Dayton Music

October 4^th and 5^th Club Panama hosted the annual For Love of Sonny tribute fundraiser to help raise funds and awareness for Juvenile Diabetes treatment and research. This year’s local supporters included Simply Delicious, Schaeffers Amusements Co, Janeen and Joel Naugle for bringing the sweet stuff, Rudy’s Smoke House BBQ, Keg & Cork and Letters to the Blind for CD donation. Other area sponsors included Fazolis, Red Lobster, Olive Garden, Roosters, O’Charleys. Frickers, Chucky Cheese, Cracker Barrel and Golden Corral with all proceeds going to the JDRF.  Not only was this the ninth year for love of Sonny but it was also the 25^th year anniversary of Panama bringing metal through the door. In ’89 Susie Maynard put her foot down and welcomed the headbangers.

Columbus transplant Mike Defendant brought the acoustic acolytes back to Springfield opening the ninth annual weekend fresh off a tour with Dead Kennedy’s and TBH. Like last year he brought the hardcore punk and acoustic fury out of his six strings. Plus drinking since 10am helped the creative improvisation flow better. He warned or depending on your POV guaranteed this would be the best or worst thing you’ll ever hear, at least for that night anyway.

Acoustic tunes with speed metal plucking include religion, imaginary friends (his are better than yours and better connected) and a tune about the joys of radio friendly smash hits that never get played. If there’s anything the road’s taught him it’s that there was absolutely no nutritional value in early morning alcohol. He continued with the off the cuff, chaotic, falling off the limb with slight irreverence stepping forward backwards, pacing between the left and right hand paths performance only he could do. Bringing the electricity out of the acoustic he sung a pretty song about having phone sex with your mother. The question was, who hangs up first? His music obviously inspired by SOD and Napalm Death run the length of a few of their old school tunes.

Fletcher Munson was next playing a set of originals with a few varied covers. Not many bands played GWAR and Neil Young in the same show. With a blend of blues, rock and metal inspired with a jam groove they opened with a tribute to the late Oderus Urungus, as we traveled on the Road Behind. They get original on the Vicious Cycle and Crystal. It was a time warp protest trip back to 1970 and Kent Ohio, courtesy of the Crazy Horse. There’s some sort of Mental Delay, in the music they love to play, could be due to the love of ‘the drop’, Raging Alcoholic’s fuel their stomp. It was no secret they came off sounding a bit Wooden but it’s all for the love of those Butthole Surfers.  There’s a certain Hypnotic element to Fletch, maybe it’s the punk rock blue grass attitude of Growing Marijuana.

Troy’s From Silence to Violence started Halloween early with Phil Rindler opening the show in animated ninja attire. The first of the weekend ‘heavies’ busted open an early can of screamin’ hardcore, metalcore with a few sung verses of reality based tunes about partying and the positive/negative aspects of life. Don’t go trick or treating with them, you don’t know What’s in the Bag. Started in late 2012, they’ve opened for Dead by Wednesday and Bobaflex and a video for What’s in the Bag is upcoming.

Abrade the Regal always brings the infectious groove and the ‘table top’ musicianship. Finding that happy balance between rock and metal without being in mosh territory but heavy enough for a ‘good head bang dance’. Like any band that’s ever played a loud riff they Scream at the World and everything that pisses them off.

The Reefer Hut finished the evening metaphorically putting blood on the wall with a full frontal thrash party and a small but dedicated pit. Mosh pit stompers included the tattooed, metal and proud Inner Pride. Don’t judge a man with a guitar, a black t-shirt and a mic unless you’ve read his lyrics or carried his gear. It’s a Pantera pummeling and there’s No Turning Back from the eardrum Abuse as the guitar chords of Sleep Dred did more damage than Freddy’s glove. They concluded night one with an inspirational neck wrecker about Moving Forward from bad situations and negative sh-. A politely yelled, screamed encore was requested.

The second evening gave us Blackout Method, National Headcase, Chronic Aggression, Legbone and Letters to the Blind, and as the evening progressed everyone in the Springfield metal scene came. It was a claustrophobic but friendly crowd, with beer and shots flowing with a long sometime short list of raffle ticket winners growing with several earning ‘repeat offender’ status. Saturday could also be the first time someone won a Chuck E Cheese prize in a bar. Winner was subject to height check.

Blackout Method covered the early evening with a set ranging from early Sabbath/Manson to modern day heavy metal Elvis. No better way to start then with some Dumb Luck, Red Line Chemistry style. If only Alice in Chains and Scott Weiland had joined forces. We all went Down (under) with the Sick Puppies, Face to the Floor courtesy of Chevelle. We heard the face painted Warriors Call and got ready to rumble with Volbeat. Rage poured with the Bulls on Parade. We got Sap and we liked it courtesy of Got Me Wrong. They went as old-school as metal goes to the original ‘nativity’ then went a few years forward paying respect to the holy ‘horned one’, on and on, it’s Heaven and Hell. Sadly a crash course in brain surgery had to be postponed but they ended on a trippy note and the death of the 60’s, it’s coming down fast, it’s Helter Skelter.

If you took snake bit blood from Down, COC and Crowbar, spliced it together just right then had something go horribly wrong at the last minute, you’d get the loud, striking serpents tongue in the ear of National Headcase. Playing with two turbine steel ripping guitars, they’re kinda like a metalheads Rush, with a few prog face smacks.

They sliced the crowd open with the razor sharp swamp water riffs of Welcome to the Fallout. The well Worked Over walls of Panama shook with the good heavy vibrations of Brother’s Keeper. The fast galloping drums and guitars on This Sacrifice Endures played the tale of any and all sacrifices made in life.

They played the prophecy of the Oracle, with its early-priest-like opening. Digging riffs down deep into the lower depths of long buried darkness. Don’t dig up what’s not meant to be found. It was a seven and a half minute plus monster chugger fueled by that special made swamp gas. Vultures ended with a tool kit of instrumentalization, thrash vocals with a Chrome Division shine and COC non-conformity.

Springfield’s had a chronic case of loud aggression since December 1999 driven by the raspy vocals of Joe Stafford and the Accept meets Overkill sounds of Chronic Aggression. The thrash of the New Jersey stomp was brought forth and hither with the Neighborhood Dispatch. They brought the crowd to the front including house security for the crowd pleaser sing along Balls to the Wall, Udo would be proud.

The Legbone’s been hit, popped, cracked and knocked out of socket a few times since the early 90’s but the Dayton based punk veterans keep on playing bringing the crowds up front surrounding the stage in an old-school punk gathering. Watching the group of fans boxing in the stage, getting uber close you couldn’t help but remember the days predating mosh pits when punks and kids just came to a show and bounced up and down with spikes (on the wrist, hand, hair or elsewhere) in the air. They’ve played with hardcore legends DRI, Gang Green and the Casualties. They played tunes about beer, partying and of course, more beer that’ve kept them going. They’re newest CD It Leads to Poverty is available now.

The Ninth Annual weekend closed with Letters to the Blind, the only band to bring electric drums. Playing their fourth show ever they began with Once, painting a progressively heavy picture with power and death metal elements. Though they have a short scene history their members date back to the Biogenesis days.  Throughout the set guitarist Blaine Gordon showed of Satriani like skills, As Color Fades casted a Dream Theater like quality over the club. They talked about the drones in line following the status quo indulging the late night stayers in a few more new tunes. Their five song EP is available at shows and online.

Club Panama thanks everyone involved in this year’s benefit, all the bands who played and everyone who came and rocked out for Sonny.

 

 

 

Saturday October 11^th was a chance to give back and show appreciation to all the brave men and women of the armed forces for all their hard work and sacrifices to ensure our safety and freedom.

Event organizer Brian Gilliams put together a two band tribute evening with raffles, prizes and cool autographed baseballs from the legends of the game. Gilliam’s band Throw it Down headlined the show playing three sets of the best of modern day rocking country with a few throwbacks to the legends that paved the way including some southern fried rock and a little old school metal.  The C.G.I Acoustic Trio opened the show with a unique set of songs some of which had never seen an acoustic chord played.

“I was inspired to host this event in memory of my brother, LCpl Kevin Creech of the United States Marine Corps. Kevin fought in Operation Iraqi Freedom, deployed to Fallujah, Iraq in 2005. Returning home from war he struggled with posttraumatic stress disorder and had many of his fellow USMC brothers take their own lives due to PTSD. I’ll be requesting a percentage of the funds raised be spent on vets with PTSD, dedicated in his name,” said Gilliams.

Key event contributors included Office Depot, Arby’s, Chick-Fil-A, Throw It Down band, Bocca Live, Smoothie King of Dayton, 700 WLW Radio, Frisch’s Big-Boy, 20Brix/Padrino, John and Chris Ritchie, Mark and Lisa Tesmer, Kyle and Erin Lemaster and Envi Nails.

All event proceeds were donated to the Wounded Warrior Project. Founded in 2003, WWP helps those that’ve returned from duty with the emotional, physical and mental recovery of returning from combat helping with readjustment back into civilian life and aid in finding them employment. Also aiding those injured with multi-range programs, therapies, counseling and peer support.

C.G.I. Acoustic is brought to you by bass, acoustics and the old fashion Cajon drum box. Songs you’ve never imagined unplugged, ‘go there’ from pop to rock to metal. No Slayer or Skynyrd but BOC was teased twice with the reaper. Playing stripped down is their Rock & Roll fantasy and they can rock out as good as any three piece acoustic band. We heard what Neil Young said about them, Keep on Rocking in the Free World. A rare Fleetwood Mac tune by Christine McVie was sung by Mr. Chris Lee. After the Doobies Listen to the Music, CGI told the bitter sweet story of Johnny and the Bad Company that made him famous.

Taking a turn to the early 80’s they gave Prince some of their extra time with bassist James Isbell showing some impressive range. They played a non-electronic/non-synth version of In the Air Tonight, oh Lord. They downsized to a three man acoustical jam for Signs then paid tribute to the purple one as the Purple Rain came down with a little sample from Journey done Faithfully. Come Sail Away with them to the march of the War Pigs. Generals gathered in their masses, just like acoustic guitars at country bashes. CGI Trio thanks you all!

Throw it Down’s  first set opened with all country prepping the crowd for the upcoming till early morning party. According to Eric Paslay the first song ain’t about money, back-roads, come backs or drinking, it’s a Song About a Girl and it’s all Waylon’s fault. Josh Thompson and Jason Cassidy both agree on the crazy lifestyle of a country boy singer. That night in Milford, Dierks Bentley wasn’t the only one that wanted to have some fun with a cold beer and raise some hell up in here. Thomas Rhett’s trying to find the right girl that just does something to bring out the lyrics inside, and It Goes (a lil somethin’) Like This.  Geddy Lee may have been called the working man but Mr. Haggard sang about those hard Workin’ Man’s Blues long before, paving the way. It’s a semi ride party on the hot tin roof cruising down the Florida Georgia Line on diesel and dust, kicking up the BMX smoke because that’s how they role. Kenny Chesney’s a self-proclaimed hillbilly rockstar out of control. From the smoky bars to an arena star, he’s Living in Fast Forward. Brantley Gilbert throws it back to the prohibition days. It’s Bottoms Up and the guns are serving more shots than the bar.

Lee Brice keeps the Parking Lot Party going before and long after the show. Could it be the country rocking cousin of heavy metal parking lot? Brice inspired a full house ‘holler swaller’ the good ole boys version of a social. Big & Rich share their concern with the conservation of ungulate mammals and encourage all to Save a Horse (Ride a Cowboy). Luke Bryan enjoys his rattlesnake shake as much as any six stringed cowboy with the company of a beautiful Country Girl working her magic by his side. Tonight was Jason Aldeans kinda party, whether on stage, in any state or the back of a jacked up tailgate. The Church of Eric was in session, closing out their first set and he preached the all American gospel living that hard working blue collar dream with pride, How ‘Bout You?

Their second set included a mix of country, southern and hard rock and the appearance/contributions of several local musicians including Erick Daniels (AfterMidnight),
Charlie Grau (After Midnight), Alan Cyr (After Midnight), “Izzy” Isbell (CGI/Hollywood Tragedy), Lance Boyd (The Medicine Men). (The first time Gilliam’s ever played live at a bar, he sat in with blues legend H-Bomb Ferguson. Boyd was H-Bomb’s longtime guitarist, and he handed him that guitar to play that night). Chris Lee (CGI/Hollywood Tragedy), Josh Cupp (Pistol Holler), Steve Witherby, (Second Wind), Don Overberg (Slowhand) and Rick Grabencamp (Marsha Brady) also made appearances.

They started with a second helping from the Florida Georgia line. Cruis(‘n) down the road with the windows down and the open air on the path of life to anywhere. Blake Shelton told it straight about the Boys ‘Round Here, backwoods legit, dirt stained, hard work trained and not taking any lip. We got the word on drinkin’ and smokin’ from Bocephus talking about the Family Tradition. We boogied to some sweet southern rock done Skynyrd style singing about the southland. We did some welcome time at Folsom Prison with the man in black then took a trip to the Red House over yonder hanging with Jimi. We got a double but different dose of ZZ, first hearing Mr. Hill talk about them Down Home Blues, then got bearded with those crazy girls and the Sharp Dressed Man. Georgia Satellites talking about love, talking about sin. Don’t hand them no lines. We were christened with our first dose of ‘metal’ with the prince of darkness flying solo on the Crazy Train. The potion came with the antidote from the Old Crow Medicine Show traveling on their never failing Wagon Wheel. To close out the late evening set they tore into one of the South’s most sacred and time honored/respected anthems, fly high.

For all the cricket loving, moon shine jugging creatures of the night, they went a ‘lil’ past the midnight hour starting the evenings third and final set in honor of all the brave men and women that don’t have the luxury of sleeping, on beds, when they want to. Luke Bryan says it’s his kind of night and he’s not done yet. Second gospel according to Mr. Church says put a Drink in My Hand! Aw Naw, Chris Young’s getting it on at the convenience store till dawn again, the stuff you find behind the cooler curtain. Rains a good thing when it ‘warsh’s’ all your troubles down the drain, says Luke Bryan. Brooks & Dunn love to keep those beautiful cowgirls happy when they Play Something Country. It’s way past the witching hour but it’s the perfect time to Take a Lil Ride again with Jason Aldean, big wheels, dirt fields, mudden all day and night in cowboy boots and high heels. Take the Ride with Mr. Coe; it’s a strange one you know. Steve Earle tells those tales of what happened (and didn’t happen) back on Copperhead Road. Tim McGraw got sucked into the web of love and likes it, no he loves it! Jamey Johnson sees it all In Color from the hard times of the past, remember, respect and make those memories last. The midnight country mass is almost over with Mr. Church making one last appearance Creepin’ on that all night train. The Cadillac Three love the south, Georgia, Alabama, Mississippi, Louisiana, Carolina and tonight’s honorary guest Milford, Ohio. Mr. Brooks finished up the evening with all his Friends in Low Places. Yee-ha!

Mr. Gilliams can also be seen performing in his fulltime band After Midnight.

 The story that is Dorsie Fyffe’s life has seen the highest of the highs, and the lowest of the lows.  Each page of his existence that has  been written is chalk full of experiences that have molded him into the person that he is today.

Fyffe will be releasing his new limited edition 7-inch single featuring the original song “Western Sky,” Dayton.  The single is a tour  de force of shimmery guitar, driving bassline and traditional country beat.  Another single being released this Saturday will also  contain a version of “Amazing Grace”, which was recorded live at the historic Ryman Theatre in Nashville.  Fyffe has more music  already recorded, and plans to release it as a vinyl series.  The next 7 inch will be released in July.  Each year, Fyffe plans to release  two limited edition 7 inch will include something special.

Fyffe was one of the faces of the burgeoning music scene in Dayton during the 90s.  He worked as a DJ and music director for the  influential WOXY-FM (“97X”) that was beloved in the area for their role in playing alternative and independent music.  Fyffe was  nominated by Billboard magazine for its “Music Director of the Year” award when working at the station.  At the time Fyffe was working at WOXY-FM, he also began singing in the local Dayton band Johnny Smoke.  The country-punk band saw some success, releasing three cassettes, a 2-song vinyl 45, and a well-reviewed full-length CD, Launcher.

In 1997, Fyffe decided that he needed to pack his bags and move out of the Dayton and move to Cincinnati.  He talk during our recent phone conversation that he needed to get out of the scene during that time.  At the time, Fyffe was living in Dayton with rockers Tim Taylor of Brainiac and Dave Doughman of Swearing at Motorists.  Taylor famously was killed early in May that year when he lost control of his new Mercedes and slammed into a fire hydrant.  The death of not only his roommate/dear friend, along with a female made Fyffe reevaluate some things.

“We lived at the rock house on Main, which was kinda party century for everyone,” Fyffe explained.  “It got to the point where I just wanted to get back to normal.”

Fyffe continued commuting up to Dayton when he was playing in Johnny Smoke.  In 2000, the final show of Johnny Smoke was held in Dayton, and Fyffe began moving around.  In twelve years, Fyffe moved to San Francisco, Seattle, and Kansas City in hopes to find musicians that would fit into his stripped down sound.  Each stop hold some significance to Fyffe.  When talked about living in San Francisco, Fyffe talked about working at Tower Records, and how beautiful the city was.  “Even a rainy day isn’t a bad day in San Francisco”, Fyffe says.  When living in Kansas City, Fyffe experienced some unfortunate events that eventually led him to reconsider even playing music.

Fyffe’s music was starting to generate some buzz not only around the Kansas City area, but in national publications like the bi-monthly magazine No Depression. Bloodshot Records artists and other alt-country music forums.  After releasing the 45 which included singles “Backseat” and “Open Relationship” in 2011, Fyffe and his band filled in for John Doe from the punk band X at a record store day event in Lawrence, Kansas.  While prepping for a 10-day East Coast tour with alt-country singer Lydia Loveless, a series of unfortunate events started to snowball downhill.

“When I get back from Kansas City with all of my stuff, and the drummer says that he couldn’t do the tour.  The bassist wasn’t returning any of my phone calls.  It’s five days before going on tour, and I have to make a decision,” Fyffe explains.  “Apparently we aren’t going on tour, I have $4000 sitting over, and call Lydia Loveless’ manager and explain that bassist isn’t calling me back.  I’m starting to sweat, and mentioned that maybe we should cancel the tour.”

The canceling of the tour led him to move to where he is now-Austin, Texas.  Fyffe took a hiatus from music, trying to even come to grips of what happened in Kansas City.  He saw his opportunity to further his music quickly burn out.  However, Fyffe won’t go down that quietly.  He decided to make his shows more of an event.  His trip to Dayton will be only the 20^th show in twelve years.  However, Fyffe scuffs out the thought that he should have been playing more.  “

While he has enjoyed living in Austin, he will be moving Los Angeles in April.  “All of the moves have been basically directly or indirectly involved trying to make music,” Fyffe says.  The move will also allow him to be closer to a dear friend of his, ex-Dayton Daily News writer Sara Baker Farr.  The two met when Baker was writing about the final show of Johnny Smoke in Dayton.

“We lost touch for a while, as I wound up moving to Chicago and then out to Los Angeles in 2006,” Farr said during an exchange of emails.  “Dorsie found me somehow and we reconnected. He started sending me some of the songs he’d been working on, and they were really good. His voice had gotten even stronger, and his songwriting was even better. The songs resonated. They had depth. They had soul. They were personal, but universal. They were an expression of where he was at, both as a songwriter and a man.”  Farr is currently working on a book that will feature Fyffe’s life.  “I asked Dorsie what he thought about the idea of a book. There was a pause — the kind that makes you wonder if you’ve lost your bloody mind and your grandiose scheme is going to crash and burn around you — and then he said that he’d love to do it,” Farr says.

The story that is Dorsie Fyffe’s life has seen the highest of the highs, and the lowest of the lows.  Each chapter that has been written is chalk full of experiences that have molded him into the person that he is today.  The moments that have led him up to this day have all played a part in the setting up the next one.  When talking to Farr about Fyffe, she summed up perfectly.

“Dorsie’s story is not only a personal history for him, nor is it just a glimpse into a time when Dayton was really on the precipice of something musically. It reaches beyond that, I think, and is about what it means to try and follow your dream despite almost ridiculous odds and one struggle after another. And to keep making these great songs during all of it? Well, there’s the hook – it’s a classic American country-rock story.”

This Saturday, Fyffe will be reuniting with some friends that he hasn’t seen since that night in left Dayton.  He will taking the stage, and surely will be getting those feelings like he once had when he played in the local venues.  The release of the vinyl singles will be in correlation with the holiday Dia de los Muertos, as he will be celebrating the life of friends that have passed.

Fyffe will be returning home to start a new chapter of his life.  It’s only fitting that he begins it here in Dayton.  It’s where it all began.

It’s where it will begin…again.

Dorsie Fyffe will be performing at Blind Bob’s Bar on November 1.  Also on the bill includes Tim Pritchard and the Boxcar Suite, and Smug Brothers.  10pm  $5 cover.