Chisel - Live at 242 Main (Burlington, VT) 4/16/1994

I don't know much about this except that these mp3s got posted by Bradley's Almanac about 6 years ago, recorded at something called Burlingtonitus Fest. It's Chisel, it's 1994, includes rarities "My First Resume" and "Chiefs." There's also a Jam cover... what more do you need to know?

Happy New Year!



download:
Chisel - Live at 242 Main 4/16/1994

Chisel - 8 a.m. All Day

[Although this album was not recorded or produced in South Bend (the band was based out of DC at the time), I doubt anyone will mind too much that we are featuring it here.]

How does one articulate the impact and significance to the Notre Dame scene of a record such as Chisel's 8 a.m. All Day? A record that was the soundtrack for so many road trips, the impetus for spontaneous kitchen sing-alongs, whose songs we knew from live sets played in South Bend basements well before they were ever put to tape. This was our local boys making good with a hot album, the first breakout LP from the SBP90s era.

Even after a couple years of doing this blog, though, I'm still not sure I'd ever be able to write up 8 a.m. All Day and do it proper justice. Besides, the DCist did a fairly decent job of that not too long ago anyway. So instead of just awkwardly gushing on for awhile, I think we'll approach this one a little differently. The first thing we'd like to do is share a pretty fantastic article that Jeff Jotz (Oatmeal, Water) penned back in 1996, and was kind enough to send our way (thanks, Jeff!). The second thing we'll get to after the review, so please read on…

*****

Chisel - 8 a.m. All Day
Reviewed by Jeff Jotz
originally featured in the Dallas magazine The Met, 1996

I first saw Ted Leo and John Dugan play together in my dormitory basement at the University of Notre Dame in 1990. Fisher Hall’s basement boasted a dirt floor and extraordinarily thick concrete walls which killed sound at the basement doors. The dorm was built in the early 1950s, so perhaps the Holy Cross Brothers, fighting the good Cold War fight against the godless Red Menace, designed a bomb-proof shelter in the dorm’s basement to protect the Notre Dame students from the hydrogen bombs hanging over the country’s collective head.

The two wailed and raged down there, with Leo blistering away on guitar in this frantic, uptighty playing style, like he was stiffening up with rigid convulsions. Dugan lazily bounced around the drums, seemingly unaware at the ear-piercing noise resonating off the concrete walls around him. The two did some an energetic cover of Mission of Burma’s “Academy Fight Song” and interpreted their favorite Wire and Mudhoney songs. By the time the two graduated in 1993, they changed bassists and seemed all the rage at a college more known for its football players and wholesome Catholic youth than some music scene. Two years ago the band relocated from South Bend, Indiana to the more friendly frontier of Washington, D.C., where their audience grew beyond the occasional beer blast.

It’s odd writing an uplifting article on the three lads who make up Chisel after watching them evolve from two (later three) guys rooted in political punk, British pop, avant-garde noise rock and standard NYC and DC hardcore to their current and most productive period as innocent harbingers of the mod re-revolution after I watched hours of TV or stumbled around in drunken glory with them. Without a doubt, I knew that this was going to be more than my average music article.

Chisel, made up of Leo, Dugan and bassist/vocalist Chris Norborg (who is a former member of the Notre Dame Glee Club and was recruited by the band in 1992), has a new album out, 8 a.m. All Day (Gern Blandsten). In the past two years, Chisel has refined its sound to the point where many listeners pin the band with the “mod” label. I refrained from including some blatant Who/Jam parallels here, maybe throwing in some reviewer’s interpretation of The Who’s performance at a 1966 show as a creative twist normally found in the higher-brained and more witty music writers. To categorize Chisel strictly with a musical and fashion movement that was always over before it began limits the band’s influences and belittles the new paths it has been forging both on stage and in the studio. All I can say for sure was that I ran into Leo at the Who concert at Giants Stadium in 1989. We all have our guilty pleasures, so nobody can knock Chisel to be Johnny-come-latelies to the Who kick.

“Yeah, the Mod comparison is undeniable,” said Leo, who admits viewing the Jam video “A Town Called Malice” on MTV fifteen years ago has impacted on his musical tastes ever since. “I won’t deny that we enjoy the looks and the sound. However when you do look a certain way perhaps other aspects of the band get overlooked.” He credits his biggest songwriting and guitar influence not the obvious -- Pete Townshend of The Who and Paul Weller of The Jam -- but Steve Marriott, lead singer and guitarist for the Small Faces, a mid-60s British band who were contemporaries of The Who and who never moved beyond cult status in the States.

Leo said that coming of musical age among the anarchistic obstinance of New York’s varied hardcore scene in the mid-1980s emboldened him with what he calls “that punk energy and ethic,” adding “Hardcore in New York was always a bit crazier and insane than other scenes. It carries over to my performance, in contrast with all those indie rock shoegazers.” The 25-year-old native of Bloomfield, New Jersey comes across offstage as a latent Dick Vitale, quietly mellow with occasional outbursts of emotion. Onstage, he assumes the identity of a nerdy Mr. Hyde, his jerky energy and absorbing guitar resonating in nervous fits and starts.

“The mod shift wasn’t a calculated thing,” said Dugan, a D.C.-area native who was weaned on the sounds of local legends Fugazi and Rites of Spring. “We figured what we liked in our songwriting and channeled it. There was no ‘defining moment’ for our new direction. The Jam comparison has been so overstated. While it’s a flattering comparison, I don’t hear it so much in our music.”



The trio’s new album -- the band boasts four singles, four appearances on compilation records and a 1995 EP/CD -- takes the listener on a slam-bang rocket trip through many styles of music, from mid-60s British and American garage punk of the same era to the hyperactive indie punk of contemporaries Superchunk. Yeah, you can hear Who-type bass lines in one song and perhaps a self-conscious guitar nod to Paul Weller in another, but the line is drawn there. The three successfully weave a variety of their respective music experiences in a powerful yet never overwhelming album. Hyperactive at times to make you think you’ve had too many cups of coffee, Chisel does not drift through their songs aimlessly without direction. They make their point and make a bee line to deliver quickly, as if the three are trying to beat each other to the end of each song. It works marvelously.

Chisel recently wrapped up a Midwest tour with fellow Washingtonians Fugazi and Lungfish -- Fugazi’s Guy Picciotto is a big fan of the band -- and play quite often in our nation’s capital and in New York City.

My picks? Try the slowly-bouncing tale of Leo’s journeys in “Citizen of Venus,” the paced and singalong rhythms of “Breaking Up With Myself,” and the CD’s title track, which really highlights the cool vocal games of Leo and Norborg.

So save your parkas, bowling shoes and Vespa scooters for the reruns of The Young Ones. Chisel is one of the few bands which proudly flaunts its musical influences while being individual enough to stand out even more distinctly among the pack of bandwagon bands who trace their roots to the first time they heard “Smells Like Teen Spirit.” What’s certain is if the Who ever reunites again for some big rock concert, Leo, Dugan and Norborg will be there having a dilly of a time with ol’ Pete, Roger and John.

*****

For the second part of this we're going to put it on y'all a little. Faithful readers of the SBP90s blog, former ND rockers, casual visitors from across the internet… what did this beloved Chisel album mean to you? Contribute to the comments section and share your memories, stories, and enthusiasm for Chisel and 8 a.m. All Day.


Chisel - 8 a.m. All Day
buy it on iTunes, Amazon

[sorry, no free download. if you regularly read this blog and don't already own this --- shame on you. go buy it now!]

see also:
Chisel on MySpace
more Chisel on SBP90s

Brian, Colin and Vince - Three Cheers for Skybuster Jones

COLIN

I think this was the last BCV show before Brian transferred to school in Boston – so I remember at this time also trying to find a couple hours to record what would later be half of the Bucket o’ fun n’ stuff n’ yeah album. And that even though it was our last hurrah, we wanted to go out with a big fun show and we still were trying to play new songs as soon as hey were written – I believe we had just barely learned the “She’s turning into a werewolf” a cappella round that day. But I might be wrong about that. I didn’t even remember that song existed until I heard these recordings.

One thing I remember about this show was that we wanted to do whatever we wanted to do – and for me that included carrying my bed all the way from my dorm to Washington hall so I could have the fun of listening to the other bands while lying in my bed under my comforter with a pillow on stage – that was pretty awesome. And I think we invited anybody up on stage who wanted to be there. It was pretty loose.

There was something really moving about the crowd yelling things like “Brian, don’t go!” in the middle of "Hypothetical Situation." I think we all felt mixed emotions – sad to have something so wonderful be coming to an end, but also just a warm good feeling during the act of playing. I certainly was in a bit of denial about the ending of the band – and I was lucky to have a whole semester afterwards to work on the BCV cd, so I was still a bit busy with it anyhow.

I get confused about the timeline of how and when everything happened, but when we were doing the stuff, that was what mattered the most to me. I always just felt lucky to get to hear Brian and Vince sing every time we practiced. Plus Brian’s guitar playing was a treat to watch develop – he was fantastic at everything and so easy going that the band seemed almost effortless – songs came pouring out all the time and we just sat around and played them, then walked around playing them and then sometimes took a cab to go play them somewhere else. Trees, Hugs, and Rock n Roll, man.

To be honest, I am amazed at how cheesy I was back then – not that I’ve changed so much, but that younger Colin was a bit of a dork! Yow!

P.S. I cannot for the life of me remember where the Skybuster Jones concept came from, but I know the show was supposed to be a benefit for the food shelf and that some folks brought cans of food. And I believe James Kennedy later used the Skybuster Jones character in his rock musical – because I got to play him! Or was the musical before the show? I think I had it right the first time.

P.P.S. I still love the countermelodies on “Powder Blue” and “She.”

VINCE

I remember that we envisioned this show to be a "rock opera" without having a clear idea of what that was. That's why I brought my manequin on stage I think. In the end it was a fun creative outlet and goodbye to Brian. I still have no recollection of a werewolf song.

BRIAN

I think the name 'Skybuster Jones' can be attributed to John Kehoe.

My official thought on BCV is that I am thankful to have been friends with Colin and Vince. The years gone by certainly put it all in perspective. Second official thought... it was a lot of fun. There were a lot of great people around, and it's cool to see all the pictures.

Other than that... dear vast and mighty internet, indexer of all things, appearing on my phone, connecting the un-connected, friending the un-friended, index this! Yow!

[Note: There is also one song by Chisel included with this BCV set. Mostly because it was on the same tape, and also recorded at the Skybuster Jones show. It's a crackin' good medley of BCV songs: "Spectacles/Crunchy Lunch/Wizards." Need I to say anything more?]


see also:
Brian, Colin and Vince on MySpace
V/A - Incubus 1993: ND Music Compilation
Chisel vs. Brian, Colin and Vince - Spectacles/One in Ten 7"
Brian, Colin and Vince - Just Trying To Help

Ted Leo - "Innocents Abroad" (Chisel) live on WFMU 3/2/2010

Last night, Ted Leo made his latest in a series of recurring appearances on The Best Show on WFMU with Tom Sharpling, during their annual fund drive. Aside from playing a few solo versions of songs from his forthcoming album, The Brutalist Bricks, and a couple goofy covers, Ted whipped out an old Chisel classic... "Innocents Abroad." As Ted explains, he actually had to download the lyrics from the internet, to refresh his memory after not having played the tune in about 13 years!

Well, it sounded as good as ever, and was certainly a special treat for all the old-school Chisel fans out there. We've procured an MP3 of the cut for you, so check it out!

Ted Leo (solo) - "Innocents Abroad"

Additionally, you can stream the entire show by clicking here.

UPDATE! Video footage of the performance has popped up on YouTube:



follow Ted: @tedleo
follow us! @SBP90s

V/A - Incubus 1993: ND Music Compilation

LISTEN UP!
A new campus band CD is on the way
by Pete Dedman

"Somebody said the music was not good enough to play"
--"Green, Red, and Blue" by Brian, Colin, and Vince

Well, apparently somebody was sorely mistaken. Not only is good, original music being produced here at Notre Dame, but the music scene has developed, especially over the last year, into a rich and diverse assortment of bands ranging from punk to folk to jazz. Two years after the WVFI Jericho Sessions were released, a new CD [Incubus 1993], sponsored by S.U.B., is in the works, documenting the present campus music scene through the work of 16 bands playing their own original material.

The bands are as diverse as they are talented and have all played a major role in creating a vibrant music scene at ND. The CD will feature popular and established groups such as Dissfunktion, Chisel, The Sister Chain, Brian, Colin and Vince, Palace Laundry and Victoria’s Real Secret, as well as younger bands fast on the rise, including Grope For Luna, Bother and Bovine Solution. Rounding out the playlist will be Mr. Head, 2-10, the Porkchoppers, Emily Lord, Access Denied, XYZ Affair and a jazz group, Thee Accent. The CD, as of yet without a name (though an accompanying booklet has been designed by Peter J. Pultorak), is due out soon after spring break, according to co-producer Steve Sostak.

"There’ll be a final mixdown of all the songs on March 10. Then we’ll take the masters down to the Sony plant in Terre Haute, and, if all goes as planned, we’ll have it out a couple of weeks after break," Sostak said. Sostak, who is also the lead singer for Victoria’s Real Secret, has found the work as producer to be easier than expected. He added, "Most of the real work was already done by the end of last semester, thanks to [co-producer] Ryan Hallford," who is on a leave of absence this semester.

Hallford was also instrumental in the success of Acoustic Cafe, which has been taking place regularly in the LaFortune basement each Thursday night for over a year. Acoustic Cafe features an open-mike setting, which allows for musicians to experiment and try out new songs before a live audience. "Especially with Acoustic Cafe, Ryan’s been very instrumental in trying to push original music," he said.

Joe Cannon, lead singer and guitarist for Mr. Head, credits the recent success of an original music scene on campus to certain artistic fountainheads. "A few very original, talented and active musicians have sparked a large interest in creating original bands/music, especially among the younger students," Cannon said.

Ted Koterwas, assistant producer for the CD, is more specific in giving credit where it is due. "I think the success of Brian, Colin and Vince really opened up the way for original music being accepted more readily." Koterwas, who plays drums for Grope for Luna, added, "Joe Cannon has been something of a powerful original musical force as well."

The rising acceptance of original bands on campus has also been spurred on by the success of St. Mary’s Dalloway’s Coffeehouse. Each Wednesday and Saturday night, the Coffeehouse, charging little or no admission, had presented full-length shows by acts featured on the CD such as Brian, Colin and Vince, Chisel, Mr. Head, the Sister Chain, Grope for Luna and Bother, as well as brilliant performances by other bands such as emiLy, and most recently, Severinsen.

As opposed to Acoustic Cafe, Dalloway's is a forum for bands who have already proven themselves to perform in a full show setting, when an optimum number of people can be expected to come. On Saturday nights, while the rest of campus is partying themselves senseless, the Coffeehouse draws 100 people on average. "I’ve been pleasantly surprised by its success," remarked John Dugan, drummer for Chisel, whose performance at the Coffeehouse in January drew 175 people.

With such live successes, stated Dugan, "there‘s obviously enough interest out there for original music." Dugan hopes that the success of the new CD will result in organizations getting more cooperation from the Student Activity Council, in terms of being able to get smaller bands to play at Notre Dame, "so that our campus bands can get a chance to play with them. This will give these bands more exposure to playing live, as well as a chance to get their name passed around the larger music circuit," he said. Last fall Victoria’s Real Secret opened for They Might Be Giants and Chisel will open for Velocity Girl on March 31 in the LaFortune Ballroom.

For many, though, just the CD itself is a huge accomplishment. Everyone involved expects this compilation to enjoy more success than 1991’s Jericho Sessions. As Cannon described, "Yeah, this should be better. The idea behind this is campus bands. As a result, almost all the bands are very well-known. Jericho Sessions, on the other hand, was originally meant to be a sampler of acoustic acts, and there ended up being more of a hodge-podge of musicians just recording for the sake of contributing to the CD. At the same time, (former WVFI station manager) Kevin Flaherty’s work with The Jericho Sessions was indeed seminal."

"The Jericho Sessions certainly paved the way for what's going on with the current CD," concurred John Dugan.

Dugan, Cannon and other musicians who appeared on The Jericho Sessions, have agreed that the recording studios for this effort are far better facilities than those used on the last sampler. Most of the bands have been recording over the past two months at Miami St. Studios in town. The recording process gave several of the musicians their first opportunity to put down their music in a studio environment. Miami St. engineer John Nuner was very helpful in making the process rewarding for the more experienced bands as well as the "rookies."

"For the most part he [Nuner] took direction from the bands, and allowed them to come up with their own sound, the sound they wanted on the CD," said Cannon, who was quite pleased with Mr. Head’s recording of "Weather," their offering to the CD. Cannon also attributed the ease of recording to the fact that "an analog recording was made first, instead of recording directly to digital, so it was a more natural recording process." Mr. Head bassist Dave Holsinger, for whom the recording process was a first-time experience, found himself quite pleased with the outcome as well. "We heard some bands took 9 or 10 hours, so relatively, I found the whole process to be somewhat easier than I'd expected," said Holsinger.

As Bother bassist and Dalloway’s Coffeehouse manager Kelly Daugerdas attested, "It was a lot more work than expected, at times even tiresome, but by the end, we really felt exhilarated." The band is also elated at the success of their recording for the CD, "Kill the Popular Kids,” even before the CD has been released. Their explosive song has garnered enough airplay on WVFI to crack into the station’s weekly Top 20, and thereby warrant mention in the nationally distributed College Music Journal.

For other, older bands, the CD is a chance to document what may be swan songs, as members graduate or leave. For Brian, Colin and Vince, whose co-founder, Brian Muller, transferred to Boston University at the end of last semester, the CD is just that. Featuring the a capella intro, "Yahtzee," the band has recorded "Green, Red, and Blue" for the CD, with astonishing success. "The recording fortunately occurred at a peak for us as a band,” said guitarist Colin Clary. "‘Green, Red, and Blue' is a bit more serious than our other songs but it's really almost beautiful, and I don't use that word a lot; well, I do, I guess, but it was really good," he eloquently added. Later this spring, Clary says he will finish a CD of Brian, Colin and Vince’s last semester together. To be titled Bucket o’ Fun n' Stuff n' Yeah, the CD will feature at least 15 songs from the band.

Whether half the campus knows it or not, the music scene is alive and well at Notre Dame. A large amount of ignorance is due to the fact that many bands play at private parties rather than overcrowded bars, and some people just aren’t open-minded enough to pass up those bars for a show at the Coffeehouse on a Saturday evening. Nevertheless, the campus CD is for all to enjoy, so, as your spring break tans begin to fade, keep your eyes open for great original music that’s been under your noses all along.

-- from the March 4, 1993 edition of Scholastic, Notre Dame's student magazine. The musicians pictured in the article are members of Grope for Luna.

---------------

It's funny to have this Scholastic article come back to light. I was a little haunted by it in hindsight - and by hindsight I don't mean sixteen years down the road, I mean a month after it was published. That is, I rued not having spent more space presenting the featured bands in an in-depth way. Although to my mind, Chisel, Brian Colin & Vince and so many other of the acts were by that time household names, that familiarity may have only been present for hundreds of devoted fans on campus. This article was an opportunity to really introduce the excitement of the 'SB Power 90s' scene to the uninitiated thousands. I missed that opportunity a bit, but hopefully the music took care of my understated oversight!

--Pete Dedman, October 2009


Track Listing:
1. "Fish" - Victoria's Real Secret
2. "Dream Bar" - Chisel
3. "Angelina" - Emily Lord
4. "Kill The Popular Kids" - Bother
5. "Yahtzee/Green, Red And Blue" - Brian, Colin and Vince
6. "Follow Me" - Access Denied
7. "In The Crowd" - Grope For Luna
8. "Take Me To The Funktion" - Dissfunktion
9. "Peter Pan Syndrome" - XYZ Affair
10. "My Name Is Sky" - The Sister Chain
11. "Weather" - Mr. Head
12. "Smitherman" - 2-10
13. "I Don't Look Back" - Thee Accent
14. "Never Had The Time" - Palace Laundry
15. "Pyramid" - The Bovine Solution
16. "Punch The Clown" - The Porkchoppers

listen/download:

V/A - The Jericho Sessions

The Jericho Sessions (1991) was the first of three campus band compilations put out by WVFI in the 1990s. Below are the original CD liner notes from the guys that brought it all together.

***

If I were on the University's 25-year plan, I could never begin to explain to you the rapid metamorphosis of this project. Perhaps Chris can. I called him around Thanksgiving and told him that I wanted to record a CD compilation featuring Notre Dame musicians. I actually heard optimism in his voice. I knew we were on to something.

Well, 5 months and 15 ulcers later, we have the final product. Our baby. The real irony here is that, at the moment, I'm failing "Physics of Music & Sound Reproduction." No matter. I've never thought that art and science had a healthy relationship anyway.

After a host of comedic - and largely sacrilegious - ideas for a name, we decided to call it "The Jericho Sessions." If you're unclear on the meaning, break out your Good Book. It's a great story.

So now the ball is in your court. Chris and I, in conjunction with WVFI 640 AM (Notre Dame's problem child), give you the very first collection of original tunes from your peers. This campus has more artistic greatness than you know, and exciting new music is alive and well. Catholic School was never so crazy.

Tony Graffeo is here. I've watched him play our dorm talent show for 3 years now, and his songwriting is extraordinary. I'm proud to admit that he was the original inspiration for this project.

I went to high school with Kevin Fleming. I can personally attest to his talent behind the skins. I introduced him to Ralph Falbo in the Fall of 1990, and I'd always assumed their skills would fit neatly together. Ralph is so dynamic at the keys, and he has an ear for music that I've always envied. He is the consummate professional.

I met Ted Leo when I did my first ever radio show as a freshman. I think my first phone call home began with the words "Ma, I met a skinhead." I think she cried. If only she knew him. Ted is the free-spirit who never ceases to entertain. I suppose the highest honor I can bestow upon him is to give him an avenue for his art.

There are many more fantastic musicians on this disc. I believe in every one of them. And I believe that you will hear more from them again someday. They'll be accepting awards, selling out stadiums... hell, some of them will probably still be in grad school here. Wherever they end up, there will be one thing that binds them together - their love for music. This I share with them. It is the most important thing in my life.

--Kevin Flaherty



Why did we undertake this project? I don't remember. If we knew then what we know now, the only Jericho Sessions would have been old Joshua's. I don't think Kevin knew what he was getting us into. Taco Bell at 9:00am, a smorgasbord of beer, a lot of late nights, and endless rounds of phone tag. What a blast.

The main reason for all this was for the bands. [and girls, power...] Seriously, there is so much talent to be heard on this campus. Someone just needed to make it happen. Somehow it turned out to be me and Stooge.

We were not without help. Thanks to Mark Bintinger, owner of the official project vehicle, and a really great boss. After I graduate I hope to work for someone like Mark again. Thanks to Nose who listened to me bitch about this project every night. And thanks to my mom for everything she's ever done for me. Apologies for all the things I've screwed up. Through it all she's believed in me.

As I sit here writing the tenth version of these notes Bon is hamming it up to some band's music track. Fried doesn't even come close. 15 bands in 7 days. Think about that. My phone will be off the hook for awhile. Even accounting for the sleep deprivation, I am thrilled to have been involved in this project. And I couldn't be prouder of what we accomplished.

It must be said, nothing that Kevin and I have done is all too amazing. It just needed to be done. Our sincerest hope is that the spirit of cooperation and action that we've begun lives on. [Thanks Anton...] When I come back here in my plaid pants (probably black plaid...), if it's a sunny day (and above 55 degrees) I want there to be a band jamming on Fieldhouse Mall.

Thanks to each and every act; those who made it and those who didn't. Thanks for trusting us with your music and allowing us to let other hear it. Personal thanks go to Chisel and Bone Forest. More than anyone you guys helped me remember what music is really all about... goin' balls out and havin' a blast. Never change!!

Thank you to Joel Fox who took my enjoyment of music to appreciation. Even if it's not your style, listen to a punk song, or a folk song. See past the format to the substance. The talent.

Thank you - thanks for taking a try on some bands you maybe never heard of. You just might find the band of the nineties. Or not. But it beats buying another T-shirt.

Remember, it's all about the music. That's what we all share, how we're all connected. So welcome to our family. We have a pretty good time.

--Christopher D. Walter

P.S. Thanks to anyone who gives me a job after seeing this on my resume.



Track Listing:
1. "God's Answering Machine" - Tony Graffeo
2. "Spacey Floater" - Brian Muller
3. "And She Rides On" - Dominic Campanella & Chris Norborg
4. "Little Lover" - Fresh Water For The Horses
5. "Walk In The Streets" - The Turquoise Sidewalk
6. "Better Off Dead" - Exit 77
7. "Moon Blues" - Little Geneva
8. "Swingin' In The Chapel" - Ralph Falbo Trio
9. "Hide Away" - Don McGahn
10. "World On Its Side" - The XYZ Affair
11. "Censorship Is A Lie" - Doghaus
12. "Swamp Fox/Spike" - Chisel
13. "Autistic For The Night" - Bone Forest
14. "Strange Addiction" - Chronic Desire
15. "Bee Slippers" - 5 O'Clock Shadows
16. "Love Lay Down" - Jester
17. "Another Mission" - Greg Jeffrey
18. "By My Side" - SyR
19. "Scream" - Sigi Loya

listen/download:

Chisel - Stanford Hall Demo and Live at Earth Jam

You can learn a lot about the progression of Chisel's sound just by listening to the three Gern Blandsten releases. Half of the Nothing New collection is songs written and/or recorded during the South Bend years, and a properly sequenced listen would allow you to hear the way their songs grew from melodic hardcore influenced by the likes of Wire and Superchunk into a broader sound that incorporated ideas from The Jam and The Who. A significant factor in the style change is the lineup change that occurred over the summer of 1992, when Chris Infante left the band following graduation and Chris Norborg took over on bass.

For your education and entertainment, today we offer you two early Chisel recordings, both featuring Infante, Chisel's "jogging, neurotic, dateless bassist at that time," according to John Dugan. One side features an eight song demo recorded in February 1991. John says:

We borrowed this guy Ken's four-track and recorded a bunch of tunes and then i mixed them down in the same night, all in the dorm (Stanford Hall).

We also did an Irish instrumental with a flute on it, but I don't have that anymore.

The demo features two versions of Bob Lind's 1966 song "Elusive Butterfly" and five originals. Only two of the originals, "Invoking the Muse" and "Sunburn," were still regular parts of Chisel's live set when I first saw them in October 1992, and only the latter survived past the South Bend years. "Pornomental" is a brief instrumental that closes out the tape and features liberal use of a wah pedal. "Another Song" (which I've also heard called "Another Stupid Love Song"), "Floor," and "Solace" are the remaining tracks, which show the band in its earliest stages. The general impression is one of a talented band still trying to figure out their own sound.

On the flip side of the tape is "the soundboard tape of a live set at Earth Jam—an environmental event at Stepan Center—in its entirety," according to Dugan. He adds, "It's a pretty energetic performance... with cover tunes [and a] weird soundboard mix." A number of the songs from the Stanford Hall demo reappear here, as well as "Listen," which later became the b-side to the Swamp Fox/Spike single. Over half the set is covers, including selections such as Nirvana's "Sliver," Operation Ivy's "Knowledge," Minor Threat's "Salad Days," and Superchunk's "Slack Motherfucker".


download:
Chisel - Stanford Hall Demo and Live at Earth Jam

Chisel vs. Brian, Colin and Vince - Spectacles/One in Ten 7"

Chisel and Brian, Colin and Vince... two acts you know and love. This split 7" finds them paying each other homage by covering one of the other's classic tunes.

First up, we've got Chisel turning out an amped up version of BCV's charmer, "Spectacles," which was originally featured on their Just Trying to Help cassette. Technically, though, this tune should be entitled "Spectacles/Pillow," as the final chorus romp is borrowed from another BCV song ("Pillow," duh) found on the Bucket O' Fun N' Stuff N' Yeah CD. Regardless, this is a power ballad of massive proportions--well, for Chisel anyway. You have to grin a little at the almost over-the-top treatment Ted Leo and the boys applied here. A punk rock kid once told me he thought this was the worst Chisel song he ever heard. But I think if that same fellow listened to it now, years later, he'd have a greater appreciation for what was going on with this recording. It's a fun, rocked out jam, and knowing Chisel-- you just gotta love it.

Aside from it's debut on this piece of wax, Chisel's "Spectacles" was also played over the closing credits of the Songs for Cassavetes documentary.

The flip side has Brian, Colin and Vince toning down "One in Ten," which can be found on Chisel's Nothing New album. This folked out rendition takes the original rocker and smooths it out with BCV's patented three-part harmonies and fine acoustic instrumentation. Put it on and sail away...

And just for grins, check out this unearthed, less-than-enthusiastic review from the high & mighty punkers at HeartattaCk, issue #6:

Arghh, why me! Why did I choose to review this. Since I chose to, I will choose to not have my ears hear it. The Brian, Colin and Vince side was 2 acoustic songs that were so boring. Just stop now. The Chisel side was pleasant after listening to BC&V. The packaging wasn't half bad. If college rock is for you, then give it a try. RR

This record was recorded in May of 1993 by the infamous John Nuner at the Miami Street Studio down in the Bend. It was released on the Sudden Shame label as SS005.



see also:
Chisel on MySpace
Brian, Colin, and Vince on MySpace


Scorecard insert from the 7"

Chisel - Swamp Fox/Spike 7"

What better way to start things off than to go all the way back to 1991... The first official release by the young boys of Chisel sounded, well, not so much anything like the later sound that would garner them more acclaim than pretty much any other band to come out of the Bend at the time. The A-side certainly hinted at things to come, but B-side "Listen" has a darker, more aggressive vibe that would soon fade away in favor of Chisel's trademark mod-pop melodies. Ted Leo once described this song as "solid thrash."


Here's a little background on the early days of Chisel from their Wikipedia page:

Chisel began in 1990 on the campus of the University of Notre Dame, when classmates Ted Leo (guitar/vocals), Chris Infante (bass), and John Dugan (drums) began practicing in the basement of a campus dormitory. Leo had played punk shows with bands such as Animal Crackers in New York's all-ages scene and Dugan had drummed with the Washington, D.C. area punk act Indian Summer from the age of fifteen. The band quickly went from playing a covers set (Wire, Misfits, Buzzcocks, Mission of Burma) to playing original songs written by Leo. Chisel began to perform at various college venues in the Midwest and Northeast, visiting clubs such as D.C. Space in Washington and ABC No Rio in New York City.

In 1991, the band released its first single, Swamp Fox/Spike b/w Listen, on Assembly Records, and followed it up with appearances on compilations released by college radio stations WVFI in Notre Dame, Indiana and WPRB in Princeton, New Jersey. In 1992, Infante graduated from college and was replaced on bass by Chris Norborg, who also provided the backing vocal harmonies that soon became integral to Chisel's sound. It was during this period that the band began to change its style from traditional emo-influenced pop punk that was inspired by contemporaries in Washington, D.C., to more of a mod-influenced band in the vein of the Small Faces and The Jam.

After only having a cassette dub for the longest time, I eventually found this 7" at a used record store in TX for a buck. Enjoy.


download:
Chisel - Swamp Fox/Spike b/w Listen