June 13–20, 1996

stone's soul picnic

Mel's Stockpile, Caterpillar's fuzzy pumpers and Shu's grooves.

By Neil Gladstone

Being in a struggling rock band is a many splendored thing. Take the Mel's Rockpile story, for example. After struggling several years to find their sound, they finally record songs strong enough to release. Two months before the debut single hits the racks, lead guitarist J.D. Froelich leaves the line-up.

"He wasn't having fun anymore," explains bassist, Tracy Stanton, diplomatically. It's rare that any break-up, romantic or musical, ends without bruised feelings. Guitarist Matt Pond mentions offhandedly that Froelich rarely played a song the same way twice. Stanton curves that sentiment by adding that J.D. is a brilliant player.

The sound of the current three-piece?

"We're a lot less experimental now," admits Stanton. Off-kilter quirkiness has been replaced by more "lyric-centric," accessible songs. Still, they're considering adding another guitarist ("because I suck," jokes Pond).

After J.D. left, the band decided to shelve the album they'd finished as a four-piece and start anew. "We wrote ten songs pretty soon afterwards," recalls Stanton about the regrouping. The trio has already completed half of a new LP on and plans to start shopping tapes of the recent work next week.

"I've never been happy enough with the other material to send it out," says Pond. Mel's Rockpile still has a post-punk edge to it, but the songs succeed with lean arrangements, curt guitar chords and Pond's angst-driven, speak-singing.

The vocalist hopes that the album they're working on can be finished up and released during the fall. In the meantime, you can pick up a copy of the old lineup's swan single "Trestle" (Compulsiv), which features the group grinding through three of their catchiest numbers.

Mel's Rockpile is playing with Rupert Speed, Emma and Suffacox at the Khyber Pass on Thurs., June 13. Proceeds from the show will go toward replacing equipment recently stolen from several local bands out of the Let's Rock practice space. (Compulsiv Records, PO Box 43542, Phila. PA 19143)

Now onto the latest release from one of Mel's favorite local bands, Caterpillar. This band's second LP, Maedorium Chlorioum Chloe (Compulsiv), is a more consistent overall effort than their debut, A Thousand Million Micronauts. Part of that may be that the majority of MCC was recorded at one studio (Josh Kramer's) over the last half of '95, where ATMM's material was spread out over several years and producers. Song arrangements are a little more cohesive and almost folky at times, with less herky-jerky breaks and plenty of riffs that update the Byrds' forays into psychedelic-country with a harder edge. Mike's vocals wander in between introverted rambling and screeching desperation. Brenda's dreamy swooning crops up occasionally, adding a touch of childish levity into the mix. Essay questions for you budding music critics: if Roky Erickson were an indie rocker, would he sound like Caterpillar on MCC.? And like Erickson, can Caterpillar ever surpass cult status? Send us your essay and the best barstool rationale gets a free copy of the album. Caterpillar will be having its record release party on Fri. June 14 at Silk City.

The second band in the lineup with a second album is Strapping Fieldhands. Although most of Wattle and Daub (Shangri-La) was recorded at Fieldhand Bob Dickie's home, it was mixed at Sigma and the overall production quality trades the lo-fi basement sound of their first LP, Discus, for more cavernous territory. The first half of the album is weighed down by moody, Syd Barrettesque numbers. Not until track six, the rollicking "Tickled with Olive Branch," do things get rolling nicely. Most of the songs after that, including "Lunar Diversions,""Soundshapes" and "Rose Seed" would hold their own alongside the light, psychedelic romps of the Zombies, Herman's Hermits and the Rolling Stones (circa Their Satanic Majesty's Request). If the mercurial and lighthearted songs were interspersed more evenly, the record would probably have a much more interesting soundscape overall. (Shangri-La, 1916 Madison Ave. Memphis TN 38104, 901-274-1916)

Speaking of side projects, Strapping Fieldhands' singer/songwriter, Bob Malloy, fronts Ashtabula as well. The four-piece also features bassist Rich Fravel, formerly of Blue and Latimer, and Emma's vocalist, Rick Henderson, on organ. Their debut single "Unbearable Lightness" (Silt Breeze) joins several of the '60s-psychedelic influences found in the Fieldhands with the Farfisa-giddy pop of the Monkees and underscores it with a punchy 4/4 beat. Live, this band has a much heavier sound that occasionally leans toward early '70s prog-rock. We can only hope that Ashtabula will be the band to revitalize Stonehenge stage sets. (Silt Breeze, 727 S. 7th St., Phila. PA 19147)

Looking for Philly's answer to Shaggy aka Mr. "Boombastic"? Jamaican-born toast-master Jockey Ryder serves up plenty of conscious rapping on his four-song demo. "Everybody Loves the Ryder" (a remake of "Everybody Loves a Lover") mixes elements of old-school ska with Ryder's rippling vocals riding on top. "Wo Mama" borrows from the Peter Tosh song of the same name and the soul standard, "Mr. Big Stuff." Ryder's intense, machine gun vocals make it all sound current. The back-up band, Innasense, should also share credit for this tight debut. Peter McEvilly, keyboardist for Innasense, has pooled investors and plans on releasing a full-length with the rapper sometime in late August. If you want to check them out before that, they'll be performing together at Katmandu on June 15th.

Philadelphia's Shu'baby Montez, aka Leroy Schuler, has played keyboards with an incomparable list of smooth soul artists, including Archie Bell and the Drells, Blue Magic, Bunny Sigler, McFadden & Whitehead and the Delphonics, to name a few. His new solo album, Free-Style (Urban Logic), is mostly instrumental light jazz akin to Grover Washington. Clint Washington and George Bussey sit in on saxophone for several of the tunes. The peppy tunes don't jump out and grab you at first, but appreciation grows with every listen. (Urban Logic Records 267 5th Ave. suite #302, NY NY 10016)