When Joan Osborne vaulted into the public consciousness with Relish, her 1995 major label debut, she had already established a loyal fan base that was well aware of her estimable Jazz and Soul skills. With Soul Show in 1991 and the Blue Million Miles EP in 1993, Osborne displayed her smoldering vocal chops and her unerring ability to write to her own strengths as well as inhabit another writer’s song (her take on Captain Beefheart’s “Her Eyes Are a Blue Million Miles” was a marvel). Largely a collaboration with producer Rick Chertoff, Hooters frontmen Eric Bazilian and Rob Hyman and Beefheart guitarist Gary Lucas, Relish rightly pushed Osborne into Rock/Pop territory and the well-deserved spotlight, but it was only marginally indicative of her loves and influences.
For the past decade and a half, Osborne has made no secret of her musical passions as she’s fleshed out her catalog with a string of soulful original albums, covers albums (2002’s How Sweet It Is) and blends of the two (2007’s excellent Breakfast in Bed).
With her latest, Bring It On Home, Osborne heads directly into the Blues/R&B camp with predictably great results, from the opening swing of Ray Charles’ version of “I Don’t Need No Doctor” and a blistering spin through “Roll Like a Big Wheel” from obscure Blues shaker Olive Brown to a down and dirty take on James Moore’s iconic “Shake Your Hips” (nailed by the Stones on Exile on Main Street) and a shivering R&B tailfeather shake of Clarence Carter’s “I’m Qualified.”
As usual, Osborne’s gift in covering other songwriters’ works lies in her innate talent in melding the spirit and intent of the original song with her own singular approach to come up with a version that is both tribute and appropriate reinvention, and Bring It On Home finds Osborne at the peak of her abilities.
The Comet was packed Tuesday night in anticipation of seeing Nashville band The Black Belles and the Belles didn’t disappoint.
These women sure have created an identity for themselves. At any point, you could spot them somewhere in The Comet; they were hard to miss with their long black hair, black clothes, black hats, pale skin and dark makeup. And the shtick of it all doesn’t seem forced for The Black Belles. Members of Jack White’s label, Third Man Records, the Black Belles opened their set with “Leave You With A Letter,” the opener from their debut self-titled album.
Although the band is normally a four-piece, they are touring as a three-piece, leaving the organist back home in Nashville. Between bassist Ruby Rogers' deadpan dead-on bass riffs and Shelby Lynne’s solid drumming, there’s room for lead singer/lead guitarist Olivia Jean to do as she pleases. Her voice comes off as somewhat of a growl, so perfect for their dark and witchy lyrics. And there was something about the drummer similar to Meg White, with her black hair flowing as she beat the crap out of her set.
The Black Belles seem to be somewhat of a cross between The Cramps and Wanda Jackson, with the occasional Jack White riff thrown in the mix. Olivia Jean announced that they would play “their only Country song” as they launched into “Honky Tonk Horror,” which was not really anything close to a Country song and probably the heaviest Rock song they played. Other numbers included “In a Cage,” “Howl At The Moon,” “What Can I Do?,” “Lies,” “Wishing Well,” and “The Wrong Door.”
The only problem with their set was that The Comet didn’t move the tables out of the way so it was an extremely awkward crowd to stand in and actually be able to see the band. This resulted in people standing on chairs to get a better glimpse of the dark beauties.
When I asked the band what they’d be doing after the show, they smiled and said they would be using a Ouija Board at the Masonic Temple at which they were staying. If you missed out on seeing the Black Belles, they’ll be back in Cincinnati as one of the headliners for Midpoint Music Festival this September!
When people are confronted with my ridiculously voluminous music collection, they are most often struck with its distinct lack of commonality. Growing up within 70 miles of Detroit in the ’60s will do that; anything you can imagine between and beyond Motown and The Stooges will generally light my sparkler.
In reference to music specifically and to life in general, I have often remarked, “Specialization is for insects,” but if Mark Utley would like to borrow the phrase when he’s talking about his band, Cincinnati's Magnolia Mountain, he’s more than welcome.
From the band’s beginnings six years ago, Utley has endeavored to reconcile his Rock past with his fresh love of all things Americana by investing his Magnolia Mountain output with a reverence for the Bluegrass, Folk, Country and Rock forms while investing them with fresh angles, lines and perspectives. Like a sculptor who has immense respect for the permanence of the stone but also implicitly trusts his chisel and creative vision, Utley shapes the raw material of Americana’s various stylistic permutations into songs that are comfortably familiar yet blazingly original. That ethic was a hallmark of Magnolia Mountain’s last double album, 2010’s Redbird Green, and it comes into even sharper focus on the band’s third and latest release, the aptly titled Town and Country.
Part of Magnolia Mountain’s variance from album to album is at least partially due to the shifts in personnel that have affected the band from the start. At the same time, Magnolia Mountain has always been something of a rotating collective with guests becoming permanent members and members becoming guests. Town and Country follows that template, as Jordan Neff and Amber Nash (who left to devote full attention to their side project, Shiny and the Spoon) and David Rhodes Brown (who has defected from his numerous band affiliations to concentrate on solo/side work) appear sporadically on the album’s 18 tracks. And once again, guests abound on Town and Country, including piano master Ricky Nye, Tillers banjo ninja Mike Oberst and Americana chanteuse Lydia Loveless, among others.
Utley’s grounding in and love of vinyl forces him to think of his dozen and a half songs in the context of four separate sides (which he also did on Redbird Green; both albums are available in double vinyl format), and the first side is indicative of the broad range of Town and Country. “Black Mollie” kicks things off like a traditional Folk ode, “One Waking Moment” is a classic Appalachian Bluegrass break-up jaunt and “Baby Let’s Pretend” is a bopping Country thumper that wouldn’t sound out of place in a Rodney Crowell or T Bone Burnett set.
But just when you think you’ve got Magnolia Mountain pinned down, Utley and company (Jeff Vanover, Melissa English, Renee Frye, Bob Lese, Kathy Woods, Bob Donisi and Todd Drake) blister the paint with the wicked Blues menace of “Set on Fire,” with sweet “sugar, sugar” backing vocals, searing slide guitar and thundering rhythm section. That quartet is a mere hint at the broad spectrum of styles and approaches that Magnolia Mountain achieves on Town and Country, from the funky twang soul Blues of “Rainmaker” to the supercharged Roots Rock swing of “Shotgun Divorce” (Utley’s duet with Loveless) to the atmospheric swamp boogie of “The Devil We Know,” as well as superb covers of Will Johnson’s “Just to Know What You’ve Been Dreaming” and Wussy’s “Don’t Leave Just Now.”
As usual, the brilliance of Utley’s songwriting is that he and Magnolia Mountain craft each track as a separate jewel that fits perfectly into the gorgeous crown that is Town and Country.
A small, diverse crowd ranging from thirtysomething fans and overweight mosh-marchers to lanky, high school kids and excessively tattooed crust-punks packed into Covington’s humid, poorly ventilated (yet ever-endearing) Mad Hatter on Tuesday night for an evening of average-to-fantastic Speed Punk and Hardcore.
Some musicians get jaded and cynical when they become mostly known for only a handful of songs that aren’t even necessarily the best examples of their work. When this happens, bands sometimes fall entirely on their most popular songs and use them as a crutch. Or they shy away from playing them at all.
Alison Krauss and Union Station may have earned their biggest media coverage and added the most fans when they were featured on the O Brother, Where Art Thou soundtrack, but they’ve released far more music than just that handful of songs.
After being in the music business for over 20 years, the gang know how best to handle appealing to their most faithful fans as well as their soundtrack buddies. At the Taft Theatre March 31, the ensemble played the best songs from its newest album, Paper Airplane, and quite a few older favorites. Because so many members of Union Station have careers outside the band, the night also featured a few solo performances. Alison sang “Let Me Touch You for Awhile” and Dan Tyminski played the “singing voice of George Clooney” when he revived “Man of Constant Sorrow.” Dobro legend Jerry Douglas even played a little bit of Paul Simon – a sneak peek at his forthcoming album, perhaps?
The group also had to appease concert goers who may only know Alison and the boys from the O Brother songs or her duet with Brad Paisley. They did this with an encore full of those well-known hits. Included in that mix were two verses of “Down to the River to Pray” and the last verse of “Whiskey Lullaby” (with just Krauss backed up by her bassist). All of those songs, by the way, were played with instruments unplugged as the members leaned in around one vintage microphone.
The night was enjoyable for fans on any part of the dedication spectrum. The band members teased each other and had fun together on the stage and their smiles were, as cliché as it sounds, contagious. The music Saturday night couldn’t have sounded any better if you were listening to the group's albums through a sweet-assed Bose system. They performed flawlessly.
Loudon Wainwright III could very easily have slid into the where-are-they-now realm of celebrity obscurity if he had allowed himself to be swallowed up by the one-hit wonderment of “Dead Skunk” in 1972. Although most people at the time only knew him for that ubiquitous single, Wainwright was confident that he had plenty of other weapons in his songwriting arsenal and set about to define the 40-year Folk/Pop career that has brought him certain measures of acclaim, wealth and notoriety as a songwriter, performer, actor and dysfunctional family man, each role woven inextricably into the fabric of the others (remember when he was Captain Spalding, the singing surgeon on M*A*S*H?). Clearly, the two paths that have intersected most often in Wainwright’s life are music and family; his itinerant singer/songwriter’s existence has been both a positive and a negative in his numerous attempts at familial stability and his parents, wives and children have been an endless source of grist for his songwriting mill.
Chief among Wainwright’s influences has been his often larger-than-life father, whose death at 63 left a gaping hole in his 17-year-old son’s life and psyche. A great deal of Wainwright’s unresolved love and anger issues concerning his father have been worked out in his songs over the past few decades, but his latest uniformly excellent album finds him looking back at his long timeline after reaching the milestone birthday of 65, a momentous and bittersweet benchmark that inspired the album’s title; Older Than My Old Man Now.
Like much of his recent work, Wainwright explores the familiar subjects of family, aging, death and lust on Old Man, which he does with typical candor, humor and reflection. Wainwright opens with the jazzy “The Here & the Now,” an annotated but honest account of his 65 years (“I took a wife, we had some kids/I screwed that up and went on the skids”), a history that he continues tracing on the contemplative and mournful “In C.” In the eloquent spoken word intro to the title track, Wainwright calls his father his “principal ghost” and then launches into a Delta-flavored vamp that addresses the psychic conundrum of having more calendars under his belt than his dad (“Sixty four is awful old, you know what can happen next/Hey, I’m older than my old man ever was, and I’m trying to keep it in context”).
Wainwright’s broad range is best typified by the ridiculously funny “I Remember Sex,” a parlor piano duet with Barry Humphries’ female alter ego Dame Edna Everidge, and the sublimely heartbreaking realizations of “The Days That We Die,” where Wainwright expounds, in prose and rhyme, on the reality of getting closer to life’s finish line without having fully reconciled with his children for his real and imagined sins. Listening to Wainwright and son Rufus trade soul-searching verses about life and change and forgiveness will bring a tear to the most cynical eye.
Over the course of the past few albums, Wainwright has honed his songwriting style to a fine point and narrowed his focus to very personal issues which he has translated into impossibly universal songs. Older Than My Old Man Now finds him in peak form in that regard, and reinforces the idea that he’s probably got plenty more to say on every subject as his finite journey heads inexorably toward the infinite horizon.
Oh, Cincinnatians! Wednesday night, when you filed into the Ballroom at the Taft (Theatre), loudly and drunkenly declaring your love for Dawes, I knew I’d never been more proud of you in all my life. (Except you, Guy Who Tried to Vomit Back into His Beer Can like a sorority girl MacGyver. Know your limits, dude.) You filled the basement with your singing and your cheers and, whether you saw it or not, left four California boys looking pretty giddy in your presence. While I still think some of you have some fairly bad taste in music, I now officially consider everyone in the room on Wednesday to be the new loves of my life.
That includes Dawes and Sara (and Sean) Watkins, too. They deserved every ounce of love that you gave them. This was not a massive and disconnected arena show; this was just some gig in Will Taft’s basement. But Dawes rocked out in a very big way. For every beer-induced bellow you made, a little more of the musicians' hearts seemed to shine through. There was no phoning it in, no signs of fatigue after a long year of touring (for Dawes) and no amateur hour when Sara Watkins started off the night.
The only downfall was knowing that it would end and that, as good as Dawes’ albums are, they would forever pale in comparison to their live show. It was that good. It was the kind of concert where you walk out knowing you will never miss another one of their concerts. The kind of night that leads to going home and staring at their tour schedule and your bank account, trying to decide if you can make it to another show on this round of touring. They’re the kind of band that flings out so much energy in their set that, come 4 a.m., you’re still lying in bed, wide awake and humming “Fire Away.”
In other words: Holy Shit. Dawes is amazing.
Which is surprising, honestly, since at first glimpse, no one in Dawes looks like a Rock star. Lead singer and guitar player, Taylor Goldsmith, with messy brown hair and just slightly too short pants, looks more like a philosophy professor straight out of the ‘70s. You know — the one who gets all the girls and invites the best students back to his apartment to get high. His brother, Griffin, has a massive mane of blonde curls and a face like every other one of your little brother’s friends. But he attacks the drums, has an awesome voice and great facial expressions.
Behind the crazy organ/piano set up is Tay Strathairn, working like a mad scientist and bouncing from one machine to the other. Meanwhile, Dawes' bassist, Wylie Gelber, comes complete with that trademark bass player “chill”-ness. He’s cool.
Basically, they’re just your average guys. They’d fit in just as easily in Cincinnati as they do in Los Angeles.
On stage, though, they are far from average. They are amazing. They can turn a basement into a ballroom and a gig into a "show."
Vintage Rock hasn’t sounded so good since it was just Rock.
In total, the guys played over a dozen songs. Included on the set-list were their more popular hits, like “When My Times Comes” and “Time Spent in Los Angeles.” They also played a few new (and oh-so-awesome) songs that may or may not make it onto their new album.
I could gush for another 600 words, but instead I’ll end with this: Go see Dawes. Get in your car right now and drive to whatever city they’re playing next. Squeeze in close and wait to be awed. Wait for that moment, a couple songs in, when your cheeks hurt because you can’t stop smiling. Wait until Taylor Goldsmith dedicates “When My Time Comes” to the “first-timers” and then scream along.
Go see Dawes and fall in love with good music.
Cincinnati is loaded with Blues talent. Always has been. Yet it is still a rare and noteworthy occasion when a Cincinnati Blues artist releases an album with primarily original music. Brad Hatfield has long been considered one of the area’s premier harmonica slingers. With his new release, Uphill From Anywhere, he also establishes himself as one of Cincy's most distinctive Blues voices — both as a singer and as a songwriter.
Richly produced by Jon Justice, who also shares many of the writing/arranging credits, and featuring Hatfield’s father, keyboardist Bernie Hatfield, Uphill From Anywhere is an album that will please lovers of standard Blues fare, as well as those who like their Blues flavored with a little gospel and groove.
The album begins with “Witness to My Misery,” a straightforward gut-thumping march, and then moves into “Fit to be the Fool,” a shuffle that will certainly please the Blues purists. All signs point to pretty standard Blues fare at this point, albeit it with heartfelt lyrics and sultry amplified harp tone.
But with the Justice-penned “One More Night,” we’re immediately snapped back to attention with percussive stabs, Hammond organ overtones and honeyed slide guitar reminiscent of the best Warren Haynes-era work from the Allman Brothers. Soulful and inventive chord progressions and equally soulful singing elevate this song a notch or two above the first two tracks.
Indeed, the brightest spots on Uphill From Anywhere are the departures from the 1-4-5 12-bar formula that are the bread and butter for so many Blues bands. “Livin’ Out the Lie” has a great Robert-Cray minor-key R&B vibe and “End of Time” has an uplifting Gospel feel, reminding us to not fret too much since “they’ve been talkin’ bout the end since the beginning of time.” The song makes you want to take the nearest woman by the hand, pull her close and dance like there’s gonna be a whole bunch of tomorrows.
Brad Hatfield has paid more dues than many of us have and for a decade he’s been widely respected as one of Cincinnati’s greatest Blues harmonica players. But the revelation of this album is how Uphill From Anywhere firmly establishes Hatfield as one of our city’s most poignant Blues vocalists. In fact, the second to last track, “Too Good to Give Away,” features guest harp work from New Jersey’s Dennis Gruenling. Harmonica players are a notoriously competitive and territorial lot, but Hatfield yields the instrumental spotlight and lets his voice tell the story with his husky, agile and often moving growl.
Appropriately, the album’s final cut is an a capella version of “John the Revelator.” Brad Hatfield’s voice takes you to church, or the field, or to the mountaintop, and you believe every word he’s saying.
Sample the release below:
You can catch the Brad Hatfield Band in June at Saturday, June 9 at the Colerain Park Amphitheatre from 5-8 p.m., and Friday, June 22 at Geez'l Petes in Covington starting at 8:30 p.m. Visit www.bhatfieldbluesband.com for more on the album and future shows.
Tonight at Over-the-Rhine’s MOTR Pub, wildly impressive Cincy Soul/Pop/Rock quartet The Guitars celebrate the release of their new EP, High Action. Local Folk faves The Tillers open up the free show. Below is a review of the release, a slightly shorter version of which appeared in this week's CityBeat. You can also check out a track from the EP, so you can hear that I'm not lying when I say this is definitely one of the best releases by a local act this year.