The Violent Femmes have been a presence in music for over forty years. They have gone on to release a handful of fantastic albums, but their 1983 self-titled debut remains a classic record for fans of all ages. While attempts have been made before to get the Violent Femmes’ story on record, either written or on film, Nic Brown breaks new ground with his entry into the 33 ⅓ series by finally getting their origin on permanent record. Brown’s book provides us with some surprising revelations of this seminal record and how it came together.
The story of the Violent Femmes begins with Gordon Gano’s solo shows, including a gig opening for Jonathan Richman, where Brian Ritchie first saw Gano. Eventually, they came together for a performance at Gano’s high school to induct him into the National Honor Society. Soon, Ritchie brought in his drummer Victor Delorenzo, who had been out of town, and the Violent Femmes were formed. Given the band’s acoustic setup, their act made it possible for them to play anywhere, opting to mostly busk on the street until they were spotted outside a Pretenders’ gig and asked to open for them.
Nic Brown asks the right questions and gets fantastic interviews for this book. Despite the text being focused on the record itself, an origin story was definitely needed to explain how the record came about. This is great, but it’s only a fraction of the Femmes’ full story. Brown’s analysis of this record serves as that origin story.
While the album itself sounds seemingly simple, given that there are only three members, Brown does a great job showing why it’s not the size of the lineup or the instruments they play; it’s definitely the players’ skills. Ritchie mostly taking the lead with his bass, Delorenzo’s creation of the trancephone, and the mountain of songs that Gano shows up with all contribute to the Violent Femmes’ unique sound. Gano had about three albums’ worth of songs when he met Ritchie and Delorenzo, and these were the poppiest of the bunch. If you’ve listened beyond the first album, you know that to be absolutely true.
However, the real revelations show up in the track-by-track breakdown of the record. Mostly, the band’s surprise at how loved the album is, but also things like the “Blister in the Sun” opening riff being as anthemic in stadiums as the Ramones’ “Blitzkrieg Bop.” There are a few other surprises and connections I don’t want to spoil, especially if you’re a fan of this album. I wish the section on the song “Confessions” were a little longer, but it seems the band just didn’t have too much to say about the song.
Nic Brown’s analysis and conversation with the Violent Femmes is personal, but also speaks for the fans who love this album. It’s a shame that a series like 33 ⅓, which is over 200 books deep, took this long to get to this record, the important part is that it did. Given how transcendent this record is, anyone can connect to it. If the joke in Wayne’s World about Frampton Comes Alive being issued to you with a sample of Tide if you lived in the suburbs was real, then the Violent Femmes’ first album should have been passed out during health class with that same sentiment. If you love this band or even if you just love this record, pick up Nic Brown’s contribution to the series.
Violent Femmes by Nic Brown is available through Bloomsbury Publishing now.
