"Ain't nothing goin' on but the weather, time and old age," Big Joe Duskin is known to say. With all due respect, he's wrong. There's plenty going on for Big Joe these days. One might be tempted to call it a comeback, but in order to "come back" you have to go away, and that certainly doesn't apply to the King of Cincinnati Blues. Besides, he knew about coming back years ago.   

In August 2004, local Pop/Punk band Bottom Line got some fairly life-changing news. Word came down that the album following their final CD for Cincinnati-based Nice Guy Records -- the forthcomin  

When someone says they want to be a fire truck when they grow up, you know you're in for a different kind of experience. When this someone is Bebhin Blank, lead singer/guitarist/vice president (  

The saying goes, "Rock & Roll will never die." And, while that might be true, it depends a bit more upon who's keeping it alive, particularly when it comes to Rockabilly music. Some oldies cove  

"I want to do a CD of nothing but Billy Idol covers," says Rhonda Everitt, guitarist/keyboardist/vocalist of Pale Beneath the Blue. I think she's only half-joking, but you never know quite what  

I'd heard the stories about The Screaming Mimes -- the wild parties; the Herculean abuses of various substances; the general air of decay and decadence that hangs around them like a cloud. I wen  

Paul Otten, guitarist/vocalist/pianist of the Paul Otten Band, presents a package called "Pleasant Sounding Songs" with a long warning label attached to it on his band's new CD titled Bad Parad  

"We're 21-years old, what else are we going to write about?" asks Brian Bruemmer, bass player for Langus in regard to his band's favorite subject, sex. But, if you dig deeper, you also find th  

If your dream of music is a world in which Ashlee Simpson is unable to lip sync to her own caterwauling while her band soldiers on without her, then The Terrors are pretty damned frightening. Mel  

In Paris in the 1950s, a man named Pierre Schaeffer made what was termed at the time as musique concrete, which used both sounds from conventional instruments and recordings from Schaeffer's surr