In 2020 the Chicago scene, and our larger scene worldwide, lost a beloved member when Pierre Kezdy, longtime bassist for Naked Raygun, passed away from cancer. After a couple of years in development, the Godspeed: A Tribute to Pierre Kezdy album is now out. The LP features bands new and old covering their favorite Naked Raygun songs, with all proceeds from the sale of the album and related merch going to Pierre’s family.
TGEFM collected guest contributors– Chicago denizens and punk alumni– Jason Baygood, BT Hayes, and Chris Wooley to join Jeff Sorley for this track-by-track discussion.
(full disclosure – TGEFM founder and head editor Jeff Sorley also did the album art, layout, and design for the album)
Big Minnow Records – 28 Jul 2023
Face to Face, Hot Water Music, $wingin’ Utter$ and contribute to this tribute album. Vinyl and merch can be ordered via Big Cartel, with digital download over at Bandcamp. It is also streaming on Spotify.
Hot Water Music – “Wonder Beer”
Jason: I fully admit to not being as well versed in this band as I probably should. In a way I am glad as I have no bias about the band going in. The vocals are extremely strong on this. Has enough gruff to segregate from the original. Musically and vocally there are some liberties taken, tho mostly true to the original. The bass line here is extremely solid.
BT: It’s pretty clear that Hot Water Music wanted to get this one just right. There are a lot of similarities to the Raygun original: the phrasing of the lyrics is almost exactly the same as the original, the tempo is spot on, and even the more gruff feel to the vocals feels like a clear homage to the original. On my first listen through I was waiting to see if Hot Water Music would include the “party sounds” at the end of the track. They didn’t; instead, they layered in a guitar solo as a pretty subtle, and well done, nod to the original’s inclusion of the previously mentioned “party sounds.” I loved this cover of one of my favorite Raygun songs.
Jeff: A great start to the album. The vocals, while gruff, aren’t loud and overpowering. We’ll touch on this a bit later, but in the pantheon of Naked Raygun this is probably the closest thing to a “party song” the band ever put out. Under Hot Water Music’s hat, though, it comes across a but more “sad, lonely drunk.” Good stuff!
Chris: Perfect song choice for HWM. I agree with everything you guys said. Hearing Chuck’s growling vocals in the chorus put a smile on my face. I couldn’t imagine how much different it would sound with him doing lead vocals as opposed to Chris.
The Usuals – “Soldier’s Requiem”
Jason: The Usuals are local to me and great guys. I really appreciate the liberties they took here with the intro. It boasts a unique bassline which is carried throughout the song. Curt has a more aggressive tone vocally than what you would expect to hear on a Raygun track. The Usuals properly put emphasis on the whoa’s as well as interject solid backing vocals. This is an honest cover to which they incorporated their own style. Well done.
Jeff: When I was first asked to work on the cover for the album, this was the first song that Curt was able to share with me (because it is his band). That bass intro is simply to die for and the ethereal guitars slowly building up are just awesome. I still get chills hearing it.
BT: “Soldier’s Requiem” holds a special place in my heart because it was the first Raygun song I ever heard. As others have said, the bass intro is amazing! It is such a great way to emphasize that this song is part of a tribute to Pierre specifically and not just the band as a whole. The fact that the bassline is woven so heavily throughout the entire song works to add to this impression. Bass aside, this sounds like a love letter from The Usuals to Naked Raygun. There are enough differences between the original and the cover to be able to appreciate both for their different strengths, but on the whole it sounds like there was a lot of care and effort put into the cover to keep the same feel as the original.
Jeff: Ditto. Although I’d heard other NR songs before, Jettison was the first album of theirs I owned on cassette. So this song and all of the others got a metric shit-ton of play at my place.
Chris: My favorite NR song. They just changed it up just enough to make it unique. One of my favorites on the album by far. The baseline was amazing.
J. Robbins – “Got Hurt”
Jeff: “Got Hurt” was the first single released from the album, accompanying the actual album announcement on 21 Jun 2023. For those not in the know, “Got Hurt” the song pre-dates Pierre joining the band, and the recording of it was released in, what I guess can only generously be called, “demo” form as a bonus track on the 1999 reissue of Raygun’s 1983 debut EP Basement Screams.
As such, I think J. Robbins really set himself up to either succeed amazingly or fail miserably. Thankfully, from my impression, he did an excellent job. Of all the covers here, this rendition probably deviates the most from the original track, aside from Josh Caterer’s version of “Knock Me Down.” But where we knew somewhat what to expect that Josh would do with his song, I would dare to say that none of us knew what to expect here.
Jason: I was excited to see J Robbins on the track list. I always felt he is one of the most underrated musicians in the scene. My bias may come from my fandom of Government Issue. His career with Jawbox is legendary. “Got Hurt” is an early demo which first appeared on the Last of the Demohicans collection. This version is extremely bright and vivid. It is a true contemporary take on a song which has been heard in only demo form. This is no easy task but J Robbins nailed it. The main guitar line will be stuck in your head for days.
Jeff: Hahaha! I even got Last of the Demohicans when it came out (funnily my first Naked Raygun CD, the previous were all on cassette) and I totally forgot it shows up on there.
Chris: I’ll admit this is the only song on the album I didn’t know. So I feel I can’t properly review it.
Jeff: (laughter) At least you’re honest.
Pegboy – “Vanilla Blue”
Jason: Pegboy covering Naked Raygun. What else can be said? John Haggerty covering a song which he originally recorded with Naked Raygun. This song is so iconic and has been a staple in every Raygun set since it was released. Pegboy begins with the intro that is slightly slower tempo than the original. Not too much can be said. The instrumentation is practically flawless. The main highlight for me as a fan of both bands would be Larry’s vocals. They are equally powerful and smooth which help emphasizes the feeling of the song.
Jeff: You took the words right out of my mouth. (laughter)
BT: Such a great song. There is so much here to love. The slightly slower tempo works well, and the slightly cleaner sounding guitars somehow add to the song. I love that the vocals are so clean. Pegboy coving Raygun, what’s not to love?
Chris: Not much more I can say that hasn’t been said. Larry and the boys nailed it.
$wingin’ Utter$ – “Gear”
Jason: I have had the pleasure of seeing Swingin Utters live many times over the years. I recall being backstage with them at Metro Chicago in the late 90s. Much time was spent discussing their love of Naked Raygun. Therefore, I was stoked in hearing of their participation knowing their love and appreciation of the band. The song has an almost early new wave feel in its recording and instrumentation. Vocalist Johnny Peabucks sounds great as he screams the lyrics over the chaotic instrumentation. The band took liberties with this one, beyond even making it sound like an Utters song.
Jeff: I had a great opportunity to chat with Darius Koski at the recent Jon Snodgrass event nearby and it was the same story. A love of Naked Raygun and a true friendship and respect for Pierre. He told me they laid this song down pretty quick in one go, trying to keep the raw feel of the original, and it works. The gang clap is awesome and $wingin Utter$ make this feel a bit more like a party song.
BT: In the original the drums are clearly prominent, but here in the cover they are front and center throughout, and it is catchy as hell. The vocals sound great and add to the overall chaotic feel of the song, but the drums drown out the vocal for a good portion of the song. I agree with Jeff that $wingin’ Utter$ make this feel like a party song, which is a cool take on the original, but having the vocals more present would add to my appreciation of the cover.
Chris: This was one of the few Raygun songs that I was never a big fan of. I have to say I do like the added punch to the drums and guitar. It made the song sound a bit more gritty to me.
Death and Memphis – “Treason”
Jason: I was ecstatic to first hear of the band’s participation on this record. Their guitarist Steev Custer has performed a handful of shows with Raygun filling in for Pierre on bass. He also has served as guitar tech for the band. I play in a band with Steev and have heard many stories of his time with Pierre. This one truly comes from the heart. The instrumentation on this classic track is flawless. What really stands out here are lead vocalist Paul Garcia’s delivery. This sounds like a Death and Memphis track. Paul accentuates the ending word of each vocal line. The band created a unique bridge before the guitar solo. The influence of Naked Raygun on this band effectively shines through.
Jeff: I think I mention this elsewhere, but there’s really no way anyone can do Pezzati’s voice. As such, Paul, to his credit, doesn’t just deliver a basic vocal delivery, but adds a definite D&M spice to it.
If I had a complaint, it is that the music hews a little too close to the original. Except for that bridge before the solo, the song plays out pretty close to the original. I also would’ve preferred a bit more power and oomph from the rhythm guitar and bass. The original song suffers a bit from the budget and recording/mixing quality of the time, this was a chance to really add some body to the cover.
BT: One of the first things I noticed about the song was how much the D&M cover sounded like the original. However, once the vocals come in that changed. The vocal tone, inflection, and phrasing were all just…different. It took me a minute to adjust to the very Raygun sounding instrumentation with the not Pezzati vocals. On my second listen through, I really appreciated the vocal changes made and really enjoyed Paul Garcia’s vocals.
Chris: I’ll admit that I wasn’t a fan of the harmony’s he incorporated on the chorus. Overall not bad. I’ve never listened to Death and Memphis before, maybe if I did I would appreciate the song more.
The Methadones – “Surf Combat”
Jason: Those in the Chicago area certainly know the relationship between Naked Raygun and members of the Methadones. Dan Vapid has played countless shows with his various bands alongside Naked Raygun and bands in their family tree (IE – Pegboy, The Bomb, etc). The highlight for me here is hearing Dan’s grittier vocal delivery which takes me back to early Sludgeworth tracks such as “Angry Man”. This suits the Methadones well who sit musically in between Dan’s earlier bands and what he has evolved into with the Cheats. The bassline here is solid throughout. Bassist Pete Mittler on occasion has filled in for Pierre live. This is a well done cover.
Jeff: Of all Naked Raygun songs this one might be the noisiest vocal delivery from Jeff Pezzati, so it’s nice to know that Dan and the Methadones keep that aspect. The cover doesn’t change much from the original aside from adding much needed body to the song. Full bodied “Surf Combat”: It’s what’s for breakfast.
Chris: Dan got that scream down to a science. That chaos in the end was awesome.
Jeff: (laughter)
Face to Face – “I Don’t Know”
Jason: I will admit that I was surprised at first in seeing this band’s participation on the release. I was not aware of the impact that Naked Raygun had on their music but it makes sense after hearing their version of this classic. The signature Trever Keith vocal style is present. Otherwise, the instrumentation is pretty true to the original. My only constructive criticism would be in my expectation of them taking more liberty musically.
Jeff: Face To Face have done some of my favorite cover songs (The Cure‘s “In Between Days” from Before You Were Punk, DEVO‘s “Whip It” from We Are Not Devo), but it seems when they’re faced with covering a band that is more on the punk side of the things, they don’t seem to take a lot of chances. So I wasn’t surprised that this cover hewed pretty close to the original.
I have to disagree a bit on the vocals side of things. When they started up I had to concentrate for a second… is this actually Trever Keith?!? I was surprised, but not disappointed, at the vocal delivery. Sure, there’s a hint of his voice there… he’s very much channelling his sound, but Pezzati’s inflection, to great effect.
BT: Not going add anything too new to the discussion on this one. Yes, it kept very close to the original. Yes, the vocals were a clear blend of Keith’s vocal style and Pezzati’s. This was a close to home cover, and it sounded great, but a little more variance from the source material could have sounded better.
Chris: To me I would have never guessed it was Face to Face. I remember them doing covers of “Paint it Black” and “Bikeage” and you could tell those songs were done by Face to Face due to the vocals. I think the music and vocals were spot on.
Grey Trash Aliens – “Fever Island”
Jason: I had never heard of this band before. In researching I came to learn they are local to the Chicago scene (editor’s note: Pat Minneau of the band is also the owner of Big Minnow Records). I was excited to see that someone was covering a song off Raygun… Naked Raygun. I have always felt this was the sleeper album in the catalog. I saw the band live the most times during this era so it always held a special place to me. The band does a great job with all the signature key changes and guitar leads in the song. The standout for me here would be in the vocal delivery. The song is sung very clear and concise. I am hearing some lyrics I was not even aware of and I have known this song since it was released. This cover succeeded in making me want to check out their original material.
BT: To me, this is what a cover should be. The key elements of the song are present, and you recognize the song immediately, but it’s also not an exact reproduction of the original. It’s clear that Grey Trash Aliens know and love the song, but at the same time they put their own unique spin on it. As Jason mentioned, the vocal delivery is killer. The lyrics are clear and easy to understand in the lead vocals, and the slightly different feel to the backing vocals give the cover version its own unique sound. The slightly different sound/feel to the instrumentation clearly establishes this as a cover song that Grey Trash Aliens made their own.
Jeff: Agreed, the delayed intro helps to reinforce the build-up to the crescendo of the chorus. With the slight, but noticeable variation of the backing vocals compared to the original, this really keeps you on your toes.
Chris: All I could say is this is one my favorite NR songs and did the song justice.
The Bollweevils – “I Remember”
Jason: We definitely would have been more surprised if the Bollweevils were NOT included in this release. Everyone even outside of Chicago knows the impact both musically and personally that Raygun has had on the band. As expected, the band does a stellar job on the track. What should be called out specifically is that the song choice was perfect. This song gives the ability to showcase all of the Bollweevils strengths. The bassline is extremely strong in accompanying Ken Weevil’s Haggerty influenced buzzsaw guitar playing. The song also permits Daryl Wilson to expand his vocal range throughout.
Jeff: It is, undeniably, a Bollweevils song, and a great tribute to the original while making it their own. All Rise (which is, likely, my favorite NR album) marks the point where the band started to lean heavily on the more melodic side of punk instead of the post-punk/hardcore of their origins, along with a slightly more polished delivery. To say this may be one of the best songs ever is not hyperbole, and Bollweevils turn around and make it raw as hell. The bass is turned up and you really get an appreciation for the bass line in the song: it really hits in that first “I remember OOOOOOOOOOooooooooo” you feel it in your gut. Soooo good.
BT: The vocals: holy hell! While the influence is clear, Daryl Wilson’s vocals are just about perfect. He makes no discernable attempt at imitating Pezzati’s vocals, and instead he leans into his own strengths and the end result is fantastic. Pairing his excellent delivery with the strong bass line, and honestly all the instrumentation, throughout and it just feels right.
Chris: It’s Bollweevils doing Raygun nuff said. They hit it out of the park every time. Heck I remember seeing them as a Naked Raygun cover band at Fireside opening for The Fighters.
Jeff: I also appreciate how this is another example of the vocalist doing his thing. Dr. Daryl sounds nothing like Jeff Pezzati, and that’s a good thing.
The Turdles – “Rat Patrol”
Jason: I have seen the band name on many flyers for Chicago area local shows over the years. Unfortunately I have not had the chance to see them. What we have here is a well-done raw version of this raw Raygun classic. The singer maintains a consistent and powerful vocal delivery. I really like the effects that were placed on the “whoas” throughout, as that has always been the hook of this song.
Jeff: You’re talking about that becho on the “whoa” right? Yeah, that really caught me off-guard and I thought at first there was something wrong with my speakers. (Laughter)
What we get here is a fairly straight-forward take on the original with a few bells and whistles, most notable is the quicker tempo, which turns this into a punkier version of the original.
Chris: I feel some intensity and raw energy of the original was left out. Though it was still a solid track.
Josh Caterer – “Knock Me Down”
Jason: Josh Caterer as a solo artist has recreated many classic songs, including those of his band Smoking Popes, in his own unique style. This is what I expected when I first saw his name. Josh did a fantastic job in making this song his own. The guitar is played in a power pop / alt rock hybrid to give a more contemporary feel. Vocally it has the soul and emotion we have come to know and love from Josh. The chorus is bright and bombastic with effective backing vocals. This is without a doubt the most unique track on the comp. Well done!
Jeff: Agreed. I knew when the tracklist was available that Josh was going to do something different than the original. He’s got a knack for it, and this is a simply spectacular cover. I came into the whole thing pretty sure that Josh’s “Knock Me Down” would be the best of the bunch but, if I’m being honest, J. Robbins’ “Got Hurt” is pretty damn good, and might be my favorite by a slim margin (sorry Josh!).
BT: I immediately thought, “What an interesting choice” when I read the tracklist. The original is a great song, but it’s not something I would’ve anticipated. With that said, Josh Caterer does… well what Josh Caterer does (sorry if that sounds trite). He takes the song in a very different direction, and his vocals are of course very distinct. The direction he takes this, while very different sounding from the original, gets to the heart of the song. Listening to the lyrics and the new take on the music it fits in a very genuine way. When he sings lines like, “Still my heart is pierced by your neglect” you feel it in a different way from the Raygun version. This is a song I will go back to frequently. It’s just that good.
Chris: I love how Josh took the song and made it his own. Sounds nothing like the original. Simply amazing.
Stress Dreams – “Home of the Brave”
Jason: I was excited to see the participation of Stress Dreams on this comp. I have known various members of this band from their participation in previous Chicago area bands. Vocalist Tony Kovacs toured with Naked Raygun with his band Shot Baker. I went in with high expectations and they were met. Tony has a gritty vocal style which perfectly matches the power of the original, yet unique enough to make it their own. The bassline is unique and fluid through the song as well. This is yet another cover which makes me want to hear more from the band.
BT: In my opinion, “Home of the Brave” is the Raygun song. When introducing the band to friends from outside of the Chicago area this is one of my go to songs, and Stress Dreams does a great job of hitting those signature elements: the vocals match the grit of the original, the guitar has the Raygun sound while still sounding unique, and the bass line jumps out while and keeps the song grounded at the same time. I came away from this song thinking, “This is what my version of the song would sound like if I had musical talent.”
Jeff: (laughter) There’s something about the recording/mix of the vocals that adds a flair to this song. One thing that struck me when I listened to it was that the whole delivery and production sounds more like a contemporaneous band from the 80s/90s covering it at that time, and not a modern rendition. I love it.
Chris: Of all the songs this to me feels the closest to the original. The vocals were amazing. I agree with Jeff on the production and vibe.
The Brokedowns – “Walk In Cold”
Jeff: Leave it to The Brokedowns to turn the polished original into a raucous banger. The biggest differences here are the much gruffer vocals compared to Pezzati’s smooth delivery and the lack of a saxophone. It lands so well because this is a bass-heavy song and, the way they sing it is just like how it sounded when you’re hearing it live and the crowd is singing along. A nice send-off for the album.
Jason: The Brokedowns are another Chicago area band which I have known about but have never seen live nor heard on record, aside from a song or two. Their cover is extremely powerful and in your face. The tempo and energy is kept at the same level throughout and never lets up. In true modern punk fashion, the song features additional backing vocals throughout. This is a great closing track for the comp.
Chris: At first listen I was scratching my head with the group vocals. Second listen I realized how much it works. I loved it. Almost feels like the whole crowd is singing along.
Final Thoughts
BT: I was excited to give this comp a listen, and I wasn’t let down. Naked Raygun was one of the first punk bands I listened to, and the fact that they were from Chicago further strengthened my appreciation. Each song on this comp reflects the love and influence Raygun had on so many different bands. As I mentioned earlier, I love that each song has the bass heavily present in the mix. Considering this is a tribute to Pierre, this was particularly fitting. Each song was strong it in its own way, but The Usuals’ cover of “Soldier’s Requiem” is the true standout to me. It could be my own fondness for the original, but the bass intro sealed it for me. It paid homage to the original while giving the song their own sound. More than anything, I loved hearing so many great bands pay tribute to a legendary band, and musician, from my youth.
BT Hayes is an author and teacher in Chicagoland. His eclectic taste in music falls within the “Punk Adjacent” category, which makes contributing to TGEFM a lot of fun. His first novel Expectations was released in June by Aesthetic Press Books.
Chris: What a way to keep Raygun and Pierre’s legacy going strong. I have the utmost respect for all the bands involved. In one way or another all the songs captured the spirit of my favorite band. The standout tracks for me were from the Usuals, The Brokedowns, and Josh Caterer. Overall a great tribute to a great band. My only issue with the album is that nobody did “New Dreams”.
Chris Wooley is a long-time member of the Chicago music scene, and Naked Raygun fan.
Jason: Tribute albums can be a challenge. We have all heard both amazing ones as well as lackluster. As a Chicagoan, I had a feeling of true pride after listening to this album. The Chicago sound, especially Naked Raygun, have impacted bands worldwide. This album has a good balance of veteran bands mixed with those lesser known. Even when sticking close to the original, most bands took enough liberty with their interpretation of these classics. I think the presence of scene staples such as Hot Water Music, Swingin’ Utters and Face to Face will introduce the band and Pierre’s work to a new audience. In addition, listeners may get introduced to lesser known bands, especially those more local to the Chicago region. To me, this is a recipe for a well-balanced tribute album that checks many boxes.
Jason Baygood resides in the Chicagoland area. He currently writes reviews and conducts band interviews for Punknews. Jason also plays bass for the Chicago area power pop / pop punk outfit SPACE AGE ZEROS.
Jeff: From its inception this project was meant to be a way to support Pierre’s family after his untimely passing. For it to aspire so high, and get some great acts both internationally known down to those barely known outside of the Chicago metropolitan area to step up is a testament to the legacy of Pierre Kezdy and Naked Raygun. To many Chicago area kids of a certain vintage, Raygun is our Operation Ivy. A band that went beyond what anyone else was doing at the time, creating a sound that remains unique in both style and substance to this day. All of the bands on this comp put forward a great cover, some absolutely stellar in their own right. My hope is that this will not only bring much needed money to the Kezdy family (seriously go buy something!), but will also introduce listeners to new bands and, maybe for those who haven’t taken the plunge yet, to Chicago Sound of Naked Raygun.
Jeff Sorley is the founder and headitor of TGEFM blahblahblah you know all of this.
the white drew carey (aka – Jeff Sorley) is the founder and head editor of TGEFM. He’s lived (outside of) Chicago, Madison WI, (ugh) Penn State, Lyon FR, Oxford UK, central New Jersey, and now within earshot of SFO in the Bay Area. When not scouring the web for more great bands and labels to post about, he also spends time drawing (mostly) silly sci-fi and anime stuff under the name Asplenia Studios.
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