interviews, all three members are enjoying the experience immensely — why stop now? If they can get through this tour with those good vibes still peaking, why wouldn’t they make a new album and keep it going?
UPDATE: Here's is the full setlist from the Bogart's show Oct. 25 (from setlist.fm):
1. Crime Scene, Part One
2. I'm Her Slave
3. Uptown Again
4. What Jail is Like
5. Conjure Me
6. When We Two Parted/Over My Dead Body (Drake cover)
7. Gentlemen
8. Crazy
9. Best of My Love /66 (The Emotions cover)
10. My Enemy
11. Retarded
12. See and Don't See (Marie "Queenie" Lyons cover)
13. Lovecrimes /Wicked Games (Frank Ocean cover)
14. Going to Town
15. Who Do You Love?/Fountain and Fairfax (Bo Diddley cover)
16. Faded
Encore:
17. Miles Iz Ded
18. Into the Floor
by Blake Hammond
10.26.2012
All Hail Satan!: The Devil's Favorite Songs
A playllist of Beelzebub's favorite songs, just in time for Halloween weekend
Whether you call him Beelzebub, Satan, the Prince of Darkness, Mephistopheles, or just the plain ole devil (it’s all about your preferred nomenclature, man) there is no denying the big guy downstairs has been a huge influence on Rock & Roll.
There have been a plethora of songs written about the dark lord (no I’m not talking about Voldemort, you posers) but the real question is — what are Satan’s favorite songs about himself?
So, like the top-notch investigative journalism team we are at the CityBeat music department, my editor Mike Breen and I bought some pig’s blood, drew a pentagram on the floor, lit some candles, recited some Latin and summoned the fallen angel himself.
After a long discussion on various human subjects — how Mitt Romney is in fact not the antichrist, but just an idiot; the state of Gene Simmons' soul and why he is going to hell (apparently, it’s not for his satanic look or the thousand acts of pre-marital sex, but for turning KISS into the biggest whore in the music industry) — Mephistopheles disappeared back into the hell mouth as quick as he came. (Who said real journalism was dead?)
Yet, left in his place was an evil list compiled by the demon of his Top 10 favorite songs about himself, with the instruction to print them without changes. (Satan’s actually a very polite guy but super narcissistic.) So, in honor of his wishes (and extra conscious of our agreement that riches will be bestowed on CityBeat if we completed the task), here are the Top 10 songs about Satan.
10. “Baptized in Flames” – Skeletonwitch
You ever wanted to know what Antichrist’s birth would be like? If so, you’re in luck because Athens, Ohio, natives Skeletonwitch give us a pretty vivid description of the scene.
Minus the death of the mother, inverted crosses burning, men dying and the overall end-times vibe, this birth isn’t all that different from a normal one. But let’s be honest, no matter who’s being popped out, the birthing process is pretty disgusting.
9. “Super-Charger Heaven” – White Zombie
If I had never seen an interview with Rob Zombie (he seems like a really nice guy), I would truly believe this guy had some serious demonic connections. From his grade-A horror films to his music riddle with witches, blood rituals and general spine-chilling terror, he is the poster child for all things evil.
Although his later solo work is a little campy at times, White Zombie always brought the hellish vibe to their brand of Groove Meta and they showcased it no better than on their 1995 single, “Super-Charger Heaven.”
8. “Beezleboss” – Tenacious D
Did you know it’s in the demon by-laws to never turn down a rock-off challenge? I didn’t either. Not until the cataclysmic disappointment, “Pick of Destiny,” came out in 2006 at least.
Even though this movie was shittier than the end of The
Human Centipede, Satan’s gut-busting drum solo (although impressive) wasn’t
enough to outmatch Tenacious D’s power of Rock and friendship, not only saving Kage’s
eternal soul (and anal virginity) but sending the devil back to hell and
finally finding a way to pay their damn rent. (Satan says he found it "cute" that the band would write a fictional song about defeating him and picked this song because he's angling for a part in Kung Fu Panda 4 with Jack Black.)
7. “Con Clavi Con Dio” – Ghost
Sweden probably isn’t the first nation you think of as a hotbed for satanic music (I know, ABBA was scary but definitely not satanic), but when Ghost’s Opus Eponymous came out in 2010, the band took another step towards making that a reality.
This whole album is just one big love letter to the prince of darkness and the first four lines of “Con Clavi Con Dio” says it all: “Lucifer/ We are here/ For your praise/Evil one.”
Overall, I don’t know what’s creepier — this band’s all-inclusive scare factor or their borderline stalker obsession with Satan. (Lucifer, if you’re reading this, you may want to consider a restraining order against these guys. I know they’re from Sweden, but I don’t think they are messing around.)
6. “Mean as Hell” – Johnny Cash
Besides making a star out of Honey Boo Boo and working as an investment banker on Wall Street, Satan says all he really ever wanted was a land to call his own. So God, like the sly dog he is, tried pull a fast one on his old nemesis, giving him the poorest land he had, the Rio Grande.
The Devil, being the mean son of bitch that he is, took God’s offering and riddled the area with scorpions, thorn trees, tarantulas, rattlesnakes and 110-degree weather, making the best hell on earth he could (take that God!).
In the end, Satan proved God wrong, but what’s more interesting is — who is meaner, Johnny Cash or Satan? Sure, Satan made the Rio Grande hell on earth, but Cash lived in it. My money’s on the “Man in Black.”
5. “Sympathy for the Devil” – The Rolling Stones
The devil has been a busy man over the years. He was “’Round when Jesus Christ/Had his moment of doubt and pain” and “Held a general's rank/When the Bliztkrieg raged/And the bodies stank.”
Even though I’m not that particularly puzzled by the nature of his game (am I the only one seeing the trend of death here?), it’s definitely one of the most iconic and politically-driven songs Satan ever inspired.
4. “The Oath” – Mercyful Fate
Kind Diamond is like the satanic equivalent of Pat Robertson. Sure, this guy isn’t actually a Satanist but over his illustrious career, his distaste for organized religion, overtly satanic lyrical content and general creepy demeanor has surely put him in good standing with the minions of hell’s army and their general.
I really could have picked almost any song from the King Diamond catalog, but this one — from the band he fronts, Mercyful Fate — really showcases his unconditional love for Lucifer. Really though, Diamond’s undying love for Satan is only comparable to the love Ryan Seacrest has for hair gel and being a douche. If the song weren’t so damn evil, it would almost bring me to tears.
3. “Hell Awaits” – Slayer
As if this song wasn’t scary enough running normally, apparently if you play “Hell Awaits” backwards, about two minutes in there is a hidden message that repeats "join us" over and over again. Joining what exactly, I’m not sure. Slayer fans? An indoor soccer league? The wait staff at the Olive Garden? Who knows?
What’s really funny, though, is that people freak out when they hear Slayer has a “satanic message” when you play it backwards. Really? If you listen to the song forward, the “satanic messages” are even more explicit. Jeez people, the whole thing is about Satan! It’s Slayer, what do you expect?
2. “N.I.B.” – Black Sabbath
Aside from “Sympathy for the Devil” this is the only other song on this list written from the perspective of Lucifer. Besides the monster riff and Black Sabbath general early awesomeness, what makes this track phenomenal is that it's about Satan falling in love and trying to become a good person.
Though knowing that information makes this song seem a little less evil and is slightly reminiscent of a Joss Whedon plotline (no dig there, it’s just true), it exemplifies why Black Sabbath will always be the best Metal band of all time — its creativity.
Personally, I wish Ben Gibbard would do one of his so cute (it makes me want to puke) acoustic covers of this song so I can play it at my wedding (like that’ll ever happen).
1. “Number of the Beast” – Iron Maiden
I’ve always been a bit confused when it comes to the actual logistics of this song. I mean, did he see this satanic ritual happening or not? My personal belief is that Steve Harris (lead guitar/writer) took one too many hits of LSD, watched The Omen II and had the most terrifying trip known to modern man.
Either way, “Number of the Beast" solidified Bruce Dickinson as Maiden's new lead singer (even though I’m more a Paul Di’anno fan myself) and made Maiden titans in the Metal genre.
Remember — I’m just the middleman here. If you have a problem with this list, I’m sure Satan would be willing to hear you out. (Here’s his contact email: somelikeithott666@hotmail.com.)
EDITOR'S NOTE: This morning I sent Blake's write-up to Satan for approval (we usually don't do that, but, hey, it's Satan), he responded with a curt, all caps message: "WHERE IS MY FAVORITE BAND HOGSCRAPER!!! I WILL BRING YOU DOWN HERE EARLY IF YOU DON'T ADD MY THEME SONG!!! THANKS!!! HAIL ME!!!" He's referring to the mysterious, undead Cincinnati "Satanic Bluegrass" band Hogscraper and I can only assume his "theme song" is the one below. When I texted him just before posting I informed him that Hogscraper was back from the dead and headlining this Saturday's "Grand Opening Redux" concert at the new Southgate House Revival. "NO SHIT. I'LL BE THERE WITH SCARY BELLS ON. PRE-GAMING @ HOOTERS BEFOREHAND IF YOU WANNA HANG OUT!"
by Amy Harris
10.25.2012
Q&A with Jackyl
Jesse James Dupree brings his Hard Rock (and chainsaw) back to Cincy Friday night
Jackyl is a Southern Metal band led by one of the most charismatic frontmen around, Jesse James Dupree. The band has been making the rounds since the early ’90s but have gained their biggest fame with Dupree appearing regularly on the TruTV show Full Throttle Saloon. He also has infamous for turning a chainsaw into a musical instrument. CityBeat caught up with Dupree this week to preview Jackyl's upcoming return to Cincinnati. The two discussed where Jackyl stands in today’s Rock n Roll landscape and the group's new album, Best in Show. Jackyl performs Friday night (Oct. 26) at the Inner Circle (formerly Annie's) in Cincinnati.
CityBeat: I think you are still out on tour with Nigel, your son, correct?
JD: No, Nigel is not on this date with me. I have a band called Wayland that is opening for us and they are doing really great. They are getting a good bit of airplay on 96Rock and I am proud to have them on the run with us.
CB: I have been listening to the new record Best in Show and I think “Horns Up” is my favorite song. Can you tell me a little bit about that song and how you put it together?
JD: It came about with Roman the bass player; obviously you can tell that song originates from that bass groove. Roman came in and said, “I have an idea but don’t know what to do with it though.” We basically stopped everything and we said “Let’s hear it,” because when Roman says he has something going on it is usually pretty interesting.
So we stopped everything and he started this looping, playing it round and round, and then I picked up the guitar and started grabbing the soft beats with it and choking through, and next thing you know we had a really cool groove going. So we laid that down so we wouldn’t forget what we had.
I actually got up and went for a run the next day and it was playing over in my head, and it seems like it was one of those songs that every now and then you come across something that writes itself. That one, all the parts fell together, even the gang vocals part; it has that old Sly and the Family Stone type of gang vocal, you know, “Everybody grows…”
So Roman and I got up to the microphone and did it and sounded like him. We laid down the idea and that is what ended up being on the record because it had such a natural flow to it. It was one of my favorite songs too. It has such a fun energy to it. I think our record is non-portentous in a sense. It is just a celebration of the fundamentals of Rock & Roll.
CB: I have been a Jackyl fan for a long time. I have talked to you over the years and seen the shows. Have you ever had women approach you that are offended by some of the lyrics?
JD: I really haven’t. Can I imagine that within my lyrics that I have offended lots of groups or whatever? At the end of the day, if you are analyzing the music that close, you are missing out on the essence of what it is all about.
In Rock, some of these artists are so self-righteous and self-proclaimed geniuses and Rhodes Scholars or whatever, I don’t subscribe to that. I think music is something that should move you and excite you. I think Rock music should be considered right alongside going to see a movie, whether it is a comedy or a drama or a horror movie, whatever the case may be. I think it is just an expression of a vibe and blowing off some steam. How many people work their asses off for 40 hours or more a week? I don’t think they want to stop in Rock & Roll to have other issues to be upset about. I think they dial in to something that is like going to see a great movie of a different genre. It is about an escape.
Anybody that is looking for music to cure a rare disease or something needs to be re-aligned. I’ll just tell you this, I’ll leave it to Bono and U2 to go save the world in that respect. I just want to provide some sanity for people when they blow off some steam.
CB: The Flaming Lips broke the record for the most concerts in 24 hours. Would you guys ever try to do that again?
JD: The record, if you look at it, the record they broke is something else. I think our record still stands. We did 21 shows in a 24 hour period and we did 100 shows in 50 days. I think they did a certain amount of shows in certain states. They added something more of a twist to it. At the end of the day, it is just something we did to validate our work ethic. If we are going to be out there, we make it stick.
CB: Since I saw Jackyl last time, you had your motorcycle accident last fall. Has that changed your views on riding at all?
JD: Hell no! I was riding all day yesterday.
CB: It is so scary to me. I know people love it, just love it. I talk to people all the time and they have had accidents just like you and they say they would never give it up.
JD: Nah — hell, if I quit riding today, I would probably get run over by a train tomorrow. You can’t run off and be scared of life.
CB: You guys did Throttle Fest this summer in Kansas City. What was the highlight of that for you?
JD: We were shooting the Full Throttle Saloon fourth season. The TV show has been a blessing as far as kind of sharing the lifestyle we celebrate every day. It is the No. 1 rated show in its time slot and we are very, very proud of the success the show has had. Bruce Chappell is a big part of that TV show. At Throttle Fest, we ended up doing some really cool things with the Full Throttle brand this year. We took it to a whole new level that I don’t think anyone will expect. It is going to be a pretty interesting season for sure.
CB: That was one of my questions actually — what can we expect from season four?
JD: You know that bigger is better and I will leave it at that.
CB: I actually had the privilege of seeing Run-DMC re-unite live this summer for the first time in a long time. I wasn’t sure if you had any thoughts on that. I know you are friends with Darryl and he is a great friend of yours. Were you excited about them reuniting?
JD: I was proud for Darryl. It was something that meant a lot to him to be able to do that for the fans. They have had their issues with stuff as far as performing together. It is good when that can be put behind them and they can get out there and mix it up. I just love him to death and anything that excites him, I am proud for him.
CB: Going back to the album for a minute, what made you choose to cover “Cover of the Rolling Stone”?
JD: I just felt the tongue-and-cheek aspect they wrote that song. I don’t think they (Dr. Hook & the Medicine Show) would have ever expected to be on the cover of Rolling Stone so they wrote that song. I think Jackyl has a lot of that cynical, fun outlook on things — not cynical in a negative way.
I think with Jackyl, we scoff at being the whole critically-acclaimed thing. It is kind of a joke. I don’t need Rolling Stone magazine to validate Jackyl. The fact we are going to play a sold out room in Cincinnati, Ohio, validates Jackyl. The fact that people come out and support us. I don’t need Rolling Stone or any other critic to validate us because every night we hit the stage and everybody that comes to support us validates us, and shows that the core and what the heart of Rock is all about. It is not about a critic or a magazine. We did it with a fun twist and kind of (worked) a couple other influences into it and even used the chainsaw on it. It is an appropriate song.
CB: You guys spend a huge amount of time in Cincinnati and I know you have a hugefan base here. What can the fans look forward to Friday at the show?
JD: We are celebrating the release of this new album and we will be playing some of the new tunes for everybody and looking forward to doing it. At this point and time it is more like a family reunion. We normally come (to Cincinnati) around this time of year and we look forward to it every year. If (Inner Circle) place went out of business, we would still have to open the doors up every year about this time to do a show.
CityBeat: I think you are still out on tour with Nigel, your son, correct?
JD: No, Nigel is not on this date with me. I have a band called Wayland that is opening for us and they are doing really great. They are getting a good bit of airplay on 96Rock and I am proud to have them on the run with us.
CB: I have been listening to the new record Best in Show and I think “Horns Up” is my favorite song. Can you tell me a little bit about that song and how you put it together?
JD: It came about with Roman the bass player; obviously you can tell that song originates from that bass groove. Roman came in and said, “I have an idea but don’t know what to do with it though.” We basically stopped everything and we said “Let’s hear it,” because when Roman says he has something going on it is usually pretty interesting.
So we stopped everything and he started this looping, playing it round and round, and then I picked up the guitar and started grabbing the soft beats with it and choking through, and next thing you know we had a really cool groove going. So we laid that down so we wouldn’t forget what we had.
I actually got up and went for a run the next day and it was playing over in my head, and it seems like it was one of those songs that every now and then you come across something that writes itself. That one, all the parts fell together, even the gang vocals part; it has that old Sly and the Family Stone type of gang vocal, you know, “Everybody grows…”
So Roman and I got up to the microphone and did it and sounded like him. We laid down the idea and that is what ended up being on the record because it had such a natural flow to it. It was one of my favorite songs too. It has such a fun energy to it. I think our record is non-portentous in a sense. It is just a celebration of the fundamentals of Rock & Roll.
CB: I have been a Jackyl fan for a long time. I have talked to you over the years and seen the shows. Have you ever had women approach you that are offended by some of the lyrics?
JD: I really haven’t. Can I imagine that within my lyrics that I have offended lots of groups or whatever? At the end of the day, if you are analyzing the music that close, you are missing out on the essence of what it is all about.
In Rock, some of these artists are so self-righteous and self-proclaimed geniuses and Rhodes Scholars or whatever, I don’t subscribe to that. I think music is something that should move you and excite you. I think Rock music should be considered right alongside going to see a movie, whether it is a comedy or a drama or a horror movie, whatever the case may be. I think it is just an expression of a vibe and blowing off some steam. How many people work their asses off for 40 hours or more a week? I don’t think they want to stop in Rock & Roll to have other issues to be upset about. I think they dial in to something that is like going to see a great movie of a different genre. It is about an escape.
Anybody that is looking for music to cure a rare disease or something needs to be re-aligned. I’ll just tell you this, I’ll leave it to Bono and U2 to go save the world in that respect. I just want to provide some sanity for people when they blow off some steam.
CB: The Flaming Lips broke the record for the most concerts in 24 hours. Would you guys ever try to do that again?
JD: The record, if you look at it, the record they broke is something else. I think our record still stands. We did 21 shows in a 24 hour period and we did 100 shows in 50 days. I think they did a certain amount of shows in certain states. They added something more of a twist to it. At the end of the day, it is just something we did to validate our work ethic. If we are going to be out there, we make it stick.
CB: Since I saw Jackyl last time, you had your motorcycle accident last fall. Has that changed your views on riding at all?
JD: Hell no! I was riding all day yesterday.
CB: It is so scary to me. I know people love it, just love it. I talk to people all the time and they have had accidents just like you and they say they would never give it up.
JD: Nah — hell, if I quit riding today, I would probably get run over by a train tomorrow. You can’t run off and be scared of life.
CB: You guys did Throttle Fest this summer in Kansas City. What was the highlight of that for you?
JD: We were shooting the Full Throttle Saloon fourth season. The TV show has been a blessing as far as kind of sharing the lifestyle we celebrate every day. It is the No. 1 rated show in its time slot and we are very, very proud of the success the show has had. Bruce Chappell is a big part of that TV show. At Throttle Fest, we ended up doing some really cool things with the Full Throttle brand this year. We took it to a whole new level that I don’t think anyone will expect. It is going to be a pretty interesting season for sure.
CB: That was one of my questions actually — what can we expect from season four?
JD: You know that bigger is better and I will leave it at that.
CB: I actually had the privilege of seeing Run-DMC re-unite live this summer for the first time in a long time. I wasn’t sure if you had any thoughts on that. I know you are friends with Darryl and he is a great friend of yours. Were you excited about them reuniting?
JD: I was proud for Darryl. It was something that meant a lot to him to be able to do that for the fans. They have had their issues with stuff as far as performing together. It is good when that can be put behind them and they can get out there and mix it up. I just love him to death and anything that excites him, I am proud for him.
CB: Going back to the album for a minute, what made you choose to cover “Cover of the Rolling Stone”?
JD: I just felt the tongue-and-cheek aspect they wrote that song. I don’t think they (Dr. Hook & the Medicine Show) would have ever expected to be on the cover of Rolling Stone so they wrote that song. I think Jackyl has a lot of that cynical, fun outlook on things — not cynical in a negative way.
I think with Jackyl, we scoff at being the whole critically-acclaimed thing. It is kind of a joke. I don’t need Rolling Stone magazine to validate Jackyl. The fact we are going to play a sold out room in Cincinnati, Ohio, validates Jackyl. The fact that people come out and support us. I don’t need Rolling Stone or any other critic to validate us because every night we hit the stage and everybody that comes to support us validates us, and shows that the core and what the heart of Rock is all about. It is not about a critic or a magazine. We did it with a fun twist and kind of (worked) a couple other influences into it and even used the chainsaw on it. It is an appropriate song.
CB: You guys spend a huge amount of time in Cincinnati and I know you have a hugefan base here. What can the fans look forward to Friday at the show?
JD: We are celebrating the release of this new album and we will be playing some of the new tunes for everybody and looking forward to doing it. At this point and time it is more like a family reunion. We normally come (to Cincinnati) around this time of year and we look forward to it every year. If (Inner Circle) place went out of business, we would still have to open the doors up every year about this time to do a show.
by Mike Breen
10.25.2012
Music Tonight: The Afghan Whigs, R. Ring and More
Tonight's the big night for local fans of The Afghan Whigs, as the reunited rockers host a homecoming concert at Bogart's in Corryville. If you don't have a ticket, try an online reseller or hit up the Short Vine scalpers because the show sold out instantly. There are, however, still tickets available for the Whigs' New Year's Eve show at Bogart's (click here). Another one of Cincinnati's greatest musical exports, Wussy, opens tonight's show (the band has been doing several dates with the Whigs on this first leg of the band's U.S. tour).
CityBeat previewed the Whigs' return with a cover-story package in our issue out last week. Click here, here and here to read up on the group, then click below for a playlist of Whigs music videos. And check this space tomorrow for a full report from the show.
UPDATE: According to the Bogart's Facebook page, doors open at 7:30 p.m.; the show starts at 9 p.m. (previously stated showtime was 7:30 p.m.).
• R. Ring, the duo project from Kelley Deal of Dayton's The Breeders and Northern Kentucky's Mike Montgomery of Ampline/thistle fame, performs a free show tonight at Shake It Records in Northside at 7 p.m. The in-store is in honor of the twosome's debut official release, an orange-vinyl 7-inch single from Misra Records. Check out the single's "Fallout and Fire" below and click here to listen to R. Ring's live session for Daytrotter.
Click here for even more live music events in Greater Cincinnati tonight.
by Mike Breen
10.24.2012
Music Tonight: The Toasters
Legendary NYC Ska group brings 30th anniversary tour to Cincy for free show
American Ska legends The Toasters perform a free show tonight at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m. and — sorry, kids — you must be 21 or older to get in.
The band was one of the leading inspirations behind the "third-wave" Ska explosion of the ’90s, but the band actually began 30 years ago, influenced by the 2-Tone Ska movement in the U.K. The Toasters blend of NYC Rock and 2-Tone made them cult heroes in the Ska underground, as did the band's D.I.Y. approach; founding member (the sole one in the current lineup) Robert "Bucket" Hingley formed the influential Moon Ska Records in 1983 to release his own albums, as well as those by acts like Mustard Plug, The Slackers and Hepcat. The label's various compilations also gave a boost to up-and-coming, non-Moon acts like Less Than Jake and No Doubt.
Here's The Toasters' first music video, for the tune "Radiation Skank" off of the band's debut release, 1985's Recriminations EP (which was produced by British singer/songwriter Joe Jackson; he is to The Toasters what Elvis Costello was to The Specials).
And here is "Modern World America" off The Toasters' 2002 release, Enemy of the System.
