The Ridges: This Word is Worth a Thousand Pictures

 

As I was listening to the Ridges’ EP last night, a storm kicked up that colored the sky charcoal grey and blew leaves horizontally through the air. It seemed appropriate to the roll and swell of moody strings and beautiful but fraught vocals of the album.

Formed in Athens, Ohio, and consisting of core musicians Victor Rasgaitis (guitar), Talor Smith (cello) and Johnny Barton (percussion, glockenspiel) – with a rotating line-up of additional musicians contributing violin, viola, upright bass, trumpet, percussion, mandolin, cello and accordion – the Ridges took their name from the institution that was formerly the Athens Lunatic Asylum. And the band continues to draw inspiration from the old asylum. Not only was their album recorded in the ornate Victorian building, but the songs are imbued with an aching hauntedness that seems to reflect the ghost stories that surround any once-abandoned institution worth its salt.

That’s not to say that the self-titled EP is a non-stop dirge full of melodramatically gothic declarations of emotion. While none of the lyrical matter could be accused of being upbeat, many of the songs invite foot-stomping and sing-alongs. Listen to and download an example of what I mean with stand-out track “Not a Ghost”.

 

Not a Ghost by The Ridges

 

Now download the full EP at their Bandcamp site and get haunted.

The Ridges @ Bandcamp

The Ridges @ Facebook

Gil Scott-Heron: And now it’s time to gather all the things we need to fly

 

The beautiful Gil Scott-Heron died yesterday.

If I was into making Best Of lists, GSH’s I’m New Here would have been high atop my list for 2010. But, of course, his legacy stretches much further back than that, at least back to 1970 with the release of Small Talk at 125th & Lenox, which contained the iconic “The Revolution Will Not Be Televised”.

If you’re not as familiar with GSH as you’d like to be, you can check out a documentary about him at Self-Titled or read a sketch of his life and career at The Telegraph.

 

Gil Scott-Heron: On Being New Here from Iain & Jane on Vimeo.

 

Notable Shows in the Greater Cleveland Area

Shows worth checking out this week in and around Cleveland:

The Beachland Ballroom & Tavern

  • Fri, May 27| 9 PM (8 PM door)
    Mr. Gnome
    Phantods
    Rare Birds
    $8
    Tavern | All Ages
  • Sat, May 28| 8 PM (7:30 PM door)
    Zeke
    Antiseen
    Joe Buck Yourself
    Goddamn Gallows
    $20
    Ballroom | All Ages
  • Sat, May 28| 9 PM (8 PM door)
    15-60-75 (The Numbers Band)
    $7
    Tavern | All Ages
  • Sun, May 29| 8:30 PM (8 PM door)
    The Bottom Dollars
    Debussi
    $6
    Tavern | All Ages
  • Tue, May 31| 8 PM (7 PM door)
    Taking It To The Bank: Benefit For The Cleveland Food Bank
    The Blue Drivers
    Sweeteven & The Abydos Studio Band
    The Covert Operation

    (Show is a CD release fundraiser for The Cleveland Food Bank’s Harvest For Hunger food drive as is the Taking It To The Bank Album. Each album sold will provide at least 16 meals. Admission includes copy of CD.)

    $15
    Ballroom | All Ages

  • Wed, Jun 1| 9 PM (8 PM door)
    Head for the Hills
    The Hiram Rapids Stumblers
    $12 adv / $14 dos
    Tavern | All Ages

Grog Shop

  • Fri, May 27| 6 PM
    Eisley
    The Narrative
    Christie Dupree
    These Knees
    $10 adv / $12 dos
  • Fri, May 27| 10 PM
    Kings of the Iron Mic
    Mr.44
    The Wrong Guys
    R.Y.A.N.
    Poetry Feen
    G Huff
    B No Good
    twerp
    Controversy
    A-Motions
    $10

Now That’s Class

  • Sun, May 29| 10 PM
    PhatBurner
    Keyo KonFuzion
    Storm
    Jack Burton
    $3

Happy Dog

  • Fri, May 27| 9 PM
    Little Bighorn
    Tinko
    Exploding Lies
  • Sat, May 28| 9 PM
    The Very Knees
    Baby Baby
    Andy D
    ME

The Hi-Fi Concert Club

  • Fri, June 3| 8 PM
    He-Chaw Frunk

Musica

  • Sat, May 28| 10 PM
    Cap C & Random X
    $7

Postcards from the Pit: Whitesnake

 

I saw Whitesnake at Irving Plaza last week – now there is a sentence I never expected to write – and about two songs into their set, it occurred to me: these are the kind of rock stars I fell in love with the first time. Not these specific rockstars, maybe, what with Whitesnake having been reconstituted several times since they started, but certainly of this general type: the shredding, hair-flying-everywhere, flowing-shirts-and-leather-trousers flavor of musician.

IMG_8475

Though I certainly do have a massive soft spot for Whitesnake in particular, and this incarnation of the band is a solid one. David Coverdale sounds great, and he’s got some heavy metal all-stars behind him, with Doug Aldrich (Dio) and Reb Beach (Winger) on guitars, Brian Tichy (Foreigner) on drums, Michael Devin (Lynch Mob) on bass and Brian Ruedy (Bret Michaels, Brian “Head” Welch, of KORN) on keys.

The set was a mixture of old and new songs – Whitesnake has a new record out! – and from what I could tell they were really enjoying themselves. This is one of my favorite pictures from the evening, taken during the “epic battling guitar solo” portion of the evening, and I love it mainly because Reb Beach and Doug Aldrich are grinning at each other like they have just invented a new holiday and it involves electric guitars:

IMG_8487

In short, it was a fantastic evening. Here are a few more pictures:

IMG_8517
Reb Beach (“former singing waiter of this parish”- David Coverdale) mugging as he shreds

IMG_8483
Doug Aldrich

IMG_8496
Brian Tichy, mid-solo

IMG_8523
L to R: David Coverdale, Michael Devin, Brian Ruedy

IMG_8525
David Coverdale, listening to the crowd sing to him.

Ben Sollee Subway Session

Having trouble getting into the swing of things this week, but here’s a nice way to ease back into it: Ben Sollee, accompanied by Jordan Ellis, playing a session at the Fulton Avenue subway stop in New York for Subway Sessions. Sollee has such a unique way with the strings, and I love the sounds Ellis is getting out of his percussion.

I wonder if we could find a good place to make sessions like this happen in Cleveland…

Notable Shows in the Greater Cleveland Area

Shows worth checking out this week in and around Cleveland:

The Beachland Ballroom & Tavern

  • Sat, May 21| 7 PM (6:30 PM door)
    Tom Evanchuck
    Ty Kellogg
    $6
    Tavern | All Ages
  • Tue, May 24| 8:30 PM (7:30 PM door)
    Big Sandy & His Fly-Rite Boys
    Dan McCoy & The Standing 8s
    $12
    Tavern | All Ages
  • Fri, May 27| 9 PM (8 PM door)
    Mr. Gnome
    Phantods
    Rare Birds
    $8
    Tavern | All Ages

Grog Shop

  • Sat, May 12| 6 PM
    Terror
    Stick To Your Guns
    Trapped Under Ice
    Close Your Eyes
    Your Demise
    $13
  • Sun, May 22| 8 PM
    Cloud Cult
    The Wilderness of Manitoba
    $12 adv / $14 dos
  • Wed, May 25| 8 PM
    Sloan
    The Modern Electric
    Dearly Beloved
    $10 adv / $12 dos
  • Thu, May 26| 7 PM
    Smoke Screen
    Twenty One Pilots
    Urbindex
    Plastic Hearts
    $8 adv / $10 dos
  • Fri, May 27| 6 PM
    Eisley
    The Narrative
    Christie Dupree
    These Knees
    $10 adv / $12 dos
  • Fri, May 27| 10 PM
    Kings of the Iron Mic
    Mr.44
    The Wrong Guys
    R.Y.A.N.
    Poetry Feen
    G Huff
    B No Good
    twerp
    Controversy
    A-Motions
    $10

Happy Dog

  • Sat, May 21| 9 PM
    Founding Fathers
    Restless Habs
    Swarm of Bats
  • Fri, May 27| 9 PM
    Little Bighorn
    Tinko
    Exploding Lies

The Winchester Music Hall

  • Fri, May 20| 9 PM
    Neil Innes
    $15

Peabody’s

  • Sat, May 21| 6 PM
    Ray Cash
    Da Kennel
    Young Ray, Jr.
    Ampichino
    CJ Platinum
    $10 adv / $14 dos
  • Thu, May 26| 7 PM
    Front Line Assembly
    Dismantle
    Cyanotic
    DJ Acucrack
    Filament 38
    $15 adv / $18 dos

Rocbar

  • Sat, May 21| 9 PM (8 PM door)
    Debussi
    He-Chaw Frunk
    The Woovs
    Tuesday BLVD
    Across The Viaduct
    Stone Relied
    Sinful Faith
    $6-10

Quicken Arena

  • Thu, May 26| 7:30 PM
    Bob Seger & the Silver Bullet Band
    $250, $225, $65, $37

House of Blues

  • Thu, May 26| 9:30 PM (9 PM door)
    Portugal. The Man
    Telekinesis
    Unknown Mortal Orchestra

    SOLD OUT

Phantom Tails: We Turn the Wheels of Alchemy

 

It took me a while to realize why the music of Phantom Tails sounded familiar. It was probably the third or fourth listen to Sounds of the Hunchback Whale when I realized that this music would not have been out of place in the goth clubs of ’90s San Francisco… but more like the ’90s goth scene if I’d had my way with it. This is not music you swoopy dance to while artfully waving your lacy cuffs. It requires a little more funk in your back-end. The band’s synth wizard Sergio Hernandez has called it Deep Space Doom Funk.

 

Real Savage by Phantom Tails

 

While it’s definitely dance music, it’s not without grit, coming down with an industrial thump at times. Songs are written, sampled, layered, sampled again, layered some more, resulting in fuzzed out laser zaps, rounded out with jagged guitar, heavy bass and drum machine beats that go down to bedrock instead of floating off into the atmosphere.

 

Streetsweepers by Phantom Tails

 

You can dance to it and still look like a badass.

Plus, singer/guitarist Orion Treon quoted the Wu-Tang Clan in an interview, and we are all the way down with that.

You can listen to and download the two songs above, then get over to Bandcamp and pick up the whole album. It’s good from top to bottom.

 

Phantom Tails @ Bandcamp

Phantom Tails @ Facebook

PhantomTailsTV

Artist I Really Like: Rob Zombie

That’s the sum total of the thesis of this post, y’all: Rob Zombie, I Really Like His Tunes and His Style.  My reasons, in video form:

 

White Zombie - More Human Than Human

More Human than the Human (1995)

This one is actually from when he was part of White Zombie, and was one of the first songs I heard when I started going clubbing in Glasgow in 1996. I’m not quite sure how I missed it before that, but I did. It was definitely a “What is that and where can I get some more?” moment. When I got home I decamped to Tower Records where – this was the downside of living in suburbia when the Internet was still very young – all they had was the remix album, Supersexy Swingin’ Sounds, which was interesting but not . . . quite . . . what I was after.

Puzzled but not put off, I went back to college; meanwhile, White Zombie broke up and Rob Zombie went solo, and eventually put out Hellbilly Deluxe, in 1998. By then I had jumped across the ocean again (for work, this time) and on weekends I was going to places where they played these two songs a whole lot:

 

Rob Zombie - Dragula

Dragula (1998)

Rob Zombie - Superbeast

Superbeast (1999)

 

My favorite part of the video for Dragula is that he seems to be trying to play Grand Theft Auto in a tricked-out Model-T.  Anyway, jumping forward in time a few years: when The Sinister Urge came out in 2001, I was back in the U.S. again, in Brooklyn, and had mostly stopped clubbing.  I moved again about a year afterwards, and discovered that it’s also a great driving music. Never Gonna Stop (The Red, Red Kroovy) is an especially delicious way to start a long trip. And Feel So Numb is the track I frequently put on in the evenings this past semester as I was walking either to or from class:

 

Rob Zombie - Feel So Numb

Feel So Numb (2001)

 

As I’ve been putting this together I discovered I missed a record while I was in (cultural) exile: Educated Horses, in 2006 (whoops!), so my next and last favorite song is What? from Hellbilly Deluxe 2, in 2010. I have been dancing around my apartment to it for a while now, and also, because this is what I do in my spare time, dreaming of ways I would make a video for it. When I went to looking for the “official” video, I found that a) there isn’t one and b) two fierce ladies have stepped up and made their own, complete with really amazing dance moves:

 

http://youtu.be/jUZ8ba1-TZg

“What?” direct by BODYCON, starring BODYCON and Kristina Z (2010)

 

The last reason I really like Rob Zombie fits under the heading of “style” and is this: when I (finally!) got to see him live a year or so ago, not only did he play all of my favorite songs, he also did something I’d never encountered at a hard rock show before: he called a special ladies’ only pit, scolded the dudes who tried to crash it, and gave the girls hanging on the barrier a chance to mosh.

I couldn’t get in it myself – I was back by the soundboard at the time, since I had come  up late, after school, just in time for him to come on – but I appreciated the gesture, and him for making it, because in a very real way, a place in the pit is a place at the table. Thank you, Rob Zombie, for the all of the tunes, and for that moment. I look forward to whatever your next musical adventure may be.

Bits: Music for Alabama, Mike Watt, Vic Chesnutt, Boston Spaceships, Urge Overkill, Rockhall

  • Artist from across the country have contributed to The Wind Will Carry the Voice of the People, a Bandcamp compilation to aid the tornado-ravaged areas of Alabama. All proceeds go to the Red Cross.
  • Mike Watt + the missingmen will perform Watt’s 3rd opera hyphenated-man in its entirety on KXLU on May 19 at 10 PM PST.
  • plan9films is making a documentary about the late Vic Chesnutt tentatively titled Vic Chesnutt – It Is What It Is. MusicFilmWeb reports that Michael Stipe has signed on as executive producer. The film is to be released later this year.
  • In 1986, Black Flag went on tour with Painted Willie and Gone. Painted Willie’s drummer, David Markey, filmed it. He’s now made his tour documentary Reality 86’d available to view on Vimeo.
  • Robert Pollard’s band Boston Spaceships will be release a new album, Let It Beard (how great is that title?), on August 2. Guttersnipe has a tracklisting, as well as a little commentary from Pollard.
  • Urge Overkill have released Rock & Roll Submarine, their first album in 16 years. You can check out a track, “Mason/Dixon”, at My Old Kentucky Blog.
  • Scene Magazine reports that, as promised, the next Rock ‘n’ Roll Hall of Fame induction ceremony will take place back in Cleveland, Ohio, on April 14 at Public Hall.

Rebirth of the Cool: Sinnerman

 

Nina Simone and the song “Sinnerman” go hand-in-hand. If you think of “Sinnerman”, you probably think of Nina’s version, and if you think of Nina, you probably thing of “Sinnerman”. Simone’s version is so authoritative and brilliant that you might not realize that she didn’t write the song. “Sinnerman” (or “Sinner Man”) began life as a traditional spiritual and many other people had a turn at it before Simone made it her own in 1965. For instance, king of exotica Les Baxter did it up with Will Holt on vocals in 1956.

 

 

Kind of a shock after Simone’s version. It’s kind of… well… white. (Though not the whitest of the white. For that, check out versions by the Weavers and Tommy Sands.)

Peter Tosh had a long relationship with the song, beginning in 1966 (some sources say 1964 or 1965) when he recorded it with the Wailers. In the ’70s, he changed the name to “Downpressor Man”.

 

 

One of the most recent versions was recorded by the Black Diamond Heavies for their 2008 album A Touch of Someone Else’s Class. It clearly draws from Simone’s version, shaping the song out with John Wesley Myers’ distinctive Fender Rhodes sound and ravaged vocals.