As you may have read over at Rolling Stone, Pat Ivers and Emily Armstrong — in what’s sure to be one of the highlights of the CBGB Festival — are screening some of their rare late-70s and early-80s concert footage at Bowery Electric tonight, between performances by Cheetah Chrome of the Dead Boys, Syl Sylvain of the New York Dolls, and Glen Matlock of the Sex Pistols. We were lucky enough to have the authors of our weekly Nightclubbing column into the B+B Newsroom last Friday, along with Richard Boch, who’s working on a memoir of his time manning the door of the Mudd Club, and Pat Irwin, the guitarist for the Raybeats, 8 Eyed Spy and the B-52s, who spoke about his recently unearthed collaboration with Philip Glass.
Pat Ivers and Emily Armstrong continue sorting through their archives of punk-era concert footage as it’s digitized for the Downtown Collection at N.Y.U.’s Fales Library. In this edition: the discovery of a lost Philip Glass recording.
In 1687, Newton’s third law of motion explained that for every action, there is an equal and opposite reaction. For punk rock, that reaction was the Artists Space 1978 music festival. With a line-up featuring the Contortions, DNA, Mars, and Teenage Jesus and the Jerks, it spawned the No Wave scene. The sound was atonal, abrasive and utterly new, combining elements of funk, jazz and just plain noise. As Lenny Kaye of the Patti Smith Group observed, “the edge that originally attracted people to punk rock, that splintered sound, was almost gone by the late ‘70s. No Wave kinda picked up the artistic banner.”
In 1980, the pendulum swung again for four of No Wave’s most influential musicians. Jody Harris, Donny Christensen and George Scott III were veterans of the Contortions and Pat Irwin had performed with George in 8-Eyed Spy with Lydia Lunch. They were done with moody lead singers and wanted to try another way. They formed The Raybeats. More →