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The Upstate Pop Art Experimental Band (TUPAEB)

TUPAEB is based in the production genius of one of its members Mike Colcord of New York. The other primary half of TUPAEB is Bill Judkins, not to be confused with the latter half that involved other noteworthy music -types such as Tom Petrus, David Petrus and Evy Debenedettis, all of whom the industry knows well.

Starting out in 1983 as a small egg-like plan hatched in the young mind of Colcord, he approached Judkins about collaborating on some experimental and improvisational rhythms bordering on the likes of beatnik jazz. The result was far from beatnik, it was in fact the origins of the "electronic" sound in the Upstate New York region. Largely influenced by the Velvet Underground, Kraftwerk, "bliss songs" and Native Americans, the band set a precedent of pure improvisation. There were no songs. Widely criticized later for not wanting to "learn songs" - the band trudged aimlessly forward eagerly hoping for a contract. "Much of our early stuff revolved around the need to express our selves from a perspective that had not yet been explored." Colcord describes, "the songs live here (pointing to head) and we believed that we could share the... (pointing to head) with the... (pointing to me). As you can see our idea is genius, there was no need for "songs" per se, simply the IDEA of a song was good enough for us."

TUPAEB never did land a contract but went on to have an illustrious touring career larger than they ever imagined. "We're huge", Judkins says, "we're both very proud of our huge qualities". The tours began at regional county fairs and movie debuts where they were discovered by a promoter from Millepeehan, UK. Aeden Bishop (Donny Osmond, Chemical Brothers) immediately recognized their potential.

 "I could see they were bored with the gigs they were doing," Bishop remembers, "I told them that if they could get a better groove in their googy then they might just have a crack at the European market." After a short sabbatical following the European tour, TUPAEB began working "in-studio" with Petrus. Debenedettis had grown frustrated and headed out to California to pursue a career as an animator working on Disney films. The band later teamed up for the now infamous sessions at the studio of superstar Jon Peters. The band worked with noteworthy talents such as Ed Repard (el destructo), Jon Bridgeman and Carol Ralph. They explored adding stronger visual elements to their performance and shared a common vision for their art.

Shortly after the Peters Sessions, the band released only a few singles including a Sweet Dreams remake that was stolen (as reported) and overshadowed completely by superstar Brian Warner (Marilyn Manson). The band was furious. The controversy surrounding the scandal toppled over when Warner reportedly filed for an order of protection against Judkins. Judkins had been quoted as saying, "That little gothic, pansy freak! He's not the only one who can wear tits you know!" The media followed the story for a short time after the filing and then abandoned it for the ice capades scandal involving Nancy Kerrigan and Tanya Harding. The band was relieved to discover other performing arts had issues too.

Which brings us to the bands latest release titled, The Upstate Pop Art Experimental Band, The Golden Years of Technology 1984-1985. This release marks history in its exploration of ground breaking production techniques of the time. Regarded as one of the most experimental bands of the region, TUPAEB brings their unique blend of music to the listening public again.

- Seth Blowmestaff, freelance writer
"...the songs live here
(pointing to head)." -- Colcord
By this time Colcord and Judkins had already added Tom Petrus and Evy Debenedettis to their line up. Although only Petrus played live with the group, they had to consider the other members and the real feasibility of a European tour. Judkins was engrossed in his "creative expressionicity" and adding a visual element to the shows that was regarded at the time as absurd and cumbersome. The riders he was signing became harder and harder for the promoters to deliver-on, and there was frustration. The band had set out as two. Judkins was heard saying before an Italian show, "Bitches better get me a lemon meringue pie!"

The European tour was remarkably successful despite including only Colcord and Judkins. Throngs of Europeans charged the doors of their shows and the waiting line backstage was nearly 3 hours. Celebrities came from all over the world to participate in the after-parties. TUPAEB had found their favor.

France provided the most difficulty--leaving the band shrouded in scandal and a truly divided public. "We wouldn't call them deaths," Judkins explains. We were breaking out into new territory. Colcord remembers those performances as some of the greatest experimental art of the late 20th century.