voidoids

Well, this is going to be interesting…

See, the Barman scores books by McGarretts, with three being the top score.

So, the book (one of the 33 1/3 series about "classic" albums) gets TWO separate scores, for two separate reasons. It’s up to you to figure out if I’m being fair or not.

However, I’m not quite sure how to imagine half a Steve McGarrett. Which would be the least offensive do you think, the top or the bottom half..?

You see, the reason Astor gets a half McGarrett is because it’s a bloody effort to read. Astor is now an academic, no longer an enthusiastic and rebellious teen, and there is way too much turf, not enough surf. Astor’s haphazard organisation is apparently designed to prevent you reading it, and he apparently has neither enough understanding of either the time (which is just plain weird) or the impact the LP had, and there is certainly too much literary analysis where it seems superfluous.

Destiny Street Complete – Richard Hell and the Voidoids (Omnivore)

Reports that “Destiny Street” had been re-recorded and was being pressed on vinyl in 2004 were alarming. The late Robert Quine was five years gone and his wired, highly-strung guitar-playing was an essential and revered element of just about anything the Voidoids did. This was surely an act of madness, if not sacrilege.

Its prime creator, Richard Hell, had never been happy with “Destiny Street”, the 1982 follow-up to “Blank Generation” that was recorded in troubled circumstances. Hell was debilitated by a drug habit and absent for much of the sessions. His penchant for intravenous coke to counter his reliance on smack had left him fried and unable to leave his apartment for long periods of time. His attempt to make his mark while largely AWOL was to summon up guitar overdub after overdub.

Marcia Resnick photo

A handful of songs into just one album, and Robert Quine had staked a claim as one of the most distinctive guitar sounds on the New York punk scene.

Quine was part of that small but influential coterie of musicians, artists-turned-musicians and assorted dilettantes that populated a seedy ex-biker bar called "CBGB and OMFUG" at 315 The Bowery, on the Big Apple's seamy Lower East Side. He was the principal guitarist in Richard Hell and the Voidoids, a unique quartet spitting out some of the New Wave's most disturbing music.

On the 12^th anniversary of the passing of Robert Quine, we present this archived interview from May 2000. 

Onetime Richard Hell and the Voidoids guitarist Ivan Julian is battling cancer, his record label has revealed.

“The prognosis looks good for Ivan, but for the next six months or more, flexibility to do his work will be greatly diminished, which means a direct impact on his income,” Plowboy Records said in a statement on its website. Julian was diagnosed almost immediately after writing and recording The Fauntleroys’ new single, “Wait For Me”  b/w “All The Way Down (In The City Of Angels).

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Plowboy Records and The Fauntleroys are offering the new singles in digital, vinyl and CD formats with all profits going to Ivan Julian. Go hereto score the new single or the band's debut EP and help a punk rock icon.

Plowboy is also home to ex-Dead Boy Cheetah Chrome.

With the late Robert Quine, Julian was one-half of one of the most innovative guitar combinations on the New York punk scene and more recently had worked with Matthew Sweet.