To people familiar with the history of the NYC garage scene, its hard to not know about The Headless Horsemen. The band, which began as an loose supergroup of Fuzztones and Tryfles members have been a mainstay of the NYC 60s beat scene for, well, about 30 years. In fact their histories are so intertwined that in a future 2-part post I will cover the genesis of not just the The Tryfles but also the Headless Horsemen.
For now though, I urge anyone in the NYC vicinity to head over to Brooklyn Bowl this Sunday November 5th to take part in the bands 30th Anniversary celebration. Among the special guests are The Animal’s guitarist Hilton Valentine, and the great Roy Loney from the Flamin’ Groovies. Opening are Orlando, Florida’s The Belltowers, making their very first NYC appearance. To commemorate the event, former Dive denizen, photographer (and now creative director) Greg Gutbezahl created an astounding flyer. You can see some of his early work in the flyers section of this site.
Here is a clip from the vaults of The Headless Horsemen playing the late, great Continental Divide on February 9, 1997. A mere 10 years into their 30 year stint. And let me tell you…they STILL sound like this. Everybody shake.
The New York punk scene has long roots. There’s the stuff everyone knows about like CBs, the Ramones, Blondie, Television…etc., etc. Then are the things that totally fly under the radar for all except a lucky few. The Senders were one of those things. Living, loving, and performing alongside all the hottest bands of the time, one could not have been faulted for missing them. That is, until you met lead singer Philippe Marcade or saw his group play.
Thankfully, Philippe recently released a fascinating and amusing book chronicling his early punk years called Punk Avenue. Amongst the really hairy tales (that you really have to read to believe) Philippe narrates with an equal amount of tenderness and sincere affection for the characters in his past. Part chronicle, part confessional, the book radiates the sort of warmth and good humor that Phil was always known for.
This was very evident at the book release party at Poisson Rouge in downtown Manhattan on May 2nd. It seemed as if every friend Phil ever had was in attendance, as well as many others whose lives also centered around the punk scene in the late 70s.
The evening started with a small discussion moderated by Legs McNeil that discussed Phillipe’s music career and touched on a few amusing recollections. But the main draw was the musical lineup. Starting off with Brooklyn’s Daddy Long Legs, the night continued with The Waldos with guests like Andy Shernoff, Dee Pop, Danny Ray, J-F Vergel, and Shige Matsumoto. Closing was of course Philipe doing the “Sender thing” with The Rousers backing him up. When Philippe came onstage toting a bagful of colorful party streamers to hand out, it was obvious this show, was going to be a memorable one. Aided by guests like Lenny Kaye and The Willys’ Lynne Von, it did not disappoint.
The Senders left a small footprint on the NYC garage scene as well. When they reformed for their second run in the late 80’s, their hard-driving R&B rock was naturally noticed by New York’s garage rock aficionados. The Monday residency at the then-new Continental Divide quickly became the place to be on a Monday night. Not only did they host an amazing assortment of supporting acts such as the aforementioned Waldos, but veteran scene bands like The Headless Horsemen and the Raunch Hands also made appearances.
I wholeheartedly encourage anyone interested in NY’s punk scene to pick up Philippe’s book. It deservedly belongs next to your copy of Please Kill Meand New York Rock. Keep tuned to this space, interview coming up!
As a kid growing up in Briarwood, a neighborhood in the borough of Queens, I never really felt that I was a “New Yorker”. Despite being within the geographical confines of NYC, it seemed like another world. When compared to the mythical OZ across the river, all we really had to mark ourselves as New Yorkers were The Mets and the ’39 and ’64 Worlds Fairs. Any excursion to Manhattan was even labelled as a trek to the “city”. So, with this mindset, my pals and I would often take a 30 minute walk to Forest Hills to satisfy our young wanderlust. It was one of the few places in our world where you could hang inside a record store, see a movie, and grab some fast food (a rarity at the time!). Little did we realize that merely a few blocks away, four guys were cooking up something that was to change…well, everything.
It was only as an adult that I began to grasp how inconceivable it was that everything that I held dear about music, came to existence a few subway stops away—in Queens yet! So, I couldn’t have been more pleased this past summer to see that the ultimate garage punk band, The Ramones, were honored by an exhibition at the Queens Museum. As I told a few people, the exhibit served as a way to not just honor the band but also honor the spirit of the fans, the borough and even New York City. It was wildly satisfying on so many different levels. Even if it did oddly make me feel like a living fossil.
When it was announced that The Ramones would have a street naming ceremony in Forest Hills on October 30, I knew there was no way that I could miss this. Actually, I had also attended the dedication of Joey Ramone Place near CBGBs way back in 2003. But this ceremony seemed much more personal in a lot of ways. For one, it was finally on home turf.
Bracing for a crowd that I thought would rival the Manhattan ceremony, I was surprised to see only about 100 mostly older die-hard fans milling about the front of Forest Hills High School. Maybe it was the time. 11AM on a Sunday morning did not endear itself to anyone even remotely used to sleeping in on the weekend. Nevertheless, spirits were high as fans happily chatted while Ramones tunes played in the background.
The ceremony started off with the usual speeches from the assembled politicos and school executives. Each (oddly) describing their personal Ramones memories. But the real treat was hearing from a select group of people closely associated with the group. Tour Manager Monty Melnick, Band Manager Danny Fields, Joey’s brother Mickey Leigh, ex-Cramps drummer Miriam Linna, and even The Damned’s Capt. Sensible all shared an anecdote or two, but also spoke about how deeply the band mattered to them. You couldn’t have thought of a nicer way to close off the first part of the ceremony. After the speeches, the street sign was summarily unveiled. And, while it was nice to see, I couldn’t help but feel it was almost anti-climactic. Just having the band acknowledged and held dear by so many was the real kicker. Gabba gabba we accept you one of us.
Vinyl Junkie Alert: Miriam Linna, who along with Billy Miller own the outstanding imprint Norton Records, recently released a piece of Ramones history that collectors would find well worth their time seeking out. As part of Norton’s offering for Record Store Day this year Norton pressed up a limited run of 100 7″ copies of The Ramones 1975 demo for Judy is A Punk on clear blue vinyl. And as if to make the single even more interesting, the cover image is a rare shot of the boys actually smiling. Obsessives take note!
While we’re on the subject of New Jersey garage/mod bands of the 80s, you really cannot forget the Phantom Five. While they never got to play the Dive, the group did play many of the most well-known venues of the time like Tramps, CBGB, and McCarthys/The Strip. In fact, they even ventured as far out as Bethlehem, PA and Nyack!
Started in 1985, by the brothers Grogan, Larry(D), Vince(B) and Chris (G) soon joined forces with pal Bill Luther and recorded a fantastic EP titled Great Jones Street in late summer 1986. Put out and produced by Mod Fun‘s Mick London (in an actual garage no less!) the EP showcased the bands great knack for catchy garage punkers. The Five were also unique in that while many groups strived for a calculated image, these guys were more than content to just let the music speak for itself. They were the very epitome of an actual mid-60s garage punk band. In 1987, John ‘Bluesman’ Rahmer replaced Bill Luther.
Tunes were recorded for a second EP that was to have been released on Stepford Husbands’ Dave Amels label, Cryptovision in 1987. Unfortunately, plans fell though and the EP never came out. The band soon called it quits with the various members moving on to other projects. Chris formed the Grievous Angels, Vince joined Gigantic, Bill the Tea Party (pre-Insomniacs) and Larry returned to doing zines.
These days Larry remains a fan of music, moving into collecting and DJing as well as tending to his fantastic soul and pop culture blogs. Former member Bill Luther also a collector and DJ, maintains his own 60s related music blog as well. —Many thanks to Larry Grogan for invaluable info.
When it comes to discussing the Mod scene in NY/NJ, during the 80s a couple of choice names always seem to come up—Mod Fun and The Secret Service. While those two ensembles certainly lived up to the intense buzz they created, no one back then would have guessed that three of their fans from across the Hudson would form their own group and end up surpassing their idols.
The Insomniacs originally consisted of the brothers Robert and David Wojciechowski who, along with their pal Mike Sinnochi, formed the core of the group for many years. As long time denizens of the Dive, all three were all well aware of and active participants in the mod and garage scenes. Soon after the demise of the brothers’ previous band, The Tea Party, Dave, Bob and Mike began performing newly written material under the name The Insomniacs.
Almost immediately they built up a strong following in the NY/NJ area. That, coupled with the bands incendiary live performances were enough to catch the attention of Estrus records honcho Dave Crider, who signed them to his label in 1994. This 45 produced in 1991 however, is the first single they put out. It showcases the bands strong, hard-edged, 60s flavored pop songs that would garner them acclaim not just here, but overseas as well. Sharp fans will notice that this 45 version is markedly different from the version that wound up on 1994’s CD collection Wake Up! As Dave said “The Estrus version was a totally new recording for the “ghoul” ten inch. It’s much faster as by then we were playing all the time and that’s how we did it live.”
Advance apologies for the snap, crackle, and pop. My copy somehow amazingly managed to survive not only being stepped on, but also having cheap beer spilled on it! A testament to the raucous record release atmosphere at McCarthys Bar that night.
The band still performs occasionally, with new drummer Joel replacing Mike Sinnochi who retired from performing.
Being NYC, many smaller bands from outside the area always made it a point to make the city a stopover. One of those bands, The Mockers, came all the way from Virginia Beach, VA. Details of how I found out about their NYC gig is still a bit hazy…but with a name like The Mockers, any 60s music fan worth his salt would be curious. There was no question where I would be that sunny weekend afternoon in 1987—NYU’s old Loeb student union.
At this point the group was only a few years old and, like most bands at that point in their career, they were hungry to win over the audience. True to form they delivered a perfect 60s-flavored pop set that even made converts of people who just happened to wander into the performance area by accident. After the show ended I went over to head Mocker Seth Gordon and complimented him on a wonderful set. Seth sincerely thanked me and did something that used to be a lot more common among bands and fans. He handed me a demo tape in appreciation.
The 1987 demo version of Outdoor Cafe (which was to eventually make its way to 1995s Somewhere Between Mocksville and Harmony LP) is minimally produced and shows the band as close to live as you can get. Truly a gem of a song, and performance.
Nowadays The Mockers are in the midst of an extended hiatus. However, over the years they did go on to have a long and fruitful career overseas. Big in Japan indeed.
If this site had a patron saint, it would have to be The Vipers. For the short period that they existed, they not only laid the ground work for the scene but also inspired innumerable others to take up the cause. To this day, even garage music fans in Japan know about them. So, to know that the first LP was never properly reissued was truly a crime. One that ex-Viper Paul Martin was happy to take on.
Now the fruits of his labor of love are available for anyone to purchase. How good is this album? To quote Mike Stax in Ugly Things fanzine “The Vipers set themselves apart with superior songwriting chops and a melodic, harmony-based sound that was closer to the Knickerbockers and the Turtles than the Seeds or the Music Machine. While other bands got by on attitude and bluster, the Vipers used finesse, a quality that served them particularly well on Outta the Nest!”
While the disc does not have any extra tracks, the sound was remastered from a pristine original pressing and pressed on heavy vinyl. To say the sound jumps out at you is putting it mildly. Its an amazing job considering the material. A 24″ x 36″ poster rounds out the package.
Garage music die-hards can do themselves a favor and pick up the vinyl straight from the source. Rocka-Rola Records 101A Clay Street, San Francisco, CA 94111. $25 (US & Canada). Paypal devotees & inquiries: email@example.com!
While I do not find myself out and about nowadays, I’d be remiss if I didn’t mention a few of the groups that are to this day flying the 60s garage punk banner in NYC. First up is these fab Brooklynites. The Above have been around for quite a while and probably take the award for stick-to-it-iveness. Much like the great bands of days gone by they blend a unique, yet familiar, mix of R&B, Soul, Freakbeat, Garage and Beat. I recommend checking out their live shows as they rock like you wouldn’t believe.
My first exposure to The Raunch Hands came at club directly across Roseland Ballroom on 52nd St called 240 West. As the show was sparsely-attended, it was not a surprise to find out that the club closed soon afterwards (eventually finding a new life—albeit briefly—as the Lone Star Cafe Roadhouse.)
However on that night, the main attraction was a brash punk-y roots-y band that truly exemplified the term Rhythm and Booze. While the “cowpunk” genre was already on its way out, what made this band stand out was the howling, skinny, lead singer. The band was rough, and sloppy with an intense energy that burned. Upon inquiring, I found out that this was actually the bands first performance and that singer, Michael Chandler, was formerly a member of the famed Outta Place. That night began what was to become many a night spent catching this amazing group.
Through the years as Chandler went through different projects, he always remained humble, charming and a great person. The guy seemed invincible. Well, unfortunately that was not to be the case. Last year Mike was diagnosed with a rare form of neck cancer that necessitated aggressive treatment. Needless to say expenses mounted up. Which brings me to the point of this post.
If the music of Michael Chandler and the Raunch Hands, or Outta Place ever meant anything to you. Then, its your time to give back. Please visit Mike’s GoFundMe page and say thank you. Thank you for the smiles, the fun and the great times that his performances always accompanied.