We hardly could ask for a better guest than Freddy Alva for our Lost in the archives feature. Freddy knows the NYC Hardcore and graffiti scenes inside and out and does an amazing job at sharing his knowledge with us all. The author released the Urban Styles: Graffiti In NYHC book in 2017, which quickly spawned the Black Book series, expanding on the topics of NYHC, American HC and International HC/Punk. The 4th installment, focusing on Oi! music and including a limited edition flexi by England’s The Chisel, recently sold out in the blink of an eye. A fifth installment is already in the works but can we hear repress, Freddy?
The regular No Echo blog contributor is currently working on an upcoming book titled Abc No Rio: Sonic Dissent On Rivington St. We sure can’t wait!
Within the HC scene, Freddy’s name will forever be linked to the legendary New Breed Compilation, released in 1989, which even inspired a documentary in 2016 (see below).
Follow him on instagram (@freddyalva_nyc), and all of his projects here.
New Breed Documentary 1989 from Urban Styles NYC on Vimeo.
What type of archive (videos, photos, text) do you spend the most time digging? What has been your latest obsession?
I’d say a combination of all these mediums, they all come into play when looking up a current band or reissue of an overlooked gem. I always like to find out the context in which said reissue came to be originally made.
Off the the top of my head the last 3 releases I’ve really dug are:
PANDORA – Space Amazon Lp – Fantastic 1974 recordings by a NYC band, demos that never came out back then, sounding like a cross between Glam era BOWIE/ROXY MUSIC and LED ZEP with, at times, upper register Geddy Lee type vocals. Don’t be put off by the horrible cover art.
IENA – Current band from the Tuscany region that play classic Oi!/Street Punk sung in Italian. For such a basic, straight forward genre, so many bands get this sound wrong but not this trio, as the two 12”s they’ve released could easily fit on the No Future roster circa 1982; tough and ultra catchy bootboy tunes.
Bitter Lake Recordings – Amazing reissue label dedicated to releasing Japanese obscurities like the great Electronic outfit PORTRAY HEADS, Apocalyptic Crust greats GRAVE NEW WORLD and the Ethereal Synth stylings of C. MEMI. Everything they’ve done so far is stellar, highly recommended.
Which genre/ era/ specific scene do you typically concentrate on?
I am all over the place and it depends on my mood but as of late I’ve been really digging into 80’s Synth/Darkwave sounds, the current ‘slowed-down’ Cumbia scene in Monterey, Mexico, 70’s Chicha music from the Amazon and early Detroit Techno.
Name your favorite piece of archive for each of these categories:
- Live videos
This performance takes me back to being a b-boy in 1984, it’s awesome, and bittersweet at the same time. I was 14 at the time and when Sucker Mc’s came out and it was our anthem, makes me nostalgic for days that will never come back.
- Article/interview/zine
Sam McPheeters interview with Doc Dart from The CRUCIFUCKS from some years ago is so well done, really paints a picture of such an idiosyncratic individual at a pivotal moment in American hardcore. I revisit it from time to time, it’s been reprinted in his last book entitled ‘Mutations.
- Biography/documentary/biopic
The last series that made an impact on me is the loosely biographical This Is England ‘86 and ‘90, both of them following up the story from the film of the same name. I found it cool how the story transitions from the early 80’s Skinhead era to the 90’s Acid Rave scene. England has been home to some amazing subcultures and this series does an excellent job in building a gripping story centered around these influential and legendary scenes.
- Demos/bootleg
There’s a CLASH bootleg going around that recreates their 1985 Cut The Crap Lp. Someone took all of Joe Strummer’s vocals, removed the synth/programmed drum parts and meticulously recreated the songs as they were played live before that Lp was recorded. The end result is closer to SLADE/KINKS Power Pop Punk territory than the commercial mess it turned out, came out great, it’s called Mohawk Revenge.
Are you constantly looking for something new or do you find yourself revisiting your faves over and over again?
I am always open to listen to anything new, whether it being a new genre or artist, but to be honest, what resonates with me these days is always something that reminds me of an old favorite and if it’s done with the right vibe, than I dig it. Hope this doesn’t sound jaded but at this point of listening and following music for the past 4 decades, I’m pretty secure in what I’ll like within 10 seconds of playing it and it’s always more than likely a familiar sound but I’ll be glad to be pleasantly surprised by whatever new musical style is around the corner.
Name three shows you wish you’d have attended?
JUANECO Y SU COMBO – Any of their concerts before 5 key members died in a plane crash in the Peruvian Amazon in 1977.
GRANDMASTER FLASH opening for The CLASH at Bond’s Casino 1981- Always read accounts of how Grandmaster Flash were booed off the stage and had garbage thrown at them, would’ve loved to have been there to throw it right back at that intolerant crowd.
ARTICLES OF FAITH live in 1984 – AOF put out my favorite American HC Lp titled Give Thanks and to see/hear those songs in their prime would’ve been killer as I just missed them by getting into HC in ‘85.
Name 3 venues that you wish you’d have experienced? What attracts you to them? Have you ever talked to people who’ve been?
Fillmore East NYC- I’ve met people that saw JIMI HENDRIX, THE WHO, ROLLING STONES and a whole plethora of legendary acts there and their memories are magical plus just being in NY in the late 60’s/early 70’s, can’t beat that.
9:30 Club Washington DC- Ground zero for DC’s Hardcore explosion, would’ve loved to have seen VOID, SOA, MINOR THREAT, BAD BRAINS and tons of others in their heyday as well as all the classic Go-Go outfits like CHUCK BROWN & THE SOUL SEARCHERS.
Cheetah Club NYC- This place is widely regarded as the birthplace of Salsa and I remember meeting an author that wrote about the place in the 60’s with all the iconic dancers and band leaders that created this fusion of African and Spanish influences that created this worldwide phenomenon.
Is there any memorable show you’ve seen and for which you’ve been trying to track down footage for a longtime, to no avail?
My friends in ABSOLUTION opened for LIVING COLOR in 1989 at a Rock Against Racism show held in Central Park. They were absolutely mind blowing that day, outshining the main act, who were no slouches. I’m sure someone taped it and been looking for it ever since, will find it one day!
What are some of your favorite bootleg recordings? What makes them so special?
VAN MORRISON 70’s Acoustic outtakes – Some songs that ended up in Moondance & Astral Weeks that sound better, in my opinion, with their under produced charm.
The POP GROUP live Helsinki 1980 – Amazing live set where they deconstruct their off-kilter songs with Dub techniques, jarring and sonically astounding.
BOB DYLAN Rolling Thunder Revue 1975 – I’m not a Dylan fanatic but I love these versions of his born again period with a full Gospel choir backing him up.
SADE & MF DOOM Sadevillain – Classic Sade jams mixed with deep MF Doom cuts, soulful and seductive at the same time, perfect for drifting off.
Top 3 demos that sound better than the subsequent album cuts? What puts them on top?
PRINCE 17 Days – The original is a b-side to When Doves Cry from 1983 but a never released version of just him singing it on a piano surfaced a couple of years ago; it’s stunning in its emotional depth and intimacy.
THE JAM Burning Sky – The original appeared on 79’s Setting Sons Lp but I always preferred the demo version that turned up on Extras, one of my favorite Jam songs and the only acoustic guitar/vocals delivery hits harder than the official album cut.
THE BUSINESS Out In The Cold – This song appeared in The Son Of Oi! compilation but I prefer the demo version, it’s a very tender song, made even more so by the under produced quality values, making the lyrical theme all the more fragile.
Have you ever spent hours trying to figure out the words to an album that didn’t have any printed lyrics?
Yes, one of the of the first Oi! albums I picked up were by the COCKNEY REJECTS, took me forever to figure out the lyrics due to the heavy accents & east end London slang!
Top 5 zines all time?
The Big Takeover
Forced Exposure
Maximum RocknRoll
Dear Jesus
No Answers
Is there any footage or bootleg of your own band that you’re dying to find?
I played (badly) in two bands but we never made it past a couple of months rehearsal stage, so no!
Do you have any favorite iconic or live pics?
Some faves:
-Any of the classic PARLIAMENT/FUNKADELIC live shots with the full ensemble, as enticing as their record covers and music.
-Al from SSD doing his trademark karate sidekick while playing guitar.
– Any live photo of Chi-Pig from SNFU catching air.
– AD Rock from the BEASTIE BOYS stage diving to FRONTLINE at CBGB’s in 1982, used it in my NYHC Graffiti book (shameless plug).
Name 3 inactive and overlooked bands?
URBAN BLIGHT – Legendary NYC party band that played an intoxicating Ska sound with a full horn section, they were on the verge of getting signed to a major label but the rumor went that their music had evolved into a Talking Heads/World Music direction and that’s not what the suits wanted, too bad. Kudos for having 2 iconic graffiti writers in the band (Mackie & TEAM).
MANO NEGRA – Fantastic French outfit that’s best remembered for being MANU CHAO’s first band but they were amazing: blending Punk/Polka/Ska & a variety of ethnic sounds into a powerful fusion, their Puta’s Fever Lp from ‘89 is still a fave.
KING CHANGO – Killer NYC band that played a Reggae/Cumbia/Rock synthesis with songs in English and Spanish, put out a couple of albums on David Byrne’s label, in ‘96 & ‘03 respectively but never caught on, amazing live too.
Name one or several cover songs where the cover is better than the original? What makes them superior?
The BIG BOYS cover of KOOL & THE GANG’s Hollywood Swinging is so joyful and energetic, it supercharges the original to a maximum Funk plateau.
RUIN’s cover of LEONARD COHEN’s Famous Blue Raincoat was my first introduction to Mr. Cohen’s music and as much as I dig him now, this fully rocked out version just kicks ass with its amplified fury.
PATTI SMITH’s version of BRUCE SPRINGSTEEN’s Because The Night has always been a fave, injecting the original with a different shade of melancholy and urgency.
What is your absolute favorite piece of archive, that you’ve seen and enjoyed a million time?
Hands down: Style Wars, the definitive chronicle of early 80’s NYC Graffiti and by extension Breakdancing /Rapping. It was a treat to see it when originally aired on PBS in 1983. The documentary has not lost its power to brilliantly portray a certain time and place, countless repeated viewings, with all the extra footage added throughout the years, has not diminished its vibrant cultural impact. RIP The King of Style KASE 2.
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