The suburb of Ballincollig, to the west of Cork city, is known to many because of John Spillane, the gentle Cork songwriter with a delicate hand who, on his 1996 album, ‘The Wells Of The World’, commemorated the village with two chords and a sting. ‘Johnny Don’t Go To Ballincollig’, he warned on that record’s very first line. ‘Where you always get disappointed’.
I’ve been making the ten-mile trip out from Cork city to Ballincollig, on and off, for the guts of forty years and I can’t say I’ve ever been really disappointed by it, not even during the frenzied New Year’s Eve I spent there fifteen years ago. But growing up in the middle of the city during the 1970s, Ballincollig may as well have been in Donegal: in the days long before ring roads and over-passes, it was simply out there somewhere, in the country. And yet that never stopped my mother from loyally making the journey once every season to visit her hairdresser – trading, with typical Cork notions as a ‘hair coiffeur’ – whose box-room premises were very definitely at odds with the outward ambition of the business and which were located towards the Ovens end of the main drag.
And when we’d be outside in the car, impatient and restless, waiting for her perm to fully set, my father would turn to me and suggest that Ovens, a truly mad place down the road, was the most appropriate spot in Cork in which to locate a crematorium, if anyone were clued-in or daring enough.
The Cork-based promoter Denis Desmond –not to be confused with his more high-profile, hirsute and alpha namesake – launched a nationwide competition for school bands in 1989 and I regularly fetched up all over Munster to help out with the judging. It was a laudable and naïve under-taking, and certainly not something from which a coin was turned easily but, for me, it was a cost-effective way to catch the best and worst of what was going on inside some of Ireland’s most addled adolescent minds. And it was on this beat one Saturday afternoon that, in a musty old hall on The Crescent in Limerick city, that I first heard, and was quickly captivated by, the competition’s eventual winners, The Hitchers. Their first single, ‘There’s A Bomb In That Basket Of Fruit’, was recorded as part of their prize for taking the spoils on a memorable final night in Connolly Hall in Cork in March, 1990.
During one of the competition’s earlier heats out in Ballincollig Community School the previous winter, the premises was put under siege by a group of tooled-up young toughs half-way through. After a couple of local goth bands struggled through their sets, the building was put into lockdown and the production crew was sped out of the village under Garda escort. I was back in The Long Valley on Winthrop Street in good time for last orders and had, for a change, a genuine story to impart to those in the upstairs bar. And in that story, the bands I toiled through earlier that evening were way less memorable than the cider-fuelled carry-on around the school grounds.
It was Denis Desmond who first turned me onto The Outside, a reluctant five-piece from Ballincollig with smart, poppy fingers and a keen touch who quickly became one of my favourite local bands during the late 1980s. The name captured them perfectly: Francis Ford Copolla’s 1983 teen film, ‘The Outsiders’, betrayed their references while, in the same breath, summed up how they saw themselves, cut adrift in what was still a developing suburb away from the thrust and noise ten miles back along the road. I made a point of seeing The Outside whenever I could, most memorably in The Cork Opera House as part of a three-night showcase for new bands that Denis also ran, and where they were as good as they’d ever become. They picked up a couple of handy supports along the way too and I really thought they had genuine potential. They were a work in progress, of course, but their canny pop songs displayed a real grasp of the fundamentals and hinted at a frame of reference broad enough to keep them interesting and arresting. And I was sorry to see them pack it in so shortly afterwards: another band poisoned forever by the public shift of death I’d given them.
Some of their number fetched-up thereafter in a handful of other, more boisterous guitar bands – Semi, Fred -before eventually putting down roots as LMNO Pelican, who deviated from the family line and were a dirtier, slightly more skewed indie concern. The Pelicans became a prominent adjunct on the comet ridden by both The Frank And Walters and The Sultans Of Ping during the stellar period between 1990 and 1995 but may have been unfairly lost in the supervoid that briefly surrounded it. I’ve written previously about the band’s spiritual leader and pulse, it’s late drummer, Brendan Butler, and it was because of him– and his overwhelmingly positive view of life and music – that myself and Mick Finnegan, one of the many unheralded figures at the heart of Cork’s music scene from post-punk onwards – ended up together on the producer’s settee when LMNO Pelican entered Elm Tree Studios on Cork’s Mardyke in 1993 to record their second E.P.
They’d already made a considerable dent with their debut, the excellent four-tracker, ‘Boutros Boutros’, from which ‘Call Yossarian’ – in the spirit of the feistier Dublin guitar bands from a decade previously, The Slowest Clock in particular – was a particular stand-out and a signal of real intent.
For years afterwards I wondered if Mick and myself just made a proper hames of the follow-up and that, far from enhancing the band’s sound, had actually sucked the spirit from them ? But ‘Red Dot’ E.P. still means the world to me: I certainly knew what we wanted to do on those four songs even if, to this day, I’m still not entirely sure where most of the bottom end went during the mixdown ? There are some terrific flicks, hooks and licks on that record, many of them provided by Fergus [Gus] Keane, the Pelican’s ace guitarist who, even then, was already an honours graduate of the Tom Verlaine/Graham Coxon school of icing. And I’ll still pull that record from the racks the odd time and get a rare thrill from ‘Wangley Dan’ and ‘Chalkey Gods’, recalling a terrific couple of weeks during which we panel-beat the record into shape and laid it down, plotting the harmony lines, adding cello parts and working up the shapes as we went.
The core of that band – Pats, Fergus and Derry – can be found these days scaffolding Jonny Rep, the best constituent parts of The Outside, Semi and The Pelicans compounded, basically, and then lacquered with an urgent, riffy finish. These days they’re joined in the vanguard by a pair of strays from two other prominent Cork outfits, Niall Lynch from The Shanks and Dave Senior from Rulers of The Planet and, dragging it all together from behind the mixing desk, Ciaran O’Shea who, with his brother, Declan, founded and led the ambitious [and very noisy] Cyclefly who, for a spell, briefly threatened a serious international breakthrough fifteen or so years back. From his Whitewell Studio, outside of Cloyne in East Cork, Ciaran certainly knows how to create a formidable wall of guitar sound [and where to locate the bottom end] and Jonny Rep’s records sound absolutely vast. For the sake of easy reference, they’re like an indie Traveling Wilburys trading Ride-style blows on every single line.
I hadn’t heard from them for years until, out of the blue, they posted up Jonny Rep’s excellent and frightfully under-rated debut album, which was released back in 2010. And the tidy hand-written note that accompanied it – not begging favours, just bearing best wishes – is typical of how they’ve always conducted themselves. I was delighted to hear from them and even more excited to hear that they were all still at it, decades later, and with the same sort of zest they had back when they were younger, leaner and dreamier. Maybe it’s just another aspect of the cycle of life manifesting itself but there’s something keenly reassuring about friends sticking the distance through the decades, refuelling at various points in the road, driving on, with music to keep them in good spirits and to occupy their conversations.
These days, they tell me, they might get together in the rehearsal room whenever the mood takes them, no pressure, and riff it out until they’ve made a forward stride or two. They may make another record down the line or they may not. They may play an odd live show, they may undertake a short tour, who knows ? But what’s clear is that the twin spectres of disappointment and failure that overhang all bands of a certain age have, in this case, long given way to perspective and priority. It’s a freedom that’s evident in the music: Jonny Rep have never sounded stronger, more cohesive or better.
Today, the band formally releases it’s second album, ‘Cold Sunbeam’, even if none of us are entirely sure what a formal release actually means anymore beyond, one suggests, a line in a Google group calendar. Yes, there’ve been a couple of positive notices, a steady increase in airplay, the odd radio appearance and a couple of soft pieces in the local papers but beyond that, one suspects, it’s more about a quiet, singular satisfaction at just squaring something special away, boxed off. And, once again it’s a very physical, confident record that, over the course of it’s nine formidable tracks, flouts it’s influences like it
detonates it’s riffs: early, often and to real effect. Added marks to, of course, to any band that references one of Blackpool’s most historic industrial landmarks in it’s album title.
Maintaining a long link – especially strong in Cork circles – between the indie set and football, the band is named to within a missing letter ‘h’ after the mercurial Dutch winger [is there any other kind ?] who played in – and lost – two World Cup finals in 1974 and 1978. Johnny Rep is another in that far-reaching line of footballers who played as fast and loose off the pitch as he did on it even if he is still, to his credit, one of the few players to have admitted to taking amphetamines during a career that was also pock-marked by a battle with booze.
In a curious reversal of stereotype, I can’t imagine Jonny Rep breaking out the whizz in the rehearsal room anytime soon in order to gain a sly competitive edge on an unsuspecting opposition. And they’ve also come far enough and through enough to know that ‘Cold Sunbeam’ won’t get them gold-plated status at Mar-A-Lago. But there comes a point when gentle genius lies in the most obvious and simple things: like respecting life in the slow lane. And Jonny Rep have that in spades.
‘Cold Sunbeam’ is released today, February 24th, 2017, on Jonny Rep’s own label, Wangley Dan Records, and comes highly recommended.
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