Information/Write-up
Formed in Toronto in 1977, Cardboard Brains were part of the first wave that helped define the Queen Street circuit as punk, new wave, and art-damaged experimentation collided in clubs like The Edge and the Horseshoe Tavern. Built around the writing and restless creative drive of John Paul Young and guitarist Vincent Carlucci, the band moved quickly from raw, primitive blasts into stranger shapes—quirky lyrical angles, jagged arrangements, and early synth colour that marked them as slightly out of step with the more uniformly aggressive posture of many contemporaries. Even the name carried a wink: before settling on Cardboard Brains, the group cycled through candidates including Media Accident, Deadly Alien Foam, and Psychiatric Prison.
Their recorded debut arrived the same year with a four-song 7-inch EP bearing the legend “Cardboard Brains 1977,” later nicknamed The White EP. It captured the band in full early-strike mode—originals like ‘I Want To Be A Yank’ and ‘Can Stress Kill?’ alongside their take on Boyce & Hart’s ‘Stepping Stone’—and it quickly tied them to the emerging Toronto network as they worked constantly and shared bills with scene staples. Onstage, they also stood out visually and theatrically. Young often treated performance as a form of character work, favoring costumes over the standard ripped-jeans uniform, and occasionally pushing the presentation into outright performance-art territory—an approach that dovetailed with his training as a thespian and reinforced the sense that Cardboard Brains were “danceable but weird,” as one observer memorably put it.
In December 1978, Cardboard Brains appeared at The Last Pogo, the two-day Horseshoe event that became a defining marker of the era, with portions of the shows preserved on film and record. That documentation widened the band’s footprint and also revealed their more adventurous instincts in a live setting. The following year they issued a four-song 12-inch follow-up commonly known as The Black EP, by then edging further into a sharper, more structured hybrid—still punk at the core, but increasingly informed by art-rock ambition and an expanding palette of keyboards and electronics. Through these years the rhythm section shifted repeatedly, while Young and Carlucci remained the creative constants at the center of the project.
By 1980, Young was drawn toward a more controlled format for making music and stepped into a solo, self-contained approach with The Life of Ermie Scub, performing the instrumentation himself and leaning decisively into colder, minimal electronic language and conceptual writing. The project’s impact was recognized with a CASBY Award, and it also clarified the larger arc: Cardboard Brains had begun as a punk unit, but the story was always pushing toward synthesis, structure, and a kind of prog-minded tension that didn’t fit neatly inside any single scene category.
Cardboard Brains reunited for The Edge’s brief resurrection and anniversary celebration on April 26, 1981, reconnecting with the CFNY ecosystem that had supported and amplified so much Toronto new wave activity. Recordings from that night were issued as Live at The Edge in a very limited numbered and autographed edition, effectively serving as both a snapshot of a late-period lineup and a bridge between earlier vinyl statements and the direction the material was still trying to travel. After that, the band splintered into other paths: Gregory went on to Woods Are Full of Cuckoos and the Lawn; Carlucci later formed Station Twang with Carl Tafel; and Young’s parallel career as an actor and composer expanded into Canadian television and film work.
The Cardboard Brains catalogue has had a long afterlife in collector culture and in the way Toronto punk history keeps resurfacing for new listeners. Their ‘Stepping Stone’ appeared on Killed By Death Vol. 26 in the mid-1990s, raising their profile outside the local story, and in 1998 their work was consolidated on the John Paul Young And Cardboard Brains compilation CD, which helped trigger occasional revivals of the name for select Toronto dates. In the 2000s the band’s influence even reappeared as a direct homage through Nardwuar the Human Serviette and his group The Evaporators, who recorded a song titled ‘Cardboard Brains’ and circulated liner-note history that reframed the original band for a different generation.
-Robert Williston
Musicians
Vincent Carlucci: guitar, ARP Odyssey
Donald Dingwall: Polymoog, vocals
Rey Rattan: percussion
Rob Ross: bass guitar
John Paul Young: vocals, Minimoog
Additional Credits
Wolfgang Hecht: lights
Tim Keele: master of ceremonies
Jeff Levinson: administration
Eugene Schneider: engineering
Stanley A. Viezner: sound and guidance
Paul O’Connel: bass (White E.P.)
Richard Miller: drums (White E.P.)
Production
This record was produced with the cooperation of Carling-O’Keefe’s Thursday Night Live concert series and CFNY-FM 102.1, the spirit of radio.
Notes
Recorded live @ The EDGE, April 26, 1981, Toronto, Ontario
Remastered at Velvet Sound Studios
Hand numbered, signed; 441 copies pressed
Thanks
Thanks to Wolfgang Hecht…Lights, Tim Keele…Master of Ceremonies, Jeff Levinson…Administration, Eugene Schneider…Engineering, and Stanley A. Viezner…Sound and Guidance. And while I’m at it, thanks to Paul O’Connel and Richard Miller for playing Bass and Drums on the White E.P. (and never received credit) and to the many who at some time and in some way contributed to Cardboard Brains.
A special thanks to Carlsberg, David Marsden, and all at CFNY for cooperation and support.
For information, or a place to get rid of crank letters, please write: CMDC, P.O. Box 91, Station M, Toronto, Ontario, Canada, M6S 4T2. Thanks.
— John Paul Young
Liner Notes
This album is a documentation of the past, and also a signpost showing the direction the band is progressing. It also serves as a consolidation of previous vinyl efforts by John Paul Young and the Cardboard Brains: the White E.P. (1977), the Last Pogo (1978), the Black E.P. (1979), and The Life of Ermie Scub (1980).
I’m not going to bore you to death with how well I know John Paul Young but I will tell you a little story to illustrate why.
It was back in April of 1981 when I figured that Rock ’n’ Roll Video was the hot thing, that Paul and I whiled away a few hours at the Cafe New Orleans. I was literally brimming with excitement as I unfolded details of what I thought was a most impressive video treatment I had devised for “Surrender to the Void” off the Ermie project.
After a great long pause, Paul sat back, stretched, and quietly suggested that, “Golly, he’d never quite pictured it that way before.”
Well, it’s just as presumptuous of me today to offer you my impressions of John Paul Young as it was last year to have made so bold as to visualize what images Paul may have had fluttering behind those blue eyes when he wrote that tune.
If you want to get to know John Paul Young, you’ll have to read between the lines, among the notes: you’ll find him in his music.
He’s made it easier for you than it’s ever been before. The reunion with Cardboard Brains is, I’m sure, the very honest way for Ermie and previous works to make the transition to the street; collector-memories from the Edge and Thursday Night Live notwithstanding.
I hope you find him.
— Tim Keele, CFNY
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