Our friend Paul Monin of Age Nowhere and Neo American Pioneers has a solo single ‘No One Cares.’ The video is an interesting take on the ideas in the lyrics. It also has a silly appearance from YTAA’s own Dr. J. Paul has written a song that asks the listener to stop and look around themselves and ask what matters and what we are focusing our attention upon. You can get more information from: https://linktr.ee/pauljmonnin.
We often say that any day of the week you can experience great music in our fine community of Dayton, Ohio and that was clearly demonstrated as truth last night with 7000Apart, K.Carter and Mike Bankhead playing Blind Bob’s. 7000Apart is on tour right now! If you have a chance to see any of these terrific artists, do it! Support Your Local Music Scene!
Dr. J spoke with Tamar Berk in the evening on Wednesday, May 11, 2022 for Your Tuesday Afternoon Alternative. Tamar spoke about the powerful new record Start at The End, her music career, songwriting and her approach to recording and producing her music.
Tamar shared some compelling insights as a songwriter in this interview! Anyone interested in the subject should explore her thoughts on the subject. Tamar was honest and remarkably introspective about how pain can be transformed into art through music. It was a real pleasure to speak with her about the music that she has made in her various music projects (Starball, Countdown, Pynnacles and Paradise to name a few). And it was a singular joy to talk to her about the exciting music that she has made in the past few years under her own name with The Restless Dreams of Youth (2021) and Start At The End (2022).
If you do not know these records, we highly recommend that you explore them. Tamar’s songs evokes The Spinanes/Rebecca Gates and Liz Phair but the musical space she surveys does not end there. She uses a variety of musical ideas to create a sound that paints with a rich pallet of color and texture. The music is infectious, passionate, personal and introspective in an adventure that leads the listener into a communal rather than singular experience. Start At The End is one of our favorite records of the year!
You can listen to Tamar’s music anywhere you stream but we recommend buying her excellent music at Bandcamp!
You can contact Tamar through her social media https://twitter.com/TamarBerk
For a complete list of her social media and music: https://ffm.bio/tamarberkmusic
Dan Spaugy and Billy Swayne of Neo American Pioneers came on the YTAA program to discuss their upcoming Creedence Clearwater Revival Tribute show ‘A Song for Everyone’ at The Yellow Cab Tavern on Saturday, May 7, 2022!
More info here: https://buff.ly/3vNiIRB
According to the Pioneers: Take a trip to Cosmo’s Basement and celebrate with the Neo American Pioneers as they present “Wrote a Song for Everyone: A Tribute to Creedence Clearwater Revival.” on May 7th at The Yellow Cab Tavern!
A full evening of music, they will be featuring a selection of 25 CCR hits across their seven studio albums in an intimate club setting. Capturing the raw rock and roll energy of CCR’s early years, before they were headlining stadium tours and iconic festivals like Woodstock, you will not want to miss this.
Cover starts at 8pm with music starting at 9pm. Tickets are $8 in advance and $12 at the doors. All ages are welcome with a guardian. **Discounted presale tickets end at Midnight on May 6th Presale tickets available here: https://ten-high-productions.square.s…
Yellow Cab’s resident truck, The Pizza Bandit, will be set up and serving through 10pm. Produced by Level Up Productions Location: The Yellow Cab Tavern 700 East 4th Street Dayton, Ohio 45402
Creating heartfelt melodies that probe deep subjects with a touch of vulnerability and a reminder of the promise of positivity is a tonic in these challenging times. 7000Apart – Jon Kresin and Amelie Eiding – is a band with a love story right out of a movie! In 2012, Amelie journeyed from Stockholm, Sweeden to attend high school in Green Bay, Wisconsin. And in music theory class, they met, became friends and overtime that friendship grew into a love that transcended the 7,000 kilometer distance when Amelie returned home.
After three years of managing a long distance relationship, Jon and Amelie married in Sweden and then returned to the United States. In 2019, they released their first record We Are More. Work on their second album, Feel Your Feelings, is already underway with Nashville-based songwriter and producer FEMKE.
Dr. J caught up with the band while they are on tour via zoom.
7000Apart are coming to Dayton on May 15, 2022 to play Blind Bob’s with Mike Bankhead and K.Carter! Dr. J interviewed the band over Zoom while they are on their May Tour! We spoke about how they got started, how they approach writing and making music and their plans for their next record. Learn more about them on their social media: twitter spotify instagram facebook and for a full list of their media and music check out their linktree.
And do not forget to go see them on tour!
Listen to the Interview on the YTAA Mixcloud Page!
It is going to be quite the program today!
We have music from Tod Weidner, Cricketbows, No One Sphere, Rich Reuter, The Connells, Oh Condor, Nick Kizirnis, Amber Hargett Music, Samantha J King, The 1984 Draft, Todd Farrell Jr., Sammy Kay, XL427, The Nautical Theme and much more!
Ron and Art will talk about the Dayton Guitars 4 Heroes organization and what they do for veterans as well as the programs they offer for those service members who are dealing with PTSD, anxiety and combat related injuries.
We look forward to learning how music programs in general and guitar, ukulele and harmonica therapy in particular are used in helping veterans overcome challenges, especially the far too common response of self harm.
Hello there Music Friends! It is Spring and what better way to celebrate than with music!
Nick has been making incredible music for years across genres and styles! Whether you want to hear surf rock, indie, guitar-led orchestra, power pop – Nick is accomplished across several styles of music. His 2020 album ‘The Distance‘ was one of our favorites of the last several years! It is a real pleasure to welcome him to the show today! We are excited to hear him play a few songs live in the studio!
Join us from 3-6pm today! And hey, just so you know… most of the music we are playing today was chosen specifically by Nick!
Dayton musician, songwriter, guitarist and producer Rich Reuter joined D. J on Your Tuesday Afternoon Alternative on March 22, 2022 in Dayton, Ohio on WUDR Flyer Radio at The University of Dayton. He played live and chatted about his recent music, new EP ‘Endless Parade‘, his work on Nicholas Johnson’s Back Upstate record and his work on his next full length ‘The Captain II’. You can discover his music at bandcamp. We discussed his approach to songwriting, production and performing the music.
On Your Tuesday Afternoon Alternative this coming Tuesday — March 8th — we have a terrific electro indie pop artist, Serin Oh! We were fortunate to see her perform at the Dayton Battle of the Bands contest and were truly impressed with her stage presence, amazing voice and clever arrangements. It is fair to say that she had that audience raptured with her songs and effortless vocal delivery. She even persuaded the crowd to chant Korean to one of her songs. It was a fun, engaging and dynamic performance.
We immediately were struck by the thought that her music adds an important element to the thriving Dayton Music Scene! Born in Suwon, South Korea, Serin moved to Ohio with her family at the age of six. Growing up in church, she was surrounded by gospel music in her formative years. During her time at the prestigious Berklee College of Music she discovered her love for jazz and R&B, whilst also rediscovering her Korean roots through the lens of K-Pop.
Serin has started a musical journey in her effort to search for a sound that would allow her to express the duality and contradictions of her identity through her music. Serin’s goals extend beyond music to using music culture to create opportunities for other musicians and creatives who are often not part of music culture. She hopes to uplift ‘third culture kids’ in the creative world through her music, especially fellow ‘third culture kids and secret outcasts.’ Using music to forge connection is a welcome approach!
Tod Weidner is an institution in his home town of Dayton, Ohio. Tod is a visionary songwriter making music that drives a listener to tap their toes without realizing the impactful lyric until one has been hooked. Tod has led the incredible band Shrug for decades. The admiration for Tod’s music has been well earned from a songcraft that brims with a direct and honest rock and roll that veers across rock, indie, folk and more. Tod’s gift for writing catchy songs that open an honest dialogue is one of the most important characteristics of his music! While Tod has relocated to the Bay Area, his music continues the sonic journeys he started in Dayton.
Dr. J: What can you share with us about when and how you started writing music?
Lyrically speaking, I’ve been hugely influenced by my dad. He was a high school English and Literature teacher for over 30 years, and he passed on to me a love of words and how to put them together.
Musically Speaking, I started playing guitar in my sophomore year of high school, in January of 1986. I grew up in a rural area of Ohio, about 25 miles geographically and a thousand light years philosophically from Dayton. Underground rock (“college rock” as it was known then) was a thing, but it hadn’t really reached our sheltered little school to any real extent. We just had the radio – AOR or Top 40. If I had been more familiar with punk and DIY indie bands of the day, it may have occurred to me that I could write my own music as soon as I had a couple chords under my belt but, as it was, those radio formats instilled a feeling that these artists were untouchable superhuman beings descended down from Mt. Olympus, so the best we mortals could do was to learn how to play their music and- maybe, if we were good enough- join a cover band.
At some point around 1990, I began to realize that I didn’t have to play covers of other people’s music. The early “gateway drug” bands that lured me from the flashy ‘80s hard rock into more organic, underground stuff were Jane’s Addiction, Soundgarden, Mother Love Bone, Screaming Trees, Masters of Reality, Faith No More, and bands like that. I started coming up with riffs and developing them into truly dreadful early attempts at songs. Those bands led me to early R.E.M., Robin Hitchcock & The Egyptians, and other groups that had a little more “jangle” to their sound, and that was a turning point in my sense of songcraft. In 1993 I joined a short-lived Dayton band called Tim, which is where I first started contributing my own songs. After a year or so, I left Tim and started Shrug, and that’s where I really shifted into a higher gear. I was a sponge- I was devouring music as fast as I could find it, and learning about songwriting along the way.
Dr. J: What first led to your recording music? How do you approach production?
TW: When I was just starting out writing songs, my bandmate and I found this huge monstrosity of a stereo called a Sinclair Studio 100 at a close-out furniture store in Columbus. It was about the size of a window unit air conditioner, with a turntable, a tuner, and a dual cassette deck. The thing was, though, that it also had a setting where you could use it as a four-track recorder- the EQ sliders turned into faders, and you could record multitrack demos on it. My buddy and I each bought one, and I developed some extremely rudimentary recording chops, by trial and error. I haven’t listened to any of those cassettes I made for years and years; it would be somewhere between amusing and horrifying to hear them again.
How do I approach production? That’s a complicated question. It’s always evolving. My favorite way to do it is to get everyone in a room together and just play live. Let some happy accidents and mistakes happen- that’s where the good stuff lives. That’s not always doable, though. Sometimes space or noise limitations force you to build songs one or two instruments at a time, which gives you more control over the finished product and opens up the song to some interesting possibilities for experimentation.
There’s a time and a place for both approaches. Ideally, I like to let the song dictate the method. Having said that, I’ve been writing and recording demos alone on GarageBand lately, so building the song piece by piece is kind of the default mode for me at the moment, at least as far as pre-production goes.
The solo singles I’ve released so far and the ones in the immediate pipeline- aside from “The Boys of Summer” (which was done by myself at home) have been mostly recorded in a beautiful, big, spacious studio in Los Angeles, and I’ve been blessed to have some monster musicians on the sessions, so the lion’s share of the music gets tracked live, with vocals and some extra guitar overdubs added later. It’s a good mix of the two methods.
Dr. J: Boys of Summer is your most recent music, what led to the making of that song? What was the main influence on your recording this cover?
TW: It was serendipity- pure happenstance. I’ve always adored the original version, written by Mike Campbell and Don Henley. It’s such an evocative song about nostalgia, and it resonates with me more and more the older I get. I always thought it would be cool to cover it at some point.
So it happened that, this past New Year’s Day, 2022, I was at home, in my music room, with a few hours to kill, so I just started messing around with the song, kind of flying by the seat of my pants. I didn’t want to do a copy of the original; I never understand it when artists do that. What’s the point? I had an idea to keep it sparse- dark and skeletal, kind of turning the upbeat mood of the original into something that delivers the same sentiment in a more brooding way. Don Henley’s version is, in my eyes, sung by a successful alpha-type guy who’s reminiscing about an old flame. But he never really gets close to owning up to taking any blame in why the relationship ended. The narrator of my version of the song is a loser. He let the best thing that ever happened to him drift away, and he knows it.
I had no intention of doing anything with my version- it was just sort of something to do for a few hours. I sent it to my manager on a whim, because I knew he liked the original as much as I did. He really liked my version, and convinced me that we should release it. I have a song coming out soon that we really want all the pieces in place for, so releasing a version of a song that people are already familiar with makes a certain amount of sense from a business standpoint. We figured a cover would reach a few new ears to give us that much bigger of an audience when the “real next course” gets served up. How that goes remains to be seen, but the response to “The Boys of Summer” has been really great so far, so I’m already considering it a win.
I’m actually glad I recorded the song with no lofty goals for it to be released, because there’s a vulnerability in the vocal performance that probably wouldn’t have survived all the overthinking I would have done had I been trying for “a single”. “Quick, dirty, and instinctive” is the way to go sometimes.
Dr. J: The song ‘City of San Jose’ captures a remarkable constellation of musical influences. The song seems to have an almost 1970s feel. Is that a correct interpretation? If that is correct, did you intend to create a song that connects to that time period? If that is not correct, how would you describe the feeling of the song?
TW: No, I’d say that’s a very accurate assessment. Most of what I do is rooted in the music of the 60s and 70s, either directly or one generation removed, and most of my favorite artists were doing their best work back then.
Dr. J: How did the song ‘City of San Jose’ come together musically for you?
TW: The song is kind of a love letter to a section of the San Francisco Bay Trail near where I live. During the peak of Lockdown, it was a great place to get some exercise away from a lot of other people. I also came up with a lot of lyrics for this current batch of songs out there.
I used an alternate tuning on my guitar for that one- DADGAD, a tuning that a lot of British artists gravitated towards in the late 60s and 70s; people like Bert Jansch, John Martyn, and Nick Drake. Jimmy Page used DADGAD on a lot of Led Zeppelin tracks, as well. My original demo for the song was very much in the British Folk vein- a bit quieter, more pastoral. When we got in the studio to record the actual version it became much more upbeat, but I’m not mad about that at all. I like both approaches a lot, and the final version we did in the studio served as a good introduction to the world of “Tod Weidner as a solo artist.”
Dr. J: Where do you often derive inspiration to make music?
TW: Well, it’s a compulsion, really. Playing guitar is really the one thing in my life that never fails to make me feel better. If I’m depressed, anxious, or out of sorts, there’s nothing I like better than to just pick up the guitar and lose myself for an hour or two. It’s my form of meditation. More often than not, a kernel of an idea will pop up somewhere in the course of my aimless noodling. The “voice memos” app on my phone is overflowing with minute-long ideas that either eventually will or already have become full-fledged songs.
Lyrically, I’ve been really making an effort over the past few years to simplify. In the beginning, I delighted in using big flowery words in my songs just for their own sake. While there’s certainly nothing wrong with that, per se, I’ve been fascinated lately with the songcraft of people like John Prine, Johnny Cash, or Tom Petty: songwriters who can lay down a simple truth that everyone can relate to, but with a clever little spin on it that just makes it land like a bomb. There’s a deceptively fine art to that, and I’m always trying to get better at it. Fewer words, more impact.
Dr. J: How would you describe the music that you typically create? How has that process evolved or changed over time (especially as you think about your journey in the last few years)?
TW: My standard line about my music is “songs about Love, Loss, The Loss of Love, and The Love of Loss”. There tends to be a touch of yearning, or wistfulness, a bit of melancholy in most of my music- “Sad Bastard Music”, as some people call it. It’s not dark all the time, but I think most artists have a tendency to ruminate about things, at least the ones I gravitate to.
Moving to California from Ohio was already a big new chapter in my life in and of itself, but the prospect of starting a solo career with a new tribe of people also definitely represents a turning of the page. Dayton will always be home, and I thank my lucky stars that I got to learn how to be a musician and writer in such an amazingly fertile music scene as Dayton’s, but there comes a time when a nurturing, close-knit environment runs the risk of becoming an insular echo chamber-type situation. In all honesty, that’s what Dayton started feeling like toward the end of my time there. It was time to get somewhere new and try my stuff out on people who hadn’t known me for decades. It’s a healthy thing to do.
My dear old friend, and now manager, Jack Piatt, has always championed my music, and through him, I’ve gotten to meet and work with people out here from very different backgrounds than mine. Which is also a healthy thing to do. Nomad, the gentleman who has produced my first five singles, has a resume that includes- among other things- a long stint as Babyface’s musical director. So he has a strong background in Soul and R&B, and that gives him a much different perspective than I have, coming from a more-or-less strict rock background. The “me” from 10 or 15 years ago would’ve been very skeptical of working with someone like that. But, as I said, this is a major new chapter of my life and career. I told myself, “Tod, you’ve been doing things a certain way for over 25 years. If you want to continue in the same bubble you’ve been operating in, you might as well just go back to Dayton and record the usual stuff with the same people at the same places.” If I want to get somewhere new, it’s a good idea to take some new outside advice, be open to change, and let go of some of my innate urges to control every aspect of the situation. I decided to start saying “yes”, instead of, “I dunno, that’s not how I usually do it.” And I have to say- it’s been working out really well so far. It’s refreshing, and exciting.
Dr. J: What is next for you musically? How would you describe your thoughts at this point for your next project?
TW: The next single is coming out sometime in February, and I think it’s going to really surprise people who are familiar with my back catalog. I’m very excited about this track, and the people I recorded it with. That’s all I want to say about it for now.
The plan is to release a digital single at a rate of about one a month, and eventually end up with enough songs for a full, physical album. I’m still old school enough that I like to hold a record or a CD in my hand and read liner notes and whatnot.
I came out of Lockdown with about 20 new songs, and I’m as proud of them as any I’ve ever written; I really believe it’s some of my best work, and I am dying to get on the road and play them for people.
Dr. J: What is your favorite song to perform live? What is your favorite song to perform in general? What makes that song a current favorite in your performances?
TW: I don’t know if I have a favorite song to perform. I have favorite types of songs, maybe. I love playing a song that lets me stretch out and go somewhere on the guitar because, at the end of the day, I still think of myself as a guitar player.
And I love a song that I can crawl inside and live in while I’m singing it. I just want to play something that moves people. That’s the objective: to play with sincerity and move people. There’s not much point in doing anything else.
Dr. J: What is one message you would hope that listeners find in the unique nature of your latest music?
TW: Well, as I said earlier, I tend to lean toward the darker end of the emotional spectrum with my songs, but lately- with this latest batch of songs, especially- I’ve been making more of a concerted effort to include a little ray of sunlight here and there in the songs. With the last several years of trauma and uncertainty, I think Hope is a valuable, rare commodity, and people need as much of it as they can get.
Music, and Art in general, serves multiple purposes: it can provide a feeling of escape for the listener, a chance to forget their troubles and go somewhere else for a few minutes. That’s a lovely thing.
But Music can also be a hand to hold in the dark. It can tell the listener, “You’re going through some painful times. I know how you feel, I feel that way, too. Let’s feel that way together.” That can be a beautiful thing, too- letting the listener know they’re not alone. I know Music has gotten me through some dark days and nights, and if my songs can help someone in that way, then I’ve done my part.
Dr. J: As a musician, how are you adapting to the challenges of the Coronavirus?
TW: Same as everyone, I suppose. It depends on the day. I miss playing shows, I know that. I hope that, sooner than later, I can get back to playing a gig without worrying about people going home sick. I’m also very aware of the privileged position from which I’m speaking.; my wife has been working from home, and we’re getting by alright. A lot of folks don’t have that luxury.
The silver lining for me, as a musician, has been the enforced down time. As I mentioned, it’s allowed me to really buckle down and work and produce a lot of songs I’m proud of. I’m thankful that I have songwriting as a way to work out my fear, dread, and anxiety. Again, a lot of people don’t have an outlet like that.
I guess it comes back to what I touched on in the previous question. As a singer/songwriter during this whole mess, I have a responsibility to reflect the times, relate to the listener, and provide them with some degree of solace. All things considered, it’s not a bad job to have.
We want to extend our sincere gratitude to Tod for answering our questions and continuing to make some really excellent music! Click on the links throughout the article to visit his social media or to listen to various songs that were discussed! If any musicians or artists would like to participate in future ’11 Questions with…’ columns, please feel free to email us at email@example.com. All photos and images courtesy of Tod Weidner.
Indie rockers No One Sphere – Dave Mann’s post-Mittenfields project – is certainly picking up steam in early 2022. Later this month (March 18th to be precise), the group releases their debut full length ‘Isn’t Everything About Something‘ on the Broken Sound Tapes label out of Chapel Hill, North Carolina.
The album was recorded with Jarrett Nicolay at Mix Tape Studios in Alexandria, VA. To say that Jarrett contributed to the sound of this project would be a vast understatement. Jarrett not only lent his production skills to the effort, he played all of the instruments as well. Mann and Nicolay together crafted a unique sonic vision.
The band’s album captures the diverse musical influences of Mann’s kaleidoscopic and encyclopedic sonic grasp. The arrival of No One Sphere fills a need for an indie rocker that is not a statement about something, a song that is not pretentious or precious. The single Ceiling Fan manages to create a chantlike chaos of melodic deconstruction that is similar to the musical heart of Wilco’s experimental period. The slinky stagger of the bass line moves along a jazzy rhythm that would not be out of place on a funk record. The lyrics sway from meaningful self disclosure to deliberate non-sensical rhyming. In that way, the song feels akin to Wilco’s deconstruction era of Yankee Hotel Foxtrot and A Ghost is Born. Yet the jangly indie rock center of the song has a Pixies-like gravity.
Ceiling Fan pulls from many classic independent influences in its barely over three minute length. Listeners hear elements of Wire, Gang of Four, mid-’90s era R.E.M., the before mentioned Pixies, Half Japanese and The Replacements.
If the music industry were a fair minded affair, No One Sphere would be at the top of everyone’s new album recommendations. You can follow No One Sphere on Twitter and Instagram. We also recommend that you keep an eye out on their YouTube channel!
RIYL: Wire, Gang of Four, The Pixies, Half Japanese, R.E.M., The dbs, and The Replacements
Samantha J. King joined Dr. J in the studio for Your Tuesday Afternoon Alternative on Tuesday, February 8, 2022. This was our sixth show of 2022! Sam talked about her approach to songwriting, where she draws inspiration for her music, her experience of working on music with Patrick Himes in the Reel Love Recording Studio and much more! Sam’s current song, Southpark released on January 7th and is available everywhere you can experience music.
You can watch more videos of past studio guests on this page or over at our YouTube Channel. Past episodes of YTAA are available on Mixcloud. If you have questions, comments or suggestions, please contact Dr. J on gmail at drjytaa.