List archive online at

TOUR DATES (*=New Dates)

*Thursday 7/10/03 Baltimore MD Power Plant Live
Friday 7/11/03 Norfolk VA The Boathouse
*Saturday 7/12/03 Washington DC Live on Penn

*Thursday 8/21/03 Anaheim CA House of Blues Anaheim
*Friday 8/22/03 Las Vegas NV Skin Pool Lounge
Saturday 8/23/03 Del Mar CA Thoroughbred Club


New July/August Tour Dates
Mud in Memphis
Chicago Review
RE: Video Compilation
VF in Nashvile article


Memphis Flyer
A few days before the femmes show in memphis this quote appeared
in an article in the newspaper.

” Gordon announced to me and Victor he doesn’t want to record
new material with the Femmes ever again. However, he is more
unstable than the Middle East, so who knows how long he will
hold onto this attitude?”
– Brian Ritchie

Does anyone know anything about this never recording again?
Is there bad blood between the group? Why is Gordon so unstable?
Any info about the guys personalities would be welcome gladly!

Sunny Franklin

Chicago Review
Well yes… I am one of the lucky ones that got to see the Femmes play
in Chicago this last Saturday. In fact this show was almost exactly six
months after the last time I saw them play in Chicago… on New Year’s
Eve. And while this show’s set was about the same we were treated
to a great I Held Her In My Arms. I must say that this show was
different mostly because my spot in the audience was directly in
front of the speakers. So for the first time I really felt the music… literally.
As many times as I have seen them play this was the first show where
I could feel the bass in the very ends of my hair. And on Confessions it
felt like my whole body was filled with their music. Pretty cool…
although I don’t recommend this location in the crowd without earplugs.
Well since it seems that they are not playing Summerfest this year I
am glad that I got my summer dose of live Femmes!
And here is my fuel to the rumor mill fire… Gordon says he’s using a
cane to walk because of a recent tennis injury; although he is anxious
to get back on the court. Hmmmm… makes me want to learn to play tennis!
RE: VF Comp
As for “No Let’s Start Over” i really appreciate your offer but I as well
have an Original copy. I don’t think I want to Include the Full Concerts
this Time being that they are long an would require a disc themselves.
It’s Certainly a Side project of it’s own and In fact do have a couple
shows already in MPEG so far. But i would REALLY REALLY like it if
people would contribute shorter peices, mainly Music Videos. As for
the Sabrena Episode and the beavis and butthead stuff, how many
people have an interest in watching that over and over? I’m really
looking twoards They Might Be Giants “Direct From Brooklyn” as an
example. Other short stuff like the warner Promo, and VHS BAckstory
(Both obtained) are perfect examples of other Material. Please check
For more info on the subject and please people come forward with
material without controbution this will never get off the ground, and
for those who do contribute will recive absolutely free copies
meaning no material or shipping charges as a thank you. Until then
the you can contact me at:

VF in Nashville
Lemme Go On : ’80s rock faves Violent Femmes add it up at Dancin’ in the
District Something started back there in 1983. Something important. It was
the dawn of Reaganomics, and working-class kids were already feeling the
disenfranchisement trickling down the backs of their necks. For the kids in
army jackets sitting in the back of the classroom, the kids smoking behind
the gym, the kids who were just a little too smart and a little too small, the kids
who couldn’t identify with Journey’s Faithfully, Toto’s Africa and Taco’s
rendition of Puttin’ on the Ritz especially for these kids, there came from a
boombox a singsong guitar part coupled with a stutterstep rhythm section and
Gordon Gano’s nasal, atonal voice uttering that phrase: ”When I’m walking I
strut my stuff and I’m so strung out (insert drum beats here). I’m high as a kite
and I just might stop to check you out.” Blister in the Sun. OK, it’s not exactly
Baudelaire. And rhyming ”out” with ”out” rings less of Homer than Homer
Simpson. But that really wasn’t the point. The point was the Violent Femmes.
The point was thousands of teenagers and kids and grownups who needed
a dose of snarling, vicious rock ‘n’ roll written and played by real outsiders.
Played on a humongous, mariachi-sized acoustic bass and a metal basket
upended over a floor tom. Something like the Velvet Underground played
by crazed hillbillies, or Jonathan Richman joining a punk band. Something
important. Twenty years later, what is this important band up to? Violent
Femmes’ bass player Brian Ritchie sums it up with one word and a laugh:
Although it’s been two years since their latest (and ninth) release, the
Femmes have been more busy than you might think. Most recently,
Ritchie and Femmes drummer Victor DeLorenzo teamed up to produce
the Rhino reissue of the aforementioned 1983 debut. They’ve added 26
tracks to the record’s original modest sum of 10. ”Victor and I got together
and listened to all the old stuff we had. Gordon doesn’t care ? he doesn’t
care about anything,” Ritchie says, laughing. ”Victor keeps the archives for
the band, basically. We went through a lot of live tapes and demos and
things that were contemporaneous with the first album, from the year before
to the year after.” Included are live tracks, demos, and just about anything
from the time surrounding the original record. ”And so we had to listen to all
this crap … that was fun,” Ritchie deadpans. ”It was kind of heart-breaking,
too. Because here we are, basically a couple of middle-aged men, sitting
around listening to stuff we did when we were very young with a mixture of
pride and, ‘Oh, wow, that was a really good idea we never followed up on.
‘ Or, ‘Gee, I guess in some ways we were better then than we are now.’ Just
mixed emotions involved. This isn’t really a commentary on the Femmes. I’m
sure any band that would go back and listen to their own stuff would have
the same sort of feeling.” While the huge number of bonuses may appeal
more to collectors than fans, it does provide insight into a band that was
so important and never really achieved commercial success. The Femmes’
live energy is ferocious and funny and running at full throttle at all times on
these recordings, and their outsider quality, which has drawn so many
fellow outsiders to them for 20 years, is at the forefront. ”That’s the story of
early punk and whatever kind of weird music we played,” Ritchie says.
”Prior to the Femmes generation, I thought maybe I was the only person
in America who knew about the Sex Pistols and The Clash and The Jam.
Later on you realize there were a lot of people like that, but they weren’t
congregating. If we had ever been conventional, our time would have
come and gone. I think staking out that eccentric musical turf is a way
of saying, ‘Hey, we don’t belong anywhere, but we belong everywhere.”
Clay Steakley

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