Willy DeVille
Live

Ramones, Suicide, Dead Boys, Television, Richard Hell, Talking Heads, Patti Smith, are the symbol of the fresh wind that blew into the music scene of the Big Apple. These groups (and others) played the role of a link between the seeds sown by the garage bands in the '60s, bringing together all the moods, trends, and intellectual climate that pervaded New York in the mid-'70s, giving rise to a musical renaissance that would overwhelm the hippie ideals of the '60s. In them, the generations of "No future" found their liberators from the stale harmonies that had occupied the charts until then (Simon and Garfunkel, Queen, etc.), with them there would be the flowering of venues where live music was played.

The most representative symbol of this new trend is certainly CBGB, a historic nightclub in New York, where Willy DeVille, born William Borsay, cut his teeth with Mink DeVille, of which he was frontman and composer.

With a swashbuckler look (in the cover photo he resembles Captain Hook), Willy DeVille is an urban corsair who loves Otis Redding, John Lee Hooker, but also the congas of the "King of Mambo" Tito Puente. With his hoarse, gritty voice, he sings music in which all aspects of his origins coexist, "I'm part Iroquois, part Basque, a little of this and a little of that. I real street dog" he declared in an interview. A street dog who has developed a musical language born from the mix of races and cultures, skillfully blending various styles: Soul, rock'n'roll, R&B, with a good dose of romanticism and gypsy fragrances... all tied together with grit and personality. A new, very personal sound, in some songs he has shaped a sort of "talking rock" ("Spanish Stroll" "Cadillac Walk"). An original and overwhelming sound that excites the audience attending his concerts.

Backed by a band of various musicians, "Live" was recorded in '93 at the Bottom Line in Greenwich Village, and at the Olympia in Paris, featuring 15 tracks selected from the best of his production. The sound is thick and full-bodied, and Willie is in top form; the record combines the animalistic soul of his early compositions with long ballads. "Lilly's Daddy's Cadillac" with good blends of guitars and horns, "This Must Be the Night" in which the work of the backup singers can be appreciated, "Savoir Faire" tense and energetic, "Cadillac Walk" which stands out for its sharp guitar use and the gritty performance of the leader, the enveloping "Bamboo Road" full of Caribbean atmospheres, introduced by Hispanic-styled percussion, "Maybe Tomorrow" in a very warm version, highlights the work of the choir and Louis Cortelezzi's sax, "I Must Be Dreaming" is a beautiful harmonious and pleasant love song, "Heaven Stood Still" is a great poignant piece, full of feeling, "Demasiado Corazon" flavorful, rich in colors and warmth, is played brilliantly, one of my favorite tracks, "Spanish Stroll" is presented in a 6-minute version, does not disappoint, pulsing guitars, remarkable feeling... wonderful! "Hey Joe" marked by "Mariachi" sounds, is applause-worthy, the worthy conclusion of this splendid concert. A tasty record, with many nuances and colors, which will be appreciated even by those who are unfamiliar with the music of this great character.

PS In the early records, the sound is drier, it reminds me of the early John Hiatt. My favorite CDs are "Cabretta" "Coup De Grace" and "Backstreets of Desire"