Richard Hell And The Voidoids

You wouldn't expect someone named "Richard Hell" to have such a silly voice, but I suppose that's irrelevant at this juncture in history.
*special introductory paragraph!
*Blank Generation
*Destiny Street
*R.I.P.
*Time
*Destiny Street Repaired
This shit is wack! I don't even know what that means actually, but wouldn't you think that with a name like "Richard Hell and the Voidoids," the band would have some power? A little aggression? Early speed metal? Angry bitter urban hardcore? Nope. It's just sorta jazzy rock and roll. The guitarist is a BALD guy with a BEARD and SUNGLASSES, for the sake of a guy who diminishes gradually and comes to an end! (peter) Still, a heck of a lot of their songs are catchy and, more importantly, the singer guy has a wonderful herky-jerky breaking slobbery urban yelp of a singing voice. Strangely, Tom Verlaine had a similar voice, and at one point, they were BOTH in Television!!! Was one copying the other??? Mmm? Mmm? Mmm?

Mmm?


Blank Generation - Sire 1977.
Rating = 8

A punk rock classic, but only if your definition of punk rock extends far enough out to include gentle undistorted New Yorkers like Talking Heads and Patti Smith. Richard Hell may have invented punk fashion with his torn shirts, but he sure didn't express a whole lotta punk rage in his music -- at least not externally. I guess his words were kind of poetically bitter, but he just sounds like such a wonderfully nice fun guy! Probably was, too, except for that darned addiction.

Anyway, if you're into it for catchy melodies, you're gonna wanna gonna hear "Love Comes In Spurts" ("IT REALLY HURTS!"), as well as the bouncy "Liars Beware," the adorable "Betrayal Takes Two" (later covered by King Missile!), "New Pleasure," and - oh yeah! Or, as Richard puts it, "Oh! Oh! Oh! Oh! Oh! Yeah... Oh! Yeah... Whoo!!," "The Plan" is a KILLER song! It goes on for like ten minutes with this boompy-boompy-boomp little groovy bass line while the singer just goes nuts with his voice thing.

The best description of the music might be to say that the guitarist has a really interesting splankity jazz-trained undistorted style and the band really swings. And then Mr. Hell complements it with a totally unpracticed voice that just quivers and spits at you while you dig the hapnin' vibes of the NON-punk Voidoids (featuring Marky Ramone before he was Marky Ramone!). Buy it - the finest Richard Hell you can find.

Reader Comments

corpsebag@hotmail.com (Michael Cory)
Yes!! This is one of the greatest punk rock records of all time. And these songs were once included (as well as Richard Hell) in the set by Tom Verlaine's Television and Johnny Thunders Heartbreakers. If you thought this was great check out Bomp!s bootleg of the Heartbreakers second gig at CBGB's it includes Richard Hell songs. Johnny Thunders singing on "Love Comes In Spurts" is seriously one of the greatest things of all time.

frankfurter@home.com (Andrew Royal)
whether this is punk or not, it should be noted that the bald and bearded guitarist robert quine is tremendously creative. his solos are always invigorating and different. they reward multiple listens. my favorite thing about them is how often he uses chords in solos. it's bad ass when he does that. it should also be noted that richard hell and the voidoids are thousands of times better than the far more staid television (although marquee moon is a good album and a great song).

Impedyment@aol.com
i played this for my supposedly punk rock fan roommate awhile ago. he didnt know WHAT to make of this, he didnt think it was punk at all. i think its generally forgotten that punk can be creative and interesting, which is a shame. the fact that this could even be considered in the same genre of some of the crap he listens to, doesnt give much credit to what punk is like today. i think everyone seems to overlook the humor of most punk, particularly this. i still laugh when i listen to it. not just becuz of hell's hilarious voice, but becuz its really witty. definately not as serious as television, which are a cool band anyways, its easy to see why verlaine and hell didnt get along. i remember reading somewhere that hell considered that quine was the final of three brilliant guitarists he worked with. well in my opinion, quine is far and away the best. hes absolutely brilliant on this, and on blue mask with lou reed. although you can hear ivan julian's talent as a guitarist if you listen carefully,its easy to ignore him just listening to what quine is doing. i know next to nothing about guitars, but i know whatever it is he's doing to it on this album is not a normal. whenever i think of this album, quines guitar intro to blank generation ALWAYS comes to mind. its really amazing stuff. id like to know what hes doing lately. anyways, the point is, this album is far and away the best album produced by any of the original cbgb's crowd. marquee moon is a close second though. but this album straight through is amazing, i can never say enough about it.

tedium2000@hotmail.com.nz (Duane Zarakov)
the 10 minute song is actually "another world",i think.

DenBlake29@aol.com
only know the blank generation song, have heard love comes in spurts but can't remember it. blank generation tune shows hell to be another great-amateur makes a record- type of singer. every garage band in the world would give their gonads to the rock gods to have a vocalist this charasmatic in their band. and when that solo breaks in you just have to say, who the hell is that on guitar? great tune, great non-punk performance, great singer, incredible guitarist, anticipating listening to the whole lp.

tomplotkin@sbcglobal.net
I'm sorry, I have tried and tried to like this album. The band cooks, Quine was a god, but Hell's lyrics are sophmoric, and the man cannot sing, He sounds like he's gargling on thick sticky semen. Why is it that the three NY punks who were inspired by French late 19th century decadent poetry, Hell, T. Verlaine and Patti Smith, all sounded vocally almost exactly the same? Like their choking on thicky semen? I(Probbaly because their French idols, Rimbaud and his ilk, spent a great deal of time actually fellating people -- there seems to be a theme to my reviews today, see Ice T's "...Utopia.") It really sounds like they're attempting to swallow something and gagging when they declaim their "poetry." For the record, Verlaine and Patti get away with it, Hell does not. He was a damn handsome devil though, even if he invented the silly fashion of spiked hair and t-shirts with holes cut out of them. Will those trends ever return?

Incidentially, speaking of resurrected trends, at 43, I now know I'm old because I have lived through three, count them three, fucking ska revivals. If there's ever a fourth wave of that nauseating Jamaican debasement of the noble polka, with its attendant valorization of stupid little hats, I'll have to shoot myself.

Add your thoughts?

Destiny Street - Red Star 1982.
Rating = 6

Five years and two replaced band members since the last album? Yep. Hard drug addiction. So this is a relatively weak follow-up, with too many covers and weak cliche'd rockers. No real excitement to be had, except for "Time," which might be the greatest song Richard has ever created. On the reissue of this cassette, Richard adds present-day comments about each of the tunes, and he's a hoot -- real self-deprecating and clever stuff like "I'd actually learned by this time of the advisability of bridges but I was so preoccupied with other matters I forgot to write them for the whole album."

Unlike the diverse jazz/rock/pop debut album, Destiny Street is mostly just plain rock and roll. As such, buy it only if you already have the first one and you're desperately hungry for more Hell.

Reader Comments

TonyPlan9@aol.com
I think your web site is awesome! I love Richard Hell, that's what made me go there. There are a couple cds your may have forgotten about though.
1. Funhunt
2. R.I.P.
Both of these were released by ROIR records.

He also has 3 cds singles/eps:
1. Richard Hell and the Voidoids/ Neon Boys
this includes a different version of "time" and a Fucking Awesome song called "Don't Die". The Neon Boys stuff is from 73', featuring Tom Verlaine and Billy Ficca before Television.
2. Another World: this includes the original mix of "Blank Generation" and a great song called "You Gotta Lose".
3. 3 New Songs: In this one he's joined by Thurston Moore and Steve Shelley from Sonic Youth. It's not too bad. Recorded in 91'

I just thought you might want to know about these too. Your site is very cool anyway. Later.

empdwarf@raex.com (Frank Sinatra)
hey, i drive limos in ohio and recently met Robert Quine, the guitarist for the voidoids. really great guy. he played for lou reed in the mid eighties, did some stuff for scritti pollitti, yeah thats right scritti fuckin politti hahahahahahaha, anyway he was a really cool guy. he has also done a load of studio work with JOHN FUCKIN ZORN.......on soundtracks and shit. Just thought i would give you that info, the lou reed albums were......Blue Mask, Legendary Hearts and Live in Italy. check ,out his playing, he is really really freakin good............

KillThePeasants@aol.com
Me personally, I think Hell was cooler than Verlaine. But then again I lean more toward punk of the late 70s. While for the time period I prefer something more quirky and expirimental a la contortions, this record had reliable rock basedness and a decidedly fun attitude despite themes of rebellion that usually entail anger in music. All in all it's brilliant.

ryanmajor@comcast.net
This album suffers from the lack of Ivan Julian. The interesting guitar interplay is gone, and it seems like Robert Quine is kind of forcing the hard rock stuff- it's not his specialty. "Time" is good, but not as good as the demo version on, uh, Time. "The Kid With the Replaceable Head" is great though. Really fun pop. Most of the album, though, is pretty weak.

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R.I.P. - ROIR 1984.
Rating = 8

When Rick Heck decided that he was sick of the rock and roll business and it was time to put new wheels on his car (retire), he pulled together a bunch of odds and ends from five different band line-ups (a. Heartbreakers, b. the Voidoids you know and love, c. some Voidoids with another bassist and new drummer, d. a goofy 1983 Voidoids with no original members and e. Hell 1984 just with some guys) and released them on a cassette tape for the public to masticate. And let me tell you something -- the guy could write a song!

First off are some poor-quality Heartbreakers demos recorded before Richard quit the band, including a great energetic reading of "Love Comes In Spurts" and a couple of more NY Dollsy-style '50sy tunes. It then moves on to gorgeous, clear-as-day demo versions of two of his all-time greatest songs, "Betrayal Takes Two" and "I'm Your Man," both of which sound even better on here than they did on ! Moving on to his post-popularity period, we encounter a few of his NOT-so-best songs ("Ignore That Door"? More like "Ignore That Mediocre Filler Track," if you ask Charles Rocket! (dead)), before it's you and Hell and some guys nobody's ever heard of covering that awesome "I Can Only Give You Everything" nugget that Beck sampled and made much, much shittier before closing off the album with some late-period, long-forgotten tracks that are A-OK too - some might even call "I Been Sleepin' On It" a catchy fun rocker with saxophone and a ridiculous false end! Not me though.

This is some good Richard Hell! It gives a fantastic overview of his entire career and creative gamut, with the fun stuff, the fast punk stuff, the slow early-'60s-influenced pop rock, the literary aspirations, the angst, the drugged-up failure and finally DEATH.

Eventually, I mean. Unless somebody knows something about Hell's medical coverage that I don't.

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Time - Matador 2002.
Rating = 6

If you thought that Richard Hell would never return to a recording studio, allowing the work that he performed 20 years ago to stand as the lifelong testament to his songwriting talent, THINK AGAIN!

But have the same exact thought because it was a correct one. This is a repackaging of R.I.P. with a few extra old studio tracks and an extra disc featuring one of the lowest-quality concert recordings you will ever hear in your life. The reason you want this and need this though is because it has the original recording of "Chinese Rocks" on it! Do you know the saga of "Chinese Rocks"? Well, it's a delightful song about heroin addiction that was penned by the late Dee Dee Ramone (who, incidentally, DIED of a heroin overdose just 25 years after he wrote the song! COINCIDENCE??!??!?!??!?). Actually, Dee Dee just wrote the music and the first verse before the other Ramones told him that no way would they record a song about heroin. Sniffing glue and carbona -- fine. But NO heroin. So he told Richard Hell that he could record the song with the Heartbreakers if he could write two more verses. Richard did just this and recorded the demo version you hear here, crediting it to Hell/Colvin (the actual songwriters). Then when he left to form the Voidoids, the Heartbreakers recorded the song by themselves and gave songwriting credit to Johnny Thunders!!!! Not to be outdone, the Ramones finally recorded their own version of the song a few years later (when heroin addiction was more mainstream and widely accepted, apparently) -- complete with Richard's second verse -- and credited to THE RAMONES! Everybody's a fuckin' lair. Everybody is a little den where animals go to rest and wait for prey to walk by.

So to my point, the version on here features the previously unacknowledged THIRD VERSE!!! It goes as follows: "When they checked me in at dawn (or something)/I heard they thought my pulse was gone/I found that I was happy to die/and Chinese Rocks is the reason why." So now you know. And now you know why it was dropped by the other people who covered it. Because it SUCKS!

The other studio tracks are an alternate version of the excellent Hell composition "Time" (neat lyrics to that one - very well written to my eyes!) and some ugly messy garbage nonsense called "Funhunt." Then the HELLISH concert CD comes in and ruins everything -- everything is one big monophonic blur, with all the catchy songs turned into over-speedy nonmusical messes of noise and yelling. "Blank Generation" is on there and that's key (being a great song), but the rest of the set sounds really awful. "Love Comes In Spurts" is played completely wrong. Hell breaks a string during an awful rendition of "You Gotta Lose." A perfectly pleasant cover of "Now I Wanna Be Your Dog" drags on for SIX MINUTES. Johnny Rotten comes on to say some nice words, and it's impossible to make out even ONE of them. Finally, they close with what turns out to be a surprisingly powerful cover of the Rolling Stones' "Ventilator Blues."

Then stupidly enough, there are four more live tracks from a different tape that have GREAT sound quality!!! And Elvis Costello sings one of them and one is a great cover of the Stones' "Shattered" and oh why the hell couldn't he have just given us THIS whole concert instead of the messy crappy one? I'm vah-klempt! Tawk amongst yaselves! I'll give you a topic -- Saturday Night Live is neither funny nor controversial. Discuss!

I saw a guy reading in Braille on the subway today. I'd never actually seen that before! It made me realize that what my site really needs is a way to communicate with the blind. You see, with their eyesight gone, their other senses become much more acute, meaning that they hear nuances of music that you and I can't discern. The implications of being able to understand what these super-aural human beings perceive when listening to rock music is too exciting a prospect to ignore. So I've been coding for about 72 hours straight now and I think I've finally developed the technology to make this a reality. It's not perfect yet, but I think it's a decent prototype and I'd love to hear your thoughts. Please scroll down and enjoy the new "eyesight-impaired Mark Prindle Record Review Site"!

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Reader Comments

jturd@yahoo.com (Johnny Turd)
Oh, Prindle, the fidelity of the second disc isn't that bad. It's about one and a half steps up from any live Germs recording. Your ears are clogged with too much prog rock.

dustbuster1992@msn.com (Jeffery Given)
fuck you, blindy. never before had these words been uttered. and soon they were on the lips of every child in every sockhop in the nation. what started as a joke by one Marcus J. Prindle, became a fad across the United States. Soon it spread to Cameroon, where it stopped dead in it's tracks. for too many Cameroonians were blinded from kissing AIDS patients.

giorgiocurcetti@hotmail.com
I have read the previous bits on Richard Hell and I want to add my ha'penny worth. Apart from his esiguous but compelling body of work he left (to which more later) he invented the punk look as we know it. Period. Not everyone might know that a certain Malcom McLaren, while managing, or better supervising the demise of the great but unlucky New York Dolls, met Richard Hell and quickly brought back to London, and more specifically to his shop on the Kings Road (then called Sex) some of the more arresting visual ideas ripped off from the "Blank Generation" author: ragamuffin hair, torn and ripped t-shirts with hand-painted nihilistic slogans, a certain affected pose better described as ennui, and used all these ingredients to package his next creation: the Sex Pistols. As far as Richard Hell music is concerned: very few artists have encapsulated the boredom of daily living, the barely contained anger and and elegant and positive nihilism better than him. All this in spite of his less-than-rudimentary bass playing. His music still touches me and I recognise bits of my worst (best?) self in it. I wish the current crop of modern "new rock revolution" bands had only an inch of his poise, anger and grace. Than we'd have something to talk about!!!!

esweenor@charter.net (Eric Sweenor)
I almost sold this thing off because of the astonishingly low quality of the second disc. You don't have to turn it up loud to have ringing in your ears, because it's already right there! It's a new development in modern recording...as you might say, Mark, "if you like SHIT". Somehow, though, his oddly charimatic yelp of a voice made me keep it. Guess I'm stupid. Regardless, some really neat stuff on disc one - really nasty version of "Chinese Rocks". I agree with the 6/10.

murrayramone@hotmail.com
"Not to be outdone, the Ramones finally recorded their own version of the song a few years later (when heroin addiction was more mainstream and widely accepted, apparently) -- complete with Richard's second verse -- and credited to THE RAMONES!"

its credited on the original pressings of End of the Century to D.Ramone/Richard Hell although I have seen it credited somewhere recently to Ramone/Ramone/Ramone/Hell (but thats probably because they split the proceeds 3 ways no matter who wrote it)

good site though, you may or may not enjoy mine, although it seldom gets updated

website.lineone.net/~murrayramone/

thepublicimage79@hotmail.com
dude, I thought you hated Elvis Costello.

Add your thoughts?

Destiny Street Repaired - Insound 2009
Rating = 7

Hi, I'm Jim Sex! I know, I know -- you're laughing at my name. Go ahead, get your jollies. But understand that it's not exactly a sugar-coated hay ride for me either, walking around with a name that sounds so much like "Gym Socks." In fact, here's a typical everyday conversation for me:

Me: "Hi, how's it going?"
Transvestite Prostitute: "Fine. What's your name, sugar?"
Me: "Jim Sex."
Transvestite Prostitute: "Oh yeah? Then maybe I'll put you on my feet and wear you to play basketball! Haw haw!"

That was a great example, but here's another one in case you read it wrong:

Me: "Hi, nice to see you! Isn't it a lovely day, with the clouds in the sky?"
Child-Molester-For-Hire: "It's delightful. What's your name?"
Me: "Jim Sex."
Child-Molester-For-Hire: "'Jim Sex'? Wow, I can't get over how much that sounds like 'Gym Socks'!"

But that's only one example of many I could possibly share. In fact, here's one now:

Me: "Hello! Thanks for the nice thing!"
Cashier, "Gem Sets" Jewelry Store: "No problem! Say, what's your name?"
Me: "Jim Sex."
Cashier, "Gem Sets" Jewelry Store: "No, I'm sorry. We don't sell gym socks."

I do my best to be a kindhearted American, but it seems that people from all walks of life are determined to make my life a living hell. A living RICHARD Hell, that is!!!!

Thanks, that was a segue. I realize I worked up to it a bit slowly, but once we got there BAMM!

Richard Hell has always been disappointed with Destiny Street. As he or a public relations person stated in a July 8 press release, "At the time of the original recording I was so debilitated by despair and drug-need that I was useless. The record ended up being a high-pitched sludge of guitar noise. It was a shame because the songs were clean, simple, and well-constructed, but those values were sabotaged by the inappropriate arrangements and production."

Speaking for myself, I haven't listened to Destiny Street in ages because I only have it on cassette tape and it's way up in the guest bedroom closet in a huge plastic container under some suitcases and paint cans. However, I could've sworn that the main problem with the record was the spotty songwriting and overdose of cover tunes. Well, paint me a color and call me something hilarious because Destiny Street Repaired definitely strikes me as more enjoyable than my memories of the original version. Those memories are awful. I inadvertently strangled 40 people to "Lowest Common Denominator"! And will Chernobyl ever forgive me for the "Staring In Her Eyes" Incident!?

But enough about how I accidentally invented AIDS while monkey-fucking to "I Gotta Move." When Ricky "Hell" Schroeder discovered an old tape of the original Destiny Street rhythm tracks, he called up his industry pals Ivan Julian, Marc Ribot and Bill Frisell and said "Bring over your guitars and help me make this album gooder!" His voice isn't quite as bizarre as it used to be, and he seems to have a much harder time keeping it in tune and time, but the songs sound spirited, clean and (most of the time) melodic -- with the previously suckish "Ignore That Door" somehow turning into a standout track! And who knew it was about telling Ray Manzarek to eat a dick? Who knew that? Nobody knew that! Heck, I didn't. Did you? I asked everybody and they sure didn't.

The record is still no Blank Generation (and "Staring In Her Eyes" remains ugly and awful), but at least it finally sounds like its creator intended. So if you've never bothered hearing this second and final Richard Hell studio release, now's the time to get off your duffy butt and grab a copy. It's been Repaired!

Because Richard Hell's been Rehabbed!

And Sarah Palin gave birth to a Reta

il Cashier!

At least I assume that's what Bristol's doing. (Unless she decided to follow in her mother's footsteps and quit.)

Reader Comments

hsegstevo@aol.com
Alright, being from Ohio, I happen to know that we had a great crop of amazing guitarists grow out of our corn fields and into the hearts of fans of fucked up underground rock. Robert Quine is perhaps the greatest example. Now, I'm a part-time Richard Hell fan, owning both of his released studio albums and considering buying an overpriced live album. But I'm full-time Robert Quine. His split albums with Fred Maher and Jody Harris, his single with Lester Bangs, associated tracks on otherwise fair to great albums (Lydia Lunch's Queen of Siam, the otherwise godawful if not for Quine's two cuts that is Dirtdish by Foetus sideproject Wiseblood, the Ikue Mori album along with Marc Ribot, etc.) Hell, he even gets me to sit down and appreciate the pop stylings of Matthew Sweet who I would've easily dismissed with Quine's screeching guitar forcing me to adore "Girlfriend."

Now then, its slightly well known among Voidoids fans that Destiny Street was recorded when Richard Hell was a junkie. A huge junkie. Unreal. Just busy scoring every day. "Waiting for My Man"-type stuff. So, it was mostly left to Quine and other guitarist Naux (who seems to just have cut sub-standard punk progressions like a wimpy Ramones the entire album, makes me appreciate Ivan Julian's solid rhythm work) to produce the entire album. They overdubbed non-stop, according to Quine. And it shows if you pay attention! Lots of subtle tremolo work. And personally, I suppose I'm in the minority, I love the album. I suppose I love it because Quine is all over the place, it definitely isn't as gratifying as listening to Blank Generation. But I'm a Quine fan, and he's the star of the album.

I guess what I'm trying to say is . . .

HOW THE FUCK DOES RICHARD HELL GET OFF WITH DROPPING ALL OF QUINE'S ORIGINAL TRACKS AND REDUBBING THEM WITH OTHER GUITARISTS' WORK?

I admit, a few songs are a bit noisy and its hard to really pick up what's going on. But for the most part, its fairly clear. A remastering would've been great! But instead Mr. "The Copyright is in My Name" Hell decideds to cut off the two dead fellows and just redo what was a fairly good (great to people like me!) album whose greatest part happened to be the very thing Hell erased. Why not reissue the original? My fear is a remastered version is out of sight with this completely unnecessary redub now on the markets. Hopefully in a few years time Hell will come to his senses and remaster then reissue the original version.

Until then, fuck him. If he wasn't so caught up in his own addiction back when the album wouldn't be as bad as he apparently wants us to believe it was, just so we'll pick up his reissue.

And to put all fears to rest, no, one of Ohio's greatest guitarists was not that scumbag Joe Walsh. Peter Laughner pisses all over him.

ernwest@gmail.com
hsegstevo: heavens to murgatroids, did you hit (most of it) it on the head, although, sorry; i'll always be a Hell fan. i, too, was a black punk who was born and raised in Cleveland (rough and tough kinsman avenue), and at age 17 in 1978, my guitar style took a hard 180 degree turn when I got Blank Generation, Marquee Moon, Magazine's Still Life and The Modern Dance all on the same day (bought from and eventually befriending Scott Krauss himself in the same record store on Prospect Avenue, where among his co-workers that I also befriended included one Jim Jones (ex-Pere Ubu R.I.P.) and the ubiquitous Ms. Charlotte Pressler (Peter Laughner's wife) who i had the biggest crush on (and she knew it :). i even traded my 1978 strat straight up for a 1965 jaguar (with the finish sanded off) in a pawn shop two doors down the street because i was infatuated with Verlaine's sound; best move i ever made in my 49 years on earth.

but, i digress. just wanted to throw in my 2 cents on the ohio guitarist legacy. quine was God; I couldn't touch him nor could hardly anyone else if we're being honest here. but shall we never forget the likes of Glen Buxton from Akron, whose guitar WAS the Alice Cooper Band's sound, the hugely underrated Doug Gillard of Death of Samantha, Children's Crusade, and Guided by Voices among others (he said i was he and Fraser Sims' first real fan, lol). Doug and Tony Maimone (bass) of Pere Ubu and the Frank Black Band have a band up in New Yawk at present; go to Douggillard.com sometime. And though we're talking guitarists here, we can NOT neglect a founding member of a band whose sound has never before or since been tamed, the great Adele Bertei, whose rollicking, herky jerky keyboards (along with Pat Place's slide guitar) pretty much WAS the furnace blast that was The Contortions. wow, i grew up in a pretty special time in music in Cleveland, and was glad to just be an after-thought and hanger-on to better musicians i befriended and learned much from between 1976 and 1982. e-mail me anytime at ernwest@hotmail.com, and we can talk of and remember the other unsung bands that were just as much a part of the punk legacy that truly had roots in cleveland, like The Styrenes, Human Switchboard, the Pagans, Tin Huey, Chi Pig, but whatever you do, DON'T throw the Raspberries at me. some things should be allowed to quietly fade away . . . . .

Add your thoughts?


Lots of Dick Hell for sale herein.


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I'm having trouble suspending my disbelief.