Three years ago, I saw the Cincinnati-based Over the Rhine open for the Cowboy Junkies at Seattle's Moore Theatre for the first time. Since then, I've followed this talented band from a distance online to their newest major label re-release, Good Dog Bad Dog, on Virgin's Back Porch Label. Virgin Records, home to The Rolling Stones, Peter Gabriel, Lenny Kravitz and the Spice Girls, among others, are bringing Over the Rhine into their fold, and will begin releasing the band's work starting with a new version of Good Dog Bad Dog. Back Porch's version of Good Dog Bad Dog hit the streets the last week of January, and their remix captures Over the Rhine at their best.

After listening to Good Dog Bad Dog, I think Linford Detweiler and Karin Berquist are onto something with a band named after their inner-city Cincinnati neighborhood. Songs like "All I Need is Everything" and "Faithfully Dangerous" showcase Karin's lilting vocals and Linford's unique knack for writing a great rock song. Or, writing a song that defies pidgeon holes and categories that dominate playlists, top 40 or MTV. There's a lot to like on Good Dog Bad Dog, particularly for fans of finely wrought story songs.

Over the Rhine has been an overnight success ten years in the making. They've released several records on local indie or self-produced labels over the last ten years, including 'Til We Have Faces and Patience (on Scampering Songs) to their major label debut in the early 1990's on IRS, Eve.

Last year, they released a compilation of their first ten years, Amateur Shortwave Radio and a solo disc featuring Linford Detweiler's solo piano, I Don't Think There's No Need to Bring Nothin', part of a stark photo exhibit held in Cincinnati-area art galleries.

I caught up with Linford by telephone as he was getting ready to hit the road with the Cowboy Junkies in February, 2000.

"We're in a very fortunate position," said Linford as he talked about the new Over the Rhine record deal with Back Porch, part of the Virgin Entertainment Group. "They will be re-issuing our earlier releases including Eve, Patience and Till We Have Faces, and it is a great opportunity to re-introduce our music to a wider audience."

I told him how much I appreciated that Over the Rhine is all over the map in terms of musical styles, from softly introspective rock in songs like "Poughkeepsie" and "The Seahorse" to full-tilt rockers like "Moth."

Their musical peers have recognized Over the Rhine, too. They've opened for the Cowboy Junkies, Bob Dylan, Adrian Belew, Shawn Colvin, Bob Dylan, Emmylou Harris, Jane Siberry, and Squeeze. Quite an eclectic bunch. They've also appeared as honorary members of Cowboy Junkies on David Letterman, Good Morning America and Sessions at West 54th (with David Byrne).

I wondered if he could put the Over the Rhine sound together in 25 words or less.

"I had always hoped that the Over the Rhine sound would resist all attempts to be categorized or paraphrased or put into words," he said. "I have always thought that great art of any kind, whether it be painting, film or music, resists straightforward description."

I pushed Linford a bit, trying to pin him down on exactly what would draw new listeners to Over the Rhine. Throughout our conversation, he stressed that Over the Rhine was always about creating art, whether that art consisted of folk songs, rock songs or story songs. I knew I wasn't talking to your average three-chord songwriter focused on writing "just the hits" spun by Casey Kasem and Company.

"I'm a sucker for anything that moves me," said Linford. "I'm particularly interested in good songwriters like Joni Mitchell or Randy Newman."

While he hadn't heard much from one of my favorites, James McMurtry, we talked a little about that great Texas songwriter who could spin some of the best tales about life and love anywhere. For my money, Linford's skewered view of the world is matched only by McMurtry's unique way of looking at life: sideways or upside down, there's always a story worth telling.

Last year during the Cowboy Junkies' Summer Waltz Tour, Margo Timmins said that she enjoys touring with Linford and Karin so much that she'd really wish that they'd be available all the time. As the relationship developed between Over the Rhine and the Cowboy Junkies, both bands have worked to share guests on their respective bands' tours.

[Pictured: Jeff Bird]

"It really is like an international musicians' exchange program," said Detweiler. "We're very happy to have multi-instrumentalist Jeff Bird as part of Over the Rhine for our shows." Bird, a Guelph, Ontario native, plays a dizzying array of instruments, including harmonica, mandolin, and percussion. He's also released a handful of records that deserve a wider audience (special note to Back Porch: get Jeff on board,too!).

"It's a real challenge playing in two bands," said Linford. "We're really lucky. It's a lot a of fun playing for both the Cowboy Junkies and Over the Rhine." Both Karin and Linford play alongside as "guest Junkies" and Karin's rhythm guitar and Linford's Hammond B-3 are welcome additions to a great line-up fronted by Margo Timmins.

In addition to Linford and Karin, the mainstays of Over the Rhine include guitarist Jack Henderson, drummer Don Heffington, bassist David LaBryuere, and vocalist Terri Templeton.

As the millennium opens, Over the Rhine is balancing a tour schedule that features the band as an opening act to the Cowboy Junkies as well as headliners in their own right. During a typical Junkies show, Karin and Linford sit in on some the Junkies' best work, including their version of Lou Reed's "Sweet Jane" to "Miles From Our Home."

For me, Over the Rhine occupies a special spot in my CD collection and in my memories of great rock shows. As they roll out their Spring 2000 tour with the Cowboy Junkies as an opening act or headliners at smaller clubs, check 'em out.

[Stay Tuned: Next month, Eric Steiner will review Over the Rhine's live gigs at Seattle's new Paradox Theatre.]


(C) 2000 Eric Steiner