Mike Rep.


A-415676-1470337021-1648.jpeg.jpgMike Rep.R-937105-1174862228.jpegmike

The back room of Used Kids was cramped, a musty claustrophobic din of shelves, boxes of records, large bundles of brown paper bags that were as thin as dust, that would tear if someone slid a record in even half crooked and Dan’s desk. His desk was shoved into a tower of peach crates, stacked sideways to form a make-shift shelf where all the receipts, tax paper, and unsold cassettes of Cordia’s Dad and the Wolverton Brothers held down the leaning tower of almost splintering wood. In the middle sat a furnace that had seen better days, whose piping was in fact rusting while in the far corner lay a darkness that only the High Street rats would venture too. Crammed in the rear of the room was the bathroom, itself a frightening hazard as one was not sure if one of the rodents the dodged around the clutter may suddenly appear behind the toilet while someone had dick in hand. There was a period when a series of Chinese restaurants were housed above us, the last one that somehow miraculously dodged the health department despite leaving uncovered tubs of slimy chicken meat by their backdoor and a grease trap that attracted all types of animal life, even in daylight hours. At one point, the rats were dying within our cinder block walls at an alarming rate, and the Chinaman who operated the restaurant would suddenly forget his English when I addressed him, scowling at me, “no rat here!” to which I usually replied, “yeah, cause they all fucking died in our walls!” Finally, one day, he was gone, his shop turned black but he had left all the food and soon enough after repeated calls to the landlord, some poor fuckers came and loaded out all the spoiled food. A heavy blanket of rotten stench coated the record shop for nearly a month before this happened, the heavy summer heat only poured gasoline on the problem. The rat problem slowed to a trickle after that.

Some of the boxes in the back where marked for our Goldmine auctions, Goldmine was a record collector magazine that ran nostalgia interviews with everybody from Mike Nesmith, Nancy Sinatra to Captian Beefheart’s guitarist, Gary Lucas. The back of the magazine was chock full of various record auctions, set sales that small shops across the country would advertise whatever collectable records that they came across. Many of these were of the “bootleg” variety or the always sought after radio shows. These radio shows were really a goldmine to independent shops, mostly put out by Westwood One these multiple LP sets were pristine recordings of FM radio bands. Some were much more famous than others, Fleetwood Mac, Heart, and Bob Seger but there were other, lesser known bands—fly by night artists that barely made a flicker on the charts or even rock radio, bands such as Frankie and the Knockouts, Greg Kihn, Quarterflash and John Cafferty. These smaller bands fetched very little, $5-$20 but the superstars, Bruce Springsteen, The Eagles or even R.E.M. could fetch hundreds of dollars. A needed influx of easy cash for us, but a pain in the ass to assemble as all the auctions had to be done via mail or phone. Record keeping and knowledge of what was more collectable were essential, when CD’s came out the shows and programs expanded, In the Studio, Hot Wax and others came on the market and the CD’s were much easier for various DJ’s and radio station employees to smuggle out and sell to us. Besides the radio shows the auctions would also be made up of other collectables, garage singles from the 60’s, rare art and jazz LP’s would sell well. The task for keeping track of these sales fell to two of the most colorful characters on High Street during the past forty years.

Mike Hummel was one of the first people along High Street to record his own music, and then press it to vinyl, his “Rocket To Nowhere” (Moxie) came out in 1977 a blistering blow-out-speaker of a song that at once seemed to capture the sonic waves burping out of Cleveland but infused with Mike’s love of all things Alex Harvey. Mike was able to straddle a fine line of the freedom of punk rock but with a keen eye of the art-y flamboyant sounds of the aforementioned Alex Harvey, early Alice Cooper, and glam-era Lou Reed. Initially he was a shaggy haired figure who would drop by the store, carrying loads of white record boxes to the and from the furnace of the back room, to his car, and later that night it wasn’t uncommon to see him manning the pool table at Larry’s with large leather hat and long leather coat casting a shadow over the table, a large glass of whiskey nearby. He was usually with Jim Shepard or Ron House, frequently one would find them by the back door of Larry’s smoking a joint and talking in hushed tones, probably exactly like they did in high school.  Dan had a contentious relationship with Mike at that time, and if there were any mistakes in the auctions or record show sales, he would berate Ron, “Well, he’s YOUR best friend” as if Mike was responsible for every fuck-up that went on in a store full of fuck-ups.

For Jerry Wick and I, Mike was somewhat of a mysterious shadow, he would slip in on Friday’s picking up a few of the white cardboard LP boxes, huddle in the back with Dan and return the next Monday with a manila envelope holding the winners of that months auction. That night, we would spy him and Shepard at Larry’s poetry night, grumbling that we were constantly shooshed while various nervous types, wearing berets, scarves and inky mascara stood before a bar full of people and read poems and prose from tattered notebooks. “Jesus, I forgot it was poetry night, let’s to go BW’s at least we can drink in peace and play trivia”, Jerry would say as we slumbered to the still local BW-3, that hosted trivia amidst a juke-box the poisoned one’s ears with the latest Jock Jams. Peace indeed.

Soon enough, we discovered the genius of Mike as he was soon working part-time in the Used Kids Annex smiling a broad smile, with his ruffled hair and white teeth he was handsome enough to have been a model for a hybrid of Creem and Playgirl, if such a thing existed. It was easy for us to find fault with Mike, as in our curmungendy-wary twenties, we tended to dismiss a great deal with a thought that would leave our mouth before being properly matured, as Mike was prone to listen to the Doors with the same ease that one of us would put the Stooges or MC5 on. What we didn’t fully realize was Mike came of age when rock and roll turned suddenly more dangerous, when the infuse of psychedelics, marijuana and Quaaludes were stuffed into tight jean pockets to be consumed in Detroit made cars as long as speedboats while the click-click-click of eight-track players boomed out the sounds of “L.A. Woman”, the Bob Seger System and T. Rex. Ron House once remarked that he had felt as if one had to make a choice in high school between Alice Cooper or the New York Dolls, Mike Rep defying both sides would proudly choose both. We all realized that like Jim Shepard, Mike had been making a mix of punk-infused art rock since high school. For the first Datapanik single, label head Craig Regala asked the Boys from Nowhere (themselves a mishmash of punk and 70’s hard rock, that never achieved the success of east coast counter-parts such as the Lyres) to cover “Rocket to Nowhere” while the b-side featured future Greenhorn brothers, the Spurgeons blasting through Peter Laughner’s “Dear Richard.”

“Rocket from Nowhere” is now a highly sought after single, an almost sinister and gleeful three minute announcement of boastful destruction of which Columbus had not quite seen; the Datapanik single was our first introduction to the capabilities of Mike Rep and the Quotas. When the Used Kids Annex opened up, Dan Dow recruited Dave Diemer from Capital City Records down the block to run the shop, Mike came on board full time and usually worked in the afternoons and evenings. There was a large concrete supporting wall that separated the two stores, one tip off that Mike had arrived was the musky scent of marijuana that would seep through the back-room wall. Mike would flip the “Back in Five Minutes” sign up and go to the back of the Annex and fire up, when Lamont Thomas (Bim) worked for us, he would also slip next door for a five-minute escape. Almost like a high-school kid trying to cover up his tracks, Mike would gargle some Scope, and light some incense to cover the smell—it was comical but the fear of drug busts, even for marijuana was still a possibility twenty-five years ago.

One day as I brought over a stack of records to the Annex, Mike was busy pricing 45” records in his shaky chicken-scrawl and singing loudly along to Phil Ochs, in his smooth tenor Mike sang along “I’d like a one-way ticket home, ticket home….” Records can be used a silent code, opening the possibilities of connection almost like nothing else, and for many it is a bigger escape than alcohol, drugs or most anything else. My own fascination with folk music and singer-songwriters started early, an affinity for Richard Thompson whom I saw open for R.E.M. when I was 17, and I had been fed an endless supply for Woody Guthrie, Pete Seeger and Leadbelly as a host of Folkways records as a very young child. Discovering used records stores along High Street when I was 18 was akin to getting into a doctorate program at an Ivy League school, swallowing the songs of Tim Hardin, Townes Van Zandt, Butch Hancock, Gene Clark and, of course, Phil Ochs had an incredible impact on me. To find others who held some of these songwriters as close to their hearts was inspiring, the songs and artists were small fireflies of light in a life drenched in darkness. In the eighties and early nineties most of these acts were still obscure, Ron, Dan, Captain, Mike and I had all seen Townes Van Zandt at a small nightclub/eatery called The Dell in the early 90’s there were only eleven people there and Townes got so drunk during his brief intermission he ended the second part of the show basically telling stories while strumming laconically on his guitar.

 

Phil Ochs was an inspiration, not only because he grew up in Columbus and used to drink at Larry’s but because he was a man who appeared to hold his principals above all else, whose sensitivity to the world around him would eventually lead to his death by suicide. Looking back, it is easy to see that he as many other artists we admired suffered from Bi-Polar Disorder (Mark Eliot’s “Death of a Rebel” is essential reading on art, alcoholism and mental illness), but as young man who himself battled oppressive bouts of depression, including a suicide attempt, Phil was a revelation. When Mike sang along with “One Way Ticket Home”, I stopped in my tracks, and although we had known each other for several years we immediately connected  about Phil and records.

Later that year, a small band of excitable men from Dayton were coming up to the shop to hang out in the Annex, I knew one of them as Bob Pollard who would come up sporadically to go record shopping. Mike had helped mix one of the first New Bomb Turks and Gaunt singles as well as record some of the early Thomas Jefferson Slave Apartment singles, gutting the almost smooth farfisa college rock sounds of Ron House’s Great Plains for a big rock via muffled cardboard 4-track  recordings of the Slave Apartments.

At one point the valley of Ohio was the furthest west the country could have imagined, beyond the mountains of Western Pennsylvania and Kentucky, with the Ohio River holding an almost mythical hold that the Ohio Valley held on the forefathers of America were epic, a land of dangerous promises that appeared almost laughable 200 years later as mid-west promises collapsed under the girth of rust-belt nightmares. The fertile soil in Ohio was bathed in the blood of British, French, American and sadly, Native Americans who were massacred by degrees during the 17th and 18th centuries. Frontiersmen such as Daniel Boone and Simon Kenton, trudged through the swamps of Southeastern, Ohio marking claims with rifles, knives and gunpowder leaving a trail of destruction from Marietta to Toledo. The fables that grew out of the carving up of Ohio by these men were the tales that little boys would play throughout vacant fields and the patches of woods that dotted small town Ohio. Even today, supposedly, there is some buried treasure hidden by Simon Kenton somewhere near Springfield.

The ancient history of Ohio goes back thousands of years, the earthworks of Fort Ancient, specifically the curling 1,300 foot Serpent Mound dates anywhere to 400 BC to the 11th Century, other earthworks dot Southern and Central, Ohio and in a sad commentary on 20th Century capitalism, one in Newark has a private golf course sitting on top of it. One can imagine the ghosts of Native Americans dodging errant golf shots whilst crying paranormal tears. One wonders if the people who grow up in the proximity of the Grand Canyon or the white tipped waves peaking off the coast of Maine realize the beauty and wonderment of the world they live in, or does one just accept these everyday astonishments as melting into the background of their existence, to finally, with just the shadow of a shudder, turn into the mundane? Serpent Mound is one of the great American treasures, as mystical as Stonehenge but with nary a speck of explanation left the builders. Serpent Mound is hidden in the deep Southern portion of the state, at least 100 miles away from Columbus, 250 miles from Cleveland and 80 miles from Cincinnati, the region used to be filled with coal miners and poverty cuts a deep wound into this region of Ohio. Nonetheless, the fascination with Serpent Mound has been relegated to mostly outliers in Ohio, pagans, Native American groups and those who tend to lose themselves in dog eared books, long hikes and the passing of pipes.

Mike Rep was transfixed with Ohio lore and more specially the history of Native American spiritual sites, the importance of locale has been steadfast in Mike’s world, a walking internet of facts about the region, Mike was the first person who told me about the Mothman. It was easy to dismiss Mikes fascination with the buried myths of the past, not only with the historical aspects of the Native culture but, in a shock for Jerry and I the self-myth making of musicians such as Jim Morrison and Donovan, musicians we had dismissed as we climbed out of mid-adolescence to our late-DIY-infused teenage years.

It was somewhere around this time, 91 or 92 that we were introduced to Tom Lax, who runs the fantastically spot-on Siltbreeze records from Philiadelphia. Ron and Mike introduced Jerry and I to TJ (as we called him), most likely at Larry’s or at Ron’s House. I knew Siltbreeze as the label that put out a V-3, Gibson Brothers and Sebadoh singles; Jerry and I were a bit in awe of Tom and Mac Sutherland’s ability to put out quality music from around the world, all hinged on music that was unsurprisingly artistic but full of attitude.

Even though, as a glance over the weighted shoulders of time, Tom, Ron, Mike and Bob Pollard were only a few years older than us, that space between someone who is 19, 20 or 21 to someone who is in their early thirties can appear vast, which turns the space horizontal, making an invisible pedestal in our minds. Siltbreeze mined Franklin County as if the sewers below High Street flowed with music instead of shit, and the avalanche of damaged esoteric music that Tom and Mac championed out of Columbus should have made them both honorary citizens of the city. The list is as long as a some of the tales that would bellow from Mike Rep’s drunken dialogues: Thomas Jefferson Slave Apartments, Creeper: Ohio, Times New Viking, Sam Esh (whose warbling most resembled a washing machine playing a one stringed guitar), the Yips, the Gibson Brothers, Psychedelic Horseshit, V-3 and of course, Mike Rep and the Quotas. Tom, understood the musical acumen of Mike, whose taste in music has been unapologetic as well as trendsetting (see Guided By Voices, Times New Viking, Gaunt, New Bomb Turks, Strapping Field Hands…).

 

Mike walked through the main side of Used Kids one late afternoon to fetch a Black Label beer from the small and overworked dormitory refrigerator that kept us all sane during our salad days and he stopped at the side of the counter and sang along with me as I sang in my off-key quaver to Spirit’s “Animal Zoo.” It was shortly thereafter, that Siltbreeze put together a compilation of Mike’s hard to find and unreleased records stretching back into the 70’s. “Stuper Hiatus Vol. 2”. It’s a retrospective that runs the gamut of the punk-fueled deadism of  “Rocket to Nowhere” to the b-movie-whipit inspired “War of the Worlds” with a great dollop of Mike’s love of Roky Erickson smothering the homemade 4-track recordings. It also showcased Mike’s unusual taste in album cover art, utilizing the cover of a French-easy-listening record with Mike’s name on the cover.

Meanwhile, Mike was working hard on several projects, many of which he (kinda) cloaked in secrecy, per his intentional shrouded self-made persona, “I’m working on something that is pretty interesting, when you close up shop come over and give it as listen” he would tell us through his wide grin as he took a couple beers next door to the Used Kids Annex. After work, Jerry and I would stop in the Annex, with all the lights out except the dangling white Christmas lights that hung from the low ceiling, Mike would be blaring whatever he was working on. It could have been Guided by Voices “Propellor”, Prisonshake’s “Roaring Third” or the Strapping Field Hands “In the Piney’s”  or even a four-track recording of Donovan that Johan Kugelberg had asked him to remix (this is another story) but whatever it was it was always ear-splittingly loud. The smell of marijuana drenched the air like a green wave of humidity, a palpable smell that stuck in your nostrils like cat hair on a sweater. This night Mike was mixing something different, a bouncing effect laden song, it sounded as if the vocals were being channeled through a wading pool of water and ectoplasm, shimmering over fuzzy guitars and a small choir singing, “there’s aliens in our midst.” I stopped dead in my tracks, I had assumed it was a V-3 song although the lighthearted nature of the song, with a glint in the song’s eye suppling an aspect of care-free bizarreness that Jim Shepard would have been too self-conscious to lay down on tape. “Who is this?” I asked. Smiling broadly, Mike replied with wide eyes, “it’s the Quota’s but it’s a Twinkeyz cover.” Not knowing who the Twinkeyz were but assuming I should, I mumbled something like, “this is a great cover”.

The next time I worked with Mike he handed me a Maxell cassette  with his chicken-scratch pointy scrawl, “this is everything we’ve been recording.” The tape might as well have been stuck in the Pioneer tape deck in my 82 Ford Mustang for as much as I listened to it over the next month, the songs covered a gamut of sounds that spanned Mike’s fondness of music. From Roky Erickson to the Phil Ochs-cum-ragtime “America’s Newest Hero” and experimental Flying Saucer Attack inspired “One Thirty-Five.” Speaking with Mike over beers one night at Larry’s, “maybe I can put the tape out?” Soon enough, Gary Held from Revolver listened to it and loved it, he and Mike had spent some time together when Gary visited, perhaps they had even visited Serpent Mound together? After a few months of putting the cover, itself another in a long-line of bizarre record cover art from Mike, “A Tree Stump Named Desire” came out on CD. Mike wanted the record to come out on LP but due to the length of the record, a proper single LP pressing did not work, although it was cut to lacquer twice, Mike was never happy with how it sounded so there are only a handful of test pressings of the record.

Some people live on an island, not to the extent that it is a conscious choice but in the end the pursuit of art and creation tosses the irons of mainstream life that can fetter and clog the desire some have to pout what is inside their minds and lives onto paper, canvas and at times, into small recording devices, these are the people many of us are attracted to in our lives. Some may create to achieve adulation, to live forever in a moment of song while many do for the moment of the moment, the ones who can capture a singular feeling that transcends all the seconds, hours and days that follow it. The repercussions of the creation are just a bi-product of what needed to be produced. Most likely these are people who may tend to their gardens in self-imposed isolation, write silently in coffee shops or paint alone in their garages or tiny studios. For many they are tethered to small machines that capture sounds to be digested later, fueled by experience, alcohol, drugs and yes even whip-its. Mike Rep Hummel is one of these people, a man who holds no pretenses and who has managed to help discover and guide an unlikely assortment of talent that has helped inspired and influence the lives of many people who find their greatest solace in music. Guided by Voices, Times New Viking, V-3 and the New Bomb Turks all are indebted to Mike, who continues to do what he has always done, which is to cram what is inside of his shaggy head and cut it into tape without a fear of what the outcome will be. Fearless.

 

http://hozacrecords.com/

http://www.siltbreezerecords.com/

https://midheaven.com/search/?search=mike+rep

https://www.prairieghosts.com/moth.html

 

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One Response to “Mike Rep.”

  1. jc Says:

    Amazing

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