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Art Jipson

Amazing Music Highlights from a Powerful Year in the Local Music Scene

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Art Jipson

Every year there are those who lament the lack of exciting new music. Perhaps this comes from a place of cramped personal style where we think that there can be no better music than the music when we were teenagers or the songs we listened to in college or the sonic landscape when we were dating. It is very easy – seductively easy – to become set, fixed, so focused on the music from a particular time and refuse or become unable to move beyond our individual experience. We all have our interests that shape the music we love and that is all right. The point is to avoid pigeonholing ourselves.

Therefore, with that in mind this brief commentary on local music demonstrates that 2019 was a banner year in local Dayton area music! From the release of the first records by several exciting yet different musicians, there is tremendous music arising from the Miami Valley and Dayton in particular that needs to be heard! This year we had exciting first records from the bouncy bucolic Age Nowhere (Airport Sounds), the amazingly fierce vocals of Amber Hargett (Paper Trail), the quirky indie pop of The Paint Splats’ eponymous disc to name a few new entries into the scene.

Shrug

We are also fortunate to have the twenty-five year stalwarts in Shrug releasing their terrific (Easy is the New Hard). This year also included the second record from the pop-punk majesty of Brat Curse (Brat Curse II). Fresh Hip-Hop courtesy of K. Carter (NBX and The Pack live), and some of the best representation of real country music from Charlie Jackson and the Heartland Railway with an EP called EP. Mr. Jackson is not the only area musician exploring the country side of the music equation. The country soul wailing of Mack McKenzie’s tremendous (Kill the Buffalo) demonstrates that real country music is alive and well. If there is a more evocative country song than ‘Woe is Me’ this writer has not heard it.

This year also marked the return of sensual electronic soundscapes care of Dirty/Clean’s (Stereo) and one of the great local bands of 2019, Goodnight Goodnight released their passionately awaited new record (I Love you Fiercely). The hard to define industrial noise rock of HEXADIODE captured the musical imagination with their latest (Metaxy). Roley Yuma released their explosive self-titled record in 2019. Listen to those records and try not to feel. It is not possible.

While Dayton’s music scene is unbelievably strong. There has been some fine music created south of town from Frontier Folk Nebraska who released an excellent new record (Teenage Freaks) that captures the grime and grit of everyday life. Wussy driving force Chuck Cleaver’s superb Send Aid demonstrates that the drone can captivate our interest just as well as the pristine; if not even more so! Although not exactly Dayton releases, these first-rate records illustrate the outstanding music in the area. Consider it close enough. Perhaps in an additional article I will discuss the amazing music coming from the Columbus and Cincinnati area music scenes in much more detail.

John Dubuc’s Guilty Pleasures

Local songwriters made a strong showing in 2019. The quirky good-natured songs of John Dubuc’s Guilty Pleasures illustrated that music can both explicate real lived experience and sardonically laugh about it all. Max B. Greene released his evocative and excellent record (My Head Broke Open) that explored the dark side of the human balance. David Payne’s late 2019 release (Orange Glow) captured a welcome life affirming perspective that demonstrates the versatility of local songwriters. This year also marked the return of songwriter par excellence Mike Bankhead with his single, Little Light. That song demonstrated the depth of storytelling in Mike’s approach. I would be remiss in my duties if I did not explain that Mike also recorded a split record with Brandon Berry of The Paint Splats (Defacing The Moon).

Demonstrating both the power of songwriting and song craft, Overthought Musik’s appropriately entitled record appropriately entitled ‘Album’ is surprisingly cohesive considering that each song has a different vocalist and approach. Derl Robbins Overthought Musik is consistently releasing extraordinary music that moves from rock to pop to indie to songs that quite honestly defy facile categorization. Each song on this dynamite collection is a new discovery. While discussing Overthought, we also have to consider the fact that Dayton has a thriving set of record labels that are consistently releasing excellent music. Magnaphone Records, Poptek and Overthought Musik are creating legacies not just collections of songs. In fact, the samplers from Magnaphone Records should be explored by anyone who enjoys music. The Repeating Arms also contributed new music to the fantastic Magnaphone Records Sampler Vol. 3 (which also include David Payne, The Boxcar Suite, Shrug and others).

Sadbox released their first record in 2019, The Magic Nothing. The Magic Nothing is far from nothing. From start to finish, this record captures every growl, yell and vocal from Paul Levy and combines it with the musical alchemy courtesy of Ray Owens, Eli Alban and XXX along with the afore mentioned Mr. Levy and together these gentlemen have crafted a record that deserves to be heard and cherished.

The Transfiguration of Salvadore Ross

Capturing another level of music is the power trio – in the greatest and grandest tradition in rock and roll – of Salvadore Ross (The Transfiguration of Salvadore Ross). In a fair world, this band would be playing stadiums and we would all close our eyes tight and let the psychedelic power music made by them wash over us and transport us somewhere else. Somewhere lovely, bright and kind.

Scary Hotel (Love Like Your Lonely) are making the kind of emo laden indie pop that just makes you smile. Until you notice that the lyrics are often heavy and dark, yet you keep right on smiling because the music makes you feel good, warm, and comforted. The Story Changes (To Hell With This delicate Equation) returned this year with a record that hit as hard as anything being made anywhere. Period.

Seth Canan & The Carriers released a tour de force with the rocking melancholy of change and transition (Strange Forces). The majesty in these songs lay in the direct arrangements and powerful emotions. Sympathetic buzz constructed a fantastic record in the glorious tradition of Midwestern rock (Superbloom).  The Typical Johnsons continued their domination of first-rate exploration of delicate efforts to avoid being undone by the overwhelming nature of life and the choice we make or fail to make (wreckage). 

Seth Gilliam & The Fake News

Experimentation also was a key component to brilliant local music. Okay Lindon released their reggae-inspired collection (Participation this year), Seth Gilliam & The Fake News traveled the soulful side of the indie rock canon (Misconstrued) and Starving in the Belly of the whale released a remarkable achievement in the reflection of and study of memories whether real or perceived (A Memory Preserved). Gabbard & Perkins released a song celebrating local culture and food (Donuts at Bill’s). Zachary Gabbard’s project (Sunday Fed Creek Birds) released the tremendous Driving Away. Wells & Watson created the cover of the year with their version of Mike & The Mechanics ‘Silent Running’ that is more haunting than the original.

Lo Fi rocking indie is alive and well in Dayton courtesy of the prolific Smug Brothers who released three powerful records in 2019 (Attic Harvest, All Blur and Spark and Serve A Thirsty Moon). This band continues making good catchy music at a pace that would put most to shame.

Moreover, all of this from a music community still influenced by local legends Guided by Voices who released several exciting albums in 2019 (Sweating the Plague). Here is looking forward to the local music created in 2020.

Remembering Tim Taylor and Jeremy Frederick

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Written by Art Jipson & Shelly Hulce
Dayton, Ohio-
This Saturday the Dayton music community remembers several members of our music family.  Jeremy Frederick Presents: North Of Nowhere South brings together several exciting bands to celebrate the life and music of Jeremy Frederick.

The Dayton music community has long had a unique “band of brothers” landscape as far back as anyone can remember.  Even in the 1970’s when Dayton funk was taking the world by storm, it was very much a family affair here on the Dayton home front.  It might be a Midwest thing, but the social bond between musicians in this town of ours has always seemed to transcend the average notion of a “scene.”  In the James Greer book, Guided by Voices: A Brief History Twenty-one Years of Hunting Accidents in the Forests of Rock and Roll, there is a Dayton music family tree.  While that book will be 10 years old next month, the truth of the bonds that bind all of us remain eternal.  A lot has happened to the music family tree in 10 years (and in Dayton years, that’s a lot longer than 10!) The one element that seems unaffected by time has been the bonds of solidarity, relationships, and family.

Tim!

The ripples of Tim Taylor’s loss can still be felt by music fans, even 17 years later. Those who were closest to the epicenter of that tragedy have a deep survivor’s bond.  A wound filled of memories, music, and possibilities.  Many of Taylor’s closest friends and band mates resided at the infamous Rock and Roll Bed and Breakfast, 1317 N. Main St. in Dayton and are still shaped by the loss of Tim.  As deeply as when he passed, the community at large still has that day etched in their hearts, those in Taylor’s social and musical circle had their lives forever altered.

Another loss equally felt by all of us, was the loss of Jeremy Frederick. Every bit the talented and outlandish a personality as Tim Taylor, Jeremy was a pillar in the music community we call family.  Jeremy carried the grief of a brother.  Taylor and Frederick were, and still are, twin flames – creating remarkable music in amazing bands that dazzled the Dayton community and beyond.  At times, their light was bigger than the room.  It’s obvious those flames have never dimmed.  The thought of Taylor and Fredericks as surviving brothers in arms joining together in music celebration in one place at one time is sure to create a light that’s bigger than the room itself.

As John Schmersal noted about the musical celebration happening on Saturday:  “I happened to be at my folks for Thanksgiving and after to visit so, I wanted to take part. We discussed doing songs from the high school band that Jeremy, Tyler, and I had called Sunken Giraffe. We weren’t able to get the bass player Brian involved and from there it turned into doing a Brainiac thing, since this year the idea was opened to not only celebrating Jeremy’s music but, other local musician’s who had passed. It has never occurred to any of us to reform the band because it is simply not Brainiac without Tim Taylor. This is about celebrating the music of our friends with our friends in the community where it came out from.”

Jeremy!

As anyone who has loved deeply can tell you, the most incredible and humbling thing you’ll ever experience is someone caring for your child.  Jeremy loved his daughter like he loved music.  A lot of folks in our community remember Jeremy’s joy the day Izzy was born.  This annual birthday party for Jeremy Frederick is more than an excuse to keep the fun and the memories going. This annual event also serves in tending to the future.  The proceeds from the show go to her education fund.  Jeremy and his mother, Jackie, were good examples of higher education to Izzy with their long history of attendance and employment at Wright State University.  Jeremy’s personal legacy lives on in the stories of his WSU professors (If you knew Jeremy, let that sink in for a few minutes…).

Always at the forefront of Jeremy’s education and band life was his mother Jackie.  This lady should be considered for sainthood.  She once said that it was quite normal to awake in the middle of the night to find Jeremy and his band mates in women’s clothing. They were usually her clothes. Jackie cheerfully served as band roadie, chauffer, cook, secretary, you name it. She is very much a guest of honor during the annual benefit show. Jeremy’s father, Butch Frederick, was in ill health but attended the 2013 show.
Butch recently passed away and we send special thoughts and prayers to the Frederick family this holiday season.

Memories such as these are remarkable gifts.  And nothing connects memory, loss, and the celebration of life as music.  This weekend we have a very rare and special reminder of what music can – and should mean – to us as members of the Dayton community who have lost such remarkable people.  The return of We’ll Eat Anything this Saturday night at Blind Bob’s is nothing short of the appropriate celebration of life and music that Jeremy and Tim’s flames require.  For you see, We’ll Eat Anything represents not just an opportunity to celebrate lives lost far far too soon but connect us all to a strand of Dayton music that hails from one of the finest Dayton bands, Brainiac.

The late great band known as Brainiac was born in January 1992 with an initial lineup that included Tim Taylor on lead vocals, guitar, keyboards, and synthesizers, bassist Juan Monasterio known in the beginning as “Monostereo”, guitarist Michelle Bodine and percussionist Tyler Trent. On March 12th, the band played an legendary first show at Wright State University’s Cafeteria, under the name We’ll Eat Anything.  The band that would become known as Brainiac with the now-classic logo – debuted a short time later:  3RA1N1AC.

Brainiac

The influence of Brainiac on local music cannot be overstated.  So many local bands – Oh Condor, Northwest Ordinance, Toads and Mice and so many others were influenced by the sound of Brainiac yet, it is hard to describe Brainiac to the uninitiated.  The music was post-punk inspired art noise before such a term had any meaning other than that of John Cage and his musical successors such as Sonic Youth (in New York), Husker Du (from Minneapolis), Blood Brothers (from Seattle), Big Black (started in Evanston, Illinois) to name a few.  The music of Brainiac was a joyous clash of sound.  The songs were a result of barely controlled alienation fueling the use of discordant guitars playing over a noise-rock combination of percussion, booming bass, and varied aural accompaniment of looping synth elements, beats, and sounds.  The use of the synth as an equally aggressive instrument along with the guitars and bass combined expected and unexpected components to the music.  In fact, many of the most exciting elements of the early Brainiac sound were the brilliant clash of different tuned guitars, bass, and synth that fused experiments of alternative sound collage, the most liberating elements of DIY punk rock aesthetic, and unique deconstruction of the rock and roll form.  What Brainiac did so well – and light years ahead of their peers – was the creation of music that reinvigorated the rock and roll paradigm into directions of heat, light, sound, feeling, body, and musical escape that merged diverse voices and noise, art, sweat, and love and community  into a solidarity of music.

Brainiac shows were collections of music lovers, adventurers, neighbors, and friends who were merged into a family through their shared experience and interactions at the performance.  The intensity of the vocals – often accompanied with sweaty cathartic movement on stage – were remarkable collective episodes of community.  Those who attended the early shows were thrown into a state of near euphoric collective almost tribal activity.  You danced.  You danced hard.  And then you moved around some more.

As the band released a series of singles, the interest in this unique sound grew.  The singles sold extremely well in the Dayton and surrounding areas.  No other band in the area was fusing indie, post-punk and noise rock in this fashion.  The band’s debut was released on the indie Grass, which was distributed by major label BMG Records in 1993. The debut Smack Bunny Baby produced by Girls against Boys Eli Janney was very well received both in the Dayton community that sheltered the developing band and garnered support nationally.  The band’s intense performances only increased after the release of their first record.  While on a regional tour the band picked up fans from each stop.  In 1994, the band released its sophomore record, Bonsai Superstar.  The record attracted even more attention than the first from recognized national critics and music fans alike.  Pitchfork Magazine has called the record one of the best albums of the 90s.   Bodine had left the band shortly after the release of Bonsai Superstar to be replaced by guitarist, multi-instrumentalist John Schmersal.

While supporting Bonsai Superstar, Brainiac’s influence continued to attract the attention of music fans, critics, and other artists.  In 1995, Brainiac played on the Lollapalooza side stage and recorded four songs for the venerable Peel Sessions in the UK.  The band was courted by Chicago-based independent label Touch and Go and released Internationale, produced by fellow Daytonian Kim Deal (The Pixies and The Breeders).  This record continued their uncompromising approach to sound textures while still maintaining the intensity of post-punk, alternative rock, and indie.

Brainiac’s third album came out in 1996, Hissing Prigs in Static Coutre was another record released on the well-respected Touch & Go label. This album also increased the national stature of this local band.  The album sold very well for Touch & Go and was listed as one of their best sellers that year.  The band released what many consider their finest record a year later Electro Shock for President in 1997.   This record has been cited by many artists as an example of what art noise rock can accomplish.  Artists as diverse as Trent Reznor (Nine Inch Nails) and Chris Walla (Death Cab for Cutie) cited Brainiac as an influence on their music.  Brainiac generated serious attention as the live act to see that resulted in them opening tours for such diverse artists as Beck, The Breeders, labelmates The Jesus Lizard.  In addition, the band began receiving offers from major labels for their next record. Unfortunately the ep Electro Shock for President was their last record due to the sudden death of Tim Taylor.  Taylor was killed in a car accident on May 23, 1997, during the pre-production for their fourth full length album.  The record was to be the first of several for Interscope Records. Without Taylor, the other members decided to disband.  A benefit show featuring fellow Daytonians Guided by Voices and The Breeders took place shortly after Taylor’s passing.  So beloved was Brainiac that the benefit became more of an elegy to the band and the music that they had created rather than as a simple concert.  Many Dayton music fans still remember the outpouring of emotion during that show and carry the memory of Brainiac with them today.  Information about the Tim Taylor memorial fund can be found at BigBeef.com.

So, this weekend we have a rare opportunity to see the remaining members of Brainiac along with several great Brainiac-inspired bands, Oh Condor, My Latex Brain, and Cigar Jar Crash Attack.  So, what are you waiting for?  Make your plans now to join our community as we celebrate Tim and Jeremy’s lives, raise money for Izzy’s education, and remember some of the best of what makes Dayton a vibrant rock and roll city.

To experience some of what made Brainiac so real and so powerful watch the video – Vincent Come on Down  And to experience what is special about our music community in Dayton, join us at Blind Bob’s this Saturday from 9 to well, who knows when the celebration will end that’s the thing about family!

For those who cannot make this show and want to contribute to Izzy Frederick’s college fund, you can send checks or money orders to her educational fund at the following address:

Isabella Frederick Educational Fund
Wright Patt Credit Union
P.O. Box 286, Fairborn, Ohio 45324

(photos in this essay contributed by Tim Krug and the Frederick Family)

Sleep Fleet Celebrates Release of New EP

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Sleep Fleet shows

So far the new year in Dayton has brought great music around town for us all to enjoy!  This weekend is no exception!

On Saturday, February 1st, Sleep Fleet returns to Dayton after six months – a time far too long for music fans.  The Sleep Fleeters are releasing their brand shiny and new EP, Hudson & High, at a show at Blind Bob’s in our fine city.  The album courtesy of the fine folks at Brain Candy Records is available at the band’s bandcamp page and is not to be missed.

Brat CurseSleep Fleet is joined by the dynamic new trio Brat Curse! Their new self-titled record is another great new release for 2014!  These ex-Pharohs musicians play a pop-tinged punk that is a reminder of the excitement of the D-I-Y and post-punk movements before alternative became commercial!

 

Dear fawn LogoDayton’s own Dear Fawn will be playing their first set with their all new five-person line up!   You can hear some of Dear Fawn’s fine songs from their terrific CD, I Played the Queen on the band’s Soundcloud page!  This is another new band that promises to be another great addition to our music scene.

 

Track List for Hudson & High

Sleep Fleet Hudson and High

1.  02:04
2.
3.
4.
 02:10
5.
6.

Cross-posted at Your Tuesday Afternoon Alternative

Looking Forward to Days To Come

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Motel_Beds_MSR071_PromoThere are bands that become successful because of intense and expensive record company promotion that repeatedly tell us that this entertainer is a musician, regardless what your ears may tell you.  There are bands that dominate the radio, the ‘net stream, and iTunes because they have a look.  There are bands that become well known because of the producer that records the music, even before we hear that first chord.  And there are bands that become successful for the simple reason that they are good, they successfully write music that captures the often ignored inner need we all have for a great song.  Dayton’s own Motel Beds are one example of a band that is simply a good band that consistently delivers great songs.

With the Misra Records recent release of their recent collection, These Are The Days Gone By, PJ Paslowsky, Tommy Cooper, Ian Kaplan, Derl Robbins, and Tod Weidner remind us that even without the music industry machine, without some hypoallergenic created look, great music can not only be consistently created – it can be created in your home town.

Days starts with the eponymous album track, a rocking reminder that art and commerce should connect when the time is right. And for this band, the time is right with every song you hear on this collection.  These are the Days Gone By – a standout track from the ‘Beds Tango Boys album – demonstrate the way that the guitars-bass-drums approach of rock and roll can still be made fresh and exciting.  If you do not start to sway when you hear the twin guitars of Cooper and Robbins, you should check your pulse; and if the bass does not make you dance… “Well, how you feeling right now? Are you still with us?”

The next song Ocean Flows from the ‘Beds 2009 EP Go For A Dive connects the listener to the best in high intensity yet rocking lofi-ish sound.  Songs such as this recall the early and best of bands like R.E.M. when the vocals did not have to be so highly mixed as to over-power the music.  While this lesson is repeatedly ignored by Top 40 radio, The ‘Beds are able to make the most out of a mix that encourages the listener to feel the different instruments of the song.  It is important to note that the current arrangement of Ocean Flows illustrates the impressive drop-your-jaw drumming of Ian Kaplan that becomes a full out attack on later ‘Beds recordings such as Sunfried Dreams and Dumb Gold.  And live, wow… you will wonder how Kaplan can lift his arms after a show.

With Skymade Suit and Cactus Kiss the band reveals early ideas that will be more fully realized on later work.  Skymade Suit was the first track on the ‘Beds 2003 EP Hasta Manana and show a different side to the band.  Suit was recorded with only Paslosky, Cooper and Kaplan before being joined by current members Derl Robbins and Tod Weidner.  The evolution of the band is demonstrated when comparing songs such as Skymade Suit and more recent work such as Surfjerk, Smoke Your Homework, and Valentimes.   Cactus Kiss originally appeared on the 2007 collection Local Losers – a release to benefit WWSU radio — and then on The ‘Beds Moondazed album and more importantly helps place The ‘Beds into a constant evolving swirl of Beach Boys influenced rock psychadelia.

The alternative version of Sunfried Dreams is a welcome visit into the creative process of the band.  It is one of only two songs on the album to include keyboards; the alt version of Dreams has a different all around feel than the version that ended up on the album of the same name.  One has to wonder if this alternative version is a glimpse of a band that would have moved along a different path than the road taken.

Standouts on the record include Tropics of the Sand that include the vocals of the always terrific Kelley Deal (R. Ring, The Breeders), Surfjerk, Lights On and Smoke Your Homework –  Songs that have long been featured on local radio, all four songs in rotation on WUDR.  It is impressive how Paslosky and Deal wrap their vocals around the song.  They sing and sound as if they have been singing together for years!  When their cascading vocals hit the song title together, you believe that they are yearning for a tropic somewhere together.  You feel it.  With Lights On and Surfjerk you hear the welcome addition of Tod Weidner (Shrug and heck too many projects to list here).  The additional strength on bass and on vocals on other tracks greatly strengthens the overall sonic texture of The Motel Beds.  And if you have seen the band live, you know firsthand how much Weidner adds to the performance!

One of the best discoveries on the album is the cover – and it is the only cover on the album – of Matthew Sweet’s I’ve Been Waiting, an often overlooked track from his terrific album Girlfriend!  The ‘Beds demonstrate their understanding of indie-college music by tacking the song and infusing urgency in the song that Sweet’s focus on classic indie-pop melody understates.  The Motel Beds make the song feel more immediate and more plaintive than Sweet ever could.  And considering that Matthew Sweet once had an indie hit with a song called Sick of Myself – that is really saying something.

Throughout all twelve tracks on this album you almost miss noting the captivating vocals of PJ Paslosky. Instead of grand standing and singing in some strange grandiose manner, Paslosky extends his voice in ways that draw the listener into the songs.  Whether listening to an early song by the band or something from their latest album of new material, Dumb Gold, you find yourself drawn to him.  Drawn not because of an industry manufactured buzz or some odd notoriety, but a gravity that a gifted vocalist creates.

Do not miss this collection – part retrospective, part review, and part exploration – consider this a road map of good songs for your music loving soul.

Information about the band can be found at motelbedsmusic.com and misarecords.com.

Track List for These are the Days Gone By: 

1. These are the Days Gone By
2. Ocean Flows
3. Skymade Suit
4. Cactus Kiss
5. Surfjerk
6. Valentimes
7. Lights On
8. Western Son
9. Tropics Of The Sand
10. Sunfried Dreams (alternate version)
11. I’ve Been Waiting
12. Smoke Your Homework

Cross posted at Your Tuesday Afternoon Alternative

Annual Music Festival Returns to Dayton: An Interview With Dayton Does Dayton’s Louie Wood Jr.

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Dayton Does Dayton PosterFebruary 14th and 15th mark the fourth anniversary of the Dayton Does Dayton showcase, this year at Gilly’s.  We sat down with the organizer of the D-does-D Fest, Louie Wood Jr., a life-long Daytonian at an area restaurant to talk about the event, the history of Dayton Does Dayton, and plans for the future.

Starting as a club dj and music fan inspired by underground dance shows and nightclubs in Dayton and Columbus, Louie was moved to start his own event where music, avant-garde performance, and creativity combined in a gestalt of music-inspired experience.  “Dayton has always been a fertile ground for music.  People love the underground in Dayton.”  Following the influence of Tony Wilson with the 24 hour Party People movement that led to Factory Records and so many alternative bands and music, Louie followed the example of building community in the city of Dayton.  “If we bring people who love music, dancing, and new experience, then we are really building something that matters.”

Given a lack of progressive music opportunities in the city, like many Dayton music fans, Louie contributed to the effort in Dayton to establish more opportunities for bands and musicians.  The Do-It-Yourself attitude and aesthetic common to the post-punk movement of the ’80s alternative music scene nationally (The Smiths, The Cure, Depeche Mode) and locally (GBV, The Breeders, Branniac) led to such innovations as the Dayton Dirt Collective, Canal Street Tavern, and Dayton Does Dayton.

“We were trying to do something that was more than just something to do,” Louie told DaytonMostMetro on a sunny yet all too cold January 13th, “we brought like-minds together from around the area to create a music experience.”  And people appreciate the effort, Louie noted:  “Even in a middle of a blizzard, we can have 100 people show up.”

Without resources several years ago, a collective of musicians, performers, and people looking for something more from the music scene came together.  In the beginning this started as a band-focused tribute show.  “Our first tribute show was for The Smiths – our very first show was a Smiths/Morrissey tribute we called Every Day is Like Sunday, and the project grew organically from that idea of trying to introduce music lovers to indie, local and new music.”  The theme of covering other bands was used purposely as a creative device to introduce people to music that was not offered in the shrinking number of music shops and the increasing dominance of malls and the alienating and haphazard experience of online music shopping.  “We discovered that you could use songs and bands that people were familiar with to also introduce them to new songs, new music.”  So, the idea of a combination of covers and originals became central to the Dayton Does Dayton approach as a way to bring people together in community through music.  The Dayton Does Dayton experience had from the beginning only original bands performing both their own music and doing covers in the band’s own style.  This is an important part of the experience, doing covers as a way to introduce the bands and their sound, not being cover bands.

In true punk rock style, people contributed time and energy to build an event that while keeping a format that includes both originals and covers, still remains true to the original idea of creating a space for new music.  Louie recalled the development of what becomes known as Dayton Does Dayton: “Jay Madewell worked as a stage manager and contributed his drum kit and bass for the weekend so that set changes between bands could be fast.  Rich Reuter helped organize this first event.”  As Louie told us about the coalescing around his idea, he noted that Chris Wright made posters that captured people’s attention — all of this in order to fill an untapped need in the city.  “People pulled together.”  He went on to note that the effort, several years later remains focused on the community-focused organizing approach.  “This is not a show built on a single crowd, we avoid cliques, and we want to remain true to the idea of bringing bands that people may not have heard of together alongside established bands and musicians.  People come to these shows for the music.  And that is the reason for Dayton Does Dayton.”

In order to present so many bands in a short time – the fifth festival has over twenty acts – “we ask bands to practice two to three months before the show.  We keep things tight.  Each band has the same amount of time thirty to thirty-five minutes with a short ten minute switch in-between bands.”  “Bands understand.  Musicians understand.  They know – and they need to know and understand the process that we are following.  We want to show as much music as we can in a short amount of time.”

And the approach has worked.  Many bands, estimates range to over thirty percent of original area bands have found opportunities to play at the Dayton Does Dayton show which creates connections between music lovers and bands doing original and creative music.  Bands like Broken Lights, Gathering Mercury, Sleep Fleet, and many more have found that Dayton Does Dayton is an opportunity to make connections to the community.  Louie noted that fact is one of the key to the longevity of the festival.  “Every band is different.  Lots of genres are represented in what we do.”  This is not just an accident but remains part of the purpose of the festival.  “If we are trying to introduce great music and bands to the city, we need to create an opportunity for bands that sound different.  We cannot just have one band after another play who all sound the same.  Originality, creative differences between bands, sounds… that is important.”

If this sounds like a demanding opportunity for bands, it is not.  Most of the bands who are contacted stay on the bill.  “Most of the bands stay with us.  Very few bands will drop off the bill.  And that is important.  We get general public interest in the bands.  They bring their friends to the show and they not only see their friends play but they see other bands.  Even musicians become introduced to something new.”

Thinking about the event in February, Louie noted that there are several new and important changes for the Dayton Does Dayton show: “this is our first time playing Gilly’s.  For the past five years we have been at the Canal Street Tavern.  So, this show marks a change for us.  We have a new venue, several new hosts [Niki Dakota, Rev. Cool, the Dean of Dayton music Mr. Don Thrasher] and even a secret guest MC.”  Louie noted that the secret master of ceremonies, “if you are there it will blow people’s minds.”  This effort to evolve is as central to Dayton Does Dayton, as to the music performed itself.  Louie also noted that this is the only festival that has since it started incorporates a full array of experiences.  He noted that Dayton Does Dayton will not only have 20 bands but also belly dancing — courtesy of The Fire Lillie’s — and burlesque featuring Miss Theresa Burlesque Presentation with Veronica Laine as part of the show.  “We can’t just do the same thing each show with the same bands.  We have to evolve.  It like the saying that people not from here [Dayton] say about us: ‘They keep truckin’ in Dayton.”

When asked about the future of Dayton Does Dayton, Louie noted that he is organizing an R.E.M. tribute tentatively titled ‘What’s the Frequency, Dayton?’, more 80s rewind shows, more local tributes (The Breeders, Guided by Voices, Branniac, The Ohio Players), and seeking out the mix of creative music, performance, and experience that have been a hallmark of the D-does-D experiences of the past.  “We are the only show that I know who has belly dancers, MCs, so many different bands, and more.”  In summing up the Dayton Does Dayton experience, Louie noted that “We want to continue to provide a unique opportunity for bands.  The Gilly’s show demonstrates that fact.  “The upcoming show at Gilly’s is the first time some bands will have performed in that space.  If we can help create those connections, then that helps move the level of the music experience in Dayton.”

“The reason to come to the show is simple.  Experience the bands.”

1176390_643430782381572_300818780_nDayton Does Dayton Fourth Anniversary Show

Gilly’s, downtown, 132 S Jefferson Street in downtown Dayton
Friday and Saturday Feb 14th and 15th, 2014
$7 per night, with free parking.
The show begins 8:00pm sharp on both nights.

Dayton Does Dayton is presented by Louie wood Jr aka DJ MisterKid/MidWest Promo, and Mick Montgomery/Canal Street Concerts.

Approximately thirty minute set per band/musician, with a short ten minute wait in between each band/performer.  Dayton Does Dayton will be hosted by Rev. Cool, Niki Dakota, Don Thrasher, and a SECRET GUEST MC for this show.

Dayton Ohio bands at this event will be doing their originals, and unique covers/spins of other Dayton Ohio bands that have influenced them, both from the past and present. The covers include international hit songs, local hits, and local favorites. Louie noted that: “We have the taste and styles of all kinds of Dayton music at this show. It is the only show like it in the world, literally.”

Featuring live band performances and more by:
Gathering Mercury
Cinder Home
The Repeating Arms
William The Accountant
The Broken Lights
Dark Backward
The Leap Years
Free Fall Theory
GEM CITY
Libby Gill
Emma Woodruff And The Ruffians
the Curious Sound
Reyna with Dana Farley
Paradijm Shift
Curse of Cassandra
Paige Beller
Dave Frickin Berry with Adam West
Kevin Heider and band.
The Fire Lillie’s Belly Dancing Presentation (Friday)
Miss Theresa Burlesque Presentation with Veronica Laine (Friday)
This is a DJ Mister Kid Presents MidWest Promo/Mick Montgomery/Canal Street Concerts Annual Event

Concept by Rich Reuter
Direct correspondence about Dayton Does Dayton to [email protected]

More information can be found on the Dayton Does Dayton webpage!

Sponsored by:
Marion’s Pizza
Thai 9
Fifth Street Deli
Go Cupcakes
Hauer Music
Sound Force
LONDON
Amanda Barbosa Photography LLC
DaytonMostMetro.com

Motel Beds ‘These are Days Gone By’ Vinyl Pre-Release show

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Motel Beds 'These are Days Gone By' Vinyl Pre-Release show

The fantastic Motel Beds are presenting a rare opportunity for Dayton and Miami Valley music fans on January 18th (doors open at 7pm and show starts at 8pm sharp — so get there early)!

In conjunction with We Care Arts and Misra Records, The Motel Beds invite you to join them as they review their musical career with friends and musical allies Smug Brothers and Good English at an All Ages show at the Yellow Cab building on Saturday, January 18!

The ‘Beds are doing what we call a soft, limited release of a retrospective that they are titling after one of their best songs, “These are the Days Gone By.”  500 hand-painted LP covers will be available at the show.  The artists at We Care Arts who will receive a portion of the proceeds — created the unique and distinctive covers (some of which you can see on the poster to the right).  This is a soft, pre-release — meaning you cannot get this anywhere else — for the first 500 LPs and only the first 5oo; they’ve all been hand-painted by the artists at We Care Arts (“changing disabilities into possibilities”) you can learn more about WCA at their website – http://www.wecarearts.org/.  The album will be released internationally later in 2014 on Misra Records.

According to the band, “These are the Days Gone By” is a collection of Motel Beds singles, outtakes, and live favorites that represent the history and development of the band. The songs have been remastered by Carl Saff (Dinosaur Jr, GBV, etc) and include added bass parts by local Dayton music legend, Tod Weidner.  This is a musical experience not to be missed!

BIO FOR MOTEL BEDS “THESE ARE THE DAYS GONE BY” (courtesy of The Motel Beds)

MOTEL BEDS are a rock & roll band from Dayton, Ohio – a delightfully detached underdog city nestled in the heart of The Heartland. Seasoned veterans, Beds have worked alongside local music advocates Kelley Deal (Deal duets on the lusciously hushed “Tropics of the Sand”) and Robert Pollard (guitarist Derl Robbins has recorded Guided By Voices). Allies aside, when it comes to rock & roll, The Motel Beds speak for themselves.

“These Are the Days Gone By” reveals the fruits of Beds’ labor these latter years. The album is an electrifying collection of “hits,” remastered by Carl Saff (GBV, Dinosaur Jr., etc.) and featuring added bass parts by new(est) member and local ace Tod Weidner. Over a 12-song cycle, the proficiency with which Tommy Cooper and P.J. Paslosky (Motel Beds’ core songwriting duo) augment a solid hook is clearly set on display.

While “Days” largely finds Ian Kaplan at work as one of the finest rock drummers around today (not an embellishment), Beds demonstrate their versatility with two never-before-released tracks: a poppier version of 2011’s “Sunfried Dreams” and a beautiful acoustic cover of Matthew Sweet’s “I’ve Been Waiting”; the latter proving Paslosky to be much more than a rock vocalist. In addition to recording Motel Beds in a visionary manner, guitarist Derl Robbins adds his own unmistakable style and sound.

True to Dayton (see GBV’s “Propeller”), the first 500 LPs are all one-of-a-kind. Each cover was individually hand-painted by the artists at We Care Arts: a non-profit dedicated to “changing disabilities into possibilities.” A portion of the proceeds from these first 500 will go to benefit WCA.

In his glowing review of “Dumb Gold” (2012), AllMusic Senior Editor Stephen Thomas Erlewine noted, “[This] is an album that deserves to break them out of the Rust Belt and onto the larger stage; it’s one of the best straight-ahead indie rock records of 2012.” “Days” takes all of “Dumb Gold’s” assets – song writing, hooks, musicianship, energy and ups them ad infinitum. It’s a remarkable rock record and one that finds Motel Beds carrying the torch for Dayton, Ohio’s independent music scene.

Track List:

1. These are the Days Gone By
2. Ocean Flows
3. Skymade Suit
4. Cactus Kiss
5. Surfjerk
6. Valentimes
7. Lights On
8. Western Son
9. Tropics Of The Sand
10. Sunfried Dreams (alternate version)
11. I’ve Been Waiting
12. Smoke Your Homework

Cross posted at Your Tuesday Afternoon Alternative

Crooks on Tape Show on January 30th

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Crooks on Tape January 30th show

Misra Records artist Crooks on Tape will be in Dayton on January 30th with Swim Diver, Bearer of Bad News and Swarm at Rock Star Pro Arena.

CROOKS ON TAPE is John Schmersal (Enon, Brainiac), Rick Lee (Enon, Skeleton Key, Butter 08) and Joey Galvan (Mannheim Steamroller, Anthrax). The band was created out of a simple idea of discovery and musical creation – in their own words: “convene, improvise, and record every moment.”  You can listen to their record Fingerprint at The A.V. Club website.  Crooks on Tape have been described by this columnist as an exciting and rocking John Cage and Philip Glass sound experiment!  Do not miss this opportunity to see them in the area.

Swim Diver is an exciting new band featuring members of Brainiac, Captain of Industry, Oh Condor, Me & Mountains, Human Reunion, The Dirty Walk, and Vinyl Dies.  Swim Diver’s music is based on appreciation of the grand and glorious Dayton music tradition.  If you are a fan of rock and roll that appreciates your intelligence, than this band is for you.

Bearer of Bad News— one of Dayton’s finest hard rock outfits is also on the bill for that evening with music that melts the rusted fields of the Miami Valley into a sonic attack that is cathartic and empowering at the same time.  Swarm plumbs the noise-metal-thrash adrenaline rush of 80s and 90s punk into an organic cacophony of sound with social, cultural and political criticism.

This show promises to be an exciting evening of musical exploration.  This is an opportunity to see some terrific bands!   Go here to check on PRESALE TICKETS!

Cross posted at Your Tuesday Afternoon Alternative.

Thursday is for Indie

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Dayton, OH - Vanity Theft at Wright State University

Vanity Theft playing out this Thursday

Normally when you think of what night you should go out, you think about the weekend…  maybe a Friday or Saturday night, right?  Well music fans, this week Thursday is for Indie!  This Thursday, January 19th, we have a terrific collection of Dayton bands who will be playing at the Rathskeller Room at Wright State University!  We have a great lineup that includes Vanity Theft — whose album Get What You Came For — made my best of 2011 list.   In addition to VT we have: We Were Animals — and their Apoco-Lips album– should not be missed, Abertooth Lincoln, and 3rd and Main!  The show starts at 7pm and goes until 10pm that leaves plenty of time for your weekend.  It is an all ages show so that music fans of all ages can begin their love affair with Dayton music!  And most importantly you can get a good jump on a weekend of great local music.

We Were Animals

We Were Animals

Abertooth Lincoln

Abertooth Lincoln

And to give you a start on the show: You can download the We Were Animals album!  You can also check out Abertooth Lincoln’s music, if you haven’t already at ReverbNation or theirFacebook page!  Just remember that it is socially acceptable to begin your weekend on a Thursday night!

Show Support for Independent Radio

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WUDR studio

WUDR Studio stands ready

 

Ok, so this brief essay is a little self serving.

Now that we have that warning out of the way… this Thursday, January 19th you need to visit the ArtStreet Cafe at the University of Dayton from 7:00-9:00pm and order some delicious food.  WUDR is holding their annual fund raiser to both support Flyer Radio and the annual WUDR spring concert series and — this is the part that you are really going to enjoy — create an opportunity for members of our community to talk to the DJs and others involved in a student-organized independent radio station!  WUDR is the home of our program, Your Tuesday Afternoon Alternative and several other fine programs that spotlight Dayton bands, musicians, and local concerts.  So, if you are thirsty for a smoothie or hungry for a sandwich this Thursday evening, you know where you should go satisfy your cravings and support a local radio station that is not part of a huge super mega corporate entity that is programmed and controlled by people far far away.

The only thing you have to lose is a little time and your thirst or hunger or both.

Tell them that Dr. J sent you!

 

Explosion in Local Music

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Vanity Theft playing First Friday at Riverscape

Vanity Theft playing First Friday at Riverscape

It is often assumed that there is no local music scene in Dayton. Dear music fans, nothing could be further from the truth! We have a literal explosion of new music from bands of numerous musical genres, approaches, and styles happening right now. Once the Gem City was considered the post-punk haven for groups such as Guided by Voices, Branniac, and The Breeders. Dayton has a long and significant music history of which the post-punk wave was but one trend in local music.

Today, we have bands playing in almost too many genres and styles to count. We have new music from The Fair Shakes, Bonneville, We Were Animals (from the previously power-pop dream of Ed vs. Radio), Vanity Theft, The Rebel Set, The Story Changes, the horror-rock of Splattertude, Hawthorne Heights, Me & Mountains, Night Beast, Toads and Mice, Smug Brothers, and so much more.

We have many places to see bands and musicians are plying their trade in the Oregon District or throughout the city. If the assumption is that there is no growing and evolving music scene in Dayton, that is simply not correct. As someone who has conducted research on music scenes for several years (do not ask how many, I am just a little touchy about the age thing), I can honestly tell you that Dayton musicians have much to offer you. All you have to do is go listen.

You can go to several fine establishments to see bands play most nights of the week in the Gem City. And you should. Come on what do you have to lose except your preconceptions about the limitations of Dayton music.

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Check out our Local Music Calendar on the right of this page for shows in the upcoming week, or go to our full Online Event Calendar for more…