FFuture FFile reprinted from FFanzeen Magazine, Part 1 [1981-83]

Text © Robert Barry Francos / FFanzeen, 2021

Images from the Internet, unless indicated

One of the reasons I started my print fanzine in 1977, was to help publicize the unknown bands that I was going to see in the clubs that did not get enough notice. In the early 1980s, I started a column called “FFuture FFile,” which were short blurbs about new and up-and-comers, so the musicians could use it for publicity. They were written by different authors. Below, I have reprinted the musicians or bands in alphabetical order (rather than chronologically, and by first name if a single artist), who wrote it, and in which year/issue, the piece was published. Even though they had varying levels of success, they all deserved some notice. On occasion, I will add an update at the end of the particular pieces. Where I can, I will attach a photo and/or video.

Photo (c) RBF

Boy’s Life

By Robert Barry Francos

Issue 8; 1981

When they first started playing out in February 1980, Boy’s Life were too young to be patrons in most of the bars they played. They named themselves after the offical Boy Scout magazine, and used to appear on stage in Scout uniforms. Well, they’ve matured over the almost two yeas and no long wear uniforms, but their initial excitement is still present. This Boston-based (Malden, actually) band didn’t make much of a mark in New York until they opened for Stiff Little Fingers at the Peppermint Lounge. At first, the audience wasn’t impressed with these young guys and showed them such by (quite tackily) throwing cherries at them. But by the time Robert Weiner (drums), Joe McCormack (bass), Neal Sugarman (sax), and John Surette (lead singer and guitar) were ending their act, the audience gave them a rousing cheer – in fact, to bring them back for an encore. They surprised all. While up in Boston this last Memorial Day, I got a chance to see Boy’s Life at the Rat, in their natural habitat (i.e., Boston) and quite honestly, New York has no idea how exciting this band can be. We’ve never seen them at their best, even when they opened for Echo & the Bunnymen at the Ritz in October. Their influences are obvious: Clash, Jam and Pistols; and not obvious: Beatles, Who, and Kinks. With a few independent records to their name, they have been listed as one of the top unsigned bands in the country by a number of top music mags. Boy’s Life is constantly growing, and their popularity increases as well. Their latest single, “Two Doors Down” and “I Found Her” is now available.

[John Surette has been in bands such as the Deniros and the Ex-Girlfriends, and appears in on-stage rock operas in the Boston area. – RBF, 2021]

Photo (c) RBF

The Corpsicles

By Julia Masi

Issue 9; 1982

Over the oversized graphic of a menacing-looking popsicle, the Corpsicles – Philip Freeze, vocals and guitar; Luke Warm, bass, and Mike Leary, drums – knock out a sound that they call “straight-drivin’-through-New York stuff.” They’re reminiscent of the Ramones and the Heartbreakers at their best, with the essence of hardcore and a strong aura of originality that lets their tongue-in-cheek style put them in a class all their own. Right now, Philip writes all the songs, like “Sex with You,” “Poison Blood,” “Confusion,” and “Don’t Judge Me,” and dedicates them to the depressed, the mentally ill, and vampires. “The whole Corpsicles idea,” Philip explains, “is that you have to be an individual. And people that are individuals are sort of repressed. I like people that are off the wall. It’s good to be a little mentally ill.” He describes the band as a sort of free arrangement. I like to get out there and give it all I have. It’s this expression; if everyone expresses themselves to the fullest, it’s just this energy. As long as I see progress, I’m happy. You really have to stick it out. I just want to have a good time playing. We try. We like a lot of different types of music. But this what we do.” And they do it well.

The Cosmopolitans

By Stacy Mantel and Alan Abramowitz

Issue 7; 1981

“A lot of music that people are dancing to is depressing. Today, people are in a horrible depression,” says Jamie Sims, vocalist and songwriter for the Cosmopolitans. And her prescription for rock’n’roll health is to “present an idea of a party rather than a serious thing.” They proved this with their single “How to Keep Your Husband Happy” b/w “Wild Moose Party,” on Shake Records. A hit with Vassar coeds among others, “Husband Happy” epitomizes this sentiment; that parody, fun, and rock’n’roll can co-exist. Jamie got the idea from an early ‘60s Debbie Drake record that Nel Moore (co-lead vocalist, who doubles on metal pot and baton) gave her, which lists ways to keep the hubby hooked. “I didn’t make them up, they’re real,” says Jamie. “It was so ridiculous. I had to do something.” The Cosmopolitans are Jamie and Nel, lead vocals; David Itch, guitar; Evan “Funk” Davies on drums (and host of WNYU’s New Afternoon show); and Fran Kowalski on keyboards. Jamie and Nel had a modest start in rock’n’roll as go-go girls for the dBs and the Fleshtones, and they plan to give dancing lessons at upcoming gigs. However, it may be difficult to dance instead of watching two girls in pink fringy min-skirts bopping about, but Jamie isn’t really bothered: “I just pretend it’s a party, and not everyone’s gonna dance.” So be prepared to learn the Frug, Jerk, Fly, et. al.

The Donny Fury Band

By Stacy Mantel

Issue 7; 1981

The Donny Fury Band is a lively mix of crazies who also happen to have fun with electronic guitars and such. If, perchance, you are able to catch the multi-colored, leather-clad quartet at the local haunt, you will be entertained in a fashion not unknown to us. The group tries its best to bring audience participation to a peak; Donny offers the mic to a frenetic-looking individual right near the stage or dives in and hunts for one of the congregation. “We do whatever strikes our fancy,” Donny states. DFB includes one Cee Cee on vocals (who also manages CBGBs); Donny Fury (who also has his own recording studio where they produced their single, “Plastic Man” b/w “Wild West”) is the guitarist; along with Pat Dime on drums and Jeff Hosang on bass. They create a sound which Cee Cee describes as “very pop and vocal-oriented with importance place on harmonies. “We’re not just a band to listen to, we’re a visual stage show, as well.” One of their songs features Donny on slide guitar, using a vibrator; and when that isn’t available, he’ll use a big, bright banana, instead. Did I hear someone whisper “phallic”?

Fats Deacon and the Dumbwaiters

By Stacy Mantel

Issue 7; 1981

“Rock’n’roll got so far away, it was hard to communicate with it,” says Fats Deacon, front man and keyboardist for Fats Deacon and the Dumbwaiters, one of the more thrilling rock’n’roll bands to hit the scene in years. “Everything’s been done (in music) so now everyone just wants to enjoy it.” There’s something real and human about the gimmickless Dumbwaiters. Their songs are about kids in the streets and real-life melodrama/mediocrity. Their single, “Two by Four” b/w “American Boy,” on Songshop Records, is a prime example of Deacon’s desire to “touch the audience and relate to them.” Fats, who describes his music as “American,” says “We’re a mixture between Meat Loaf and Little Richard; very powered rock’n’roll, but not shallow.” He claims that rock’n’roll got away from the audiences, and that synthesizers took the human feel out of it. As well as “cleaning up” rock’n’roll by singing songs about reality vs. fantasy, the group features Addle Murray on tenor sax. Her horn blows everyone away. Ex-MC5 and Gang War member Wayne Kramer returns on guitar, with Denny Reynolds on bass and Joey Bones on drums. Fats, whose influences include Jerry Lee Lewis, Sly and the Family Stone, and Springsteen, could comment for hours on the history of rock’n’roll’s racial segregation, and will fascinate anyone who inquires with this talented musician. If you wander into a club one night and hear them, you will probably be hooked.

Fred’s Band

By Lisle McKenty

Issue 7; 1981

After many tries, Columbia University has finally produced a band with more than just pretensions to rock’n’roll. It’s Fred’s Band, the “rockingest, boppingest hep cats,” claims one of their fans. Unlike various predecessors, this band has, and is, fun. Fred’s Band is led by Maximilian Dietshe on lead guitar, in fierce competition with rhythm guitarist Danny Ferrira. The vocals are handled with care and cunning by Steve Szilagyi, who double-threats on bass. This trio is backed-up by drummer Bob Wolf. Or maybe it’s them who back him up. Their tunes run half original and half covers. Their covers – from “Blue Suede Shoes” to some risky Beatles, all come off, well, sincerely. No matter how many times you heard them before, they’ll move your feet. But they are hardly a cover band. Their original tunes are well-crafted and show their idiom inside-out. In particular, “Lanky Frankie” and “Rockabilly Girlfriend” stand out. Fred’s Band is a rockabilly dance band, something you – and they – can never forget.

[At some point after this, Lisle was married for a while to Danny. – RBF, 2021]

Photo (c) RBF

Jo Marshall

By Robert Barry Francos

Issue 8; 1981

“Whaddya say we go down to CBGBs and catch the act tonight?”

“Whoz playin’?”

“Jo Marshall.”

“Never heard of ‘im. Who is he?”

“Not ‘he,” schmuck, she.”

“She!? I don’t know…she’s got a guy’s name.”

“A guy she sure ain’t. Trust me on that.”

“Cute, huh?”

“Oh, yeah. Nice bod and weird eyes. Nice-weird.”

“Yeah, and I bet she can’t sing worth a shit and no one notices ‘cause of her looks.”

“Bullshit. And I can prove it: look-it, first time she went into a studio, a fan of hers did backup. You know who that was? Joey Ramone. Yeah, and Elvis wrote a song called ‘Mighty Man’ for her.”

“Didn’t he die?”

“No, asshole. I mean Costello.”

“So did I.”

“Anyways, she went over to England and did some recording at Nick Lowe’s studio. Hey, and are you ready for this; she uses a steel-petal guitar in her band. Only it don’t sound nothing like some shit-kicker band. They really do some great kickass rock’n’roll. There’s Ed Bierley on petal-steel, Jerry Mitnick on bass, Carl Nelchloss on lead guitar and David Rosenberg on drums, and they’re great. Songs are great, too. My fave’s ‘Stop Looking at Her.’”

“Whadda we waitin’ for?”

[I had heard that Jo passed away, but have not found any information on it online. – RBF, 2021]