Thanks to Harold Schreuder in Holland, we have some “new ” looks at The Red Devils in 1993 to share.
Harold tells us that he saw the band a few times that year, including meeting The Red Devils (with Zach Zunis replacing Paul Size) at their Nov. 29, 1993, performance at the Paradiso in Amsterdam, The Netherlands. (You can tell that he really met the band because he has one photo each with the players, and Dave Lee Bartel is nowhere to be seen.)
The first batch of photos are from April and May, 1993, Harold says, with Paul Size on lead. It certainly looks like the Paradiso here on May 2. The other gig is a little harder to tell … could it have been April 29 at De Haagse Koninginnenacht, Den Haag, The Netherlands?
And here are some cool pics of the band from November in Amsterdam, with Zunis on lead guitar:
This week, we bring you an interview with Lester Butler from the July/August/September 1993 issue of Block magazine (#87).
There is a lot to take in from this interview, conducted May 31, 1993, after the band had already played its seminal morning set opening the 1993 Pinkpop Festival, and a gig that night in Doornroosje, Nijmegen, Holland. Basically, this interview was their last official activity at the end of an important month for the band, which kicked off May 1 with the legendary performance at the Moulin Blues Festival in Ospel.
The story, originally in Dutch, has been translated by nofightin.com (well, Google Translate, with some contextual edits by us), and appears in its entirety below.
In addition, we offer annotations throughout the story: What’s right, what’s wrong, more context and history. Look for the notes just under some paragraphs.
A band foaming at the mouth: The Red Devils
By Marion Wisse
The Red Devils started in 1988 as a jam session band at the King King club, a former Chinese restaurant in Los Angeles. The first time only nine skateboarders came to watch, but due to word of mouth, the number of visitors grew quickly. Among them: Peter Wolf, Lenny Kravitz and The Red Hot Chili Peppers.
Also always present was Rick Rubin, producer for the Def American label. But it wasn’t until they had seen his face about 60 times that Lester Butler (vocals/harmonica) and his mates knew what that man does in the business.
The debut CD “King King” has been out for less than a year and resulted in a studio session with Mick Jagger. In addition, The Red Devils were allowed to close Moulin Blues and open Pinkpop. In the evening, after Pinkpop, they performed in Doornroosje in Nijmegen. There we spoke to the band.
When the band arrives at Doornroosje a little later than planned due to a minor collision, their Pinkpop performance of that morning has just been broadcast. Great is the hilarity among the band members when Bram van Splunteren does not seem to know who Little Walter was. And when the cameraman of the NOS then switches bass guitarist Jonny Ray Bartel and guitarist Paul Size during the announcement, the boys are really laughing. Immediately afterward we talk with Lester Butler, Paul Size (or was that Lester Butler?), and drummer Bill Bateman.
Lots of Red Devils-related stuff going on this weekend. Let’s jump into it:
‘Can’t Lose Playing the Blues’
The debut solo album from Paul Size, “Can’t Lose Playing the Blues,” is available for pre-order now on Bandcamp. The digital album will be up on March 5; physical CDs will be shipped March 5. Both are at the recommended price of $15.
Based on the little song snippet previews, this promises to be a great blues release. It pairs Size with a small ensemble (featuring Hash Brown and Jeremy Berlin) on a series of tried-and-true, good-for-you blues. (I’ll be most excited for “Universal Rock” and “Sadie.”)
Really intriguing is this nugget from the album summary: “Throughout 16 tracks, the record tells a story with purely improvised acoustic blues and studio banter woven throughout giving the listener a glimpse into the mind and heart of Paul’s musicianship.”
We’ll have a full write-up here on NoFightin.com when the record arrives, and more.
Tonight’s gig from The Redwood Bar in Los Angeles begins streaming live at 8 p.m. Pacific Time (for our friends in Leeuwarden, Netherlands, that’s 5 a.m. Sunday, Feb. 7).
From the Sept. 3, 1992, Des Moines (Iowa) Register, we get this interview with Dave Lee Bartel. The occasion was a gig the next week, Sept. 9, at the Iowa State State Memorial Union’s Maintenance Shop (“M-Shop”) venue in Ames, Iowa. Tickets reasonably priced at $2 ($3 day of show).
A couple of things stand out in this relatively rare Dave Lee interview:
The elder Bartel brother comes off very humble and self-effacing in this story. He has a “pinch me” kind of attitude about the ride the band was on at the time, chalking a lot up to luck.
He also paints a vivid picture of the group’s intent, as laid out by Bill Bateman:
The current lineup has the brash, angry sound of which Bateman had dreamed.
“Bill wanted to make a rowdy presentation of the blues,” Bartel said. “We play aggressive music — like Elmore James, pretty raw. Just scream your guts out and not give it too much swing or jazz feeling.”
— “Red Devils play hot blues,” by Bart Dupuis, Des Moines Register, Sept. 3,1992
In a parallel universe, James Harman is a superstar.
An in-demand artiste who plays command performances for kings and queens. A poet laureate whose lyrics are studied in college courses. A giving mentor and bandleader whose roots have grown the fruits of generations of musicians. A vocalist whose records stop all diner conversation when the needle hits his latest song.
Harman is not a household name — unless your household is real hip. Those who know, know.
To the true believers of “The Red Devils, Lester Butler and California’s (and beyond’s) blues, rock and roots music,” James Harman is the Godfather.
Some of this is by talent, and some of it is by proximity. Harman is one of those threads of connective cool from his native Alabama, to the post-Woodstock Canned Heat California scene, to Big Joe Turner, Hollywood Fats, MTV, ZZ Top and a touring schedule in the 1990s that rivaled any act on the planet (“She wrapped my sandwich, boy, in an old road map”).
Harman has always surrounded himself with whipcrack musicians, and entire James Harman Band lineups have gone on to form or evolve into other killer bands, from The Blasters (Phil Alvin and Bill Bateman were early bandmates, as was Gene Taylor), to The Fabulous Thunderbirds (whose early ‘90s incarnation was a literal James Harman Band with Kim Wilson) to Lester Butler’s various 13s.
His most well-known ensemble was the early 1980s version of the James Harman Band … Those Dangerous Gentlemens: Hollywood Fats, Kid Ramos, Willie J. Campbell and the incomparable Stephen Hodges on drums (you might know Hodges from the Tom Waits band). Yes, Hollywood Fats and Kid Ramos in one lineup, under the direction of one James Harman.
James Harman, The Blasters, X, The (original) Red Devils, Top Jimmy and the Rhythm Pigs, Canned Heat, Dwight Yoakam, Tom Waits, Los Lobos and many others shared common DNA, even if each leaned on nurture more than nature (punk rockabilly, experimental roots … or “American music”).
Harman would tell you (and has told me and my pals) that he is not a harmonica player. He is a singer and a songwriter who uses the harmonica when needed to tell his stories. And those stories are clever and compact in a way that demonstrates the craft and care he puts into his art. His musical ethos align more closely with artists and outsiders such as Waits and Los Lobos than the average “Tuesday bluesday” crowd — even though he gets the job done down behind that city dump, presiding over a real blues party.
Though recorded on Nov. 9, 2015, for the documentary “Tales of the American,” the Bateman interview video was only uploaded to YouTube a couple of months ago.
The full documentary tells the story of The American, L.A.’s first black hotel that, during the 20th century, became a gathering ground for the city’s artists, musicians, poets, writers and other characters. (Bateman ticks a couple of those boxes.)
Though The Red Devils are not mentioned, there is plenty to love in this interview vid. A quick rundown:
Gigging with Edwin Starr
“The Phil and Bill Show”
Hessians MC in the crowd
“Everybody watched the freaks, the Alvin brothers.”
Circle Jerks, Black Flag and Fear
Checking out the legendary Frank Frost
Mario Melendez and the King King
Grand World Class Drum-A-Thon: DJ Bonebrake + Bill Bateman + John Densmore
The Blasters: “It’s a family.”
You don’t need me to sell you on this video. Watch the Bateman video below or on YouTube.
Check out “Tales of the American” on Amazon Prime, Google Play, YouTube, iTunes, Xbox and Vudu.
Nofightin.com is following The Red Devils on tour through Europe, whether they like it or not. Come here for our dispatches from every show as we go. Words and others by J.J. Perry; tour photography by Tina Hanagan
Hundreds and hundreds of fans (an organizer told us capacity is 5,000) crammed into the old marketplace square, an intersection of several streets where the stage was set. Stimmen is a several-week festival, with an eclectic lineup (the day after ZZ was a performance by Grace Jones).
After the Devils’ set, we muscled through an elbow-to-ass crowd to a hotel bar for beers. We met Paul Size when he came down for a refill and he invited us up to his room where, from two large open windows, we could watch ZZ Top’s set.
[words: J.J. Perry; all photographs by Tina Hanagan]
An evening rain Friday cooled and soaked the thousands waiting in line for the Stimmen Festival in Lorrach, Germany. The crowd was patient under ponchos and umbrellas and canopies on Lorrach’s historic streets, waiting in line to get into the marketplace stage area.
But we couldn’t help but wonder, as heavy raindrops rolled down our heads and into our eyes: Did we fly to Germany only to have our first Red Devils concert in 25 years be rained out?
Pushing forward through the crowd in the Lorrach square, we took our spots. As if on cue, the rain trickled to a stop moments before The Red Devils took the stage at 8 p.m. Big Pete stomped his feet and the band launched into a pounding “Mr. Highway Man.” I jumped in my spot yelling, taken back to 1992, when I saw this band for the first time.
Here are the things that stuck out to us after watching the first three Red Devils shows:
1. There is only one …
From the very first notes of the very first song of the very first gig, it’s clear: These are The Red Devils, and nobody else.
For a generation of fans who only have 24-year-old YouTube videos to go off of, the ’17 Devils are a revelation. The stacks and stacks of bands inspired by the Devils clearly can’t touch them — many of them have been rendered obsolete in just three shows.
You cannot go wrong with Bill Bateman in the driver’s seat, and he makes obvious the fatal flaw for other bands: he just has that beat, locking in with the grooving Jonny Ray Bartel. Paul Size reminds everyone that his guitar playing is singular — his touch and instincts are all still there. He’s been missed.
If you can’t have Dave Lee Bartel onstage, then bring back Mike Flanigin, holding down rhythm guitar. Kudos to the Devils for bringing back a different “brother” when they could have gotten a ringer.
