An online zine dedicated to NE Ohio rock and roll, with a focus on Cleveland punk rock. This site is glitchy and I give no fuck. Follow us and the rest of the Northeast Ohio underground on Facebook at facebook.com/lists/514631935228665
Album Review: Bad Noids- Everything From Soup To Dessert
The album can be purchased (eventually) {and downloaded for free!} here:
http://katorgaworks.bigcartel.com/product/bad-noids-everything-from-soup-to-dessert-12
Album Review: Assassin Broadcast- Time I Spent In Hell
<a href="http://assassinbroadcast.bandcamp.com/album/time-i-spent-in-hell" target="_blank" data-mce-href="http://assassinbroadcast.bandcamp.com/album/time-i-spent-in-hell">Time I Spent in Hell by Assassin Broadcast</a>
Interview conducted by Sam Sinister. Photo credit: David Stoops.
Hey, Thomas, just let me know when you're around and available to chat.
I'm around!
How are ya?
I be good! You?
Pretty good. Currently finishing my dinner.
Just finished mine. Gonna take the kid bowling in a bit. Whatcha eating?
Thai currie stir fry of some sort. How long do you have?
About 30 [minutes]. If you wanna send me [more] questions [afterwards], I can answer them over the next couple days.
Cool. Like I said, we can do this over the course of a few days.
Haha, no way. So just for the record, please state who ya are, what ya do, etc.
I am Shouting Thomas Torment. I am a howler and guit-picking sleaze merchant for the Torments, and I dish out dollops of fuzz guitar and feedback for 45 Spider. And I spin round, vinyl discs with my partner, Tania, on The Real Nitty Gritty Radio Show. Tuesday nights at 10pm, on WOBC 91.5 FM in Oberlin. Amen.
Don't you also do some other 2-man band or something?
Oh yeah—myself and The Good Reverend Tom Frost, from France, do a thang called The Bloody Tomahawks, where we play and sing everything.
How did you hook up with a guy from France?
Well... We knew of each other for a few years, and appreciated each other's work. Kind of kept tabs on each other online. I went over to Paris to visit, and he came to a thing I was helping to spin records at, and it was like meeting a long, lost brother. Really was. We talked then about doing some music, and that's what we did. We're into the same things—horror, spaghetti westerns, the trials and tribulations of a soul that is damned to hell, and hot damn good rock and roll.
So, if there is a connecting, central theme between all of these ventures of yours, what would you say it is?
Hell, I don't know. Some fool up there yelling his head off and acting stupid. Naaahh... I guess passion. I like things that have an edge (either in attitude or sound—preferrably both). But it's gotta be real, for the most part. Not noise just for the sake of noise... That's soulless.
Speaking of soul, who are your main influences?
Hmmm. I've been into all sortsa things. I learned how to play guitar by playing along to Beatles and Stones records. Got into blues, R&B, and soul through that. Then punk. Honky tonk. 'Billy.
What about as far as songwriting?
I don't know if I have songwriting influences to name. I mean, all my shit sounds like it's influenced by those forms. There's nothing totally original, anyway. I don't have anything to say, really. It ain't art. I just like to make a noise that I can feel, and hope people will shake there ass.
How about guitar?
My faves are Lowman Pauling from The 5 Royales, Robert Ward from The Ohio Untouchables, and Steve Cropper.
Is there anyone you try to emulate at all when you're up ther croonin'?
Not consciously. Subconsciously, I'm sure there's all kinds of cats swimming through my mind. I try not to think too much when I'm up there.
You tell me. My main thought before I get up there is I hope my voice holds out!
I had someone I thought you sounded similar to when I saw you guys (The Torments), but now I can't remember. I guess now I just think you sound like Shouting Thomas. I think I thought you sounded like a punk rock Clapton. But that's a horrible thing to say.
Yeah, Fuck that guy! I got two words for Eric Clapton: Jeff Beck! Ya know, why would anyone want to listen to old EC when they could go listen to Albert King, or Freddie King, or Matt Guitar Murphy, and hear the exact same licks played with infinitely more soul?
Then again, why would anyone want to listen to ME?!
Had you been in any other bands prior to The Torments and 45 Spider?
I've been in bunches of bands in bunches of places over the years - but the Torments is my baby!
How did you come up with the name The Torments?
One of my best friends, Lex Green, who occasionally has contributed to The Torments in the past, came up with the name Shouting Thomas as a play on Doubting Thomas - cause that's what I do.
The "Torments" part just came from somewhere in the ether. It's all about being tormented by the flames of rock and roll, I reckon.
How did you form? How many different lineups were there, before the current one?
The Torments formed after a band I was in, called The Bummers (in Asheville, NC), broke up, and I moved back to Ohio. The original Torments were myself and 2 other members of that band. Geographically, we were spread apart, so it wasn't a full time thing. There have been 2 primary lineups of the group.
Why did you decide to play the type of music you do?
I chose to play PunkaBluesaBillyR&BSoulFuzz because it chose me, first, from a very young age.
Do you write all of the songs yourself, or are they a collaborative effort?
It's a mixture—I write some songs myself, but lately there have been more collaborative efforts between Chanda, Shimmy T, and myself. Which can be a lot more fun!
Do you think that online presence is important for fans to find you and critics to find your music to write about?
I do think online presence is important, for all concerned. In fact, it's a necessity. Which is crazy, in a way—there was nothing like that when I started playing music. Everything is completely different now.
But I believe anything that can get the control away from the corrupt record companies, and back into the players hands, is a-okay with me.
What do you think about online music sharing? Do you ever give your music away for free? Why or why not?
I think online music sharing is fine. I have no problem giving some song downloads away for free. I also like to make money from them, too. It's all about balance, baby, so we do both.
Who are some of your favorite bands in the Cleveland/Kent/Akron area?
Currently I kinda dig 45 Spider. ;)
...The Whiskey Daredevils, Scoliosis Jones, and Wesley Bright and The Hi-Lites. My main cats, though, are The Cramps, Electric Eels, Rocket From The Tombs, Bizarros, Dead Boys—you know, the usual crew.
Northeast Ohio has always been a damn hotbed of crazy rock and roll, going all the way back to DJs The Mad Daddy and Alan Freed in the fifties. Cleveland broke so much action back then.
Anything you would like share, from new merch, to upcoming shows/tours, or songs/albums?
We just put out a 4 song EP on CD. Plus, we have a free, downloadable live EP on Bandcamp. Everything else has been vinyl-only—my preferred way to indulge in the rock and the roll. Amen.
Do you have a band website? Do you have a Facebook or Twitter? Do you use Bandcamp, Spotify or SoundCloud to share your music?
Sho'nuff! Come and get Tormented at:
www.thetorments.net
www.facebook.com/shoutingthomasthetorments
http://shoutingthomastorment.bandcamp.com/
http://www.reverbnation.com/shoutingthomasthetorments
Killer-diller.
Thanks, Sam.
Not an issue at all.
Oh, AND we got a new 45 coming out on Monster Mash Records, not too far down the road!
Breaking News: Fuck You Pay Me Kills Beachland Ballroom
By Kev Henry
<a href="http://fuckyoupaymeclevo.bandcamp.com/album/2013-demo" target="_blank" data-mce-href="http://fuckyoupaymeclevo.bandcamp.com/album/2013-demo">2013 demo by FUCK YOU PAY ME</a>
<a href="http://smoothbrain.bandcamp.com/album/one-of-them-7" target="_blank" data-mce-href="http://smoothbrain.bandcamp.com/album/one-of-them-7">One of Them 7” by Smooth Brain</a>
<a href="http://royalbloodclevelandohio.bandcamp.com/album/royal-blood" target="_blank" data-mce-href="http://royalbloodclevelandohio.bandcamp.com/album/royal-blood">Royal Blood by Royal Blood</a>
This Moment In Black History, Royal Blood, Bad Noids, True Stories @ Miller Schneider Gallery – 7/12
Royal Blood...Damn. Royal Blood is a very complete package, and they put on an impressive show on every level. The singer, “Brian” is a force. An involving, in the blood expressionist who lives the experience. He spent as much time on the floor as in the audience. Screaming whatever the lyrics were like a fucked-up prophet, the crowd gathered around him as his mic wire dragged behind him as he waded deeper in to the flanks of people. Their sound is not afraid to explore the upbeat, nor the intermediate territory, for of course there exists multiple components that create that semblance of wild energy that they are channeling. And it seems like all aspects of the band are capable of driving the sound. So for all those stated reasons, they have what I'd call “Stooges charm”. A singer, that is so into it, he's an exhibitionist taking the center of attention to all corners of visible area, while the stalwart band creates everything that makes it possible. And the band behind this guy, which features bassist Sebastian Wagner of Wooly Bullies, is really good, and a really tight unit.
This was a really stretched out set, that continued way longer than I thought they had songs. And each component of the performance was so flawlessly pulled off, with their singer off doing whatever amongst the crowd or writhing around on the floor, the ability of the group to switch gears was like the night was choreographed. There was this one moment where they just phased out into this jam because I don't even know what the singer was doing, I thought it was like the end of the set or something. I had no clue, but they just launched into this “interlude” and then, giving credit where credit is due, the guitarist, “Chuck”, who reminds me of Tribe pitcher Zach McAllister a little bit, on account of his gentlemanly beard, ripped into this searingly magnificent solo that was fuzzed out and extravagant. The dude plays real good. This is a band that works all tempos. They drone, they plod, they rip, they have a clear spectrum of psychedelic freak-ness as well, and that covers all their bases. When you can do that, every song you come up with complements the last one. There's just a lot to be said for what this band did. When you have such an engaging singer that commands attention because you want to see the weird things he's doing and how he's interacting with the crowd, it's incredible how the band orchestrated the sound to support that behavior, and without missing a beat seemingly.
The singer is the most attractive factor of what's going on in this group, and it's because he's so into it. Some would call it being drunk, or fucked up, I don't know personally if he ingested anything intoxicating at all, but I call it Trance. It was just him, the crowd, the microphone and the floor, and he was zoned in. And again, what he's doing works a lot better in the setting he's in, or at least it's a lot more fun to see, because you're more of a part of it. Going forward and knowing most Royal Blood shows I see will be handled through a venue, It was a pretty fun first excursion into what they're all about. It was an all-out immersive event, and the end of the set was a non-stop rush with the band breaking out a cohesive pulse-racing song that had TMIBH drummer Bim Thomas start off on guest vocals before handing off the baton back to the frontman, who would re-group with his band and the floor around them. This level of adrenaline continued for the next couple of songs, and then the set was suddenly over. It was just really entertaining, and during and after it was hard not to get the feeling that: “Something is going on here.”
This Moment is one of my favorite bands, ever. When I talk about them, it's hard to not sound like a pathetic fanboy. I think they are just that good. That being said, this was the moment I was waiting for from them. Their brand of propulsion in this intimate space was great, and they invited people to come closer and surround them because there was plenty of room. Kicking off with “Off Brand” they ran through most of the recent album, Higher Deffer, with a couple of sprinkles from, delightfully, the first album, Midwesterncutalistic. An album which was released over a decade ago, and is becoming so obscure that hardly anything turns up in a Google search for it, as well as some selections from 2010's Public Square. TMIBH has always been marked by the shouting, spastic energy of singer Chris Kulcsar and the complementary additives laid down on his synthesizer, mixed with guitarist Buddy Akita's angling, grooving riffs. Their power was on full display here with the energy exciting, and the people exuberant.
There hadn't been a single TMIBH show I'd been to where people haven't given second-thought to actually really moving during their performance, and so it's obvious why they would want to put their re-grouping show on at this location, and why the location and atmosphere is so liberating. I feel like a lot of people feed off their fellow audience-goers energy. A lot of people probably feel it, but they're not apt to release it. I'm not going to get too crazy on my own, but when several people simultaneously engage in bombastic movement, things happen. It was good to feel that group effort, for the first time really in my experience( Having seen them 4 times now) at a TMIBH show. Getting entangled in that myself during the most adequate song of theirs for full expressive release, the little over 1 minute “Purple Herbert”, was ultimate props to their capabilities. Of course immediately after, Chris jokingly derided “you kids and your slamdancing” but had Chris jumped into this crowd, he would have been carried all the way out of the building.
Besides unearthing songs from the first album, including “Double Gemini”, they performed their cover of Devo's “Wiggly World” dug up from a long-lost split EP from the early 2000s and dedicated it to recently deceased Devo drummer, Alan Myers. It was definitely a highlight, and the crowd really responded and got down with it. Bassist Lawrence Caswell got his chance to shine taking lead vocals on fan-favorite “Family Day at Euclid Beach” which had the crowd chanting along blissfully with his soul-full silky smooth delivery. Besides providing the steady dose of driving rhythm that carries the band, Caswell and Thomas are absolutely hilarious. At every TMIBH show there is the fabulous high-octane music, but there is also the comedy, and the banter back and forth between all the musicians on stage. This usually culminates in a Bim Thomas soapbox moment where he takes the mic and says a defiant, hilarious message before usually thanking everyone from the bottom of his heart for coming, and this crowd certainly deserved the praise. They finished with Higher Deffer 's jam epic, “Ephemeral” which finds Chris strapping on a guitar, and to which builds in from an anthemic rising force to a melted out jam, which sees all instruments converging in one chaotic thunderstorm in a repetitive mess that ends with wailing feedback and the feeling that all the instruments have just fallen apart, the drums have come undone, everyone's strings broke, and it's just over. Chris wedged his guitar in an air vent which is always a cool thing to see.
I would go out of my way to see TMIBH play every time, and I guess in this instance I found my place to see them play. To me, I don't think there was a soul in the house who wasn't hitting their niche being present. Coming to shows like this, put together by a band like TMIBH, having people drawn together by this band, it makes it so apparent how phenomenal of an impact this band has had on Cleveland's musical sub-culture. They are the best and most important band this city has had in the last decade +, in my estimation, and the show they were able to attract people to, how it went down and what it represents- which is to say, I think, the communal values of an old-school type fun and free feeling ceremony- should show how much they mean to everyone who believes in this kind of thing in our town.
About one song in, the bass amp blew out and after a frenzied minute of “ Oh no, what do we do?” deliberation, “Fuck it.” was declared by bassist Bailey Peterson, and they played a really super fuzzed out version of their next song, which was dominated by the screeching crackle of a dying krayt dragon. In other words- sounded pretty good. After the song was over, a good samaritan wheeled in a fresh cab for them to borrow, and so the rest of their set returned their sound to normal decibel balance..
BPN is characterized by textured guitar that is fuzzy, slimy, but also not afraid to ascend, become uplifting and be generally penetrative. They are as dirty sounding as their name suggests, but not all the time. Performing as a trio, they are pretty bunched together and fairly calm as a unit. Singer-guitarist Wes Daniels goes to town on his fretboard, and it seems like most of the energy goes into the instruments. Peterson stands looking down upon her bass with complete absence of expression, or almost just berating it wordlessly, casting an ultimate indifference towards it. She is not impressed.
Ultimately, they provided a great contrast to what was going on at NTC on this night. I would hope a lot of people came just to see them, as I did, I think they're definitely one of the tighter groups playing in the area, and I look forward to catching them again soon.
Taking a Moment To Appreciate The Spitfire Saloon: Featuring The Unknown and Zapguns
There's a definite sense of feeling at home when you pop into the Spitfire, an accessibility that is more transparent then even some of my favorite places to hang out that are crafted out of a similar mold. From what I hear, there used to be a cage around the stage but that's now gone adding to a really personalized atmosphere. Because of this, the distinct separation that usually exists between band and audience melts away, with everyone that rushes to the front of the stage upon hearing that first searing introductory riff feeling like they're a part of the action. And that's truly the way it should be. When you wander in you feel the brightness of the occupants, something skirting the line of carefree righteousness, the feeling that everyone here is here for the right purpose. Not true for every place you go. You get yourself a drink, and while you're waiting for the band to set up, or whatever, you kind of let yourself roost in this dim, red aura that surrounds the bar. Wood flooring, janky wood tables and dark old walls coated with cryptic graffiti, stickers, signs and a delectable checkerboard of classic album art create a pleasant dinginess. The dinginess you want, because you didn't come to a fucking jazz lounge. Strange artwork, that is apparently for sale, adorns sections of wall. “Monster vs. Tank” $200. A large sign exists that reads NO JUNKIES! You Will Be Beaten. The people are cool, and casual. The barmaids are attractive with tattoos, and there's a “jukebox” that looks like a prop from a '70s sc-fi B-movie, but which has an impressive selection that includes Turbonegro's 3 worst albums (and their best ones).
I get the feeling that the night of Saturday May 4th was kind of an extravaganza for the club, but it was such a packed, wonderful and exciting time and really showcased how balls out energetic/outlandish the place can get. But, I found myself in this sanctuary and Zapguns, a 5 piece riff monster was about to go on, opening for the Unknown, a self described “pop-punk” group re-assembling for their first show in 6 years. Because of this the night takes on a bit of event status. It's something that has been built up for a while and there's a brotherly aspect to the proceedings. A lot of friends and cohorts are in attendance, and the night seems to be kind of a big deal in its scope. The Unknown in particular have amassed quite a following for their first gig in a while.
Phase one begins with Zapguns, and it's their notes that ring across the bar, and send everyone flurrying to the front, creating this crowded subway station effect. It's apparent, early on, that shows at the Spitfire are going to have a different intensity than other places you like to frequent. From what I can gather there might be nights where bands play to 3-9 people, and there are crazy nights like this where things happen to get buckwild. Regardless of the night's atmosphere, the stage proximity promotes an immersive experience for the listener. Its audience area is also more wide than deep, because it takes shape around the bar forming a kind of outstretched, trapezoidal type area. You just kind of cram in, and any stragglers form a wing shape out the ends like they're waiting in line at the post-office.
Zapguns is five guys with three guitars, and I must say their sound is promising, and their show enjoyable. The singer/frontman/guitarist is Sean Burns, a bearded, bespectacled gentleman cutting a work-man like figure with a Misfits shirt underneath his unbuttoned button-up shirt. Zapguns mowed their way through about 8 or so songs, a set that was a digestible gauntlet of impassioned, 2 minute songs with distinct hooks--the last of which was a cover of a cover (Nina Simone's “Don't Let Me Be Misunderstood”, later popularized by The Animals). I'm pretty sure I understand what they like to cook up. Burns has what amounts to, I guess, this low bark in his delivery, and lanky left-most guitarist, Rick Horchy, provides an effective counter-balance with throat-straining background vocals, and takes lead vox on one tune. One song in particular had him build up to a nice screaming finish. I really like the enthusiasm of the band members and because of that everything I heard from them chugged along and provided something to really move to.
The Unknown's show was really impressive. Transitionally, their sound was jarring, but I adjusted to it, and enjoyed what was a really energetic performance by a band that has obviously left a lasting impression in a lot of people's hearts in the area. Perhaps the contrast made these bands good complements to each other, because while Zapguns have a tinge of pop ascension in their tri-guitar interplay, they're more about being direct with edged-out riffs and intensely deliberate vocals. The irony of the band being called The Unknown on this night was that they instigated a real crowd. Their sound is elevated, with driving rhythms and vocals to match, courtesy of smooth-headed Ken Blaze. Blaze embodies the band, as its founder and longest tenured member, and also with his absolute presence. He has a desperate wail that is similar to the stylings of a few people in the supposed genre- that uplifting melody that encourages singing along, that seemingly corkscrews its pitch mid-note. As a band that was most active in the '90s... it just fits and makes absolute sense. Projected on the wall behind them was a mystifying slideshow of album covers that provided a subliminal backdrop that made you want to catch up with their discography. By the 20th time through, I was imagining all these albums in my iTunes like I was well versed in the band, and I was pretending to analyze imagined themes and structures from album to album like their legacy was so profound they were the Beatles. But I have to say, they have some really good album titles; who wouldn't want to listen to an album called “Radio Lied To Me” ?
They played for a really long time, and while my back began to go into an early stage of rigor mortis at some point, it was a really worthwhile time, and they seemed to run the gamut through a shit-ton of their material, which satiated their fans. Like I said, this was a big deal and they had an insane outpouring of supporting fans that were ready to rage. If you had never seen this group, as I had not, you couldn't help but be wowed by how they worked up this crowd. Watching these people's overwhelming enthusiasm, with fans/friends jumping on stage at the end to help jam some songs was a real rush, and they seemingly left nothing to play. They left their demos out on the stage, folks.
After things kind of cleared out and settled down, I sat down at the bar to take in more of the atmosphere of the place. Bask in the Spitfire, so to speak. A drunk guy started mumbling to me, then an awesome Zero Boys song started playing on the jukebox, then this kid started tapping his hands on the bar to the drums in the Misfits' “Vampira” And in that moment I remember feeling something like hope for humanity. And I think that's basically how I feel about the Spitfire Saloon right now.
The band ripped through a seemingly endless array of spasm-inducing 1-2 minute tunes that, according to our laws of time, was over about a half-hour later. Kicking off with the eponymous “Fuck You Pay Me” appropriately setting up the flow, the only breaks were for brief condescending sermons or shout-outs. They even mixed in a cover of The Dead Milkmen's “Taking Retards To The Zoo”. It was never a dull moment, each song having a proper edge to it, compounding the performance into a flayed out assault on an unsuspecting Happy Dog audience. The build-up did not result in a ritualistic blood orgy, but the pent up energy Erba and Co. conducted, I would assume, meant a lot of people got laid that night. Backed by long-time co-conspirator Aaron Dowell on guitar, with Doctor Callahan on drums and Justin Haberer on bass, the band was Erba's anchor, laying down the foundation for him to work up the crowd and himself through the power of explosive rhythm. Erba has the beard and face of a mythological greek Satyr, or goat-man, with a wild-eyed Manson like fervor. The dude is charismatic, deprecating and fucking hilarious. I love being insulted as an audience member! Sometimes we deserve it... He goes into the audience taking full grasp of people, shaking them into consciousness, screaming lyrics in their face, using their shoulders as a prop for his embattled form as he is hovering over the edge of a platform as close to us as he can get to try to reach these people and get a fucking rise out of them. He jabs a pen and then later a broken drumstick, I think, into his forehead in a kind of anguish. Then he throws a liquor glass across the stage which bounces like an inch off the ground, and settles, completely undamaged. He's a bundle of awakened untapped power that I feel the audience really wanted to live up to. He dives, he falls, he spits, he sweats. It's real as hell, and when you have spit and sweat launching at you from this guy who is in your face singing with real intent, you realize we need more of this around here. And what you get from Fuck You, Pay Me is a block of adrenaline-infused challenging, literally in your face rock. They seem like one of the best bets for exorcising lethargy in this town.
Kevin: This is my first time doing this hi-tech stuff. So far, I feel like there's a string coming out of the back of my computer that goes to Parma...with a soup can tied to the other end.
Chanda: Exactly. Is Sam on???
Kevin: Welcome to the Sam Sinister Show! Filling in for Sam tonite... Marcel Marceau!!!! Yaaaaay!
Sam Sinster (RARID): I'm just gonna come up with a bunch of questions, I just woke up and now I gotta poop. And eat dinner. In that order. I'm sorry, I'm a bad hack journalist.
Kevin: I came in from the shop to have a drink, look at the computer, and go back outside. Rock and Roll!
Chanda: A list of questions?
Kevin: Pull on the string harder before you yell into the can...
RARID: I'll just send one question at a time, and whoever wants to answer can answer. Then no one has to commit to sitting in front of a computer for any extended period of time... myself included.
RARID: SO! I'm here with my lap-top computater, talking to members of the band 45 Spider from Cleveland, Ohio. What's the story, guys and gals? How'd the band form, and who came up with the name?
Kevin: Hadley came up with the name. She was staring at our jukebox and said, "How about a 45 Spider?" RCA coined the term as a name for the 45 adapter.
Chanda: We thought is was perfect for the sound we were going for!
Kevin: We were in a band called Mountain Shaker, and a few of us decided to try something else. By the way, Hadley is cooking while I read questions. I can only hope that Sam is done pooping...
Chanda: Ew.
RARID: Maybe I am... maybe I'm not. Whichever one makes you less uncomfortable, go with that.
Kevin: A journalist must doo, what a journalist must doo.....
RARID: You said "doo."
Kevin: Twice.
RARID: So, Chanda and Thomas are also in the Torments, and Kevin, you mentioned Mountain Shaker. Who else was in that band? And what other bands have the members of 45 Spider been in?
Chanda: Kevin, myself & Hadley were in Mountain Shaker. Otherwise, for me, nothing.... Until Mountain Shaker, I had not played for about 15+ yrs, then decided it was fun again, and much more fun with 45 spider.
Kevin: Hadley has been in Sleazy Jesus and the Splatter Pigs, Swank Motel, Satan's Satellites, and Mountain Shaker. I've never been in a real band before MS. Mark the Shark Lancarevic, Brent Dudley Williams, Jim Murphy, and Dana Meyer were all in MS with us. It was a group of people that hung out in Mark's basement studio and wrote/played our best white trash hillbilly music. It was a lot of fun. I had been hanging there just jamming with Mark and his friends, trying to learn some bass tips from Mark since he's a killer bass player. Once we started trying to complete a band, I asked Dudley to sit in and play guitar with Dana. I asked Hadley to sing, since I can't sing and play worth a shit. Mark played bass on the stuff I sang most of the time. Then Chanda joined in on percussion/drums. It was fun for a while. Then Chanda and Hadley and I decided to go another route.
RARID: How would you describe 45 Spider to someone who's never heard you before?
Kevin: The Shangri-las singing to the Troggs, with a Linda Ronstadt look-alike singing.
RARID: With extra fuzz.
Kevin: Naturally.
RARID: Who's the primary songwriter? Or is it pretty much a group effort?
Kevin: While a few of our songs are obscure covers, up until now Hadley and I have shared the lyrics. When it comes to the music, all the members have worked together to write the songs.
RARID: Who are some of your influences? Besides the aforementioned Troggs and Shangri-Las, I mean...
Kevin: It's more about an era and a feeling. Car culture, biker movie soundtracks, soul, girl groups, garage... we all draw influences from so many different styles. One of the reasons our sound fits a period, yet no two songs sound alike, is that we all blend our influences, rather than follow a strict musical recipe.
RARID: Would you call your music, and the band in general, "anachronistic"? Or maybe "retro"?
Kevin: No. We sample some of the style, but our sound could easily fit into our version of modern. We're more "influenced" than "anachronistic".
RARID: Are these terms/labels you'd be comfortable with other people calling 45 Spider?
Kevin: As long as they keep digging us, I don't care what they call us... Hadley is still cooking, by the way, but I'm running my answers past her before I post.
RARID: I've noticed that members have other artistic endeavors outside of the band; Kevin, you sculpt wooden tikis and do pinstriping, Hadley is a professional photographer, Thomas does his radio show; what other projects are various members involved in? How do you think this factors into the band, if at all?
Kevin: Well, our flyer designs and CD design are pretty unique, which come from Thomas and Hadley. Chanda, Hadley and Thomas are very creative, so there are plenty of ideas in the room when we need to express ourselves. I build hot rods and custom cars, so we have those in the background if we need some old iron in the pics.
RARID: I feel bad I slept through everyone being available here, I feel like I'm just interviewing Kevin now... and Hadley by proxy, via Kevin.
Chanda: I think the fact that all of us are creative really makes things flow!
RARID: Oh, hi, Chanda! Haha
Chanda: Yeah, I'm in and out.
Kevin: When Thomas gets back, he can read all these questions and chime in.
RARID: Alright, so who would you say are some of the other great bands in the area? Who are some of your favorites, either to play gigs with or just listen to? What NE Ohio bands have the best songs to sing in the shower?
Chanda: There are lots—I like Cult of the Psychic Fetus, Scoliosis Jones, Wesley Bright & the Hi-Lites... Whiskey Daredevils are good. Lords of the Highway. Not so local—Boss Mustangs.
Kevin: One of the hardest questions so far. Cleveland is lucky enough to have some of the coolest bands out there. I (and Hadley) love Cult of the Psychic Fetus, MoFo's, Scoliosis Jones, Hot Ham and Cheese, Lords of the Highway, Rainy Day Saints, New Salem Witch Hunters, Alarm Clocks....
Chanda: I think it's important to support the local scene, and we all really try to be there for other groups' shows when possible.
Kevin: We toured with the Boss Mustangs (from Grand Rapids MI) in January. We are playing with them in Detroit in March, then another mini-tour in April. We really dig their stuff.
RARID: Which was better, The Choir or The Raspberries? Sorry, that one is kind of outta left field.
Kevin: Raspberries say both of us. I like them both, though.
Chanda: Yeah. I'm going Raspberries, too.
RARID: If 45 Spider was a superhero, who (or what) would you say is its arch-nemesis?
Kevin: Muzac Man and Auto-tune Boy!
RARID: If you could tour with any 3 bands/artists, alive OR dead, who would they be?
Hadley: Big Brother and the Holding Company, The Detroit Cobras, The Lords of Altamont, and if there's a fourth... The Love Me Nots.
Kevin: The Blues Magoos, Iron Butterfly, Steppenwolf. And if there's a fourth, Led Zeppelin.
Chanda: The Charms, James Brown, Dyke & The Blazers, and 4th would be Sly & The Family Stone.
RARID: So basically I should've said 4 bands? haha
Kevin: Yeah. Basically.
RARID: Describe your dream sandwich.
Chanda: The cool part is, who we mentioned really shows up in our sound, from our own perspectives.
RARID: C'mon, let's talk food. I like food. Sandwich of your dreams. Go.
Hadley: Grilled cheese.
Kevin: I eat multiple cheeseburgers per day. I would have to say... a big triple cheeseburger with the works, on a pretzel bun. And bacon.
RARID: What's "the works"? Lettuce, tomato, pickle, onion, ketchup, and mustard?
Kevin: And guacamole, Miracle Whip, yellow peppers, and a fried egg.
Chanda: Best samich I have ever had: chicken, egg whites, roasted red pepper sauce, and cheese. It's good.
RARID: I made a really good burger the other day— Barbecue sauce, A1, and jalapenos. No cheese. Surprisingly good. @Chanda - That sounds awesome. @Kevin - Sounds like overkill, but I'd eat it.
Kevin: When I was stationed in Texas, we ate cheeseburgers soaked in BBQ sauce at the chow hall every day. Awesome combo!
RARID: Oh, I forgot, bacon, too. Jalapenos, bacon, BBQ, and A1.
Kevin: Nice.
RARID: I think I may need to just do a separate interview with Thomas.
Kevin: Yeah. He'd love these questions.
RARID: If Screamin' Jay Hawkins heard your band, do you think he'd be pleased? (Aside) What?? Haha. What kind of question is that?
Kevin: It's got a groovy beat, and he could bug out to it. We'd put a spell on him...
Chanda: I'm still back on the fact that Kevin lived to tell after eating the monstrosities he described while in TX.
Kevin: I've eaten burgers as big as my head and lived to tell about it. Even on my honeymoon...
RARID: Hey, barbecue makes a good marinade!
Chanda: :)
Kevin: Yep. Any more music questions?
RARID: What cartoon characters do you think the members of 45 Spider most resemble? Oh, right. Music. Ummm... Hmm.
Chanda: Cartoon characters? I dunno.
RARID: It's an important question. These are the things your fans want to know!
Kevin: Hadley is Josie from the Pussycats. According to her, I'm Top Cat. I'll let Thomas and Chanda pick theirs. And yes, it IS a very important question.
Chanda: I was just told I am the drummer from Josie & the Pussycats. So I'll go with that until I think of something else. I always thought Janice from the Muppets was pretty cool.
Kevin: Animal... if you drink a 5 Hour Energy drink first. Haaa!
Chanda: Oh yeah. That's totally true! Although sadly I have adapted to the ways of 5 hr energy.
RARID: Janice always reminded me of chicks I went to junior high with. I grew up around people who thought it was 1970 even though they weren't even born until at least 1979.
Kevin: I feel your pain Sam. My class song in 1988 was nearly Stairway to Heaven.
Chanda: Sorry. Loved Janice. Can't help it.
RARID: Imagine Janice if she was a real person and lived in a trailer park.
Chanda: But she is a groovy puppet.
Kevin: Janice was hot.
RARID: No need to apologize, I'm probably most like Fozzy Bear, honestly. Waka waka waka!
Kevin: But even hotter, Sabrina from Josie and the Pussycats. I'd do her.
RARID: WAKA WAKA WAKA!
Kevin: No better Muppet Show than the one with Alice Cooper. My daughter had a poster of him on her bedroom wall...
RARID: That shit scared the hell out of me when I was a kid. This, according to my mother. I think I must've repressed the memory...
Chanda: I'd have to trump that episode with the one with the drum battle between Animal and Buddy Rich. That's classic stuff!
RARID: I'm partial to the Harry Belafonte one.
Kevin: Who doesn't love the Muppets?
RARID: People who are dead inside. Okay, some quick music related questions... How often do you play out locally?
Kevin: We try to limit our local stuff to once a month.
RARID: What's your favorite venue to play?
Kevin: We really love the Beachland.
RARID: Furthest you've traveled to play a show?
Kevin: The Cavestomp in NYC, or the Heavy Rebel Weekender in Winston-Salem NC.
RARID: Favorite aspect of playing shows?
Kevin: We REALLY love our cute groupies.
RARID: Least favorite?
Kevin: The cost of gas, and our not-so-cute groupies.
RARID: Best experience at a gig?
Kevin: Torn. When the Fleshtones called us onstage and dropped their guitars on us so they could dance to us playing their song, or playing in NYC and having the drummer from the Plasmatics show up because he's a huge fan.
RARID: Worst experience?
Kevin: We played our first show with Thomas at a club, which I won't mention, that we had to CLEAN before we could play. They had a broken P.A., so one of the local openers had to bring their rig from home so we'd have vocals.
RARID: How about the weirdest experience?
Kevin: Sometimes, weird is good. (See "Best" above)
RARID: Describe the local rock-n-roll/punk/garage/'billy scene in Cleveland.
Kevin: Sporadic at best. Cleveland blends them all together in a weird way. Sometimes, the most amazing bands come through, and no one is there to see them. Other times, bands that suck beyond belief fill a huge room. I may never understand the complex world that is rock and roll in Cleveland, Ohio.
Chanda: I concur! With the above answers.
RARID: Alright, I think that about does it. Thanks for talking with me!
Kevin: If you have anything else Sam, feel free to throw it our way. And thanks for the evening entertainment!
Check out 45 Spider:
http://www.reverbnation.com/45spider
https://www.facebook.com/45spider
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