By Dave Swanson - Summit FM Contributor

It is somewhat amusing how seriously the banter about Year Zero was taken by so many, especially in the UK. The arrival of The Damned, Sex Pistols, Clash, etc. not only signaled the push for a changing of the guard but truly a shift in pop culture—from clothing and music to attitudes and hyperbole. “No Elvis, Beatles or the Rolling Stones in 1977!”according to the Clash. All these “old” rock stars—you know, over 30—had to go. It all seems so silly now, but it was a real thing happening, and bands were distancing themselves from tradition.

However, in short order the punks got bored with themselves and started trying out different styles. Rotten Johnny (aka John Lydon) left the Sex Pistols and formed Public Image Ltd, an animal of a totally different stripe. The Clash branched out into wild experimentation with reggae, pop, funk and more, while The Damned showed off their love for psychedelia. All down the line, these bands were forging ahead, making their own noise that, while starting life in the punk explosion, had long left that behind. Enter the post-punk era, where bands were adopting all sorts of new sounds and styles.

Stiff Kittens would become Warsaw, who would become Joy Division, who would create their own universe and ultimately inspire countless bands immersed in darker sounds. From the majestic psychedelic sounds of Siouxsie & the Banshees, to the ethereal wash of Cocteau Twins, to the commanding funk of Gang of Four and Heaven 17, to goth and beyond—there was a lot going on. A band calling themselves the Southern Death Cult appeared, linking elements of post-punk, goth, shimmering guitars, and howling vocals, all steeped in a stance influenced by tribal and Native American mythology and history, as channeled through the haze of The Doors.

Soon they dropped the Southern part, followed by the removal of Death, to simply be The Cult. After a few singles, the band recorded their debut album, the majestic Dreamtime, which took all those previous influences and condensed them into a more focused pop/rock sound. Their look was changing as well—from the ragged, almost futuristic hippie vibe to a more rock and roll look. Singer Ian Astbury even adopted a glorious Cher–circa 1965 hairstyle, bangs to the fore. With each change, they had moved further away from Year Zero.

By 1985, as the band recorded their next LP, all bets were off as they delivered the masterpiece called Love. From the shimmering opening track, Nirvana, the band’s sound and intent were louder and clearer than ever. The driving rhythm section allowed guitarist Billy Duffy to float on top, providing a much more traditional style while Astbury was channeling his inner Jim Morrison to create a 1985 take on classic rock. Though the guitars owed as much to the style of The Edge and Banshees/Magazine guitarist John McGeoch, there was a sense of tradition being pushed forward. Song after song, the album builds: Big Neon Glitter with its stomping glam vibe; the hard-rocking title track; and the sweeping, hypnotic Brother Wolf, Sister Moon, which could have ridden tandem with something like Rhiannon.Rounding out side one, Rain shows off how a driving riff can truly power a song, making it one of the band’s genuine classics.

Flip the LP over and suddenly The Cult are borrowing a Stooges riff before getting all hippie vibes on Revolution. Then comes She Sells Sanctuary, another monster riff that sets sail into a song that remains the band’s star moment after all these years.

As I mentioned at the start of this long-winded tale, the whole Year Zero thing inspired countless kids to pick up a guitar. It influenced the Southern Death Cult, the Death Cult, and The Cult, but ultimately The Cult would show their true colors with their next album, as they tossed out any traces of punk or post-punk and basked in the classic rock glow of Led Zeppelin and AC/DC–style riffs on the Electric album—another wonderful record with another style in place. It just goes to show, one never knows what will inspire and lead a band down one path or another. From being lumped in with Bauhaus and cohorts at the start, to churning out Status Quo–style riffs, it’s all part of The Cult’s history—and Love is still the pinnacle of that journey.

By Dave Swanson - Summit FM Contributor

The Cranberries emerged from an unheralded Irish music scene to deliver many beloved records over the years. Beginning in 1989, the band did the usual maneuvers to gain ground in fairly short order. After initially being courted by indie stalwarts Rough Trade, a wider bidding war began, and they ultimately signed with Island Records, who issued their debut album, Everybody Else Is Doing It, So Why Can’t We? in the spring of 1993. It was a perfect time to be a new band in search of an audience, as the doors were still flung wide open in the post-Nevermind alt-rock world of the moment.

“Island were actually the last label to show an interest," noted guitarist Noel Hogan in a 2001 interview, "but their A&R guy, Denny Cordell, was just completely different from the others. He was an English guy based in New York. He’d produced [Procol Harum’s] ‘A Whiter Shade of Pale,’ he knew [Island boss] Chris Blackwell and the whole business inside out, but he was realistic too. Unlike the other labels, he didn’t promise us the world. We just had a feeling about him and, thankfully, we were right."

The band even acknowledged their first steps as tentative. “This was around the time of The Joshua Tree, and U2 were just massive,” continued Hogan. “If you thought Irish rock music, you thought U2, but that was way out of our reach. Coming from a small town in the south of Ireland, we thought no further than forming a band and playing a local club in front of a few friends if we ever got good enough. Really, we would have been content with that.”

The Cranberries’ sound drew from all sorts of inspirations without any easy label applied. This, it seemed, helped the band establish their own identity. With all songs co-written by singer Dolores O'Riordan and guitarist Noel Hogan, the two quickly developed a perfect writing partnership. The first single from the album, “Dreams,” made a respectable but less than stellar showing, missing the Top 40. The follow-up, however, told a different story.

Released in February 1993, “Linger” caught on at MTV as well as alternative radio, reaching No. 8 as a single and pushing the album into the Top 20, peaking at No. 18. The somewhat ethereal, dreamy delivery set it apart from much of the alt-rock output of the era, and despite frequent comparisons to both the Sundays and Sinéad O'Connor, it found an audience all its own.

The band carried on for several years before taking a hiatus in 2003, then reforming in 2009. Sadly, vocalist Dolores O'Riordan, who had faced a variety of struggles and demons, was found dead on January 15, 2018, from alcohol intoxication. She was only 46.

We are proud to announce that The Summit FM has been awarded an operating grant from the Ohio Arts Council for the very first time. This landmark achievement affirms our artistic merit and community impact while providing crucial unrestricted support to sustain our daily operations and ensure the station’s long-term future.

Summit FM General Manager Tommy Bruno adds:
"The loss of federal CPB funding was a major challenge for us, and it made us take a hard look at how we could continue delivering the kind of local, independent programming our listeners count on. Receiving this support from the Ohio Arts Council is not just financial help—it’s recognition that what we do matters to the cultural fabric of Northeast Ohio. This grant helps ensure that The Summit can remain strong, independent, and community-focused."

For more information on the Ohio Arts Council, visit oac.ohio.gov

By Dave Swanson - Summit FM Contributor

"Tamacun," the instrumental tune that kicks off the official debut from Rodrigo y Gabriela, startles as it shows off what this Mexican duo was all about. There is power in the acoustic side of music, and these two were dead set on proving that. Shards of classical, flamenco, folk, Latin and rock all come crashing together in a perfect storm you can't help but react to.

They began a musical life playing a heavier style of music in their native Mexico City before packing up and moving to Ireland. It was then that they became fixated on the idea of musical worlds colliding. As the acoustic guitar served as the driving force, their early heavy metal influences were never too far from reach, as proven later in the album by covers of Led Zeppelin's "Stairway to Heaven" and "Orion" by Metallica.

"There was always music in my home," Gabriela recalled in a 2006 interview. "My mum was a music lover and her collection of music was fantastic. She had jazz, classical, the Beatles, Rolling Stones; to salsa (very good salsa), to Mexican boleros." This melting pot of sounds and styles hit her hard, and by age 11 Gabriela had decided she wanted to learn an instrument.

From "Diablo Rojo" and "Vikingman" through to "Satori" and "Ixtapa," the album flows like a mighty and exotic river, with each wave different from the last as it crashes. Their take on "Orion," originally from Metallica's Master of Puppets album, is a perfect fit. In fact, after it plays out, it makes more sense in the setting they create here than it did on Puppets. They truly made it their own.

Producer John Leckie added just the right amount of polish to the recordings here. His flair for beauty with such bands as XTC, Magazine, Radiohead, the Verve and many more works perfectly in this setting, creating an album that pushed beyond the NPR-type walls a lot of records like this seemed destined to stall behind. They worked out their unique direction in front of live audiences.

"We then moved to the beach and we were playing different styles of music even though we didn’t have any material to play for romantic, candlelit dinners for tourists at the beach," Gabriela recalled. "We were so desperate to work we agreed and did two sets of 45 minutes in which we played Metallica and Slayer, and people said, ‘What sort of music is that?’"

The album was released in February 2006 and, incredibly, shot to No. 1 in Ireland. It also led to a career that continues to this day, along the way scoring a couple of Grammy Awards and providing a unique and interesting soundtrack for anyone who listens.

Welcome to Fantasy Football, Public Radio style! If you’re a sports nut, or maybe just stuck with one, a minimum $25 donation earns you a Summit Fantasy Football team!

We have space for up to 100 Summit Fantasy Football teams, split into up to TEN leagues that will play each week throughout the NFL football season. 

Each league will be joined by at least two Summit artists or staff members. Compete and encourage…or smack talk with your new league frenemies and Summit FM Personalities!

If you want, can donate up to $50 for two teams - playing in separate leagues.

League winners will DJ their personal victory song and their league’s “least-winning team song” - LIVE ON AIR - Plus have their team name emblazoned for eternity on the Summit FM Fantasy Football Champions Plaque!

Each League’s worst record team at end of season must select from the “least-winning team” songs - not their own - that each player submits at sign up to be DJ’ed by the league’s champion (with permission of course).

The deadline to sign up is Labor Day, Monday, September 1^st*:

*Beyond basics we just need your team name(s), as well as your personal championship song and your league’s “least-winning team” song selection

Hopefully a live draft event will be held on Wednesday, September 3^rd, at 7:30pm, location TBA depending on response.

Players do not have to attend or draft their fantasy team(s) live. Those teams will be computer auto-drafted by ESPN, but may or may not look great at the draft’s end.

More details to follow your registration!

San Francisco singer-songwriter, bandleader, and 30-year TV newsman Dan Ashley joined Brad Savage for an interview and a couple live acoustic songs, performed remotely. Dan Ashley is the nightly news host on ABC-7 (KGO-TV) in San Francisco for many years, and is well known for his excellent band. It's super cool that the anchorman also has a live and active indie band. "Keep it classy, San Francisco!"

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time... However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

Tattoos, piercings, heroin, dreads, distorted drum machines, noisy guitars, a gallon of angst and dirt all made up the Ministry that wandered out of the Lollapalooza Generation. But in the beginning, there was a "kinder, gentler" Ministry, much more in tune with the synth-pop sounds of the early ’80s. In fact, that's when their debut album, With Sympathy, was released—1983, to be exact. After many years of poking fun at and ignoring this first step, band leader Al Jourgensen has finally embraced his “controversial” debut LP.

It's a different animal altogether from later dark entries like The Land of Rape and Honey and A Mind Is a Terrible Thing to Taste, but as a jumping-off point, it worked—and still works. In fact, I'd wager that it holds up better all these years later than some of the angry stuff!

Far from being a hit, it was one of many synth-driven bands and records of the time. This was prime time for Bronski Beat, Ultravox (phase 2), Depeche Mode (already off and running), and of course chart successes like The Human League, Thomas Dolby, and A Flock of Seagulls. It was “the future now,” so to speak.

Ministry threw their hat in the ring with other hopefuls and actually came up with an interesting take on synth-driven pop that also mixed in funk rhythms, urban landscapes, and slight nods to rap—with a production style that was far less British than many were aiming for at that time. In fact, 40+ years later, it stands as not only a brave move by a new band, but one that sounds less dated than many others from the era.

“Work for Love” and “Revenge” were big college radio hits that also found their way to dance clubs via the almighty 12" singles and dance mixes so popular at the time. While lighter in tone than the aforementioned later albums, it still chugs along with an anger of its own. Tracks like “Here We Go” and “Effigy” realize that side of the band, while “What He Say” almost sounds like a pissed-off Tom Tom Club. “Should Have Known Better” and “Say You’re Sorry” hold down the more expected sounds of 1983, but never in a generic way.

Jourgensen would move away from the pop leanings with each successive release. The next album, 1986’s Twitch, along with a handful of 12" singles, landed the band where they were destined to be, and by the time of The Land of Rape and Honey in 1988, they were all but unrecognizable from their debut.

Finally, the dust has settled, and With Sympathy can be seen for what it was—not a misstep at all, but a unique slice of synth-pop that not only holds its own with others of the day, but rises above most of them. Dance on, kids—dance on!

By Dave Swanson - Summit FM Contributor

It didn't take long for Paul Westerberg to prove he was more than a drunk punk. From those very first Replacements records, songs like “Kids Don’t Follow,” “I’m in Trouble,” and “Color Me Impressed” all showed the guy knew how to write a good song. By 1984's Let It Be, the high praise was being tossed around at every turn over the likes of “I Will Dare,” “Unsatisfied,” and “Sixteen Blue.”

Soon after, the major labels came calling, and it seemed the Replacements were going to hit the big time. What turned out, in part, to be a career full of self-sabotaging, Westerberg and company had other things in mind. After signing with Sire Records and releasing the album Tim, things were looking up and our guys were invited to Saturday Night Live. Now, first off, let me say it is probably one of the greatest SNL music spots ever. Second, for anyone who has seen the Nirvana appearance from a few years later and thinks that is the be-all, end-all of ramshackle middle finger to the machine—do yourself a favor and search out the 1986 Replacements clip. It's a chaotic mess in the best way—raw and rev’d up without a care in the world. They were scolded for not “playing the game,” and let's just say, were not frequent visitors.

A couple more albums would follow before the band fell apart in an alcoholic identity crisis. Critics and fans had been heaping praise upon Westerberg in particular as the next great songwriter. Upon going solo, he focused more on that task of songwriting with the album 14 Songs in 1993—ironically at a time when the raw rock and roll of the Replacements could have been more at home. However, Westerberg was off and running in another direction, focusing on the song. 1996 would bring album #2, Eventually, which featured Paul playing a myriad of instruments and trying on a variety of styles.

From the folk pop of opener “These Are the Days,” it was clear he was more focused than ever. “You've Had It With You” harkens back to the more ragged Replacements vibe, while “MamaDaddyDid” and “Once Around the Weekend” were somewhat paint-by-numbers alt-pop for the era—radio-friendly pop songs, perfect for a soundtrack near you. “Time Flies Tomorrow” is a beautiful song that ends the album in high style.

The album is full of these mid-tempo, melody-driven adult pop songs that, while fine, fail to really catch fire at first. But listen upon listen shows the layers underneath. A half dozen albums later, and he’s been pretty quiet ever since. Oh Paul, where'd ya go!?

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