A Double Shot Of IPO - Chicago: Part 2

Graphic from the cover of the International Pop Overthrow Midwest ‘11 Official Program And Guide. Graphic Design and Layout: Jim Horan; Art Director: Steve Stanley.

The sights, the sounds, and the people of International Pop Overthrow - Chicago 2011.

Shortly after arriving at The Abbey Pub around 7:30 Saturday night, I went over to say hello to Founder and CEO David Bash and Executive Vice President Rina Bardfield of International Pop Overthrow and congratulate them on another great Chicago festival. Over the past 10 days, they had brought an amazing range of talent to the stages of The Red Line Tap and The Abbey Pub, and now it had come down to the 2011 finale. Bash confirmed that the April 23rd showcase was the first in IPO - Chicago history to be sold out.

With the line-up down to five bands (I have no idea of what happened to Johnny Monaco) the starting time for Saturday night’s opener, Waiflike was pushed back to about 8:15. The trio, comprised of founding member guitarist-vocalist Richard Neil Miller, drummer Lucas Frantom, and guest musician bassist Lennie Dietsch from Verbow, were dressed in black and played a hard-hitting type of catchy pop. Miller and Dietsch both seemed to be playing lead, which made for some powerful music.

There was a large crowd at The Abbey by this time, and the mood was genuinely festive. Several of the night’s musicians were already in the house, including members of The Valley Downs and Van Go. Brad Elvis and Chloe F. Orwell of The Handcuffs were hanging out, as well as members of Penthouse Sweets. An old friend of mine, Boris, came up to say hello. I hadn’t seen him since the days when we used to hang out at Harlows/Pips/Haywires (the club went by various names but basically kept the same format) on the southwest side back in the mid-1970s to early 1980s.

“They don’t sound like their name,” Boris noted, referring to Waiflike. I also ran into Althea Legaspi, my former editor at the Illinois Entertainer, who now writes for the Chicago Tribune, among other publications. She wrote the liner notes for Material Issue’s International Pop Overthrow 20th Anniversary Edition, and did an interview with bassist Ted Ansani and drummer Mike Zelenko for radio station WBEZ.

Material re-Issue blasted through the unforgettable opening trio of girl songs from the International Pop Overthrow album (“Valerie Loves Me,” “Diane,” and “Renee Remains The Same”) before directly addressing the crowd. Phil Angotti wisely didn’t try to imitate the late Jim Ellison’s personality or dress like him; he was basically the same guy who had performed songs from his own CD on the previous night. He let the nattily dressed bassist Ted Ansani do most of the talking, and humbly waved off the occasional compliment Ansani paid him.

“We’ve got the whole album to do for you this evening,” Ansani said after the trio had played the romantic “This Letter.” The trio excelled on all 14 original tracks, as the audience sang along, clapped, and cheered. Angotti was impressive on guitar, and varied his vocal approach from the yelp of “Trouble” to the more subtle “Very First Lie.” The songs, like The Ramones-inspired title track, the joyous “Crazy,” and the abrasive “Chance Of A Lifetime,” have held up well over two decades.

Material re-Issue left the stage after playing “Li’l Christine,” the final track from International Pop Overthrow, but quickly returned for an encore, joined by guitarist Jay O’Rourke from another one of Chicago’s premier bands, The Insiders. They performed “Next Big Thing” from the Destination Universe album, plus “Goin’ Through Your Purse” and “Kim The Waitress” from Freak City Soundtrack. The band returned for yet another encore, with the song “Sixteen Tambourines,” and probably could have played all night as far as the audience was concerned.

“I’d hate to be the poor band following these guys,” Mike Galassini of The Valley Downs joked as he passed by me while everyone was still in the midst of Materialmania. As the next act up, he knew his band would be facing a major challenge. Then again, if The Valley Downs were shrinking violets, they wouldn’t haven’t gone to Liverpool to play an IPO gig at The Cavern Club. Moments later, Galassini received a Karate Kid type message of encouragement from his brother Lou, who would be playing bass for the evening’s final act, Van Go. Unfortunately, a good deal of the crowd had left immediately after the Material re-Issue set.

I saw guitarist Brent Seatter, a veteran of Thrift Store Halo and Kevin Lee’s band, in the crowd, along with his wife Pam. He told me that Thrift Store Halo was back in business and ready to release another CD, which is good news since their last effort, World Gone Mad, included a number of power pop gems.

The Valley Downs, led by vocalist Marianne Shimkus-Galassini and bassist-vocalist Mike Galassini, played songs from their Behemoth EP, along with some energetic new material like “Break My Heart” and “Last Days Of Summer.” Shimkus-Galassini, an engaging performer with a strong voice, frequently harmonized with her husband, while guitarist Todd Rusin cut loose with some inventive strumming. The band took a risk with a slowed-down, Country & Western flavored take on The Clash’s “Should I Stay Or Should I Go?” but made it work.

Velvet Cadillacs provided more evidence that sticking around after the Material re-Issue set was a great idea. This is a young band with boundless energy and a brash lead vocalist in the comically-named CD Riviera. Guitar-driven songs like “Wish I Was Cool” and “Somebody’s Crying” had a punk intensity while remaining melodic. “Inside Out,” the title track from a forthcoming release, bodes well for the band’s future.

Unfortunately, I had to leave at around 12:20 to make sure I could catch the last Metra train back home. Van Go was just taking the stage as I was going out the door, so I’ll have to go with what I wrote about them at last year’s IPO - Chicago gig. Back then, I mentioned that the band had four CDs to draw on, and its experience was evident on several melodic but hard-hitting songs. I did get a copy of Van Go’s The Long Lost Last Call, which I’ll be reviewing here in the new future.

And so, the book closes on another successful International Pop Overthrow - Chicago. David Bash will set up shop with a different line-up of bands in Detroit from April 28th-30th, and then wrap up his swing through the Midwest in Milwaukee from May 5th -7th.

20-20 Vision

Material Issue bassist Ted Ansani dropped in on the WXRT show Local Anesthetic this past Sunday to chat with Richard Milne about the 20th Anniversary Edition of International Pop Overthrow the album, as well as Ansani’s upcoming Material re-Issue gig at International Pop Overthrow the festival. Ansani and his fellow Ish member, drummer Mike Zelenko, will be joined by singer-guitarist Phil Angotti in the role once held by the late Jim Ellison.

Local Anesthetic, a weekly program that casts a spotlight on up and coming Chicago music acts, is celebrating its 20th anniversary as well, and Milne has served as its host for that entire time. He has always come across as an avid supporter and fair-minded critic of the local scene.

Minutes before speaking with Ansani, Milne played a Local Anesthetic interview he had done with all three members of Material Issue, back in May, 1991. It was eerie but interesting to hear Ellison speak, as he explained his belief that it takes a lot of hard work to succeed as a band. The archive clip also included the trio performing a live, acoustic version of “Loneliest Heart That Beats,” which hadn’t been released yet at that time.

Returning to the present day, Milne conceded that some of the XRT air staff had expressed doubts about the upcoming re-Issue gig, but that he had assured them Phil Angotti was a talented musician. Ansani agreed that the singer-guitarist was up to the challenge.

“He’s been doing his homework,” Ansani told Milne. “He’s picking up many of the nuances that Jim had. He’s really nailing it vocally, and with his guitar work.”

Ansani, who has pursued a variety of projects since the demise of Material Issue, including the entertaining Throttle & Pistons CD with the Ted Ansani Project, said there are no plans to record new Material Issue songs. He, Zelenko, and Angotti will play the entire International Pop Overthrow at the re-Issue performance, which will be at The Abbey Pub on April 23rd, plus a few tracks from later albums.

Slumgullion #50

WXRT and the blogs Second Disc and Slicing Eyeballs are heralding the arrival of a 20th Anniversary edition of Material Issue’s flawless debut, International Pop Overthrow. The CD will be on the Hip-o Select label, with eight bonus tracks, including covers of Thin Lizzy’s “Cowboy Song,” Sweet’s “Blockbuster,” and Simon And Garfunkel’s “The Boxer.” The April 5th release for International Pop Overthrow comes just a few weeks before the globe-trotting power pop festival that bears its name returns to Chicago.

Mike Zelenko, the former drummer for Material Issue, was on hand for singer-guitarist Phil Angotti’s People And Places CD release show at the Park West last night. Angotti has created a fun video for the song “Parting For A While” that recreates that touching/funny “This Boy” scene featuring Ringo Starr in the Hard Day’s Night movie. The new video also makes a stop at Quencher’s Saloon, with local musicians such as Brad Elvis making cameo appearances.

Former Romeo Void singer Debora Iyall has announced on Facebook that she will be sharing a bill with The Motels on March 25th at the Red Devil Lounge in San Francisco.

The Raveonettes will release their fifth CD, Raven In The Grave on April 5th. According to a press release, vocalist Sharin Foo says the duo is taking a different approach this time out, opting for a sound she describes as “dark but not bleak.”

Happy Birthday to Matt Dodge, the singer-guitarist who fronts the Minnesota-based Matt Dodge & The Lobsters. The band proved to be a pleasant surprise at last year’s International Pop Overthrow - Chicago last year by exceeding the boy band impression I got from its MySpace page with a hard-hitting set of power pop. Hope they’ll be back again this year.

Rolling Stone is reporting that the original lineup of The Cars, with the exception of Benjamin Orr, who passed away in 2000, have recorded a new CD. Move Like This will be released on May 10th, but so far, Ric Ocasek and company have no definite plans for touring.

Tickets for Wax Trax Retrospectacle, a tribute to the influential industrial label that will include performances by Front 242, My Life With The Thrill Kill Kult, and Chris Connelly,among others, will go on sale tomorrow. The show takes place on April 15th at Metro.

Talk Of London Town

The recent release of the Live In London CD/DVD set triggers a rush of memories concerning The Pretenders. Their 1980 self-titled debut shook the world by mixing elements of punk and classic rock, and established Chrissie Hynde as a songwriter whose lyrics could sting as well as comfort. I still remember being at parties or bars and hearing people shout some of her classic lines as a song like “Precious” or “Tatooed Love Boys” blasted on the stereo. Hynde’s amazing vocals enabled her to convey a wide range of emotions.

The Pretenders had the good fortune to arrive just as rock videos were at the height of their popularity. Hynde’s commanding presence, combined with imaginative imagery, established the band’s reputation for making enticing videos, from the touching story of the lonely waitress in “Brass In Pocket” to The Avengers parody of “Don’t Get Me Wrong.” I have several VHS tapes and DVDs of rock bands, but never seem to watch any of them as much as I do The Pretenders Greatest Hits, which offers 20 clips from throughout the band’s career.

Over the course of three decades, Hynde has maintained her edge. The tragic loss of two members early on could have brought about the demise of The Pretenders, but she soldiered on and continued to create great music. Live in London, which was recorded during The Pretenders’ 2009 tour, shows Hynde at full power on classics like “Back On The Chain Gang” as well as newer material like “Boots Of Chinese Plastic.”

I’ve seen two live performances by The Pretenders, and both came by winning WXRT contests. One was at the Rosemont Horizon in 1994, and had the added benefit of a stellar opening set by the Chicago power pop trio, Material Issue. And about a year ago, I encountered the band in a more intimate setting at The Martyrs club in Chicago. Although at times the event felt more like hanging out with Hynde and her mates at a rowdy party than watching an actual concert, it was a fascinating opportunity to get a close up view of one of rock’s all time great artists.

Under The Influence - Part Three

Waiting for the No. 36 Broadway? Material Issue gives “Bus Stop” the Chicago power pop treatment.

With five days left until The Hollies are inducted into the Rock And Roll Hall of Fame, it’s time to take another look at Sing Hollies In Reverse, the 1995 various artists compilation recorded in their honor. Here are three more highlights from that tribute CD.

The Wondermints are a power pop act that has artfully mixed lush vocals, clever lyrics, and inventive arrangements on CDs like Bali and a self-titled 1996 effort. The band frequently contributes to tribute albums, and members Darian Sahanaja, Probyn Gregory, and Nicky Walusko are part of Beach Boy Brian Wilson’s critically acclaimed band when he goes out on tour. On Sing Hollies In Reverse, The Wondermints give “You Need Love,” one of The Hollies better album tracks, an energetic arrangement that has more of an edge than the original while still maintaining a definite 1960s feel. Sahanaja’s keyboard playing add an additional texture to the song.

Formed in the early 1990s, The Continental Drifters mixed roots rock with power pop on CDs like Vermillion and Better Day. With a lineup that included Peter Holsapple from The dB’s, Vicki Peterson from The Bangles, and Susan Cowsill from The Cowsills, it was a cinch the band would electrify the early Hollies single, “I Can’t Let Go.” Robert Mache nails its classic guitar intro and Cowsill does a great job singing lead. The vocals and instrumentation are nearly identical to the original, with the main difference being the co-ed harmonies provided by Holsapple, Peterson, and drummer Carlo Nuccio.

Material Issue would get its own tribute album with Just What This World Needs in 2000, but back in 1995, the Chicago power pop trio brought its distinctive sound to one of The Hollies’ best known hit singles. Jim Ellison’s vocals are immediately recognizable on this revved up version of “Bus Stop,” making it sound like it would have fit right in on Material Issue’s impressive debut, International Pop Overthrow. The Chicago band excelled at cover versions, particularly “Kim The Waitress” on Freak City Soundtrack, and a cover of “Run To Me” on the Bee Gees tribute CD, Melody Fair.

Hi-Fi Christmas Party Volume 2

The concept behind the initial Hi-Fi Christmas Party, a various artists compilation released in 2002, was to raise money to help fund research on the rare blood disorder, Von Willebrand’s Disease. According to producer/organizer Dan Pavelich’s liner notes on Volume 2, which was released in 2006, the success of that first CD inspired a sequel. Once again, the focus is on original 1960s-style power pop, with a few exceptions.

The Elvis Brothers take us back a little further on their “Rock-A-Billy Christmas,” to the days of Buddy Holly. Composed by Graham Elvis, this peppy number showcases his bass playing, as well as the band’s playful, give and take vocals. The only disappointment, is that at just under two minutes, the fun doesn’t last long enough. The harmonies and big production values on Lisa Mychols & Wondermints’ “Lost Winter’s Dream” are reminiscent of Leslie Gore’s Top 40 hits; and Husky Team, which includes Smithereens drummer Dennis Diken, delightfully mashes “Auld Lang Syne” with “Green Onions.”

The Grip Weeds’ masterful “Christmas, Bring Us” evokes the height of the British Invasion and bands like The Move and The Who. Jeremy’s spiritually inclined “It’s That Time Of Year” aims for the same era, and stands as one of the best cuts he’s ever released. The Bradburys, with Dan Pavelich on vocals and rhythm guitar, use a melodic, mid-tempo arrangement on the romantic “A Christmas Wish.”

Opting for a more modern and energetic power pop approach, Sketch Middle comes on like Material Issue on the irresistible “Turtlenecks & Eggnog.” Rob Paravonian uses high-speed guitars and quick-rhyme lyrics on the very funny “We’re Breaking Up For The Holidays” as he justifies his drastic solution for avoiding the stress of visiting family members around Christmas. The Spongetones take a gentler, acoustic-based approach with “Christmas Boy.” “King Of Kings” by Joey Molland & The Echo Boys features the Badfinger vocalist-guitarist on a Celtic flavored rock tribute to the Christ child.

One of the few songs on Hi-Fi Christmas Party Volume Two that isn’t an original, or in a power pop vein, comes from The Brothers Figaro Orchestra. Their unusual take on the traditional “God Rest Ye Merry Gentlemen” creates the ambience of a Big Band era radio show.

Yuletunes - Part One

Once upon a time, before the retail industry ordained Black Friday as an extreme sports event for crazed bargain hunters, the day after Thanksgiving held significance as the official start of the Christmas season. It is in that antiquated spirit that I’m kicking off a series of posts related to holiday music.

Released in 1991 on The Shoes' Black Vinyl label, Yuletunes was an ambitious collection of original Christmas songs created by various power pop artists. Matthew Sweet, who contributed “Baby Jesus,” and Marti Jones and Don Dixon, who sang a duet on “Every Day Will Be Like A Holiday,” were the biggest names involved, and there were 13 lesser known acts from the Midwest. This will be the first of three posts on this classic Christmas album.

The Shoes had faded from rock’s mainstream by 1991, but “This Christmas” shows why they’ll always be revered in the power pop community. It’s a catchy rock song with a monster drum beat and chiming guitars that offers an optimistic view via harmony vocals. “Things will get better./Doesn’t seem like it now, but they always do.” Vocalist-guitarist Jeff Murphy would return to the theme of the importance of love over gifts during the holidays by having his kids sing the cute “The Christmas List” as the CD’s closing number.

The punchy “Merry Christmas Will Do” finds the trio Material Issue at the peak of its power. Jim Ellison’s rugged guitar playing takes center stage, and as usual, he’s a master at selling the pain of unrequited love through his evocative singing. “You don’t have to say you love me, I know that that’s not true,” Ellison concedes. “But Merry Christmas will do.”

The Idea, fronted by vocalist-guitarist Phil Angotti, contribute the melodic “It’s About That Time,” which describes winter scenes, church bell, carols, and watching It’s A Wonderful Life. It goes on to note, sadly, that the holiday season seems like the only time of the year when “we all have a lot of love to share.” This seems to be the most commercially successful song from Yuletunes; I’ve heard it playing on the overhead sound system at the Woodfield Mall in Schaumburg and at our Jewel food store.

The single-named Leroy checks in with “Santa Stole My Baby,” a mid-tempo song that sets up a crime scene with clever clues like, “footsteps on the rooftop.” The slinky guitar playing underscores the sexy fun of lyrics like, “She makes him cookies./She calls him Chris./Gets everything double on her Christmas list.”

I’ll continue with Part Two of my look at Yuletunes on my next post.