Jett’s set for no-frills rock show

Rocker will play at Tink’s on Sunday

By ALAN K. STOUT
Times Leader Staff Writer
April 26, 1996

  "It was like you were in the eye of the hurricane," says Joan Jett, recalling the spring of 1982 when her single, "I Love Rock 'n' Roll," hit number-one on the country's Hot 100 singles chart.

  "You'd see Billboard and things like that and it was exciting - but you didn't really know what was going on or how people's views of you were changing. The Blackhearts were this punk garage band that nobody would even deal with, then all of a sudden we have this number-one song and we're mainstream. It's all perception. We didn't change a thing."

  With more than 20 years of professional experience under her belt, it could be said that the hard-rocking, straight-shooting Jett still hasn't changed a thing. From playing in a national touring band at age 15 to scoring a number-one hit single and more recently, becoming an outspoken leader of women's safety issues, Jett's career has been marked by a sense of contemporary validity and progression, while never straying too far from her early punk roots.

  Her career began in 1975 as a member of the all-girl group The Runaways. When Jett was only 15, the band was signed to a national recording contract, and by the time the group dissolved in 1978, they'd toured the United States, part of that time opening for the Ramones.

  Jett says that although she and other members of the group were extremely young and were often perceived as an industry-created project, the music was always paramount to the band. She says the fact that most critics never could get past their sex-pot image was disturbing.

  "That was really frustrating," she says. "We had the enthusiasm to talk about the music and people always got around it - I guess (they were) threatened by teenage girls that wanted to play rock 'n' roll ... As soon as we let people know that it wasn't a phase -- that this was something we wanted to do - that's when people got strange."

  Although the group was frequently panned by critics and ignored by radio, time has allowed Jett to recall that period with fondness.

  "The thing that I remember overall is that we had a good time and I really enjoyed myself," she says. "It was a lot of work because we were always on the road, and when we weren't on the road, we were making albums."

  In 1978, The Runaways disbanded, and in 1981, Jett's solo debut, “Bad Reputation" was released. In late '81 came Joan Jett & The Blackhearts' "I Love Rock 'n' Roll," with the single of the same name soaring to the top of the charts.

  Jett continued to record and tour throughout the '80s, going gold with 1983's “Album,” and platinum with 1988's “Up Your Alley,” which featured the top-10 "I Hate Myself for Loving You." She hit the top-40 again in 1990 with a cover of the AC/DC classic "Dirty Deeds (Done Dirt Cheap)."

  More recently, Jett has worked on a project called Evil Stig, a band made up of members of The Gits, a Seattle group whose lead singer, Mia Zapata, was raped and murdered. Jett, who was living in Seattle at the time, dedicated her video "Go Home" - a song about being stalked - to Zapata, and began dedicating the song to her at live shows.

  Jett later befriended the band and played with them on a short tour, singing Mia's parts. Benefit shows were held to raise money to finance a private investigation into Zapata's murder, and the shows were then recorded and released as an album. Her murder also inspired the formation of Seattle's “Home Alive” program, a women's self-defense program. "I thought it was really wonderful that something positive could come out of such a tragic thing," says Jett.

  Currently, Jett is having success with her rendition of "Love Is All Around," the theme of The Mary Tyler Moore Show. ESPN asked her to record the song to promote women's basketball during the NCAA tournament, and now, radio has begun spinning the track.

  "I was more than happy to help," she says. "I'm a big sports fan and I'm an advocate of women doing what they want to do."

  Jett says those heading to Sunday's show in Scranton will see a no-frills rock 'n' roll show, with a wide selection of material spanning her whole career.

  "It's straight forward," she says. "No flash-pods or anything like that. It's just us and the audience ... Hopefully it will be hot enough for some sweating - to me, that's very important."

IF YOU GO:

Who: Joan Jett & The Blackhearts
Where: Tink’s, 519 Linden Street, Scranton
When: Sunday, April 27
Tickets: $8
Info: (570) 346-8465

 

 

 

Making their own way 

Mere Mortals strike a chord with original music

By ALAN K. STOUT
MUSIC ON THE MENU
APRIL 19, 1996

Billy Lieback, drummer of the band Mere Mortals, has simple advice for any group considering playing original music.

“If they like it, they come back,” he says. “If they don’t - it’s just like anything else - they don’t come back. Obviously, we’re doing something right. ”

Obviously.

Flashback to December 1995: The recently re-formed Mere Mortals wins “Best Original Band” in Sound Choice II, The Times Leader’s second annual reader’s poll.

Update to April 1996: The Mere Mortals new album, “Grin” is completed; a record release party is planned for Saturday night at Casey’s in Wilkes-Barre.

A steady following of local fans continues to grow, the band opens for The Badlees before a crowd of 1,400, is added to the bill of the Wilkes-Barre

Music Festival, and the new album is featured on WZMT-FM’s “Cellar Full of Noise.”

“Doing something right” is an understatement. Simply put, this band is rollin’.

“Grin” is the follow-up to the band’s 1992 debut “In Search of Simple Things.” Self-produced, the album was recorded from June 1995 until March 1996 at Sound Investments in Scranton and was engineered by Tom Borthwick and Joe Wegleski. Vocalist Eddie Appnel says the band is pleased with the end result of their second voyage into the studio.

“It’s a really honest record,” he says. “We can still present the songs live. We didn’t over-produce it.”

Production, says Lieback, is one of the great joys in recording an independently released album.

“Being that we’re not signed with a record company, we may as well (enjoy) the freedom while we can,” he says. “We produced our own instruments and got the sounds that we wanted.”

 Formed in 1991, The Pittston-based Mere Mortals include Appnel, vocals, acoustic guitar; Lieback, drums, percussion and backing vocals; Pat Flynn, lead guitar, backing vocals; and Mark Kiesinger, bass, backing vocals. Appnel, who does most of the songwriting, says he’s been stockpiling song ideas for years. Inspiration, he says, comes from everywhere - including, oddly enough, the remote control.

“I’m inspired a lot by TV,” he says. “I do a lot of channel surfing, and I mostly listen for little lines that sound interesting and would jive with a certain melody that I have bouncing around.”

In addition to the TV, Appnel says his biggest influence remains The Beatles - a sound that frequently pops up on “Grin.”

“It’s no secret that I’m a huge Beatles fan,” he says with a laugh. “If you’re going to be influenced, be influenced by the best.

“I love all music,” he adds. “I can’t listen to the radio too much or watch too much MTV because I’m easily drawn toward the flavor-of-the day. It really does have an effect — all of the influences that you may notice (on the album) are probably conscious efforts.”

Appnel, who began playing guitar and writing songs at age 12, says he’s always found songwriting, or “putting words together with a catchy melody in a four minute time frame,” the best creative outlet for his own personality.

“I always wanted to tell a story, but I don’t have the patience or the attention span to write a novel,” he says. “The pop-song format is perfect for me.”

Lieback says that although many local artists frequently complain about the local original music scene, Mere Mortals have been able to find an audience.

 “Since we started with this back in 1992, it’s taken a complete 180 degree turn,” he says. “When you’re sitting there on the stage and see the people singing the words to your songs and they’re really getting into it — that’s what makes it worthwhile.”

 “I’ve heard a lot of bickering about the original music   scene lately - which I don’t like to hear,” adds Appnel.   “It’s not going to happen overnight, but (now) it’s more   affordable for people to record, and things are really   starting to open up. People are starting to listen and   show up in the clubs for original bands.”

 Appnel says immediate plans for the Mere Mortals   include shopping “Grin” to major labels and local   commercial radio. In a few months, he says, the band   will be back in the studio working on album number   three.

 “We’re just going to keep on doing it until we get   someone’s attention and we can take it to the next   level,” he says. “Every time we do it, we’re just trying to perfect the craft.”

Mere Mortals are regulars at Casey’s in Wilkes-Barre, and can also be found hitting the stages at Jitterbugs, The Staircase, Mantis Green and Market Street Square. Appnel points to the fact that the group has garnered support from local press and specifically mentions Mike Naydock of WZMT’s “Cellar Full of Noise” and George Graham of WVIA-FM’s “Homegrown Music” as some of the band’s strongest supporters. He also thanks family, friends and fans for being among the band’s biggest backers.

“We’re really fortunate,” he says. “It’s a good support team between the fans and even the club owners who are letting us come in and do originals … there’s no reason it can’t happen. We’re playing the best clubs in the area on prime nights. There’s nothing to complain about here.”

He also praises his bandmates for choosing the more difficult path of playing original material — a path which may ultimately bring a greater reward.

“Mark, Billy and Pat should be commended for the commitment they’ve made,” he says. “Here I am with these songs, and these guys are giving every effort. They could be playing in the best cover bands anywhere, and they’ve chosen to give that up to pursue this.”

REVIEW: ‘Grin’ should bring smiles to listeners 

Right from the first track on the Mere Mortals’ new album, you know you’re in for something special.

An ambitious project featuring 11 original numbers, the album offers elements of pop, rock and alternative, with high production value and an ample selection of radio-ready songs. Titled “Grin,” the sophomore effort from the Pittston-based band showcases tight musicianship, great harmonies, unformulated arrangements, witty, intelligent lyrics and a fresh sound that remains cohesive while never becoming mundane or contrived.

Kicking off with mid-tempoed “If This Is Hell,” the cleverly-arranged mood-setter features driving rhythms, a distorted Beatle-esque vocal break and soft, well-placed harmony backdrops that immediately set the tone for one of the best regionally-released indies to come across this desk in quite some time. “Resoluto” brings an early ’80s alternative vibe, while “Killing Me” showcases the band’s heavier guitar sound and offers one of the catchiest choruses on the record.

Throughout the album, vocalist/acoustic guitarist Eddie Appnel’s songwriting reveals a wide array of influence and intellect, while the rhythm section of bassist Mark Kiesinger and drummer Billy Lieback holds everything together with a solid backbeat and frequently steps up for notice. Pat Flynn’s lead guitar work consistently packs a solid punch, yet always remains within the songs, never becoming too flashy. 

“Ashes To Ashes” hints towards a U2 influence, with Flynn’s soft, melodic solo fitting the song perfectly, and elements of jazz/fusion appear throughout “Funny Animals.” The album’s title track, “Grin,” showcases the group’s folksier side, offering a mid-’60s, Beatles “Rubber Soul” flavor, while “Blind Will Lead the Blind” also reveals a Fab Four influence, only this time with more of a mop-top sound.

“Mountainslide” - possibly the album’s finest track - offers some of the record’s best and most intriguing instrumentation; the Police-like “Footlights” again brings the kind of dynamic tempo and arrangement changes which prevent the band from falling into any formulated traps. The radio-friendly and instantly likable “Keeping Up With The Jones” showcases some funky reggae rhythms and is clearly one of the album’s highlights, and the riff-heavy, post-Beatle McCartney-sounding “Goodnight Calabash” closes the album with a bang.

The end result? A very pleasurable listening experience. And a guaranteed “Grin.” - Alan K. Stout