Tag Archives: Music

Trip Peek #66
Trip #137
Sixty-Six and More

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This picture is from my 2016 Sixty-Six and More trip. It was my fourth and most recent end-to-end drive of Historic Route 66 although it wasn’t conceived as such. This trip just kept growing from first seed until I got home. In the beginning there was a decision to attend the Route 66 Conference in Los Angeles with a visit to my son in San Diego tacked on. I could fly to that but didn’t want to. A decision to drive was accompanied by a decision to follow Sixty-Six all the way. Before long I’d added a 5K walk in Tulsa and a Dirk Hamilton concert in San Pedro. Logistics for the concert gave me a chance to stay on the Queen Mary for a night. My route home was mostly on US-50 which allowed me to visit a cousin in Colorado and stop at the two Madonna of the Trail Monuments I hadn’t seen previously. Throw in a Super Moon and the LA protests following the presidential election and the justification for “More” in the title quickly becomes apparent. The picture is of the Palace Theater in the middle of what was the most western block of the original US-66 alignment. Trip Peeks really are selected randomly and it is pure coincidence that the 66th Peek involves Route 66.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full sized photo and the associated trip journal.

Trip Peek #65
Trip #121
Faux Fight at Franklin

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This picture is from my 2014 Faux Fight at Franklin trip. The city of Franklin, Tennessee, was the destination and watching a reenactment of the 1864 Battle of Franklin was the purpose. I would reach my destination but not accomplish my purpose. The picture is of the main house at Carnton Plantation. It was used as a field hospital when the battle began nearby. The reenactment was also to take place nearby but a night of solid rain left the ground unsuitable and the faux fight was called off. I made do with an extended tour of the house and museum. Although the battle cancellation was something of a disappointment, the overall trip was not. I’d spent the previous day in Nashville with lots of music and a visit to the newly opened Johnny Cash Museum. On the way home, l stopped by the Horseshoe Camp Cabins for the first time since the April fire that left them essentially destroyed.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full sized photo and the associated trip journal.

Time of the Season

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It was fun while it lasted. Jasen Dixon set up The World’s First Zombie Nativity Scene in 2014. He says he almost didn’t bring it back this year and definitely won’t next year. The display faced legal challenges and a certain amount of outrage during its first two years but it seems things were fairly quiet last Christmas season. From the beginning, the display had at least as many fans as detractors, and, while the number of those in favor has increased, the number of those actively opposed has fallen dramatically. For some it was a practical matter. After 27 misdemeanor charges and $13,500 in fines were dropped early last year, Sycamore Township officials decided “It’s not worth the expense…”.

In 2015 I included a couple of daytime pictures of the Zombie Nativity in some comments tacked onto a Christmas time blog post. This year I snapped both day and night shots. I ended my 2015 comments with the observation that I thought “…a new local Christmas tradition has been established.” Whether or not you think that was right depends on whether or not you think the word “tradition” has any business being associated with something something that lasts just four years.

The title for this post comes from a 1968 hit song from the band The Zombies. I listened to a lot of stuff from them back in the day but I’d been smitten by zombie music long before. I remember singing along to this Kingston Trio recording from an older cousin’s collection as a pre-teenager. In searching for that 1959 performance I discovered a really cool one by Rockapella and another by the great Harry Belafonte.

A Post-Refurb Peek at Music Hall

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Cincinnati’s Music Hall reopened on October 6 after an 18 month $135 million renovation. I didn’t make it to that grand re-opening. Last Sunday’s third and final performance of “American Originals, Vol 2” was my first time inside the building since I attended the MusicNOW Festival in March of 2016. That was not the final event preceding the shut-down but it was among the last and it prompted my A Pre-Refurb Peek at Music Hall post. I selected the photo at right to open this post as the closest thing I’ve got to the photo that began that article. There’s a more inclusive exterior shot here.

Although these photos do not attempt to duplicate any of those in the earlier post, they do make it obvious that the chandelier that once hung over the lobby, and which I sort of featured in 2016, is gone. Apparently it was decided before renovations started that this chandelier, as well as some others, would not be coming back.

I also took a look at the balcony and gallery before I headed to my seat. Note the panels above the orchestra pit area. They’re to improve the acoustics of a place I didn’t even know needed improving.

That chandelier that hung above the main lobby is one of the three now hanging in Corbett Tower. A drop ceiling was removed and the nineteenth century stenciled design recreated. Previously blocked windows have been cleared to let in more light and provide views of Washington Park.

With all the gawking I did at the new and freshly uncovered beauty of the wonderful old building, I was at risk of forgetting why I was there, but I didn’t. Last year the Cincinnati Pops Orchestra put together an “American Originals” project featuring the music of Stephen Foster and several world class performers. This year it was the music of the World War I era and another batch of world class performers. Specifically those performers were the Steep Canyon Rangers, Pokey LaFarge, and Rhiannon Giddens plus tap dancer Robyn Watson.

With the orchestra always adding that something extra, the artists performed alone and in various combinations. The finale was a rousing version of “I Ain’t Got Nobody” with all hands on deck. In fact, it was more than just all hands, the audience was encouraged — quite strongly — to sing a couple of lines. That’s Pops Conductor John Morris Russell doing the encouraging. The entire performance was recorded and a CD will be available. I assure you it’s safe to buy; I did not try to sing.

I ended the 2016 pre-refurb post with a shot of Springer Auditorium’s 2,000 pound chandelier from floor level. The closest I’ve got to that this time is a shot taken from the balcony. The chandelier is a relatively new addition to the 139 year old building. It was added during a 1969 renovation. That meant there was talk of removing it but public outcry kept it from going very far.

I’ve called this a peek and it isn’t a particularly good one. Among the much better photographs out there are those in an online gallery at Cincinnati Refined. I’ve provided even less of a peek at the concert. CityBeat published an excellent review of Friday’s performance which was essentially the same as what I saw Sunday. That review is here.

BLINK Cincinnati

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It’s big. Twenty blocks big, they say. The southernmost installations are in the Banks area south of 2nd Street; The northernmost is a little north of Findlay Street. That’s where the twenty block measurement comes from. In between, displays can be found in an area three or four blocks wide. The simplest description of BLINK is that it’s a light show. Colorful images, such as the one at right, are projected on buildings throughout that twenty block area of downtown Cincinnati. Thursday was the first night; Sunday is the last.

I made it Thursday night, but not as early as I should have. I had thoughts of parking in the Washington Park and catching the nearby opening night parade. I was way too late for that, however, and could see that streets around the park were blocked off. I turned onto Walnut Street and headed toward Fountain Square. As I drove, I grabbed the picture at the top of the article from the car. Vehicle traffic was heavy but nowhere near what I’ve frequently seen in the past. It was foot traffic that was unusual. It didn’t approach gridlock levels either but it was certainly heavy throughout a large area. At this point, I wasn’t really surprised to see the Walnut Street entrance to the Fountain Square Garage closed. I was, however, feeling a little discouraged and the blocked entrance added to that. I decided to swing around to the other side and if it was also closed, as I expected, I would simply head home and try again on another night.

I did not have to cut and run. The Vine Street entrance was open and there were plenty of spots open in the garage. After a brief look at the area around Fountain Square I headed toward the river. These two photos are of the eastern side of the National Underground Railroad Freedom Center. The lighted tops of the PNC and Carew Towers can be seen in the first one. All projected images are either constantly changing or in motion.

South of the Freedom Center, seesaws with illuminated beams occupy an area between it and the Roebling Bridge. I walked beyond the seesaws and looked back north for the second picture. Images are projected on all three sections of the Freedom Center. On the left are the PNC and Carew Towers with the Scripps Tower on the right.

The Great American Ball Park, home of the Cincinnati Reds, is a participant with a large display of the event’s name and and a series of baseball themed images.

Food and beverages are available in a number of Hospitality Areas and there are several locations with live music. The first picture is of The Mambo Combo who were performing on the Freedom Center Stage. The second is of the Queen City Kings performing in the Saint Xavier Backlot. The King City projection, with rotating tape reels, is on the rear of Saint Xavier Church. I kind of wanted to talk with the young lady in the picture about what she was reading but I didn’t.

There was another snag besides my late arrival. As stated in the online FAQ, “BLINK is designed around the Cincinnati Bell Connector Streetcar route.” Around 9:00, when I decided to take the streetcar to the north end of the event, it was not moving. It wasn’t the streetcar’s fault. A section of 5th Street was blocked for what I assume was an accident. Yellow police tape crossed the streetcar track. When any part of a loop is blocked, the whole thing, in effect, is blocked. I chose not to walk the fifteen or so blocks so I missed a considerable portion of the exhibits. Just more bad timing on my part.

Then There Was One

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Keith Emerson died in March of last year; Greg Lake followed in December. Carl Palmer looks like he might be around forever. Keith was 71. Greg was 69. Carl was the baby of the progressive rock trio that ruled the 1970s but even the baby is now 67. At 67 Carl Palmer is nearly as quick and powerful as he was at 27 and quicker and more powerful than just about anyone else at any age. Of course, there is a lot more to Carl than speed and power.

I first saw Carl Palmer in 1971 when Emerson, Lake, and Palmer opened for The James Gang at Cincinnati Gardens. There were two openers that night. One, Free, I knew of and had heard a song or two. The other was completely new to me. ELP blew me away that night with such force that, until I looked up some concert details earlier this week, I had totally forgotten that Free had appeared between them and the headliners.

For starters, they sounded good. Nobody sounded good in Cincinnati Gardens but ELP did. What I mostly remember of Greg Lake that night was his singing. I know he played bass and guitar and may have even temporarily wowed me with his playing but it is his voice I remember. Emerson grabbed everyone’s attention. The synthesizer was new and exciting and seemed capable of delivering every sound imaginable. And Keith Emerson was its master.

But the drummer got a lot of my attention, too. At the time, I was an active (ever so slightly) drummer myself and, while I wasn’t particularly good, I knew enough to realize that this guy was great. Carl Palmer didn’t just pound on his massive kit; He played music on it.

I saw ELP once more but, while I was just as impressed with their individual performances, I was actually disappointed in the concert as a whole. It was 1977 and they were touring with an orchestra. A former co-worker thought this was possibly the best concert he had ever attended and an on-line article I just discovered gives me new appreciation for the accomplishment but it just didn’t do it for me. Part of what made my jaw drop back in ’71 was that three guys sounded like an orchestra. I didn’t find a 58 piece orchestra sounding like a 58 piece orchestra nearly as impressive.

There was no orchestra for Friday’s show at Live at the Ludlow Garage. Nor was there a keyboardist or vocalist. Carl occasionally stepped forward to introduce a song or tell a story and that’s what he’s doing in the first photo. Paul Bielatowicz stuck with his six string electric. Simon Fitzpatrick played both a six string bass and a ten string Chapman Stick.. A Chapman Stick can mimic a variety of instruments and both guitarists worked with plenty of effects. It wasn’t ELP but it was three guys sometimes sounding like an orchestra. We had joked about the possibility of getting a two hour drum solo. It was anything but. Carl had some very talented musicians with him.

Of course, it was Carl that everyone came to see and he did not disappoint. There were a couple of time he sat quietly and gave Paul or Simon a chance to show off a little but he never left the stage during the hour and a half show and wasn’t sitting quietly at all for most of it. No, it wasn’t 1971 again but it was closer than I had any right to expect.

Concert Review
Paul Simon
Riverbend Music Center

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A couple of recent posts spoke of how “I’m not moving like I used to.” Neither am I going to concerts like I used to. I still like live music and often catch both local and big time performers in smallish venues but when it comes to large venues and super stars, I’ve become pretty selective. I don’t like the large crowds and the various hassles that go along with them. I don’t like the large ticket prices. Adjusted for inflation, the third row Beatles ticket I bought for $5.50 in 1966 would cost $41.64 today. My twenty-first row seat at Saturday’s Paul Simon concert was more than twice that ($91.50) though that might be justified. The sound system did seem much improved over three Vox amplifiers and some microphones. But most of all I don’t like the outrageous and unavoidable fees that are stacked on top. Those fees added more than 25% to the Simon ticket. How the hell did we let that happen?

So when I do attend a big crowded high-priced musical affair you can bet it’s someone I really want to see. It’s probably someone I’ve wanted to see for a long time but just never quite managed so that seeing them has become something of a bucket list item. In fact, there’s a pretty good chance that the performer and I are both within kicking range. That was the case with last summer’s Steely Dan concert and is the case with a Van Morrison show I’ll be attending this fall. It was the case with Paul Simon.

Maybe Paul’s lost a little vocal range or can’t kick as high as he once did but how would I know? He delivered every thing I hoped for. The songs he played came from every part of his career and I knew almost all of them as did almost all of the audience. The eight piece band made me think of a cross between the Mothers of Invention and the E Street Band. They weren’t quite as tight as the E Street Band but the range of instruments and the levels of talent were pretty close. And they weren’t as loose as the Mothers but they did show a ton of flexibility. Everybody played multiple instruments — even the drummer played a mandolin at one point — and they were all good.

Paul played an acoustic guitar for “Me and Julio Down by the Schoolyard” and when the song ended a stage hand approached with a solid-body electric and they swapped. As Paul was strapping the new instrument in place he responded to shouts from the foot of the stage with “You want to hear it again?” The acoustic guitar came back and Paul and the band delivered another rousing verse or so. Maybe he’s done that before. Maybe he does it a lot. But it seemed spontaneous and we all loved it.

There were two encores. Paul had carried a baseball cap on stage and it hung on his mic stand through most of the show. I believe he carried it off with him at the end of the first set but might be wrong. I know he did after the first encore because it was on his head when he and the band came out for the second. He held it up and explained that the lower case ‘e’ on the hat represents the Half Earth Project which will receive all profits from the current tour. I am only slightly familiar with the project, which proposes to dedicate half the surface of the Earth to nature, but do not doubt its worthiness. In  my mind, both the project and Paul’s contribution connect with “How much is enough?” One species doesn’t need or benefit from manipulating every inch of the earth. One rock star doesn’t need or benefit in any real way from grabbing every dollar on earth. Paul and many musicians continue to perform long after banking enough money for several lifetimes because that’s simply what they do and folks like me and the road crews appreciate it. Wouldn’t it be a great thing if more people accepted that there really is such a thing as enough. The band did three songs in the first encore and four in the second. Then Paul brought them all to the front of the stage for a bow. Many shook hands with fans before walking off . Paul remained on stage alone.

He picked up a guitar and stepped to the mic. “Anger is addicting,” he said, “and we are becoming a nation of addicts. Look around and see who the pushers are.” That’s what I remember and what I recorded on my phone as I left my seat at concert’s end. Another review has it slightly different and there are reports of other variations at other concerts. He then ended the show with “The Sounds of Silence” which I’d been waiting to hear live since 1965. When it was over he moved a few feet to his left and stood the guitar in front of him. He seemed to study the crowd as he allowed the crowd to study him. After a few moments he moved to the other side of the mic and did the same thing. Aloha.

Remembering Timmy

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Tim Goshorn has been gone just over a week. He died of cancer last Saturday. During that week, photos and memories from friends, fans, family, and other musicians have filled the internet. The few photos I have don’t begin to compare with the many great ones I’ve seen and my memories don’t go back as far or go nearly as deep as many. But I do have memories. Lots of them. All good. Most with tapping toes and a big grin.

I didn’t really know who Tim Goshorn was before that day in 1994 when I walked into Tommy’s on Main. Prior to that, I thought of the Goshorn Brothers as Larry and Dan who had teamed up in the Sacred Mushroom in the 1960s. I must have seen Tim play at least once before, though. I had attended one Pure Prairie League concert and I’m sure Tim was on stage that night but it didn’t really register. Although I liked Pure Prairie League’s music and very much appreciated the talents of its members, I was not a big PPL fan. I was a Larry Goshorn fan.

That first night at Tommy’s, Larry and Tim played alone. That continued for a few more nights then PPL drummer Billy Hinds came in with a snare and some brushes. Before long Billy was sitting behind his full kit and bassist Mike Baney and keyboardist Steve Schmidt had joined what always comes to my mind first when I think of the Goshorn Brothers Band. There were other lineups over the years and every one was impressive but the classic Larry-Tim-Billy-Steve-Mike lineup is the one that impressed me most.

It lasted less than two years but it taught me who Tim Goshorn was. A typical week had the GBB playing three nights at Tommy’s and I was often there for at least one of them. Sometimes more. I got to know Tim as an outstanding guitarist and as at least a casual friend. That GBB version ended in December of 1995 when Mike Baney was shot and killed in the parking lot during a robbery.

There were other reasons involved but that murder was sort of the beginning of the end for Tommy’s. The Goshorn Brothers Band continued with various members for many years and I saw them many times. Watching Larry and Tim trade off leads was one of my biggest pleasures. I also saw the duo a lot. A wonderful period for me was when they played Friday evenings at the Golden Lamb’s Black Horse Tavern in Lebanon. They started at 7:00 which meant an old man like me could have a couple beers and hear some great music and still get home before bedtime. It was there that Tim and I helped each other finish off what we think was the only bottle of Buffalo Trace in an Ohio bar at the time.

After brother Larry eased into retirement in 2012, I often saw Tim with the Tim Goshorn Band and the pretty much identical Friends of Lee. I also saw him with other groups and duos. I enjoyed them all. Tim was always entertaining, always seemed to be having a good time, and always made an effort to say hi.

In October of 2014, I saw Tim perform with the current Pure Prairie League. This time his presence registered very much. This time I was a Tim Goshorn fan. I wish I had a better picture. They’re out there. The last time I saw him play was at DeSha’s on US-22. It’s nearby and, as I have on other occasions, I stopped in for one set on the way to somewhere else. I spoke with Tim at the break and actually stayed for a few more songs. Damn, he was good.

My favorite Tim Goshorn song is Colors. The version from the 1994 True Stories (Live at Tommy’s) can be heard via YouTube here. A 2011 Chuck Land produced video of the brothers performing it can be seen here. All the Lonesome Cowboys might be my second favorite (It’s neck and neck with Sun Shone Lightly.) Tim Goshorn song. It opens a nearly hour long 1995 concert video of the original Tommy’s GBB line up (minus Steve) that can be seen here.

Trip Peek #54
Trip #74
Easter Weekend 2009

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This picture is from my Easter Weekend 2009 trip. I found the VW Rabbit in appropriate holiday garb on the second day of the three day outing. The trip was something of a catch-all with some old roads, a stop at the Rock and Roll Hall of Fame in Cleveland, and a stop at Pymatuning Reservoir spillway “Where the Ducks Walk on the Fish”. A highlight of the trip, and one reason for its direction, was a Patrick Sweany concert with his father, “Hot Tub” Sweany. accompanying him on washtub bass.

Trip Peeks are short articles published when my world is too busy or too boring for a current events piece to be completed in time for the Sunday posting. In addition to a photo thumbnail from a completed road trip, each Peek includes a brief description of that photo plus links to the full sized photo and the associated trip journal.