Archive for Richard Hell and the Voidoids

Nashville Garage-Rock Tyro Ron Gallo’s “Heavy Meta” Just Stove Our Brains In

Posted in Music with tags , , , , , on February 26, 2017 by johnbuckley100

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From the album cover of Heavy Meta, you’d think Ron Gallo was getting ready to audition for The Jimi Hendrix Experience, what with the white guy’s Afro and all.  And that’s not a bad place to set certain coordinates — we’d love to hear him play “Hey Joe,” because he’s a solid singer and an ace lead guitarist.  Trust us when we say, we haven’t gotten so knocked over by discovering a new tyro of real rock’n’roll since we first heard Ty Segall’s Goodbye Bread.

Not to be confused with the ’70s paparazzi of the same name, Ron Gallo had us before we ever heard this incredible album.  See, in the new Uncut, which gives him the treatment he deserves — interview, record review, even a spot on their monthly featured songs — he identified Robert Quine as his musical inspiration.  That’s an excellent place to begin, and in fact, “Put The Kids To Bed” sounds a lot like Quine’s playing with Richard Hell and the Voidoids, while “Don’t Mind The Lion” could be a Lloyd Cole song with Quine playing lead.  But even though Gallo has many easy reference points — his voice can quaver like Devendra Banhart, various songs resemble what we imagine Damon McMahon’s punk projects separate from Amen Dunes sound like, and he’s enough of a classicist that on “Black Market Eyes,” the guitar figures quote at length from Small Faces’ “Flying”– this is an original, powerful artist with a crack three-piece and an album well-enough produced we know it won’t languish in the up’n’comer pile for long.

We can imagine others referencing in the same sentence Brendan Benson, The Cramps, maybe even Roky Erickson.  But let’s give Ron Gallo credit where it’s due: he has on “Heavy Meta” just launched headlong into the center of the rock’n’roll universe, with an album that anyone who loves Ty Segall, Thee Oh Sees, or even Jack White will immediately respond to.  Filled with energy and brains, this record is going to dominate the early innings of 2017, and we know we will be listening to this 29-year old phenom for years to come.

Opening for Hurray For The Riff Raff at the 930 Club in DC on April 23rd.  See you there.

Download Those Albums Next Week, Help Ivan Julian Today

Posted in Uncategorized with tags , , on March 30, 2016 by johnbuckley100

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Ivan Julian was the last member recruited to The Voidoids, Richard Hell’s seminal punk band from the ’70s. According to a letter Hell sent friends last week, guitarist Bob Quine “was so impressed by Ivan’s chops, he copped the slot on the spot.  He’s only gotten better, year after year, as a player and all around monster of goodness, and that’s the truth.”

Ivan’s got cancer, and on a Go Fund Me page set up to help raise money from all fans of real rock’n’ roll — and this means you! — they are just over halfway to the goal of raising $20,000 to pay a portion of his medical expenses.  Yeah, a portion.

Ivan’s a great guitarist, a producer who’s twisted knobs for such stalwarts as The Fleshtones and Capsula.  But as a guitarist?  Oh yeah, even in a band with Quine, Ivan more than held his own, adding pure liquid propulsion to one of the great guitar tandems of the age (the other one, of course, being Verlaine und Lloyd in Television, the band Hell helped found and then left behind.)

Two stellar musical lineups have been assembled for a pair of fundraisers for Ivan at New York City Winery on May 4th and May 7th.  You’ve already missed your chance to see Debbie Harry MC that first evening with Richard Barone, the Bush Tetras (!), the Dictators (!), Richard Hell, Ian Hunter, Garland Jeffreys, Lenny Kaye, Willie Nile, Vernon Reid & Burnt Sugar, and special guests.  It is possible you still can get tix for show #2 with Lydia Lunch (!), Ira Kaplan, Arto Lindsey, the aforementioned Dictators, Thurston Moore & Lee Ranaldo, Reid & Burnt Sugar, Jim Scavulos of 8 Eyed Spy renown, and Matthew Sweet, on at least one of whose best ’90s albums saw Ivan bring his swing.  Is there any question about whether these will be the best shows of the season?  And, with an assemblage like that, do you get how respected and revered a musician and human being Ivan is?

Look, we all know you are eagerly awaiting Friday’s release of the new Black Mountain album, that you’ve pre-ordered Kevin Morby’s next ‘un, that Woods and PJ Harvey will have new recs out soon.  Buy all means buy ’em.  But before you do, if you really love rock’n’roll, click the link above, and contribute at least the cost of two albums.  The life you save may play a blistering lead on the next album that, yeah, saves your life.

 

Richard Hell’s “Massive Pissed Love”

Posted in Uncategorized with tags , on November 1, 2015 by johnbuckley100

Imagine, if you will, that Richard Hell had never helped form the seminal band Television, that his two albums with the Voidoids were not among the strongest releases from the New York bands circa ’77-’82, that he’d never played on a stage with Johnny Thunders in the original version of the Heartbreakers.  See him instead as one more smart, off-kilter kid drawn to the bright lights and the big city, Manhattan as the world’s greatest university, culture coming at ya from the Film Forum, Village Voice, museums uptown, galleries downtown, oh yeah, and a cast of characters all around you that would inspire artists from Weegee to Warhol to Dylan.

Imagine he absorbed it all, heightened his critical faculties through exposure to the best essayists on rock’n’roll, film, and art, and that he found his place in the city as a writer.  Imagine that along the way he wrote a really excellent first novel, Go Now, and became a writer in demand by small magazines and large, and that he amassed a body of critical work that was original, insightful, and genuinely well written.

Okay now we can go back to appraising Hell in full, we can add the fact that, yeah, the guy really was an exciting frontman for multiple bands, and that when he writes about music, he does so from the perspective both of a fan and critic, but also as what has to be called a rock star.  Add this all up and you get a sense of just how fantastic a book Massive Pissed Love is, Richard Hell’s collected nonfiction written since the Millennium.

His essay, “The Velvet Underground vs. The Rolling Stones” was published in the book Rock & Roll Cage Match, and collected here, we got to read it again and could only marvel.  Hell’s view on Keith and Mick and Lou is fundamentally different, more focused, than ours would be, because we’ve never stood on a stage, as he has, and watched a crowd go wild.  It is one of the single greatest pieces of rock writing ever, and trust us, we’ve read a lot.  His eulogies and memorials to Bob Quine and Joey Ramone are worth the cost of the book, and then some.  We’re a little less enamored with artists like Christopher Wool than he is, but who cares, the writing is strong, whether he casts his eye on film, photography, or fiction.

And along the way he tells stories, really fun stories, that make some of this collection as entertaining as his 2013 memoir, I Dreamed I Was A Very Clean Tramp, which we put up there with Keith Richards’ Life and Dean Wareham’s Black Postcards as the best rock-star memoirs of all time. (Can’t wait to read Elvis Costello’s.)

Buy the book.  Skip to “Sex On Drugs,” or “Jim Carroll Memorial Remarks,” or his essay on Lester Bangs.  For Godsake read the essay on the Stones and the Velvets.  Yeah, if Hell had come to New York and simply become a writer, we’d be celebrating him now.  That he has the insights borne of being one of our favorite rock stars too is just icing on the cake.

Get Ready For Richard Hell’s “Massive Pissed Love,” Out October 12th

Posted in Uncategorized with tags , , , on September 2, 2015 by johnbuckley100

This morning, in his amusing pan of Chrissie Hynde’s Reckless, Dwight Garner* reminded us that most rock stars’ memoirs are pretty bad. (“With her new memoir, “Reckless,” Ms. Hynde proves that she can compete with male rock stars in another essential way. She’s written a book that’s just as slack and disappointing as so many of theirs have been.”) The way it should work but doesn’t is that the quality of the memoir should match the quality of the music, that the great rock stars write great autobiographies and the bad ones should write bad ones.  While the latter is certainly true, or so we believe without having actually read, you know, Nicki Sixxe’s opus, only a few rocker memoirs we can think of — Keith Richard’s Life, Dean Wareham’s Black Postcards — are of a quality equal to their output and meaning as musicians.

And then there is Richard Hell, whose literary output at this point certainly exceeds in volume what he accomplished on his albums with the Voidoids, or his work with Television, Dim Stars, and The Heartbreakers.  Beginning with his novel Go Now all the way up through his superb memoir I Dreamed I Was A Very Clean Tramp, Hell has done something remarkable: he has produced writing that thrills me every bit as much as his albums did.  And remember, his albums had Bob Quine playing guitar on them…

We thought his memoir was one of the best autobiogs ever, and not just in comparison to *real* rock’n’roll autobiographies, but even posted up against those literary works like Emmett Grogan’s Ringolevio or Jim Carroll’s The Basketball DiariesIt’s great because the story’s great, even if you didn’t witness some of it, as we did, and know some of the characters in it, as we do.  It’s one of the best books ever about moving to the Bright Lights, Big City, and this particular city was New York in the ’70s, and Hell didn’t just move there and noodle around, though he did a bit of that; he helped create some of the best music of the era in the hands-down best era of music.  Uh, New York in the ’70s. And then he became a writer.  A good one.

Last year we marveled that the very best thing about New York Magazine‘s series of essays about New York musicians was Hell’s piece on the Velvet Underground.  And through a subsequent email Richard led us to his essay in Rock And Roll Cage Matchwhich depicts the whozebetter battle between the Stones and the Velvets — one of the best essays about two of our favorite bands, ever.

So imagine how thrilled we were to get notice that Hell’s Massive Pissed Love: Nonfiction 2001-2014 will be published on October 12th, and that Richard will do a launch reading/signing at The Strand on the 14th.  We can’t wait.

* Jesus, Dwight Garner wins the day, also publishing this about the 40th Anniversary of Greil Marcus’s Mystery Train.

Richard Hell’s Performances*At Symphony Space

Posted in Uncategorized with tags , , on October 7, 2014 by johnbuckley100

Richard writes with the following news, which we are pleased to post:

I hardly ever do broadcast emails, but I’m sending this to a few friends and contacts because I’m not sure the signals would reach you otherwise (being that the official ones originate from the Upper West Side), and I want people to come!

I’m curating and hosting a series of events at Symphony Space for which I’ve dragooned one youngish artist per evening to sit still to be interviewed on stage by me before he or she performs. The interviews will be 25-30 minutes and the performances 45-50 minutes (with the exception of Kelly Reichardt’s 1:40 movie–projected via celluloid, not digitally, incidentally). These will happen in a beautifully equipped venue, seating only 168. There will be bonuses—surprise supplements to the interviews and some ace giveaways. The main thing though is that all these people are interesting and talented and this is a unique chance to see them so intimately exposed…

Please attend and spread the word if you can. Any tweets or other social media announcements of the series will be highly appreciated, and please forward this email to anyone you think might be interested. The most practical single link to let anyone know about is the series list at Symphony Space, where clicking on the individual event listings will take you to ticket-sales pages: http://www.symphonyspace.org/events/series/180/night-out-with-richard-hell

Thank you!

My New Performance Series
Night Out with Richard Hell
in the Thalia Theater at Symphony Space
2537 Broadway, NYC (southwest corner of 95th St. and Broadway)

* NOTE: ORIGINAL HEADLINE REFERRED TO THESE AS SPOKEN WORD PERFORMANCES.  SEE COMMENT FOR BETTER DESCRIPTION OF WHAT THESE SHOWS WILL BE LIKE.

So Of Course Richard Hell Wrote The Best Essay Ever About The Velvet Underground

Posted in Music with tags , , , on March 27, 2014 by johnbuckley100

There’s not much Richard Hell can’t do — practically start punk all by himself, propel Television out of the Bowery before wandering off, put out great albums with the Voidoids, write entertaining novels, oh, and one of the three or four greatest rocker memoirs ever.   But now he’s up and done it: in the new New York, which has a pretty great series of essays about New York musicians going all the way to the middle of the last century, Hell has written an homage to the VU in which he says the magic words: “In my opinion the Velvet Underground are the best rock-and-roll band in history.”

Now, we find this remarkable, in two ways.  We agree with it, of course, even as we argue with those voices in our head that are shouting out “Rolling Stones circa ’72!” and “what about the night in 1979 you saw the Clash and thought you’d achieved satori?”  Yeah, we hear ya.  What he said.

One remarkable thing, though, is how either he — or the phalanx of editors at New York — spelled “rock’n’roll” as “rock-and-roll.”  When we worked at New York Rocker — when Richard Hell would shamble in and drop off copy, being paid the same $25 an article as the rest of us — the house rules were “rock’n’roll,” and we’ve always accepted that as definitive.  Now our certainty is shaken.

But the other thing is, did we think Hell would call The Velvet Underground THE BEST?  I didn’t, but am always happy for the surprises sent straight from Hell.  Like the email I got from him in early December when he presented Tulip Frenzy with the most excellent remastering of The Richard Hell Story.  (Hey Richard, while we did thank you, I don’t think we passed on how incredible it is to hear those Dim Star tracks sounding bright and clear.  Amazing.  Please, release the whole thing, ok?)

We would link to the piece, but it’s not available yet.  And I would quote from it at greater length, but that’s not kosher.  All we’ll say is this one essay by Hell is worth the price of admission.  And is a reminder that, “in my opinion Richard Hell is the coolest man in rock’n’roll history.”  Or is that “rock-and-roll history?”

 

UPDATE: Richard Hell, bless his soul, emailed to inform us that, actually, the essay is available online, right here.  So do go read it.

He also added that, in re: how to write rock und roll properly, “I settled on ‘rock and roll’ some time back (it’s done that way in Tramp too.  The ‘n’ just felt too contrived to me, maybe even condescending, ultimately, now…”

Then moments later he wrote back, “”Wait a minute… They added hyphens, the fucks!”

He went on to write other things, but just as it’s bad form to reveal too much about your conversations with the President of these United States, or like the Pope or someone, we will not reveal all.

And damn, forgot to ask him if they will ever release a remastered version of the epic Dim Stars album, featuring him and Thurston Moore…

Richard Hell Is A Stand-Up Guy

Posted in Music with tags , , , , , on November 29, 2013 by johnbuckley100

So funny, we’d been thinking this morning how unhappy we are not to be in Brooklyn tonight to see Television play at Rough Trade.  And then we got this email…

For a long time, we’ve loved listening to Richard Hell’s music, particularly the two albums he recorded with the Voidoids — Blank Generation and the original Destiny Street.  But since the ’90s, we’ve also enjoyed reading his fiction (Go Now), and then his excellent memoir, I Dreamed I Was A Very Clean Tramp, which we absolutely adored.

Today, Richard contacted us out of the blue to let us know that he had just re-issued his compilation SPURTS AKA The Richard Hell Story because… well, we’ll let him tell it:

What happened is I became aware a few months after the original release that it was degraded because, due to a miscommunication, all the tracks on it had been terribly limited/compressed, sucking out the dynamics and vitality of the original tracks and reducing them to a blare. (If you’re interested, there’s a more detailed account below of the long process of dealing with this.) The new versions are especially significant for the large number of the tracks, like the Neon Boys numbers and “The Kid With the Replaceable Head” and the DESTINY STREET and DIM STARS cuts, etc., which basically aren’t available anywhere except on SPURTS. 
The new masters were made this fall at Sterling Sound by Greg Calbi (the maestro of masterers, who actually mastered the BLANK GENERATION album for Sire/Warners in 1977). He was good enough to let Don Fleming and me sit in. We used the very best original sources, some actually higher quality than on the 2005 sessions, but the main thing was to keep the pure powerful full-range sound, sans the nasty frequency-squeezing added at the last minute in 2005.
 
I feel bad that all the customers of the last eight years paid for something inferior and now if they want the good stuff will have to pay again. But there’s nothing I can do about it but apologize. It’s my fault. 
 
Warner/Rhino agreed to substitute the new tracks at all merchandisers, and they started the process November 19. They’re now up at most of them, including iTunes, Amazon, and Spotify. So far the song titles are not individually described at these places as new masters (and there’s various other scrambled misinformation, such as still listing the release date as 2005)–though at most sites the album title states “(Remastered)”–but you can be sure it’s the full 21 newly remastered cuts when you see that the song “Downtown at Dawn” runs 5:59 or so; on the original Spurts it’s 4:07. I’m working on trying to get the separate tracks labeled “2013 remaster” so they can’t be confused with the old bad tracks, but it’s hard to get the business bureaucracies to trouble. Also, eventually the jewel-boxed CD at Amazon will be replaced, but we don’t know how long that will take. 
 
As to how the original re-mastering went wrong… It was a mis-communication at the very last stage of the original remastering process done for SPURTS. We had all the tracks tweaked to spec–drawn from the best available originals, made as consistent as reasonable with each other, etc.–when I made the point to the technician that I wanted the CD, as a unit, to play at the loudest practical volume. I just meant that the tracks, as already prepared for the final pass of the mastering process, should fall as close to redline as possible so that when the manufactured CDs played they’d be at least as loud as anything else in a playlist… It was a trivial thing. But the guy misinterpreted what I was saying, and proceeded to add this excessive limiting/compressing to all the tracks, so that the volume within each track would be more consistent and every track therefore would come out louder. At this point I wasn’t paying much attention, because I didn’t think I needed to–everything was routine. It was only months later that I realized what had happened. A huge amount of the life of the tracks had been sucked out. I always hoped and planned to eventually fix this, but as long as the CD was in its original printing I knew it would be a problem, because the company wouldn’t want to destroy those. Also it would cost me a good amount of money (it ended up costing $3000+), not to mention time and effort. Anyway, when I saw that the CD had gone to print-on-demand early in 2013, I realized it had become practical to substitute good re-remastered versions. So that’s when I contacted Rhino/Warners…
 
For reference, here is how the new CD in mp3s is offered at Amazon: http://www.amazon.com/The-Richard-Hell-Story-Remastered/dp/B00GICU8QU/ref=sr_1_2?s=dmusic&ie=UTF8&sr=1-2&keywords=%22richard+hell%22
Going to this trouble to make things right with his fans is a) a very classy thing, and b) a smart thing for an artist to do.  After all, you want to be known by your best work, your best effort.  This was the thinking behind his Destiny Street Repaired, in which he went back into the studio to re-record the original album, which he found deficient because, well, he was deficient at the time.  We did not think that move was so successful, preferring the original.  But getting The Richard Hell Story with its trove of Neon Boys (AKA proto-Television) cuts, and Dim Star (w/Thurston Moore) songs, not to mention his work with the Heatbreakers and the Voidoids into listenable shape — well, this is pure delight.
Did we mention it was Black Friday and that you do have that list of friends you need to buy albums for, no?

 

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