Tag Archives: ron house

Video: Thomas Jefferson Slave Apartments – “My Mysterious Death (Turn it Up)” live at DW9; TJSA playing Chaos in Tejas

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Not a bad way to relive some of TJSA’s surreal, even-better-than-I-expected set from our 9th anniversary show at Ace of Cups on Friday. Thanks to the New Bomb Turks’ Jim Weber for capturing this.

Update: The reunited Slave Apartments have also been confirmed to play Austin’s Chaos in Tejas on June 2.

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Zero Star Pays Homage to Thomas Jefferson Slave Apartment’s Ron House

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Ron House is obviously a fixture in Columbus rock music.  Columbus emcee Zero Star is also impressed by Ron House’s swag. (did the phrase Ron House’s Swag make you throw up in your mouth? sorry)

Anyway, I am waiting for you tube to make an interview I did with Zero Star and DJ Pos to exist. So I figured I would share this since TOP told you to look at our site today,

Zero Star is playing Donewaiting’s 9th Anniversary along with a band Ron House is in, Thomas Jefferson Slave Apartments doing “Bait & Switch”  along with Bill Fox, P. Blackk & DJ Bruni, Sundown, and DJ Detox tomorrow Feb 3rd at Ace of Cups.

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Donewaiting 9: Thomas Jefferson Slave Apartments

MP3: My Mysterious Death (Turn It Up)

The more your hear about the origin of Old Columbus bands, the more you realize how many of them formed accidentally, the result of spontaneity and serendipity. Thomas Jefferson Slave Apartments was one such band. On a night about 20 years ago, soon after the dissolution of Ron House’s previous band, Great Plains, a band playing Stache’s ended early.

The story could have ended right there. Everyone at the bar could have just continued to get drunk and/or gone home. Instead, though, House and Girly Machine guitarist Bob Petric hopped on stage with some friends, borrowed the idle guitars and amps and started jamming on blues riffs. “We just kind of jumped up out of sheer boredom,” Petric said when I interviewed him last year. But something clicked, and they decided to do it again. And again. (Sound familiar?)

“It was kind of a fuck-off band for a couple of years where we just got together and jammed,” House said last summer. “The Columbus scene was really taking off—like the New Bomb Turks, Gaunt. So I didn’t have to do very much, just shout and scream and people would notice us locally. The whole scene was a more brutal, punkier scene. There was enough things going on that all we had to do was just go out and play and things would happen for us.”

That’s probably not giving the band quite enough credit, especially House’s lyrics and snotty delivery and Petric’s axe-wielding. But things did happen, like eventually signing to Onion, a subsidiary of Rick Rubin’s American Recordings, to release Bait & Switch.

Johan Kugelberg was looking to sign bands for [Onion],” House said. “He asked three other bands and they all turned him down so he asked us.”

“The fact that Rick Rubin read my name on the liner notes — that, to me, is sufficient grounds for satisfaction,” Petric said. “When Johan put out the record, he was more of a little kid about it than we were. I remember Johan calling me up, saying, ‘Hey, Bob, the second time this week I walked into Rick’s office and he was laying on the couch listening to the Slave Apartments record, man.’ To me, that’s like having Johnny Cash make dinner for you or something.”

Petric also looked back fondly on the time TJSA spent on the road with Guided by Voices. “Being able to go on tour with GBV for three weeks, that was like vacation,” he said. “There was a positive but gentle-hearted competition between us and GBV. Bob [Pollard] was just effusively praiseful of the Slave Apartments. He really liked us. He said nice things about my guitar playing, too. I remember one time in Seattle, Bob got a kick out of the fact that Ron and me and Craig Dunson and Ted [Hattemer], we all huddled up and did this chant, ‘Beat GBV! Beat GBV!’ Bob Pollard came up and was just laughing his ass off, saying, “That’s why you guys rule!” He ended up singing ‘Cheater’s Heaven’ with us.”

A jam at Stache’s. A fertile scene. A big Swede with art-rock tastes running part of a major label. It’s an unlikely series of events, but one we’ll gladly celebrate this Friday at Ace of Cups, when TJSA plays Bait & Switch in its entirety —- something that’s never been done, and likely never will be done again.

See you there.

Thomas Jefferson Slave Apartments, Bill Fox, P. Blackk, Zero Star, Sundown and DJ Detox will play Friday, Feb. 3, at Ace of Cups. Note: That’s a lot of bands, so this will start earlier than most shows. Be sure to get there by 10pm to see Bill Fox.

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MP3 Premiere: Psandwich – “Remystify”

MP3: We Remystify

Last week, CDR released Northren Psych, the long-awaited debut full-length from the mighty Psandwich. This local supergroup, which originally formed for an installment of the Rock Potluck, has handcrafted a fine album worthy of their oft-incendiary live shows. To celebrate the release, the band is holding an Album Release Party at Ace of Cups tonight, which will open with unannounced secret bands.

To prepare you for the show and album, check out the premiere of a new MP3 from Northren Psych entitled “We Remystify” as well as a video from a benefit show earlier this year.

Video:

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Screaming Urge Interview: Columbus Punk History and Much More


Screaming Urge High Street 1980

MP3: Hitlers In Brazil
MP3: Skitzo Brain
MP3: Killa Poe Lease (Kill the Police)

I wrote an article on Screaming Urge in this week’s The Other Paper. Screaming Urge were a pioneering punk band from here in Columbus that had their last performance on Saturday. The band had a lot of interesting things to say, so I figured I would post the interview with Columbus legends on Donewaiting.

The three above songs are off a cd Screaming Urge just released called Gory Years. Gory Years has remastered versions of Screaming Urge’s two albums, and their coveted 45. Classic material recorded from 79-81. I believe you can obtain a copy of this cd by contacting Screaming Urge’s Facebook.

I interviewed Michael Ravage (MRav), and Myke Rock (MRock) for the Other Paper story. Dave Manic, who also played in Great Plains, was not there for the interview because he lives in Erie, Pa. Dave Manic did play the reunion show. (Shirtless but without a half-beard). Danielle Kline who took the photo for the Other Paper story also asks a few questions.

W: What was Columbus, OH like in 1978?

Michael Ravage: We couldn’t get into any clubs. They wanted bands like McGuffey Lane. Cover bands. There was no punk. There was us, The Blades, (two bands whose names I couldn’t make out.hopefully someone post the bands names in comments)

W: How did you get into punk?

MRav: I was listening to a lot of Iggy Pop so that’s how I got into it and then went from there to the Sex Pistols.

W: Where was your first show?

MRav: Believe it or not it was at the Campus Methodist Center. I invented a thing called the ‘Nowhere shows’ they were called “Nowhere Fests,” we couldn’t find any place to play. I rented out the hall and we called it “Nowhere ’78″ we brought the four punk bands together to play and that was our first show.

W: What was the response like?

MRav: It was packed. The response was overwhelming so we did it every year after that up until 1996.

W: What were some bands that played the Nowhere Fest?

MRav: Hal and Maggie, Scrawl, RC Mob. All the big bands in town. What was that band Ron House had before the Great Planes? Thomas Jefferson Slave Apartments. A couple hundred bands; it was always once a year.

W: Was it always at the Methodist Church?

MRav: No, too much happened at the Methodist Church that one time for them to ever have us back. They made me sign a contract that said no beer would be brought in. We brought beer, windows got broken, people moshed, people were throwing things. I owed them a lot of money after the show.

W: Did you pay them?

MRav: yeah, i took money off the door. Admission was only a dollar, but i had to take money off the top to pay for the broken windows.

W: So after you started throwing the festival did the bars start letting you play?

MRav: After the clubs started noticing that those drew big crowds then they started letting the punk kids in. Clubs like Major Chords, Mister Brown’s, Bernie’s of course, Apollo’s before it got too uncool.

W: So you joined the band in ’79 right?

MRoc: Yeah

Mrav: The bass player before him, i don’t consider a member of Screaming Urge at all. I consider him [MRoc] the original bass player the other guy was only in it for 5 months. He wasn’t a punk bass player, back then you couldn’t just find a punk bass player. There weren’t that many punks there just weren’t any around. So that guy filled in for a few months but Mike was true punk. His first song in the band was called “Fuck You.” He said that, I said, “You’re in the band.”

W: What areas of Columbus are you guys from?

MRoc: I’m from South Linden area but as a teenager I kinda grew up on campus. I would go home twice a week.

MRav: I didn’t move here until I was 21. I was a river rat from Marietta, OH.

W: There a lot of people from Marietta. Have you ever seen the Mothman?

MRav: I’m not sure.

W: When did you put your first record out?

MRav: 1980 we put out a single. We put out a 45 which goes for a lot of money on ebay now. We started recording in 1979. We didn’t get the vinyl out until 1980.

W: How did word spread about your record?

MRav: Remember these were all DIY releases. We were almost on Stiff Records but our manager blew that.

MRoc: Mainly it was word of mouth but we were also on focus magazine and then there was one before that. Monthly Planet.

MRav: Those helped a lot. We were the first punk band on the cover of Focus Magazine.

W: Where was Focus Magazine based out of?

MRav: Columbus.

MRoc: This was the predecessor to The Other Paper.

Hands me scrapbook, I start flipping through it


Screaming Urge Magnolia Thunderpussy 1980

MRav: We’re proud of this we played the first “Rock against Racism.” With Bobby Seale.

W: Bobby Seale of the Black Panthers?

MRav: Yes.

W: What year was this?

MRav: 1979

W: So Bobby Seal spoke?

MRoc: Yes Bobby Seal is a cool guy. We’re all cool with Bobby Seale and the Black Panthers.

MRav: And a lot of other people showed up that day too. The drummer of the New York Dolls. He came out with a surprise band. Jerry Nolan, he signed our drum heads and everything. We opened for the Ramones, of course, at the Agora

W: What year was that?

MRav: October 10, 1980. That was with Joey, Johnny, Marky and Deedee. We had to trade dressing rooms with them.

MRoc: That was Johnny’s birthday and they had a party. It was so completely trashed that they asked us, “Hey guys, can we switch dressing rooms?” We were like, “Yeah, pretty sure, you’re the Ramones.”

MRav: Joey was the nicest of the Ramones.

W: The Agora’s a pretty big venue. Punk must have gotten pretty big in Columbus by then?

MRav: We started in ’78, by 1980 we were able to go our first tour.

W: Where all did you tour?

MRoc: Our first tour took us from Ohio through Texas. East coast.

MRav: Do you know Ron House?

W: Yeah.

MRav: I saved his life.

W: How’d you do that?

MRav: He went with us on our first trip to New York, the first time we played CBGBs, on the way back I was driving…we had a blow out I was able to keep it under control. I saved Ron House’s life.

MRoc: The funny thing about the Ramones show, Marky Ramone, the drummer, that was the last show he played of the tour, there was a local woman

MRav: We’ll actually name her. Maureen Healy (check her out on the Facebook). She’s one of my Facebook friends, she’s very proud of this

MRoc: He was pretty taken with her and he decided he was just gonna hang out here. We played a couple parties with her. We played with him at the Dyke House.

Danielle: That’s the Legion of Doom

MRoc: It took years for him get back in the good graces of the Ramones.

MRav: So Maureen basically broke up the Ramones for a little whole.

MRav: The middle of the tour they had to stop it for two months.

Danielle: Who filled in for them?

MRav: Nobody, they had to stop the tour.

W: ‘Cause he wanted to hang out with a girl?

MRav: Local girl. She’s very proud of it.

W: So when you were touring Ohio, where did you play?

MRoc: Cleveland. We played Akron a couple times.

MRav: We played a huge outdoor festival in Dayton for some veterans.

MRoc: It was a family event.

MRav: We had this song called ‘War’ and there were all these veterans in the crowd, before we did the song MRoc yells to the crowd, “This is for all you shell-shocked mother fuckers.”

MRoc: There were thousands of people out there. It was definitely a mismatch for me.

MRav: We went with it, they booked us.

W: This was the late ’70s early ’80s, did people harass you for being punk? Did you have to fight people?

MRoc: We got close.

MRav: When we went down south we got in a lot of tiffs because hearing us on a record they’d book as a punk band, but then being southerners they’d be surprised when a black guy would walk in. They’d say, “Nah, nah, nah we can’t let you play here.” We’d say, “Why” and they’d be blunt and say, “You’ve got an n-word in the band”

MRoc: What was that one club in Marietta?

MRav: Marion. Even in Marion, OH they wouldn’t let us play.

MRoc: Yeah, yeah we had all kinds of problems. That was before I was wearing the flag.

W: So when people would say, ‘You can’t play,’ what would be your reaction?

MRav: We would say, “Fuck You”

MRoc: On show we actually had to wait, go play the show, and leave immediately. The bikers said I wouldn’t be safe. We didn’t have bodyguards. Club said, “we can’t guarantee your safety so you’re gonna have to leave right now”

W: What did you make of that?

MRoc: Well I was shocked. You don’t think of the northern part of the United States being like that.

Danielle: Did you ever have that problem in Columbus?

MRav: We had problems with singular people. One club we were playing in town an old man decided to come up to the stage and say, “A white maaan and a nigger.”

W: So you would spray paint your name on things right?

MRav: I never said “we” would spray paint our names on things. Someone would spray paint our name on things.

W: Did the police ever show up to one of your shows and ask why are you spray painting your band name on things?

MRav: No, not really.

MRoc: I talked to one officer and he just kinda said, “Hey, watch yourself.” This was after we did these guerilla shows. We did a show at 11th and High in the open on south campus, right there on the side walk. Of course we knew we’d only get through 2, maybe 3 songs before the cops would get there. So the cops would come and be like, ‘we just want to shut you down, we don’t want to take you to jail.’ We had a conversation with the chief of police and he said ‘you gotta stop the spray painting.’

W: About the graffiti, where did you spray paint?

MRav: On 8th and high, 13th and high. On the side of the Agora. They also didn’t know what to call us. They would call us new wave, they would call us punk.

W: You guys were a punk band though, right?

MRoc: Punk is a lot of stuff.

W: Was ‘Screaming Urge’ the only graffiti you saw around town?

MRav: The Colons, the Blades. We weren’t the only graffiti band. Local Gallery, the Warps. Sometimes you’d see ‘Screaming Urge’ spray painted on the walls and someone else would write ‘sucks’

MRoc: I thought we were friends.

W: Was that the only graffiti around campus?

MRav: yes, there’s nothing like the graffiti that’s out now.

MRoc: And if people didn’t know, then sometimes they’d would think we were a gang.

MRav: Channel 10 did a news story about the gangs in Columbus and showed some Screaming Urge graffiti.

W: Did you guys know Jim Shepherd?

MRav: Yes, extremely well. His ex wife lives down the street from me.


Screaming Urge Max’s Kansas City 1981

W: You played in Max’s Kansas City in 1981?

MRav: We took 9 people in our van to Max’s Kansas City. That was exhausting cause we slept in the van. 9 people with sweat dripping off the top of the ceiling. It was cold out but not with 9 people in a van. …One of the girls that we brought with us, Dana, the owner of Max’s Kansas City wanted her to stay in New York because he fell in love with her.

W: Let’s flash forward, 32 years later, what is this cd you gave me?

MRoc: We’re not calling it a CD release party but we are releasing the CD. It’s 2 albums and a 45 on one cd.

MRav: Remastered.

MRoc: Remastered, reordered and a new song list. More in the order than the albums themselves. It’s programmed.

MRav: It’s got 25 songs on it. It’s a good deal. Cheap! We’ll be selling them on our Facebook page too. Cheap!

W: Do you guys get on the net and read up on your following? Are you surprised that people worldwide know who you are?

MRoc: I am surprised because honestly i used to own them as frisbees but now you put on a screaming urge album…

MRav: You google Screaming Urge…

MRoc: People will be bidding hundreds of dollars for the same album.

MRav: I get on my email, we’re more popular in Japan and Italy then we ever were in America. We were on one of those ‘Killed by Death’ series’. No 6. I think that’s what spread us worldwide. I think the bootlegging by Killed By Death spread us to Italy and Japan. I open up my email and sometimes its hard to understand, it will say “45 Homework Good Condition Cover must. please please please.”

MRoc: Now it’s insane, I wish I had a stack of them. I saw one put up by Used Kids that went for $300.

MRav: it’s the scarcity of it. There were only 500 of them.

Danielle: Did you get them pressed at Mus.i.col?

MRav: Yeah, I’ve got the receipt.

W: What do you think of punk these days?

MRoc: It’s a lot different. People talk about Green Day, it’s more pop than it is punk. I can’t really call it punk, there’s nothing really wrong with them. They’ve got some good songs and everything but they’re millionaires. It’s hard to be punk and be a fricken millionaire.

W: What do you guys do these days?

MRav: We’re still playing music even though we’re not in Screaming Urge.


Screaming Urge Columbus,Ohio 2011

W:What made you guys decide to do this last reunion show?

MRoc:The date had to be right for Dave. The venue had to be the right place. Plus we are gonna turn to dust here pretty soon because we are so frickin’ old.

MRav:I am 56 now.We are averaging getting together every ten years now. I’m not gonna be 66, and singing “Homework”.

W:What do you guys think of the Police State? Do you think we live in a Police State?

MRoc:More now than ever.

MRav:We have a whole song. You will hear it on the cd. We had to change the words around there. See where it says “Killa Poe Lease”?

MRoc:It’s taken to a whole new level nowadays.

MRav:That song is about the police in Columbus, Ohio.

W:When you write a song called “Kill the Police”..What is your motivation behind that?

MRav:This was back during the heydays. When the police were just beating up people.

MRoc:Brutalizing Minorities. Longhairs.

W:Do you think we are still in a police state?

MRoc:Definitely. But I am 48 now, so I am not really willing to step up and bear the cross so to speak.

MRav:He is the baby of the group. I had to have a note from his mom when we went on tour saying ‘Michael Ravage is in charge of my son because he is underage.’

MRoc:When I booked the first tour I was 16. I was able to get into bars. Get served.

W:Your father being a blues musician..What does he think about you being in a punk band?

MRoc:At first, he didn’t know what to think. But he saw that other people understood what we were doing. And now he is proud of it. I am proud to see him come out. He hasn’t seen us play in ten years.

MRav:Our families have always been supportive. My whole family is going to be at the show.

MRoc:I still kinda cringe when I do songs like “War”. Every other word is fuck. It had fuck here, fuck there.

Danielle:Why did Dave have a half-beard?

MRav:He thought it was good look.

Danielle:How long did he have the half-beard?

MRav:Most of the time we were in the band. We would get pulled over by the cops. And the cops would say, ‘you really have half a beard’. He’d go, ‘yeah, thats my look.’

Conversion goes various directions

The question comes up about Screaming Urge’s Break-up:

MRav: We broke-up in 1982. My brother was murdered. Cold-blooded murder. After he died in 82′..That was pretty much the end of Screaming Urge.
I didn’t want to play. I didn’t want to do anything. Screaming Urge lasted officially for 5 years. From 78-82. Since then it has just been reunion shows.
We had a 5 year run.

W:Is it weird that the band stuck with people this long?

MRav:It is weird, But now when I hear the remastered songs I think , ‘hey, we were pretty good’. Now they sound timeless.
We were both influenced by the Beatles. Alot of punks said ‘no, we don’t like the Beatles’. We wrote a whole song about the Beatles called “Merseybeat”.
We were saying, ‘it’s ok to like the Beatles’.

MRoc:I wrote a song called “We Are Mono”. It was kinda of a nod to Devo. Are we not men? D-E-V-O.

W:Did you ever interact with Devo?

MRoc:I was trying to get it set-up to do a few shows with them back in the day.

MRav:We know each other. The know us.

MRoc:They were on a Major Label. You don’t really get to make choices like that..

MRav:We opened for the Bus Boys. They were in that movie 48 Hours. We opened for them in Wisconsin.
We thought we going to be on Stiff Records. Our manager blew that deal for us.

Danielle:Can I ask a question? What kind of music do you listen to these days?

MRav:I like Radiohead.

MRock:I actually like Lady Gaga. More than her music. More just her philosophy of life. And her personna. She is more punk in my opinion than Greenday.

MRav:I like some Hip Hop…I like Jay-z. He is my favorite when it comes to Hip Hop. I don’t know why. He seems down to earth.

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Photos: Times New Viking, Psandwich & Mike Rep and Tommy Jay

Times New Viking, Psandwich, Mike Rep and Tommy Jay
Wexner Center for the Arts
July 1, 2011

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Times New Viking

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Psandwich

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Times New Viking

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Mike Rep and Tommy Jay

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Psandwich

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Times New Viking ROAST

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Times New Viking

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Check out the rest of the photos.

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Friday: Times New Viking’s last 2011 Columbus show + roast with Ron House

Tomorrow night (Friday, 7/1) Times New Viking will play its last Columbus show of the year, which bums me out. But, a roast hosted by none other than Ron House (Great Plains, Thomas Jefferson Slave Apartments) should add some levity to the evening. House’s band, Psandwich, will also play (full-length coming soon), as will kindred spirits Mike Rep and Tommy Jay. If I didn’t have to travel out of town, there is no way I’d miss this. Details, tickets for the Wexner Center event here.

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MP3: Ron House & Moviola – “Fire Tressel, Not Teachers”

One lies to his bosses and gets patted on his head
The other wants to bargain and is told to drop dead
Fire Tressel, not teachers
Save the children, not Judas

MP3: Ron House & Moviola – Fire Tressel, Not Teachers

Ron House, opinionated as ever, wrote this one and recorded it with Moviola around one mic at Used Kids on Tuesday night. Also available at Moviola’s bandcamp page, along with some other great freebies the band has been releasing the past few months.

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This weekend in Columbus: CDR VII

It’s that time of year again, when grilling meat, arm wrestling, and indie rock somehow end up together in awkward sentences (like this one). This weekend is the seventh annual Columbus Discount Records BBQ, where the local label shares the wealth and gives you a wealth of local/international talent to gaze upon for as free as possible. This year’s version of the tradition entails two star-studded rock shows (Friday night at The Summit and Saturday night at Carabar) as well as a multi-faceted get-together Saturday afternoon at CDR HQ (corner of Oak and Parsons, just up the street from Carabar). Highlights:

Friday night at Summit: Sets from local Uggs-rock veterans the Guinea Worms and the most-successful, longest-lasting Rock Potluck band ever, Sandwitch (featuring Ron House), are those most likely to slay. Omaha’s Yuppies will play the part of the noisy visitors from out of town, and the night will be rounded out by intergalactic party Mormons Outer Spacist and the sheer spectacle of the Unholy Two. You will probably leave this show wearing beer.

Saturday afternoon BBQ: Obviously, free PBR and grilled eats would be a highlight of any day. However, this party also includes your chance for eternal glory with an arm-wrestling tournament! The male and female brackets are both sure to be tough, but you still have a couple days to train. If all of this is not enough, local legends the Cheater Slicks will play a set in the CDR studio around 5:30.

Saturday night at Carabar: This is where the big guns come out, so hopefully you are not drunk enough or drunk enough to enjoy it. Local wonders (and musical inspirations to Beck) Times New Viking will headline and close the festivities. I am excited for another visit from the prolific globetrotter Dan Melchior, who will surely entertain with whoever might be backing him up, and a set from Harrisburg, Ohio’s favorite sons, Mike Rep and Tommy Jay, will lend some tuneful and grizzled character to the proceedings.

More information, conspiracy theories, and conjecture here.

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Overlooked in Ohio Vol. 6: Belreve

Editor’s note: “Overlooked in Ohio” is a feature in which we ask an Ohio-based artist/music enthusiast to tell us about a band or bands from the state of Ohio (past or present) that deserve some love. Our sixth installment comes courtesy of Nick Schuld — resurrecter of Datapanik, player in Obviouslies and unearther of various Ohio treasures over at Minimum Tillage Farming. Nick has been here too long and is now insane.


Photos by Jay Brown; copyright 2010 jfotoman

MP3: Assorted tracks from Cowtown EP, 45s, etc. (mediafire archive courtesy Minimum Tillage Farming)
MP3: Walk

A little while before I moved to Columbus in the summer of 1988 I discovered the glorious phenomenon that is the used record shop, so one of the first things I did when I got here was to scan the yellow pages for all the locals. At the time, cds still seemed neat and lotsa previously hard-to-find (for me at least, in small-town Virginia) stuff was showing up on that most durable of physical formats (*ahem*), so I took my giant Bekins box of tapes to Used Kids and wandered upstairs soon after with loot in hand to “little Mag’s” – the relatively short-lived cousin of the still-thriving shop now calling the Short North home – since Used Kids was still strictly analog. (Well, maybe they had a few discs in a magazine rack by the door – but they woulda prolly been a little to the current/good/hip/obscure side of the Misfits and Lemonheads ones I was jazzed about.) Little Mag’s was cool, trafficked mostly in t-shirts, and closed pretty soon after.

Fortunately this fate didn’t befall Used Kids (tho’ I did buy a t-shirt there once), and in the following months I started going down to the shop whenever I could find a ride or felt sufficiently over-enthusiastic enough to ride my skateboard from the suburbs and back. One day I bought a My Bloody Valentine tape and the guy behind the counter mentioned how good the upcoming show at the Ohio Union Ballroom was gonna be. I think I averted my eyes and barely mumble-nodded in agreement on my way out the door – for I was not always the obnoxiously assertive lug you all now recognize – but after the show I grabbed the fellow and yelled over the ringing in my ears how indeed it WAS quite the revelation. He grinned and said the last song was on their best record and had I heard it? I said no and he said he’d tape it for me; thus, my introduction to the illustrious Ron House.

Not too long after that I walked into the shop and Ron said he’d held aside a record for me (knowing my affinity for whatever you wanna call the British stuff from those days) that co-employee Bela had put out; he said one of the bands on the record was from Columbus but had locked onto that noisy-yet-sorta-feminine anglo-aesthetic in their own way. The record – the Cowtown E.P. Vol. 1 – was co-released by Anyway Stuff (Bela’s brand-spankin’-new partnership with Jerry Wick, another Used Kids then-employee) and Craig Regala’s scene-defining Datapanik. The other songs on the record are killer (one Jerry wrote for Marcy Mays to sing with Scrawl but then kept for his own band Gaunt, a remixed “Negotiate Nothing” from Jim Shepard’s V-3, and a truncated teaser of “Shell” from the mighty Greenhorn – my fave band to see in town and subjects of this very column not long ago), but the tune to which Ron was referring – “Walk” by Belreve – bowled me straight over! Four chords (total!) that seemed completely made up by the guitar player, a gorgeous vocal melody three-quarters buried by the cacophony, HUGE drums and the growliest bass this side of Motorhead, the most ineptly perfect rock’n'roll party guitar solo, lyrics that’d kick any teenage mind’s ass (“Seems much too long since I saw you last; say your heart is broken – it makes me wanna laugh”), a wonderful inability to make it ten seconds past the two-minute mark…indeed, the tune stands perfectly alongside all that’s good about the post-C86/pre-shoegaze-ubiquity era in England (the first few Lush and Ride singles, Tse Tse Fly, Strawberry Story – basically after the jangle turned to crunch and before everything became overly somnambulic), but goes it a good stretch better with the shrugged shoulders inherent in all midwest underground endeavors (you are not going to make it, so leave the fact that yer bummed about 1) that, and 2) the fact that, therefore, you go to some stupid job all day underneath feigned indifference about the apparent level of professionalism/quality necessary to convince most anyone that you actually even exist), an infectious joie de vivre and a bitter – yet sometimes giddy – sense of humor, and an inherent understanding of unhinged, backroom rock’n'roll (from Don and Dewey right thru to songwriter/guitar player Matt’s other combo, the New Bomb Turks) providing a backbone that’s sorely missed in some of their predecessors and contemporaries…and all this prior to like-minders like the Swirlies and Henry’s Dress getting their vans outta the
garage!

Now I’m oftentimes fine with a buncha dudes sellin’ their fantasies to ya over buckets o’ swill and under lighting that runs the gamut from dim to broken, but in my not-so-humble-opinion it ain’t gonna go that next level unless there’s a lady or two in the room. And in Belreve, two-thirds of the room was ladies: Liz on bass and Jenny on drums. I think Jenny was just learning (from the same book as Jeff R. from Gaunt, as the joke went) and I have no idea whether Liz played with anyone prior, but man these three were made for each other. Live they were a locked groove; no huge Marshall stacks, no Ampeg refrigerators – no need. Liz’s bass was a rumbling wire picking out aspects of those odd chords of Matt’s, accentuating this or that tone, so definite through the shifting fuzz; Jenny’s drumming is still some of the most solid I’ve ever seen. Sometimes she’d slam the kick and snare at the same time, providing something almost dance-influenced and post-punk, while others she’d leave a little space and then pick it back up the next go-round, like a flattened-out Ronettes. Onstage they were unassuming to the point of stealth, but once those couple intro bars of guitar gave over into that armhair-raising shock-moment where the whole band crackled to instantaneous electrical life…well, forget those nights where ya had to get real bored to listen to the band.

I didn’t get to see ‘em too many times, and they weren’t around too long – a year or three in the early ’90s. One freezing Anyway Fest evening in the perfect old Stache’s building sticks way out, tho’. I convinced my friend Yvonne that this was the thing to do – having no car, I had to – but after a few hours of not much happening, including the firing up of the room’s heater (guess it wasn’t worth it to waste $$ on the ten or twelve of us in attendance), she remained unconvinced. “Just stick it out a little bit longer,” I begged. “I promise you’ll thank me.” I think they’ve used looks like she gave me to unhinge the jaws of prospective stoolies in the interrogation room. Anyhow, something like Appalachian Death Ride gave way to Waybald and she started to look at me a different way, and finally – and this is nearing the one o’clock mark – Matt wandered onstage and over to the mic. “We’re just gonna play a coupla songs and you can go, we promise. We’re tired and have to work in the morning too.” Maybe they played for twenty minutes, but Yvonne wasn’t mad anymore.

All the sweet and all the sad, those juxtapositions that move your chemicals around when they’re revealed to you by only the most wonderfully devastating songs that reverberate to your own personal waves – Belreve is inside ‘em. They’re the very stuff those are made of, the barbed and bright innards that shift into muddy untouchability… those moments that knock you to your knees are stretched into whole songs, that vague and nervous feeling that only holds for seconds suspended for the whole time they’re on. Whole lines go by feeling like a single word – tho’ one you don’t quite understand despite the fact that it connects – and vice versa. And – unlike a whole mess of bands in this town – their records aren’t a pale version of their reality or something to be appreciated in a different way somewhere alongside. They’re honest moments, real and right and affecting and necessary, not little sample bubbles or reflections but true microcosms, the clean, pure aspects strident thru the grime of the amps and four-tracks and no matter how beat up your copies are. I miss that band, and I encourage you to glean what you can from what you can find. They were a very special and very rare thing.

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