By Chris Gray
By Corey Deiterman
By Jef With One F
By Chris Gray
By Rocks Off
By Rocks Off
Think about Milwaukee's Violent Femmes, and chances are you're thinking about junior high school. That seems to be the time and place when the Femmes made their mark on an audience attuned to the their awkward rhythms and vocalist Gordon Gano's nasal confusionfest. "Gone Daddy Gone," "Add It Up," "Blister in the Sun" -- every one a teenage anthem for frustrated kids who could relate to a song demanding Why can't I get just one kiss; kids titillated when, late in the song Gano switched out the last word for "fuck." Yeah, why not anyhow? I mean, besides the fact that I'm a pimply faced kid with a raging hormone problem and zero concept of romance.
Junior high was the time when every would-be bassist in school taught himself to play the bassline to "Blister in the Sun." That plunking four-string, that rudimentary slapping snare work and Gano's maniacally sloppy guitar torture were the sounds of the season, many seasons ago, and the band's 1982 debut Violent Femmes slowly matured into an unlikely back catalog savior, eventually selling platinum.
Of course there were more albums to come. Hallowed Ground, which was okay, but not so compelling, followed by The Blind Leading the Naked, another step toward obscurity, 3 and, finally, 1991's Why Do Birds Sing? Every last one, despite some good work therein, failed to live up to the once-fulfilled promise of that stellar debut. A daytime slot on the original 1991 Lollapalooza tour didn't prove the boon that it turned out to be for fellow travelers like the Rollins Band and the Butthole Surfers, because the Femmes' classic disc was already nine years in the past tense. Ask most anyone today about the Femmes and they'll respond by humming that damned bassline and asking if the band is still together.
Yes, the band is alive and well, thank you, though until the recently released and obviously named New Times -- the Femmes' first recording for the Elektra/Eastwest label after six albums for Slash -- fans had only the two-disc Add It Up [1981-1993] greatest hits package to tide them over since '91's Why Do Birds Sing? There is, explains Gano from his part-time home in New York City, a reason for the long absence.
"One reason that it was three years between studio records, and the reason for the change of labels, is that we were not being allowed to make another recording, and so we had lawyers talk for about two years to keep our situation out of court. It took two years not going to court -- it's kind of scary thinking how long it might have taken if it had gone to court. So basically we needed to get to a label that would let us continue to make music, and eventually that was worked out."
The new label is presumably happy to let the Femmes go their own idiosyncratic way, and Gano sounds rejuvenated by his new situation. "I think the difficulty with Slash is that they've never been very pleased with what we sounded like, and they've always wanted to steer us in some other direction that had to do with who was very popular at the time. At a certain point they wanted us to be the next Talking Heads, because the Heads had been considered a cult band but they had made a big commercial step. Then later they wanted us to be more like U2, and the last one is they wanted us to be more like R.E.M., including having us work with Scott Litt, who's done a lot of the R.E.M. production. He was interested and so we got a tape to him but he decided to pass on it, and that's when everything completely stopped. The attitude was, if Scott Litt doesn't even want to work with the Femmes, then I guess there's no point in them ever doing anything. That's the way it came down. They picked up our option to make another record, but then they said they wouldn't let us make another record. So that's where we had to have the lawyers take over and just try to work it out."
Record company imbroglios weren't the only thing slowing the Femmes down, though. Original drummer Victor DeLorenzo had decided he wanted out, and the Femmes began the search for a replacement long before it was clear whether or not the band would have a chance to record again. The obvious choice was Milwaukee homeboy Guy Hoffman, formerly with the BoDeans.
"There weren't that many musicians in Milwaukee doing the left-of-center kind of rock and roll," Gano says, "so he actually could have been the drummer from the start if things had combined differently. Knowing that, and knowing him as a person, we called him. He had been living for a number of years in a small town in California, and when we called him, he had packed everything up and was moving back to Milwaukee, and in order to pay for the move he had sold his drum set. So it's like okay, when you get here we're going to take you shopping, and if you think you'd like to play in the Femmes, and that's the way it worked."