Since 1992 Jim Benson has been turning radio listeners onto local music. Sure, there's the college stations where you can find a fair share of local music being played but you have to know the schedule. That's the weakness of free-form college radio. Benson has stuck with the same name for the show, Inner Sanctum, as it has bounced around the commercial dial on the whims of program directors or format changes.
This week's move, prompted by a format change at CBS owned 92.3 FM from modern rock to sports talk "The Fan", takes the long running show to the station they belong. V107.3 is locally owned and plays the most adventurous mix of music in the market. It's a natural for a local music show that's as diverse musically to take up residence in their studio.
The show still airs Sunday nights at 10pm. It's hardly the ideal time slot, but it is still on commercial radio. Now if only Benson and the gang can convince Rocco and Lonnie to slip some of that local music into the regular rotation.
Tom Waits new album is called Bad As Me. It comes out just in time for Halloween on October 25. And if the title track is any indication, it'll be the perfect Halloween album for 2011. It's a classic.
I've written about Glen Campbell's recently disclosed battle with alzheimers. He's set to embark on a farewell tour this fall with dates mostly in the United Kingdom. There's no Cleveland show or even anything close by.
In the midst of Campbell's swansong he's released his final album today. It's been in the works for a couple of years. The list of musicians giving a helping hand includes Chris Isaak, Dick Dale, Billy Corgan and Brian Setzer.
The album addresses his situation with songs like "A Better Place" and "A Thousand Lifetimes". His voice is still strong and held up by powerful production from Julian Raymond.
If you're a fan of Campbell's, like me, it's a heavy listen. There is hope and also resignation. It reminds me of Warren Zevon's last album, recorded with the knowledge he was dying of cancer.
After listening to the new one do yourself a favor and listen to this recently released two disc compilation, Spotify: Glen Campbell - The Capitol Years 1965 -1977 It's got all of the classics and goes deep into his heyday as well.
Campbell live from a show at the IP Casino in Biloxi, Mississippi on July 15, 2011
A capacity crowd of family, friends and fans of Cleveland's beloved rock journalist, Jane Scott, filled the main floor of the Rock Hall. The overflow sat in the lower lobby and watched on monitors as various speakers ranging from politians to colleagues to the hairdresser responsible for her recognizable hairdo spoke. They spoke of the Jane Scott so many of us knew and loved.
The stories, touching and sometimes humorous, confirmed our love of rock and roll and how important a part of that passion Jane Scott played. The Rock Hall itself was, in part, a reality because of Jane.
On a personal note it was simply overwhelming for me to see so many of my friends, mentors and role models all gathered in one place. Thank you all and God bless Jane Scott and the rock and roll capital of the world, Cleveland.
Annie Clark, the woman behind the moniker St. Vincent is a mix of adorable, creepy and quirky. And that's just her presence. Her music mirrors that image perfectly. Clark's uncle is Tuck Andress of Tuck And Patti for whom she worked as tour manager in her teens. It's all very juxtaposed, this image she's creating.
Actor, her 2009 breakthrough release, ranked near the top of my end of the year list. The music and lyrics haunting, catchy and beautiful all at once. She says she's very much influenced by vintage Disney film music. Cleveland native and popular musician Kid Cudi sampled "The Strangers" to great effect. Even having her perform the part live with him on Jimmy Fallon.
Her new album, Strange Mercy, comes out on September 13 and the buzz on it is deafening. She's a great marketer, creating odd little promotional videos for it.
Yesterday she released the single and accompanying video for it.
It's quite evident from what I've heard and seen so far that she's going to be vying for the best album of the year.
Ed Sotelo has a bass for hire. This born and bred Clevelander (near westside to be specific) has played bass in countless bands including some high profile outfits in which he currently resides.
Sotelo has also put his own group together called We The People. They'll be warming up for Austin's vivacious Grupo Fantasma at The Beachland Ballroom this Saturday night.
Sotelo loves to talk as much as me. Here's how the conversation went.
Radio Hannibal: You've got relatives from Argentina. Are you first generation born in the US?
Ed Sotelo: Yep. My mother and father are both from Argentina. My father was from the capital, Buenos Aires and my mother is from the small town of Simoca.
RH: What's the first recollection of music in your life?
ES: One of my first recollections of music when I was a little boy involved a compilation record that had "Get On The Good Foot" by James Brown, "Rubberband Man" by The Spinners and "Superfly" by Curtis Mayfield. Also a country record, "Behind Closed Doors" by Charlie Rich. My parents were still new to the country, but I think they were given those records as gifts. My father seemed to like the country stuff quite a bit.
RH: There was also Argentinian music being played in the house?
ES: We also had some pop records from Argentina. They dated back to the mid 60s (I still have them). Bands like Los Naufragos and singers like Piero. And they had tango and folk records from back home too, which they were always singing along to.
RH: That's a some eclectic diversity musically speaking. Different than most who were born here. When did you start playing an instrument?
ES: True. I never did learn to play traditional music, not until recently. Around the age of 8 I played an old, beat up guitar my mom had lying around...an acoustic. I learned to play a little. My mom thought it would be fun if I played during Mass at St Rocco's, our parish. I learned a bunch of tunes, and rocked out with the nuns and the kids.
RH: When did you pick up the bass?
ES: Probably around '95 or '96. It was kind of an accident.
RH: How so?
ES: A friend of mine was starting a band and I thought he needed a guitarist (at which I actually kinda sucked). Imagine my disappointment when he handed me a beat up Hondo bass. And since that was the only way I was going to be in the band I decided to learn the bass lines to the songs he'd already recorded.
RH: How long did the band last?
ES: A couple of months, maybe? I don't really remember. I was just kind of floating around in different circles. I'd come back from college a few years before and felt quite rootless.
RH: Where'd you go to college?
ES: Erm, uh, hrm...Vassar College in upstate New York.
RH: Did you graduate?
ES: Barely, but yes.
RH: Impressive. Long live the liberal arts education. So when did you join up with a band that played out?
ES: It's hard to say, really. I played with a couple bands maybe during '95 - '96, Pipe Choir, Queue Up (who are still around and doing well!). It wasn't 'til '98 that I got into something that was mine, as opposed to a situation where I was just a sidekick. Actually, maybe 'round 96 or so. my friend Rachael introduced me to a kid named Aaron Koonce (who now plays in Ohio Civil War). Aaron was a smart and sharp-tongued punk rocker who had a concept for a band called "The Conservatives". He had it all worked out in his head. It was a combination of Gang of Four, Nation of Ulysses, and The Godfathers. So we worked on songs and eventually built a band from there.
RH: How long a run did you have?
ES: Maybe four years or so? We put out a CD called, "This Album Is A Sovereign Nation" on Sonic Whirl Records.
RH: So now you're playing in numerous bands. Can you name them for us?
ES: Jack Fords, New Lou Reeds, Cobra Verde, Doug Gillard (not really a band but sometimes I back him up...he's got a rotating cast of folks around the USA) and We The People.
RH: You keep good company.
ES: I'm lucky I guess.
RH: Tell me about the funk project you're working on, We The People.
ES: Yes it's called We The People, though apparently that's the name of a garage rock band on the Nuggets set. I met the drummer, Dan Martin, when I was working at Visible Voice Books. we were coworkers. I found out that he played drums and liked soul, and through a jam session I learned he could actually play! The original version of WTP was actually my friends from local jazzers Up Ensemble, but those guys were really busy working so i shelved the concept until i found some like-minded cats. Dan introduced me to some guys who weren't part of the whole punk/indie/roots scene, or at least not as deep as I was (full disclosure: I'm at least 10 years older than most of them). Joe, the keyboardist/guitarist, is a multi-instrumental monster who's not only played with Red Water Rojo and Diamonds and Pearls but is also a choir director.
RH: So that first music you ever remember hearing, James Brown, The Spinners, Curtis Mayfield has come full circle.
ES: Apparently! Funny that it worked out that way. It was something I wanted to do for a long time. Working at the Beachland I learned all about old and new soul from Fortune Records and Daptone Records too.
RH: Who are your influences?
ES: Mike Watt of the Minutemen and fireHOSE.
RH: Sure, I can see that.
ES: Fred Erskine (Hoover, The Broom, June Of 44), James Jamerson, Duck Dunn.
RH: There's that funk and soul again.
ES: To some extent Robbie Shakespeare and Cachao Lopez, though I haven't heard tons of their stuff. I'm more into great basslines than great players, actually. And as corny as it sounds, my bass buddies are my biggest influence! Matt Charboneau, Jeff Deasy, Carol Schumacher, Chris Rood, Lawrence Caswell. It's like we're a union of bass workers.
RH: That's not unusual. Your Jack Fords mate, Brent Kirby, said something similar. When you're not playing out where are you working these days?
ES: I do freelance PR work for folks and I'm also available for yard work and dog walking.
RH: What's your take on the music scene here in Cleveland?
ES: All those folks I mentioned have been in great local and national bands (like Carol, in the Detroit Cobras and Reigning Sound). It's good. Tough but good. It seems perhaps more fruitful than ever in my life. It's not EASY, but fruitful. Lots of thorny harvest.
RH: I like the metaphor. Any suggestions on how it can be improved?
ES: Locally speaking, this city needs more expendable, arts-and-entertainment related income. I mean, if you're doing local stuff that's what you want in order to have more opportunities. There needs to be more demand, and that can only be facilitated by an influx of people willing to spend money which, admittedly, is tight right now. As far as the fame game goes, it's all different. It's not about 'getting signed'. Maybe some people have those dreams but I think people are happy to find a niche, like Brent or my friends in the Afternoon Naps and Herzog, who have had their records released in Europe.
RH: No one should be looking to get signed in this new model. There's better opportunity and more empowerment going it your own. What's your favorite thing in Cleveland?
ES: Lake Erie and the Metroparks. Over the last few years I've really paid more attention to our natural resources. Oh!, and Cleveland history, warts and all. Where it was and where it could be going.
RH: Where do you like to go for a night out?
ES: I am quite fond of Prosperity Social Club and the Happy Dog. I like Dragonfly for fine dining, but there are so many choices, really. It depends what I'm in the mood for. I'm not crazy about the Warehouse District but to each his own.
RH: So what's your goal?
ES: I'd like my creative endeavors to be more self-sustaining and for my mom to be proud of me.
Fashion is an integral part of music. Disagree with me all you will but the fact is that nearly anyone who plays music matches their sound with a complimentary look. Sure, the music could exist without the fashion statements but it would be a bit duller. And yes, it smells of marketing but it's all part of the package a musician is trying to convey. I think there are some Cleveland musicians that can use a little spiffying up.
There are as many rock fashion looks as there are genres. The fifties were all about pompadour hairdos and snazzy jackets. The British invasion was dressed in matching suits, only to be copied by Cleveland's Raspberries years later. Malcolm McClaren, upon seeing Richard Hell's attire, melded the look perfectly with punk music. Even non-trendy bands like the Grateful Dead had fashion sense, akin to that of the modern day slacker.
It's no wonder that Cleveland Plain Dealer writer and rock musician John Petkovic wrote a story today on the selling of fashion in advertising, Fashion ads, catalogs long have used sex and sass to sell clothing. This was no assigned report. It's apparent that Petkovic, like myself, is a fan of fashion.
I call my personal style "hippie prep". I've been known to buy issues of Vogue or Harper's Bazaar, finding them much sexier than some tawdy girlie magazine. I would enjoy being a fashion designer as well.
Keith Richards, in his auto-biography, tells of how he and Anita Pallenberg began to simply share each others clothes. A look was born. Close friend Gram Parsons began to wear Nudie suits, the kind of flamboyant look country artists like Porter Wagoner and Hank Williams wore. Now those were fashion statements. In fact, I found a pseudo Nudie jacket this past winter at Goodwill.
Obviously the music is most important. There's certainly examples of bands who put fashion over the music with failed results. Still, if you think your stage presence could use a little something, look at your clothes. Unless you're going for the just rolled out of bed look, and with some bands that fits, then maybe a wardrobe change is in order.
Aretha Franklin will be honored this fall as the subject of The Rock And Roll Hall Of fame And Museum's 16th annual American Music Masters Series. The week long celebration of Franklin and her music runs from October 31 to November 5 culminating in a tribute concert featuring an as yet unnamed group of performers. Here's the lowdown from the Rock Hall.
The series is a mix of academia and musical showcases. Lectures and panel discussions are held along with smaller musical tributes that lead up to the grand tribute concert.
The American Music Masters Series started off as a way to pay tribute to the pioneering artists who were inducted as early influences. The honorees back then included the likes of Jimmy Rodgers, Woody Guthrie and Robert Johnson. In more recent years it was decided that the series should also include inductees who are not simply early influences on rock and roll but rock artists themselves. Thus they've paid tribute to Buddy Holly, Fats Domino and Janis Joplin to name a few.
The series is conducted by the Rock Hall's education department. Original VP of Education Robert Santelli put together some amazing programs. The list of performers he convinced to participate was terrific. Just take a look at the artists who played in honor of Jimmy Rodgers at the tribute concert. There was Levon Helm (MC), Junior Brown, Guy Ckark, Iris Dement, Steve Earle, John Prine, Jimmie Dale Gilmore, Ricky Scaggs. Max Weinberg and Lynyrd Skynyrd. The night before there was a smaller tribute that featured Gillian Welsh and David Rawling, Southside Johnny, Garry Talent, Steve Forbert, Jason And The Scorchers, Alejandro Escovedo, The Delevantes and David Ball. Impressive, huh?
After Santelli left the Rock Hall took awhile in finding a full time repleacement to head the education department. The American Music Masters Series suffered greatly. Take a look at the line up for Hank Williams, an artist that surely could have drawn a much better group of performers. The show consisted of Billy Bob Thornton (MC), Bonnie Bramlett, Joe Grushecky, Tommy Shaw, Jack Scott, Brett James, Marty Stuart and Jett Williams. Are you kidding me?
Here's why Santelli was able to attract such great acts. He first approached the lesser known yet talented artists who would be very excited to perform at such a high profile event, let alone pay tribute to someone they truly admired and were influenced by. After he had them committed he approached bigger caliber artists and showed them who was already on the bill. It worked like a charm and we fans were treated to some amazing shows.
Past VP of Education, Warren Zanes, made good strides in regaining the past glory of the series. It is now incumbent upon the current VP Of Education, Lauren Onkey, to follow the formula used by Santelli. Who would you invite to perform?
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