Ohio County Trippin' Part Nine: Madison County - by Nick Taggart

MADISON COUNTY

 “Little Towns on the Prairie”

29 June 2018


Previous County Trippin' from Nick Taggart: Meigs County - Medina County - Champaign County - Seneca County - Cuyahoga County - Fayette County - Mahoning County -

Every county trip begins with a strategic plan of attack and the one I formulated for Madison County involved treating it as if it were a mountain to climb.  We would begin in the south and make our way “up,” or north in a zigzag, or switchback fashion (or “Serpentine! Serpentine!” if you’re a fan of “The In-Laws.”).  We pierced the county at its southeastern corner on Ohio State Route 3 (or THE Ohio State Route 3 if you’re a fan of the Buckeyes.). Soon after crossing Deer Creek, we entered Mt. Sterling, one of the larger towns in the county, with just under 2,000 residents.

County trippers travel on their stomachs, so our first order of business was breakfast; and in Mt. Sterling, that’s almost synonymous with Ben & Joy’s.  Locally, it sits on the corner of North London and West Columbus Streets, also known by their more familiar route names of Ohio-56 and US-62, so there’s a fair amount of traffic.

Ben and Joy Stroup purchased the restaurant in 1984 and Joy continued running it after Ben passed away in 1993.  It looked as though she was ready for retirement a couple years ago when she put the place up for auction, but when the lone bid of $93,500 wasn’t enough to satisfy her, the 78-year-old decided to continue operating the restaurant.

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I ordered the Belgian waffle for $6.50, with a side of bacon for $3.50.  Michele went with the “#1 Breakfast,” consisting of scrambled eggs with bacon, home fries, and toast for $7.25.  Two pesky flies came free. The food was a little slow in coming, which was odd as there were only two other occupied tables; two guys who had finished eating and were just jawing, and a lone woman who put in her order after us.  Michele blamed her home fries for the delay. Once our plates arrived, it didn’t take long for the food to disappear. The home fries were definitely worth the wait.

After breakfast, we walked a couple blocks to the Mt. Sterling Public Library.  It was built in 1911 of red brick and limestone and was another beneficiary of Andrew Carnegie’s largess.  Mt. Sterling has the distinction of being the smallest community in America to receive a grant for a Carnegie library. (The town’s population in 1911 was 1,071.)

The basement of the library houses the Mt. Sterling Community Museum.  It has limited hours, but we were lucky to find it open. Museum director Steve Chambers was in residence and couldn’t have been more accommodating, allowing us to freely wander the two rooms of town artifacts at our own pace, but being available for questions when asked.

Well represented in the museum are photos and ephemera of Mt. Sterling’s two most famous sons: former Ohio senator and governor John W. Bricker, and building contractor, sportsman, and philanthropist John W. Galbreath, both of whom graduated from Mt. Sterling High School.

Leaving Mt. Sterling, we traveled across the bottom of the county on State Route 323 past farms and turkey vultures.  We entered the town of Midway, whose claim to fame is a 1953 high school basketball game in which one of its players scored 120 points.  That Ohio record still stands and is also the third highest in the country. This achievement brings two thoughts to mind. First, what was the other team doing the entire time he was scoring?  Were they all four feet tall and working crossword puzzles? And secondly, did sportsmanship not exist in the 1950s that a coach would allow his team to embarrass their opponents like that? I later looked up the story in the Dispatch and found the final score against Canaan was 137-46.  While there might not have been sportsmanship in the ‘50s, there was justice.  In Midway’s next game against Tecumseh, record holder Dick Bogenrife was held to 20 points and his team got whacked 107-55.

We headed north away from Midway on State Route 38, driving about eight miles along more farm fields.  The corn was looking pretty good. (editor’s note: this story was filed last year and lost in the Pencilstorm warehouse until recently found) Just beyond Newport, we turned left on Old Xenia Road SW. Just around a bend in the road, we were surprised to come upon a large white globe sitting upon a 5-story metal base.  It was an odd sight in the midst of all that agriculture. A razor wire-topped fence made its message clear that we should “keep out,” but there weren’t any other signs hinting at what the installation was being used for.  Again, it took some post-trippin’ research to discover it was a government radar station. Built in the 1950s, it was under the jurisdiction of the Federal Aviation Administration for almost half a century, but after 9/11, it became tied to the Joint Surveillance System, a coordinated venture between the United States Air Force and the FAA “for the atmospheric air defense of North America.”  It’s one of two such stations in Ohio, the other located in the Cleveland area.

We turned north on Roberts Mill Road and stayed on it as it dog-legged past US Route 42 and skirted property belonging to the London Correctional Institute. (“Don’t pick up hitchhikers!”)  Just north of Old Springfield Road, we turned into the parking lot of the London Fish Hatchery.  

The London facility is the oldest of the six hatcheries maintained by the Ohio Division of Wildlife.  It’s so old that the Division was known as the Ohio Fish and Game Commission when it was built in 1896.  There are six staff members, five permanent and one seasonal, who run the operation. One of them was kind enough to brave the blazing sun and give us a tour of the property.  So much interesting information was shared that I should have been taking notes. If I was able to retain only a tenth of what the accommodating staffer was telling us, I’d be the better person for it.

The hatchery is located on 80 acres, 13 of which are water, containing over a dozen ponds and an 800-foot raceway for the rearing of fish that are then used to stock Ohio’s public rivers and lakes.  In the past, London produced coho and chinook salmon, northern pike, saugeye, and largemouth bass, but currently, it’s concentrating on rainbow and brown trout, and muskellunge.  

Not all fish are sent away.  Our guide introduced us to two long-time residents who have become like members of the family.  They’ve not only been named, but they travel to the Ohio State Fair each year to be ogled by children and adults at the Ohio Department of Natural Resources building.  Lisa Left-eye is a carp who swims around in an outdoor pool and can be identified by a cloudy cataract. Gary gar lives in an aquarium inside the office and has been at the hatchery longer than any of the current staffers.

After the hatchery, we drove east into London, the county seat.  We came in on Old Springfield Road, which ended at North Main Street in front of the Madison County Hospital.  We turned south toward the town square and parked along one side of the Madison County Courthouse. It was completed in the final decade of the 19th Century and incorporates a few different architectural styles including a Second Empire design with Beaux-Arts Classicist elements.  A clock tower looks down upon a mansard roof and classical columns over the front entrance.

Once inside, I found the cozy warmth of the dark wood staircases outshone by a barrel-vaulted light court with a colorful stained-glass skylight.  After a quick look around and a stop inside the County Auditor’s office for an updated county map, we left and took a stroll down London’s original business district on South Main Street.  There were a few empty windows awaiting new shops and restaurants, but the strip appeared to be holding its own.  

After crossing over two sets of railroad tracks, we stepped inside the brick Dwyer Bros. Hardware store, one of London’s oldest businesses.  It opened in 1888 as a small hardware, tin shop, and implement dealer. It’s still owned by members of the Dwyer family and stocks everything you’d want in a hardware store.  The aged wooden floors remind shoppers of the double-digit decades this store has been around. We purchased a box fan and backtracked up the street, the irony not lost on me that I was perspiring while toting a cooling device under a HOT sun.  As we cranked the AC in our car, I noted the outside temperature was 88 degrees.

We drove to the London Public Library on East First Street, another Carnegie-funded library, built in 1904.  A rear addition was constructed in 1989. We stayed just long enough to use a public internet computer to research the location of one of our upcoming stops.

We were departing London along East High Street when we pulled off at the Madison County Historical Society.  The museum wasn’t open, but the grounds are accessible. Various historic buildings have been moved there including the Jonathan Alder cabin.  The simple log structure dates to about 1806 and was the home of Madison County’s first white settler. More on him in a moment. After a quick photograph, we were back in the car and driving the short distance to Andrew Court East.

When planning our Madison County trip, I learned that the county was home to a Champion tree; not just a State Champion, but a National Champion.  These trees are considered the largest of their species in the country. In this case, it’s a Downy Hawthorn. I wasn’t previously familiar with this particular type of tree, but after learning the largest one in the country was right here in Ohio, I can be forgiven for a slightly puffier chest and springier step. (Suck it, Michigan!)

The Ohio Division of Forestry has a Champion Tree Coordinator who keeps track of such things and has recorded that our champion Downy Hawthorn has a total point count of 173.  That calculation is made by adding the tree’s circumference in inches (131) to its height in feet (30) and a quarter of its crown spread in feet (47). The Forestry website lists the tree and the county in which it resides, but doesn’t give its precise location, so I emailed the coordinator.  He responded, “Unfortunately, the tree you are asking about is on private property and we are unable to disclose private information.” Undaunted by this rebuff, I was determined to find this tree, so I trawled the dark web and made inquiries of my sources in the deep state until I found the information I was looking for.

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No, not really.  What I did instead was use clues from the photograph the Division of Forestry provides on its website and compare them to Google Map street views until I found its location.  It sits in the backyard of the house on the southeast corner of East High Street and Andrew Court East. Sure, it’s technically private property, but I was able to stand on the very public sidewalk to look at the tree and take its picture.

Now, please, if you’re a Downy Hawthorn fanatic, don’t go stripping off your clothes and holding a Woodstock-like festival in the yard where this tree is located because the authorities will certainly trace the dissemination of the tree’s location back to this article and the Men In Black will show up at my door and flash one of those little memory loss pens in my face and that would be regrettable.  Remember, this is top secret information! Be responsible and use it only for good.

We continued driving northeast to the village of West Jefferson.  I was told by a friend that West Jeff has more pizza places per capita than anywhere else in the state.  We did indeed pass a few on East Main Street, but I didn’t do an official census, so I’ll leave it to someone else to confirm this fact.  As good as pizza sounded at that moment, our destination was Ann & Tony’s Restaurant on the east edge of town. The restaurant has been serving delicious Italian cuisine for over 65 years, ever since the namesake couple, both children of Sicilian immigrants, decided to open their doors.  Their son Tom and his wife Judy continue offering authentic Italian cooking. I ordered the small “combination dinner” that included healthy samples of homemade lasagna, penne pasta, and spaghetti with meatball. Michele stuck to the single entrée spaghetti with meatball. The delectable garlic butter that comes with complimentary rolls is enough to entice anyone to Ann & Tony’s, but their delicious red sauce is testament to the Italian eatery’s longevity.  Despite our “small” portions, we were both stuffed by the end of the meal.

We attempted to walk off some of the calories at Prairie Oaks Metro Park, just a few miles north of West Jefferson on State Route 142.  The park straddles the Big Darby State and National Scenic River and offers a variety of recreational activities in its 2,000-plus acres, but we limited ourselves to a stroll along the Coneflower Trail.  We were rewarded with the sight of a rabbit and a beautiful monarch butterfly, but we also encountered a muddy section of trail and a swarm of hungry mosquitoes who would have been better served dining at Ann & Tony’s rather than on our bland skin.  We opted to cut our hike short and return to the car.

Just a stone’s throw (if you have a very strong arm!) north of the park is the Foster Chapel Cemetery, the burial site of the aforementioned county settler.  Growing up, I knew Jonathan Alder only as a name on a school building, but later I learned a little more about the man. He was only seven years old when he was captured by a Native American war party in Virginia in 1782.  He was brought to the Ohio country and adopted by an Indian family. He remained with the Indians until the Treaty of Greenville of 1795. Alder served as an interpreter for awhile before returning to Virginia in 1805 to be reunited with his mother.  Apparently, he wasn’t in a hurry since it took him a decade to make this journey. He eventually married and brought his wife back to Ohio, where he built a cabin and settled on Big Darby Creek.

We returned to West Jefferson and drove west on Main Street.  Soon after passing under a busy train trestle, we turned right off Main Street so we could see the recently constructed Taylor-Blair Road Covered Bridge that spans the Little Darby Creek.  It opened near the end of 2012, costing $2.7 million. Was it worth the price tag? Well, it was partially responsible for getting me to visit and inject a few dollars into the local economy.  A man and two young boys toting fishing poles were emerging from the creek as I got out of the car to take a picture. I was quick with my photographic duties as it was 90 degrees outside!

We continued west out of town on Main Street, aka U.S. Route 40, aka the old National Road.  Being an historically-minded man with simple tastes (Or am I a simpleminded man with historical tastes?), I get a thrill out of seeing remnants of the past.  In Madison County, a big such find is evident about seven miles west of West Jefferson at the village of Lafayette. The Georgian style Red Brick Tavern was constructed in 1837, the same year the National Road reached Madison County, and three years before William Henry Harrison and Martin Van Buren both stayed there during the 1840 presidential campaign.  It’s said that Van Buren drank tea with the aristocracy of the area while Harrison ordered a round of hard cider for everyone. On election day, voters proved they leaned more wet than dry by voting for Harrison.  

In the yard on the west side of the Red Brick Tavern still stands an old National Road milepost.  It’s a bit eroded, but so would you be after standing outdoors for over 180 years.

We progressed another couple of miles west on Route 40 before turning north onto State Route 38.  At the village of Plumwood, we veered northeast onto Arthur Bradley Road. Less than two miles further along, we crossed Little Darby Creek and pulled into a small parking lot for the Little Darby Preserve. It’s one of the state’s newest nature preserves, having just been opened in 2011.  It gets its name from the creek that it straddles, although after following about three miles of a mowed walking trail, I concluded that it could have just as easily been named the Bunny Trail Preserve. We didn’t get far in before a rabbit hopped out from the thick growth of tall meadow grass, paused to look at us and ponder where we’d come from, before skedaddling back into the grass.  This scene was repeated numerous times during our hot and sweaty hike.

Back in the cooling comfort of our car’s air-conditioning, we continued northeast on the road fronting the preserve, which had changed its name to Lafayette Plain City Road NE.  About six miles later, we turned left onto Converse Huff Road and then right onto Converse Chapel Road NE. A left on Boyd Road took us to a long lane leading back to Smith Cemetery.  This small, remote graveyard serves as a microcosmic history of the township. The plants that cover the tombstones represent the landscape the settlers encountered when they arrived and the people listed on the tombstones can be matched to the names on nearby roads.

When the first interment was made here in 1816, the settlers called the area the Darby Plains.  It was covered with thick prairie grass. Unfortunately, each year’s growth of grass would accumulate into a decaying mass that became a natural breeding ground for mosquitos.  That led to an outbreak of malaria resulting in more burials in the cemetery.

The land was eventually tamed through a combination of ditching and tiling that turned a once wet prairie into rich agricultural land.  Remnants of the tallgrass prairie can now be found only in small pockets such as the Smith Cemetery, thanks to management by the Ohio Department of Natural Resources Division of Natural Areas and Preserves.  

Thirty years ago, I rode my bike out to the cemetery and snapped a picture that showed thigh-high grass left to grow wild among the grave markers.  During this most recent visit, I found chest-high flora. Thirty native species of prairie plants have been inventoried at the cemetery. A few narrow paths have been kept mowed to allow access to the remaining tombstones, only a few of which can be spotted above the grass.

The summer day was waning as we returned to Converse Huff Road and followed it to U.S. Route 42 and north into Plain City.  On its south side sits Der Dutchman Restaurant, a place we’ve been known to make special trips to from Columbus for the excellent made-from-scratch comfort food buffets.

My wife raised the touchy subject of county trip rules and whether our patronage of Der Dutchman was allowable.  After all, “thou shalt not spend money at chain stores, restaurants, and hotels” has been one of the sacrosanct commands since the establishment of county trips.  Der Dutchman, technically, falls into this category.  Its original restaurant opened in Walnut Creek, Ohio, in 1969.  Since then, four others have been established in small towns around Ohio, and another in Sarasota, Florida (??????).  I don’t think they’ll be vying any time soon with Starbucks or Subway for the most storefronts in a square block, but it does meet the chain definition as “a series of shops owned by one firm and selling the same goods.”

Damn!

I could take a moment here and devote a lot of words to rationalizing why eating at Der Dutchman upholds the spirit, if not the law, of the county trip rules, but that would just be inside-the-beltway self-indulgence, and anyway, all I wanted was a good piece of pie.  After crossing the threshold without the county trip gods smiting us, we slid into a booth and placed our order. We were still rather full from our mid-afternoon lunch at Ann & Tony’s, so we stuck to the dessert menu. Michele enjoyed a slice of coconut cream pie, while I opted for lemon meringue and a cup of coffee.  It was the perfect ending to an enjoyable outing.

All that was left was the driving.  We made our way to Main Street via some residential side streets and then drove east out of the city.  After bumping over railroad tracks and passing the Heritage Cooperative grain silos at Kileville, we exited the county at its northeastern corner.

 

Time spent in the county: 10 hours, 11 minutes

Miles driven in the county: 92 miles







The Best Gigs I Ever Played In - by Pete Vogel

Poor JCE didn’t know the Pandora’s Box he would open by sharing his favorites list.

I imagine that a good percentage of Pencilstorm readers are working - or formerly-working - musicians and I imagine all have some wonderful stories to share about gigging.  When JCE originally posted about his top ten list, I knew this would snowball in many different directions: best concerts, worst concerts, near misses, etc. I thought I’d take a stab in another direction - which will probably lead down yet another path - and this is aptly called: The Best Gigs I Ever Played In.  Here she goes:

June, 1983 – Some Dive Bar in downtown Louisville, KY (The Toll)

The most famous band I ever played in was The Toll: I joined them while still in high school.  I met Brad Circone at a party (he was dating a classmate), and he asked me to join the band. I was actually a 9-to-5 punker and a total phony: I would meet up with the guys, jam to Clash and Sex Pistols tunes, then go home and crank up Ozzy and Zep.  I didn’t dare tell my bandmates about my ‘double life’ because I’m sure they would lynch me.

Myke Rock was our tour manager at the time; he booked us a Sunday night gig in Louisville, KY.  It was our first out-of-town gig, so I was both excited and nervous. We left on a Sunday afternoon: the band took two vehicles to the show, and we drove the six-hour journey from Columbus to Louisville.  We arrived at the downtown club at dusk and were shocked and disappointed that only three people showed up. Brad was pissed.

“Look—we just drove 6 fucking hours to play for these people, so we’re going to give them a show they’ll never forget!”

It’s amazing what raw anger can do to a punk band: we raised the roof that night.  Everybody was on top of their game: Doug Marrah (bass), Rick Silk (lead/rhythm guitar) and Brad (lead vocals, rhythm) put on a show for the ages for these three punk rockers in attendance. The crowd was beyond elated that we didn’t phone it in for the paltry turnout; they loved every minute of it.

I’d just graduated from 12 years of Catholic school so I was a little nervous about what transpired next: one of the female punkers came back to the dressing room and sat on my lap.  She had green hair and her breath was a toxic mix of alcohol, cigarettes, weed and lord-knows-what. I didn’t have the heart to tell her I was a former altar boy and recent grad from Catholic high school.  

“I like drummers,” she said.  I wasn’t sure what to say back, so I mumbled something stupid like: “I like girls.”

We left the club around 3am and drove straight back to Columbus, arriving Monday morning around 9am.  We were groggy and despondent over the gig, but it was the trip of a lifetime and the best gig we ever played while I was part of the band.

I moved to LA in 1984 because I thought The Toll weren’t going anywhere.  While I struggled to make a name for myself in Hollywood, my former mates were signed to Geffen Records.  I left California in 1985 only to have my Cali roommate - Tommy Caradonna - sign with Lita Ford.

Ugh.

August, 1998 – Some Campus House Concert (The Balance)

The Balance was a six-piece jam band that I played with for three years (1997-2000).  It was a unique cast of characters that liked the “idea” of being in a band more than actually “being” in a band (i,e.. more bong hits than rehearsals).  The band was comprised of Rick Bahner (vocals, acoustic guitar), Huston Wolfe (bass), Ralph Evans (percussion), Mark Deffet (lead guitar), Kevin Deffet (harmonica, banjo) and yours truly (drums).  I always wanted to be in a jam band because you only had to learn three songs. That makes for an easy gig.

We were hired to play a house concert before house concerts were a thing; it was a campus party and it was summer quarter…..meaning we could play until all hours of the night.  The band actually rehearsed for this show and we were beginning to sound like a band, not just drunken stoners with instruments.

We always handed out percussion at our shows (shakers, tambo, bongos) and that night we had an enthusiastic crowd that was really interested in finding a groove with us.  We placed congas and bongos around the room, brought extra shakers and tambourines with us, and really engaged the crowd in becoming “one” with us.

[Caveat: Huston talked me into taking an ecstasy pill that night.  I thought my drug-taking days were behind me, but I was in a pretty chill mood so we split a pill between us.]  

The band really grooved and the crowd grooved with us.  There were some 40 or 50 people at the party and about ten of them were playing along with us.  We’d start into a groove on an old classic tune - “Ain’t No Sunshine,” for instance - and before you knew it, the groove transcended the band and spilled over into the crowd.  People who had never played an instrument in their lives were suddenly transported by the rhythm of the music and were jamming alongside us. It was truly magical—it was our own private Woodstock.  

We played until 3am; every song lasted 20 minutes.  No cops ever showed. [We figured if they did they’d simply grab an instrument and play along—that’s how magical that night was.]  We did lengthy versions of all our songs; the girls all danced and giggled, the guys jammed along with the band and it was an out-of-body experience for all those who were present.

ps. Ecstasy may have contributed.  

At the end of the show—while we were packing away our stuff—Mark Deffet said out loud: “We weren’t playing music tonight.  Music was playing us..” Amen.

August, 2000 – Barrister Hall (Brotherton)

I quit working with The Balance in 2000 because we were only capable of playing two good shows a year.  The other shows were ill-fated attempts at keeping any one of our alcoholic, stoner bandmates sober for the entirety of a gig.  Mission unaccomplished.

John Bolzenius introduced me to Kevin Brotherton, a clean-cut teetotaler who was seriously interested in playing good music.  He came from the Stevie Ray/Eric Johnson school of bluesy improvisation, so it was nice to play with someone who truly cared about tone (and sobriety).  He used to plug a Fender Twin along with a Marshall stack into an A/B switch and when he blended the two amps together it sounded like Neal Schon on “Lights.”  Fucking tone freak.

We added a bass player - Mark Cantwil - and I pulled double duty on drums and keys.  As a power trio it was fun to put out as much sound as possible; Mark had great vocal chops, Kevin had a huge guitar sound and I bought a new set of Yamaha Recording Customs for the sole purpose of trying to get the largest sound out of the smallest size drums (mission accomplished).  

Being in a power trio is fun—everyone has to work really hard.  Kevin was an average vocalist, but when he and Mark sang together it was really full.  We had a big sound for a power trio and it was very challenging to pull it off. And there were far less headaches dealing with three schedules as opposed to six.  

Barrister Hall was running a rare Sunday Night Rock Series for a while back in 2000, and we were hired to play one of its premiere shows.  We were very excited about being in the upscale club, where jazz, bourbon and cigars generally flourished. Unfortunately, the night of our gig only four people showed up.  We were so pissed about the lousy crowd that we took our anger out on our instruments. We blasted through original after original, jamming out instrumentals and playing as loud as we could.  The show was so much fun for those four lonely souls that the bartender actually stage-dove off the riser and broke a chair at the end of the show!

Thank God we didn’t have to drive home from Louisville at the end of that gig.


July, 2010 – Akron Italian Festival (Stadium 11)

I never really enjoyed playing in cover bands until I joined Stadium 11.  I had worked with two of its members back in the day -James Paat and Bob Mains - and they were top-notch musicians.  We assembled a setlist within a couple of practices, brought in Cliff Stanton and Mike Matko on vocals and bass, and within a couple of months were out playing big-time gigs.  

Stadium 11 fell together so quickly that we hardly had time to process it.  We all loved classic rock, so for us to cobble together 30 tunes only took two rehearsals.  The songs were a part of our childhood, so we didn’t have to work hard to get the arrangements in order.

James booked us a gig in Akron at the Italian Festival, we were opening up for a Journey cover band.  We knew Akron was rebounding from a tumultuous recession, but decided to play the gig anyhow. We thought it would be a total bust: drive two-plus hours to play for a dozen folks at a crappy event.  We drove up separately on a Friday afternoon and when we reached Lock 3 - a renovated space downtown - we couldn’t believe our eyes: There were thousands of people already milling about, the weather was perfect, and Lock 3 is essentially Akron’s version of Columbus Commons.

We arrived at the stage and a half-dozen roadies helped us with our gear.  They gave us bottled water and a dressing room. The roadies moved all our equipment to the stage and assisted in setting up.  As showtime approached, between 8 & 10,000 people were sitting on the side of the hill, ready to embark on some classic rock from these out-of-towners.

We hit the stage in full stride.  Adrenaline was high. Even though this was a new crowd, we knew they would like the songs.  We dove into cover after cover: “Too Hard to Handle” by the Black Crowes; “Roll With the Changes” by REO; “Alright Now” by Free, etc.  As we played song after song, the crowd slowly moved closer and closer to the stage and by the time we played “Kashmir” they were putty in our hands.  

We played 90 minutes without stopping and every song was better than the last.  We could hear the music wafting off the buildings in the distance and bouncing back.  People were dancing, milling about, getting closer and closer to the stage. When all forces come together like this: perfect weather, perfect setting, perfect stage, perfect crowd, perfect sound—magic truly happens.  Everyone was at the top of their game: James on keys, Bob on guitar, Cliff on vocals, Jeff Taylor (Mike’s replacement) on bass and yours truly on drums.

After the show, an older gentleman came to the front of the stage and whistled for me to come over.  I was a little nervous, he looked straight out of “The Godfather” with his jet-black hair combed back like Elvis.  I’m half-paisan, so I just imagined he was a long-lost relative coming to greet an old cousin.  

I cautiously wandered to the front of the stage: “What’s up?” I asked, guarded yet friendly.

“I just wanted to tell you that was the best rock drumming I’ve heard in 20 years.”  

“Wow…” I said.  “Thank you…I really appreciate that.”

I was embarrassed that I was nervous greeting him, because all he wanted to do was make my day.  What a kind soul—what a wonderful thing to say. What a perfect night.

Before the show began, I noticed an elderly hippie couple sitting in the center of the audience.  They both wore long white hair, tie-dye shirts and Lennon sunglasses. They looked to be in their mid- to late-60s.  I was concerned they wouldn’t like our set: we rock’n’rollers might be too loud and large for their tastes, but as we strummed the first chord they immediately got to their feet and remained there, dancing to every tune.  For the entire 90 minutes they never sat down, and grooved from one tune to the next.

Cliff and I decided to accost them after the gig to thank them for their enthusiasm and energy.  We walked up to them, shook their hands and said: “Thanks so much for dancing to our entire set. You totally made our day.”

The couple looked at each other, then back at Cliff and me.  The hippie guy furrowed his brow and said to us: “Who are you guys?”


August 2009 – Woodlands Tavern, Columbus (Matt Monta & The Hot Coal Band)

Playing with Stadium 11 was fun, but original music was still my passion.  I longed to play in a band that cared about original music, and Matt Monta answered the bell in 2009.  

He was fronting a band - The Hot Coal Band - but their drummer, Slim, was having back surgery and needed a replacement.  They asked if I’d sit in on a couple of gigs while they found someone else. Of course I jumped at the opportunity; even though I was a decade older than everyone else, I felt relevant playing with the young kids at all the cool spots.  

The Hot Coal Band was outstanding: Matt on guitar, harmonica and vocals; Bree Frick on cello, percussion and vocals; Andy Shaw on bass and trumpet; Chris Shaw on fiddle, mandolin and percussion and yours truly behind the kit.  We did 90% originals in the spirit of Johnny Cash on crack. It was pure magic.

We reached our pinnacle opening up for Deb Landolt and the Drifter Kings.  It was a packed house at Woodlands on a beautiful Friday night and the double billing was as good as advertised—which we did a lot of for that show.  

The gig itself was a blur: I could barely remember the details of the show, but it was 80 minutes of in-your-face rockabilly that featured everyone in the band.  I believe the only cover we did was Elvis Costello’s “Watching the Detectives” and we simply destroyed every song. The crowd whooped and hollered, danced all over the place and the venue was at fever pitch by the time we left the stage.  I remembered thinking to myself: “This is the beginning of something truly special.”

The band reached their peak that night.  A couple months later Andy left the band.  Two months after that Chris was gone, too. We hung on for another year with replacements but it all fell apart by 2011.  Go figure. A band that I thought would survive a decade was dead and gone within two years. Ugh.

There are many honorable mentions, but these five stood out because I distinctly remember the magical feeling I had after each show.  I will carry those memories to my grave. I’m looking forward to others’ posts! - Pete









Juliana Hatfield: The Pencilstorm Interview - by Jeremy Porter

SPOTIFY PLAYLIST FOR THIS ARTICLE - Listen while you read!

Juliana Hatfield has been on a roll. Her last three records have arguably been some of the best work of her 33-year music career. Pussycat (2017), was an unplanned rally-cry against the Trump regime, sometimes more subtle than others, but never without her signature pop overtones and cutting lyrics. Weird (2019), her most current release, leaves the political sentiments behind in favor of a modern indie-pop-rock sound.  And the …Sings Olivia Newton-John (2018) covers collection, a nod to her musical hero, was nothing short of a masterpiece.  And then there’s the back catalog. Her first band Blake Babies were a bit less refined and polished, but brought a real charm to the table with that innocence, and her early solo records – including her commercial high-water mark The Juliana Hatfield Three – Become What You Are (with her biggest hit single “My Sister”) were staples of early 90’s alternative rock and MTV’s 120 Minutes.  

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The 20 years between this recent renaissance and her early alt-rock success were a little quieter for Juliana, in the world spotlight at least.  She delved into some side projects – Some Girls, Minor Alps (with Matthew Caws of Nada Surf), and The I Don’t Cares (with Paul Westerberg). There were Blake Babies and JH3 reunion albums and short tours, and a string of solo records and EPs that often cast-aside the ear-worm poppiness for a darker, more sparse and spacious sound. Her touring schedule slowed down considerably, and while she never disappeared from the public eye, sightings were certainly less frequent. In 2009 she published her auto-biography When I Grow Up: A Memoir, a revealing and compelling look into her career, anxieties, and personal life. 

On Friday night, Juliana will return to the Detroit area for the first time in 18 years, by my calculations, for a show at The Magic Bag in Ferndale (Get your tickets HERE!). It’s a short, 10-city US tour on the heels of a UK tour in May, and we can’t wait!

We were lucky to catch up with Juliana recently to chat about her recent resurgence, her history in the Motor City, and if we might ever get that follow-up to the I Don’t Cares’ record. 

Jeremy Porter: You seem to be on a great roll with the last couple records – Pussycat, Sings Olivia Newton John, and this year’s Weird.  You’ve been consistently active and busy, but this recent string of releases seems exceptionally inspired, and now you’re playing out more than you have in quite a while. What brought on that change and do it see it carrying forward? 

Juliana Hatfield: I just feel time moving faster than ever before. I feel an urgency to keep producing work and not stopping because the world is hurtling toward destruction, or something, and it will all be over soon so I may as well push really hard until we all hit the wall as a species. Plus, I have gotten to the point at which I have streamlined my life to accommodate work and not much else.

JP: Pussycat was a personal response to the political climate after the 2016 election. Looking at it a couple years later, where do think we’re at now?  Are we still in the same boat or can you see any rays of light on the horizon?

JH: I don't even like to think about it. I don't think things look very good.

JP: JHSONJ was my favorite record of 2018 and the reaction seemed universally positive. We’re you surprised at the reaction to that record?  Did anything unexpectedly special, personally or musically, come out of that experience? 

JH: I was surprised at the love it got, yes. I was afraid that people were going to think I committed sacrilege on her catalog or that I tainted her legacy, because Olivia is so loved and such an icon. But I am really happy that people responded positively to what I did. They understood that I just wanted to show how much love I feel for her and her music, and to share that love. It was wonderful and unexpected to hear from Olivia, personally. A couple of times she tweeted to and about me and the album. That was pretty great, to get her public seal of approval.

JP: Weird feels like a natural transition from Pussycat and JHSONJ – not so much lyrically but musically.  The guitar tones,  arrangements and riffs have a nice growth but a consistent feel that sort of takes your natural pop vocals and vocal melodies and puts them above a musical bed that weaves somewhere between 70s classic rock and indie-pop-rock. Do you approach the writing process with a direction in mind? Or do you just sit down and whatever happens, happens?  Can you expand on that a bit and how it might relate to the feel of this trilogy of records as compared to some of your previous releases?

 JH: I never have a direction plan when I sit down to write. I have an open mind. But I do have habits and things that I tend to do over and over again. I can't change my instincts. I have a certain aesthetic preferences, and I have a certain natural, personal style that I have settled into and I produce all my own stuff which is why my stuff lately tends to have a sound and a feel. It's raw and unpolished but also really melodic. I am also in love with the mellotron flutes sound on my Microkorg keyboard that I acquired about five years ago so that sound ends up on everything I do these days. No matter how gnarly the guitars get, I always like to mix in some keyboard flutes. It sounds good with everything.

JP: The recent reissues of Hey Babe and Only Everything were really well done, as was the Blake Babies Innocence and Experience, from the remastering to the packaging.  How closely were you involved in those projects?  Any plans to follow up with the `93 JH3 album or The Blake Babies’ Sunburn record (hint hint)? 

JH: I had nothing to do with the Only Everything re-release. The company doing it did not inform me that they were doing it, nor did they send me a copy. I don't own those masters ("OE") so that's how that was able to happen without my involvement. American Laundromat Records handled the other stuff, and they are great and I am personally in touch with them about all the other re-releases. I hope to do more re-issues with them. I want to do "Bed" on vinyl but I can't find the master tapes. I'll keep looking.

JP: The I Don’t Cares record really seemed to come out of nowhere to a lot of people, a wonderful surprise. Was that just a one-off or is there a possibility for further collaboration with Paul Westerberg?  We heard from him a bit around that release, but not so much from you – care to talk about that project a little?  

JH: It was a one-off but it could conceivably happen again in the future. It is up to Paul. I didn't talk much about the project in deference to Paul. It was mostly his songs and I thought I should step back and not be the mouthpiece.

JP: When you played in Detroit quite a few years back, at the Magic Stick, if I recall correctly, you mentioned during your set that your father was from the Upper Peninsula of Michigan. I am from Marquette, in the UP, so I have always wanted to follow up about this! Can you talk about that a little?  Where in the UP?  Have you spent time up there?  .  

JH: My dad was raised in Indiana but later in life ended up living in Houghton, Michigan. He got a job at a hospital up there.  That's where he died, in Houghton. My mother was raised in Detroit. I used to visit my grandparents in Birmingham when I was a kid.

JP: The Magic Bag Theater is a really nice room in Ferndale, Mi.  Great sound and an intimate vibe. What can we expect when you come to Detroit (Ferndale) in June?  Who is in the band, and will the setlist be pulled from your entire catalog?

JH: I am not sure yet who all will be in the band. But I know we'll be playing songs from all over my vast catalog.

JP: Any special stories, recollections, or feelings about playing or visiting Detroit or Michigan over the years?

JH: I've had some good show experiences there. Lots of fun times. Playing with Jeff Buckley was fun.

JP: What's next for you after the tour?  I think I saw some recent photos from a recording studio? 

JH: I am in the studio now trying to finish up a new album before I go to Europe at the end of May.

JP: Thanks Juliana – we’ll see you in Ferndale! 

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Jeremy Porter lives near Detroit and fronts the rock and roll band Jeremy Porter And The Tucos - www.thetucos.com

Follow them on Facebook to read his road blog about their adventures on the dive-bar circuit -
www.facebook.com/jeremyportermusic 


Twitter: @jeremyportermi | Instagram: @onetogive & @jeremyportermusic | www.rockandrollrestrooms.com

 

A Baseball Song For Your Father's Day - by Colin Gawel

Dad Can’t Help You Now - by Colin Gawel

If you have worn out your copy of Cats in the Cradle by Father's Day, please give this song two minutes and thirty-four seconds of your time. Dad Can't Help You Now tells the story of a nervous father watching his young son attempt to pitch out of a bases-loaded jam in "the last game of the season." It resonates with any parent who has struggled with their emotions while watching their kids play youth sports. It is a song for Dad on his day (or any day) and also seeks to take its place in the National Pastime Songbook alongside songs like Glory Days and Centerfield.

Official music video for Colin Gawel's "Dad Can't Help You Now." The single is available on "Superior: The Best of Colin Gawel" released by Mike Landolt's Curry House Records. More at www.colingawel.com. Video directed by Wal Ozello, produced by Maria Clark, director of photography Alex Williams, edited and visual effects by Eric "Bing" Ringquist, and features Sam Ozello and Tim Baldwin.


You can download a copy of the song with this SoundCloud link.

Click here to find it on Spotify and add it to a playlist.


What do critics think of it?


"Rather than trying to shrug off the dad-rock label, Colin Gawel's 'Dad Can't Help You Now' fully embraces a part of this Watershed songwriter's life that is entirely inseparable from the artist he has become. Gawel refuses to rest on the laurels of his youth, instead turning his keen eye to the boy standing right in front of him."
- Joel Oliphint / Pitchfork, Columbus Alive

"Colin is one of the few songwriters who survives the transition from adolescent rock and roll to songs that describe the condition of growing older. "Dad Can't Help You Now" is a guaranteed heart tugger for anyone who has ever had kids. It is full of kindness, wisdom and great songwriting."
- Eric Zimmer / host, The One You Feed Podcast.

"Colin Gawel is a great voice of America and this is a great song of America's pastime."
- Lou Brutus / Nationally Syndicated Rock Radio Host

"Our listeners and community love Colin Gawel and his music! And what a great song to get you excited for baseball season and perfect for Father's Day weekend"
- Maggie Brennan / Music Director, Host of Global Village WCBE 90.5FM

Lyrics

It's the last game of the season, you are standing out on the mound
Bases loaded, score is tied and the batter has a full count
And you are staring in at the catcher and I've never been more proud
But my heart shakes buddy cause Dad can't help you now

I'd trade every kiss i ever got to get you one more strike
I'd volunteer to paint the Eiffel Tower for a lazy fly ball to right
Now remember that it's just a game but don't forget to cover home
you're not alone out there but Dad can't help you now

Now the trick to life is to get back up after you get knocked down
and winning's fun but you learn a lot more when you get punched in the mouth
now i know these things but I'd still prefer to never see you frown.
to never see you frown

Now the pitch looked good to me, but the ump he didn't agree
and as the winning run it crossed home plate, you turned and looked at me
And you're fighting back those tears as you slowly walk off the mound
and my heart breaks buddy but Dad can't help you now
You'll get em next time buddy but Dad can't help you now.

Credits

Dad Can't Help You Now - by Colin Gawel
Superior - The Best of Colin Gawel
Produced by Mike Landolt for Curryhouse Records
Recorded by Rick Kinsinger


Lima is Alright! Cheap Trick Live Wednesday, June 12th - by Colin Gawel

Budgetwise, I always figured Lima, Ohio as more of a Foghat town. But I guess that’s not fair considering I’ve never seen a show in Lima. In fact, I’ve never met anybody who has ever seen a show in Lima. Still, the city council must have passed that hat or cut the 4th of July Fireworks expenses because Cheap Trick will be playing at the Lima Civic Center Wednesday June 12th. Click here for ticket info.

If you are wondering why Cheap Trick is playing a Wednesday night in Lima, join the club, but it’s just par for the course these days. Cheap Trick has moved into completely uncharted territory for a band of their pedigree and history. THREE NEW RECORDS in less than FOUR years plus the usual non-stop touring. No gig seems to be too big or too small. In the entire history of rock n roll, I can find nothing comparable to what Trick are doing in the later stages of their career. They are playing like a band still trying to make the rock n roll hall of fame. Heck, they have 60 more shows scheduled in 2019, including Madison, WI the night after this gig. Whew.

A very wise man once said “Everything Works If You Let It,” and Cheap Trick cannot or will not stop working. We are all the luckier for it. Catch em’ while you can. There will never be another rock band quite like them. To learn more and have some fun, just Google the words: Cheap Trick Pencilstorm. Hope to see you in Lima. I’ll be about 15 rows back having my faced melted by Tom Peterson’s 12 string bass.

Listen while you read! Click Here for a Spotify Playlist of recent Cheap Trick Tunes (and a couple Watershed too).

Colin Gawel plays both solo and in Watershed. Cheap Trick is the reason they started a band in 7th grade.