Give Him a Hand: A Chat with Mike Mariconda

Airborne Mike: The Raunch Hands at Maxwells.

Gritty New York. You hear that term so often that its already become a worn out cliché. Nevertheless, out of the hundreds of bands that can rightfully claim the title of being one of those “gritty” NYC bands, The Raunch Hands were one of the few that encapsulated the whole dirty, sloppy, happy, sadness and madness of this little burg. Sure The Ramones did the same, but by the mid-80s, the “punk” musical climate was changing. Songs were speeding up and becoming more aggressive. Worst of all macho jocks had started to notice and transform the quaint pogo-ing at gigs into full fledged testosterone fueled slam pits. Into this world the Raunch Hands were born. Carrying a youthful swagger they mined the soulful R&B underbelly and spit it back out in a maelstrom of booze and good times. If the city was going to hell, might as well have fun doing it. Not only did they bring the party, the Hands also did what few other NYC groups were able to do. Get recognized throughout the world and yet, remain purely an underground band. Mssrs Chandler, Mariconda, Tchang, Sulley and Brnicevic (not to mention later members Edison, Crowley, & Linzell) kicked up an unholy mess that has yet to be equalled.

Mike Mariconda mixing it up in Italy. Courtesy Fabio Rizzo

I had a chance to chat with Michael Mariconda, guitarist of the RH, about those early years gigging in NYC.

SSA: Thanks Mike for taking a few moments to contribute your perspective on the garage scene in NYC. Naturally, my standard question for everyone is, how did you first hear about the scene?

MM: Basically, by getting the job at Venus Records in 1983. I was in contact with a lot of  musicians that were coming in looking for records of Garage Punk. The post-punk  new band scene was stale so all these great reissues started coming out. What do you do when the next crop of new bands suck? Go and listen to old records…and that’s exactly what happened. It wasn’t rare to have Jeff Conolly and The Lyres, members of The Vipers, Fuzztones, Chesterfield Kings, Lux and Ivy, Greg Shaw and even Billy Gibbons dropping by to see what was good and for sale. Also people like Tim Warren, Billy Miller, Bruce Planty and our drummer Vince Brnicevic were working on their first volumes of 60s punk comps (all influenced by Nuggets but with much wilder and obscure bands) – Back From The Grave, Hipsville, Open up Your Door and What a Way to Die– all at the same time.

Ad for Venus Records

And Venus was where my pal who was well known in collector circles brought me. How did you get that gig? I recall you already knew quite a bit about music. In fact the reason I bought a Stones 45 from you was because after playing it, you mentioned (correctly, I might add) that it had a hotter mix than the LP version.

I was lucky I got that job as there were a lot of applicants. I tried to sell myself to the owner  as knowing something about 50s R and B which I thought could be a market to sell to the Garage scene rather than just having another guy who was into Garage working there. Scott Curran hipped me to the idea of different mixes between mono and stereo LPs and French EPs or 45s pressed in various countries all sounded a little different. Added up to buying the same record 3 or 4 times.

The Raunch Hands on the Scott and Gary show. Episode 5. Courtesy Scott and Gary.

For people who aren’t familiar, only two record stores in NYC really became the epicenter of much of the garage scene. There were others, like Freebeing and Bleecker Bobs, but the garage-genre folks tended to congregate at either J.D’s Midnight Records or/and Crackers’ Venus Records. Can you tell me a bit about the characters who worked at Venus while you were there?

I always got along with everyone who worked there, Scott, Bruce, Ron Rimsite, Bobby Cook, John Kioussis and the owner Bill Shor all characters for sure but they all had beefs between themselves and all disliked the owner. But, in general, I always enjoyed the job since the musician in me was learning so much about music. Being there was no internet, the only way to try to find out about this stuff was through magazines and people to talk to.

I remember attending The Raunch Hands first gig at 240 West and quite honestly being unsure what to make of it. Only that I wanted to hear more. If I recall correctly did you play a fiddle at that gig for a song or two? Could be just a hallucination.

Yeah I was playing fiddle and lap steel on a few songs in 84-85. Kinda gave that up as it became too much to carry around and too delicate to play after beating the shit out of the guitar for an hour. And the lap steel got stolen right before a gig and I had no money to replace it.

Those early gigs were pretty memorable in that literally everyone seemed to be trashed, the band, the audience. It just basically turned into the wildest house party you were ever at. There was a particularly memorable 2 set night at The Dive close to its demise that I’ll never forget. In fact, your manager at the time came up to me during the show and asked me why I was taping it!

Memorable? Hehe. I don’t remember too much. Part of it was the NYC 4 am bar closing time. No one had a car so no reason to stay sober. Gave everyone a lot of time to get drunk watching 4 bands. I remember when we started going on last instead of first I really had to pace myself to be in reasonably good condition to play. Chandler never did.

Back From the Grave Vol 3.

Tim Warren including you on Back From the Grave Vol. 3 was a stroke of genius. Although we didn’t know it at the time, he instinctively knew you guys fit perfectly into the whole idea of his comps.

People were pretty shocked there was a new band on there, and it was an instrumental. Crypt luckily picked us up after we got booted off Relativity after the 2nd LP…that got us to Europe and Japan and prolonged the band for a number of years.

Set list for the Raunch Hands show at CBGBs on July 15, 1986.

The Hands stood alone in being the ultimate NYC band in terms of attitude, style and sound. Pretty soon others out side of the city started picking up on it. When did you get an inkling that this was starting to become more than just a local thing.

We never really had a concept when we started because we liked all kinds of music and wanted to try to incorporate all the styles we could. That confused a lot of people. Initially when I joined, the group was doing mostly Tchang and Chandler originals because the group didn’t have enough musical knowledge to try to cover a song, they always sounded terrible so they just wrote their own originals.

Chandler really had the pedigree coming from the Outta Place. His unique vocal spin on your R&B-based tunes really set the band apart from other bands who mined similar influences.

Yeah. We kinda stole him from The Outta Place, who I did like very much. We were fans of black R and B mostly. My favorite band in the mid 80s was Barrence Whitfield and the Savages. We started moving in that direction when Tchang started playing sax, so out went the fiddle and lap steel.

Business card size handout. Courtesy Dawn Eden.

I have to ask you who came up with the “Hello, I am a Raunch Hand” card. The hand gestures on the back are what totally make it. I think I still have my band T-shirt with those graphics on it.

I cant remember who came up with it but it was a great idea..Cool you still have the shirt, I do to but it doesn’t fit-not that I gained weight…it shrank!

Finally, in closing, I have to ask you about Billy Miller. While most people know him and Miriam for the Norton label, I don’t think many know how essential he was to the NY music community.  Especially around the time KICKS was their only main product. Personally, I feel his enthusiastic writing was what drew me more and more into discovering new sounds. And, if that wasn’t enough, he was a super-nice, wickedly clever guy. Everyone seems to have a unique story when it comes to Billy. What is your story?

Not one particular story but Billy was an amazing guy. Funny, easy going, great taste. I was lucky to have been asked to start The A Bones with him and Miriam and Mike Lewis and I was nervous as this was his follow up to The Zantees that had 2 amazing rockabilly guitarists The Statile Brothers so I had some big shoes to fill. I learned so much from Billy, always had the time to teach and share something about great old records. His death was tragic, a long painful one. So not deserved. His contribution to music was massive as was/is Tim Warren’s. Both of them have had a huge impact on my life.

Miriam Linna, Billy Miller, Link Wray, Tim Warren and Mike Mariconda. 1984. Courtesy Mike Mariconda.

To this day it’s still pretty amazing that people all over the world who appreciate garage music, in all its permutations, still fondly remember and appreciate The Raunch Hands. Despite all the good and bad things that happened that must be satisfying in some respects.

Yeah, very happy to see the music is still holding up, reaching new people and sounds a lot more spontaneous than a lot of recordings today.

Raunch Hands Gig Postcard

Thanks again Mike. And please, if the RH ever do another gig in this lifetime…you have to cover Hong Kong Missisippi it’s the ultimate RH song that never was.

We might have tried that at a rehearsal but sounded so crappy we gave up on it! A future RHs gig unfortunately will never happen, I have 2 fingers paralyzed on my left hand and Chandler is having a very slow recovery from his bout with cancer. However, I still continue to produce bands and even have a new project in the works.

Memories of the Mod Scene with Bill Luther

Bill, then and now.

It gave me great pleasure to have a chat with New Jersey native, record collector, DJ and fellow scenester Bill Luther. Bill was around during much of the early heyday of the mod/garage scene and gave me his thoughts about those times from a distinctly NJ point-of-view.

SSA: Thanks Bill for taking a moment to share your memories of the NY/NJ Scene in the mid-80s. First off, when did you find out about this and who introduced you?

Mod Fun’s first 45 (1984)

 BL: My whole awareness of what was going on in New York City came because of Mod Fun. Their lead singer Mick London used to guest DJ on a local College radio station in Princeton near where I grew up and I read a lot about his band in local music papers. I got in touch with him through the radio station and eventually went to see them play live at Princeton University in 1984. In fact, their debut 45 was always being played on the local college stations WPRB and WRSU. Through Mick, I became aware of what was going on in New York City and by late 1984 my friend Rudie and I began making pilgrimages there to go to gigs that Mick would tell us about and sometimes even mail us flyers for.

Except for the bands that made their way to NYC, I have to say I’m totally in the dark about what happened across the river. Can you tell me more about the New Jersey Mod scene? Was there bleed over from Philly? I also recall that skinheads were pretty active around that time as well.

I lived in a part of NJ that was closer to NYC than Philly so other than The Ravens I didn’t know of anyone from Philly in the 80’s. But I had a small little community of sorts with the Wojciechowski and Grogan brothers just one town away. We would all make these road trips to the Big Apple which, barring traffic, was an hour and change away. Later, after the Dive in ’87 we met loads of people from Harrisburg PA where there was a great scene with a whole lot of amazing bands like The Pallbearers, The Cool Italians, and The Cellar Dwellers. The latter two played the Strip and Tramps quite a few times. Skinheads were around at ska gigs and this NYC mod band called The Scene had a really big skinhead following, not the racist sort but there were young guys who—being skinheads—thought it was their duty to try and act like hard cases. That wasn’t fun. Especially because I was never a Fred Perry, porkpie wearing cookie cutter mod, so I avoided those gigs.

Where there any groups that you recall that never made that trek that you regret not getting a larger audience?

Lord John’s BOMP! LP (1986

There were a lot of bands in my area of Central New Jersey but they were all bedroom bands, basically bands that played at parties or in people’s basements or shitty makeshift clubs. There were two really good bands in New Jersey who I don’t think ever really crossed over into New York. One was band called Lord John who had a very new-wavy Echo & the Bunnymen kind-of-feel about them but they were definitely very psychedelic and an excellent band both live and on record. They played The Strip once and did an amazing gig at The Mind’s Eye at Tramps with the Captain Whizzo Lightshow which was perfect for them. And from the same area of central New Jersey there was a band called The Laughing Soup Dish who unfortunately I never got to see live but they made an amazing single for Voxx records called Teenage Lima Bean that was a cross between the Pink Floyd and 13th Floor Elevators. I don’t think they ever made it to New York City either. And then there was a band who inspired both of those bands called Secret Syde who were very dark and hard but basically reminded me very much of The Prisoners from England but without a keyboard. Unfortunately I never got to see them live either because they sort of imploded by the time I came onto the scene.

A little known fact is that a small scene also occurred at the Bicycle Club in NJ. That was über-fan Martin Splichal’s basement wasn’t it? Can you tell me what that was like? Did any bands of note play there as well?

The Bike Club was started in Martin’s parents basement in Red Bank New Jersey in around 1985 with the PA system borrowed from the Woiciechowski Brothers (who at the time had a mod band called The Thursday Club). Martin had several bands including my own band The Phantom 5, The Thursday Club (whose members, brothers Dave and Bob, would later form The Insomniacs), Mod Fun as Lobster Fun (after Mod Fun had broken up!) and then a couple of other little local bands. I believe a band called a Shock Mommy’s played there once consisting of some former members of The Laughing Soup Dish; and Mick London once did a solo gig there! And that stayed happening for until Martin’s parents sold the house, it maybe lasted a year but definitely less than two.

Can you tell me how you wound up playing in the Tea Party and Phantom Five? What was the chronology there?

The Mick London produced Phantom Five EP (1986)

I formed the Phantom V with the Grogan Brothers: Larry and Chris and later their youngest brother Vince. It was just an idea to knock some stuff around. I met Larry through his fanzine “Incognito”. We both had fanzines and lived literally a town away from each other. Despite this we were completely unaware of each other’s existence until coming across each other’s fanzines in a record store in New Brunswick New Jersey run by Jim Babjak from The Smithereens. I finally met Larry for the first time at a Mod Fun gig at the Dive in 1985 and we became friends immediately. The Phantom 5 started playing in around 1985 but we never really played any actual real gigs mostly the Bike Club and this pay-for-play place in Rahway New Jersey called the mod Art Studio where lots of other bands played, coffee houses and even a youth club!!. I left the Phantom Five at the end of 1986 a few months after our E.P. on Mick London’s Making Tyme label. I’m not even sure why to be honest with you but within a few months of leaving I got together with Dave and Bob Wojciechowski whose band The Thursday Club had recently fallen apart. Mike Sin and I had been looking to form a Merseybeat influenced band for quite some time and Dave was a prolific songwriter so he and Bob had quite a back catalogue of originals to work with and no band so it was almost like a ready-made band! We played NYC once on a week night at Tramps with the Optic Nerve and the rest were just lame gigs at their college in New Brunswick. I stayed with them until almost 1988 and then a year later they became The Insomniacs.

There was a definite separate NY/NJ contingent but despite some differences in tastes we all seem to co-exist in relative calm. Possibly the whole “us” vs “them” mentality. I’m sure you got hassled as much for what you wore as many of the NY people did!

Mods outside the Dive. Photo courtesy of the Bill Luther collection.

The really interesting thing is the whole us/them thing in New York only actually came from really hard core mod people that I met in NYC 1985! They seemed to regard us as sort of hicks and were especially hostile when Mod Fun started to become more Sixties Paisley psychedelic and less Jam/two-tone shoes. It was ridiculous because theres about 20 mods in all of New York City and Northern New Jersey. 10 of them hated everyone from New Jersey and anything not Jam/2-Tone etc. Pretty laughable in retrospect. We used to joke and call ourselves psych mods because that’s what they called us as an insult and took it as a badge of honor and we’d call them Jam mods. I think I recall detecting a certain level of snobbery among some of the New York garage scene people at first but I think once everyone got to know each other things were alright. I was pretty socially awkward back then and I was not extremely outgoing and there were people that I would see around for years before I ever got around to actually learning their names like you, Jeff Shore several other people among them! It wasn’t snobbery with me, I think it was just being completely shy and socially awkward!

I remember seeing the scooters and parkas when I used to go to Mod themed shows at the Dive. That really impressed me. I always wondered how they got through the Midtown/Holland tunnels…

Any of the mods I knew with scooters all lived in Northern New Jersey so it was relatively easy for them to get into Manhattan via the Holland or Lincoln Tunnel. I don’t think I knew a single mod in NYC with a scooter! I lived in central New Jersey and there was no way in hell I was going to ride a scooter all the way to New York City. I took my Vespa to Hoboken once and it was like Death Race 2000 getting there!

It bears repeating how hostile NYC in general was to not just the music but pretty much everyone who looked different. It’s hard to comprehend when you look back. What about that brawl that occurred outside the Southern Funk Cafe, next to the Port Authority? Do you mind putting that incident down for posterity?

Former location of The Southern Funk Cafe

The Southern Funk Cafe legend, interesting story. This was recently the subject of a roasting I received at my surprise 50th birthday party last year and its semi-legendary. Larry and Chris Grogan and I were standing in front of the Southern Funk Cafe in like September of 1986 which was around the corner from Port Authority on 42nd St. We were drinking beer in front of the club out of paper bags directly across the street from a seedy SRO hotel called the Holland Hotel. A cocky young African-American gentleman sauntered past Larry and slapped him in the stomach and said something to the effect of “Hey fat boy ” or something like that, words were exchanged and then Larry and this gentleman wound up in a brawl. Chris attempted to break it up and then, well, without sounding racist it basically turned in to ” jump on Whitey” and several people from the welfare hotel across the street basically came over and started beating the shit out of all three of us. I jumped in to help out and wound up with a nice goose egg on my head after getting bounced off the hood of a Cadillac. We got our asses kicked but we gave as good as they did and I think it was honestly 8-10 guys against the three of us. Eventually the cops showed up and basically said either everybody goes their own way or everybody goes to jail. It was pretty funny until I got home and realized this wasn’t a brawl with the jocks in my High School lunchroom this was the real world! Luckily, that never happened again. To be honest I don’t think I went to many gigs there after that, because I don’t think there were really too many more happenings, but it certainly wasn’t avoiding it out of fear.

Bill Luther’s fanzine, Smashed Blocked

I’d love to hear about your fanzine Smashed Blocked and how that came about. How many issues did you put out? The fact that it wound up in Teal Triggs’ controversial 2010 book, Fanzines as a Mod artifact was pretty surprising.

My fanzine Smashed Blocked was directly influenced by seeing Mick London’s fanzine Start. My friend Rudie Rosinski and I started a fanzine called Stranger Than Fiction (named after a song by the British neo-60’s band The Times) but after some minor disagreements I decided to go and start my own. Smashed Blocked ran intermittently from 1984 to 1986 with a brief return in 1989 and again in 1994. It was fun, ragging on bad records, not spelling properly, bad grammar, last minute crap written in pen before going to press. Fun stuff!

I know you had a great friendship with scenemaker Ron Rimsite from the late great Venus Records. He, along with a few other characters, really made the scene very special and entertaining. I think there are probably as many stories about him than, say, J.D. Martignon. What’s yours?

Ron Rimsite
The dapper Ron Rimsite. Photo Andy Peters, courtesy Iron Leg Blog.

Ron Rimsite was my Guru! Like everyone I met Ron through Mick from Mod Fun. I immediately connected with Ron and he rather generously made me several cassette mix tapes which to this day I still treasure. These turned me on to a host of obscure British Sixties as well as European and Australian music. Many of the cuts were from Ron’s extensive record collection. Whenever we would go to Venus records Ron would always point out cool records and more times than often when we would check our bags we would leave the store to find he had slipped a few things in there.  Everyone I knew in my world (except for Larry Grogan, the Mod Fun guys, and Mike Sin) seemed really put off by him. We were the only ones that actually really loved Ron! My favorite Ron story was probably the last time I ever saw him. I had a massive house party in a large old Victorian duplex that I was living in at the time in Lawrenceville, New Jersey around 1992. Ron drove down and showed up with a handful of 45s from his collection, handed them to me and said “I didn’t bring snacks, will this do?” And Ron was his usual entertaining and sometimes gregarious self . I remember a lady who shall remain nameless talking to him and Ron standing there and not even feigning interest and saying things in his nasally North Jersey accent like “Wow, that’s amazing” while staring off into space without blinking and the gal was completely oblivious and just kept on yakking. At the time I didn’t realize that a lot of the 45’s he gave me actually were quite valuable which made me appreciate him even more when I realized how generous he was. I’ve always wondered what happened to Ron because quite honestly he is really musically responsible for the music fan I am today. True story. If you out there Ron, I love you man!!

As a Latino who loved rock and roll, I know I felt a bit out-of-sorts in the general populace, but the garage folk and the mod folk were always very open and welcoming. I know my African American buddy Larry M. also felt similarly. It was one of the reasons we hung out as much as we did at these places. A sense of belonging—by NOT belonging.

I have a funny story about Larry M. I had an African American co-worker of mine who wanted to come check out the Dive so I told all of my friends that “hey this friend of mine from work is coming out tonight, he’s as black guy in a probably be wearing a peacoat his name is Keith if you see him you know introduce yourselves to him”. Well Keith never showed up but the funny thing was Larry did and he was wearing a peacoat because he had just gotten out of a Maritime Academy so all these friends of mine were walking up to him asking him if he was Keith and that’s how we met Larry! I really don’t recall ever seeing any sort of weirdness although it must have been very weird for Larry because I don’t think I really saw anyone African-American at the Dive before. Some of the mod/ska gigs in New York City were completely the opposite in fact what always interested me was most of the mod scene in New York City was made up of non-caucasian people!

Your scene days came to a close as you left for the army, but not your passion for the sounds. Its one of the things I can say about most of the people I knew during that time. We all moved on to separate lives yet there is still that passion in the music. Thanks Bill!

The re-issued Mod Fun 45.

P.S. As if that wasn’t enough to convince you of the man’s dedication he also single handedly financed a reprint of the first Mod Fun 45 which you can pick up for a mere bag of shells here. I also encourage everyone to check out Bill’s blog on awesome 60s sounds. Anorak Thing.

Thats the Bag I’m In: A Chat with The Senders’ Philippe Marcade

The ageless Philippe Marcade.

Like I mentioned in my previous post, I had the good fortune to sit down with the legendary, musician, frontman—and now author, Philippe Marcade recently. Here is a small transcript of our chat.

SSA: As someone who has been in the underground music scene in NYC for quite a long time, I wanted to know when you first heard about the garage scene in the 80s. Was it because of The Dive?
Philippe: From its beginning in New York, I always felt that Punk Rock was very rooted in Garage. The Dead Boys did a pretty good version of Little Girl by Syndicate of Sound, Wayne County did the Barbarians’ Are You A Boy Or Are You A Girl?, The Cramps did The Crusher by The Novas and Primitive by The Groupies. But I think I first got aware of the 80s full tilt Garage Revival hanging out at Midnight Records on 23rd Street in 1984 and discovering bands like The Chesterfield Kings and The Fuzztones.

From your book, I know you dug many of the same sounds that many of us were into. Except years earlier! Were you surprised that a group of younger bands were now heavily getting into this period of music?
No, it seemed logical after the Rockabilly and Rhythm & Blues revival (The Stray Cats, The Blasters, Buzz & The Flyers, etc…). The years were moving on, only 20 years after!

Everyone has a Billy Miller story. What’s yours?
I think it was in 1997. The Senders were recording some demos at Coyote Studios in Brooklyn. I had brought a video camera and was filming some of our session when Billy walks in, shakes my hand with a rubber hand (!) then says “Do you want to film something cool? Come with me!”. He then leads me to the studio next door and there is Miriam banging on her drums while Cordell Jackson is playing some incredible diabolical instrumental. I got a minute of it on film. I even got Billy’s rubber hand..! You can see it on YouTube! I will always miss Billy. He really was such a great guy.

You must have a J.D. Martignon story as well. Brooklyn’s Bananas fanzine did a wonderful multi-part profile on him a few years ago that showed what a varied individual he was (Part 1, Part 2). I mean, besides being really ornery and difficult!
I liked JD a lot. He was a real sweet guy though, indeed, he could be moody.. I didn’t speak to JD for a few years, then, one day, I discovered he was on Facebook. I wrote him a message. He answered me with a message that was quite strange. He sounded a bit depressed. He was shocked to have just heard that Willy (from the band Da Willies) had passed away. His message ended with the words “Me, I’m stuck here, surrounded by records covered in dust. Here today, dust tomorrow.” Two days later I found out JD was dead too. I was truly shocked by that. I couldn’t stop thinking about his message for weeks.

While the Dive was certainly a fun spot, much of what I recall is unfortunately clouded by a heavy doses of alcohol. But, I do recall the cabaret-style setup and that it was the intimacy of the place that really made it special. The audience and the performers were as one. I missed the whole Max’s era, but I imagine that it was similar.
Yes, very much so. Everybody knew everybody else. It was indeed very “intimate”. And very fun.

It’s funny because while I do remember the characters, there is a whole group of other cool people who also hung out at the Dive that escape my memory. Like, Howie Pyro for instance.
How could you possibly forget Howie ?! He’s a pisser!

When the Dive closed, there was a short lull in the action. Soon though Gare and Deb Parker’s Strip took over as the spot to be. Followed by Ivy and Anne’s Minds Eye shows. The Strip shows were extraordinary because of the great bands that came through and played in a ramshackle old rummy bar. Do you have any amusing memories of that period?
I loved playing at The Strip, and I loved Gary and Deb. Alas, I can’t recall any special anecdotes there, though.

Bowery Rhythm Kings and The Senders at The Continental Divide. October 24, 1988.

The second wind of the Senders came at the perfect time when The Dive and The Strip shows were starting to wind down. The Continental residency became the natural place for most of the scene people to gravitate to. Looking back, it felt like the natural outgrown of Gare and Deb’s idea of combining 60s/70s trash/punk/garage/roots sounds.
It’s an actual fact that I, personally, started the scene at the Continental Divide. Haha! I wanted The Senders to do a residency, somewhere, in the East Village. One day, noticing that they had a “jazz night” on Tuesdays at the Continental Divide (which was a restaurant at the time) I walked in and asked Alan Roy, the owner, if he would be interested in doing a “Rock night” or “Blues night” once a week too. He seemed to like the idea and decided to give The Senders a Monday night spot and see how it goes. The first Monday, we had about four people there, but the next week we had about twenty and the week after that about sixty. We called our Monday nights The Sender Thing. We really got into it, booking the opening bands ourself and by doing this we creating a scene. Within a few months, the Continental Divide was a Rock club. Alan raised our pay three times, although we hadn’t asked for anything. He also had a bigger stage built. These were the most fabulous times for the Senders. Our Monday nights became very successful. It was completely packed week after week. We teamed up with great bands, like The Raunch Hands, Da Willies and The Waldos. It was just so much fun.

The Continental was a great place …even though I never ate there (maybe that was a good thing!) I recall someone telling me how Johnny Thunders was banned because he tried to make off with a chicken from the kitchen. As a good buddy to Johnny, was there any truth to that rumor?
It’s a true story. I was there that night. I see Johnny come out of the basement (where there was an ice-box) looking like he was pregnant!! He had three frozen chickens under his shirt! One of the barman noticed that too as Johnny made his way towards the door. He was busted!!

Employee Althea at the CBGB’s Pizzeria. Courtesy MySpace.

Also, I have to ask, how did you wind up making pizza at the short-lived CBGBs Pizzeria? My pal was always fond of saying how no one could flip a pizza like you could.
I was badly in need of work to pay my rent. When I saw that they were looking for a pizza maker at that new CBGB Pizza joint right next door to the club, I went to ask Hilly Cristal if I could work there. “Can you make pizza?” he asked me. I answered him “They call me Phil ‘Pizza King’ Marcade!! I can make the best pizza you ever had!!. He told me to come the next day, make a pizza and, if it was any good, he’d hire me. In truth, I had never made a pizza in my life!! I promptly went to the pizza place next to the Continental Divide (where they knew me quite well) and asked them if they could teach me. They did! I practiced all day. The next day, I impressed Hilly with my (brand new) pizza making skills and got the job. I hated that job, though. As it turned out, I got fired for giving a CBGB t-shirt to one of the Butthole Surfers!!

Haha! Manhattan certainly was an amazing place. While it is easy to be nostalgic, it’s also important to remember that the very same atmosphere unfortunately took a whole lot of amazing people. Its rare—and wonderful—to meet someone who went through it all, and made it through.
So many friends died. I feel like I’m 95 years old, sometimes. I’m really 62, but it’s strange and sad to feel like one of the last survivor of the Titanic or something.

Thanks for the chat Philippe. Your book is a smashing read and I wholeheartedly recommend that anyone with even the slightest interest in the punk scene in NYC pick it up, like NOW.
Thanks Jeff. If the readers don’t know already, it’s called Punk Avenue (Inside the New York City Underground 1972-1982). It came out this May, from Three Rooms Press.