Two Talents & Perfect No. 3, Eventually

My Perfect Records project is on a hiatus as I adjust the criteria. I abandoned a few posts devoted to albums that probably already received the praise I was bestowing. Better to concentrate on albums that are either somewhat underappreciated by purists or inconceivably overlooked. 

Hey, pausing that project provides me an opportunity to shout about a couple of prolific and talented musicians: Mark Ryan (The Marked Men, Mind Spiders, High Tension Wires) and Jake Roberson (Alien Nosejob, Ausmuteants, Leather Towel, Frowning Clouds, Model Melodies, Smarts, Hierophants). 

This pair exists where most of the best musicians reside: revered by those with keen ears and an appreciation for authenticity. This is the realm of Fred Cole, Jesse Michaels, Carla Bozulich, and Mick Collins. Ryan and Roberson are part of that sub-pop set of musicians who will always be respected. They are keepers of a flame in an era where talent and faithful tenacity are not appropriately rewarded. 

Mark Ryan has heart. I have it on trusty YOFC authority (friend, collaborator Tim Brooks) that he’s an agreeable, affable human. “One of the absolute best,” actually. I’ve seen the Marked Men live a few times, and the band certainly seems friendly and appreciative. His songcraft confirms that he cares. I get the impression he’s working very hard. There is an earnestness in his live and recorded sound that is pretty dang astounding. He’s giving us everything. Maximum rock and roll.   

Every one of Ryan’s bands plays rock a little differently, but they all possess that most redeemable quality: lyrical and sonic zeal. Let’s start with Marked Men. Bonafide and genuine. When you find a fellow Marked Men fan, you've almost assuredly also found a friend.

John Peel, possessor of ears for rock & roll purity, loved this band. Uncomplicated and tight. The hooks come fast and furious. Imagine if Tom Petty decided to sing and play much harder and faster. The Marked Men’s hooks are double-speed “Here Comes My Girl” or “American Girl.” Mark Ryan may remove his glasses and pinch his brow at the comparison, but I probably could make a pretty convincing argument that his delivery, inflection, and songcraft make him sort of the Tom Petty of Punk. I hear it in the way he says, “She.” Anyway, best move along before this paragraph draws punk ire.  

In Mind Spiders, Ryan’s output shifts to a more synth source. It sounds like tidbits of Tubeway Army or DEVO in a hurry.

True, these songs do not stray too far from the Marked Men. Why should they? Adding a sprinkle of organ + synthesizer is a sufficient twist. What I’d like to propose after eight songs is that Mark Ryan really, really understands the essence of rock and roll. Listen to "On the Radio" a second time. It’s everything you want out of a rock song, right? 

If not, there’s another band…

High Tension Wires is a collaboration with Mike Wiebe (Denton, TX seems to have more great punks than any town that size could accommodate. What is its secret?). I think HTW sits between the Marked Men and Mind Spiders, with…

Waitaminute. You know what? Their album Midnight Cashier is pretty dang… Perfect. Hmm. I don’t mean to turn the paragraphs above into a preamble, but this album is spectacular. This is embarrassing. I think I’m just gonna pivot this missive into an official Perfect Record Post (Number 3). Here we go: 

Midnight Cashier starts with "Hibernate," which I snuck illegally into my faves of 2023. (If you haven’t, give that collection a listen. We’ve got time.) This song features a structure that Mark Ryan employs frequently: at the outset, we get a snarly garage rock sound and tempo. Sounds like faster Mudhoney (if you found the Petty reference above appalling, consider Ryan a fast version of Mark Arm). But then he stretches the word “try” into a punchy Ramones chorus. This is sing-along Oi. The heartbroken protagonist pretends not to be bothered by a breakup, but ultimately decides to hide in his bedroom. This is teenage angst. This is John Peel territory. This is rock and roll.

"Tokyo Is Burning Down" is a scorcher. The verse & chorus are just belted. I can’t keep up. That’s a compliment. 

"Not Enough for Me." This is a Mind Spiders song that snuck into a High Tension Wires album. The organ keeps on humming along with backing vocals. It’s also tough boy garage rock. Absolute nugget. 

Garage to harmony and back again. "They Fall Apart" really establishes this interplay. Meanwhile, the riffs and percussion are quick and tight. 

"Old Enough to Be Home Alone" is close to a Marked Men song. It features nostalgia for childhood yesteryear and a sweet chorus that begs to be shouted. I remember cartoons at 3. 

"Outsider." Now we're humming along. This is pure rock. Couple bridges crossed. Honestly, I still think vintage Tom Petty & the Heartbreakers would love to cover this song. 

Meanwhile, Operation Ivy might wanna take a stab at "Can’t Focus." It has a Lookout Records vibe. 

"The Strange One" is another Mind Spiders song that somehow meandered onto this collection. It has a slower DEVO mantra that’s a well-timed interlude considering the blistering pace of the previous and upcoming songs. 

How do people sing this fast? "Wax Lips and Blood on the Telephone" is pure punk. What’s being sung? I haven’t the faintest and don’t care. The best rock lyrics are nebulous. Remember when you couldn’t understand REM? Those are their best records. 

Speaking of... "Hallowed Ground" feels like the sort of song Peter Buck might’ve wanted to steer REM, but the band stumbled toward pop instead. This is a cool song and I don’t throw that word around. Few creations are intrinsically cool. Mark Ryan’s output is.

Who puts the album’s best song last? Odd, right? Yet, here it is. "Glasses for the Blind" has the best line of the record: “... I see the way it tears you up inside.” To sing that like you mean it needs a chorus as big as this one. Listen to that guitar underneath. Goddamn. This song’s flow is perfect.

I don’t do much research for these pieces for fear that details might ruin my enthusiasm. I’m going to be embarrassed if these are all Crimpshine or Reigning Sound covers or something, but it’s worth the risk ‘cause this is one of those records that can pull me away from whatever might be irking me. It’s an earnest and concise thrashing. Enjoy. Repeat. 

Addendum: I’m aware that Aussie Jake Roberson got shafted. This was to be a duel tribute. I got carried away and inadvertently wrote Perfect No. 3. Apologies. Another time. He’s prolific and deserving of his own post anyway. 

Also, I realize I underplayed Mike Wiebe's contributions to the record above. Couldn't be helped. Had a theme, stuck to it.