Posts Tagged ‘Cleveland’

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Having started performing, with the accompaniment of a responsible adult, at the age of just twelve, Emily Keener is something a youthful musical veteran. Nine years on from when she started earning a living from music, the Cleveland indie-folk singer is set to return this Spring with her latest album, “I Do Not Have to Be Good”, her first since 2017’s acclaimed Breakfast.

This week ahead of that release, Emily has shared her latest single, Do You Love Me Lately. It’s a track that instantly shows the subtle shift in Emily’s music, with the pensive folk sounds coming forward and the Americana roots, while still present, sliding into the background. To the fore throughout is Emily’s subtly jaw-dropping vocal, there’s a touch of Julia Jacklin to the vibrato and fabulous inflections. Discussing the track, Emily has suggested it was inspired by staring into space day dreaming of what it would be like to date a woman, and how Emily’s own self doubts started to creep into view. As she explains, “I found myself painting this woman as an unavailable dream-girl way out of my league. I saw the relationship as one that would shine a light on my deepest insecurities”. Instantly this feels like an exciting new setting for Emily’s music, a progression that keeps everything that was already in place and morphs it into something more intriguing than ever before.

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The single depicts the fragility of romantic love as Keener’s smoldering vocals float around a slowly pulsing, retro groove. It’s off the album, “I Do Not Have to Be Good”, due out May 22nd.

Emo-adjacent indie-punk bands are having a moment right now, and Heart Attack Man are undeniably part of that. The Cleveland band’s second album, “Fake Blood”, dips into college rock, grunge, punk and power pop, but all you’ll be thinking about are their seething riffs and incisive hooks that leave it all out on the field. Their pumping melodies bleed profusely while their slower riffs are satisfyingly sedating. Throughout their eleven tracks, frontman Eric Egan uses lurid physical anguish as a metaphor for emotional agony. On “Cut My Losses,” they “paint the walls with your brain,” on “Blood Blister,” there’s talk of “dead skin and phantom limb memories,” and on “Rats in a Bucket,” they have “a corpse’s worth of bones to pick.” On one hand, Heart Attack Man embraces an us-against-the-world mentality with steam emanating from their nostrils, but they also have a self-destructive side which exposes them to friendly fire. This dichotomy is illustrated in the final track, “The Choking Game,” where their invincibility and insecurities meet (“Some days I walk on water / Some days I run on fumes”).

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If bloodthirsty angst and strapping power punk is your scene, go out and buy some Fake Blood.

Eric Egan,
Adam Paduch,
Tyler Sickels,
Seamus Groman

Released April 19th, 2019

“The Gate”, a new ten song album of cathartic, riveting post-punk excellence. The long-running group, comprised of veteran players in the Cleveland scene, have turned in what is arguably their best recorded output – and the first since 2015’s “The Woods of Heaven”. For “The Gate”, Pleasure Leftists ventured out to Portland, OR in March 2019 to record on tape with Stan Wright (Arctic Flowers) – and the results are massive. Those familiar with previous Pleasure Leftists material will immediately feel reacquainted with the group’s masterful arrangements and cool, confident execution – a style that draws from the early British post-punk classics on labels like 4AD and Factory Records,

Haley Morris’s voice is a force of nature. The singer of long-running Cleveland post-punk outfit Pleasure Leftists has always had a strong, controlled alto, but the range and vibrance of her instrument—she’s gotten comparisons to Siouxsie, Savages’ Jehnny Beth, and “crying Dracula” in the past—is especially luminous on The Gate. Much less gloomy than their previous (excellent) work, The Gate still has the propulsive, danceable rhythms and winding, chorused-out minor key guitars of death rock, but there are moments here where the whole thing cracks open and joy—joy!!—leaks in. See “The Conversation,” when the sublime pop chorus kicks in at roughly 0:45; both Morris’s voice and Kevin Jaworski’s guitar lift several steps; as Morris sings “The conversation is over now,” bassist Steve Peffer and drummer Mark TerVeen hustle to a peak that feels like relief and release. (Feels like the best, and rarest, kind of closure.) Even the gothiest songs, like the spiky “Dancing in the Dark” and the tense, moody “Try the Door,” have soaring bridges or choruses.

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The musicianship is what makes this album feel like an absolutely classic piece of work. The tones are perfect – almost as though Greg Sage dialed them in for a Wipers record. You’ll immediately be taken by Haley Morris’s vocal range and projection, which shines across the entire album and is absolute next level work. The sheer artistic quality of the songwriting is propelled along in perfect rhythm, as the guitar and bass play off of each other wonderfully.

Led Zep The Destroyer 4LP yel

Audience recording from the Richfield Coliseum in Cleveland Ohio, on April 28th 1977. limited edition of a tape close to being excellent, virtually free of hiss, trebly and overloaded at times. The tape shows wear occasionally and presents cuts and edits almost in its entirety. The band is upfront and the clarity of the instruments is very detailed, the bass is a little indistinct at the end. The cuts and edits eliminate most of Plant’s comments, miss the first few seconds of many songs, cause tape disturbances when the recording resumes and interrupt two tracks in progress. Before Nobody’s Fault the taper curses as he informs he is having problems, a squeal precedes the first cut, when the recording resumes the first few guitar notes are missing.

4-28-77-tkt

In My Time is cut briefly in the final vocal a cappella and joined to the last phrase of You Shook Me. No Quaaludes, as introduced by Plant, is cut during the second vocal theme and joined to a couple of seconds of the wha-ed guitar episode, and finally cuts out. Audience noise is minimal, a wise guy is introducing the songs to his mate! s before Plant, an irreverent yell of “this sucks!” in Over the Top ,and the taper cursing again in Stairway; there’s some mumbling in the quiet moments, but nothing really annoying. This is a superb gig, the pacing and playing, together with the very enjoyable recording, make for a listening treat. Page is precise, concise and powerful; Jonesy is all over the place; Plant’s vocal gymnastics are strong from the beginning to the end and seems genuinely touched by the audience’s response; Bonzo is frightening, he seems to destroy the drum kit in every track, the recording captures particularly well his crushing presence. Collectively is the same story, the enthusiasm does not let up a minute, every piece receives special attention and there are no lazy moments. In My Time features great introductory licks to the guitar leads; No Quarter features amazing interplay and Jonesy’s most inspired piano playing. Ten Years is overloaded by the loud twelve-string and cymbals, Achilles by the drums, even distorting the tape, but both are very clear. Tape wear is evident in Over the Top, Kashmir and Stairway; there’s a little distortion in the encores: Rock and Roll, Trampled. Despite these deficiencies, the performance is not affected at all and allows its enjoyment. This show should restore the faith to detractors of this era. 

Led Zep The Destroyer spine

The tape for Zeppelin’s second night in Cleveland is one of the strangest.  The tapers were located a ways from the stage, they were experiencing problems with their equipment, and he and his friends were not shy about expressing their opinions throughout the entire show.  It is also obvious one of his friends attended the previous evening’s concert and liked to tell the others which song is coming next.  Despite these obstacles this is considered one of, if not the best, audience document outside of the tapes for Los Angeles.  Its reputation is due to it being very clear and powerful.  Zeppelin was the perfect band to use the Richfield Coliseum’s questionable acoustics to their advantage and the result sounds like battery artillery storming the beachhead to the delight of a packed house.

This tape has been known as The Destroyer since it was released shortly after the event [I believe it might have been as much as a year later or more].  It was first released as a vinyl box set on the Smilin’ Ears Records label complete with the famous painting of the warriors huddled on top of one another.” [collectorsmusicreviews.com]

Recorded 28th-Apr-77 Cleveland, The Second Night

Audience recording from the second night at Richfield Coliseum in Cleveland, OH – 28th April 1977 apparently one of the best performances on the whole tour. Released in 1978; originally sold for $22 via the Pied Piper bootleg catalog.

THE DESTROYER
SMILIN’ EARS 77-300
Side 1: The Song Remains The Same – Sick Again (14:11)/ Nobody’s Fault But Mine (5:36)
Side 2: Since I’ve Been Loving You (17:24)
Side 3: Guitar Solo medley incl. The Star Spangled Banner – Achilles Last Stand (18:21)
Side 4: White Summer medley incl. Black Mountain Side – Kashmir (15:31)
Side 5: Ten Years Gone (8:56)/The Battle Of Evermore (5:25)/ Going To California (4:19)
Side 6: Black Country Woman medley incl. Bron-Yr-Aur Stomp (7:00)/ Trampled Underfoot (6:19)/ Rock & Roll (3:54)
Side 7: Kashmir (17:13)
Side 8: Over The Top medley incl. Out On The Tiles/ Moby Dick (16:25)
Recording: Very good mono audience. Taped on platform usually used for television camera for sports broadcasts. “All the cuts exist for two reasons: the taper was trying to save tape, and the recording was done on 60 minute (30mins per side) cassettes. ”  Comments: Deluxe box set. Two different covers. Two audience sources exist for this date.

Master tape in detail:
01. The Song Remains The Same (beginning cut) 03:44
02. Sick Again 07:05
03. Nobody’s Fault But Mine 07:17
04. In My Time Of Dying 11:37
05. Since I’ve Been Loving You 09:43
06. No Quarter (cut at 05:07) 20:45
07. Ten Years Gone 10:05
08. The Battle Of Evermore 06:27
09. Going To California 05:14
10. Black Country Woman 01:42
11. Bron-Y-Aur Stomp 05:42
12. White Summer (cut at 00:29) 03:45
13. Black Mountain Side 01:34
14. Kashmir 09:34
15. Over The Top 17:26
16. Noise Solo (cut at 10:06) 10:10
17. Achilles Last Stand 10:28
18. Stairway To Heaven 11:44
19. Rock And Roll(beginning cut) 04:12
20. Trampled Underfoot 06:59

 

Despite being part of a tour that eventually evolved into violence and heartbreak, Led Zeppelin put it all together during their April 27th, 1977, stop at the Richfield Coliseum near Cleveland .

Zeppelin-ologists claim this was one of Led Zeppelin’s best shows on the tour, And much like the 10th anniversary Springsteen concert at the Agora , this 1977 Coliseum show was one of the most bootlegged of Led Zeppelin’s career.”

The best of those bootlegs remains the three-disc set “Destroyer”, which included the entire 18-song performance from the opening “The Song Remains the Same” through to a two-song encore of “Rock and Roll” and “Trampled Under Foot” that arrived more than three hours later. Better still, unlike lo-fi fare such as the fan-made bootleg Listen to This Eddie from later on during the same tour, “Destroyer” offered remarkably clear audio. The exceptional sound quality throughout the performance is described by some sources as “almost perfect”.] It was the first, and for many years the only, professionally recorded mixing desk tape to escape from the band’s possession

Led Zeppelin ended up running through an impressive setlist of fan favorites that night in Cleveland, including “Since I’ve Been Loving You,” “Stairway to Heaven” and “Kashmir,” while sprinkling in newer fare like “Achilles Last Stand” from their latest album “Presence”.  A standout moment arrived courtesy of John Paul Jones . who led an improvisational run through “No Quarter” that stretched to 20 minutes in length.

“Working from both electric and acoustic pianos, John Paul Jones again impressed with his general versatility,” It was one of the best rock jams I’ve ever witnessed.”

The liner notes for “Destroyer”, issued by the Shout to the Top label, actually thank John Bonham for use of the tapes, though initial vinyl pressings incorrectly placed the concert at Seattle. Later, a bootleg of the bootleg appeared; it was edited down to two discs by omitting Led Zeppelin’s lengthy take on “Moby Dick.”

Together, these bootlegs seem to celebrate a band at the top of its game. A show held three days after this Cleveland stop went on to draw more than 76,000 fans to Detroit’s Pontiac Silverdome setting a record for an indoor arena at that time. In actuality, however, Destroyer documented the beginning of the end.

Dates in support of Presence, Led Zeppelin’s seventh studio record, had kicked off on April 1st, 1977, in Dallas, with 51 concerts scheduled. They’d never get there.

When Led Zeppelin reached the Riverfront Coliseum in Cincinnati on April 19th, 1977, more than 2,000 fans without tickets attempted to crash the gates – resulting in around 70 arrests. Later, on June 3rd, a riot broke out in Tampa after an open-air concert was cut short by a thunderstorm, leaving behind scores of injured fans. Moving forward in a tense, drug-fueled environment, Led Zeppelin’s performances were criticized as increasingly overblown and inconsistent.

Then Robert Plant’s son Karac died on July 26th, 1977, after a a severe stomach virus . Already fearful that things were going off the rails, Plant took an extended period of time away to grieve. A tour originally intended to last through August. 13th abruptly ended.

“By 1977, I was 29, just prior to Karac’s passing, and that sort of wild energy that was there in the beginning had come to the point where we were showboating a bit,” Plant told Uncut magazine in 2008. “Unfortunately, we had no choice. We were on tours where places were going ape s—. There was no way of containing the energy in those buildings. It was insane. And we became more and more victims of our own success. And the whole deal about the goldfish bowl and living in it, that kicked in.”

Led Zeppelin eventually rallied to produce 1979’s album “In Through The Out Door” but by September. 24th, 1980, Bonham was dead aged just 32, and Led Zeppelin were no more. Already scheduled North American concerts, including a return to Cleveland on October. 25th-26, 1980, were cancelled.

That left a July 24th, 1977, date in Oakland, less than three months after Led Zeppelin’s heralded stop at the Richfield Coliseum, as their last-ever concert in the U.S.

Led Zeppelin, Cleveland, April 27th, 1977 Set List
“The Song Remains the Same”
“Sick Again”
“Nobody’s Fault but Mine”
“In My Time of Dying”
“Since I’ve Been Loving You”
“No Quarter”
“Ten Years Gone”
“Battle of Evermore”
“Going to California”
“Black Country Woman”
“Bron-Y-Aur Stomp”
“White Summer/Black Mountain Side”
“Kashmir”
“Moby Dick”
[Guitar Solo]
“Achilles Last Stand”
“Stairway to Heaven”
Encore:
“Rock and Roll”
“Trampled Under Foot”

Cloud Nothings have announced a new album, “Life Without Sound”, not due out until January 27th. It will follow-up 2014’s Here and Nowhere Else. (Since that very good 2014 effort, Cloud Nothing’s main creative force, Dylan Baldi, worked with Wavves’ Nathan Williams on the good-not-great No Life for Me.) The new album’s announcement comes with “Modern Act”, the first single from Life Without Sound

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Check out the album’s 9-song tracklist and the band’s new tour dates.

This solo acoustic recording from Ry Cooder, in a radio studio and without an audience, illustrates perfectly where this maverick musician and consummate performer was at in 1972. The “Radio Ranch,” Cleveland, OH

With the educational and informative introductions given by Ry before many of the numbers – for the benefit of those listening at home and radio station personnel equally – alongside some of the very finest guitar playing you’re ever likely to hear, this release is a near perfect artifact of this era of Ry Cooder’s career.

SIDE A
1.Interview (Live)
2.Police Dog Blues (Live)
3.Ry Cooder Introduction (Live)
4.Comin’ in on a Wing and a Prayer (Live)
5.Song Intro (Live)
6.Great Dream from Heaven (Live)

SIDE B
7.Sleepy John Estes Introduction (Live)
8.Clean up at Home (Live)
9.Dedication to Radio Ranch Personnel (Live)
10.Tattler (Live)
11.You’re Gonna Need Somebody on Your Bond (Live)

SIDE C
12.Radio Announcement (Live)
13.F.D.R. In Trinidad (Live)
14.More Sleepy John Estes Stories (Live)
15.Floating Bridge (Live)
16.Billy the Kid (Live)

SIDE D
17.Ditty Wah Ditty (Live)
18.Dark Was the Night, Cold Was the Ground (Live)
19.Jesus Is on the Mainline (Live)
20.Going to Brownsville (Live)

Lou Reed’s momentary departure into pop with the mould-breaking New Sensations is naturally made with bold intentions and with dark wit intact, but ironic? no, simply pop in the hands of a master craftsman. As well as marking Lou Reed’s fourteenth solo studio album, New Sensations was also a statement of intent whilst similarly bearing the trademark parallels of transgressive wit and intelligence that accompany his historic path to solo artist. The album was a potent mix of anxious pop that found little room for the distorted, exotic mongo that guitarist Robert Quine honed in previous works with Reed. Accompanied by Fernando Saunders on bass, Peter Wood on keyboards and the return of drummer Fred Maher, Reed’s perverse new structure in steroid sound was taken on the road including a midday show at the Agora Ballroom in Cleveland, Ohio Klondike proudly celebrates the posthumous performing career of the late Lou Reed with the entire WMMS-FM broadcast from his Coffee-Break performance at the Agora Ballroom on 3rd October 1984.

One of the better “bootleg” releases that we’ve seen Lou Reed shuffled off from this mortal. with a great band and Lou is pretty upbeat. The liner notes suck the writer doesn’t even know his topic. A lot of tracks from New Sensation album era.

Agora Ballroom, Cleveland, Ohio
10/03/1984

01 00:00 (DJ Intro) 0:42
02 00:42 Sweet Jane 4:08
03 04:50 Waiting for the Man 3:41
04 08.32 Martial Law 5:04
05 13:36 Legendary Hearts 3:42
06 17:18 Turn out the Lights 4:25
07 21:43 (Interview) 1:25
08 23:09 Sally can’t Dance 5:06
09 28:15 Walk on the Wild Side 5:18
10 33:33 Satellite of Love 6:25
11 39:59 (interview / Band Introduction) 1:23
12 41:22 My Red Joystick 5:10
13 46:33 New Sensations 7:11
14 53:44 Turn to Me 4:44
15 58:28 I Love You Suzanne / (DJ outro) 3:38

Lou Reed Band
Robert Quine (guitar)
Fernando Saunders (bass)
Peter Wood (keyboards)
Lenny Ferarri (drums)

20 years ago today Bruce Springsteen and the E Street Band performed “Darkness On The Edge Of Town” at the Rock and Roll Hall of Fame + Museum in  Cleveland on 2nd September 1995.
(The best part is at the end!) The Municipal Stadium, Cleveland OH. A fan jumps on the stage and gives Bruce a hug .

“That’s rock n’ roll”

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This Cleveland-based group are gearing up to release a new album called “Mont Royal”, to be unveiled on August 28th. A couple weeks back they unveiled a first taste in the form of I Want To Feel Alive, and today we’re stoked to premiere the latest offering: “In Motion.” The song is boisterous and upbeat, with a strong folk-rock tempo that will no doubt serve the band well during live performances. It certainly piques my curiosity: this album promises some great variation, and will definitely be worth a listen.

Lighthouse and the Whaler hail from Cleveland, Ohio, a city infused with entrepreneurial spirit. It’s the birthplace of Superman, the members of the band — Michael LoPresti, Matthew LoPresti, Mark Porostosky Jr., and Ryan Walker — have embraced their hometown’s DIY spirit and taken it to heart. Since self-releasing their first two albums (2009’s The Lighthouse and the Whaler, 2012’s This Is An Adventure), the band has made a name for itself internationally, moving from coffee shop tours to renowned venues. In the process, The Lighthouse and the Whaler has grown from a folk-leaning group into a fully-realized band that blurs genres and continues to reinvent. The results of this tireless pavement-pounding and soul-searching speak for themselves: millions of streams for the then-unsigned band’s songs “Pioneers” and “Venice,” and tours with artists like Ra Ra Riot, Matt Pond PA, and Jukebox The Ghost.