Text © Robert Barry Francos / FFanzeen, 2021
Images from the Internet
One of the reasons I started my print fanzine in 1977,
was to help publicize all the unknown bands that I was going to see 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 they could use
it for publicity. There 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 various levels
of success, they all deserve some notice. On occasion, I will add an update.
Where I can, I will attach a photo and/or video.
Lyn Todd
By Julia Masi
Issue 8; 1981
Lyn Todd’s voice
smolders with the seductive raspiness that comes from smoking too many
cigarettes and being a life-long veteran of local rock’n’roll bands. She’s been
singing since she was 13 and formed her first all-girl band, The Mermaids, in
Los Angeles, California. Two years later, she ran away from home to become
entrenched in East Coast underground culture. After drifting in and out of a
few bands – most notably Peroxide – and hobnobbing with the most influential of
New Wave glitterati, she recorded a self-titled album (Lyn Todd on
Vanguard Records) and then slipped into a year of self-imposed retirement. The
Eastside Angels, her present band, are three Southern gentlemen: Chuck Talbot,
guitar; Greg Roberts, drums; and David Piper, bass, who made their way out of
Atlanta, Georgia, by backing up rock’n’roll artists on the road. Together, Lyn
Todd and the Eastside Angels are an assault on the vacuum surrounding the New
York music scene. Having only officially formed in August 1981, the band has
already begun headlining in New York City clubs and has been getting ready to
record. “The band is young,” says Talbot, who writes most of the songs,
“because we want something with a bit of longevity.” The melodies are
effervescent pop, but Lyn’s sultry style is suitable for almost any song, from
Bowie’s “Rebel, Rebel” (the single from her album), to ballads, like her own
composition, “Looking for You,” or the rockabilly numbers she hopes to
incorporate into the act. And that’s what will give Lyn Todd and the Eastside
Angels the edge on an ephemeral scene.
[Lyn passed away in
2010. – RBF, 2021]
Mental Notes
By Stacy Mantel
Issue 7; 1981
Recipe: Take one Scott
Severin, intelligent lyricist and vocalist whose influences including
Cannonball Adderly, Joy Division, Animals, Ramones, and Motown. Stir in Hank
Wyatt with his Gibson Les Paul Jr. (circa 1957). Fold in Joe Fish’s powerful
funkified bass riffs and some Steve Stagename on skins. Allow to cook for a
couple of seconds at 98.6 and what have you got? Fever! And what makes them
outstanding? Scott says, “I guarantee no one will get passive when they see us.
Our music ranges from rock’n’roll, funk-punk to art dance. It’s very
aggressive, baiting music, but there’s show business in there as well.” He
explained how their music is intended to be “disturbing.” He expects that the disturbing
effect will “appeal to the audiences’ psychological sadomasochistic tendencies
and they’ll come back for more.” Although quite a danceable brew, one wonders
how they can dance to songs about apocalyptic visions and mind-mutating
syndromes. “What I’ve done is tapped onto military and sexual metaphors and
used them for amusement and for a statement,” says Severin. “We’re not trying
to raise consciousness. What it comes down to is entertainment.”
[Severin resides in
Brooklyn, and still records with Scott Severin and the Milton Burlesque. – RBF,
2021]
Nekron 99
Julia Masi
Issue 9; 1982
Nekron 99 is the only
Chinese-American rock’n’roll band in the world. This New York City-based trio
consists of guitarist/singer John Seetoo; bassist James Seetoo; and drummer
Joanna Cerew. The brothers John and James write the bulk of the material,
ranging from the hopeful anthem, “Survive,” to the eerie, Doors-like,
“Secrets,” to the raw-edged accelerated fun of “This Temptation” and “Astro
Fighter.” Not surprisingly, they cite John Cale, Johnny Thunders, Jefferson
Airplane, and the Pirates as important influences. They are concerned with both
political issues and the raising of Asian-American consciousness. “We’re aware
that we are two out of a handful of Asian-American musicians,” said John and
James. “Although (Joanna’s not Asian), that’s not the point. What does matter
is that every time Nekron 99 plays on stage we break down stereotypes of Asian
people on both the Asian and the non-Asian sides. The songs “ABC,” Ancestry,”
and “East/West/Man/Girl” deal with the Asian-American’s missing cultural
identity and stereotypes perpetrated by the media.” Besides the release of
their first record, Nekron 99 will also be featured on the upcoming documentary
on Asian-Americans, East/West People (tentative title) by Bonita Lei.
The film, which includes performances of several songs, plus an interview with
the band during a recording session, will premiere this year. The
above-mentioned record, The Commercial Success EP, has been named as
such for several reasons: “We want this record to appeal to the greatest, most
diversified audience possible. Therefore, we didn’t include anything too avant-garde
or politically offensive to anyone. If people like this record and go to see us
live well, then they’ll definitely get their money’s worth, as well as a better
idea of our real strengths.” Incidentally, all four tracks were recorded live
with no instrumental overdubs. The band’s sound is an original, unique musical entity.
[There is no
indication online that the documentary was released. Nekron 99, named after a
character created by Ralph Bakshi, became a foursome before breaking up. – RBF,
2021]
The Numbers
By Julia Masi
Issue 10; 1983
The Elf is a
fast-talking, witty, personification of energy, with a sixth sense for spotting
a perfect pop band, which he has recently formed as The Numbers. They are Kevin
McCabe, vocals, and guitar; Damien Kim, bass; Shawn McCabe, guitar, and The
Elf, drums. As a fledgling record producer, The Elf could name a viable pop
tune in two notes. And when he heard Devin’s cleaver and catchy compositions,
he knew he’s stumbled on a few potential smash hits. The only problem was that
Kevin, who’d been in a few to many stagnating bands, had given up performing.
Of course, such minor obstacles cannot deter The Elf. He enlisted the aid of
Damien and Shawn, who were equally enthusiastic about the material, booked the
band’s first gig, and “tricked” Kevin out of retirement. Kevin originally
agreed to just one gig, but one gig led to another, and now the Numbers have
committed themselves to entraining the crowds on a regular basis. “We all just
clicked,” says Damien. “There’s definitely a chemistry there. Each gig we get
better. We get more confident; there seems to be a natural progression. But
we’re kind of hard on ourselves. We always think we can do better.” “I’ve
always had confidence in his songwriting,” says Shawn of his older brother. It
seems like every time he writes a song, we all seem to agree he’s getting
better. And that’s what keeps us wanting to play.” With songs like “Smash Hit”
and “Live it Up,” they bring with them a fresh breath of originality. Kevin’s
voice is incredible. He sings with a sweet androgynous sound that stuns you
into sitting up and taking notice. The rest of the band plays with equal
competence, and with enough energy to get anyone but a paraplegic dancing.
Perone
By Julia Masi
Issue 10; 1983
In another era he
would have been the matinee idol. With his thick, dark hair, hypnotic brown
eyes, and self-possessed stance, Pat Perone was born for the spotlight. But
when he fronts Perone, with John Lee, drums; Peter Bliss, bass; and Pat on
vocals and guitar, his visual appeal is upstaged by their music. Incorporating
“the swing of the ‘50s” with the essence of rockabilly, while adding a heavier hand
on the drums and guitar, Perone has captured a sound that offers an edge of
originality to the vacuum of the New York scene. “Actually,” we’re trying
rock’n’roll with a ‘50s feel,” says Pat, “because it’s danceable. And what good
is a band if you can’t dance? We’re not exactly like some bands that do their
rockabilly like it was done in 1955.” He admits that maybe their style isn’t as
clean as Bill Haley and the Comets, or the Stray Cats. But that’s because
they’re “more geared to a new approach that is going to give the listener
something to remember.” And one of the things you’re most likely to remember
about Perone is that they are very upbeat and uncomplicated, while still being
serious about the music. “A twelve-year-old kid can like it as much as a
75-year-old. It’s real simple rock’n’roll. High energy. It’s not like there’s a
cloud around rockabilly. This kind of music is just right there, on the
table. There’s nothing to figure out.” Their songs “Stuck Up Girl,” “High
School Romance” and “Going Steady” cover the basic love-struck themes, but as
Peter points out, “The sincerity is real obvious. There are no pretentions. I
don’t have to play like others. I just do what I do. And it comes out and it
fits into what we’re doing.” What Perone is doing is very entertaining.
[The best I can figure
out, Pat Perone is now an Elvis impersonator. – RBF, 2021]
The Public Servants
By Stacy Mantel
Issue 7; 1981
She proves that the
human female voice is virtually limitless in its capacity to charm. Her
staccato parrot voicings and vibrato should soon rank her as one of the more
popular New Wave vocalists since Lene Lovich, although her style is clearly different.
She, like Lovich, uses her voice as an obscure, non-traditional instrument, one
brought back, perhaps, from extraterrestrial horizons. She’s Shelley Hirsch,
lead singer for the Public Servants, which include: two fire-breathing and
squeakingly talented sax artists, Philip Johnston (soprano and alto) and Dave
Sewelson (baritone and alto); Wayne Horvitz on keyboards; David Hofstra on
fretless bass; Bill Horvitz on prepared and electric guitar; and Richard
Dworkin on the skins and some tropical-looking plants. Together, this
futuristic ensemble blends art-rock, jazz, swing, pop and rock into a
stimulating sound which Johnston things of as “Elephants marching through the
jungle doing some sort of funky strut… it’s danceable-funky, but has sinister
and mysterious aspects to it at the same time.” They’ve just released “Jungle
Hotel” b/w “A Mistake” on their own J-Edible Records (motto: “It’s danceable,
but is it Edible?”) to be distributed by Rough Trade. Surely no newcomers to
music, the group has played together in different bands for many years and in
different styles, which explains their versatility. The plants are cute, too.
[From Wikipedia: Hirsch won a DAAD Residency Grant in Berlin 1992, a Prix Futura award in 1993, and multiple awards from Creative Capital, the Foundation for Contemporary Arts, the New York State Council for the Arts, four from NYFA and six from Havestworks Digital Media Arts Center. She was a recipient of the Guggenheim Fellowship in Music Composition in 2017... In 2018, New York University Special Collections acquired her archive. - RBF, 2021]
The Shakes
Julia Masi
Issue 9; 1982
With equal parts of
enthusiasm, imagination and fun, the Shakes – Anna Bosch, keyboards; Eston,
bass; Susan Holt, guitar; Daryl Leoce, drums; and Julie Miller, vocals – have
blended together a sound that is fresh, versatile, and cerebral, without being
pretentious. “Everybody in the band is nuts in a kind of clean way. It’s a
natural nuts,” says Anna, who writes and arranges about 95% of the songs. I try
to come up with different styles, but I have an insistence on melody. Something
for people to remember that flows nicely. We do everything from pop to
syncopated jungle. I think we tend to write about pertinent things instead of
just, ‘I love you’/boy-meets-girl, but a lot of things that affect ordinary
people. Like assuming other roles while still being yourself.” Daryl says, “Basically,
we try to keep our stuff danceable. Being about to dance to the music is important
‘cause It’s a fun band. Danceable material is sort of an extra-added
attraction, because if you want to start dancing you can. People like to be
entertained, especially in light of what’s happening today. I think you can say
things as controversial and poignant, but in a lighter way,” as he demonstrates
in songs like, “Watch Your White Count,” “Incognito,” and “Blood in Vein.” But
despite the strange sounding titles, the Shakes have nothing to do with ghoul
rock. “When I think of blood, I think of strength,” adds Daryl. And strength
maybe the most accurate adjective to describe this band who are incredibly
tight in all aspect of their performances. Or as Julie explains, “We’re not
stagnate. We just keep fanning out I think we have a strong sound. As
musicians, we’re solid and can grow.”
Tru Fax & the Insaniacs
By Robert Barry Francos
Issue 10; 1983
Pop music…in its
literal translation, is a must to avoid nowadays, since it would consist of
people like Neil Diamond, Hall & Oats, and REO Speedwagon, to name just a
few. But the pop sound has become sort of a section of rock’n’roll unto itself.
Usually sung with a tenor (or higher) voice, it has a light, wistful sound that
make you want to dance, without being slammed back down. Until recently, the
Fast were, at their height, the ultimate pop band on the underground local
level. They have now been non-violently usurped by a band originating out of
Washington, DC, called Tru Fax and the Insaniacs. Their recent LP, Mental
Decay, on DC’s Wasp Records, is a solid piece of work that seems almost
impossible to top. Songs like “Washingtron” and “In the Air” (“A man who has
orange hair/A man who is not all there/A man who loves the chair/That my
President Reagan”) show how clever they are in songwriting, as well as topical.
The main components of the group are David Wells and Diana Quinn. David,
guitar, has done many solo projects, working on overdubbing tapes, as well as
working with Harrison Fisher, the Rhode Island poet. Diana, lead singer and
guitarist, is a person of many talents. Not only is she the focal point
fronting this band, but she has sung opera in London, played in medieval groups
on lute, recorder, and guitar, and sings with a group called the Dynettes. This
accomplishment is added to her early training as a classical artist. Formed in
1979, Tru Fax and the Insaniacs released their first single in 1980,
“Washingtron.” Despite the overwhelming raves to the record, their album is their
first release since that point. This is due to a lackadaisical attitude towards
their music, which has caused at least one member of the band, Tim Carter (who
appears on the album), to leave because of “unacceptable artistic and financial
compromises,” states Bill Asp, their manager, in a press release. Although they
have played with major bands who have passed through the Washington area, they
have not toured extensively, which is a shame. What the world needs now is pop,
sweet pop. Let’s hope they decide to spread their sound around and show us how
it is done. We could all use a breath of fresh air right now.
[Quinn is weekend desk
manager, writer and producer for CBS News and a member of several local bands,
like Honky Tonk Confidential, the Fabulettes, and yes, Tru Fax & The
Insaniacs. – RBF,
2021]
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