SALT CHUNK MARY LOOKS BACK FOR SOUND

Publication: Richmond Times-Dispatch

Byline: John F. Sarvay

Date: 11-29-1991

At a time when bands are looking for catchier and catchier names, Richmond's Salt Chunk Mary has gone back to a turn of the century novel for their unusual nom de plume. And as more bands search for a sound that is distinctly "modern," Salt Chunk Mary is going back several decades for a sound that is distinct and comfortable, yet fresh.

The combination of the band's penchant for rock and roll, a lesson in subtlety by musician Bob Rupe and two years of perseverance has met with satisfying results for singer/guitarist Mark Linkous and his bandmates, former Honor Role musicians Steve Schick and Chip Jones.

The results are a band that, while the members grimace at the references, has a sound reminiscent of The Silos, Minneapolis' Soul Asylum and other Midwestern progressive rock bands. The sound is distinctly guitar-oriented, but cleaner, catchier and more polished than most young bands achieve.

The band formed late in 1989 as The Johnson Family but soon changed its name. Linkous said both names are taken from an obscure book written near the turn of the century by Jack Black. The book, "You Can't Win," tells of the exploits of a hobo gang known as The Johnson Family who lived under a code of ethics similar to "honor among thieves."

Salt Chunk Mary was a woman in Idaho who acted as a fence for the gang. Mary always had a pot of beans with a chunk of salt pork waiting for the hobos -- hence her name.

They blame the influence of Rupe, who helped produce the group's demo tape, for the cleanness of their music.

"It's completely a reflection of Bob Rupe's philosophy of how things should be played. You don't have to play a whole lot of notes" to sound good, Jones said.

The band's style had already been influenced by the departure of Linkous' brother, Matt, who also played guitar. He left for personal reasons last year.

"I found that it created a whole lot of open space which I really liked. It was much more cavernous, with crevices . . . and fiords," of sound, Linkous said. "It's just as rocking as it ever was, and a little more dynamic."

"There's just a point now where the music starts and stops," added Schick. He thinks their demo tape is a first step toward musical success.

"We've come up with a really good product for not a lot of money," he said. The band is still wary of the recording business.

"We're all smart about the record business and we're a little more cynical about it than maybe we should be. But there are a lot of catch-22s," Schick said. Both he and Linkous have dealt with major label nibbles in previous bands, and are familiar with the promises and letdowns that sometimes come with popularity.

They all agree that just as they have settled into their roles, their audience has warmed to their sound.

"I think there are very few people who know the difference between a band that's straight-ahead and a band that's talented. Most people go . . . "

" . . . to see fireworks," Linkous interjected. "We've learned where to place the fireworks."

When it's all said and done, Linkous still shies away from comparisons with other bands. Almost grudgingly, he proffered an opinion.

"The finished product is a lot closer to Bad Finger or the Buzzcocks than anything else." Or maybe Soul Asylum.