I have mentioned before that I took a trip to France in 2002, and only took five compact discs with me for the duration of the trip.  As you might imagine, I listened to these albums over and over and over again. I knew them forward and backward, every lyric, every chord change, every nuance.  There is something about deep and repeated listens to a work of art that builds a bond between the musicians and the listener, even though that bond might only work in one direction. When I listen to any of those five albums, I am assaulted by old sights, sounds, smells, feelings, thoughts, places, situations, and people. The debut album from Starsailor is one of those.

I never saw this band live.  I've never even watched a live performance of theirs on the Internet, though I'm about to change that as soon as I'm done writing this blog post.  My only relationship with Starsailor is through their compact discs that happen to be in my collection.  Love Is Here is the first, arriving in fall 2001.

At that point in my youth, I generally leaned toward louder rock records.  This wasn't the case all of the time - after all, I loved that first Elbow album and anything Radiohead wanted to throw at us - but mostly, yeah. This album occupied a space in my collection that didn't have a lot of company.  Most of the guitars on this album are acoustic, and there are a TON of keyboards... piano, synth, organ. All of that kind of makes the bass stand out more than on many of the music I was listening to at the time, and that might be something that attracted me to this band.  All I know for sure is that I loved this album from the opening notes of the opening song all the way to the closer.  It pulled at the emotions then, and today the sad songs sound just as poignant to me, but with the added gravitas of 20 years worth of additional life experience filtering who I was and where I went when I was spinning this disc six times a day.

In some ways, listening to this album today feels very different.  I know a great deal more about how to make music than I did in 2002. I find myself dissecting the songs technically more when I listen now... oh, there's some electric guitar arpeggio added for atmosphere and there's reverb on it... oh, that's a B3 organ... oh that sounds like a slide guitar...  oh, I wonder if that's a pump organ or an accordion in that section... you know, those types of thoughts. All of that aside, if I listen with my eyes closed, I remember exactly what it felt like to step off the téléphérique du Brévent with a bunch of skiers and snowboarders and then stroll away a bit and be all alone at what felt like the top of the world.  

I need to be alone while I suffer. 

A lyric that I still think was written just for me.

 

I've probably mentioned this before, but I write music first for myself... it's a way to deal with life and emotions and thoughts and such.  Sure, if I write something that feels decent enough to share, I absolutely want to share it, but my songs are usually for me first.    Music... this cathartic, moving, crushing, heartbreaking thing.  As I write, I sometime think to myself that I would like to evoke the same emotions in a listener that Cari Clara's songs evoke in me.  If you don't know this artist, let me introduce you.

Cincinnati's Eric Diedrichs is responsible for Cari Clara.  He was previously the lead singer of power pop specialists, Simpletons.  (An aside:  I can't find my copies of the two Simpletons albums.  If anyone has them, please reach out.  Seriously.)  I remember talking to Eric at a show when he had announced that Simpletons was not going to be a thing much longer, and I was somewhat dismayed at losing such great songs and solid performances.  He told me that I would definitely not be disappointed in his next project.  He was not lying.

Eric Diedrichs kept the poignant lyrics, the pop songwriting sensibilities, the great hooks, and added a triple shot of melancholy, yearning, wistfulness, and occasionally slightly overwrought singing, then started making records all by himself.  The first few Cari Clara albums don't have the slick production and sonic sheen that the songs deserve, but the songs are all so good that it doesn't matter.  Here is an example from the 2004 album Miniature American Model Society.

"Release Me"

 

 

If you don't mind a serious hook that'll stay with you for half a day, here are two examples from It's Our Hearts They're After:

"The Bright Lights"

"Hold. Hope."

 

 

Maybe you're wondering what Cari Clara was like when they played live.  They were outstanding.  This was the first band I had ever seen that had two drummers - something that Radiohead has been doing a lot of the last decade plus - and that really amped up the sonic texture of their shows.  Layered guitars, multiple vocalists, and keyboards.  Eric made the albums on his own for the most part, but they really came alive on stage with an ensemble of performers.

The last Cari Clara album is Midnight March, and I think it's the best of them.  The songs are great, which is standard, but the production is kicked up a few notches.  I have very fond memories of heading down to Cincinnati to be there for the release show.  My favorite song from the album is this one:

"Story in the Stars"

On the Bandcamp page for this album, you'll find the statement "Eric Diedrichs should be famous".  I find nothing to disagree with here.  As a songwriter, arranger, and lyricist, his work has always spoken to me, and although you probably can't hear it in my music, I consider him to be a strong influence on my sound. This is a talented gentleman with plenty of things to say, and if he's done making music, well, Ohio and the world are both worse off for it.

This show was a long time ago.  How long ago?  This long ago:

$12.50 for two bands on a national tour! I kind of miss the prices from back then. 

The capitol of Ohio, Columbus, has changed quite a bit since 1999.  The part of town where this establishment was located is the Brewery District.  It used to be a very frequented part of town with bars and restaurants and such... then Columbus got a hockey team with a fancy new arena, and a new entertainment district  sprouted forth around it.  This spelled doom for many businesses in the Brewery District, and Ludlow's was one of these.  Alas, it is no more.  I remember it as a cozy place to see a show. Ugh, I miss cozy shows.

This particular night, both bands on the bill were from the state to the north.  At some point in the evening, I struck up a conversation at the bar with a gentleman who turned out to be the bass player from Papa Vegas.  Many of you have surely never heard of that band.  They were excellent.  As I write this blog post, I've revisited the album that they were touring to support at the time, called Hello Vertigo.  I still have it on CD.  The songs are still catchy, I still remember the words even though I haven't listened to these songs in at least a decade (!), and the album holds up. 

The band whose name is on the ticket is The Verve Pipe.  At the time, perhaps slightly to their chagrin, they had a massive radio/MTV hit single.  I owned and loved their album Villians.  For some reason, I don't have my copy of that CD anymore, which is a shame, because the version of the aforementioned massive hit song on my copy of the album is very different than the version that went to radio and MTV.  I remember picking up that album pretty much immediately after hearing "Photograph".  We did not know it at the time, but The Verve Pipe had another album on the way (The Verve Pipe), and they played a bunch of songs from it that were, of course, new to us.  The ones that jumped out and grabbed me at this show were "Hero" and "La La"... "La La" remains my favorite song on the album.  I will admit that I should have paid more attention to this album, which was their third... like Radiohead before them, they have a song on this album that is a reaction to their big radio hit.

Both bands were sufficiently entertaining that I was sure to catch them later that summer on the same tour.  I saw a ton of shows around this time of my life, and not all of them were all that great in retrospect... but this one... I still have fond memories of this one.

What?

The album title is Anxious Inventions & Fictions, which is a lyric taken from the piano ballad "Insomnia".  The album art looks something like this:

 

Megan Fiely, "Insomnia", 24" X 24", acrylic on canvas, 2020.

This album exists in two versions. 

First, there is a ten song digital version.  Do you remember my crowdfunding campaign in order to press vinyl from earlier this year?  That did not get funded, so the ten song digital version is what the album would have been on vinyl.  In order to duplicate the vinyl experience, after the fifth song finishes playing, press pause on your device, get up and walk around the room for thirty seconds to simulate flipping the record over, and then continue. 

Second, there is a twelve song deluxe version on compact disc.  This contains two additional songs, an alternate mix of the opening track "Your Anthem", and a different track order, for a custom listening experience. The CD also comes with a twelve page booklet, containing lyrics, liner notes, and art.  For both versions, the album is sequenced carefully, and the listener is meant to listen to all of the songs in order.

 

Who?

Mike Bankhead.  That's the name/logo on the cover.  I wrote and arranged the songs for the most part.  I say "for the most part", because TINO wrote lyrics and is featured on one song (you might remember a blog post about him), and Greg Owens co-wrote another song (you might remember a blog post about him as well).  Also, two songs feature string arrangements by the outrageously talented Blair Breitreiter.  But wait, there is more...

Here is a list of the wonderful folks who lent their time and talents to this album:

Eli Alban
Dustin Booher 
Blair Breitreiter 
Thad Brittain  
Chris Corn 
Ken Hall
Valentino Halton
Patrick Himes 
Brian Hoeflich
Chad Middleton
Kent Montgomery
David Payne 
Nathan Peters 
Tim Pritchard 
Tod Weidner 
Heather York

This album sounds good, mostly because of this list of humans.  For those of you who are not familiar with independent music in Dayton, you'll just have to trust me when I say that some of the finest musicians in our area are represented here.  

Also, a tip of the hat to Megan Fiely for the beautiful painting, and to Spencer Williams for the photography, layout, and design.

 

When?

There are some different answers to this question.  Let's start with making the album.  Tracking and mixing took place between February 2019 and February 2020.  That's a year of hard work, not just my own efforts, but also the people listed above, and specifically Patrick Himes as the recording and mixing engineer and David Payne as assistant engineer.

You can order this album on September 4th.  That happens to be Bandcamp Friday, when Bandcamp forgoes their customary cut of artist sales.  That means that all of the funds spent on Anxious Inventions & Fictions on that specific date go to me, and contribute to my ability to continue making art for you to enjoy.  If perchance you don't know where to find me on Bandcamp, here's the link for you to bookmark:

https://mikebankhead.bandcamp.com/

The official release date for this album is September 12th.  That is the day that you will be able to listen to it on the Bandcamp page I just mentioned.  That's also the day for which a safe, socially distanced, outdoors release celebration is planned.

For those of you who only listen to music via streaming services, you will find Anxious Inventions & Fictions available there on September 15th.

 

 

Where?

The album was recorded and mixed at Reel Love Recording Company in Dayton, Ohio.  Blair handled some additional recording of string arrangements at Bohemian Trash Studios in Albuquerque, New Mexico.  The album was mastered at True East Mastering in Nashville, Tennessee.

The socially distanced release celebration will happen at Yellow Cab Tavern on 4th Street in downtown Dayton.  Please note that the owners and staff at Yellow Cab care deeply about the health of our community, and require all visitors to wear a mask.  If you do not wear a mask, they will kindly ask you to leave.  Yellow Cab also has social distancing guidelines in place.  If you wish to know more about the precautions they are taking and how you can cooperate, please give them a call.  

 

Why?

There are those who think that music doesn't need a reason, because "l'art pour l'art", right?  I haven't thought about that particular worldview all that much.  I certainly have my reasons for making art.  

Songwriting is how I deal with stress and anxiety and depression.  Songwriting helps me to work through all sorts of emotional turmoil, and the catharsis that it provides is probably a net benefit to my mental health.  Songwriting is a way for me to say what I want or need to say, especially when nobody is listening.  Not all of those songs get recorded as demos at home, and even fewer of them make it all the way to the studio... but some of them do, and this is what  happens when they do.

I still believe in the idea of the album as an art form. That's not popular these days, as music is seen as a resource, a commodity, a value-less product, both by the companies who use it to make profit, and by the vast majority of music listeners.  I don't make pop music, so of course, I'm not making music for these people.  I make music first of all for me, because it's something I'm driven to do... and all of you other musicians out there, I see you nodding along.  Of course, I wish to share my art... well, the subset of it that I get around to thinking is of enough quality to warrant sharing... but if I write something I don't personally like, you won't be hearing it.  I won't write in a genre or in a certain way because it's popular, because I'm trying to get rich, or because I think it's what someone wants to hear.  You'll only be getting authenticity from me, thank you very much.

The above said, music is also a means of communication.  Thoughts, feelings, ideas, the concrete, the abstract, and just about everyone wishes to be heard, yes?  Maybe music is kind of a cry for help?  Tell you what, as soon as I get a therapist, I'll be sure to discuss this with them.

 

How?

You know, ever since I was a teenager, if I see that particular word all on it's own, I can't help but sing it.  I mean, I sing it inside my own head where nobody is listening, but it has to be sung.  How, you said you never would leave me alone....

So, how did this happen?  Lots of hard work.  I'm not exactly a gifted musician or songwriter, but I work at it, and I have some perfectionist tendencies, which means lots of editing and re-writing. A great deal of singing practice.  A great deal of singing the same parts over and over again, until Patrick would tell me that it's no longer pitchy.  All sorts of patience from Patrick Himes and the musicians who agreed to play for me.  Even more patience from my wife when I would be in the studio for long hours and obsess over details in mixes at home.

How? Time. Pain. Self-Doubt. Frustration. Tears. Stress. Study. Thought. Experimentation. Explanation. Sleeplessness. 

 

Anxious Inventions & Fictions is my best work.  That's what I think, anyway.  I hope you think so, too.

New music used to be released on Tuesday. For albums that were eagerly anticipated, local music stores would start selling them at midnight.  I happened to be eagerly anticipating Pearl Jam's 5th album, Yield. At the time, I had a job where my shift ended at 11 PM on Monday nights, and I decided to go get Yield as soon as I could. After work, I drove to Dingleberry's in Centerville (a great record store that is no longer with us) and browsed records whilst listening to whatever was playing on the in-store speakers until midnight.  At midnight, I purchased the CD, and proceeded to listen to it on the way home.

The only song I had heard from the album prior to purchase was "Given To Fly", which was the radio single.  There was a little bit of controversy around it, because of its similarity to a Led Zeppelin song, but since I hadn't really listened to any Led Zeppelin at the time, I didn't notice.  The single didn't particularly move me, but there was music industry buzz around the release, and I had read some positive reviews.  (See, back then, you had to do your research before buying an album.)  

Yield kind of smacks you in the face when it opens.  "Brain of J" was the kind of raucous rocker that reminded me of "Once" and "Go".  I was all in immediately.  The second track, "Faithful" has a steady, meaty riff in the pre-chorus and chorus.... the third track, "No Way" is a place where Jeff Ament demonstrates the groove that I enjoy from his playing (though I love his work on this entire album), and I also immediately dug the lyrics.  I fondly remember the feeling of discovery as I drove home... the soaring chorus of "In Hiding", and the sing-along album closer "All Those Yesterdays".

 

When I got home, I had a chance to really examine the packaging.  The CD came in a rather creative digipak, with a triangle cut-out on the cover, allowing you to see the yield sign on the panel behind it.  When you open the cover, the sign is in a completely different context.  The album also came with a nicely designed booklet where you can read the lyrics and all of the track credits.  I spent plenty of time sitting in my room, reading through the liner notes and lyrics whilst listening to this album.  It's a fond memory of a long gone time...

So, if you post this kind of a list after everyone else has already posted theirs, folks might actually pay attention to it?  Yes?  No?  At any rate, here are my favorites, in narrative order (not so much in order of which I like more or less):

 

Shrug - Easy is the New Hard 

Shrug are stalwarts of the Dayton music scene, having been around for 25 years.  This is their first album to be released on vinyl, and as if that’s not enough, it’s a double.  Some of the songs on the track list that showed up in their sets 15 years ago (“New Amsterdam” and “Bender” being the oldest if memory serves) coexist beautifully with new music that didn’t get played live until the album release show (“Powder” and “Follow the Captain”).  The result is probably the best, most eclectic work of their tenure, and certainly my favorite since 2002’s self-titled release. 

• Favorite Songs: “Powder”, “New Amsterdam”, “Follow the Captain”, “Blue Blanket” 

 

 

Sleater-Kinney - The Center Won’t Hold 

About the same time that Shrug was getting going here in Dayton, this band started up in Olympia, Washington.  This is their 9th album, and it heads off in a different sonic direction from everything else in their catalog. This new direction cost them the powerful services of drummer Janet Weiss, as she departed the band just before they went on tour to support the album.  There is synth here, extra slick production, and pop sensibility, but it still sounds like a Sleater-Kinney album. That’s enough for me. 

• Favorite Songs: “Reach Out”, “Bad Dance” 

 

Big Wreck - ... but for the sun 

Here’s a third band that formed in 1994.  Ian Thornley’s voice is the closest I have ever heard to Chris Cornell’s, and it’s still as powerful now as it was when I first discovered this band.  If you enjoyed Soundgarden in the past, I think you would like Big Wreck as well. This new effort is a big, loud, swaggering rock and roll record. You want guitar solos?  There are plenty of them here. You want riffage? There is plenty of that here. You like shouting along whilst driving? These songs are perfect for that.   

• Favorite Songs: “In My Head”, “Give Us a Smile”,  “Alibi”  

 

Guided By Voices - Sweating the Plague 

How about a band that was already more than ten years old in 1994?  Indie rock royals Guided By Voices released three albums this year, because of course they did.  This is the last of the three. I have had a hard time keeping up on all of Bob Pollard’s music over the years, and would only consider myself somewhat well-versed on the albums that came out between 1994 and 2004.  With that caveat in mind, this album isn’t what I was expecting. I heard tempo changes, a brief Boston-esque lead guitar harmony, a song that starts a capella, all paired up with the usual amount of fantastic hooks. 

• Favorite Songs: “Street Party”,  “Your Cricket Is Rather Unique”, “Immortals” 

 

Elbow - Giants of All Sizes 

Apologies to Oasis, but Elbow are now my favo(u)rite Manchester band.  This is their 8th studio album. Lyrically, it’s darker than what we normally get from them, but personal tragedies and these modern times will have that effect.  Guy Garvey’s pristine voice, the band’s orchestral use of dynamics, and at least one song with massive audience sing-along potential on the hook… those things are still here.  Also, Pete Turner continues to bring interesting choices to the bottom end, along with solid grooves from which most of the other instruments hang. 

• Favorite Songs: “Empires”, “White Noise White Heat”, “Weightless” 

 

Idlewild - Interview Music 

Let’s stay on the island of Great Britain for a moment, but head up north to Scotland.  I have five of this band’s first six albums on CD (I don’t have the first one). There was a time when I would listen to something from Idlewild just about every day.  Somewhere around 2008, I completely lost track of them. It wasn’t them, it was me. I’ve missed a couple of their albums, and nearly missed this one, only having discovered that it came out in 2019 in December.  Other than the vocals (not the high ones), this doesn’t sound like the Idlewild I remember… there are plenty of atmospheric additions here, strings and reverb-drenched guitar and piano, and it’s all quite lovely. I need to spend more time with this album, but I know that I’ll like it more with each listen. 

• Favorite Songs: “Dream Variations”, “I Almost Didn’t Notice”, “Forever New” 

 

The Cranberries - In the End 

A short hop West across the Irish Sea brings us to the home of The Cranberries.  This mention is kind of like a career achievement mention, as the band decided not to continue after frontwoman Dolores O’Riordan died in January 2018.  This is their final album, released this year. The vocals come from demos instead of normal studio takes, but if I hadn’t read that online, I wouldn’t have known.  Some of the music would easily fit in among the songs on their first two albums. I feel like most folks probably don’t know this band beyond their hit singles, and that’s too bad, there is some songwriting brilliance in their career, and this is a satisfying final statement. 

• Favorite Songs:  “Lost”, “Wake Me When It’s Over”, “Illusion”, “In the End” 

 

Charly Bliss - Young Enough 

Back much farther West across the Atlantic, Brooklyn’s Charly Bliss dropped their second full-length album this year.  Full disclosure, I really wanted to like this album because I have met the members of this band, and they were pleasant and engaging young folks.  I like them as people.  (They also put on a very energetic live show.) My first couple of listens to this album, well, I wasn’t enthused… lots of synth, some drum machine sounds, the guitars and rock had taken a back seat to sugary pop.  Then I paid attention to the lyrics, listened closer to the songwriting, and focused on the harmonic choices. These songs are painfully confessional and personal, and I wonder how Eva manages to sing them on tour night after night without bursting into tears.  Further, this band’s gift for arrangement and hooks persists behind the pop sheen… and these songs sound excellent live, right alongside their older guitar-heavy work. Go get this album. 

• Favorite Songs: “Capacity”, “Camera”, “Young Enough”, “Chatroom” 

 

John Dubuc’s Guilty Pleasures - Where Have I Been All Your Life? 

Don’t let John Dubuc’s “aw shucks”, self-effacing demeanor fool you.  He is one of the best songwriters in Dayton. His lyrics oscillate between witty and silly, pointless and profound. He doesn’t feel the need to be constrained by the idea of genre, as there are sounds borrowed from reggae and country and fifties rock and power pop and folk.  Several songs from this album will absolutely get stuck in your head.  You have been warned.

• Favorite Songs: “It Ain’t That Far”, “Crazy Days”, “By the Ocean”, “Peace Love and Hamburger Helper” 

 

Me & Mountains - Dream Sequence Volume One 

This a very brief EP, so I feel like my comments here have to also be very brief.  I love everything this band does, their sound is right up my alley, and I want them to give me more music ASAP. 

• Favorite Song: “Demolish Me” 

 

Amber Hargett - Paper Trail 

Amber is lovely and genuine and sweet, comes armed with a powerful voice and a knack for songwriting, and once told a story that will ensure I never look at a submarine hatch the same way again.  Oh, and her album is great. 

• Favorite Song: "Church Mouse", but that isn't on this albums, so let's go with “Broke”, “Carolina Blue”, “Stay” 

 

 

For Squirrels - Example

 

This album came out while I was in high school.  I loved the lead single, and remember watching its video quite a bit on MTV, but by the time I got my hands on the album and listened to the entire thing, there were six or seven songs I liked even more.  Front to back, this is an album I always loved.  

Tragically, a van accident killed the lead singer and bass player shortly before this album was released, so this band remains rather obscure.  I remember in my early twenties always being surprised when I would meet someone who also had this album.  Usually, if someone had it, they were just about as enthusiastic about it as I was.

Example reminds me of my youth, gone many years ago.  It reminds me of longtime friends,  many of whom are gone in different ways.  It reminds me of driving down 35 or 270 or 33 to go hang out.  It makes me wish I could write a song that makes someone feel the way that "Disenchanted" still makes me feel all these years later.  It makes me wish I could write something with the brilliant simplicity of "Eskimo Sandune".

Also, these lyrics from "Under Smithville" have taken on different meaning for me than they did back in the day:

"And I've been feeling so old / Tell me now who you think I am"

Welcome to a very special edition of the Ohio Spotlight.  November 9th is Local Music Day in Dayton.  This idea comes from Daryl (Derl) Robbins, who you might know from such bands as the widely-praised Motel Beds,  and corporate lackeys Company Man. 

Why is Local Music Day special?  Here's Derl's explanation from the event's official website:

What it is 

Think of it like record store day but instead of you buying that one Eagles record again, you’ll be buying exclusive releases from local artists made especially for this event. You need this. 

There will also be bands. Stay tuned.

 

That sounds good to me.   I am pleased to be able to participate in this event, alongside several other local artists.

Would you like to know what releases will be exclusively available beginning on November 9th?  Well, click right here for the list.

if you live within an easy drive of Dayton, why not head down to Yellow Cab (on 4th Street downtown) for Local Music Day?  You'll be able to discover some great music, all made by hard-working local musicians.  As you can see on the page describing the releases, some are available on compact disc, some on cassette, and some on vinyl.  Sure, I would love it if you would pick up the split album that contains some of my songs,but even if that doesn't interest you, this will be a nice community event... and surely you will find something to enjoy.  Personally, I am looking forward to getting my hands on that Me & Mountains disc.  I already have the Human Cannonball album on compact disc, but hey, it is being issued on vinyl for the first time, so if you don't have it yet, or happen to collect vinyl, that's something you should definitely buy.

 

 

Elbow - Asleep in the Back

I talked about my most recent live experience with Elbow in a previous blog post.  This is the album that got me hooked on them.

A coworker of mine turned me on to this album in 2001.  This was one of the five compact discs I took with me on my spring 2002 trip to France.  The trip was mostly for a friend's wedding, but I managed to move around a bit while I was in Europe... I had a nice trip out to Chamonix for a couple of days, and also dropped by Bruxelles and Bruges.

I spent plenty of time alone with my thoughts and this record playing in my headphones.  On long train trips... on a lift up a mountain... strolling through the forest a short distance from the Arve.  Really, every time I hear these songs, my brief visit to the Alps comes rushing back.  My favorite track on this album was "Newborn"... and today it is probably a tie between "Newborn" and "Scattered Black and Whites".  Guy Garvey's way of painting a picture, evoking an emotion, harnessing a mood with his lyrics... that's a skill I am attempting to develop.

 

 

The song is called "You".  That's the first  I heard of Real Lulu, late at night, driving home, listening to the radio.  Catchy, and those were some really high notes sung there at the end.  Eventually, I got the album on CD... this one:

 

 

We Love Nick, released in 1996, which was before I had started going to local shows.  When I did get around to attending local shows, I made sure to go see Real Lulu as often as I could.  In these days, Jim Macpherson was the drummer accompanying Kattie Dougherty and Sharon Gavlick.  (You might know him better from his other band.)  There weren't very many bands in the area fronted by a woman, let alone two... this made Real Lulu unique among their contemporaries... and really, it's too bad that's notable. The songs are hooky and punchy.  My favorite of their songs to hear at the shows was always "Bobcat", probably because of the bass part.  I also really love "Let Me", which ended up on a movie soundtrack.

Alas, Real Lulu are no more.  I am fairly certain they released another album, but I don't have a hard copy of it, and couldn't find it after a cursory search on Spotify.  Perhaps there may be a reunion some day.  In the mean time, do try to find this album and give it a listen... also, check out Kattie's current project, Somersault.

 

 

 

 

Chris Cornell - Euphoria Mourning

This album was released in fall 1999.  If you happened to have bought it back then, you might have noticed that the title as printed on the disc was Euphoria Morning, as shown above.  Apparently, someone at the record label thought that Cornell’s original title was too dark.  I have restored the title here as originally intended by the artist, and really, it fits the music better. 

This was my favorite singer.  I don’t know that I had a favorite band at the time, but as far as vocalists were concerned, this was my guy.  Such range. Such emotion. From quiet to loud. I mean, the only person I can think of that sounds even remotely like Cornell is Ian Thornley from Big Wreck… and he’s just kind of in the same neighborhood. 

I bought this album nearly immediately after it was released, but at first I didn’t listen to it much.  Then I noticed that Chris Cornell would be playing a show in Paris at the same time that I would be there.  Ok, now it was on. When I went to Paris for the first time in October 1999, I only had 5 discs with me for the trip.  Euphoria Mourning was one of them.  (I would tell you the others, but that will steal the thunder from future blog posts.  I think they call this “a tease” in the radio industry.) See kids, back then we had a thing called “Discman”, which was a CD player built by Sony.  It could play one disc at a time, and it was small enough to fit in your pocket. Well, it fit in my pocket, I’m a big guy. 

I was in France for three weeks.  Three weeks, five albums. Think of it as kind of a miniature version of the age-old “desert island album” question.  I listened to this album every day. Every day. I listened to it in Paris while walking around, on the train between French towns, in Amboise, in Lyon, in Avignon, on the Métro, in the rain, in the dark, and whilst falling asleep.  I was struck by the quality arrangements, and delighted at the departure in sound from Cornell’s work with Soundgarden. This is not to say that I didn’t like Soundgarden; on the contrary, I loved Soundgarden… I was just open to accept a change of pace.  These songs reminded me of “Seasons” from the Singles soundtrack and “Sunshower” from the Great Expectations soundtrack… but they were more layered, more textured, and more nuanced.  (The exception here is “Sweet Euphoria”, which Chris recorded by himself.) This album was my first exposure to Alain Johannes and Natasha Shneider, two great musicians who co-wrote many of these songs, and who played on the album.  (This reminds me that I still need to look into their old band, shame on me for not doing that.) 

This album has meant a great deal to me over the past nearly 20 years.  The lyrics from “Preaching the End of the World” that go “I’m 24 and I’ve got everything to live for”... well, when I was 24, that took on a new meaning.  The sentiment in “When I’m Down”... I feel like that every day, and that’s one of those songs that I wish I had written, it’s so good. I’ve really felt “Wave Goodbye” many times in my life as friends or family members have died.  So yes, I still love this album… but when I listen to it, I without fail remember that first trip to France… I hear a song from this album and I remember trying to figure out how to work the machines in a Paris laundromat. I hear another song from the album and I remember strolling along the Rhône on a dark night in Arles, nearly out of money, feeling so very alone, and considering jumping into the dark waters below.  I hear another song from the album and I remember that awful awful cold I got while I was in Lyon. 

“I’m a wreck when I look mighty”.   

Thank you Chris.

Welcome to the first Ohio Spotlight post, where I will briefly talk about Ohio musicians.  You might think this is an excuse to mention John Legend in the hopes that he would write with me someday… and while I would certainly be amenable to that idea (please), my motivation is somewhat more altruistic.  Simply, I want to mention artists that I currently enjoy or have enjoyed in the past, and would like all of you out there in the land of the Internet to discover them as well. 

We start with Captain Of Industry.  As I am not a reliable Dayton music historian, I can’t tell you what year they began, though if I were to hazard a guess, I’d say 2002.  They released three excellent albums, Captain of Industry (!), The Great Divide - my personal favorite of the three - and The Bronze. There is also an EP out there full of what seem very much like B-sides, which is odd and different, and then some of those songs ended up on The Bronze.  (One of those songs that didn’t end up anywhere else is “Plastique Bones”, which is way too catchy for its own good, and is one of my favorite songs in their catalog.) 

 

This group of talented musicians wore their influences on their sleeve.  Brainiac, clearly. Radiohead, most definitely. There are plenty of quirky, odd, experimental songs here… but I can’t listen to their hooks or harmonies without also thinking that these fellas all spent plenty of time listening to the Beatles and Beach Boys. 

There was some national touring done, and I will always be curious how they were received by audiences who were strangers to their sound.  I would like to think the quality of their songs and energy of their live show won people over. As a bass player, one thing I try to take with me from their albums and their shows is Ian Sperry’s patient approach… he never overplays.  Several of the moments in their songs that I find most interesting are when the bass is resting… when Ian stops playing. For a good example of this, check out “Quiet Zone”... apologies to the rest of the band, but the bass MAKES that song. 

Alas, Captain Of Industry are no more.  Life, uh, gets in the way. There are the very occasional one-off reunion shows, and there are the albums.  I let someone borrow my copy of The Great Divide and never got it back, but hey, I have the other two around here still, and can listen to those songs via streaming these days. 

Nathan Peters sings “no one really cares what town you come from”, and I humbly state my disagreement here.  If these guys weren’t from Dayton, I strongly doubt they would have developed a similar sound without the combination of gray Midwest winter, rust-belt city despair, and rich local music heritage.  Friends y’all, they’re from Dayton, Ohio. Find them online and give them a listen.

Part of the lasting appeal of music that we may have discovered many years ago is the place we happened to be in our lives when that particular music became part of our soundtrack.  I am sure this is true for other folks as well, but for me, certain songs and certain albums really take me back to a specific time or place…and sometimes those are warm memories and sometimes those are bitter memories… but for me, there aren’t many things that take me back the way that music does.  That being the case, here’s the first entry in an ongoing series “Music as a Time Machine”. 

 

 

Toadies - Hell Below/Stars Above 

Toadies. The pride of Forth Worth.  Their debut album showed up while I was in high school, and for a time you couldn’t get away from that lead single.  It went platinum, back when albums still used to go platinum. You would think that this kind of success would establish them some goodwill with their record label… but you would be wrong. 

The second album that Toadies presented to their label… well, the label didn’t like it. The band went back to the drawing board… went back to touring… went back to writing.  I remember avidly following them via their website and their message board. The members of the band would often interact with the general public there on the message board, and I gathered from reading the posts, they would do this in the community as well.  They gigged regularly - at least around Texas. They would go to other shows. They would host the occasional party at one of the band members’ homes. They would talk about their interests outside of music. All of this turned these people who seemed very much like rock stars to the high school version of me into regular folk for the early twenties version of me. 

We finally got a second Toadies album, Hell Below/Stars Above.  Amazingly enough, it’s actually better than their debut album, the one that went platinum.  The band went on the road to support the album, and I remember seeing them in Cincinnati and in Columbus and in Cleveland with my friends.  (Notably, Justin locked his keys in the car at a rest stop in Lodi where we stopped on the way home from the Cleveland show for a snack. Good times.)  Sadly, the label didn’t do much of anything to help promote the record. I don’t remember seeing any videos, and I don’t remember any radio play. Sales lagged.  All of the stress of this time caused the band to fracture. 

We still have these songs though.  The album starts off with a Vaden Todd Lewis scream over some riffy guitar. Lisa Umbarger’s fine bass work stands out here, from “Push the Hand” and “Motivational”, where it really drives the song… to tracks where it is just as important to me, but maybe a bit more subtle, like “You’ll Come Down” and “Pressed Against the Sky”.  Have a listen to the title track and it’s very gospel-sounding outro… this is a song that has been a huge influence on my own songwriting. It’s also nice that this band has some love for Dayton, being clear fans of Kim Deal’s work… and they are on record stating their admiration for Brainiac as well. 

I still love these songs, and every time I hear them, I think about driving on 70, 35, 33, or 71, on my way to a party, a jam session, or a concert, looking forward to seeing my friends and having this record playing at an unsafe volume in the car.  I also think about Pete, gone way too soon.

This is going to give everyone a good idea about my age, but when I was first getting into discovering music on my own, I loved opening the cassette and pulling out the folded up liner notes.  I would read the lyrics without the music playing, I would read the lyrics with the music playing, I would read the lyrics and sing along.  When cassettes got replaced by compact discs, I would do the same thing... in fact, I would be disappointed if I bought an album that didn't have the lyrics included.

Fast forward to now, where music lives mostly in digital form.  It feels like modern music listeners may not be as concerned or interested in the lyrics as I was in my youth.  My intent here is not to sound curmudgeonly, nor to yell "get off my lawn" at folks younger than me... they love their music, but with the decline of music as a physical thing, it seems to be a bit harder to find the lyrics.

With that in mind, I have added a lyric page to my website.  If you wanted to know how to spell all of those French words in "Le soldat" or you were curious as to what exactly I am saying in "North of Sixteen", or if you didn't know whether I am saying "write away" or "right away" in "Soul of an Ode"... well, head on over to the lyric page and read away.  Please sing along.