post-punk gems, v. 76 — New Order

Hey folks! It’s a slow summer, prose-wise, for me, but I am keeping track of our musical history, and it’s been 35 years since New Order — appearing under the name “No Name,” since they had no name — made their live debut, opening for A Certain Ratio in Manchester, just two months plus after Ian Curtis’ demise. In front of 100 folks or so, prior to deciding upon a vocalist, they played instrumental tunes, novel, but somehow familiar, according to the write-up in New Music News:

“… we were all agreed that the intensity and novelty of the performance conspired to produce an overall effect rarely equaled. If the band can maintain this level then their future is secured, whatever their name …”

Their brilliant first single, “Ceremony,” would come out the following year and, in the years that followed, I spent many hours parsing the images of their record sleeves while the vinyl spun ’round the turntable. More so than any other band I knew at age 14, their music sprung from the alternate track of pop–not from Elvis Costello back to The Beatles, but from The Velvet Underground through Kraftwerk.

Enjoy!

post-punk gems, v. 75 — The GC5

Thanks for tuning in to Radio K-SAT after an unexpected break. I’m surfacing after wrapping up the first stage of another project (under wraps for now, but more info soon), and I’m delighted to be better acquainted now with the more recent history of punk in northeast Ohio (which is affectionately referred to as “NEO” ’round these parts. Although “neo-punk” is something else entirely.)

The GC5 (Grady Coffee 5), a Mansfield, OH quintet, got rolling in the mid-90s, released a couple LPs and an EP, and broke up circa 2003. Singer-guitarist Doug McKean is regarded by many as one of the best songwriters from the area of his generation. Their sound begins with the hard-and-fast Orange County aesthetic, but quickly takes on a bit more subtlety, especially around song structures and vocal phrasing. There’s a clear debt to Stink-era Replacements: they do an affectionate cover of “Bastards of Young” and offer a homage to Chris Mars by taking his debut album title for their 1st EP: Horseshoes and Handgrenades. Bob Stinson (RIP) would have been properly, and colorfully, impressed.

This past Saturday, GC5 alum appeared in their current form as The Boys from the County Hell (a Pogues song title) at Cleveland Calling, a fundraiser for the Joe Strummer Foundation at the Euclid Tavern. (Full disclosure: I was a late add to the bill, and read a few passages from *Stealing.*) With a line-up of acoustic guitar, electric guitar, banjo, fiddle, bass and drums, with intermittent use of a horn section, mandolin, and accordion, BCH offered a rousing, faithful homage to The Clash–and, in the case of “Rudie Can’t Fail” and “Wrong ‘Em Boyo”–offered the crowd a more faithful homage than The Clash ever did to the songs on vinyl. As far as I know, The Clash never made room onstage for a brass section.

Boys from County Hell, Euclid Tavern, July 18, 2015.
Boys from County Hell, Euclid Tavern, July 18, 2015. (Photo by Brian Asquith.)

BCH ply their wares seasonally as a Pogues tribute band. For you NEO residents: catch them while you can! And a big shout-out to All Dinosaurs for kicking off the event and riling up the crowd. Cheers!