Dura-Delinquent: Hans Takes A Licking But Keeps On Ticking!

Originally published in Teenage Kicks #1 (1997)

Interviews by: Michael Cronin, Devorah Ostrov & Michelle Castro

Story: Michael Cronin

Dura-Delinquent (L-R): Philipp, Hans, Nicolas & Jason
Photo: Devorah Ostrov - San Francisco, 1997

Dura-Delinquent kick ass. As a result of their raucous live shows, they also get their asses kicked on occasion. Almost always, they generate an extreme reaction from the audience, especially in San Francisco. 

Singer Hans Murnau has a penchant for diving off stage and hanging onto some unsuspecting guy in the crowd. Almost always he is punched, kicked, shoved, or hit with a glass. Maybe because his pants are usually unzipped at the time. At a recent Bottom of the Hill show Hans got cut dangerously close to his right eye. He climbed back up on stage, wiped the blood from his cheek with the back of his hand, and muttered, "Jesus died for you. I bled for you. I should at least be a fucking saint!"

Hans & Philipp
Photo: Devorah Ostrov - San Francisco, 1997

We made a valiant attempt to interview all four members (big mistake!) of the band after one soundcheck. Hans and Nicolas arrived early. Hans is quiet and reserved. It's Nicolas who greets us and sorts out problems at the door. Time went by: 90 minutes to be exact. The others missed the soundcheck. Jason arrives. He seems amused that someone actually wants to interview him. Finally, Philipp struts in on wobbly high heels, scarf trailing from his throat. What an entrance! 

We turn on the tape recorder. Hans is suddenly very vocal! The resulting interview was more like a photo op with quips, the boys trampling over most of our questions. Answers range from merely evasive to contradictions and outright lies. Mention the Stooges and a discussion of the 3 Stooges ensues. Can we take Philipp's raving about the merits of later-day Alice Cooper over his classic early albums seriously? Or Hans' preference for late '70s Ron Wood-period Stones over their classic work? The only thing we're told we can take seriously is Peter Pan.

Philipp: "That's the one thing we don't fuck around about — Peter Pan. Make sure to throw some Peter Pan into this motherfucker!"

Philipp
Photo: Devorah Ostrov - San Francisco, 1997

We subsequently bugged them individually to fill in the gaps. Somehow, through "divine forces," they all ended up in Monterey — Hans and Nicolas (guitar) are originally from outside D.C.; Jason Moore (drums) is from Oklahoma; and Philipp Stick (guitar) is from "the Mother Country." 

Nicolas and Philipp met at school. They knew Jason from a local record store. All of them being avid record collectors and "music fanatics," they decided to put a band together.

Nicolas: "We got together to play a show that was happening. We wrote a bunch of songs in like a week, that were sort of raw and just what we were inspired by at the time. Then we evolved into something more — our own style basically."

They've been kicking around the Northern California scene for about two years now. Their chaotic live shows are not to be missed. At a Purple Onion show, back in January, cups and ashtrays flew, instantly and constantly. 

Philipp dropped his pants and tossed them into the crowd — unable to find them later! He also demonstrated a knack for playing and humping the stage simultaneously. Hans did his best young Iggy/Lux impression — mic in mouth, dick in hand, he scaled the amps, jumped into the crowd and overturned tables. Nicolas and Jason kept a rock steady beat throughout the amped up antics. The messy aftermath was proof that this was easily one of the hottest, punkest, most fun shows of the year.

Hans
Photos: Devorah Ostrov - San Francisco, 1997

Hans: "People always throw shit at us in San Francisco. Especially at the Purple Onion. If I had a nickel for every ashtray thrown at me... The reaction thing is great, but I'd get bored if every time we played, I got a glass thrown at me. I mean, I'd get hurt, too. But it's only in San Francisco."

They've also done a brief U.S. tour, half with Chrome Cranks, half on their own; and last December they caused a commotion in Europe, playing two weeks' worth of shows in Germany, Holland and the U.K.

Hans: "Those were the best shows. I had the most fun. Not England — Europe. Just like, the crowds. A big crowd here is a small crowd there. The big night there, it was amazing! And they were totally receptive."

Nicolas
Photo: Devorah Ostrov - San Francisco, 1997

Nicolas: "We almost got banned from London!"

Phillip: "What are you talking about? It was the whole U.K.!"

Somehow a Christmas tree ended up in a backstage toilet, causing extensive damage.

Nicolas: "They didn't give us enough beer that night, so we broke a toilet."

Hans: "Just let that be a warning to all you other clubs. Don't fuck with us, man!"

Dura-Delinquent have released a self-titled LP/CD and a couple of singles — "Sick on You" and "Take Me to My King." Their fuzzy, decidedly lo-fi garage sound lies somewhere between the Cramps and Jon Spencer Blues Explosion. The catchiest LP track, "I Could Kick Your Habit," spotlights Jason's hopped- up Adam & the Ants/Bow Wow Wow-style drumming. Nicolas and Philipp strangle the two-guitar no bass sound for all it's worth on "All Lushed Up" (a "Sick on You" B-side). Han's sleazy, slurry vocals are consistent throughout. They also appear on the U.K. compilation 7" Gone, Got, Wretched. And a European-only single, "Kidnaped," was released as well.

Hans: "It's a different version, but we didn't mean it to be."

Philipp: "Shitty versions, badly mastered."

The band is not really happy with any of their recordings.

Philipp: "They're too clean. We're a lot dirtier than that!"

"Sick on You"
b/w "Head Ove High-Heels" & "All Lushed Up"

Nicolas: We've changed since the record. That was a year ago. I'm more proud of what we're doing now. Our next recording efforts are going to represent what we really are and what we're like live better. I think that's most important, being a good live band. We just want to write good music. That's what we're shooting for."

Their most recent demos are in fact among their best. "Lay it on Me" and "Her Caviar" solidify their early sound, while "The Hollywood Diet" and "My Baby Caught the Train" are longer, more jammy Stones-style blues. Nicolas' and Philipp's guitars are less at war here and more complimentary to each other. 

They hope to have some of the new songs out soon.

Before we wrapped, the band made a bid for our first cover. Regrettably, we informed them that it had already been promised to D Generation's guitarist, Howie Pyro. 

Philipp: "Howie Pyro?! You should have us on the cover!

Nicolas: "We're going to have a contract from now on. If you want us in your magazine, you have to put us on the cover!"

Philipp: "Howie Pyro came to see us in New York and bought our single. At least he knows what good rock 'n' roll is about!"

Clap if you believe!

Girlschool - Would You Buy A Used Washing Machine From These Girls?

Originally published in Rave-Up #4 (1982)

Interview by Devorah Ostrov

Ron Quintana showing issue #5 of Metal Mania to Girlschool
guitarist Kelly Johnson & drummer Denise Dufort 
during a record store visit in San Francisco.
Photo by Gil Weston (using Ron's Instamtic camera)

Still riding high on the UK chart success of Hit And Run and before the release of their third album, a short string of US dates (cheekily called the "Lock Up Your Sons" tour) brought Girlschool to the Old Waldorf in April. 

Following their soundcheck, I spoke to Kim, Kelly, Denise, and newcomer Gil about the tour, discovered what their parents think of their alliance with Motorhead, and uncovered scandalous tales of what went on at a real girls' school. Plus, Kim took the opportunity to quiz Denise and Gil about their work history experience! 

Q: With the massive success of Hit And Run, do the music papers tend to treat you with more respect?

Kim: I don't know. I think we got a bit of a backlash, didn't we? They built us up and built us up... We were always in the press for a while. And then we started doing really well, and the album started doing really well. Then suddenly, they thought they would start criticizing us!

Q: When you started out, did you have to prove yourselves to the audience because you were girls? Or didn't that matter to English audiences?

Kim: I don't know, really. We didn't think we had to prove ourselves, but I expect we did in a way. They [the audience] used to come along and pack down three drinks in the pub beforehand and then just come and have a good laugh. But a lot of them came back again because they liked the music.

Motorhead & Girlschool 
at Friars Aylesbury

Kelly: It's starting again over here because we don't know anybody and we're playing small clubs. 

Q: This is your first time touring America?

Kim: Yeah, it's been fab [sarcastically].

Kelly: Fun, fun, fun [also sarcastically].

Q: How are the mostly male audiences treating you here as opposed to England?

Kim: Really well, actually! We're quite surprised. A few of them know the songs. It's nice. We feel like we're at home!

Q: Have you been getting good reviews so far on the tour?

Kelly: Yeah! I don't know why. It's surprising.

Kim: I don't know why, either. But yeah, they've been really good. They think we've done these amazing things, like going way over the top, you know. And we're saying, "Wait, are they talking about us?" 

Q: Where have you played so far?

All Together: Baltimore, New York, Philadelphia, Boston, Trenton, New Haven, Chicago, Detroit, Cleveland...

Q: New Haven? Trenton? No one ever plays there!

Kim: We'd never even heard of New Haven and Trenton.

Q: Did anyone come to see you there?

Kim: Yeah! I suppose because they don't have many bands there.

Q: They didn't care who you were!

L-R: Denise Dufort, Kelly Johnson, Kim McAuliffe and Gil Weston
(publicity photo)

Kim: Exactly! We did a gig in Portland [Oregon], and that was sold out — 3,000 people! We were looking at the city and there was nothing to do at night. So it must have been a big event. A gig!

Q: Is the Old Waldorf the smallest place you've played in a while?

Kim: We've played a few over here that have been about this size. But we've never played to people sitting down eating dinner!

Q: Motorhead played here last year. It was amazing! 

Kim: Yeah, right! Steve, one of our guitar roadies was with them. He said they didn't have any tables or chairs for them. But they knew about it in advance. If we'd known... Nobody tells us anything! [Note: Most of the tables and chairs were removed before the show started.]

Q: Did your parents warn you not to hang around with Motorhead because they were a bad influence?

Mercury/Polygram Records publicity photo

Kim: No, not really. They all really like Motorhead. My mum and dad went to their last concert at the Hammersmith. They're really into the band; they helped us a lot in the beginning. They never said, "Oh no, we don't want you to do this. We want you to become a secretary." They helped us all they could. We're pretty lucky, really. 

Q: Did any of you actually work as secretaries?

Kim: I worked in a bank, that's pretty close. [Pointing at Kelly] She was various things. What were you, Gil?

Gil: A skivvy.

Denise: I used to sell washing machines and fridges and stuff in a big chain shop. They sold kettles, tea sets, paint, posters...

Kim: Did you ever sell anything?

Denise: Yeah! I used to get wages, but I'd get a commission on top if I sold a washing machine. I sold four in a week once.

Q: Were you more influenced by male heavy metal groups or Suzi Quatro and other female rockers?

Kim: Neither! I used to love Led Zeppelin, and I suppose they influenced me quite a bit. But we...

Kelly: She actually loves them!

Kim: I do, yeah! I think they're one of the best bands ever in the whole universe! I don't know really, there's so many. I think David Bowie is a pretty common hero with this band. He's just terrific! He's my hero. [Gil was wearing a David Bowie t-shirt.]

Q: Did any of you go to a girls' school?

Kelly Johnson posing for my camera at Grauman's Chinese Theatre, and walking
down Hollywood Blvd. before the show - Los Angeles, California, 2004 
(Photos: Devorah Ostrov)

Kim: I did, yeah. Denise did. They're good fun! I used to have great laughs at school. We used to cause riots!

Kelly: She used to beat people up!

Kim: I didn't beat people up! We just used to go out and get pissed at dinner time, go back and create havoc, you know. There wasn't much they could do with six or seven drunken girls. Our school had the highest pregnancy rate in London. We all had our own boyfriends who'd come and pick us up after school. I used to have this cute boyfriend with a motorbike who'd pick me up. But while we were at school it was just a lot of girls together. Like it is now, actually. From one girls' school to another!

The opening group, Stepmothers, start their soundcheck and everyone gets distracted...

Kim: Is this the support band? They're really good! They're heavy. I thought they were going to be punk rock. Or are they heavy?

Q: They're heavy metal punk rockers! The heavy metal kids don't like them because they're too punk rock. And the punks don't like them because they're too heavy metal.

Stiff Records advert for the US release of Hit And Run (a combination
of the first two UK albums) plus exciting tour information!

Kim: We had exactly the same problem. When we came out, it was the new wave era in Britain. So, when we used to play new wave clubs, they didn't like us 'cause we were too heavy metal. When we played heavy metal places, they didn't like us 'cause they thought we were too much like new wave.

Kelly: We got a little confused. We developed this neurosis.

Q: What did you finally decide you were?

Kim: The kids decided what we were.

Kelly: We wanted to be labeled!

Kim: We got labeled in the end 'cause Motorhead came along, saw us, and wanted us to support them on tour. We said, "Yes!" And then of course we started to play to all heavy metal audiences. After that, we were labeled as HEAVY METAL!

Enrique Serves Up '70s Kitsch & Sartorial Splendor To Delirious San Francisco (And Detroit) Fans!

Originally published in BAM (November 1, 1991)

By Devorah Ostrov

Enrique (publicity photo circa 1991)

In an icy-cold basement just off Haight Street, the five members of Enrique — vocalists Jason and D'Arcy, guitarist Sugar, bassist Mervine, and drummer Ron ("no last names, please") — are running through the Debbie Boone hit "You Light Up My Life." 

Jason begins, "So many nights..." and D'Arcy follows, "...I sit by my window..." But when they reach the second verse, continuing to alternate lines, a problem arises — the one who starts the song gets to sing, "To say, hey, I love you!" 

Enrique performing at the Haight Street Fair
Photo: Ron Quintana

"But that's the best line!" cries D'Arcy. I'm singing it."

 

"Uh-uh," counters Jason. "It's mine."

Tempers flare, but just as quickly, everyone's giggling. They can, after all, sing the line together.

Jason and D'Arcy have always been best friends. The newest version of their childhoods has them kidnapped by a Spaniard named Enrique. He, supposedly, took them to live in a trailer park in Lodi, where he taught them to disco dance. "We grew to love him as a father," says Jason.

"Are people really going to believe we were abducted?" asks D'Arcy. He's worried about the details. "Have we been reunited with our parents yet?"

No matter. Eventually they (somehow) made their way to San Francisco, and about two years ago, mysterious flyers depicting their faces (sometimes pasted over those of the original Charlie's Angels) with the name "Enrique" began appearing around town.

"We had danced for some friends' bands a couple of times," explains D'Arcy, "and had been well received. We wanted to take it further, so we made up the flyers. We just weren't sure what we wanted to do."

Flyer for an Enrique show (with Wig Torture & Camel Toe) at Morty's.

Enter Mervine. Figuring they were advertising a group, he asked the pair if they might need a bassist. "We thought, OK, we'll be a band," laughs Jason. Sugar, who used to scoop ice cream for a living alongside Jason, was added on guitar, and the first of two drummers signed up.

Before the first rehearsal, Enrique was booked to open for the Average White Band at the Kennel Club. "It really helped us get in gear," says D'Arcy. "We could've taken six months to sit around and practice, but only having a month to get the show together pushed us to do it."

Jason, Kate Jackson & D'Arcy featured in the
Enrique billboard located at Castro & Market Streets.

He adds that their first set featured all cover songs, including Hot Chocolate's "Everyone's a Winner," the Partridge Family's "I Can Feel Your Heartbeat," and Nick Gilder's "Hot Child in the City." 

From early on, the band has shown a knack for generating publicity. Consistently amusing flyers constantly appeared, a billboard went up on the corner of Castro and Market, and Jason and D'Arcy were seen on TV 20's Dance Party. 

In their biggest coup, the two vocalists — feet clad in platforms, heads topped with Afro wigs — paid a visit to the chat show People Are Talking and asked a startled John Waters (promoting Cry Baby) how to get into one of his films. "See my casting agent," they were tersely told.

"I'd rather be on Twin Peaks anyway," huffs Jason. 

D'Arcy & Jason show off their Hostess Cupcake collection
as well as their spectacular handmade costumes!

In July, Enrique travelled to New York to participate in the New Music Seminar. Envisioning an instant recording contract, the band came away disappointed. Still, the journey enabled them to play a memorable show in Detroit.

"Detroit flipped over us," enthuses Mervine, explaining how after their set, the band had to be led through the 1000-seat hall by a bouncer. "Everyone was shaking our hands and asking for autographs!"

"They actually offered to buy clothing off us," adds Sugar. 

Determined to keep going once the current '70s revival inevitably fizzles out, Enrique is concentrating on writing new material and a four-song tape featuring all original songs is available through the Enrique fan club. "We want to make a name for ourselves as a real, solid band," says D'Arcy. "We want to be able to stand on our own feet."

★ ★ ★

Jason with Julie & Michelle -
two of Enrique's biggest fans.
Photo: Ron Quintana

Enrique at the Paradise Lounge - 2/23/1990

Originally published in BAM

Live review by Devorah Ostrov

"The ultimate Enrique experience," promised the flyers for this double-set extravaganza. With 'fro wigs, platforms, flying bread and outrageously handmade '70s attire, the show easily lived up to the confident proclamation.

While the early set featured treatments of such classics as "Kung Fu Fighting" and "Boogie Man" (vocalists Jason and D'Arcy imbuing the latter with the passion it deserves), it was the late show that reigned supreme.

Dressed in a patriotic display of star-covered blue flares and vests complete with starred cape-like appendages, the two frontmen took the stage with the rousing "Electric Company Theme Song." Hilariously synchronizing their go-go dancing, the two tore through "Everyone's a Winner" and "I'm a little Bit Country/I'm a Little Bit Rock 'n' Roll" — D'Arcy playing Donny to Jason's Marie. And they wound up the whole affair with Thin Lizzy's "Jailbreak" — so trashed that Phil Lynott must still be rolling in his grave.

Although it's hard to take your eyes off the singers, the musicians in Enrique should not be overlooked, especially when they transform the Partridge Family hit "I Can Feel Your Heartbeat" with a beat so funkified you'll forget how silly a song it actually is.

Despite the trappings to the contrary, Enrique is not just a '70s revivalist act. Both sets featured several self-penned tunes (such as the enticing "1-800-ENRIQUE"), which elicited just as many cheers from the happy crowd, one of whom offered up a two-volume 8-track recording of Thank God It's Friday as a token of affection.

Enrique (with Michelle) at the Hemp Festival — "in the mistaken idea they were onstage,"
adds photographer Ron Quintana.

* You can follow Enrique on Facebook! Here's a link to their page: 

Enrique Es Muy Jumbo!

Psych-Out: Actor Dean Stockwell Tries To Remember What He Was Doing In This Cheesy Cinematic Wonder

Originally published in Rave-Up #11 (1986)
By Devorah Ostrov

Promo poster for Psych-Out (which oddly features the Voxmobile)

Released in 1968, Psych-Out was an unapologetic cash-in on SF’s already over-hyped (not to mention extinct) “hippieville” (as the press kit called it).

The flick’s convoluted plotline was ridiculous, and none of the adult Hollywood cast (which included Jack Nicholson, Bruce Dern, and Susan Strasberg) made convincing hippies.

However, after a rare viewing of the film, I had the opportunity for a quick exchange with famous actor Dean Stockwell who played Dave (a “truth-seeking hippie” according to the press kit, who lived in an air-conditioning unit).

It turns out, Dean barely remembers Psych-Out. Although, he does recall not liking the film or his character very much. “It was one of the exploitive teenage movies of the time,” he says. “It didn’t represent what was going on in the scene. I thought my character was an idiot.”

Jack Nicholson, Susan Strasberg & Dean Stockwell

While the film’s producers (Dick Clark Productions) weren’t concerned with improving the script or characters, Dean took it upon himself to give Dave a bit more dimension, even wearing a wig so he’d look cooler.

“I wanted my character to do more than just sit and contemplate his navel,” Dean remarks. (Although his dialog still runs along the lines of: “Reality is a bum trip.”)

He also reveals that (in some cases) the drugs used in the film weren’t props. “There was a big party scene with me and Jack Nicholson,” Dean comments. “We were walking around smoking pot. It was real! We couldn’t function for the rest of the day.”

Love AMERICAN HEARTBREAK Style

American Heartbreak's assault on the SF music scene perfectly coincided with our publishing schedule, and we featured this introduction to the band in Teenage Kicks #1. 

Originally published in Teenage Kicks #1 (Summer 1997)

By Devorah Ostrov

Billy Rowe & Lance Boone - American Heartbreak
Photo: Devorah Ostrov

"We're ready to conquer the world!" Lance Boone, lead singer for American Heartbreak, has no reason to doubt his enthusiastic proclamation.

American Heartbreak is:

Lance Boone
Photo: Devorah Ostrov

Lance Boone: Dark-haired, good-looking, charismatic frontman. From New England. Used to be in Diamond Star Halo. Worries (unnecessarily) about sounding stupid in interviews.

Billy Rowe: Guitarist with superstar potential. Goes from blonde to redhead in the blink of an eye. Formerly with Mindzone and Jetboy. Credentials include two sadly overlooked albums on MCA. Can boast about a member of Hanoi Rocks joining his band!

Erik Lannon: Drummer par excellence. Curly hair and a mischievous smile. His résumé involves just about everybody from Mordred to House of Wheels to the Bay City Rollers. Big fan of the Sweet and thinks Phil Lynott is God!

Mike Butler: Dynamic bassist. Sports waist-length hair and a shy demeanor. Hails from Florida. Played in Exodus and Mindzone.

Curtis Grant: Tattooed and muscular. Plays guitar with a vengeance. Like Billy and Erik, he's a San Francisco native (the three have known each other since childhood). Spent some time with LA's Black Cherry.

* * *

Curtis Grant and Mike Butler
Photo: Devorah Ostrov

Formed a little less than a year ago from the ashes of Mindzone and Diamond Star Halo, American Heartbreak has been gigging constantly, with the intention of "turning the City upside down," says Lance. They also want to "bring back the element of fun, which is desperately missing in a lot of the bands on the local scene."

Billy Rowe
Photo: Devorah Ostrov

The group took its name from the Girl song "Heartbreak America," and collective influences include the Dictators, D Generation, the Wildhearts ("I can't say enough about the Wildhearts," remarks Lance), the New York Dolls, and Blondie.

Lance describes American Heartbreak's sound as "very heavy, dark pop. It's rooted in punk, although it has an underlying pop beat."

Currently, the guys have three demo tapes in circulation, featuring such originals as "Methadone Baby," "Another Wasted Day" and "Nobody Likes Me," as well as "Richey James" — their tribute to the Manic Street Preachers' guitarist.

Lance's semi-autobiographical tune "Dead at Seventeen" is also included on the demos. Discussing the inspiration behind the lyrics, he reflects: "I remember not having any money, being bored on Saturday afternoons. And feeling like, shit, if this is all there is at 17, I might as well be dead."

They're already packing San Francisco clubs with an ever-growing following. And as one of their press releases points out: "A lot of people are about to pay attention to American Heartbreak." Be one of the first!

Specimen Become Americanized! Ollie Wisdom Talks About The Shake-Up Of Death Rock's Most Glamorous Group.

Published in Rave-Up #11 (1986)
By Devorah Ostrov

Specimen - San Francisco lineup circa 1985

L-R: Kimba, Ollie Wisdom, Smeg, Tim Huthert & Gere Fennelly

(photographer unknown)

The original Specimen was formed some years ago in England. Looking like rejects from a less than B-grade horror movie, they made a name for themselves amongst fashion conscious UK club-goers. And between their image, their records, and their club (The Batcave), they gave the music press (who labeled the innovative new scene "Death Rock") plenty to write about.

When things got beyond their control, lead singer and mastermind Ollie Wisdom moved operations to San Francisco. Since all the other British members chose to stay in London, Ollie reconstructed the band with musicians from the Bay Area: Gere Fennelly on keyboards, Smeg on guitar, Kimba on bass, and Jeffrey St. Pierre (who recently replaced Tim Huthert) on drums. Once again, Specimen is going full force!

* * *

"Indestructable" b/w "Brainburst!" picture sleeve 45

(Rampant Records 1986)

Ollie Wisdom's flat resembles a Specimen show. Multi-colored crepe paper and plastic beads dangle from the ceiling; various parts of baby dolls are strewn about the floor. As we make ourselves comfy amid the rubble, Ollie switches on the tape player and the final mix of the new Specimen demo blasts forth...

Ollie: We're doing four singles right now. The first is "Indestructable"/"Brainburst!" The other songs on the tape are "Pink and Perfect," "Red Velvet Crush on You," and "Miss You" — which is the ballady one. We're also making a film for it. When 

we finish the record, we'll edit the film to it, and it should be shown on MTV. We've also got alternative videos, in which we've been doing animation and stuff, which will go out to the clubs.

Rave-Up: Are you producing the record yourself?

Ollie: Yeah, I've done all the production on it and written all the songs for it. And it's come out great! I'm really pleased with it. I've never had the chance to do that in the studio before.

Rave-Up: The previous Specimen records were all done by producers telling you what to do?

Flyer for Specimen at Perkins Palace

March 3, 1984

Ollie: Very much so! It was a very necessary thing to go through, as well. When you first get let loose in a 24-track recording studio, which costs like $70 an hour, you've got to have some idea of what you're going for. Without what I learnt from past experiences, good and bad, I couldn't have done it.

Rave-Up: Is it because you're producing it yourself that the songs sound poppier?

Ollie: I don't know if it sounds poppier. It's not so guitar-oriented; it's more song-oriented. The songs I played you are most likely going to be the singles, so they're the more poppy of the songs anyway.

Rave-Up: What made you move to San Francisco? Were you bored with London?

Ollie: Yeah, I was really bored. There's nothing happening in London at the moment. Everybody just tries to make out like there is.

Rave-Up: Why San Francisco over anywhere else?

Ollie: I would never even consider living in Los Angeles. New York presents a whole load of problems that San Francisco doesn't. And San Francisco's got sunshine. Unfortunately, the process of moving split the band up somewhat.

Rave-Up: You mean like all the original band members are still over there, and you're over here?

Specimen - San Francisco lineup circa 1986

L-R: Jeffrey St. Pierre, Smeg, Ollie Wisdom, Kimba, Gere Fennelly

Ollie: But they're all over there not doing very much, unfortunately.

Rave-Up: So, what happened?

Ollie: Well, we had just issued an EP ["Sharp Teeth"] on a brand-new label [The Trust] in England. We'd spent a year getting out of our London Records deal; we wouldn't let them make us into the pop band they wanted us to be. And I said, "Look, I'm not going to do an album with Trust," which is what they wanted us to do. Other people wanted to go for it. They said, "Stay here and do this album." I said, "If that's what you want, keep it." I don't regret it in the slightest.

Rave-Up: Did you think about not calling the new group Specimen?

Ollie: It had occurred to me to change the name of the band, but I didn't see much point. When the original Specimen played Perkins Palace in LA, Jon [Klein, guitarist] and I went out to do a radio interview just after the soundcheck. There was a queue right around the block. We walked right past this whole lot — not one person recognized us!
     I figure that they still don't really know the difference. You've got to use whatever you have to your advantage. There's no point in cutting your wrists for integrity's sake.

Rave-Up: Don't you think it's superficial for your fans not to notice the difference?

Ollie: No, not if they come to enjoy the show anyway. The people that really got into us early on, they know the difference. Some of them whisper, "It's not the same band..." Of course, we're not the same band. We're not trying to be the same band. But it doesn't stop it from being a lot of fun!

Rave-Up: The personalities of the new band members must be vastly different from the old members. Are American musicians easier to work with?

Ollie Wisdom

(photographer unknown)

Ollie: In some ways. I find that Americans are a bit more open to suggestion and a bit more excitable when something excites them. The British have seen it all before, or think they have, so they're not going to appear to be excited, even if they are.

Rave-Up: I wonder how the new members feel stepping into a sort of inherited image? What people expect Specimen to be as opposed to what they are...

Ollie: But you see, it's not like they have to step into something. They've just got to be themselves. If they tried to step into something, it would look really awkward. Because they're the right people for the job, so to speak, there's no transformation needed.

Rave-Up: I always saw Specimen as a fun, almost cartoonish group. But the British press always wrote about you guys as the leaders of the death-rock scene, which made you sound a bit doomy and dark.

Ollie: Yes, well, you saw much more what it was. People just took the name, The Batcave, and misconstrued it. It was never serious. It was never an "Oh, we're death-rock" kind of thing.

Rave-Up: Do you resent having your creative, fun ideas turned into what the press wanted you to be?

Ollie: No, not really. I mean, you don't think about it. You just carry on and try to put a few people right along the way.

Rave-Up: Have you thought about doing a club here, along the lines of The Batcave?

Poster for the 25th-anniversary 

celebration of the London Batcave
July 11, 2008

Ollie: I don't want to do anything as regular as a nightclub. It's something I could always fall back on if I need the money! But no, I don't really want to. The Batcave was great. Let it rest in peace.

Rave-Up: One last question, did you have any trouble getting through immigration? Or did you try to look "normal"?

Ollie: Even when I try to look normal, I don't! But I have a "gimp" outfit — it's my disguise to get past immigration. It consists of a pair of corduroy trousers, a little jacket, tennis shoes, a beige shirt, no nail varnish, no make-up at all, no jewelry. No "un-manly" things in my suitcase. It's such a performance, but it worked!  

Rave-Up: What if someone had recognized you?

Ollie: Even you wouldn't recognize me!

Head On: It's All Part Of The Plan!

Originally published in Rave-Up #7 (1983)

By Devorah Ostrov

If we'd been CREEM, this pic of Mark, James & Frankie would've been

used for a "Star's Cars" feature. And it would've had a funny caption.

Photo: Devorah Ostrov

Not many bands can incur wrath the way Head On seems to do. One particularly nasty oldster (whose band we won't mention 'cause they're crap) had the nerve to compare Frankie's hair to something resembling a "bird's nest." Meanwhile, comments like, "What the fuck do you wear eyeliner for?" and "You look so '70s," are common. Still, in much the same youthful, drunken, fuck-it-all tradition of the New York Dolls, Head On pay no attention to these idiots and carry on having fun!

* * *

D.J. and Frankie
Photo: Devorah Ostrov

Rave-Up: With the plan being to land a major recording deal soon, are you hoping to break out of the San Francisco club scene?

Frankie: Oh, God yes!

James: Yeah! Clubs are okay sometimes, but we just play too many of them all the time. We get tired of it, and people get tired of seeing us. But since we don't have any product out, it's kind of difficult.

Frankie: I'd like to just see how we do with a crowd we've never played for, 'cause we've played and sort of manipulated a lot of these people in the Bay Area.

Rave-Up: How did it go when you were opening for groups like Ted Nugent and Cheap Trick?

Mark: It all depends on where it was. When we played in Stockton with Ted Nugent, it was like... We were expecting to be massacred! But those people don't get shows out there that often, and so here's somebody called Head On that opens up for Ted Nugent — they must be somebody! Then, when we opened for Cheap Trick... I mean, how often does Humboldt get shows? The crowd went nuts! This sounds kind of conceited, but there were girls over on James' side of the stage and they were screaming, shaking their heads, and putting their hands on their cheeks. It looked like Beatlemania!

Head On circa summer 1983. L-R: Mark Bergland, Howard Teman,
D.J. Nicholson, James Ray, and Frankie Wilsey
Photo: Devorah Ostrov

Rave-Up: Since it was going so well, why didn't you keep going in that direction?

Mark: Well, it's really hard to say. People try to pin that thing on us — "Well, you had the ball and you dropped it." But I don't know where we would've gotten more shows like those. Those shows that we got were luck!

Howard and James

Photo: Devorah Ostrov

James: Every year that we've been together, we've set a goal and we've made it. When we first got together we said, "By February," or whatever, "we're going to be playing the Old Waldorf." So, we did. Then we said, "Let's open up for somebody big," and we got Ted Nugent, Cheap Trick, and Joe Perry. Then we said, "Let's put out some kind of a product," and we did a flexi-disc. We wanted to sell out a club, so we sold out a club. But those steps seem to have come a lot easier than this step [putting out an album]. A lot of times, the public doesn't realize that a band is taking steps, and if it takes them a long time, they'll forget about you. All you know about a band is what you read about them or see about them.

Rave-Up: Still, you are one of the few local bands with a strong following.

Frankie: Which surprises me! It's weird. We play dancy music, but nobody dances. We always discuss it... "This song had a good dancy feel when we were writing it." We'll play it pretty dancy, but NOBODY will bop or anything. It seems like they just sit sort of bewildered. Just like, "Wow, these guys are weird!"

Rave-Up: Do you guys get harassed because of the way you look?

Early promo photo featuring bassist Rick Tweed
Head On logo designed by Ricky McMinn
Photo: Dennis Callahan

Mark: Oh God, do we get shit! I work at a record store, and it's fine while I'm in there, but once I set foot out of that store... Yesterday, some lady came into the store and asked my manager what ear [for an earring] it was that meant gay, right? He goes, "Well, I don't know." And she goes, "Well, I'm not coming any further!" And she turned around and walked out of the store.

Rave-Up: She thought you were gay?

Frankie Wilsey
Photo: Devorah Ostrov

Mark: Yeah. It kind of gets unnerving. You get really caught up in it, y'know. If you're in a bad mood and somebody starts laughing at you... I mean, you'd think that people would not be that cruel to outright laugh in your face. But it happens.

James: I even get it and I look normal! But when I go out, people just look at me like, "God, you're fucking weird!" It just bugs me when you go into a place and you get, "Queer! Faggot! FREAK!"

Frankie: Myself, I wear make-up all the time. I wear eyeliner practically every day; it's just a habit. It's something I've done for a long time. People will notice it more if I'm not wearing any. They won't say nothing when I'm wearing it, but when I don't wear it, it's "HEY!"

Rave-Up: Has the band always been as image-conscious as it is now?

Frankie: We were something acceptable in the beginning. We were a little more acceptable in the way of say, dress and our sound. We were a little on the "macho" side. Not so much metal, it was more of just a "macho" thing. We've changed to appeal to ourselves.

Mark and James

Photo: Devorah Ostrov

Mark: It's kind of funny, the whole look thing. I used to have really long hair, and everyone was, "Hey! Rock 'n' roll!" Then I cut it off, and everybody gave me shit! They're all going, "Where's your defiance?" I'm going, "You're looking at it right here!" I defied them by cutting my hair! And they really got all bent out of shape 'cause I didn't look like them! People still ask me, "Are you gonna grow your hair long again?" I just go, "Fuck off, pal!" I look the way I wanna look. That's the way rock 'n' roll is to me!

Rave-Up: Do you have a hard time separating your real personalities from the way your fans see you — always partying, always drunk, living the rock 'n' roll lifestyle?

James: We're not always drunk! That's Frankie! He's living the rock n' roll lifestyle for all of us.

The band hold a meeting in the vacant lot adjacent to Rave-Up HQ.

Photo: Devorah Ostrov

Mark: He's living the cliché rock 'n' roll lifestyle — on the street, in the worst part of town. But it all depends on what side of rock 'n' roll you want to live. I really live for the music. I write lots of songs, not just songs that we play. My songs are my emotions because I have a hard time displaying my emotions. The music for me goes a lot deeper than... I live at home, and for me that's fine. I like living in a nice surrounding. I like having a place to call home. I live rock 'n' roll when I'm playing, and my home life is very different.

Mark & D.J.

Photo: Devorah Ostrov

Rave-Up: One last thing, tell us about your version of the New York Dolls' song "Trash."

Frankie: "Trash" was a little bit shaky in the beginning. I said, "The kids are gonna love that!" Just hearing the word "trash!" They don't even care what I'm singing during the verses, as long as they hear "trash!" They can relate to that. It reminds them of their girlfriend, or their day, or their job, or school... A lot of the time, I don't even know what David [Johansen] is saying in the verses. I say the same thing over and over. I had it down in the beginning, but we've done it so many times that I've lost it. I just start babbling anything. I used to love it when they [the fans] thought I'd wrote it.

Rave-Up #7 - cover boy Frankie 
Wilsey made our readers swoon.

Photo: Devorah Ostrov

* Many thanks to Rave-Up pen pal Connie Wallace who kept her copy of issue #7 and very kindly forwarded this interview to me.

* For more information about Head On, check out their Facebook page. Here's a link:  https://www.facebook.com/HEAD-ON

Jetboy: A Press Conference Is Held To Announce The Release Of Feel The Shake!

Originally published in Rave-Up #16 (1989)
By Devorah Ostrov (with thanks to Alison for transcribing duties)

Jetboy - Feel The Shake LP cover photo

MCA Records (1988)

Jetboy recently held a press conference at the Stone, in their hometown of San Francisco, to discuss the band's debut album as well as video and tour plans.

On the press side, there were three of us: me (Devorah), Sadie O. (technically a Rave-Up staffer, but she was covering this event for another 'zine), and some guy with a vague connection to MTV (who hadn't seen the video and asked confusing questions; we refer to him as MTVdude because we don't know his name).

On the band side, there was: Mickey Finn (vocals), Billy Rowe (guitarist), Fernie Rod (guitarist), Sami Yaffa (bassist), and Ron Tostenson (drums).

* * *

Jetboy (MCA publicity photo)

L-R: Ron Tostenson, Billy Rowe, Sami Yaffa,

Fernie Rod, and Mickey Finn

Devorah: So, now that the album is out and you're on MTV, can you come home? Or do you have to stay in Los Angeles?

Billy: We don't have any home anymore. We're going on tour!

Devorah: I've heard that you're opening shows for Kix. Is that the story?

Fernie: No, that's half the story. We're going out on our own first.

Billy: Until we meet up with Kix on the East Coast.

MTVdude: In terms of the first music video you guys did ["Feel The Shake," the title track from Jetboy's LP], how was that experience? I mean... you know... you're obviously used to being onstage, but I mean...

Sami: But not for twelve hours solid!

Fernie: We did a twelve-hour show of the same song.

MTVdude: I haven't seen the video. Is there a theme, or is it straight-forward rock 'n' roll?

Jetboy - publicity photo

Fernie: When you look at it, you think that we're really doing it.

Devorah: But you're not?

Fernie: I mean, we are really doing it, but we sound just like the record.

MTVdude: So, when you guys do the next one, is there going to be anything different? I mean, in terms of...

Fernie: I think we're going to do "Make Some Noise" and the band is going to be naked.

Sadie: Yay! Oh, excuse me.

Devorah: How did you guys come up with the concept of a skull for your backdrop? Is this LA trendiness showing through?

All at once: Noooo!!!

(Sami threw whatever was handy in my direction — it happened to be a copy of Rave-Up. I threw it back and kicked him under the table for good measure.)

Ron: That's a kamikaze pilot — a "Jetboy"!

MTVdude: When you talk about attitude... I mean, when she says "Los Angeles"... I mean, there's obviously an attitude difference between North California and South California [his phraseology].

Billy Rowe and Mickey Finn meet Stiv Bators at a Lords of the 

New Church in-store appearance - Rainbow Records, 1985.

Photo: Judy Jansen

Fernie: Well... See, LA needs an attitude adjustment.

Sadie: At least you're closer to the music industry there. At the moment, if you're not thrash, San Francisco is a very bad place to be business-wise.

Fernie: Yeah, it's all relative to time and place. Before we officially moved to "that hellhole down there," we were living here and commuting back and forth. But the labels had their beady little eyes on us all the time.

Fernie Rod in action (probably 1985)
Photo: Devorah Ostrov

MTVdude: So, what kind of logic is it in terms of the record company... Why would they put out funding for a band to put together product, and then not get it off the shelf?

Billy: Are you talking about in our case?

(It's eventually decided that the question is about Jetboy having been dropped by Elektra Records shortly before the release of Feel The Shake, after which the band was promptly signed to MCA.)

Fernie: We call it the ninth wonder of the world. We don't really know what the heck happened. It could have been a multitude of things. There was a personnel change; some political things were going on. It isn't like we told Bob Krasnow [head of Elektra] to rot in Hell. Oh, hi Mick!

(As if on cue, enter Mickey Finn.)

Sadie: But it looks like it might be a positive factor for people to see that you slogged through all this shit, and you're still going.

Mickey: Yeah, I think people know that we're not a fly-by-night band. I mean, we've been through the mill, you know. We basically got all the bad breaks. Now that things are finally going good, I think people can be sure that we're gonna be around for a while.

MCA advert for Jetboy's debut LP

Fernie: It's just like life. There's no guarantees in life; ain't no guarantees in anything you do. Nothing you really want comes easy. You have to earn it.

Sadie: You know, that's probably what separates you from the attitudes in LA. Those bands have this idea that if they do their hair right, everything will fall into their lap.

Fernie: That's true!

Sadie: So, since I'm like hopelessly stupid, what kind of thematic shit do you deal with? I mean, I've seen the one video...

Fernie: Thematic?

Sadie: That's all about making noise and stuff.

Fernie: There is no theme, it's just a matter of your own personal...

Mickey (mumbled under his breath): Zen...

Sadie: Zen? What!?

Mickey: No... I said, "Yeah." We wanted the video to just be live and raw, like when we recorded that record. And I think it does capture that. I mean, halfway through the video, my pants were ripping apart and we were all dripping with sweat, but we didn't say, "Hold everything! We gotta blow-dry our hair and change our clothes." You look at the video, and it looks like a live show.

L-R: Mickey Finn, Billy Rowe, Fernie Rod, and Ron Tostenson

Photos: @scarpatistudio

Fernie: I did have a stand-in on some of the jumps and splits.

Sadie: And you had a harness, so you could...

Fernie: Did you see the strings?

MTVdude: When you guys talk about creative freedom... Like you want to express your attitude being raw on the video... Did you find that anybody wanted to like, shape your attitude in the studio... And when you came to do the video, did they try and like... "Here's some ideas, and you get to pick and choose."

Jetboy is the "Metal Pin-Up"

Mickey: Yeah, they did a little bit.

Fernie: But you know, it's the old "goes in one ear, out the other." We just did our thing. In the studio, it was just us and the producers and the engineer. When it came time to do the video, the suggestion [from MCA] was to just go for it. Just do what we do best — play live! There were really no major conflicts.

Sadie: Did an audience come in and watch you do the same song for twelve hours?

All at once: Yeah!

Sadie: That's devotion.

Fernie: I don't think it was devotion. I think it was the promise of food.

Devorah: How did you guys feel the first time you saw "Feel the Shake" on MTV?

Sami Yaffa onstage with Jetboy
Photo: Devorah Ostrov

Fernie: I thought I looked taller!

Mickey: For me, the first time I saw it... I thought it would be so exciting. Then when it actually came on, I felt self-conscious like, "Oh my God, the whole world is watching this! It's not good enough." But then, after that, it was a good feeling.

Sadie: You guys got any other exciting interests or something? I mean, apart from Jetboy.

Mickey: Skateboarding... motocross… pet iguanas... I've always been into reptiles. In fact, I used to live in this house on 11th Avenue, and we got raided about a year ago. You might have heard about it 'cause it was on the news, in the newspaper. They were all: "Poisonous snakes lurking in San Francisco!"

Fernie: Well, the only thing I've noticed... In certain publicity shots, you're beginning to look like some of those things.

Mickey: Then there's our fascination with the blues... harmonica... slide guitar... On the next album, there'll be a lot more harmonica and slide guitar.

Sadie: Do you have any people that you emulate?

Billy: James Cotton... Johnny Winter... all that stuff. We're crazy about it!

Mickey Finn - Jetboy's 2006 reunion
Photo: Devorah Ostrov

Devorah: Are you looking forward to playing for all your friends in San Francisco again tonight [the second of two SF shows]?

Mickey: It should be fun. We rocked last night! You know, we're starting off the tour in San Francisco, and I said, "I'm gonna take it easy, be mellow, pace myself." But last night it was like, "Aarrgghh!"

MTVdude: As far as your earlier fans and friends... Are they... you know... When a band starts getting capital and cash... It's strange... People are really turned off; it's like they feel deserted.

Mickey: Once a band starts seeing some success, it's real easy for old fans to start cutting us off, "Oh, the record's no good. I like their old stuff." How can you help being a little jealous, or like you said, feeling betrayed by the band? It's like, yeah, we took up and went to LA and now we're doing it. We're doing what we always wanted to do. Some people can't accept that.

Fernie: Yep. I'm doing what I always wanted to do — sitting in the Stone, in the early afternoon, drinking my Beck's beer.

Ron: Out of a can.

* * *

2018 update: Jetboy has completed work on a NEW album, which will be released through Frontiers Music.

Please click on these links to read my other interviews with Jetboy:
devorahostrov.blogspot.com/2018/05/jetboy-sami-yaffa-joins-group
devorahostrov.blogspot.com/2017/10/jetboy-year-into-their-glittering-career