Up the Junction

Volume One, Issue Two - July 2001

Cockeyed Ghost - Ludlow 6:18

Karma Frog Records

www.cockeyedghost.com

The album of the year is here. No need to go through the next five months searching for the best because no one can surpass Ludlow 6:18, the new CD from Cockeyed Ghost.

A concept album of sorts, Ludlow . . . is filled to the rim with incredible hooks, thought-provoking lyrics about life (and the meaning thereof), and a remarkably infectious spirit. But never once does the music become emotionally overbearing or stifling. On the contrary, it is quite simply the most uplifting and joyous music I've encountered in quite some time.

For example, the track 'Ginna Ling' is based on a real person that Cockeyed Ghost singer-songwriter Adam Marsland knew. A close look at the lyrics and you'd think, oh another depressing song about suicide. But the wonderful arrangement, energetically performed by the band helps bring about the true message of the song: life is precious and someone out there cares about you. Proselytizing, maybe. A great tune that makes you feel good, definitely.

This isn't to say that all the lyrics are dark and morose. On the contrary, humour is never far from Marsland's writing. First there's 'Burning Me Out (of the Record Store)', another true story detailing the mess bands can get into when dealing with record labels. Then 'Karma Frog,' a great pop treatise on infidelity. Heady stuff, but fun to listen to.

With each track this California quartet delivers the goods, from the Motown feel of 'The Foghorn' to the Jellyfish-like 'Tears of Joy.' I can't remember the last time a record actually gave me goose bumps, even on repeated listenings. Do whatever you have to, but buy this CD immediately. This will be one of the few that you will always go back to. It's that good.

- Chris Leib

The Blake Babies - God Bless the Blake Babies

Zoe / Rounder Records

www.blakebabies.com / www.rounder.com

So another trend begins . . . indie darlings of the past are joining the reunion bandwagon. Or so it seems with the release God Bless the Blake Babies on Zoe / Rounder Records. Not that this is a bad thing -- I just don't know how I should feel about this. I mean, Echo & the Bunnymen reformed and now it's just Ian McCulloch running around saying he's the band. Is this what Julianna Hatfield is doing? And on top of all of this, with all of these 80's band reforming it's kinda like staring your own mortality in the face, y'know?

Okay, on to the disc. Things start off promisingly enough with 'Disappear,' a bright pop tune explaining the trials and tribulations of a painful breakup, and regretting that the relationship happened. Next up is the CD' first single, 'Nothing Ever Happens.' A slacker tune for sure, but a great one nonetheless. But after this one-two punch of pop brilliance, the record drastically changes gears and becomes more subdued, more intimate. Again, not a bad thing, but it is slightly confusing at first. Thankfully after repeated listenings, this thematic and tonal change is kind of refreshing. 'Until I Almost Died' exemplifies this intimacy very well, with its theme of self-realisation and almost apologetic stance (and forgiveness) of things past. John Strohm takes over lead vocals on 'Picture Perfect,' this one lamenting a lost love; and guest Evan Dando (whom I personally never cared for) helps out very nicely on 'Brain Damage,' a duet with Hatfield.

I guess I just went into this record with different expectations. It's not bad; in fact, it's quite good. However, I guess I was just expecting a little more adolescent bite and not so much adult contemplation about life. This could become a nice little Sunday morning CD given time. Now if only the Banana Splits would reunite . . .

- Stu da Stael

Copperpot - Nothing Lasts Forever

Subrosa Records

www.copperpotmusic.com

There's always been one thing about 70's pop that's bothered me. Although the songs have great hooks and were expertly played, the recordings just seemed to lack any backbone; they had little or no bite. Copperpot easily remedies this dilemma by melding 70's pop with 90's rock for ten fantastic power pop songs on their debut release, Nothing Lasts Forever.

Copperpot consists mainly of duo Jarrett Randazzo (vocals, guitars, keyboards) and Casey Tuck (drums, percussion), augmented by Robert Green (guitar, vocals, keyboards) and Randy Staley (bass). Hailing from Boston, Massachusetts, this foursome easily delivers the pop goods. 'Candy' would be very much at home on any Shoes album while 'My Apologies' is a long-lost child of Cheap Trick classic In Color And In Black & White disc.

AS with all great power pop tunes, the songs on Nothing Lasts Forever deal with love and relationships from just about every standpoint. Abusive ('My Apologies') to longing ('Alison'). Desperation ('Don't Go Away') to realization ('Nothing Lasts Forever'). Throughout this gauntlet of emotions, the songwriting is strong and confident. The spirit of the Shoes and other great 70's pop bands is alive and well in Copperpot. We can all be thankful for that.

- Dennis Blandford

Neil Finn - One Nil

EMI Records (Import)

www.nilfun.net

The commercial salad days are over for Neil Finn, at least in the US. No more guaranteed airplay or sales since Crowded House and Split Enz are now pleasant memories. And something tells me that Finn wouldn't have it any other way.

One Nil is the latest release from this immensely talented songwriter. Mostly comprised of songs about love, devotion, and time tranquilly passing by, you can tell that Finn is not hurrying through his life anymore about anything. This is a very relaxing record, even when he rocks out a bit. 'Wherever You Are,' the leadoff single, is a perfect example of where Finn's at now. A beautiful paean to his wife, it is neither saccharine or predictable. A straightforward, heartfelt homage to the woman he loves, the song is irresistible.

The musicians Finn gathered together for these sessions is quite impressive, also, but still succeeds in sounding like a family getting together to jam on a summer Sunday evening. Wendy and Lisa (remember them from the Prince heyday?), Mitchell Froom, and the legendary Jim Keltner all bring a touch of warmth and intimacy to the recordings. Even Sheryl Crow's contributions of vocals on 'Turn to Run' and 'Driving Me Mad,' and accordion (!) on 'Into the Sunset' are wonderful.

Unfortunately, since Finn's 1998 solo debut Try Whistling This sold poorly in the US, EMI has opted not to release the CD over here. So, ask your local independent record store to order it, or you can try Finn's site or Not Lame Records (www.notlame.com). Your record collection is incomplete without One Nil.

- Carl Harrison

gwenmars - Ethernet - Steamshovel

The Grog Shop - Cleveland Heights, Ohio, June 1, 2001

For the uninitiated, the Grog Shop is a small, dark, dingy-looking place that looks like it belongs in the recesses of L.A. or New York. As it is, this Cleveland Heights neighborhood bar is one of the best places in the world to see an up and coming band. Despite the unseasonably cold and wet June evening, the Grog was just about filled to capacity to witness the return of gwenmars to Northeast Ohio.

Cleveland's own Steamshovel started things off in fine form. A trio with tight harmonies and a pop feel reminiscent of the Knack and Material Issue, they had an impressive 40 minute set of original tunes that were warmly received by the ever-growing crowd.

Ethernet then took the stage with a mixture of ambient and punk pop. Touring in support of their new CD, Requisite Chemicals, this three-piece played to an almost-filled house receiving enthusiastic applause from start to finish. The band responded in kind, giving the crowd an energetic hour performance, at times coming across like a hybrid of Placebo and Echo & the Bunnymen (in fact, during 'Static,' the band segued into a rendition of 'The Killing Moon.' Very cool).

After a somewhat lengthy interval, gwenmars hit the stage, kicking things off with 'Venus' from their latest release Driving a Million. With their patented multimedia presentation (continual movie footage on a screen behind the band, fog machines, strobe lights), gwenmars put on a fantastic 50-minute show of high powered pop that energized the crowd.

The bulk of the set was from ..Million, the highlights being 'Train Song' and 'Strawberry Ice,' which could have fallen into a clichéd call and response with the audience ('You're all very nice / we're all very nice' a la 'Surrender' by Cheap Trick) but didn't. A few surprises were tossed in, though, including the ever-present addition of Badfinger's 'Come and Get It' before launching into their own tune 'Hurry Up' (with a cool bubble machine, too!). A flash of the past ('You Don't Know Dick') and a glimpse of the future ('Battery') rounded out a great night of live music.

gwenmars reminds me of what I love about music the most. The pleasure of discovering something new while cranking the stereo at top volume. A great combination if ever there was one.

- Stu da Stael

website info: gwenmars: www.gwenmars.com

There's Hope Yet - Full Wave Rectifier

Ron's Crossroads - Akron, Ohio, June 7, 2001

Steadily for the past umpteen years, Ron's Crossroad's on Akron's North Hill area has been spotlighting local talent. Occasionally some big name acts get back to their roots at Ron's (Enuff Z'Nuff, Sixpence None the Richer before they wimped out), but Ron's specialty has always been local bands.

Full Wave Rectifier livened up this otherwise quiet Thursday night with close to an hour's worth of their self-described "beautifully simple geek punk." Formed from the ashes of Dink and local band Drifter, FWR has been playing the Akron-Cleveland-Kent area for well over a year now. Their tight musicianship, clever lyrics, and loud songs all blend together for a great night out of live, original music.

'Transfer Interrupted' and 'Go Insane' are a perfect mix of punk (the former) and pop (the latter). 'Five Til Five,' a great theme song for the Peter Pan generation, combines both pop and punk in perfect three minute form. FWR is currently putting the finishing touches on their first full-length CD (their debut EP, The Attic, is available from their website), Full Wave Rectifier teased the crowd with a dynamic version of Devo's 'Gates of Steel' in addition to their newer material.

Full Wave Rectifier is loud, fun music that never fails to satisfy. Just what original music should do.

There's Hope Yet, a Northeast Ohio-based punk band, wrapped up the night with their brand of high intensity punk pop. Kind of like if Oasis went punk.

Previewing songs they are presently recording for a new CD, THY gave the fairly good-sized crowd what they wanted - loud, emotional songs with an attitude. When punk is done right, there is always an underlying melody or hook that compliments the feel of the song. There's Hope Yet utilizes this notion well, most evident with 'Something In-between' and 'Wide Awake,' with that Oasis attitude against a Foo Fighters pop sense. The musicianship of the band was dead on, especially Joe Davis' vocals. Whether it was a plaintive feel he was going for (Radiohead's 'Creep') or flat-out punk ('Tomorrow'), Davis and the rest of There's Hope Yet delivered a strong show.

- Carl Harrison

website info: Full Wave Rectifier: www.fullwaverectifier.com

Pinki Mojo

The Grog Shop - Cleveland Heights, OH, June 16, 2001

The debut of Akron's latest all-original band was rather an auspicious occasion. Getting a first gig on a Friday night at Ron's Crossroads was a major coup. And the band delivered, showing loads of promise.

Pinki Mojo, the latest project of singer-songwriter Julia Mann (late of the Cat's Meow), is a blend of Midwestern AOR, high energy pop and L.A. ska. Yet while attempting these various styles, Pinki Mojo never loses sight of their own sound or identity. Quite impressive to say the least.

Lead singer Melody packs a punch with her vocal style. Hearing her sing, you think she can do anything - and probably can. Mike Johnson, moonlighting from Man From Glad, handles the guitars extremely well, complimenting Mann's keyboards and Mickey Hurray's bass lines wonderfully. Driving this ensemble all the way is Craig 'Thumper' Richmond. Culling songs from their yet-to-be-released CD, Pinki Mojo worked the crowd and won them over with ease. In fact, I've rarely seen an indie artist work a crowd as Pink Mojo did.

Moving from Motown-style songs to 'You Got Me' a great 70's style pop tune to 'Believe in Yourself' an energetic ska tune nodding its head to No Doubt, Pinki Mojo surprised everyone in attendance. Especially when Melody whipped out a trombone (!) for a solo during 'Believe in Yourself." Remember, this was their first gig and the place was packed with people who knew nothing about the band. Pinki Mojo won many converts this night.

The band is working on their first disc and also in the process of booking shows out of their homebase of Northeast Ohio. If they come to a town near you, go see them.

- Dennis Blandford

website info: Pinki Mojo: www.pinkimojo.com

Ribcage Houdinis - racermason - Cockeyed Ghost

Ron's Crossroads - Akron, OH, June 8, 2001

The Drew Carey Show, I'm sure most of you know, is set in Cleveland, And the main characters' hangout is called 'The Warsaw.' Carey patterned this neighborhood bar after the actual Euclid Tavern, which boasted menus of great food and great live music over the years. Sadly, the 'Euc' came to an unceremonious end in mid-June amid complaints and lawsuits from the neighbors. All of this left Adam Marsland of Cockeyed Ghost with no place to play on June 16. Luckily, the Grog Shop in Cleveland Heights cane to the rescue and Marsdale was able to perform.

Marsland is the singer, guitarist, and songwriter for Cockeyed Ghost. Due to various band members' prior commitments to other projects in sunny California, Marsland decided to bring the music of his band to the masses via his acoustic guitar and electric piano. It was very interesting to hear solo acoustic versions of the band's catalog; if anything, it made the fantastic recorded versions more personal, more intimate. (See the review of the latest Cockeyed Ghost CD on our Digital page.)

This is not to say that this was a performance of serious sociopolitical folk tunes. The feel of power pop came through strong, especially due to Marsland's lyrics which are humourous as well as thought-provoking. For example, during the introduction to 'Karma Frog,' he told the small but receptive crowd that this song was about a guy who cheats on his girlfriend; as a result, the song has been banned in L.A. by French Buddhists. True or not, the story was hilarious. Marsland also pulled off the near impossible - a perfect solo rendition of the Beach Boys' Pet Sounds track, 'You Still Believe in Me.' Let's see any of N'Sync do that. Finishing up the 35 minute set was a song 'about the high school in our heads,' 'I'm Okay You're Not Okay' from the Neverlast CD. A great, funny tune about how we all tend to never leave that high school mentality behind.

Cockeyed Ghost is very well known in the power pop circles of L.A. Everyone east of California who loves this genre of music must get to know Cockeyed Ghost. As soon as possible.

By the time racermason took the stage, the crowd at the Grog had grown immensely. The Akron-Cleveland based band is a result of the frans (Cleveland) and Full Blown Kirk (Kent) coming together with their original ambient-trance pop. Currently recording their debut CD, racermason has been sharpening their chops by playing in the Northeast Ohio, Pittsburgh, and Columbus areas.

Opening with 'Liar's Life,' the quartet gave a strong performance from start to finish. Brett Lashua attacked his drums throughout, driving the songs to higher and higher levels, while Derek Lashua provided layer after layer of textured guitar. Joe Minadeo's bass set the framework for the songs as Mandy Lascko's vocals wove in and out of this musical landscape, wrapping itself around the melodies and becoming an instrument in its own right.

racermason's following is an emphatic one, to say the least. Each song received an enthusiastic response and the band reciprocated by dedicating many tunes to people in the audience. Check out racermason - they'll be performing all summer in support of their new disc.

Wrapping things up was Cleveland's own The Ribcage Houdinis. An ethereal trio that's been together for about six years, their show is more of a presentation, complete with effects loops, intense, emotional vocals, and dynamic tempo changes. An assault on your senses a la Radiohead, The Ribcage Houdinis is music for your head. Check them out.

- Chris Leib

website info: Cockeyed Ghost: www.cockeyedghost.com

racermason: www.racermason.com

The Ribcage Houdinis: www.ribcagehoudinis.com

The Ladybug Transistor - The Lucksmiths - The Volta Sound

It was a very interesting night at the Grog Shop. Musically speaking, of course. I still haven't quite put my finger on it, but I do know I liked the bands that played. Very much so.

The Volta Sound (from Cleveland) opened the night with 'She's the Breeze,' a great 60's-L.A. pop tune and somewhat reminiscent of Sloan, quickly followed by 'She's On Time' another catchy pop song. After this energized start, things slowed down tempo-wise until the set closer. This one slowly built up the energy again until the crowd begged for more. The Volta Sound is a highly original and enjoyable band - they definitely should be seen and heard more often.

The next band was Australian folk-pop trio The Lucksmiths, touring in support of their latest Candle Records release, Why Doesn't That Surprise Me? (See next month' issue for review.) What was surprising was how well the Lucksmith's sometime delicate songs translated to a live setting; they were more raw and stripped down than on record, so it was more pop than folk. Almost having a Housemartins feel to them, if you will.

The band set up Jellyfish-style, with bass (Mark Mannone) standup drum kit (no bass drum!) and vocals (Tali White) and guitar (Marty Donald). Their too-short set covered tunes from all of their releases, including the popular 'T-Shirt Weather.' Ending the set with 'Synchronised Sinking' from their latest CD was wise move, just for the upbeat feel of the song alone. You always want to leave the crowd begging for more, and the Lucksmiths did just that.

Rounding out the festivities for the evening was The Ladybug Transistor. This eclectic six-piece from New York played some of the most amazing music I've ever heard. Consisting of your basic guitar, bass, drums lineup, their sound is augmented by flute, trumpet, and organ. Touring in support of their newest Merge Records CD, Argyle Heir, Ladybug Transistor put on a wonderful show despite the few technical glitches on stage.

Gary Olson's lead vocals bring to mind an American version of Britain's The Divine Comedy. Where Neil Hannon modeled himself after Noel Coward, one can see Olson as a musical Tennessee Williams. Throw in some Brian Wilson, Harry Nilsson, and Burt Bacharach, and you have a pretty good idea of The Ladybug. In fact, Nilsson's influence can be heard on 'Catherine Elizabeth off the new disc. Here, keyboardist / flutist Sasha Bell took over on lead vocals with a very baroque type of song, reminiscent of Nilsson and Love. 'Crazy Lights' also ran the gamut from classical to jazz to pop with it's many tempo and style changes.

I love it when a band surprises me. From switching instruments to tempo and style changes, I appreciate anything that is unexpected. That's what you get from the Ladybug Transistor.

- Chris Leib

website info: The Volta Sound: www.thevoltasound.com

The Lucksmiths: www.candlerecords.com.au

The Ladybug Transistor: www.spacelab.net/~ladybug/