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522:'s epic rock dipped into, but Willy was an entirely different creature, a macho dandy in a pompadour and pencil mustache, with the dangerous air of a New York gangfighter and an underbelly vulnerability that came out through the romanticism of his music. Springsteen sounded like he was your friend in desperate times. DeVille sounded like he couldn't quite decide whether to serenade you or pull a knife on you.
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585:: "The whole band only got $ 50 a night, even to the end. That's why I never went back there. I've never walked through those doors other than to have maybe a beer once. I was down in New Orleans and I came up here, kind of going down Memory Lane so to speak. I ended up on Bowery down there and I thought, 'Let's see what's going on here.' I walked in (to CBGB) and I saw Hilly (
668:, and us. We were the five big draws. And then one night this blond-headed guy came in to CBGB, Ben Edmonds. He was the guy who was responsible for being the visionary who saw that we were different than they were and that we could probably have a career playing music. So we went into this cheap little studio and did four songs, which Edmonds gave to
1369:, Drummer Shawn Murray for example, backed up Willy DeVille in his 1984 and 2007 European tours. As well, musicians who played in The Mink DeVille Band sometimes played on Mink DeVille and Willy DeVille albums. These members of different Mink DeVille Bands played with Willy DeVille for ten years or more:
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swing. They favoured castanets over tom-toms, and accordion over distorted guitars, and Willy delivered his vocals with a sweet, tuneful flexibility that brought out the emotional resonance beneath his nasal sneer. What the wiry, dapper DeVille had that tied him to fellow CBGB resident bands like The
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By this time, no members of the original Mink DeVille save Willy DeVille remained in the band, but DeVille continued recording and touring under the name Mink DeVille. "Those boys went through the wars with me, the $ 50 a night bars, and I had to turn on them and lop their heads off and say, 'I love
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in Europe in 1980, but believed that
American audiences would not warm to a record featuring accordions and strings. "It says something about the state of the American record business—something pathetic and depressing—that Willy DeVille's finest album fell on deaf ears at Capitol," wrote
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So maybe another name change would help—God knows the music was great. Mink Pie ... hmmmm. 'No, it's gotta be something slick—something sorta French, somethin' sorta black ... poetry. Mink ... MINK DE VILLE!' blurted out Toots, Willie's omnipresent, black-bouffanted old lady, whose quiet
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DeVille said about their first meeting, "Now here I am at 29, a writer, doing pretty good and I've just been asked if I want to write songs with a guy who helped lay the foundations for the music I fell in love with sitting at my mother's kitchen table when I was only seven years old. You've got to
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music was born in the mid-1970s. "We auditioned along with hundreds of others, but they liked us and took us on. We played for three years ... uring that time we didn't get paid more than fifty bucks a night", DeVille said. In 1975, CBGB was the epicenter of punk rock and what would later be called
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did in France). Rootsy, hook-laden rock, iconic balladry, and the theater of aural experience were all contained in songs that offered the illusion that one could still find acted out under a streetlamp-lit stage, in front of a trashcan bonfire, narrated by one costumed in the decadent attire of a
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I had band problems, manager problems, record company problems. And yeah, I had drug problems. Finally I got a new recording contract, with
Atlantic, and a new manager. I cleaned up my act. I figured that since playing music with people I was friends with didn't seem to work out, I would hire some
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wrote, "Mr. DeVille is a magnetic performer, but his macho stage presence camouflages an acute musical intelligence; his songs and arrangements are rich in ethnic rhythms and blues echoes, the most disparate stylistic references, yet they flow seamlessly and hang together solidly. He embodies (New
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said about the band, "Mink DeVille knows the truth of a city street and the courage in a ghetto love song. And the harsh reality in his voice and phrasing is yesterday, today, and tomorrow — timeless in the same way that loneliness, no money, and troubles find each other and never quit for a
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When Mink DeVille took the stage (at CBGB) and tore into "Let Me Dream if I Want To" followed by another scorcher called "She's So Tough," they had me. These five guys ... were obviously part of the new energy, but I also felt immediately reconnected to all the rock & roll I loved best: the
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which where I come from is a bad word. A punk is somebody who picks a fight with you and then never shows up." In 2007, Willy DeVille said about the bands that played CBGBs, "We were all labeled as part of this
American punk thing but I really didn't see any of us having much in common." "Every
1183:, where he demonstrated with an almost insolent ease that he is still ready for the recognition that should have been his several years ago. He has the songs, he has the voice, and he has the band. And he has expanded the scope of his music by adding elements of French cafe songs and Louisiana
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sort of way." Another story about the Mink DeVille name says that it originated with Fast Floyd, who owned an old
Cadillac with a cracked dashboard. To cover the cracks, Fast Floyd glued an old mink coat he had purchased at a thrift store to the dashboard. According to a 1977 article in
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Mr. DeVille's career never quite took off, despite the impressive breadth and depth of his talent. He is recording a new album for
Atlantic records, having departed from his previous recording commitment under less than amicable circumstances. And on Friday night he was at the
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down on Folsom Street," Willy DeVille recalled. "We were Billy de Sade and the
Marquis then. We played the Barracks. After a while they would take their clothes off. This one guy—Jesus Satin he called himself—he'd dance on the pool table. It was nuts! Crazy!"
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It has always been assumed that our pairing was based on his (Nitzsche's) Spector accomplishments, but to me that was secondary. In the beginning I saw Mink DeVille as a hard-edged rock and roll band, and I wanted the
Nitzsche who'd produced
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Nitzsche said about DeVille, "We hit it off right away. Willy pulled out his record collection, he started playing things, that was it. I thought, 'Holy shit! This guy's got taste!'" Wrote Ben
Edmonds, who paired Nitzsche with Mink DeVille:
558:(what Willy DeVille called "electric this and strawberry that"); moreover, the band brought an eclectic New York sensibility to its music that the other bands didn't have and that New York City rock fans recognized and appreciated. Critic
403:). "I convinced the guys that I could get them work, and we climbed in the van and drove back the other way." Guitarist Fast Floyd and keyboard player Ritch Colbert arrived in New York City several months later. Fast Floyd was replaced by
353:. Said DeVille, "We were sitting around talking of names, and some of them were really rude, and I was saying, guys we can't do that. Then one of the guys said how about Mink DeVille? There can't be anything cooler than a fur-lined
1252:(Both) are truly solid albums—despite lukewarm reviews at the time—showcasing much of Willy's theatrical personality and his own desire to provide for the elements of fantasy in rock music that the early rockers and
589:) standing there. I had a big straw hat on, silk suit. He bought me a beer and it got around to 'Would you like to come back?' I said, 'No Hilly and you know why? Because you never treated me right. You never were fair to me.'"
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Euro-trash lothario-cum-stiletto-carrying 1950s gang banger ... They captivate a listener in the same way a great period film would—they tell an epic story in a few minutes and capture all of its life and death drama.
777:'s 'These Arms of Mine,' Nitzsche motioned for me to stop the tape. 'When do we start?' he said. They had him. And that was the whole of it, plain and simple. I didn't get Jack Nitzsche. The voice of Willy DeVille did.
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manager Dan
Bourgoise, who responded 'Jack? I can put you in touch with him.' Two days later the elusive producer was sitting in my office. I put on a live recording and after the first song, the band's version of
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in 1980. "According to Willy—never one to let false modesty intrude on a good story—the
Atlantic Records chairman said, 'You got the look, the performance, the writing, you know exactly what to do.'"
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mercenaries, some cats who just wanted to play and get paid. And those guys turned out to be more devoted to the music than any band I ever had. They're professional, precise, but they're full of fire, too.
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and he came back from Paris with a very different kind of record. They didn't understand the record, but they understood it in Europe. They released it immediately in Europe and everybody loved it." After
241:. The band recorded six albums in the years 1977 to 1985, after which it disbanded the next year. Except for frontman Willy DeVille, the original members of the band played only on the first two albums (
253:). For the remaining albums and for tours, Willy DeVille assembled musicians to play under the name "Mink Deville". After 1985, when Willy DeVille began recording and touring under his own name, his
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1334:, calling it "he most modern, polished sound of (Willy DeVille's) career." He added, "Pushed to center stage, DeVille delivers, singing with more passion and more personality than ever before."
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singer ..." Wrote Mark Keresman, "Mink DeVille's earthy, streamlined sound, rejecting the mainstream high-gloss that ruined much of 1970s rock, was accepted by the same folks who'd go to see
444:, but Mink DeVille didn't necessarily fit in the scene. "Onstage, Willy's band, Mink DeVille, had nothing in common with the new wave CBGB bands that the press had lumped them with," wrote
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you man, but that's the way it's gotta be.' I still feel guilty about it, but we were just a good bar band. That's all we were. We weren't ready to make great rock and roll records."
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stuff that we grew up with and loved. We just fell in love with each other. We were buddies to the end. He was like my crazy uncle. I called him my mentor and my tormentor.
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1316:, and DeVille and Duncan Cameron producing. The song "Italian Shoes" was a hit in some European countries, but some critics thought the album was overproduced. Wrote
1079:(Willy DeVille) created a record that sounded like nothing that had come before ... It was clear that Willy had realized his fantasy of a new, completely contemporary
824:("Hey Rosita! Donde vas con mi carro Rosita? Tu sabes que te quiero, pero ti me quitas todo"), adding a Latin flavor to the album. This song was chosen as the album's
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930:(in New York City). He sat at his usual table and watched an empty spotlight. Cigarette smoke wafted into the shaft of light from offstage while the sax player blew
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1365:, an allusion to the earlier Mink DeVille. Some musicians who backed up Willy DeVille in The Mink DeVille Band played and toured with him for decades. Bass player
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316:, which included Allen on drums and Ritch Colbert on piano. When Lazy Ace broke up, DeVille, Allen, Colbert, Rubén Sigüenza, and guitarist Robert McKenzie (a.k.a.
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Kenny Margolis. Said DeVille: "I wanted to record the album in Paris ... because I desperately wanted to use Jean-Claude Petit, whom I had contacted through
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1603:
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1341:, DeVille dropped the "Mink" moniker and began recording under his own name. Mink DeVille played its last concert on February 20, 1986, in New York City.
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later asked me incredulously. 'I tried to get him for years.' The sad truth is that it took one phone call, and even that was sheer luck—or maybe
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1045:, want to play with me. Wow! That's pretty cool! Songwriting with Doc Pomus. Not to mention Jean-Claude doing the strings. How can I go wrong?"
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2009:
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The albums Mink DeVille recorded for Atlantic sold well in Europe but not in the United States. Explained Kenny Margolis, who played piano and
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telling you what to like. Europe had not had MTV at that point and they were very open to different music." DeVille said about his years with
1066:. Said percussionist Boris Kinberg, "Capitol in the U.S. didn't know what to do with it because they perceived Willy as this punk rocker from
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in DeVille's early 1980s bands, "I don't think the American public had a chance to experience him because in America at that time you had
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of a submarine. The show was the most soulful Doc had seen in ages. Onstage, Willy's band, Mink DeVille, had nothing in common with the
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1991:
796:, and blues recordings, is generally regarded as one of the best debut albums by a new band of the mid-1970s. Steve Douglas played
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York's) tangle of cultural contradictions while making music that's both idiomatic, in the broadest sense, and utterly original."
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sensibility to the band; Colbert left the band and returned to California in 1977 and was replaced by Bobby Leonards (formerly of
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had become acquainted with Pomus while frequenting New York City's blues clubs and had urged Pomus to check out the group. Wrote
949:. The tightest black suit clung to his thin frame; he wore a purple shirt, a narrow black tie and shoes with six-inch points. A
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f----n' art student that plays out of tune gets a record deal," he said dismissively in 1981, when asked about the punk scene.
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and couldn't believe it when someone told him that Doc Pomus wanted to meet him after the show. "You mean the guy who wrote '
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of bands that played CBGB (for the recording sessions, drummer Thomas R. "Manfred" Allen Jr. was credited as Manfred Jones).
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973:, at heart Mink DeVille was an R&B band, and Willy an old-fashioned soul singer. He borrowed much of his phrasing from
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sold impressively in America as an import, Capitol finally released it in the United States. Wrote Alex Halberstadt:
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1320:: "Its sound is steeped in mid-'80s studio gloss and compression that often overwhelms quality material." However,
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played keyboards and, once again, Douglas played saxophone. Mink DeVille toured the United States in 1978 with
868:, Willy DeVille and producers Nitzsche and Steve Douglas employed lavish string arrangements on several songs.
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for a short while. Here he took his band in a new direction and recorded an entirely original album called
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832:; it was to be DeVille's only record ever to chart in the UK. The song went to No. 3 in the Netherlands.
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45s. Plus they seemed to contain all the flavors of their New York neighborhood, from Spanish accents to
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production technique. These producers were a natural fit for Mink DeVille, whose members' tastes ran to
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can there?" DeVille also remarked about the name, "What could be more pimp than a mink Cadillac? In an
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signed him to a fat new recording deal and promised to personally shepherd his career ...", reported
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thing. We played CBGBs for three years, and all of the sudden word got out, and then came this word
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981:'?" He was even more amazed when Doc asked whether he'd write with him. "Look me up. I'm in the
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The exposure eventually led to a record contract. In December 1976, Ben Edmonds (1950–2016), an
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were sometimes called "The Mink DeVille Band", an allusion to the earlier Mink Deville name.
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1304:("Something Beautiful Dying" and "When You Walk My Way"). The album was recorded at the
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shows a picture of DeVille driving a car with what looks to be mink on the dashboard.
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The song "Just to Walk That Little Girl Home" was featured briefly in the 1984 movie
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sound. Said Willy DeVille, "You listen to that music and you hear those really high
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DeVille and his band reached deep into blues and soul, the classic romantic pop of
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938:. With his pedantically trimmed pencil mustache he looked like a cross between a
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However, Mink DeVille had in common with the CBGB bands an aversion to the hippy
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In 1979, Willy DeVille's love of art and French culture led him to relocate to
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suggested the name: "...the band looked like it might have been going nowhere,
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and a lot of blues people around San Francisco. ... I met Rubén at a basement
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Background vocals: Billy Valentine, John Valentine, Dorene Wise, Yadonna Wise
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on the first album—decided it should be outright, raw, and rude." On
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Later in life, DeVille had only sour memories of CBGB. He did not play any
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Both albums featured saxophonist Louis Cortelezzi and had a full-throated
292:) met drummer Thomas R. "Manfred" Allen Jr. and bassist Rubén Sigüenza in
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For a complete discography of Mink DeVille/Willy DeVille recordings, see
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735:; that's all Jack's (Jack Nitzsche's) work. All that really cool stuff".
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2039:"Mink Deville: Spanish stroll - Positieverloop in de Nederlandse Top 40"
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grit. Doc (Pomus) was elated when he heard it. Thinking they'd signed a
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Sears, Rufus (October 30, 1980). "Willy's back—and knocking 'em dead".
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934:'s "Harlem Nocturne". DeVille strode out of the wings and snatched the
703:, produce the first four Mink DeVille albums. Both men, members of the
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2290:, Web site of Eagle Rock Entertainment. (Retrieved August 3, 2008.)
1281:, "Ahmet Ertegun and I got along, but we never got anything done."
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was an edge. He was drawing on some of the same musical areas that
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This quote comes from the back cover of Mink DeVille's 1978 album
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arrangements ... The band with me was a dream come true. I've got
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296:. Said DeVille, "I met Manfred at a party; he'd been playing with
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Loder, Kurt (December 11, 1980). "Review: Willy DeVille's best –
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and shelved it for a year. When it was finally released in 1980,
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Cohen, Elliot Stephen (August–September 2006). "Willy DeVille".
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1001:, and he dismissed the members of the band except for guitarist
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1946:
The Sorcerer's Apprentice: Jack Nitzsche's Magical Musical Word
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Klein, Howard (October 1977). "Mink De Ville: Slick Fur Fury".
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stuff. The only stuff we were doing that people had heard was '
2227:"Pop Jazz; Willy DeVille and the Mink in Weekend at the Savoy"
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611:, signed the band after spotting them at CBGB. Wrote Edmonds:
2130:"Rolling Stone's 1980 Rock & Roll Awards – Critic's Poll"
1119:, made nearly every critic's list of the year's best records.
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DeVille may have been referring to these psychedelic bands:
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in 1985. For this album, DeVille penned two more songs with
820:", bassist Rubén Sigüenza spoke words in Spanish during the
672:. I didn't even know who Nitzsche was. Nitzsche did all the
1546:"Mink DeVille: Smooth Running Caddy – The Tale of The Mink"
2138:. No. 338. March 5, 1981. p. 31. Archived from
1361:(2003), Willy DeVille's backup band was sometimes called
985:," Doc hollered before rolling away (in his wheelchair).
768:. I mentioned my mission while chatting with friend and
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From 1975 to 1977, Mink DeVille was one of the original
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Lonely Avenue: The Unlikely Life and Times of Doc Pomus
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CBGB bands that the press had lumped them with. Unlike
699:, in January 1977. Nitzsche would, in alternation with
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in San Francisco, and he liked everything I liked from
2255:"Willy DeVille, RIP: Remembering an American Original"
509:, with a side order of Spanish spices and New Orleans
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founded in 1974, known for its association with early
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nightclub and for being a showcase for the music of
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The World Critics Lists ~ 1987. (Retrieved 2-1-08.)
1131:declared it the tenth best rock album of all time.
902:. For this album, DeVille wrote several songs with
723:and other 1960s-era New York City bands with their
312:." Willy DeVille occasionally sat in with the band
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1971:
1148:"Willy had found a more appreciative reception at
1127:the fifth best album of 1980, and music historian
1107:didn't know what to do with Willy's rock and roll
1875:(September 18, 1981). "Pop: Willy DeVille Band".
1216:DeVille recorded two albums for Atlantic, 1981's
953:jutted out above his forehead like the lacquered
1373:Guitar: Ricky Borgia, Freddy Koëlla (also plays
760:album ... 'How did you ever get Jack Nitzsche?'
378:intensity is not unlike his own." This issue of
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566:In 1976, three Mink DeVille songs appeared on
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1690:. New York: Da Capo Press. pp. 213–15.
1248:Wrote critic Thom Jurek about these albums:
2591:Cadillac Walk: The Mink DeVille Collection
1970:Stambler, Irwin (1989) . "DeVille, Willy".
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1963:
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804:singers whom Willy DeVille discovered at a
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1920:Cadillac Walk: The Mink DeVille Collection
487:CBGB, where Mink DeVille was a house band.
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31:
632:folk-rock inflections, the heartbreak of
581:or recordings for the nightclub. He told
170:Thomas R. "Manfred" Allen, Jr. (deceased)
1974:The Encyclopedia of Pop, Rock & Soul
1894:"Interview with Willy Deville from 2006"
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1537:
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1349:On playbills and on live albums such as
1091:romance and, in his vocal, a measure of
685:Mink DeVille recorded their debut album
2320:Wild, David (March 27, 1986). "Review:
1799:Cartwright, Garth (September 1, 2007).
1656:. Yahoo! Message Boards. Archived from
1627:
1625:
1565:
1563:
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1123:The Rolling Stone Critic's Poll ranked
2710:Punk rock groups from New York (state)
2561:Love & Emotion: The Atlantic Years
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2082:
2065:"The 1977 Pazz & Jop Critics Poll"
2010:The Virgin Book of British Hit Singles
1728:McCormick, Neil (September 11, 2009).
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1083:record. To the symphonic sweetness of
922:One night Doc's pub crawl took him to
341:In 1975, the band changed its name to
2690:Musical groups disestablished in 1986
1913:
1911:
1256:did in the 1950s and 1960s (and that
1005:in favor of new musicians, including
860:, but with a twist. "We went against
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2041:. Stichting Nederlandse Top 40. 1977
435:, the New York City nightclub where
2257:. The Allmusic blog. Archived from
1773:Willy DeVille: Live in the Lowlands
1387:Bass: Bob Curiano, David J. Keyes,
322:Fast Floyd and the Famous Firebirds
2685:Musical groups established in 1974
2374:The official Willy DeVille website
1606:. Leap in the Dark. Archived from
1025:(who also served as producer), on
1013:'s songwriter Charles Dumont, for
648:Said Willy DeVille about Edmonds:
25:
2700:Musical groups from San Francisco
2695:Musical groups from New York City
1828:"Music Obituaries: Willy DeVille"
1730:"Willy DeVille: death of an icon"
514:Ramones, Television, Blondie and
464:band, and Willy an old-fashioned
48:Members of Mink DeVille in 1977;
2705:Punk rock groups from California
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2654:
2566:Mink/Willy DeVille Greatest Hits
2330:. No. 470. pp. 114–15.
2279:Eagle Rock Entertainment (2007)
1602:Marcus, Richard (May 14, 2006).
1314:the Muscle Shoals Rhythm Section
850:The band's 1978 follow-up album
754:soundtrack) and the great first
389:, DeVille noticed a small ad in
27:American band with Willy DeVille
2253:Jurek, Thom (August 10, 2009).
2180:. No. 329. pp. 20–23.
2118:. No. 332. pp. 55–56.
1402:Piano, Accordion: Seth Farber,
828:and reached No. 20 on the
731:, and that percussion, and the
605:, and previously an editor for
460:, at heart Mink DeVille was an
284:was formed in 1974 when singer
2450:Thomas R. “Manfred” Allen, Jr.
2343:"DeVille Files for Bankruptcy"
2341:Wilner, Rich (March 1, 1986).
2310:. Retrieved December 19, 2010.
1345:"The Mink DeVille Band" lineup
856:continued in the same vein as
636:, and a thousand scratchy old
395:inviting bands to audition in
385:Looking at music magazines in
1:
2351:. 9. Vol. 98. p. 77
2162:"Individual Critics Top 10s."
1136:The Pope of Greenwich Village
836:was elected number 57 in the
624:..., the subway scenarios of
526:Said DeVille, "We were doing
326:Billy de Sade and the Marquis
2455:Fast Floyd (Robert McKenzie)
1358:Acoustic Trio Live in Berlin
184:Vinnie Cirincione (deceased)
172:Fast Floyd (Robert McKenzie)
2093:(CD insert). Mink DeVille.
2007:Roach, Martin, ed. (2008).
1922:(CD insert). Mink DeVille.
1289:Mink DeVille's last album,
277:Early days in San Francisco
2731:
2527:Where Angels Fear to Tread
1978:(3rd ed.). New York:
1717:(CD insert). Mink DeVille.
1684:Halberstadt, Alex (2007).
1604:"Interview: Willy DeVille"
1490:Where Angels Fear to Tread
1306:Muscle Shoals Sound Studio
1229:Where Angels Fear to Tread
979:Save the Last Dance for Me
904:Rock and Roll Hall of Fame
784:, a multifaceted album of
705:Rock and Roll Hall of Fame
695:in the U.S.), produced by
681:Working with Jack Nitzsche
261:Rock and Roll Hall of Fame
2651:
2433:
2196:"Willie DeVille and band"
1942:"Jack Nitzsche 1937–2000"
1431:Willy DeVille discography
1393:Percussion: Boris Kinberg
1285:A final album for Polydor
399:(his hometown was nearby
41:
2586:The Best of Mink DeVille
2556:Spanish Stroll 1977-1987
2387:The Best Of Mink Deville
2089:Albus, Lawrence (2003).
2013:(1st ed.). London:
1801:"The birthplace of punk"
1778:Eagle Rock Entertainment
707:, had apprenticed under
2581:Premium Gold Collection
2160:Baker, Glenn A. (1987)
1711:Keresman, Mark (2005).
1650:"Re: Boogie By The Bay"
1548:. Rock Around The World
1203:that was already there.
843:s 1977 end-of-the-year
497:critic Neil McCormick:
328:. "We were playing the
324:) formed a band called
2715:Musical backing groups
2225:(September 25, 1981).
1896:. Music Street Journal
1860:Strawberry Alarm Clock
1544:Rhodes, Dusti (1978).
1267:
1214:
1205:
1121:
987:
928:Washington Square Park
918:, Pomus's biographer:
779:
678:
646:
626:The Velvet Underground
536:Please, Please, Please
524:
488:
407:, who had played with
62:Background information
2660:Category:Mink DeVille
2499:Cabretta/Mink DeVille
2286:May 25, 2011, at the
2067:. RobertChristgau.com
1918:Edmonds, Ben (2001).
1610:on September 10, 2010
1396:Drums: Shawn Murray,
1363:The Mink DeVille Band
926:just a block east of
920:
800:, and the Immortals,
711:and helped shape the
530:stuff, we were doing
486:
411:and brought a deeper
401:Stamford, Connecticut
387:City Lights Bookstore
72:The Mink DeVille Band
993:Willy DeVille hired
583:Music Street Journal
1892:Olma, Greg (2006).
1856:The Electric Prunes
1836:. September 8, 2009
1833:The Daily Telegraph
1735:The Daily Telegraph
1201:Brill Building soul
999:string arrangements
542:. We used to do an
2544:Compilation albums
2261:on August 14, 2009
2232:The New York Times
2201:The New York Times
2194:(April 20, 1981).
1980:St. Martin's Press
1878:The New York Times
1742:on August 14, 2009
1352:Willy DeVille Live
1235:Jersey Shore sound
1187:to the mixture of
1144:The Atlantic years
634:Little Willie John
489:
423:House band at CBGB
337:Early name changes
2667:
2666:
2617:Live at The Savoy
2576:His Greatest Hits
2506:Return to Magenta
2482:Vinnie Cirincioni
2466:Louis X. Erlanger
2324:– Mink DeVille".
2299:Jurek, Thom.
2061:Christgau, Robert
2024:978-0-7535-1537-2
1697:978-0-306-81564-5
1526:Return to Magenta
1459:Return to Magenta
1296:was recorded for
1239:Bruce Springsteen
1152:, where head man
1087:he added his own
1003:Louis X. Erlanger
995:Jean Claude Petit
912:Louis X. Erlanger
866:Return to Magenta
853:Return to Magenta
816:. On the catchy "
814:background vocals
810:Max's Kansas City
766:divine providence
593:The Capitol years
572:compilation album
520:Bruce Springsteen
405:Louis X. Erlanger
392:The Village Voice
250:Return to Magenta
216:
215:
177:Louis X. Erlanger
50:Louis X. Erlanger
16:(Redirected from
2722:
2658:
2657:
2626:Related articles
2610:Videos and films
2477:Allen Rabinowitz
2420:
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1738:. Archived from
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1449:(in the U.S.) (
1410:Louis Cortelezzi
1279:Atlantic Records
1243:Southside Johnny
1150:Atlantic Records
1021:'s horn player,
916:Alex Halberstadt
830:UK Singles Chart
746:Memo from Turner
579:benefit concerts
446:Alex Halberstadt
201:Louis Cortelezzi
186:George Cureau Jr
182:Allen Rabinowitz
160:
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108:rhythm and blues
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2017:. p. 281.
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1041:, Ron Tutt and
924:The Bottom Line
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369:DeVille's wife
359:impressionistic
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2223:Palmer, Robert
2214:
2192:Palmer, Robert
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1881:. p. C32.
1873:Palmer, Robert
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1207:Said DeVille:
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1129:Glenn A. Baker
1081:Brill Building
1039:rhythm section
889:
882:
874:Elvis Costello
847:critics poll.
845:Pazz & Jop
818:Spanish Stroll
762:Elliott Murphy
725:Brill Building
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568:Live at CBGB's
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345:; lead singer
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2680:Mink DeVille
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2551:Savoir faire
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2427:Mink DeVille
2426:
2355:December 22,
2353:. Retrieved
2346:
2336:
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2301:
2295:
2275:
2263:. Retrieved
2259:the original
2248:
2236:. Retrieved
2230:
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2199:
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2146:December 22,
2144:. Retrieved
2140:the original
2133:
2124:
2113:
2110:Le Chat bleu
2109:
2103:
2091:Le Chat Bleu
2090:
2071:December 19,
2069:. Retrieved
2055:
2043:. Retrieved
2033:
2015:Virgin Books
2008:
2002:
1973:
1950:. Retrieved
1945:
1932:
1919:
1900:December 18,
1898:. Retrieved
1887:
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1840:December 21,
1838:. Retrieved
1831:
1822:
1812:December 22,
1810:. Retrieved
1806:The Guardian
1804:
1794:
1784:December 19,
1782:. Retrieved
1772:
1746:December 21,
1744:. Retrieved
1740:the original
1733:
1723:
1712:
1706:
1686:
1662:. Retrieved
1658:the original
1654:Best 5 Bands
1653:
1644:
1633:
1614:December 18,
1612:. Retrieved
1608:the original
1577:
1571:
1552:December 18,
1550:. Retrieved
1524:
1519:
1497:
1488:
1475:
1468:Le Chat Bleu
1466:
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1447:Mink Deville
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1398:Thommy Price
1362:
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1125:Le Chat Bleu
1124:
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1113:Le Chat Bleu
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1085:the Drifters
1078:
1073:Le Chat Bleu
1072:
1061:
1053:Le Chat Bleu
1052:
1047:
1043:Jerry Scheff
1019:Phil Spector
1007:accordionist
992:
988:
944:Puerto Rican
921:
910:. Guitarist
899:Le Chat Bleu
897:
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886:Le Chat Bleu
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721:the Crystals
717:the Ronettes
709:Phil Spector
693:Mink DeVille
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622:Van Morrison
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532:Elmore James
525:
507:The Drifters
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363:
350:
347:Billy Borsay
346:
343:Mink DeVille
342:
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330:leather bars
325:
321:
317:
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306:The Drifters
290:Billy Borsay
289:
282:Mink DeVille
281:
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255:backup bands
248:
242:
219:Mink DeVille
218:
217:
210:Shawn Murray
208:Ricky Borgia
205:Thommy Price
159:Past members
127:Years active
36:Mink DeVille
29:
2633:Discography
1982:. pp.
1952:January 23,
1664:January 27,
1635:Dirty Linen
1423:Discography
1408:Saxophone:
1367:Bob Curiano
1355:(1993) and
1254:doo-woppers
1115:remixed by
975:Ben E. King
967:the Ramones
940:bullfighter
932:Earle Hagen
826:lead single
808:concert at
770:Del Shannon
757:Crazy Horse
751:Performance
748:" (off the
658:Patti Smith
638:flea market
540:James Brown
503:Ben E. King
454:The Ramones
429:house bands
375:in reverse.
320:, later of
263:songwriter
52:(left) and
2674:Categories
2265:January 3,
2238:January 3,
2207:January 3,
1638:(125): 37.
1511:References
1493:(Atlantic)
1414:Mario Cruz
1389:Joey Vasta
1383:Paul James
1322:David Wild
1058:Kurt Loder
1011:Édith Piaf
963:Television
884:Recording
802:a cappella
691:(entitled
662:Television
478:Television
474:The Shirts
450:Television
448:. "Unlike
318:Fast Floyd
310:Fritz Lang
193:Joey Vasta
189:Paul James
166:(deceased)
120:Latin rock
96:Roots rock
85:California
2348:Billboard
1471:(Capitol)
1462:(Capitol)
1302:Doc Pomus
1271:accordion
1174:in 1981:
1117:Joel Dorn
1093:punk rock
1051:released
951:Pompadour
908:Doc Pomus
878:Nick Lowe
798:saxophone
733:castanets
556:aesthetic
437:punk rock
268:minute."
265:Doc Pomus
229:bands at
227:punk rock
223:rock band
131:1974–1986
100:punk rock
2392:playlist
2308:AllMusic
2284:Archived
2063:(1977).
1940:(2005).
1580:(5): 28.
1482:Atlantic
1442:Cabretta
1379:mandolin
1330:praised
1318:Allmusic
1101:new wave
1031:baritone
959:new wave
888:in Paris
870:Dr. John
858:Cabretta
834:Cabretta
782:Cabretta
688:Cabretta
601:man for
442:new wave
355:Cadillac
314:Lazy Ace
308:to, uh,
244:Cabretta
231:New York
144:Atlantic
2390:YouTube
1776:(DVD).
1504:Polydor
1451:Capitol
1310:Alabama
1298:Polydor
1109:chanson
1105:Capitol
971:Blondie
906:member
862:strings
812:, sang
790:R&B
729:strings
654:Ramones
630:Dylan's
599:A&R
470:Blondie
462:R&B
458:Blondie
272:History
148:Polydor
140:Capitol
56:(right)
2304:review
2021:
1990:
1984:173–75
1694:
1496:1985:
1487:1983:
1474:1981:
1465:1980:
1456:1978:
1439:1977:
1375:violin
1337:After
1185:zydeco
1103:band,
1097:Bowery
1089:Gallic
1015:string
942:and a
806:reggae
664:, the
644:spice.
642:reggae
618:Stones
544:Apollo
511:Zydeco
491:Wrote
476:, and
221:was a
136:Labels
92:Genres
87:, U.S.
77:Origin
1573:Creem
1312:with
1197:Latin
1193:blues
1181:Savoy
1068:CBGBs
1027:tenor
969:, or
894:Paris
822:break
608:Creem
548:Punk,
538:' by
456:, or
413:blues
380:Creem
365:Creem
116:Cajun
112:blues
2357:2010
2267:2011
2240:2011
2209:2011
2148:2010
2073:2010
2047:2012
2019:ISBN
1988:ISBN
1954:2011
1902:2010
1858:and
1842:2010
1814:2010
1786:2010
1748:2010
1692:ISBN
1666:2011
1616:2010
1554:2010
1377:and
1262:Brel
1260:and
1258:Piaf
1241:and
1199:and
1189:rock
1029:and
983:book
955:hull
947:pimp
936:mike
876:and
794:rock
786:soul
570:, a
505:and
466:soul
433:CBGB
247:and
235:CBGB
104:soul
2306:at
2112:".
1381:),
1324:of
1308:in
1275:MTV
1095:'s
1060:of
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419:).
302:jam
233:'s
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