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Skully’s Music-Diner

Skully's Music Diner Columbus Ohio

Skully’s is such a unique place because, for starters, it has occupied three wildly different locations, all of them along North High Street, each of them so dissimilar from one another that even I tend to forget about those earlier homes. Its current incarnation in the Short North has outlasted both of the other ones combined, however, and is legions more iconic, so this will naturally occupy the bulk of what we’re discussing here.

But first, a brief overview of its history, prior to arrival at this particular address. Skully’s started out as an underground (as in literally, below ground) dive bar on the OSU campus, which you accessed via some stairs along the sidewalk on High Street. In those days it was pretty much just a dank pool hall with four or five couches and an all-German Metallica tribute album on the jukebox. Then, in the late 1990s, when Campus Partners started buying up all the properties and knocking them down, owners Skully and Michele Webb were given a handsome payout of $172,605 to relocate – it was either that or hold out for the inevitable eminent domain proceedings. So for a short spell, they were then up in the Clintonville area, at the Graceland Shopping Center, although in this instance it was more of a restaurant than anything else. Finally, in November 2001, they opened up shop the current digs at 1151 North High, this expansion and refinement into the business’s greatest ever incarnation. Kind of like with Used Kids Records, who are also on their third home, you might say this is a “greatest hits” package of everything that worked in previous incarnations…except in this case, with the addition of a few brand new “tracks” which became more popular than anything else they tried before.

The first calendar listing I can find for them is Miss Kitty’s Hot Box, a burlesque show running from February 14 to 16, 2002. From day one, they’ve always featured that sizable stage, plenty of elbow room in front of it on the floor, and offerings centered around either live music or dance parties. Technically speaking, there’s a dash in the name: Skully’s Music-Diner. Most people do not trifle with the dash, but it dates clear back to their “coming soon” sign, before opening, and persists on their website logo, not to mention in plain sight on the official, somewhat famous and definitely glorious marquee to this day – in yellow, all caps font, below the cursive Skully’s and the stars which light up at night.

Foodwise, their menu is much better than you would expect at a venue like this, in fact would justify coming here just for that reason alone. Breakfast is available all day, there’s a decent selection of sandwiches, pizza, other pub grub, vegetarian/vegan options, even a children’s menu. Currently I’m on this run unearthing every detail I can find about 2006, though, so I’m going to start there, and expand outward to other years from this point. Expect much more detail as I work on the page. Presumably you know the drill by now – a little on the thin side at the moment, but bound to become as beefy and juicy as a Skully Burger by the time I’m finished.

Circa ’06, SoulGlo Sundays is a hiphop/funk/soul party with half off drinks for students; Monday nights from 7-10pm brought free pizza for everyone; Tuesdays were Service Industry Night, meaning half price drinks and no cover charge for everyone this applied to. Which seems like it must have been…half the constituent base, during that era; Thursdays were 80s Ladies night, playing the hit songs of that decade, whereby women got in free, also were given a free flower. There was free parking in a lot on the north side of the building, though I’m unsure if this is still true. As far as food went, they were quite proud of some deep fried Cajun calamari, which doesn’t seem to have survived to the current menu, but also their quesadillas, which do live on. Outdoor seating, and serving to 11 Mon-Wed, midnight Thu-Sat.

2006

2011

2012

2006 events calendar:

March 8 – The Walkmen. Their set list is known and runs as follows:

Don’t Get Me Down (Come on Over Here)
This Job Is Killing Me
Little House of Savages
Emma, Get Me a Lemon
Louisiana
Danny’s at the Wedding
Thinking of a Dream I Had
Good for You’s Good for Me
Rue the Day
All Hands and the Cook
Always After You (‘Til You Started After Me)
Another One Goes By

 

April 5 – The Black Coin

April 7 – Jamnesia, The G.R.I.T.S, DJ Numeric

April 8 – it’s listed as a Dresden Dolls afterparty, but I don’t believe the Dresden Dolls themselves are taking the stage – instead, Zachery Allen Starkey, DJ True Skills, and Ocean Ghosts are, and I also see The Loyal Divide mentioned in one listing.

April 10 – Only Flesh play a CD release party

April 12 – Something for Rockets play. I also see mention of South and yet another one of Alpha Zentradi playing on this night. So I’m not sure if any of these are typos or if all in fact graced the stage here.

April 15 – Kill Hannah. They played Nerve Gas at the very least that night, and it sounds great, you can tell as much even through a so-so recording:

Shiny Toy Guns are also on the bill this night.

April 24 – Gil Mantera’s Party Dream, Shuttlecock, Black Cloud, Stylex. There’s at least one small clip of the very last bit from Shuttlecock’s set. They went on right before Gil Mantera:

April 28 – a CD release party from The Receiver.

April 29 – Sheldon Marsh

June 23 – Tough & Lovely play at 11pm. This is billed as their “Comfest” show but I’m not sure what that means, really. Other than occurring the same night as the beginning of Comfest.

June 24 – Weightless Recordings Comfest Afterparty

July 6 – DJ Chuckstar oversees Ladies Eighties night, as is the case every Thursday during this stretch

July 9 – DJs Kenny Kim & Carma running Soul Glo Sundays – again, this is their standard weekly gig

July 10 – Mixed Tape Monday starring DJs Pegasi and Gypsy Rider.

July 22 – The Slide Machine, Melty Melty, Kristi Strauss & The Blue Medusa, Moonlight Chemist

July 26 – Obus, Lunarium

August 25 – Weightless Records Presents an “official beatdown” hosted by Blueprint. Whatever that means, although it is an all-ages show so maybe I shouldn’t ask too many questions. DJ Abilities (gotta admit I like that name – almost like he’s saying, “eh, you know, I’m pretty good at some things, maybe not so great at others, but who cares”), Maker (of Clue) and Pompeii This Morning are listed as performers.

August 26 – Ocean Ghosts, Vietnam II, Blood Violets

August 30 – Poor White Trash

Sep 1 – The Slide Machine

Sep 2 – Dynamik, Thought Set

Sep 8 – Watershed

Sept 15 – Bang! Dance Rock Party

Sep 16 – The Receiver CD release party

Sept 19 – OSU vs Texas game on the big screen

Sept 22 – Evil Queens, Fine Dining, Church of the Red Museum. $1 PBRs

Sept 23 – Craftin Outlaws ( an “alt craft show”) until 8pm, featuring Cinema Eye. As well as over 50 handcrafted works from local artists.

Then there’s something called Jetgirl Dance Party – according to one listing. According to another, it’s Bustown Beatdown with Bottom Brick, Envy Records, Kadiz and 3, Kim Wilburn, Interchemistry, Alphabetics, Hold Em High, Ayce the Prophit and DJ Carma. Which, although it shows a Buckeye football helmet in the ad for some reason, is apparently some kind of Urban Music Showcase. I don’t get the connection. So please allow this reporter additional time to investigate such a gripping piece of intrigue. Whatever the case, ladies get in free, and there’s a VIP balcony.

September 24 – Soul Glo Sunday features not only DJ Kenny Kim and Carma but this time also Wild Kyle

September 26 – S.I.N. Service Industry Night with a live DJ playing Britpop, soul, shoegaze, and postpunk classics.

September 27 – The Marble Faun, Mainstreet Gospel, and Demander play

September 29 – Postcard, Proximity Grey

September 30 – The Slide Machine

October 2 – Brother Ali, BK One, DJ Bombay n’ Manwell, Dub Watson, Red Sun

October 4 – Templeton, The Prids

October 6 – The Lab Rats CD release party

October 11 – Hansel und Gretyl, Crud w/ Bella Morte

October 23 – Kid Congo Powers

November 9 – a 1980s themed Five Year Anniversary Party, with a best-dressed contest paying a cool $500 for first prize. And $25 runner up giveaways all night. There are also free massages thanks to Open Sky Bodyworks, and this being an 80s themed bash and all, I can only wonder at the nature of said massages.

November 10 – a potent bill consisting of Embassy, Novada, Marking Twain, and Sean Benjamin. $1 PBRs may get you in the door as well, in case you weren’t already enticed.

November 11 – a Hip Hop Beat Battle. Never let it be said they aren’t mighty diverse with their offerings. The Green Brothers, Lord 360, and more of that ballyhooed dollar Pabst Blue Ribbon are among the listed attractions.

November 14 – features $3 Skully Burgers, a live DJ, and half off drinks for service industry personnel

November 15 – Leah-Carla Gordone is playing at Skully’s. Not on this specific night, but on some other occasion, Brandon and I were at some other bar and saw a poster advertising an upcoming Gordone performance. He joked that this sounded like some mobster’s daughter, and that if you ever happened to bump into that crew at some bar, her mafia don dad would hint around about wacking you if you didn’t go see her show. You wanna be catchin’ her show, now, sonnyboy, if you get my drift. Got it? Not that we ever did.

November 17 – Band: Mickey Avalon, whatever that means.

November 18 – A leukemia benefit featuring 4 bands: The Judas Cow, Earwig, Celebrity Pilots, The Proper Nouns. There is at least one short video taken from this show, but the recording’s audio is very bad. This was apparently shot by Joel Treadway from cringe.com, and let’s just say we should maybe all be thankful the iPhones came along. Worth viewing so you can get a decent shot of the stage setup, and these guys playing, but I would recommend turning the sound off. The Judas Cow are excellent, though, so this is no fault of their own – and definitely not the venue itself, either. Merely indicative of the video limitations and technical difficulties we were facing back then:

November 25 – “The Return of…The Flying Saucers.” Although I’m not sure if this is a movie, some other band, or else the return of local group Th’ Flyin’ Saucers, who disbanded I think in the late 90s.

November 29 – Miss Molly and Hope Vitellas

December 1 – Red Dahlia and Evil Queens on the bill.

and…

Clash-a-Thon: exact date unknown. The Moops play four songs, but rate it one of their best shows.

2011

January 19 – mgk

January 31 – Hawthorne Heights

February 19 – Cadaver Dogs

February 21 – Baths

February 28 – Say Hi

March 18 – The Wet Darlings

March 27 – The Beat

April 4 – Gogol Bordello. Their set list is known and runs as follows:

Tribal Connection
Not a Crime
Wonderlust King
My Companjera
Last One Goes the Hope
Trans-Continental Hustle
Immigraniada (We Comin’ Rougher)
Break the Spell
Raise the Knowledge
American Wedding
When Universes Collide
Pala Tute
Start Wearing Purple
Sun Is On My Side
Mishto!
Sacred Darling
Dirty Old Town

2012

January 25 – Parenthetical Girls play, also Los Campesinos! The latter’s set has been documented:

By Your Hand
Romance Is Boring
Death to Los Campesinos!
You’ll Need Those Fingers for Crossing
A Heat Rash in the Shape of the Show Me State; or, Letters from Me to Charlotte
Songs About Your Girlfriend
Life Is a Long Time
We Are Beautiful, We Are Doomed
There Are Listed Buildings
Straight In at 101
To Tundra
You! Me! Dancing!

February 11 – Ekoostik Hookah

February 20 – Zola Jesus

March 10 – Loyal Divide

March 23 – Phantods, Indigo Wild

April 22 – The Beat. Set list:

Twist & Crawl
Save It for Later
Mirror in the Bathroom
The Tears of a Clown
Ranking Full Stop
Hands Off…She’s Mine
Sole Salvation

April 25 – Touché Amoré, Defeater, Code Orange, Birds In Row

April 28 – The Town Monster, Mr. Gnome

May 19 – NastyNasty

July 21 – Phantods. Set list:

Raise The Dead
The Promising
Just Like You
Missed the Boat
The Blood of Kings
One Hundred Years
Revival
Music Is Dead
American Girl
All That Glitters
Lone Highway
Our Last Goodbye

July 27 – Bonneville

September 7 – Hoodie Allen, G-Eazy

September 28 – Karate Coyote. Set list as follows:

Underwater Mouthbreather
Cat-O-Pillar
Wookie
Ride On, Pegasus!
When In Rome
Icu2(Rn4a187)
You’re So Cruel
Front Door
So Far So Good
Zombibabi
Lupercalia Pt II

October 14 – House Of Heroes. Set list:

Remember the Empire
Comfort Trap
Touch This Light
Friday Night
God Save the Foolish Kings
Serial Sleepers
Code Name: Raven
If

October 15 – Torche, Kvelertak, KEN mode, Converge

November 2 – VHS Or Beta

November 5 – Espermachine, Assemblage 23

November 9 – Black Moth Super Rainbow

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Banana Joe’s

I eventually break down and call up some of Doug’s old roommates, last seen in mid-November. Maria answers and gives me directions to this brand new bar out on Bethel, Banana Joe’s, a second outpost for this popular downtown club. With nothing better going on, Damon shrugs and jumps in the car with me for a ride out to this place. 

Some buildings just seem to possess a doomed trajectory, despite the apparent strength of their location, and so it is with this one. Until recently it was an eatery called B Street, where my friend Clif worked alongside his employment at the Bethel Road Kroger. Through Clif I met other B Street employees such as Colin Gawel of Watershed fame, and the expected plethora of nice looking girls with baggage you encounter at every restaurant.

It’s only February of 1998 and already B Street is toast, replaced by this vague nightclub concept. This standalone building is located in the front of the Carriage Place strip mall, near Sawmill Road’s intersection. They’re advertising this as “Singles Night,” but I’m a little bit confused, for what is every night at every bar in every city if not Singles Night? As far as the crowd gathered here is concerned, though, it’s all seemingly mid-twenties – which we are fast approaching, Damon and I, if on the low end of this spectrum – up to early forties, and therefore bereft of the teenyboppers Paul so abhors. It’s hard to put your fingers on these gradations, although I think he’s correct in some respects, the way there’s a completely different vibe and less bullshit once you snip certain age brackets out of the equation. 

Maria and Denise we locate right away, possibly because they are shouting “POCKETS!” at a volume louder than the music piped in overhead (long story, but this is my nickname with this crew, somehow). And even though exceedingly dim in these passages, we locate them right away, in a corner booth by some windows overlooking Bethel. A barmaid drifts by in an instant, pitching their highly popular $2 Long Islands, the nightly special. My associate and I both order one, though soon discovering why they’re so cheap when the small drinks are delivered in flimsy plastic cups. 

I ask Maria what she’s up to, which sets loose an episodic rampage at a speed and trajectory which would have made John Glenn nauseous. By contrast we have Denise, who is possibly one of the friendlier chicks I’ve met since moving here, although unfortunately not much to look at, kind of short and dumpy and plain. Still, you might make a case for anything, in a loud, dark environment where personality or at least a person’s vibe is the prevailing consideration. 

Nobody ever talks much about 1998 in the context of its major tech triumphs, but I’m here to tell you this was the breakthrough year. The 90s as a whole seem like the shortest decade I can remember, because from ’97 onward everyone was glancing forward, to the extent that the next millennium basically began right there. Lost in the shuffle somehow are the actual quotidian accomplishments, the details of when this stuff is implemented in the Midwest if not everywhere else. In the early weeks of ’98 we install an internet connection at our house for the first time…and then, right on the heels of that development, you have this gadget in Maria’s hands, the cellular phone device.

She’s the first person I’ve personally met who has one of these, and it happens at this unlikeliest of locations. Though as far back as ’92 you might have spotted commercials for such, phones tied to one’s automobile were far and away the most prevalent up until now. My parents and some of their friends even had a car phone for a spell, when those were trendy, in the decade’s early years. This is something altogether different, though, you can sniff it out in an instant, and you just know that we will soon be seeing these everywhere. I even make the mistake of resorting to the extant definitions, which immediately places me in some sort of out to lunch camp.

“I didn’t know you had a car phone!” I enthuse to Maria. She shoots me a borderline dirty look, answering the call which has drawn my attention in the first place.

After conversing a short while into it, though, she hands the phone to me, explaining that her sister Lisa’s on the other end – the second early adopter I’m aware of. This totally makes sense. These two are unlike most girls I’ve ever known, in a lot of respects. You could make one offhand reference about how you’d like to check out Flagstaff, Arizona someday, or something, and the next thing you know they’ve got plane tickets booked, hotel rooms reserved, an entire entourage assembled for some blowout a scant three weeks down the road.  

As far as the present tense is concerned, however, Maria says Lisa wants to speak with me. Though I will admit to that one night of indiscretions with Lisa, last summer, she subsequently met and became infatuated instead with Alan, an obsession which continues as far as I’m aware, one which found her leaving notes on our front door for him up until a couple of months ago. So it’s hard to fathom what she wants from me right now…well, no, as Maria passes this baton, it’s pretty obvious what Lisa desires, calling from a nearby bar herself. In my corner however is the fact that it’s deafening loud in here, to the extent I legitimately can’t make out much of what Lisa’s saying.

What follows is me shouting, “HUH??!?” with my free hand cupped over its nearest ear, or else muttering enough, “yeah…uh huh…really!” type interjections in what feel like appropriate intervals until the point I can safely conclude, “okay, well, I’ll talk to you later!” before handing the phone back to Maria. I truly have no idea what Lisa just said, what I may or may not have just agreed to. But does it matter? Probably not. 

Maria and Denise announce they are heading over to whatever bar that was Lisa just called from. We decide sticking around here sounds like a better option, however, so Damon and I order a second Long Island flavored water and patrol these grounds in the name of journalism.  

This dance club consists of one large room, slightly bigger than your average house. There’s the requisite bar in the middle, a dance floor on the western, Sawmill facing flank, near where we were sitting, and a live DJ over by the restrooms. Tropical flourishes such as palm trees and whatnot adorn the ceiling and walls, but there’s nothing out of the ordinary about any of this, and certainly no extravagance. We observe the classy looking broads in their sharp evening attire, but then also these yuppie dorks in their sockless Dockers,  sipping martinis. We order a third round of Long Islands, then split.

II.

Having already visited the newer Bethel Road outpost before the much more popular original, I’m moving in reverse of the typical pattern. About a month and a half later, at John H’s behest, I’m joining him and John L for this journey to the downtown location. It’s Friday night and the crowd promises to be insane, I’m happy to be finally crossing this one off my list to visit. The two Johns have been down here before, though, more than once, and they can’t stop raving about the place.

“I don’t know why but H and I have the best luck hooking up here,” John L offers, “this and the Yucatan, back when it was busy…”

I’m stoked already, and as we arrive down on Front Street, in the heart of the Brewery District, the lack of available parking anywhere near this club seems to bode well, too. Rolling the dice a little bit – although there wouldn’t appear to be many reasonable alternatives – a parking slot at nearby Victory’s is where this car will come to rest, despite the presence of TOWAWAY ZONE signs posted everywhere. There are enough bodies walking back and forth between the handful of bars down here to muddy any attempts of tracking them, meaning this should be just fine. The only thing I’m really questioning is what I can possibly bring to the table within this crew, if I can hold my own as an adequate wingman.

“I was just telling John L,” the H Train says with a chuckle, as if reading my mind, “you know, that J-Dog’s a pretty cool guy to hang out with, and he agreed.”

John L nods in concurrence. But while nice to hear, this still brings with it the pressure of living up to the hype. Well, at this point I’m not too concerned with my ability to hang out and function as a laid back guy who’s maybe good for a few witty wisecracks per night. Can I keep up with these maniacs in the drink department, though? And if they are picking up babes, will I be able to pull off the same?

After walking up a majestic flight of long, stone steps, spanning the width of this bar, we open one of the doors cut into this glass wall facing Front Street. And it’s immediately apparent that something special is happening here, a situation I haven’t quite glimpsed before. Wall to wall people, sure, but everyone’s been to some crowded clubs, ones boasting a larger head count than this. This is different, though, in that every available square inch of the club is one giant dance floor. There’s the bar, and there’s the dance floor, nothing else. As such it is literally impossible to avoid bumping into some girls.

Somehow, at one end of the lengthy bar, which runs parallel to the north wall, we find a trio of available stools to set up camp and get our bearings. This happens to sit right near an opening where people are expected to step up and order drinks, making for an ideal set up – or a very bad one, depending upon your outlook on these matters, and who you happen to be with.

No sooner have we sat down does John H order us a round of these Drano colored Kamikazis. I manage to slip in an order for a Budweiser, but then John L springs for another round of beers, as well as Lynchburg Lemonades for the three of us. We’ve only been here fifteen minutes.

Before we get completely sidetracked by annihilation, it’s time to focus upon the lady landscape. We rise from our chairs and begin to see about an entry point into this dance floor, which bleeds right into these very chairs. Chicks are all over the place, all points of the compass, bumping into us, carrying on conversations so close we might as well be included.

“Man, this place is packed!” I shout, “I’ve never so many hot women before!”

John H dips out to take a leak, and returns with some Pat guy he knows, the younger brother of so-and-so who apparently used to work at our restaurant. I’m not exactly paying attention to these details, and wouldn’t say this was the greatest development in the world if I were. But this introduction is no sooner handed out before all worries are absolved, as we hear some female voices calling out our names from some inner chamber of this dancing swarm. We squint at this slightly dim sea and eventually spot Keisha and Pam, merrily laughing as they wave and make their way toward us, as we move to meet them halfway.

In an amusing coincidence, John H says he left a message on Keisha’s machine earlier. But they swear they never heard it, had ventured here anyway on their own accord. Were sitting around getting ripped at the apartment before deciding to catch a cab down here.

So these two are completely torched, which can’t but assist our cause. Without much in the way of other words said, in varying combinations we are taking turns gyrating against these girls. Voluptuous, highly flirtatious Keisha and her massive tits, conservative but no less attractive Pam, with her tropically suggestive tan, her long, straight black hair and lean contour. Keisha does look especially incredible right now in a shiny silver blouse and tight black pants, yet this is just one man’s preference, for Pam is no slouch.

We are surrounded by women, which is fortunate considering that Keisha and Pam inevitably run into even more guys they know and spin off into corners unknown. All four of us guys, however, wind up bumping and grinding with random girls, will lose track of one another for lengthy stretches, only to cross paths long enough to compare notes.

This Pat guy seems okay, if a bit too boastful for my tastes. He’s tall and dresses well, which is probably just about all you need to succeed in this environment. To that point, we wind up within shouting distance of each other during one stretch where he happens to be dancing with some short, hot blonde. Yet while men of more modest height might need to work a little harder to get noticed here, it would seem I’m doing okay, too. There’s this brown haired chick grinding with another guy in my vicinity, but she and I keep exchanging glances, and she eventually glides over, jams her ass into my crotch and begins shaking it against me.

Pat decides this is the perfect time to start telling me some story. I truly have no idea what he’s talking about, with one arm wrapped around this girl as he shouts to me, though I bark out variations of, “yeah…uh huh…oh really?…you don’t say!” into any pauses. Then I happen to glance up and spot pudgy old John L on this platform, laugh my head off to see him there, with not one but two gorgeous females, an arm around each of them. Grinning, yes, like the proverbial kid on Xmas morn.

As for John H, he mysteriously manages to develop a Paul-like fixation on one girl in particular, who has short, light brown hair, parted down the middle. She resembles Jen S a great deal, both facially and with her tight, compact frame, so the source of his obsession is obvious. But he cannot stop talking about her, whenever I bump into him, until he finally works up the nerve to approach her cold.

“Do you have a boyfriend?” are his first, and just about only, words to her.

“Yes I do,” she says, kindly enough, though this conversation extends no further.

Our task force reassembles as John H materializes with yet another round of brew. John L is looking a little winded from the platform excursion. Now Pat’s trying to tell me some other story about this night up at Yokahama’s, a bar on Kenny Road, where, he claims, local DJ Ronni Hunter was trying to come home with him. She has a sexy, husky voice I’ve heard many times on the Blitz, our finest hard rock station, though I’ve never seen the woman.

“She was totally wasted, man…,” he says.

“Was she hot?” I ask.

“Eh, not really,” he says, “I mean, she was okay looking, but not that great.”

I spy this sharp little number nearby and move toward her, as much an evasive maneuver to get away from Pat as anything else. She’s okay with the dancing, but when I attempt to slide an arm around her, the girl pulls away, disappears into the crowd. So much for that.

Oh, but Keisha and Pam eventually return, and in such grand fashion. I find myself dancing between them, as both mash their sublime bodies against mine, holding one and then the other, back again, not wanting to tip my hand necessarily as to which I would prefer. Thinking all the while that then again, it would be great to have both, as this Keisha and Pam sandwich is pretty freaking hot.

They drift away once more, and are gone completely when the house lights come up. How can it possibly be this late already? Seeing those two and especially Keisha had been great and all, but once again, the night has melted away with little to show for it. And the taste she’s given me might create some lasting harm – just about the last thing in the world I need is to dive back down that rabbit hole, start thinking about her again.

But hey, at least this Pat character has vacated the premises. Unfortunately, this disperse battalion of females is stampeding toward the exits as well. John and John are convinced we can squeak in last call at Woody’s if we haul ass up there, however. I think they’re crazy but am in no position to object.

III.

I’m not sure exactly when the entire Banana Joe’s enterprise went belly-up. Going through my journals recently, I discover that there was a third location that I’d entirely forgotten about. This was the spring of 2000 and they had by this point set up shop out on Dublin-Granville Road, though I think the Bethel Road one was gone by then. At any rate, as we’re driving by it, I tell Damon, “I think this is the wrong part of town for that. If it didn’t work on Bethel Road, it’s not gonna work here.” And he agrees. It’s a warm, Thursday night in May, but the drive-by reveals a nearly empty parking lot, which probably foretold their fate.

I can understand why owners don’t exactly tell the world every detail about their defunct enterprises. It’s unforunate, and they probably don’t want to relive bad memories. But at the same time, it would be fascinating as an outsider to learn every twist and turn of what went down with a concept such as this. All you know is that they’re suddenly gone one day, despite periods of great success, and this feels a little sad. Then you might attempt learning more about them online, and discover there’s not much record that places like this even existed, and that’s even sadder.

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Chelsie’s

Chelsie’s was a semi-legendary rock club once located at 980 N. High Street. I only had the pleasure of checking out this establishment once, which would have been in the fall of ’97. You kind of feel guilty sometimes about not patronizing certain establishments more – or even never getting around to checking them out at all – but the reality is that our time and our money are both precious resources and it’s just impossible to cram in everything we would like.

Anyway, if my notes are correct, this would have been a Friday, September 19, 1997. Whatever the case, the band on tap that night would be Watershed, whom I had seen one other night back in ’95. But I don’t know what band we’re going to see, because my tour guide, so to speak, Clif, can’t remember the name of the group. All he knows is that his coworker at B Street, Colin, is playing here tonight. And I don’t know enough about Watershed at the time to put 2 and 2 together.

We park on this residential street a block east of High and walk to the club. The air is warm for the season and almost spookily still, perfect for a stroll as we make our way to that main thoroughfare. Neither of us know the precise location of the bar, however, Chelsie’s, and didn’t think to do a drive by before parking, thus we’re not sure in which direction to walk from here. We ask this elderly black gentleman hanging out at this particular corner if he’s ever heard of the place, and he hands us both his business card. It turns out he’s a preacher at this ministry a few blocks south of here, one which serves free food for anyone who will sit through a sermon. Considering the outrageousness of our current lifestyle, there’s no telling what kind of dire straits I might find myself in this week or the next, so I thank him, tuck his card inside my wallet. But no, he hasn’t heard of this place, either.

With a shrug, we decide to head south, and sure enough hit paydirt soon enough. We have found the club, and its requisite surly doorman, both standing tall amidst a number of trendy looking art galleries which have shuttered for the evening, along with a handful of other bars peppering this region.

“Eight dollars?” I gasp, “these guys better be pretty fucking good.”

“No shit,” Clif agrees.

Then I spot the name on the bill, and this elicits a knowing chuckle: Watershed. Clif asks me what’s so funny, and I explain that I had seen these guys a couple of years ago, but went home after 3 songs. This would have been at the Blitzfest or whatever it was called, a free show held at Polaris in the summer of ’95. They were the headliners and it had been a long day, so my impression of that experience probably doesn’t reflect on them. My girlfriend at the time, Heather, never showed up – we were going through a rough patch which pretty much ended up being the final patch – so I said screw it and drove down alone. I remember the Nixons played earlier, hot on the coattails of their only hit, and also a ton of local bands who weren’t very good, and that Suzi Waud, at the time the most popular DJ in town, came onstage to say a few things, and that this was maybe the highlight of the day. By the time Watershed appeared, as the last act of the night, I’d heard enough a few tunes into their set and decided to pack it in. I didn’t realize at the time that they were signed to a major label. Clearly they were a bigger deal than the Nixons, but it was hard to have perspective on them in some respect because they were local.

The long, battle scarred bar sits perpendicular to the door and runs nearly the length of this cramped establishment, filled to the brim with bodies. Nonetheless we manage to secure a couple of bottled beers, as I scan my eyes around the room and try to appraise this place. The atmosphere here reminds me of Ruby Tuesday, albeit on a much bigger scale. Even so, I’m not entirely thrilled by what Chelsie’s has to offer, and the hefty admission ranks among the least of my concerns. Despite a back door swinging wide open this decrepit joint has the worst ventilation of all time, as we’re dripping sweat in buckets. A massive elevated stage lines the rear wall, which the bands assuredly love, and does indeed make them appear lordly, yet most clubs hosting groups of this caliber would never risk doing so in such limited space. The phrase fire hazard was specifically created for settings such as this, with scores of people wedged elbow to elbow, the friction between us incendiary enough to shoot sparks on its own.

Call this a scaled down model of campus as a whole. Alluring and terrible at the same time, full of dogeared charm. When I look back on this era years down the road I know that this is how I’ll see it, dark and cramped and loud, perspiration extruding from every pore, off to meet a group of individuals we may never intersect at all. Nights like disjointed limbs, impossible to stitch together again in any functional matter, where so much changes on an hourly basis you forget why you left the house to begin with. Courses changing direction as quickly as the Midwestern wind, alliances plotted, names learned and then forgotten, romances that bloom and wither in the space of one tumultuous evening. And everywhere, everywhere, there are no strangers left, because from one end of this city to another we’re all friends already and our futures are plotted but we’re not tuned in enough to grasp this, the import of these adventures escapes our meager minds.

Almost as a matter of magnetic propulsion, we’re pushed out onto the back patio, where we run into a handful of Clif’s friends. This auburn haired, extremely talkative and somewhat amusing Joe character I remember meeting before is yukking it up with some folks, and also milling around is this wholesome set of twins who look as though they’ve teleported here from a 1950s sitcom. A drop dead gorgeous blonde named Laura whose hate filled scowl is fiery enough to blister paint on the surface of nearby buildings, and her slick, smiling boyfriend with immaculately groomed jet black hair. Some guy named Johnny, some chick named Amy, too, but these are just faceless names, blank slates whose personas never extend beyond this moment of introductory hellos.

Meeting folks through Clif is a curious affair because he clearly knows a lot of people, although I do question how well. The plain looking twins, with their short, sandy colored hair seem genuinely pleased by his arrival, but elsewhere he registers few blips on the radar. So I’m left wondering if these individuals are always this nonchalant, or whether he’s around so much it’s no big deal, or else they’re simply shocked that he appeared down here. Introducing me it goes without saying rates even lower and the prevalent reaction is disinterest, as if wondering why Clif is even bothering at all.

When the headliners we’ve coalesced to support are ready to go on, as one nearly unified mass we reenter the building, needle our way through the dense foliage of bodies near the stage. And the instant this power trio dives into their first number, it becomes apparent that either my tastes have changed or they’ve gotten a whole lot better. Probably a combination of both, in fact. Two summers earlier when I saw them, Watershed were signed to Epic Records, a major label for whom they’d cut a couple releases, and they were playing for a crowd of ten thousand. So while tonight’s paid attendance might pale in comparison, Chelsie’s is packed to the rafters, nonetheless, and they’re making up the difference in sheer quality of performance, they’ve come a long way.

Colin sings most of the songs, and there’s something of a dapper British gentleman about his appearance – maybe a little Hugh Grant-ish, or Gavin Rossdale-esque, although really, I’ll tell you what he reminds me of, he reminds of Robert Smith from the Cure, if only he were 50 pounds lighter at a similar age and smiled as much as this guy does. More importantly, these quick little three minutes gems ring with hooks, the kind of catchy choruses less talented musicians sell their souls for. The guitar shimmers and the bass bounces and the drums snap out the beat with sharp, compressed ferocity, and there’s nary a wayward note played anywhere. What I envisioned as a favor to a friend has instead torn my ears apart, and when their set comes thundering to a halt forty five minutes later I feel as though they’ve not yet played a single song. And while I know a lot of musicians who dislike this term, dismissing it as not applicable to their own sound, the description power pop certainly fits Watershed, this generic umbrella nonetheless a weapon they’ve wielded like no other band I have seen live.

After the set, we ooze like gelatinous blobs onto the back patio again, the cool blast of fresh autumn air a form of life support that resuscitates our torpid shells. Colin buys Clif a beer for showing up, a kind reversal of the usual fandom role, and a positive vibe hangs in the breeze, as the band is clearly pleased with their performance, with the turnout and the money they’ve pulled in off the door. In addition to the frontman himself we meet their bassist, a gruff cat with shaved head also named Joe, and their drummer, Herb, and once our drinks are extinguished we all climb into separate vehicles, in pursuit of a party up on campus.

II.

One of my good friends was in Silo The Huskie and says they were supposed to play that memorable night in May of ’97 following the U2 show at the Horseshoe. But that the gig was scrapped when the owner showed up considerably late and torn off the frame drunk. He unlocked the doors long enough basically so that they could cart their gear back out of the place. I’ve also heard rumors about some benefit show where the employees actually used the proceeds for some big coke party instead of donating it to the stated cause – but these are rumors, mind you, only rumors. Let us dip, however, into what we can discover about the booking schedule at Chelsie’s. These aren’t confirmed dates that were played, but they were at least on the docket. I still have boxes upon boxes of old Alive! and The Other Paper weeklies that I will surely trawl through at some point for additional gigs. But this is the roll call so far, of other shows I’ve discovered beside this one:

1/18/95 – Edgar Winter

5/22/95 – Letters To Cleo

5/11/96 – Jorma Kaukonen

9/18/96 – Switchblade Symphony

12/6/96 – Goldfinger

4/16/97 – Lycia

4/25/97 – Bloodhound Gang

6/4/97 – Reel Big Fish

6/6/97 – Switchblade Symphony

7/17/97 – Lycia

8/13/97 – Iced Earth

10/10/97 – Merl Saunders

12/12/97 – Deicide

9/30/98 – The Outfield (local band The Shantee open)

10/19/99 – Melvin Seals

A healthy mix of local and national acts frequented the stage here, and these are only the most memorable names I could unearth. Ideally I would like to post the entire lifetime calendar for all of these places, down to the set lists. As far as what befell Chelsie’s, I’m not exactly sure, but seem to remember something in the papers about mismanagement – and the handful of first hand stories I’ve heard tend to corroborate this theory.

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Comfest 1997

Comfest-1997-CD-cover

On a recent visit to the newest Used Kids Records location, I picked up a live CD documenting the 1997 edition of Comfest. While disappointed that their local section has shrunk considerably, I understand that they’re not running a charity and must do what they can to stay afloat. Nonetheless, I am thrilled to pick up this gem, as ’97 also marked the year I first moved to C-bus. And it’s always kind of haunted me that I had plenty of opportunities for attending Comfest that year, but didn’t.

Though living only an hour or so away for most of my life, and theoretically able to drive down since at least the age of sixteen, the ’97 event is the first clearly blown opportunity. In fact, I remember one guy walking around at work that weekend asking if anyone planned on attending, because he needed a ride – and I had no idea what he was talking about! In later years I would catch a number of these bands playing out around town, but listening to this disc now is kind of like glimpsing a spirit on the periphery…perhaps whichever one these people are dancing to on the trippy album cover!

When a little more inspired, I’ll attempt filling in the gaps with some research, because I too am curious how this year’s event fared. Until then, examining documents such as this will have to fill in the gaps. Here’s a rundown on the highly enjoyable 1997 souvenir:

  1. Thomas Jefferson Slave Apartments – Down To High Street

A terrifically infectious track and one I should probably embed as the theme song for my High Street post. Perfect opening selection for this CD.

2. Watershed – Half Of Me

I would witness these gents playing a couple times and even meet them at a house party. They were somewhat considered by many people I knew – nothing personal, guys, because I happen to disagree with popular sentiment – a bit cheesy and unimaginative. If listening to this track, however, the impartial observer will note that they serve up perfectly fine Midwestern rock tunes, kind of like if the Smithereens and the Jayhawks both moved to Ohio and a couple of members of both created their own supergroup in 1995. Or something like that. You get the drift. And they are still going strong.

3. Johnson Brothers – Chocolate

Energetic party jam from this legendary outfit, replete with horn section. The first conversation I ever had with my good friend Miles, o trivia buffs, centered around this band. He had seen these guys recently and was explaining to me the difference between them and 1970s band Brothers Johnson, of Strawberry Letter 23 fame. You will usually see these guys referred to as The Fabulous Johnson Brothers, but I’m going with the name used on the CD package.

4. Ekoostik Hookah – Lady Vanilla

A near constant presence around the scene for eons now. At this juncture, they still have original member John Mullins in the fray, too. This starts out like a rollicking almost bluegrassy or at least Allman Bros type number, but soon devolves into Dead-lite. It’s decent but nothing I’d go out of my way to hear. I just noticed what the curators did here thematically, though, following up Chocolate with Lady Vanilla. Clever!

5. Hoo Doo Soul Band – Love and Happiness

These cats were a fixture of Oldfield’s every Sunday night for years upon years. If you ever wondered what kind of band might theoretically cram 386 paying customers into a room the size of your grandma’s assisted living kitchen, and keep them in palm of hand all night, well, here’s your answer. They would deliver a clinic on that topic every time out. This is a cover of the Al Green classic.

6. Tater – Want And Need

Somewhat of a garden variety angsty mid-90s rocker. But pretty good, for what it is, and I would include the performance as well as the mix. The drums sound great, for example, and it must be said that whoever recorded the audio for this disc did an awesome job all around.

7. Scrawl – The Garden Path

I was never a huge Scrawl fan. As far as I’m concerned, Marcy Mays’ greatest contribution to this fine city is the Surly Girl Saloon. It’s great that they eventually punched through to a major label deal and all, but, well, whatever. Having said that, this has to be the best song of theirs I’ve heard. The bass guitar has a terrifically menacing edge to it, and that tension laden drum pattern has you on the edge of your seat.

8. Rymocerous – Asleep On The Can

Wow, I know nothing about these guys and can’t find much online, either, but this sure is a fun track. 3 of the next 4 band names, this one included, tell you an awful lot about unfortunate 1990s trends, however.

9. Moxie – Impressions

Nifty jazz tinklings which I didn’t expect based solely upon the name of the group. The piano and sax players in particular are really smoking on this selection. Only later will I catch them live and learn that this all-female ensemble totally rocks on every inch of the stage. This is their take on the Coltrane classic and is a somewhat chill but no less impressive performance.

10. Ishkabibble – Tinker

Okay, it’s a little disconcerting to see that even fairly memorable acts like this haven’t bothered getting their music onboard for online streaming yet. But at least we have Youtube! This was a live favorite of theirs, a stomping, energetic cut.

11. Triggahappy – Get A Job

These guys too. I suppose things disintegrate and it’s tough getting everyone on the same page, but…they were kind of popular back in the day, yet Googling this track yields nothing. It’s kind of sad, really. This is some more of that ’90s ska revival business, yet a little more deftly executed than most.

12. Willie Phoenix and the Voodooz – No Woman No Cry

Willie is of course a Columbus institution at this point. The only time I remember actually seeing him play live was at Andyman’s Treehouse also but he’s one of the few guys who was semi-famous around town to where people would throw his CDs on just chilling at their houses or whatever. Here he presents a Bob Marley cover and of course does a fine job executing it. He also plays at Comfest just about every year, it seems.

13. Th’ Flyin’ Saucers – She’s Evil

These guys were a big deal too. They do at least have a Facebook page. But the website mentioned on said Facebook page is out of commission, so it would seem this isn’t a going concern for anyone involved. This here is what I would call a somewhat demented take on rockabilly.

14. Action Family – James Alley Blues

Entertaining enough scuzz rock, all things considered. Their band name is surely the best of those collected here, though – so take your victories where you can.

15. Salthorse – What D’ya Say

Though seeing these guys live painted a somewhat incongruous picture, in that the frontman’s antics were so annoying we almost couldn’t watch them, this isn’t a bad track. Of course, even here, I find that the music stomps, but I’m not so crazy about the vocals. Although I did eventually borrow one of their CDs from the library years ago, and burned that, as they did somewhat grow on me after a while.

In summary, as noted by the number of working links I was able to track down, most of these bands are now toast, or were possibly just local cover operations. It’s interesting to note that out of the 15 tracks, it’s definitely front-loaded in the first half of the disc with more groups who have taken themselves seriously all these years – that’s true now, but it must have been obvious even at the time. All I can say to these outfits who are no longer around, is that you should pretty please find a way to get your music online in some capacity, because this stuff still matters.

Comfest 97 back cover
Comfest 97 back cover
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Watershed

Album cover for Watershed's "Three Chords and a Cloud of Dust."

When I once remarked that I liked local band Watershed, a friend of mine agreed that they were good but that all the songs tended to sound the same after a while, and that they weren’t very original to start with. But I don’t know. Though seeing them play live twice and admittedly walking out in the middle of their set the first of those occasions, I have to kind of disagree with his assessment. And I know that they never were considered cool enough among Columbus’s taste making elite, so my support for them is surely a real eye roller. But I still think they were better than many of their massively hyped contemporaries, and I wasn’t alone in believing this. After all, Sony signed them to their Epic label at a time this was considered a very big deal indeed, releasing both a live EP and full studio album by the band.

Three Chords And A Cloud Of Dust, the live one, is a fascinating document just for its liner notes alone. Though owning this CD for a while now, I always forget that it was actually recorded in Columbus, at the Newport Music Hall, on January 14, 1994. The marquee depicted inside the disc has Watershed’s name in lights playing the Newport this particular Friday, with another local staple, Ekoostik Hookah, booked for the following Wednesday. Thank yous take up an entire page of the packaging and amount to a virtual C-bus who’s who of people and places, from music venues such as Bernie’s to the Used Kids record store to popular DJ Andyman at independent radio station CD101, musicians such as Willie Phoenix, hometown heavyweight champion Buster Douglas, and everyone else they loved down to the “sandwich artists” at a treasured Subway franchise. Naturally, the roll call would not be complete without a “fuck you” to Michigan basketball players Jalen Rose and Juwan Howard; meanwhile, at the other end of the emotional spectrum, on an opposite page this EP is dedicated to Terry Paul, who died the morning that show was recorded, without whom “the Newport will not be the same.”

This being 1994, there is no mention of a website. Similarly documenting these times in telling detail would be the subdued, black and white packaging, the presence of Spin Doctors producer Frankie LaRocka as co-helmsman (he had also kickstarted that band’s major label career with a 6 song live EP), and of course the songs themselves. Written by frontman/guitarist Colin Gawel and bassist slash forklift driver (according to the liner notes) Joe Oestreich, brought to life on stage with the assistance of drummer Herb Schupp, true, these aren’t the most groundbreaking songs then in existence, maybe, but certainly are catchy and played with a ton of enthusiasm. They call to mind a mix somewhere between the Smithereens and that loping, distinctly Midwestern take on punk rock – slower, less obviously snotty, but just as angst riddled. Gawel’s voice is perfectly pleasant and serviceable, although I find myself enjoying the moments he passes the torch briefly to Oestreich on a couple of tracks. The best selection of the set is one such number, How Do You Feel, which somehow adds an almost No Depression-esque Americana twinge to the proceedings, has a great opening riff and catchy chorus. An audience singalong in the closing moments doesn’t hurt, either.

They probably could have stood a little more variation in tempo on this selection, but you know it translated even better live than it sounds on here, and anyway, after a handful of listens most of these numbers are going to be stuck in that hummable place in your head exactly as they are. So consider this a job well done. I don’t really get nostalgic much for bygone eras, although listening to this does fill me with equal parts sadness and fascination, that a major media corporation was willing to spend money on these guys, and had faith that they just might be the next worldwide phenomenon.

II.

I have thus far managed to see Watershed twice. The first of these was a free concert at Polaris in the summer of ’95, the other this show two years later at Chelsie’s. After which, having already met all three band members here, a bunch of us climb into separate cars and journey en masse to some house party.

The bash in question would be at Casey’s house on Blake, near campus. Clif is following me, as we’ve driven in separate cars, but when I find a curbside spot just up the street, he is forced to continue driving around. I get out and start looking for 79 West Blake. But my eyesight is horrible, so I mainly just traipse around hoping to bump into someone I know. There’s no hope whatsoever of spotting the address on a house, even from the sidewalk, so it’s a matter of recognizing voices or promising situations or something.

At some point, I pass these four dudes hanging out on a porch. They yell hi to me and I shout a hello back at them, but keep walking. Then one of them hollers, “yo dude! Up here!” and I realize it’s that redheaded Joe guy. Upon retreating and joining them on the porch, I see the address is 59 Blake, which means someone must have given me the wrong coordinates somewhere along the line, or else I screwed it up. But no, it actually turns out to be neither – Joe had just been walking along, and these three guys he’d never met before invited him up for a beer. They’re having a party themselves, and offer me a frosty beer as well. Someone breaks out an acoustic guitar, and Joe is soon strumming familiar cover songs to surprisingly good effect. Then we invite these random characters to the actual party we’d been trying to find, and traipse the few houses up to 79 West Blake.

As we arrive, Clif and one of the twins are sitting on this address’s own dark front stoop, waiting patiently for me to show.

“Man, where the hell you been!” Clif howls, “I was afraid you got jumped or something!”

Our ravenous stomachs respond to the smell of fried beef, and we follow this aroma around to the back of the house, where Laura’s presiding over a gas grill. A handful of her friends sit around a picnic table in the cramped backyard, chomping down on burgers, while the house itself fills up with seemingly every soul who’d been in attendance at Chelsie’s and then some. The person or persons living here is never fully explained but I gather Laura’s boyfriend to be involved in some capacity, as he stands behind the living room bar dispensing drinks, cracking jokes and pouring draft beer into cups from a keg-a-rator, located nearby.

“How do you like your burger?” the other twin asks me, as the four of us are hanging near the back stoop, she and I and Clif and his own targeted twin.

“Rare as hell,” I smile.

“All these burgers are already taken!” Laura snaps, flipping over the current roster with her spatula, “and there’s none left inside, either.”

My theoretical twin slips inside for a moment, shooting me a discreet smile when she returns, toting a few pounds of ground beef she has magically located in the kitchen. As she gets the next batch going for Clif and me and the two of them, the crowd of people filling up the house keeps growing exponentially, but we remain here, sucking in the cool autumn air. In the absence of the otherwise ubiquitous bright white security lights, this block of Blake is shrouded in black, atypically dark. A dimness further enhanced by the thick, dense trees surrounding this place, the murky sky above.

The house is old like nearly every other home on campus, imbued with corresponding charm. Too small to accommodate this many people but they’re doing their damnedest anyway, in this house with Buckeye paraphernalia plastered on every wall, tossed into every corner. Every light in the house is blazing bright, and when I file upstairs to use the restroom the stairwell itself is impossibly narrow and steep, a tricky maneuver even when stonefaced sober.

A whole bunch of people will continue filtering into this party. Though not really knowing anyone else when this night began, I will hang out for long after Clif leaves. At one point I remember standing and talking to the key Watershed duo, Colin and Joe – Gawel and Oestreich, as it turns out, respectively –  in the middle of this bright living room. Then some old dude with a really long beard walks up and gets on this kick about how I look extremely familiar to him. He indeed seems familiar to me as well, though neither of us can place it. Somewhere past 3 in the morning I realize most of the good looking girls seem to have left, and I never really talked to any of them, so I take this as my cue to split.