Ian Graham: Young Prince of the Moondoggers by Jim Hutter

Anyone well-versed in the history of rock music is aware of Alan Freed.  In the early 1950's, the Cleveland-based disc jockey was a pioneer who broke social taboos, crossing the so-called color line by playing rhythm and blues artists for a predominantly Caucasian audience.  In order to avoid the racial stigma of the music, the self-proclaimed “Moondog” co-opted an old sexual euphemism and dubbed the style “Rock ‘n’ Roll.”

By 1956, as younger artists like Elvis Presley popularized the genre, Alan Freed became the spokesman for this controversial music.  Not only did The Moondog continue to champion the cause through his radio broadcasts, but he became a concert promoter, television personality, and the star of several films showcasing rock ‘n’ roll artists.  Unfortunately, it was revealed that Freed accepted payments from record companies to play certain artists over others.  This broke into a scandal called Payola, ultimately costing the media personality his career and sending him into an alcoholic spiral that ended with his death in 1965.

Fifty years later, a young visionary from Central Ohio has drawn inspiration from Alan Freed and created one of the most diverse and exciting radio programs to grace our airwaves: “The Rock and Roll Radio Show.”  That visionary is one Ian Graham, a 22-year-old disc jockey on WQTT 1270 AM, Marysville.  Dubbing himself “The Young Prince of the Moondoggers,” Graham has attracted a cult following with his weekday afternoon slot, playing an amazing mix of rock-related music from the past sixty years.  The host affectionately calls his fans “The Moondog Kingdom.”

Who, then, is Ian Graham and how did he come to feel connected to an individual from long before his time?  Blessed with parents who shared their collection of ‘50's and ‘60's rock ‘n’ roll, Ian also developed a passion for this music.  As a Marysville High School senior with journalistic aspirations, a key event happened that would shape his future.

“When I was a senior in high school,” he explained, “I was editing my school newspaper. I wrote an editorial on how I felt about industry where I lived, here in Marysville, Ohio.  I felt like it was funneling kids who weren’t academically inclined into that industry without helping them get into college.  There wasn’t much opportunity.  When it went to press, there had been no editing.  The editorial ran as I wrote it, including sour comments about Scott’s and Honda and the school.  I got suspended from school during the first semester of my senior year.  I kind of got pissed off at the whole faculty and the system…so I just dropped out.”

Working various jobs while getting his ECOT diploma online, Ian accidentally discovered WQTT and realized that the oldies format played the very music he loved.  After a bit of networking with the disc jockeys at the Union County Fairgrounds’ Garage Sale, Graham impressed his elders with his knowledge of ‘60's pop music.  Shortly thereafter, he was hired for a station internship.  The future Young Prince of the Moondoggers assisted with production of the morning show and writing ad copy.  He left such a positive impression that he was given a paid position as one of the morning show hosts.

Prior to January of 2015, WQTT’s afternoon drive-time programming was provided by satellite.  When the provider went out of business, the station opted to produce their own show.  Ian Graham was offered the 3 pm to 6 pm weekday slot, and “The Rock and Roll Radio Show” was born.  The Young Prince of the Moondoggers had arrived.

In keeping with the station’s oldies format, “The Rock and Roll Radio Show” plays a wealth of rock, pop, and soul from the ‘50's, ‘60's, and ‘70's.  The playlist goes deeper than most, playing album tracks, obscurities, and other surprises.  Unlike the majority of oldies shows, Ian Graham freely and passionately mixes tracks from the punk era and beyond.  On a typical afternoon, one could very easily hear Eddie Cochran, Mott the Hoople, and The Black Keys played in rapid succession.  The Young Prince presents all of it with equal passion, often punctuating songs with his own uninhibited Moondog howls.

How has the mix of old and new been received?  Fortunately, it has been very positive with very little objection to sometimes wilder post-punk artists like The Cramps, Ramones, or Sex Pistols.  Fans seem to get the connection between old and new and appreciate the common spirit between all of it.

As an added bonus, “The Rock and Roll Radio” show also features performances by local artists.  Not only will Graham play their demos, but invites bands to play live on-the-air every Friday.  To date, guests have included The Pink Flamingos, Rick Salazar, Bosswood, The White Outs, and others.

Throughout all of this, Ian Graham remains as passionate as Alan Freed, championing rock ‘n’ roll in a time when its popularity is seemingly eclipsed by rap, hip-hop, lightweight dance pop, and Americana. For those of us raised on rock, passions run deep, and those very passions are stoked and satisfied by the enthusiasm of Ian Graham and “The Rock and Roll Radio Show.”

NOTE: “The Rock and Roll Radio Show” airs 3 to 6 pm weekdays on WQTT 1270 AM in Marysville.  Broadcasts can be heard over the airwaves in Union, Delaware, and northwest Franklin Counties.  It also streams on the web at http://www.qt1270.com. 

Rolling Stones Cbus Review by Stones Fan Jim Hutter

Click here to read Stones review by non fan Pete Vogel

THE ROLLING STONES
Ohio Stadium
May 30, 2015

By Jim Hutter    


It is a rare occurrence when two iconic ‘60's rock bands play Columbus within two weeks of one another, but that is exactly what happened when The Who and The Rolling Stones came to town in late May.  Many would argue that both bands are far past their prime, with neither having made a genuinely great album in over 30 years.  Also, factor in that founding members of both bands are over 70 years of age, and it is easy to see why even the most ardent fan would have reservations about these British Invasion greats still touring 50 years after their initial breakthrough.  Still, how often do Central Ohio residents get to see these musical legends?  For that very reason, I made a pilgrimage to see The Rolling Stones play Ohio Stadium on May 30, 2015.

I admittedly prefer small nightclub performances to stadium shows, because I enjoy the intimacy of seeing musical performers as human beings.  Sitting in C-Deck of Ohio Stadium, one could see the massive stage setup below.  It included gigantic video screens and a 100-foot runway for singer Mick Jagger to strut his stuff.  With his 72nd birthday rapidly approaching, would Jagger still have the athletic prowess to grace us with his fleet feet and soulful shouting?  The answer came pretty quickly, and it was a very pleasant surprise.

After much fanfare of overblown theme music and a photo montage on the giant television monitors, Ohio Stadium was graced with the sound of Keith Richards pounding out the opening chords of “Jumping’ Jack Flash.”  Jagger leapt to the occasion, dancing down the runway like a junior James Brown while belting some fine British blues.  Close-ups of the singer on the video screens were revealing.  While Jagger possesses an appropriately craggy countenance, his trim build and visible six-pack abs are stunning.  He would be considered in great shape for a man 40 years his junior. The man still has it!

Next in line was a rousing take of “It’s Only Rock ‘n’ Roll (But I Like It).”  If anything, this song is anthemic.  With a seventies-centered set list, the song is symbolic of everything The Rolling Stones stood for during that decade.  Self-indulgent lifestyles aside, the band’s music remained unpretentious, raw, and blues-based.  Jagger & Richards never attempted to write profound or poetic songs, nor did their music ever take itself too seriously.  Instead, The Stones have lived up to the self-fulfilling prophecy of this song for over 40 years.  God bless them for it!

Admittedly, there was a bit of pandering to audience expectations.  Recognizing that he was in the heart of Ohio, Mick Jagger led the audience in a sing-along of “Hang on, Sloopy.”  It was calculated and corny, but not out of character for The Rolling Stones.  Just remember that the original band cut their teeth by almost exclusively recording American rhythm and blues covers.  “Sloopy” was cut from this same cloth.

Some pleasant surprises from the Brian Jones era were in store.  First was the 1967 hit “Let’s Spend the Night Together.”  It was beautifully driven by sideman Chuck Leavell’s boogie piano and Charlie Watts’ four beats-to-the-bar drumming.  Charlie was awfully good tonight - not unlike Mick Jagger’s observation on the 1970 live album, “Get Yer Ya Ya’s Out.”

After rocking “Tumbling Dice” into “Doom and Gloom,” the band swaggered out with the horn-driven “Bitch.”  On this tour, the soulful saxophones were provided by Karl Denson and Tim Reis, who have replaced the recently-departed Bobby Keyes.  “Bitch” was one of three classics taken from the recently-reissued 1971 album, “Sticky Fingers.”  The others were “Wild Horses” and “Brown Sugar,” alternating melancholy with forceful lust.  Ron Wood handled the smooth Mick Taylor solos with warmth and grace.

Another visit to the British Invasion was “Paint It Black.”  It was somewhat surprising to see Ron Wood twanging away on an electric sitar, recreating the same licks played by Brian Jones in 1966.  Propelled by strip-club drums and theatrical organ, the sonic onslaught was no less thrilling than it was some 49 years ago.

After the Charlie Watts’ percussive punch of “Honky Tonk Women,” Keith Richards took center stage and intoned two of his classics, “Before They Make Me Run” and “Happy.”  At 71, the man does not look a day over 95 and rocks with more balls than many musicians under 30.  I am convinced he is the Human Cockroach and will outlive us all.

When Jagger returned to the stage, he launched into the 1968 drama piece, “Midnight Rambler.”  As the seasoned bluesman sang, “Did you hear about the Boston Strangler,” Charlie Watts laid down one of his exploding floor tom attacks.  An avid fan in the audience could be heard exclaiming, “Goddamn!” with timing perfectly matching the tempo on “Get Yer Ya Ya’s Out.”  It was a perfect complement to a near-perfect song.

The band paid homage to the disco years with a funky “Miss You” from the 1978 classic Some Girls.  Sideman Darryl Jones, who has been with Stones for over 22 years, laid down the perfect slapped bass line as he joked and jostled with Keith Richards.  Why isn’t he considered a full-fledged band member?  He is truly amazing on the four-string and deserves to be considered the proper successor to Bill Wyman.

A highlight of the night was “Gimme Shelter.”  As backing vocalist Lisa Fischer broke away from her harmony partner Bernard Fowler, she stole the show by taking the runway and belting the female vocal solo in a manner that was equal parts angelic gospel and Aretha Franklin soulful.  Ms. Fischer received a well-deserved standing ovation.

As fireworks exploded from behind the stage, Mick, Keef, Charlie, and Woody charged forward with “Start Me Up.”  The pyrotechnics continued with “Sympathy for the Devil.”  With hellfire projected onto the video screens, Jagger crooned the tale of ol’ Beelzebub while donning a crimson feather boa.  Keith recreated his dirty slide guitar solo with menace.  The performance was almost frightening.

“Brown Sugar” - with prerequisite out-of-tune Keith Richards’ chording - closed the main set.  The first encore was “You Can’t Always Get What You Want,” augmented by members of The Ohio University Chorale.  The prim & proper choir beautifully contrasted with the dirt and grit of “The World’s Greatest Rock Band.”

Our gentlemen of distinction closed down the night with their 50-year-old signature song, “(I Can’t Get No) Satisfaction.”  While some would argue that their performance was a clichéd self-parody, there was no doubting the “satisfying” effect upon the crowd.  While the performance was rawer and featured more sophisticated instrumentation than the original British Decca recording, it still sounded great, allowing Jagger, Richards, Watts, and Wood to go out on top.

Much like The Who, The Rolling Stones know very well that their best days are behind them, but they still know how to put on one amazing show.  Wishing for the impossible, it would have been great to see them in 1965, 1969, 1972, or 1978, but I will gladly take 2015.  It was that good.