High Speed Cakes…

It’s the unexpected that keeps things fresh. This past week two things I wouldn’t have thought would transpire did exactly that: Happen. First, I became rather loaded, or struggled to remain coherent after enjoying Chicago and Local H, and left my rather costly phone in a cab. But about 48 hours later, it was found; then after many days, successfully retrieved — major financial fiasco averted.

My musical catalog consists of many artists who put out only one, or if I was lucky, two unstoppable, timeless records. Perhaps blame these short lifespans on major labels — realistically the factors and variables are endless for why acts only craft a record. Previously highly coveted quartet the Cupcakes were ones who crumbled due to their major label Dreamworks and released a record; then disappeared into Chicago rock oblivion. Until a few days ago. I went about 12 years enjoying, playing louder than most, what I thought was their one and only record. A long player consisting of crunch, spaced out techno rhythms, and enough power pop to appease me for about 1/3 of my life. And now, I can bask in more of this exemplary formula with 15 new tracks care of their true debut and five b-sides.

Most likely one of the top finds of 2012:

Cupcakes untitled debut record & five b-sides

Finding inspiration….

It’s all over: shuffle, mood music, daily feeds, etc. Why can’t I stay routine with probably the most consistent thing in my day-to-day: music. Like music, sharing and attempting to discuss this medium is therapeutic; like sweating it out or downing more whiskey than one should. It took a read, more like a small tip-toe down memory lane, through the mind of James VanOsdol — he’s the man hopefully responsible one day for this — to help me to understand that this writing thing is something I dig. This time, it’s initially a conversation with myself. A way to put my thoughts out, better my ability to communicate, and most importantly, maybe, just maybe, turn someone onto something that’s brought me inspiration.

Chicago’s music scene was the catalyst and true inspiration for me to become the music fan I am today. Some of that’s owed to James mentioned above, and the other responsible ones are the Smoking Popes.

Rock N Roll Professionals…

Six albums, an EP, and an awesome mixtape is a respectable output for a duo 16 plus years in the making. On top of that productivity, a greatest hits record — one dubbed as part of an Icon series — spanning the first half of Local H‘s career. Local H was comprised of Scott and Joe in the 90s, with Scott taking vocal and guitar duties, while Joe kept time on the drums. After three albums, Joe decided to pursue other endeavors. Scott, a man who is more comfortable on stage than you are in your chair right now, wouldn’t let this unique act come to its demise. The 21st (’99-now) century Local H is made up of ex-Triple Fast Action drummer Brian St. Clair and still the driving force behind the act, Scott Lucas.

After the break-up of Scott and Joe, rumors ran rampant, and oddly enough, Joe Daniels never made any public statements/comments, that I was ever aware of. For the first time, in over 12 year’s time, the original drummer for Local H spoke his mind about Scott, this greatest first half of their career hits record, and his passion for retributions.

“He wasn’t involved because I don’t really talk to Joe,” Lucas said. “Whenever I talk to Joe it’s about how he wants to sue me – he acts like I ruined his life or something.”

Local H Looks Back at the Good…And the Bad

Off of Ham Fisted, the ’95 record constructed by the original lineup…

Local H :: Skid Marks

Taken from Here Comes the Zoo, the record where new, and current time-keeper Brian St. Clair, debuted on…

Local H :: What Would You Have Me Do?

Quiet Storm King…

1995. A year a board has been dissecting — the year holds a special place in my rotation.  Figdish, a Chicago-based power pop quartet, one who ultimately helped spawn The Prairie Cartel, only further accentuate why 90s Chicago is a sound I never grow tired of. In true power pop fashion, Quiet Storm King clocks in at under three minutes; past Veruca Salt contributor, Nina Gordon, lends her vocals to bring this upbeat staple to the forefront of my rotation. 16 years later.

Fig Dish :: Quiet Storm King

Wanna Be My Suitcase Pimp?

I made a mistake when composing my best of ’09 list. Like anyone who listens to many records in the course of 12 months, this end-of-the-year ritual – for some – is a challenge; like a post here, one could always go back and make changes, improve upon a previous draft, per se.

Prairie Cartel,the super group of the past few years – in awesomeness and the makeup of the members – unleashed, after many troubling events, Where Did All My People Go – an amalgamation of their former selves, with a serious, mature evolution of the dance meets spacey enthusiasts this quartet has become. 2009 was no joke when it came to records; but if I had to go in and edit, I’d realize, I made a huge mistake.

Prairie Cartel :: Suitcase Pimp

Urge Overkill’s Girl…

Even if Urge Overkill were talentless musicians, according to producer-extraordinaire Steve Albini, the 90s quartet scored large when Quentin Tarantino decided to perfectly place their Girl, You’ll Be a Woman Soon – which was originally written and performed by Neil Diamond – in 94′s stunna Pulp Fiction. The soft, intricately strummed piece is almost soothing. The gentleness quickly erupts with a full sound – one brimming with 60s sounding sunshine and possibility. A song capable of setting the soon to be very awkward scene between Vincent Vega and Mia Wallace; and a track capable of placement in a more serious, sentimental moment – like a ceremony of holy matrimony. Versatility.

Urge Overkill reinterpreted Mr. Diamond’s original in a timeless manner. 16 years later, the delicacy is still intact, and I can’t help but hit repeat….

Urge Overkill :: Girl, You’ll Be a Woman Soon

QT has a strong ear and knows when and how to use a song.

The Cool Flavor of Menthol…

Heavily distorted power-pop from the 90s’ Chicago scene. 15 years ago, I wasn’t aware of how lethal of a combination that was, or would prove to be a decade and a half later. Add to the mix lyrical odes to the recording industry of yesterday, in a sly and poetic manner to help create one of the strongest trios ever to emerge from the Chicago scene: Menthol

Listening now, for what would not be the first time since the mid-90s – but more like the 2nd time this week –I’m aurally witnessing the unique tones, the driving guitars, the simple explosion of sound; although they held the ability to melodically create spacey soundspaces, too. Balthazar, the front man, who emerged from Hum, another Chicago act who also perfected this sound, held the ability to vocally attack each rhythm’s tempo with ease. The flow from the beginning of this LP until the end is uninterrupted.

I never have, nor ever will, but if I was to piece together a top 20 list from yesterday up until today, Menthol’s self-titled record from 1995 wouldn’t be in the second half. Its consistency for well thought out, distortion heavy power pop songs would rank in the top 10. Yes, of all time. No, nostalgia isn’t attached to this one. Chicago’s undeniably strong 90s scene is.

Menthol s/t

MiS is 500 posts strong. The hurdle has been surmounted. Now, let’s talk about that Foals single!

Hard Times with Prairie Cartel…

If I was ever going to fall for a band before I even heard a note, it was inevitably going to be Prairie Cartel. A Chicago-based, smart, electro-rock act. Sure, the location this trio (ultimately) stemmed from helps; a passion for rock and dance-based music isn’t going to hurt either; but it’s where they really come from that secured a place in my rotation. From the ashes of Fig Dish, a 90s sound, meets power-pop Chicago act; and Caviar, the reincarnation of Fig Dish as a smarter, wittier act, who like its 90s older brother, met their demise because of major label drama. Fine and good, because Blake Smith and Mike Willison, both driving members of both aforementioned acts, teamed up again to found Prairie Cartel.

This 3rd generation Fig Dish does not stop there though – what cemented a fervent interest in this act was when they recruited local Scott Lucas, who receives an occasional head nod over here. Placing these three veterans together churned out, Where Did All My People Go, a serious, potentially party-like record, one that should have ranked higher in ’09.

Recently, the China Shop began an exposé on this Chicago supergroup and its long road to finally recording last year’s dirty rock record. Blake Smith was recruited to report, in narrative form, this long and treacherous journey.

Prairie Cartel :: Jump Like Chemicals

Prairie Cartel :: 10 Feet of Snow

High Speed Cakes!

Dreamworks records in ’99 and ’00 helped to craft two hard to forget records unique from one another – one stemming from sElf, who produced a grandiose record responsible for this blog, amongst countless other oddities. And then Dreamworks hoped to continue the Chicago 90s rock boom into the 21st century. For the label, this venture into the Midwest never garnered monetary success; but for the keen listener,closely following an era, a movement, aural pleasure care of guitars never left Chicago. Take the quartet Cupcakes, a sonically space-like act that carried over the crunchy guitar sound from yesteryear into their 2000 s/t debut. Light, sweet power-pop melodies are sprinkled throughout most tracks. Soft, yet tightly layered build-ups exist throughout most 13 tracks, that are precursors to eruptions of walls of sound.

Living through this era was difficult – I was at the age where strutting into a bar, a Chicago rock show, wasn’t an option. Luckily though, most acts ventured into all-ages venues; but unfortunately, especially after sitting down again with this quartet’s debut, Cupcakes were an act I never witnessed in all their sonic glory.

Cupcakes :: Black Helicopters

Cupcakes :: Intentionally Vague

Cupcakes :: Exaggerator

Not that I know from personal experience, but YouTube showcases a story of Cupcakes being mighty impressive in a live setting. Good looks on the link, JT…

Local H’s 68 Angry Minutes…

The main influence for that song was Naughty Girl…by Beyonce.

Verbalized by Scott Lucas, the front man for the hard-hitting Chicago duo Local H, when asked about last year’s stunna White Belt Boys. 12 Angry Months by Local H was without question my favorite record of last year. And up until today, it still receives consistent spins. A very real break-up record that birthed seven consecutive nights of the act re-creating all of their albums in true start to finish fashion. Absolute nostalgia aside, Scott Lucas, Brian St. Clair, and a host of blasts from the past, showed why they survived the post 90s Chicago boom: sincere passion and a true love for the art we all cherish and follow fervently.

As anxiously mentioned before, their momentous live occasion was being filmed for a DVD. 12 plus months later, the final product is available for consumption. The tracklisting and bonus material consists of the following:

Track Listing-

1. JANUARY: the one with ‘kid’

2. FEBRUARY: michelle (again)

3. MARCH: bmw man

4. APRIL: white belt boys

5. MAY: the summer of boats

6. JUNE: taxi-cabs

7. JULY: 24 hour break-up session

8. AUGUST: jesus christ! did you see the SIZE of that sperm whale?

9. SEPTEMBER: simple pleas

10. OCTOBER: machine shed wrestling

11. NOVEMBER: blur

12. DECEMBER: hand to mouth

Bonus: Fritz’s Corner, Cynic, Heavy Metal Bake Sale, Half Life, Wolf Like Me, and All The Kids Are Right

Bonus Commentary from Scott and Brian with insight into the recording of 12 Angry Months and more!

 

If their record and love for rock hasn’t persuaded you, check two trailers…