RADIO HANNIBAL

Conversation With A Cleveland Musician: Joshua Jesty

Singer/songwriters are often imagined to be folk-style troubadours writing and performing songs with a rootsy feel.  So it's refreshing to hear one not following that path. 

Joshua Jesty writes songs that hearken back to the new wave of the late 70s.  The songs and his performance of them, be it just him and his guitar or with a rocking band, hold up exceedingly well in a live setting.  His multi-octave voice plays wonderfully with inventive guitar work.

I had the chance to talk with Jesty this week.  Here's how it went.

Radio Hannibal:  So where were you born and raised?

Joshua Jesty:  I was born in a doctors house somewhere in the middle of nowhere Ohio, raised primarily in lakewood and then Olmsted Falls through my wonder years.

RH:  Well that's an interesting way to start off life.  Olmsted Falls schooling as well right?

JJ:  8th through 12th.

RH:  When did the music bug hit?

JJ:  I'd say 6th grade.  I had a dream I was on a stage playing guitar to an unknown crowd with an unknown group of people.  I'm pretty sure that was 6th grade.  And when I woke up I kind of new from then on.  Not a doubt about it.

RH:  Wow, that's a good and scary feeling.

JJ:  It was a good feeling.  I was in 6th grade so it was nice to feel something other then acne or hormones.  Purpose is nice.

RH:  What was the first music you bought or were given?

JJ:  It's hard to say.  Oh wait, the first music was the Monkees.  I watched that show non stop as a kid.  My parents told me time in "Monkee time". 

RH:  Interesting. And what time period was that?

JJ:  When I was 4 or 5.  The show was being revitalized in the early 80s, so early 80s 82, 83.

RH:  Funny, as that was mine and many others of my age first purchases, but that was when they originally hit.  When did you begin playing an instrument? Was it the guitar?

JJ:  My mom had me take piano lessons at six years old until I was 12 and I couldn't stand it.  I think it was the teaching method but I couldn't stand it.  I did get a book of beatles songs that I loved but otherwise couldn't stand it.  So at age 12 when my mom asked if I wanted to keep going or stop.  I said Stop!  And then I had that dream about playing guitar.  My parents didn't really trust it since I was such a flake with piano, but it was like I knew that was my instrument and I took to it fairly quickly.

RH:  When did you begin writing songs?

JJ:  When I was young I wrote a lot of lyrics based on other peoples melodies.  I think the first song I wrote was called "I Need You" and it sounds like a generic Beatles tune.  The lyrics went " you know I need you, you know I need you, you know I need you, need your love" verse 2 "you know I want you, you know I want you.... " I think you get the idea.  But actually constructing songs that felt like they were of my own voice, around 9th grade.  I had a "band" called Nugget and we wrote and horribly recorded about 70 songs in 10 months.  They were about "gumby" and getting lost in porto pottys, and spitting off the tops of buildings.  Things we could relate to.

RH:  Ha. Elvis Costello said that My Aim Is True, his debut, was just a reworking of Talking Heads first album. And speaking of new wave, your songs remind me of that time period. They sound similar to what those singer/songwriters were doing back then. Who are your influences?

JJ:  In high school while the grunge wave was happening I was listening mostly to the Talking Heads and The Police, some Tori Amos, Def Lepard, Crash Test Dummies.  Nothing that was cool by my generations standards, but I enjoyed it quite a bit.  I actually listened to "Every Breath You Take" on repeat every night for about 6 months before I went to sleep.  Of course as a kid I listened to The Beatles a ton too,  And my parents listened to Q104 (top 40 pop station back in the day) for years. I was beaten mercilessly with pop music all my life.

RH:  You're lucky all your songs don't come out sounding like a take on "Every Breath". Your lyrics these days mostly evolve around being heart broken or yearning for that girl. Do you find it easier to dig into a song like that?

JJ:  I think I hide a lot of the idea of loss behind the context of girls and women.  It's true.  I have a record called "Girl".  But if I was calling it what it actually was, it would be called "Josh Is Coping With The Fact That His Dad Is Dead, His Band Broke Up, And He's Trying To Figure Out Life And Not Feeling Like He's Doing Such A Good Job At It" but that was far too long.  So "Girl" it was.

RH:  So the band broke up? You're bandless?

JJ:  I was in This Is Exploding for five years and some change.  Keep in mind, "Girl" is about 2 years old at this point.

RH:  So how's the Kickstarter campaign going?

JJ:  It's going great.  All wrapped up and now that the funding is there I'm doing my best to get the mastering and the packaging all taken care of so I can fulfill my incentives to the donors in a timely fashion.

RH:  I've seen you perform your songs both in a rock band and acoustically. They work so great in both settings.

JJ:  Thank you for saying so. I often feel that if the song can't carry itself sans a full production, it's not worthwhile.  But at the same time, if you can't have fun with it production wise, then poo poo on it.  For lack of better phrasing.

RH:  You really do a nice job of making your music accessible on the net.

JJ:  What's the point in withholding really?  Don't get me wrong, there's plenty of stuff that I have no reason to release cause it's just awful, just garbage but if I make something that I'm proud of why wouldn't I put it out and let everyone have access to it?

RH:  I kind of like the model of just putting out songs. Once you have a really good one, push it. Then do it again. That is if another good song comes along, ha.

JJ:  Oh yeah, trust me, I'm constantly writing because I fear the atrophy of my songwriting muscles otherwise  I did stop putting out as much music as I once was cause I didn't want to over-saturate the fan base that I do have.  I love drowning in music, but I suppose there's no reason to make others suffer the same fate (cause you're right, I've put out enough already).

RH:  I suspect you have a decent following outside of Cleveland, no?  I mean of that fan base.

JJ:  I would love to assume that, but I have no way of knowing. I'll be going back out on tour in October and it's been about 2 and a half years since I've toured extensively, so we'll see who is still listening.  The reason why I keep making music isn't really for other people. Of course, at the core of what I'm doing I hope that other people hear it and make it part of the soundtrack of their lives but I make music because it's what drives me, its what connects me with the divine if you will.

RH:  What do you do 9 to 5?

JJ:  Wait tables, plan my escape.

RH:  Where at?

JJ:  I'll be mysterious and say file not found.

RH:  An enigma.

JJ:  Wrapped in bacon.  It's something I do well. I've been waiting tables for a long time, but it's not what I want to be identified with.

RH:  What's the best thing in Cleveland ( be it animal, mineral or vegetable)?

JJ:  My smoking hot girlfriend is the best thing in Cleveland.  As far as a general statement though, I do love the mixed bag of personalities in and around this city.  And while I think a lot of Clevelanders have been trained to put up this rough "you're not welcome" front, once you get to know people here they're generally wonderful.

RH:  Well, that'll get you some points. Where do you and this girlfriend like to go for a night out. Somewhere where someone has to wait on you?

JJ:  The lady and I don't get out much. When we do, we go dancing or sing karaoke.  We tried putt-putting but really Cleveland has lost its heart when it comes to putt-putt.

RH:  I think it's still the rage in Myrtle Beach.

JJ:  I'll have to check it out, but the thought of hearing Jimmy Buffett covers is too much to take.

RH:  What do you think of the Cleveland music scene?

JJ:  I don't know what happened to it.  There I was, feeling like I was in the middle of something great from 2002-2008 or so and then it felt like every band I loved broke up or went on hiatus (including my own band).  I guess it's my fault partially cause I just walked away from it, but I'll be the first to admit I haven't been active in the Cleveland music scene in some years.  And there's not a lot of bands I've heard that excite me these days... maybe cause I'm just becoming that picky bastard I never wanted to be, but most likely cause I'm just not looking hard enough.

RH:  Yes, well, it's hard for a musician to see beyond his own music sometimes. Plus if they've got a busy schedule there's little opportunity to catch other acts.

JJ:  It's true.  There's some bands I want to see.  I love anything Nick Tolar does (Expecting Rain, Herzog).  I've been trying to go see Founding Fathers for a year and a half now.  And I did like the EP by The Nights as well as The Afternoon Naps.  But there's just so much out there and so little of it crosses my radar between my day job, the music I make, and the responsibilities I have.

RH:  In regard to what happened to your experience, I think that...well, a six year period is enough for many musicians to give it a go. Then you either hit a wall or you're truly insane and will just never stop playing.

JJ:  I will never stop playing, believe you me, and I take my craft in a way that is most likely too serious.  In some ways I think I'll always feel like I'm outside of any scene because I'm not making an effort to fit in.  I just follow that little crazy voice in my head and make song after song, but I will say after that six year period of hundreds of shows, local, regional, etc., etc. and six years of listening to 1,000s of mp3s from every genre possible I have gotten a bit burned out.  I only get into four or five records a year tops these days.  I hope that changes back a constant hurricane of new music again, but when I think about it it doesn't sound that appealing either.

RH:  So what's your goal?

JJ:  Silly as it sounds, my only goal is to develop a fan base who really likes what I do and find my little space to fill.  If I can pay the bills playing my heart out and making as much music as I want to make in whatever fashion I want to make it I'll be a happy camper.

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You can hear and purchase lots of Jesty's music on his website,

The Joshua Web

Here's a song:

 

 

Conversation With A Cleveland Musician: Ed Sotelo

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.

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We The People Facebook page

Mr. Opportunity (demo) by We The People CLE "Boo Boo" (demo) by We The People CLE "Broke My Problem" (demo) by We The People CLE

Try and spot Ed on this clip from The OC when Cobra Verde covered a Foreigner song.

Conversation With A Cleveland Musician: Dave Swanson

You may not readily recognize the name, Dave Swanson, but if you were a record and CD buyer back when local record stores thrived you'd remember him.  He was the guy with the black mop top hair, the paisley print shirt, the throw back to the sixties look.  Swanson worked and managed some of the best record stores in town.

His love of music also led to a life as a musician, playing numerous instruments in some high profile groups throughout the years.  Presently he is the leader of Rainy Day Saints who'll be performing tomorrow (Friday) night at the Happy Dog. 

I had the opportunity to discuss music obsession with Dave.  Here's how it went.

Radio Hannibal:  So where were you born and raised?

Dave Swanson:  I was born and raised in Lakewood, Ohio.

RH:  What's your first memory of music?

DS:  Well, it's the same story I have told many times over...it was The Monkees!  I was 4 years old and they forever warped my being.  I became obsessed with them. The show, the records, the way they looked, dressed, everything.  I went trick or treating in 1967 dressed as Mickey Dolenz and I have never been the same since.

RH:  The Monkees were my first obsession too.  Remember the trading card packs with the banana flavored gum?  Bummer about the tour being cancelled.

DS:  Well, to be honest, I wasn't going to go anyway.  I have never seen them on any of the reunion tours.

RH:  Neither have I but that set list was too good to be true.

DS:  For whatever reason I'd just rather keep them in that weird sacred place of non-reality.  Ha!  But yeah, the set list was very cool. I can tell from watching clips on youtube that Mickeys' voice is finally showing signs of age.

RH:  So what was the first instrument you began playing?

DS:  My first instrument was pots and pans.  I would set them up on the floor like it was a drum set.  My mom tired of that so I ended up getting a drum set.  That would have been Christmas 1967 when I got my first drums.

RH:  You play a number of instruments now.

DS:  Yeah, self taught on everything.  I never had the patience for a teacher.

RH:  What was your first band?

DS:  I was in a band in high school with friends, but we never did much besides play at a few parties and so forth.  The Reactions was my first 'real' band.

RH:  Yes, with Brian McCafferty, who's now in Rainy Day Saints, on bass, you on drums and who was the singer, guitarist?

DS:  That was Chuck Wagner.  He is MIA these days.  He moved to North Carolina and we lost touch with him.

RH:  I have a couple of those singles.

DS:  There were two singles on St. Valentine Records and one EP on Homestead.  Not a lrage catalogue.  Get Hip Records out of Pittsburgh is going to put out a compilation of all that stuff.

RH:  From there, let's see, you played bass in Death Of Samantha, drums in New Salem Witch Hunters, and, currently guitar and vocals in Rainy Day Saints. Do I have that right? Am I missing anything?

DS:  More or less.  I was on bass in Death Of Samantha. Then when I first joined the Witch Hunters, it was as a second guitarist.  When Sam, the drummer, quit I moved over to drums.  Then I was drummer in Cobra Verde.  Then Guided By Voices.  Then guitarist in Speaker/Cranker.  I also played drums in Dementia 13 somewhere in that timeline.

RH:  How did Cobra Verde end up as, essentially, Guided By Voices for a short while?

DS:  Bob Pollard (leader and singer of GBV) was a big fan of the Cleveland music scene and initially asked us to make a record with him.  This led to us being 'the band' for a couple tours and the album.

RH:  I recall you or John Petkovic saying that touring with Pollard was a bit much.

DS:  Well, it was a blast initially.  The GBV fans can be overwhelming for sure.  Very obsessed.  But we had fun.  It was odd for Bob because I don't drink at all and GBV is a total drinkers band.  He couldnt get past the fact that I wasn't sort of one of the gang. We toured the US a couple times and Europe.  And, like I said, it was fun, but it wore thin after awhile.

RH:  What was that MTV game show you appeared on?

DS:  It wasn't a game show.  It was more of a variety show called Oddville.

RH:  You have also worked in some of the best record stores in the city. Can you name them all?

DS:  Records stores? What are those?  Ha.  I started out at Melody Lane in Lakewood in the late 70's, then to Chris' Warped, then to Repeat The Beat, and finally to My Generation.

RH:  Do you miss record stores or are you comfortable now with how we music fans buy music now?

DS:  Well, it's more that just the record stores I miss, it's rock and roll and the culture around it in general.  But yeah, records stores were a great sort of rallying point for rock and roll.  Very few left standing anymore.

RH:  You say you miss rock and roll, explain?

DS:  Well look around...it's gone!  Ha.  I mean there are always bands out there.  I love finding new bands that rock me.  I am always hoping there will be a new band that comes out that kills me!  And I look , but it's getting harder and harder to find any that please me.  Ha.  I have high standards.  It's still there, ya just gotta look harder.

RH:  What's your take on the local music scene these days?

DS:  To be honest, I don't get out much to see bands.  I do like The Prisoners!  I haven't seen a lot of the newer bands.  I catch a few here and there, but there's no bands out there doing what I really love I guess.

RH:  That would fall into the power pop genre if we have to pigeon hole, right?

DS:  Well not really.  Alot of what passes for 'power pop' in the last 10 or 15 years sounds like watered down ELO to me.  I want my power pop to be...you know..powerful!  To me the best music is loud guitars and melodies.  Cheap Trick being the benchmark.

RH:  I knew that name would come up. Ha.

DS:  I am thrilled beyond belief that The Darkness are back together though!!

RH:  What's the best thing in Cleveland?

DS:  Hmmm....cynicism and fresh air.  I don't know.  I kind of live in my own little world but at least they know me there!

RH:  Where do you like to go if you venture out for an evening?

DS:  Well we are lucky to have both The Beachland and Happy Dog that's for sure,  Both those places and the people that run them are great.  Apart from that, it's probably similar to many places.  Radio totally sucks, there's no retail.  I don't feel old but when you look around, oh, how the landscape has changed!

RH:  Any projects in the works right now?

DS:  New Rainy Day Saints album due out very soon!  Not in time for the show Friday, but early September it looks like.  It is called All These Strange Ghosts.

RH:  I'm looking forward to that. What's your goal?

DS:  My goal is to wake up tomorrow, try and have some fun in this world, keep making music and see Cheap Trick at least 10 more times or so.

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Rainy Day Saints on Spotify

Rainy Day Saints - Memories from their forthcoming release, "All These Strange Ghosts" featuring:

Dave Swanson:guitars, vocals, drums, percussion
Brian P. McCafferty:bass, b vocals
Marriane Friend:sax, b. vocals
Keith Pickering:guitars

 

Conversation With A Cleveland Musician: Chris Allen

At the heart of one of the most collaborative groups of musicians in Cleveland there's Chris Allen.  His projects range from a long time partnership with Austin Walking Cane to a vibrant solo career to covering The Pogues better than anyone on the planet. 

Like his inspiration, Bruce Springsteen, Chris is rather introverted. And just like Springsteen, when he hits the stage that pent up emotion explodes into song.  He lays his heart on that stage for all to witness. 

I had the pleasure of sitting down with Chris and talking about his passion for music and other things. 

Radio Hannibal:  Where were you born and raised?

Chris Allen:  I was born in Lakewood.  The family moved to Chicago for a few years  when I was three. Chicago are my first memories.
But we ended up back here, and in Rocky River when I started school.

RH:  So when did you first get interested in music?

CA:  I got interested in first or second grade, listening to my older sisters records. 
We listened on my parents huge record player, one of those gigantic box things that had the phono player and the 8 track.
We listened to Springsteen, Petty, The Beatles, Dylan.  Then when I was an early teen I saw a live clip of Springsteen playing Rosalita and that's when I knew what I wanted to do for a living.

RH:  The Phoenix show where all the girls run up and hug him no doubt. So you started playing guitar?

CA:  Yes! Love that clip.  There was so much abandon in their playing. I had an old acoustic around the house that was my mom's. My uncle showed me a few chords and I clunked along. And then when I was 15 my friend Austin Charanghat (Walkin' Cane) brought over an electric Gibson SG that he bought. And the game changed from there completely.  Rock music became a reality in my bedroom.

RH:  No formal lessons then?

CA:  A couple. Me and Auggie used to go to this jazz guy at Bain Park in Fairview. We played "Wreck of the Edmond Fitzgerald" while he soloed. So obviously that didn't last long.
Most of what I learned, I learned from friends, and from our favorite records. Lots of Zeppelin riffs back then!

RH:  Yes, having someone to learn with like Auggie must have been great. Both motivating each other. It's paid off for you both. When did you first play in front of a crowd?

CA:  High School battle of the bands my senior year.  My band was Kojak and Club Soul. Against Auggie's band. We were horrible, but we had style. Apparently we had 10 votes for first and 10 for last!

But the first real experience I had was my freshman year of college. My band Two Doors Down opened for Flock of Seagulls at the huge school auditorium. It was my first experience with a real stage, sound system, and first time doing an all original set. I was nervous as hell, but when I hit the stage it all went away. It was such a riot.

RH:  Good first gig. That was at Miami of Ohio right?

CA:  Yes, Miami of Ohio. There was an amazing music scene there when I went. I have never seen another one like it.
All sorts of bands recording albums, supporting each others shows. Doing all sorts of multi-band bills. 
My band Rosavelt grew out of that scene.

RH:  I'm sure WOXY had alot to do with it. I was going to ask about the formation of Rosavelt. So that's where you hooked up with Kevin Grasha?

CA:  Yes WOXY had a bit to do with it for sure. And yes, Kevin was in a band called the Newspaper Taxis in that scene that we did a lot of bills with. We both shared a love of a lot of edgier rock stuff...The Replacements, The Meat Puppets, Huskur Du, The Clash...etc. 
So in our down time we started doing an acoustic duo...and then when we got done we'd stay up all night demoing new songs. I knew eventually we'd end up working together.

RH:  Rosavelt had quite a run here in Cleveland. I know it had various members throughout the three albums. Was the demise just the fact that Kevin left town?

CA:  No, actually when he left we started the second wave of the band. We hooked up with Don Dixon and he got us our first label deal, and first national release. With that we ended up doing a ton of touring with Tim Easton, coast to coast, Alaska, Europe. 
That took a toll on the group, especially without any tour support. Great times, but at the end of the last tour I was going to lose the drummer. 
I thought, this is really seeming like a solo project now, and not a band. I was ready to be on my own.  Also Dixon and Rosavelt's manager at the time were really supportive of me going out on my own.  So that eased the transition.

RH:  How did you meet Don Dixon?

CA:  I had talked to Dixon on the phone a couple of times when Rosavelt was working on the second album "Transistor Blues". He had been following what was going on and I had expressed interest in working with him. We finally met when we opened up for him at show in Akron for 91.3 FM, the Summit. 
We were a power trio then. I purposely played all new songs that night, and he came to the stage immediately after the set and said, "Are those new? Let's magnetize them."

RH:  Magnetize...ha...as in recording on tape.  Never heard that one before.  Rumor has it you're about to resurrect Rosavelt. Can you tell us about it?

CA:  Yes, Kevin and me stayed good friends over the years.  Even when he wasn't in the band, he remained one of its biggest supporters. That always meant a lot to me since it was our collective that was the heart of the band. 
I was working on a track for him earlier this year, and as we rehearsed together that spark really hit again. We started dreaming about how great it would be to do another record....and when it comes to albums, I would rather do it, than dream it. So we set the ball in motion.  We will start this September recording it. The final details are still in the works but it will be released early next year.  Don Dixon will be on board to produce again though. That much is for certain.

RH:  Very exciting. I hope there's a vinyl version like your last solo album "Acetate". You also play in two fabulous collective projects, The Boys From County Hell and The Ohio City Singers. Brent Kirby told us about the new Ohio City Singers album being recorded as well. Sounds like lots of studio time ahead for you.

CA:  Yes indeed! I just finished writing up the last of the OCS songs this weekend with a song called "Make Believe." Really looking forward to that. That starts and ends in September for a Christmas 2011 release. 
I do hope to do vinyl, but finances will dictate that. Doing vinyl for ACETATE was a personal career highlight!  But a very expensive one.

RH:  You are at the core of a very collaborative scene here in Cleveland. What's your take of the music scene here in general?

CA:  The scene here is as crazy as it ever was...and actually a little more coherent. There is some great music coming out of it. I've always enjoyed being a part of it, and have made some amazing friends, both musician and non-musician. The music listeners of this town, and the media, are very supportive of what we do. They are also very protective of it, which I really love.

RH:  What's your favorite thing in Cleveland?

CA:  My favorite thing in Cleveland, is Cleveland. I love the spirit of it. My least favorite thing about Cleveland is that more Clevelanders don't embrace it and realize what an amazing town we have here.

RH:  Where do you like to go for a night on the town when you aren't part of the entertainment.

CA:  My garage. I get the grill fired up, and turn on Tom Hamilton and the boys on the radio. I am a Tribe fanatic, and love listening to games on the radio. So my night off marries my two favorite hobbies, cooking and listening to baseball.

RH:  I prefer baseball on the radio over TV too. Go Tribe. So, what's your goal?

CA:  To record as many records as possible before I die. And record them with my friends.

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Chris Allen website

 

Chris Allen - I Don't Live here Anymore

Chris Allen - Acetate on Spotify

 

Conversation With A Cleveland Musician: Carlos Jones

Carlos Jones has been playing reggae since the late 1970s. Not in Jamaica or anywhere in the Caribbean for that matter but right here in Cleveland, Ohio. 

Cleveland was a bit of a hotbed for reggae music in the mid 70s.  Aside from a rather big scene in Boston there were few cities in the United States paying attention to this bubbling scene.  WMMS saw to it to educate and turn on Cleveland listeners. 

Carlos Jones heard reggae music and took up the calling.  Cleveland would be a colder place if it weren't for the warm vibes that Jones and his P.L.U.S. Band generate on a rigorous but joyous schedule.

Radio Hannibal: So where were you born and raised?

Carlos Jones:  I was born in Lawrenceville ,Virginia, but my family move seemed like every couple years due to my Dad's military service, so we've lived a lot of places, including Frankfurt, Germany.

RH:  An army brat as they say. So when did you land in Cleveland?

CJ:  We lived in Cleveland (the first time) from about 1963-65 before Germany, and then after coming back to the states (Virginia) for a couple years we came back to Cleveland and settled in 1969.

RH:  Were your dad's roots here then?

CJ:  No, Mom and Dad are both from Virgina.

RH:  Well, our gain then. How did you discover reggae music?

CJ:  I was intrigued upon first hearing Eric Clapton's version of "I Shot The Sheriff" in the early 70's and then discovered Bob Marley, Third World, Toots & The Maytals, Jimmy Cliff, etc. and that was it!

RH:  You were listening to Cleveland radio then. What stations? Oh, and how old are you now?

CJ:  Seeing the movie, "The Harder They Come" was a big part of it too. I'm 53. As a kid, I listened mostly to WJMO and WABQ AM (Soul/R&B) That had been my biggest musical influence (besides the Beatles). By the mid to late 70s I discovered WMMS and listened to that and WNCX a lot.

RH:  Same age as myself. I, too, discovered reggae via "The Harder They Come" and WMMS was playing reggae music at the time. There's that great photo of the early WMMS staff with Toots Hibbert and Jane Scott circulating on Facebook now. When did you start playing?

CJ:  I emerged from my mom's basement and started playing with I-tal in July of 1978. That was shortly after seeing Bob Marley & The Wailers at Music Hall and the reggae bug had bit me hard!

RH:  So you were playing with I-tal in those early days at The Coach House (now Club Isabella)?

CJ:  Well, actually, I wasn't really an official band member at that point. After hearing them on a Coffee Break Concert on 'MMS, I went to check them out at The Coach House and ended up sitting in with them that night (on bongos), but that was the only time I saw them there. After that I would kind of "follow" the band and sit in and jam, mostly at The Mistake which, you remember, was below the original Agora on E. 24th. They made me an official member at the beginning of 1979.

RH:  Yeah, I remember The Mistake. How did First Light form?

CJ:  At the end of 1983, "creative differences" caused the band (I-tal) to split up and five of its members went on to form First Light. After a couple of early personnel changes, a pretty solid nucleus was formed that remained for nearly 15 years.

RH:  Those were some great shows at Peabody's Down Under. Somewhere I have pretty good recording a friend of mine did for one of the shows. Then you struck out on your own. How do you feel you've grown as an artist?

CJ:  I think I've gained a lot of confidence and comfort when it comes to performing onstage. I guess you could say I've "found my voice". Also, being able to record the songs that I've written over the years, and have many of those songs become people's favorites is very validating.  I've also come to a point in my life where I no longer feel like I need to try and fit into any kind of market or chase commercial success, or even try to appeal to any particular demographic. I'm playing music for the sheer joy it brings me, my bandmates and our fans - of all ages and backgrounds. There is a feeling that comes over all that gather in the moment and we all go to a place of unity that is rarely felt in everyday life. That's what I live for. Even if it's for a brief period of time. I think that kind of immersion can have lasting effects, especially on children.

RH:  You nailed it there Carlos. You and your brother got to play on the White House lawn last Easter. It must have been a thrill.

CJ:  Oh man! I can hardly describe the feeling in words. It was surreal! First of all, I kept looking looking around, going "we're actually hanging out at the White House!" Then The President and his family come down and just chill with us for like 10-15 minutes, and they were SO cool and relaxed - and gracious! The icing on the cake was getting to be there with my family and perform with my brother and nephews. I just don't know how it could have gotten any sweeter, unless maybe the Pres had come up and jammed with us! lol!

RH:  I remember when McCartney played the White House and hearing Paul tell of Obama coming up to the stage to sing the coda of Hey Jude and Barack's yelling out the Juuuudddyy Judddyyy's. Ha. What's the greatest thing in Cleveland?

CJ:  Well I put having the Lake right there high on the list, but other than that, I love Cleveland's history, and the fact that we come from down-to-earth, honest, hard working class roots. We have our ups and downs, but as a people, we've got a lot of resilience and spirit.
Oh yeah and the abundance of artistic talent here!

RH:  Where do you like to go for a drink or a meal?

CJ:  I like good food with an unpretentious atmosphere so places like Panini's, The Harp, Shooters and The B-Spot are favorites. Being able to sit outside is a plus.

RH:  Any musical projects on the horizon?

CJ:  As a matter of fact, we've been in the studio working on a few tracks we plan to release this summer - 4 songs, like an EP. And we're actually going to try and see if a local band (reggae at that) can get some radio airplay somehow, so we kind of tailored it to fit the "radio friendly" format - under 5 minutes, as opposed to the 7 -10 minute jamfests I usually crank out.

RH:  You hear that local radio?! Ha. So, what's your goal?

CJ:  Well, it's not so much mine, but Larry Koval, my manager for 13 years and owner of the label I'm on, Little Fish Records. He's really itching to see us crack the barrier, you know? And he wants to be known as the guy who made it happen. He is so plugged in to supporting Cleveland music and wants to see the day when Cleveland artists get that national recognition that has eluded us for so long.

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Carlos Jones website

Carlos Jones - Catcha Falling Star

Carlos Jones - Catcha Falling Star

Carlos gave me this song to share as well. 

Carlos Jones & P.L.U.S. Band - Torchbearer

Conversation With A Cleveland Musician: Brent Kirby

Today Radio Hannibal starts a new weekly feature called "Conversation With A Cleveland Musician".  That pretty much sums it up.  I'll be talking with local Cleveland musicians about music and Cleveland.

I'd like to dedicate this new feature to the late Jane Scott.  Until her passing a few days ago and the wonderful stories I've read in memory of her, I hadn't realized how influential she'd been to me. 

I've stated numerous times that I'm not a critic of music but a promoter of it.  If I don't like something I simply don't share it.  Jane Scott went a step further by finding something positive in nearly every musician she wrote about.  Some of which, I truly disliked.  Still, I read everything she wrote (except for time away at school).  Her style and attitude have certainly left a mark on me. 

Now, on with the new feature.

Brent Kirby is full time musician.  He plays drums with Chris Allen And The Guilty Hearts and the holiday group The Ohio City Singers among other session work.  He is also a talented singer/songwriter, strapping on a guitar for his band The Lost Fortunes as well as Jack Fords and a Gram Parsons tribute band.  When he's not playing music he repairs guitars or is talking about his passion as he did with me.

Radio Hannibal:  When did you start playing and which came first, drums or guitar.

Brent Kirby:  I started playing drums in 5th grade and got into some piano in high school and college. I didn't start playing guitar until I was in college. I sang and wrote songs for my first band senior year in college, however,  I played drums all the way through high school and college with many bands.

RH:  And your dad is a music teacher right?

BK:  My Dad has always been a music teacher/band director for as long as I can remember. Some of my first memories are falling asleep using my mom's purse as a pillow underneath bleachers at band concerts. My Dad and I used to play jazz together and drive my mom a little nuts with all the noise.

RH:  So that's your early influence.  Did you play in the marching band?  Drums seem like the coolest in a marching band. 

BK:  Drums definitely were the coolest thing going at the time. I started out in high school marching band while still in 8th grade. 
Played all the instruments and was a drum line section leader for a while.

RH:  What was the first music you bought?

BK:  I think my sister and I went in on a Donny and Marie record together. I was pretty young. I liked that song "Little Bit Country, Little Bit Rock'n'Roll". Kind of a premonition I guess. First record I picked out and bought myself was Piano Man by Billy Joel. I remember listening to it at my great grandmother's house on an old tweed suitcase turntable. I played it over and over. I remember the smell it had. I could still recite every word of that record today. When we moved into the house I grew up in, I found this stack of old 78 records with a suitcase turntable and listened to those nonstop. Stuff like "I'm looking over a 4 leafed clover", and "Go vote for Richard Nixon". I remember those things were fragile and broke easily.

RH:  Yeah, we all remember the smell. Chicago IV, that 4 LP live set had a great smell. I know someone who'll be happy to hear about Donny and Marie. You said earlier you were late to guitar. I presume you picked it up to write songs. Did you know you could sing before then?

BK:  I was late to guitar. I picked it up so I could play something in my dorm room in college. Drums just weren't able to be played and I needed to do something. I knew I could sing but not that well in high school. I might have written a song or two in high school on the piano and sang those, but it was mostly late in college that I took that a bit more seriously. I joined choir in college for a semester, but they made me move back to percussion because they didn't think I belonged there. But I learned a lot in that one semester about hearing harmonies and singing somewhat properly.

RH:  Other than your dad who are your musical influences?

BK:  Bob Dylan, Tom Petty, Bruce Springsteen, Gram Parsons, Uncle Tupelo, Wilco, Son Volt, Ryan Adams, Jayhawks, Joe Henry, Blue Rodeo, John Prine to name the more popular ones. I have always been inspired and influenced by the great musicians and songwriters that I have played with and came into personal contact with. They almost give me a bit more inspiration than the bigger ones because I've shared moments with them and seen the power of what they could do. I feel like I'm a sum of all the parts that I've played and experienced.

RH:  You told me you grew up in Milwaukee, ended up in Nashville working for Sam Ash Music who transferred you to Cleveland to open their store on Mayfield Rd. Weren't there a few other cities along the way and how'd you end up calling Cleveland home?

BK:  I grew up in Oconomowoc, which is about 40 minutes outside Milwaukee. I went to college at the University of Wisconsin-Oshkosh for music merchandising/recording with a business minor. I then moved to St. Louis to do an internship at a studio and also worked at a vintage guitar shop at the same time. I started visiting Nashville and then moved there after it seemed to be the place for me to be. Worked for Thoroughbred Music which became Sam Ash. Moved into management and ended up very close to home in Chicago. I was offered to manage the Cleveland store and ended up here after a very short stint in Columbus. Spent most of my time in Ohio City the first couple of years and now live on the east side.

RH:  And your take on the Cleveland music scene now that you've been here for over a decade.

BK:  I think there are some great musicians and great bands that call Cleveland home. The hard part about Cleveland is that while there are splinters of creative cliques and scenes in all art forms, most of them don't collaborate and merge. The other tough part about Cleveland is that the audiences don't seem to value original music as much as other towns. You can't really compare it to Nashville, because it's a music center and is just a different scene completely. There's a reason the Black Keys moved camp down there. It's just easier to get musical business done. The cogs are greased. Cleveland is similar to Milwaukee or St. Louis if compared to the places I have lived and played. 
I have seen some truly great shows and performances by local people in Cleveland, and I have always been a huge supporter of the underdog. The one thing I always admire about Cleveland is that always keeps it's chin up and doesn't let the crap people say who aren't from here bother them. This is my home now and I will do my part.

RH:  What's the greatest thing in Cleveland and on the rare night off, where do you like to go?

BK:  Coolest thing in Cleveland right now to me is East 4th. Great restaurants and people watching. Happy Dog is always great food, music and a great hang. Shows at the Beachland are always on the radar too. 
On the rare night off, I'm probably starting off with sushi at Pacific East in Coventry. Maybe hit La Cave Du Vin. Cedar Lee theatre has always been an entertaining way to take in a movie. I don't visit bars too much as I spend most of my working hours in them. West Side Market during the day is a staple, along with hikes in Lake County Metroparks. Lots of park stuff really. Mentor Headlands is a summer must for me.

RH:  Brent the beach bum. Two more questions. Your new album came out about two months ago. While still working that, any other projects in the near future?

BK:  I am working on an acoustic record with just Al Moss on pedal steel and myself for release in September. I had recorded about 12 tunes before I did "Coming Back To Life". Probably record a dozen or so more and pick and choose.
Bobby Latina and I want to release a new Jack Fords CD this year for release in November. We have a good amount of tunes ready, but I think we need a handful more before we enter the studio.
Also, I'll be playing drums on the new Ohio City Singers record for release this December. Don Dixon will be producing this one as well and I'm looking forward to hitting those tunes.

RH:  New Ohio City Singers, has me almost wishing for snow. I was thrilled to get to intro a number of those shows last holiday season. So, what's your goal?

BK:  One year, 3 year or 5 year? I'm making a living making music and I want to continue to do that for as long as my body will let me. That's the main goal. The more immediate goals are to expand my reach and capability, branch out into different aspects of musicianship and creativity, and make a better living than what I'm making right now. Traveling will be part of expanding my horizons. Balancing all that with family will be key. I like where I am right now, in control of my future, and I aim to keep it that way.

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Brent Kirby website

Brent's newest album "Coming Back To Life" is available on iTunes or pick a CD at one of his shows. 

Here's one of my favorites on it called "Spot Where I Stand".  You gotta love a song that mentions Cleveland in it.

Brent Kirby - Spot Where I Stand