With a performance history that stretched from 1973 to about 1984, The Fast were among the most enduring of the first wave of New York punk bands — seminal but largely overlooked by mainstream rock history.
I never met Elda Stilletto, who died unexpectedly on August 6. But I’d corresponded with her on social media, and I’d hoped to interview her about her role during the New York underground’s crucial moment of artistic churn between Andy Warhol’s Factory and the rise of CBGB.
Those of us who admire music-makers of renown shared many hard losses over the past year. And many us who treasure our own music scenes have lost local heroes as well.
Time passes, and young lions grow older — since their mortality reminds us of our own, and the music they made reminds us of our receding youth, it’s always personal. And for those of us of a certain age, 2016 seemed way too close for comfort.
Now Rossi is combining his professional passions with a film project aimed at documenting and celebrating the bands, street artists and poets of New York’s protopunk scene. (The working title is You’re In or You’re Out/Urine or UR Out.) Rossi describes the style — which is in pre-production through his company Tantamount Productions — as “cinéma vérité meets ‘The Last Waltz,’ and he’s networking with his contemporaries and other fans to raise the money to bring the project to a screen near you. (As actor and veteran New York musician Fenton Lawless remarked in a Facebook discussion, the project is “what Vinyl promised but failed sooo miserably. … It needed a Peter Rossi.”)
While many bands that powered the scene have expressed excitement about gathering for a live event 40 years later, Rossi emphasizes that he’s not looking to document a reunion that simply retreads the participants’ back catalogs. “This is about catching up with the artists who still have the fire in their souls,” he says.
Rossi is rallying some of the top acts of the era to top the bill again and demonstrate the chemistry that made New York a catalyst for a new generation of music.
Gene sets the record straight on a few points about the Harlots (who New York Dolls frontman David Johansen calls his favorite band on the scene) and shares a motherlode of Harlots memorabilia, including photos, flyers and the band’s own fan newsletter.
“Love the article and the take on the scene as well as the shout out for me and the boys” Gene writes, “though, unfortunately, it’s a little inaccurate as are many things from that time frame.”
“The Ramones all originated from Forest Hills [Queens,] and kids who grew up there either became musicians, degenerates or dentists,” Tommy Ramone wrote in an early press release. “The Ramones are a little of each. Their sound is not unlike a fast drill on a rear molar.”
Sure, Queens has never had the cachet of Manhattan or Brooklyn, but the borough’s role in promoting New York musicians shouldn’t be overlooked. Consider Coventry in Sunnyside, Queens: The erstwhile Popcorn Pub changed its name at the end of January 1973 — the same weekend it hosted KISS’ first-ever gigs — and went on to feature an eclectic assortment of musical acts.
“It was a big club, around 5,000 square feet, and it held around 700 people,” recalled owner Paul Sub in Ken Sharp’s Dressed to Kill. “Everyone from KISS, The New York Dolls, The Ramones, Blondie, Sam & Dave, The Dictators, and Elephant’s Memory played there. I’d put on 10 acts a week, both local and national. The only act we turned down, because we didn’t want to spend $300, was Aerosmith (laughs). The New York Dolls were really the ones that kept Coventry going. They played once a month, and whenever they played, 700 people would show up. They had the main following of all the bands who played there.”
According to Dictators bassist Andy Shernoff, “The Coventry was one of the glitter-rock places in New York, and if you were doing original music, that was the ONLY place to play. If you were a cover band, you could play anywhere; that’s what people wanted to see.”
Many of the up-and-coming local acts to visit Coventry are now more closely associated with Manhattan clubs like Max’s Kansas City; the Mercer Arts Center; and CBGB, which would open later that year. (Before he switched noms de punk, Joey Ramone played at Coventry often as “Jeff Starship” with his first band, Sniper.) Others aren’t so well remembered, but they’re worth more than a casual listen. Here are five bands that played Coventry and you should know about: Continue reading “Between KISS and the Ramones: Coventry and 5 bands you should know about”