Mink DeVille

2 Name changes

Mink DeVille (197486) was a rock band known for its

association with early punk rock bands at New Yorks
CBGB nightclub and for being a showcase for the music
of Willy DeVille. The band recorded six albums in the
years 1977 to 1985. Except for frontman Willy DeVille,
the original members of the band played only on the rst
two albums (Cabretta and Return to Magenta). For the remaining albums and for tours, Willy DeVille assembled
musicians to play under the name Mink DeVille. After
1985, when Willy DeVille began recording and touring
under his own name, his backup bands were sometimes
called The Mink DeVille Band, an allusion to the earlier Mink DeVille.

In 1975, the band changed its name to Mink DeVille; lead

singer Billy Borsay took the name Willy DeVille. Said
DeVille, We were sitting around talking of names, and
some of them were really rude, and I was saying, guys
we can't do that. Then one of the guys said how about
Mink DeVille? There can't be anything cooler than a
fur-lined Cadillac can there?"[4] DeVille also remarked
about the name, What could be more pimp than a mink
Cadillac? In an impressionistic sort of way.[5] Another
story about the Mink DeVille name says that it originated with Fast Floyd, who owned an old Cadillac with
a cracked dashboard. To cover the cracks, Fast Floyd
glued an old mink coat he had purchased at a thrift store
to the dashboard.[6] According to a 1977 article in Creem,
DeVilles wife Toots Deville suggested the name: "...the
band looked like it might have been going nowhere, in reverse. So maybe another name change would helpGod
knows the music was great. Mink Pie...hmmmm. 'No, its
gotta be something slicksomething sorta French, somethin' sorta black...poetry. Mink...MINK DE VILLE!'
blurted out Toots, Willies omnipresent, black-bouanted
old lady, whose quiet intensity is not unlike his own. This
issue of Creem shows a picture of DeVille driving a car
with what looks to be mink on the dashboard.[3]

Rock and Roll Hall of Fame songwriter Doc Pomus said

about the band, Mink DeVille knows the truth of a city
street and the courage in a ghetto love song. And the harsh
reality in his voice and phrasing is yesterday, today, and
tomorrow timeless in the same way that loneliness, no
money, and troubles nd each other and never quit for a
minute.[1]

Looking at music magazines in City Lights Bookstore,

DeVille noticed a small ad in The Village Voice inviting
bands to audition in New York City; his hometown was
Stamford CT. I convinced the guys that I could get them
work, and we climbed in the van and drove back the other
way.[4] Guitarist Fast Floyd and keyboard player Ritch
Colbert arrived in NY several months later. Fast Floyd
was replaced by Louis X. Erlanger, who had played with
John Lee Hooker and brought a deeper blues sensibility to
the band; Colbert left the band and returned to California
in 1977 and was replaced by Bobby Leonards (formerly
of Tiany Shade).

Early days in San Francisco

Mink DeVille was formed in 1974 when singer Willy

DeVille (then called Billy Borsay) met drummer Thomas
R. Manfred Allen, Jr. and bassist Rubn Sigenza in
San Francisco. Said DeVille, I met Manfred at a party;
he'd been playing with John Lee Hooker and a lot of blues
people around San Francisco. I met Rubn at a basement jam in San Francisco, and he liked everything I
liked from The Drifters to, uh, Fritz Lang.[2] Willy DeVille occasionally sat in with the band Lazy Ace, which included Allen Jr. on drums and Ritch Colbert on piano.
When Lazy Ace broke up, DeVille, Allen Jr., Colbert,
Rubn Sigenza, and guitarist Robert McKenzie (a.k.a.
Fast Floyd, later of Fast Floyd and the Famous Firebirds)
formed a band called Billy de Sade and the Marquis. We
were playing the leather bars down on Folsom Street,
Willy DeVille recalled. We were Billy de Sade and the
Marquis then. We played the Barracks. After a while
they would take their clothes o. This one guyJesus
Satin he called himselfhe'd dance on the pool table. It
was nuts! Crazy!"[3]

3 House band at CBGB

From 1975 to 1977, Mink DeVille was one of the original house bands at CBGB, the New York nightclub where
punk rock music was born in the mid 1970s. We auditioned along with hundreds of others, but they liked us
and took us on. We played for three years... [D]uring
that time we didn't get paid more than fty bucks a night,
DeVille said.[4] In 1975, CBGB was the epicenter of punk
1

4 THE CAPITOL YEARS

rock and what would later be called new wave, but Mink
DeVille didnt necessarily t in the scene. Onstage,
Willys band, Mink DeVille, had nothing in common with
the new wave CBGB bands that the press had lumped
them with, wrote Alex Halberstadt. Unlike Television,
The Ramones, or Blondie, at heart Mink DeVille was an
R&B band, and Willy an old-fashioned soul singer"[7]
Wrote Mark Keresman, Mink DeVilles earthy, streamlined sound, rejecting the mainstream high-gloss that ruined much of 1970s rock, was accepted by the same folks
who'd go to see Blondie, The Shirts, and Television.[8]

CBGB, where Mink DeVille was a house band.

Wrote Daily Telegraph critic Neil McCormick:

DeVille and his band reached deep into
blues and soul, the classic romantic pop of Ben
E. King and The Drifters, with a side order of
Spanish spices and New Orleans Zydeco swing.
They favoured castanets over tom-toms, and
accordion over distorted guitars, and Willy delivered his vocals with a sweet, tuneful exibility that brought out the emotional resonance
beneath his nasal sneer. What the wiry, dapper DeVille had that tied him to fellow CBGB
resident bands like The Ramones, Television,
Blondie and Talking Heads was an edge. He
was drawing on some of the same musical areas
that Bruce Springsteens epic rock dipped into,
but Willy was an entirely dierent creature, a
macho dandy in a pompadour and pencil mustache, with the dangerous air of a New York
gangghter and an underbelly vulnerability that
came out through the romanticism of his music. Springsteen sounded like he was your
friend in desperate times. DeVille sounded like
he couldnt quite decide whether to serenade
you or pull a knife on you.[9]
Said DeVille, We were doing Little Walter stu, we
were doing Elmore James stu. The only stu we were
doing that people had heard was 'Please, Please, Please'
by James Brown. We used to do an Apollo thing. We

played CBGBs for three years, and all of the sudden word
got out, and then came this word Punk, which where I
come from is a bad word. A punk is somebody who
picks a ght with you and then never shows up.[10] In
2007, Willy DeVille said about the bands that played
CBGBs, We were all labeled as part of this American
punk thing but I really didn't see any of us having much
in common.[11] Every f----n' art student that plays out
of tune gets a record deal, he said dismissively in 1981,
when asked about the punk scene.[12]
However, Mink DeVille had in common with the CBGB
bands an aversion to the hippy aesthetic (what Willy DeVille called electric this and strawberry that[4][13] ); moreover, the band brought an eclectic New York sensibility
to its music that the other bands didnt have and that New
York City rock fans recognized and appreciated. Critic
Robert Palmer wrote, Mr. DeVille is a magnetic performer, but his macho stage presence camouages an
acute musical intelligence; his songs and arrangements
are rich in ethnic rhythms and blues echoes, the most disparate stylistic references, yet they ow seamlessly and
hang together solidly. He embodies (New Yorks) tangle
of cultural contradictions while making music thats both
idiomatic, in the broadest sense, and utterly original.[14]
In 1976, three Mink DeVille songs appeared on Live at
CBGBs, a compilation album of bands that played CBGB
(for the recording sessions, drummer Thomas R. Manfred Allen, Jr. was credited as Manfred Jones).
Later in life, DeVille had only sour memories of CBGB.
He did not play any benet concerts or recordings for the
nightclub.[4] He told Music Street Journal: The whole
band only got $50 dollars a night, even to the end. Thats
why I never went back there. I've never walked through
those doors other than to have maybe a beer once. I was
down in New Orleans and I came up here, kind of going
down Memory Lane so to speak. I ended up on Bowery
down there and I thought, 'Lets see whats going on here.'
I walked in (to CBGB) and I saw Hilly (Hilly Kristal)
standing there. I had a big straw hat on, silk suit. He
bought me a beer and it got around to 'Would you like to
come back?' I said, 'No Hilly and you know why? Because you never treated me right. You never were fair to
me.'"[15]

4 The Capitol years

The exposure eventually led to a record contract. In December 1976, Ben Edmonds, an A&R man for Capitol
Records, and previously an editor for Creem, signed the
band after spotting them at CBGB. Wrote Edmonds:
When Mink DeVille took the stage (at
CBGB) and tore into Let Me Dream if I Want
To followed by another scorcher called Shes
So Tough, they had me. These ve guys...were

4.2

Recording Le Chat Bleu in Paris

obviously part of the new energy, but I also felt
immediately reconnected to all the rock & roll I
loved best: the bluesy early Stones, Van Morrison..., the subway scenarios of The Velvet Underground, Dylans folk-rock inections, the
heartbreak of Little Willie John, and a thousand scratchy old ea market 45s. Plus they
seemed to contain all the avors of their New
York neighborhood, from Spanish accents to
reggae spice.[16]

Said Willy DeVille about Edmonds:

There was the Ramones, Patti Smith,
Television, the Talking Heads, and us. We
were the ve big draws. And then one night
this blond-headed guy came in to CBGB, Ben
Edmonds. He was the guy who was responsible for being the visionary who saw that we
were dierent than they were and that we could
probably have a career playing music. So we
went into this cheap little studio and did four
songs, which Edmonds gave to Jack Nitzsche.
I didn't even know who Nitzsche was. Nitzsche
did all the Phil Spector stu that we grew up
with and loved. We just fell in love with each
other. We were buddies to the end. He was
like my crazy uncle. I called him my mentor
and my tormentor.[10]

3
the Nitzsche who'd produced "Memo from
Turner" (o the Performance soundtrack) and
the great rst Crazy Horse album... 'How did
you ever get Jack Nitzsche?' Elliott Murphy
later asked me incredulously. 'I tried to get
him for years.' The sad truth is that it took one
phone call, and even that was sheer luckor
maybe divine providence. I mentioned my mission while chatting with friend and Del Shannon manager Dan Bourgoise, who responded
'Jack? I can put you in touch with him.' Two
days later the elusive producer was sitting in my
oce. I put on a live recording and after the
rst song, the bands version of Otis Redding's
'These Arms of Mine,' Nitzsche motioned for
me to stop the tape. 'When do we start?' he
said. They had him. And that was the whole of
it, plain and simple. I didn't get Jack Nitzsche.
The voice of Willy DeVille did.[16]

Cabretta, a multifaceted album of soul, R&B, rock, and

blues recordings, is generally regarded as one of the best
debut albums by a new band of the mid-1970s.[18] Steve
Douglas played saxophone, and the Immortals, a cappella
singers whom Willy DeVille discovered at a reggae concert at Maxs Kansas City, sang background vocals.[2] On
the catchy Spanish Stroll, bassist Rubn Sigenza spoke
words in Spanish during the break (Hey Rosita! Donde
vas con mi carro Rosita? Tu sabes que te quiero, pero ti
me quitas todo), adding a Latin avor to the album. This
song was chosen as the albums lead single and reached
4.1 Working with Jack Nitzsche
No. 20 on the UK Singles Chart; it was to be DeVilles
only record ever to chart in the UK.[19] The song went to
Mink DeVille recorded their debut album Cabretta (en- No. 3 in the Netherlands.[20] Cabretta was elected numtitled Mink DeVille in the U.S.), produced by Jack ber 57 in the Village Voice's 1977 end-of-the-year Pazz
Nitzsche, in January 1977. Nitzsche would, in alternation & Jop critics poll.[21]
with Steve Douglas, produce the rst four Mink DeVille
albums. Both men, members of the Rock and Roll Hall The bands 1978 follow-up album Return to Magenta conof Fame, had apprenticed under Phil Spector and helped tinued in the same vein as Cabretta, but with a twist.
albumdecided it
shape the Wall of Sound production technique. These We went against strings on the rst
[2]
should
be
outright,
raw,
and
rude.
On Return to Maproducers were a natural t for Mink DeVille, whose
genta,
Willy
DeVille
and
producers
Nitzsche
and Steve
members tastes ran to the Ronettes, the Crystals and
Douglas
employed
lavish
string
arrangements
on
several
other 1960s-era New York bands with their Brill Buildsongs.
Dr.
John
played
keyboards
and,
once
again,
Douing sound. Said Willy DeVille, You listen to that music
glas
played
saxophone.
Mink
DeVille
toured
the
United
and you hear those really high strings, and that percussion, and the castanets; thats all Jacks (Jack Nitzsches) States in 1978 with Elvis Costello and Nick Lowe.
work. All that really cool stu.[4]
Nitzsche said about DeVille, We hit it o right away.
Willy pulled out his record collection, he started playing things, that was it. I thought, 'Holy shit! This guys
got taste!'"[17] Wrote Ben Edmonds, who paired Nitzsche
with Mink DeVille:
It has always been assumed that our pairing was based on his (Nitzsches) Spector accomplishments, but to me that was secondary.
In the beginning I saw Mink DeVille as a
hard-edged rock and roll band, and I wanted

4.2 Recording Le Chat Bleu in Paris

In 1979, Willy DeVilles love of art and French culture
led him to relocate to Paris for a short while.[18] Here he
took his band in a new direction and recorded an entirely
original album called Le Chat Bleu. For this album, DeVille wrote several songs with Rock and Roll Hall of Fame
member Doc Pomus. Guitarist Louis X. Erlanger had
become acquainted with Pomus while frequenting New
York Citys blues clubs and had urged Pomus to check
out the group. Wrote Alex Halberstadt, Pomuss biogra-

5 THE ATLANTIC YEARS

pher:
One night Docs pub crawl took him to The
Bottom Line just a block east of Washington
Square Park (in New York City). He sat at
his usual table and watched an empty spotlight.
Cigarette smoke wafted into the shaft of light
from ostage while the sax player blew Earle
Hagen's Harlem Nocturne. DeVille strode
out of the wings and snatched the mike. With
his pedantically trimmed pencil mustache he
looked like a cross between a bullghter and
a Puerto Rican pimp. The tightest black suit
clung to his thin frame; he wore a purple
shirt, a narrow black tie and shoes with sixinch points. A Pompadour jutted out above
his forehead like the lacquered hull of a submarine. The show was the most soulful Doc
had seen in ages. Onstage, Willys band, Mink
DeVille, had nothing in common with the new
wave CBGB bands that the press had lumped
them with. Unlike Television, the Ramones, or
Blondie, at heart Mink DeVille was an R&B
band, and Willy an old-fashioned soul singer.
He borrowed much of his phrasing from Ben
E. King and couldn't believe it when someone told him that Doc Pomus wanted to meet
him after the show. You mean the guy who
wrote 'Save the Last Dance for Me'?" He was
even more amazed when Doc asked whether
he'd write with him. Look me up. I'm in the
book, Doc hollered before rolling away (in his
wheelchair).[7]

a record featuring accordions and strings. It says something about the state of the American record business
something pathetic and depressingthat Willy DeVilles
nest album fell on deaf ears at Capitol, wrote Kurt
Loder of Rolling Stone.[23] Said percussionist Boris Kinberg, Capitol in the U.S. didnt know what to do with
it because they perceived Willy as this punk rocker from
CBGBs and he came back from Paris with a very dierent kind of record. They didnt understand the record, but
they understood it in Europe. They released it immediately in Europe and everybody loved it.[10] After Le Chat
Bleu sold impressively in America as an import, Capitol
nally released it in the United States. Wrote Alex Halberstadt:
(Willy DeVille) created a record that
sounded like nothing that had come before...
It was clear that Willy had realized his fantasy
of a new, completely contemporary Brill Building record. To the symphonic sweetness of the
Drifters he added his own Gallic romance and,
in his vocal, a measure of punk rock's Bowery
grit. Doc (Pomus) was elated when he heard
it. Thinking they'd signed a new wave band,
Capitol didn't know what to do with Willys
rock and roll chanson and shelved it for a year.
When it was nally released in 1980, Le Chat
Bleu remixed by Joel Dorn, made nearly every
critics list of the years best records.[7]
The Rolling Stone Critics Poll ranked Le Chat Bleu the
fth best album of 1980,[24] and music historian Glenn A.
Baker declared it the tenth best rock album of all time.[25]

DeVille said about their rst meeting, Now here I am at

29, a writer, doing pretty good and I've just been asked 5 The Atlantic years
if I want to write songs with a guy who helped lay the
foundations for the music I fell in love with sitting at my Willy had found a more appreciative reception at
mothers kitchen table when I was only seven years old. Atlantic Records, where head man Ahmet Ertegn signed
him to a fat new recording deal and promised to perYou've got to be kidding!"[22]
sonally shepherd his career..., reported Rolling Stone in
Willy DeVille hired Jean Claude Petit to supervise string
1980. According to Willynever one to let false modarrangements, and he dismissed the members of the
esty intrude on a good storythe Atlantic Records chairband except for guitarist Louis X. Erlanger in favor of
man said, 'You got the look, the performance, the writing,
new musicians, including accordionist Kenny Margolis.
you know exactly what to do.'"[26]
Said DeVille: I wanted to record the album in Paris...
because I desperately wanted to use Jean-Claude Petit, By this time, no members of the original Mink DeVille
whom I had contacted through dith Piaf's songwriter save Willy DeVille remained in the band, but DeVille
Charles Dumont, for string arrangements... The band continued recording and touring under the name Mink
with me was a dream come true. I've got Phil Spector's DeVille. Those boys went through the wars with me,
horn player, Steve Douglas (who also served as producer), the $50 a night bars, and I had to turn on them and lop
on tenor and baritone. Elvis Presley's rhythm section, their heads o and say, 'I love you man, but thats the way
Ron Tutt and Jerry Sche, want to play with me. Wow! its gotta be.' I still feel guilty about it, but we were just a
Thats pretty cool! Songwriting with Doc Pomus. Not good bar band. Thats all we were. We weren't ready to
to mention Jean-Claude doing the strings. How can I go make great rock and roll records.[5]
wrong?"[22]
Wrote critic Robert Palmer in 1981:
Capitol Records released Le Chat Bleu in Europe in 1980,
but believed that American audiences would not warm to

Mr. DeVilles career never quite took o,

5
despite the impressive breadth and depth of his
talent. He is recording a new album for Atlantic records, having departed from his previous recording commitment under less than amicable circumstances. And on Friday night he
was at the Savoy, where he demonstrated with
an almost insolent ease that he is still ready
for the recognition that should have been his
several years ago. He has the songs, he has
the voice, and he has the band. And he has
expanded the scope of his music by adding
elements of French cafe songs and Louisiana
zydeco to the mixture of rock, blues, Latin and
Brill Building soul that was already there.[27]
Said DeVille:
I had band problems, manager problems,
record company problems. And yeah, I had
drug problems. Finally I got a new recording
contract, with Atlantic, and a new manager. I
cleaned up my act. I gured that since playing music with people I was friends with didn't
seem to work out, I would hire some mercenaries, some cats who just wanted to play and
get paid. And those guys turned out to be more
devoted to the music than any band I ever had.
They're professional, precise, but they're full of
re, too.[28]

Margolis, who played piano and accordion in DeVilles

early 1980s bands, I dont think the American public
had a chance to experience him because in America at
that time you had MTV telling you what to like. Europe
had not had MTV at that point and they were very open
to dierent music.[10] DeVille said about his years with
Atlantic Records, Ahmet Ertegn and I got along, but
we never got anything done.[10]

6 A nal album for Polydor

Mink DeVilles last album, Sportin' Life, was recorded
for Polydor in 1985. For this album, DeVille penned
two more songs with Doc Pomus (Something Beautiful Dying and When You Walk My Way). The album was recorded at the Muscle Shoals Sound Studio
in Alabama with the Muscle Shoals Rhythm Section,
and DeVille and Duncan Cameron producing. The song
Italian Shoes was a hit in some European countries,[30]
but some critics thought the album was overproduced.
Wrote Allmusic: Its sound is steeped in mid-'80s studio gloss and compression that often overwhelms quality material.[31] However, David Wild of Rolling Stone
praised Sportin' Life, calling it "[t]he most modern, polished sound of (Willy DeVilles) career. He added,
Pushed to center stage, DeVille delivers, singing with
more passion and more personality than ever before.[32]

After Sportin' Life, DeVille dropped the Mink moniker

DeVille recorded two albums for Atlantic, 1981s Coup and began recording under his own name. Mink DeVille
its last concert on February 20, 1986 in New York
de Grce (produced by Jack Nitzsche) and 1983s Where played
[33]
City.
Angels Fear to Tread. Both albums featured saxophonist Louis Cortelezzi and had a full-throated Jersey Shore
sound that evoked Bruce Springsteen and Southside
7 The Mink DeVille Band
Johnny. Wrote critic Thom Jurek about these albums:
(Both) are truly solid albumsdespite
lukewarm reviews at the timeshowcasing
much of Willys theatrical personality and his
own desire to provide for the elements of fantasy in rock music that the early rockers and
doo-woppers did in the 1950s and 1960s (and
that Piaf and Brel did in France). Rootsy,
hook-laden rock, iconic balladry, and the theater of aural experience were all contained
in songs that oered the illusion that one
could still nd acted out under a streetlamplit stage, in front of a trashcan bonre, narrated by one costumed in the decadent attire
of a Euro-trash lothario-cum-stiletto-carrying
1950s gang banger... They captivate a listener
in the same way a great period lm would
they tell an epic story in a few minutes and capture all of its life and death drama.[29]
The albums Mink DeVille recorded for Atlantic sold well
in Europe but not in the United States. Explained Kenny

On playbills and on live albums such as Willy DeVille

Live (1993) and Acoustic Trio Live in Berlin (2003), Willy
DeVilles backup band was sometimes called The Mink
DeVille Band, an allusion to the earlier Mink DeVille. Some musicians who backed up Willy DeVille in
The Mink DeVille Band played and toured with him for
decades. Bass player Bob Curiano, for example, backed
up Willy DeVille in his 1981 and 2007 European tours.
As well, musicians who played in The Mink DeVille Band
sometimes played on Mink DeVille and Willy DeVille albums. These members of dierent Mink DeVille Bands
played with Willy DeVille for ten years or more:
Guitar: Ricky Borgia, Freddy Kolla (also plays
violin and mandolin), Paul James (Canadian musician)
Bass: Bob Curiano, David J. Keyes, Joey Vasta
Percussion: Boris Kinberg
Drums: Shawn Murray, Tommy Price

9
Piano, Accordion: Seth Farber, Kenny Margolis
Saxophone: Louis Cortelezzi, Mario Cruz
Background vocals: Billy Valentine, John Valentine,
Dorene Wise, Yadonna Wise

Discography
For a complete discography of Mink DeVille/Willy DeVille recordings, see Willy DeVille
discography.
1977: Cabretta (in Europe); Mink Deville (in the
U.S.) (Capitol)
1978: Return to Magenta (Capitol)
1980: Le Chat Bleu (Capitol)
1981: Coup de Grce (Atlantic)
1983: Where Angels Fear to Tread (Atlantic)
1985: Sportin' Life (Polydor)

References

[1] This quote comes from the back cover of Mink DeVilles
1978 album Return to Magenta.
[2] Rhodes, Dusti (1978). Mink DeVille: Smooth Running Caddy The Tale of The Mink. Rock Around The
World. Retrieved December 18, 2010.
[3] Klein, Howard (October 1977). Mink De Ville: Slick
Fur Fury. Creem 9 (5): p. 28.

REFERENCES

[11] Cartwright, Garth (September 1, 2007). The birthplace

of punk. The Guardian. Retrieved December 22, 2010.
[12] Editors (September 8, 2009). Music Obituaries: Willy
DeVille. The Daily Telegraph. Retrieved December 21,
2010.
[13] DeVille may have been referring to these psychedlic
bands: The Electric Prunes and Strawberry Alarm Clock.
[14] Palmer, Robert (September 18, 1981). Pop: Willy DeVille Band. The New York Times: p. C32.
[15] Olma, Greg (2006). Interview with Willy Deville from
2006. Music Street Journal. Retrieved December 18,
2010.
[16] Edmonds, Ben (2001). Cadillac Walk: The Mink DeVille
Collection (CD insert). Mink DeVille. Capitol Records.
[17] McDonough, Jimmy (2005). Jack Nitzsche 1937
2000. The Sorcerers Apprentice: Jack Nitzsches Magical
Musical Word. spectropop.com. Retrieved January 23,
2011.
[18] Stambler, Irwin (1989) [1974]. DeVille, Willy. The
Encyclopedia of Pop, Rock & Soul (3rd ed.). New York:
St. Martins Press. pp. 17375. ISBN 0-312-02573-4.
[19] Roach, Martin, ed. (2008). The Virgin Book of British Hit
Singles (1st ed.). London: Virgin Books. p. 281. ISBN
978-0-7535-1537-2.
[20] Mink Deville: Spanish stroll - Positieverloop in de Nederlandse Top 40. Stichting Nederlandse Top 40. 1977.
Retrieved September 12, 2012.
[21] Christgau, Robert (1977). The 1977 Pazz & Jop Critics Poll. RobertChristgau.com. Retrieved December 19,
2010.
[22] Albus, Lawrence (2003). Le Chat Bleu (CD insert). Mink
DeVille. Raven Records.

[4] Marcus, Richard (May 14, 2006). Interview: Willy

DeVille. Leap in the Dark. Retrieved December 18,
2010.

[23] Loder, Kurt (December 11, 1980). Review: Willy DeVilles best Le Chat bleu". Rolling Stone (332): pp. 5556.

[5] Cohen, Elliot Stephen (AugustSeptember 2006). Willy

DeVille. Dirty Linen (125): p. 37.

[24] Rolling Stones 1980 Rock & Roll Awards Critics

Poll. Rolling Stone (338): p. 31. March 5, 1981. Retrieved December 22, 2010.

[6] Re: Boogie By The Bay. Best 5 Bands. Yahoo! Message Boards. Retrieved January 27, 2011.

[25] Baker, Glenn A. (1987) Individual Critics Top 10s. The

World Critics Lists ~ 1987. (Retrieved 2-1-08.)

[7] Halberstadt, Alex (2007). Lonely Avenue: The Unlikely

Life and Times of Doc Pomus. New York: De Capo Press.
pp. 21315. ISBN 978-0-306-81564-5.

[26] Sears, Rufus (October 30, 1980). Willys backand

knocking 'em dead. Rolling Stone (329): pp. 2023.

[8] Keresman, Mark (2005). Coup de Grce (CD insert).

Mink DeVille.

[27] Palmer, Robert (April 20, 1981). Willie DeVille and

band. The New York Times. Retrieved January 3, 2011.

[9] McCormick, Neil (September 11, 2009). Willy DeVille: death of an icon. The Daily Telegraph. Retrieved
December 21, 2010.

[28] Palmer, Robert (September 25, 1981). Pop Jazz; Willy

DeVille and the Mink in Weekend at the Savoy. The New
York Times. Retrieved January 3, 2011.

[10] Interviews on Willy DeVille: Live in the Lowlands (DVD).

Eagle Rock Entertainment. March 20, 2006. Retrieved
December 19, 2010.

[29] Jurek, Thom (August 10, 2009). Willy DeVille, RIP:

Remembering an American Original. The Allmusic
blog. Retrieved January 3, 2011.

[30] Eagle Rock Entertainment (2007) DeVille, Willy, Web

site of Eagle Rock Entertainment. (Retrieved 03-082008.)
[31] Jurek, Thom. Sportin' Life review at AllMusic. Retrieved
December 19, 2010.
[32] Wild, David (March 27, 1986). Review: Sportin' Life
Mink DeVille. Rolling Stone (470): pp. 11415.
[33] Wilner, Rich (March 1, 1986). DeVille Files for
Bankruptcy. Billboard. 9 98: p. 77. Retrieved December 22, 2010.

10

External links

The ocial Willy DeVille website

Trouser Press: Willy DeVille

11

11
11.1

TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

Text and image sources, contributors, and licenses

Text

Mink DeVille Source: https://en.wikipedia.org/wiki/Mink_DeVille?oldid=682011355 Contributors: Bearcat, Eeksypeeksy, Fastifex, Esradekan, Griot~enwiki, FairuseBot, Cydebot, Thijs!bot, Nick Number, Geniac, JohnnyChicago, Zouavman Le Zouave, CommonsDelinker,
Jevansen, ACSE, Slysplace, Nouse4aname, Auntof6, XLinkBot, Good Olfactory, SlubGlub, Addbot, SpanishStroll, IbLeo, Yobot, J Milburn Bot, AnomieBOT, Marauder09, LilHelpa, FrescoBot, DrilBot, RedBot, Senorita x, MrX, Robertwhyteus, RjwilmsiBot, Shadowsofthepast, GoingBatty, ZroBot, CactusBot, Helpful Pixie Bot, HesioneHushabye, Pauljamessusan, Cara Leaf, Twistedtree, Vycl1994,
Synthwave.94, Paul Cirincione, Monkbot and Anonymous: 15

11.2

Images

File:CBGB_club_facade.jpg Source: https://upload.wikimedia.org/wikipedia/commons/d/da/CBGB_club_facade.jpg License: CC-BYSA-3.0 Contributors: Transferred from en.wikipedia to Commons. Original artist: Adicarlo at English Wikipedia
File:Folder_Hexagonal_Icon.svg Source: https://upload.wikimedia.org/wikipedia/en/4/48/Folder_Hexagonal_Icon.svg License: Cc-bysa-3.0 Contributors: ? Original artist: ?

11.3

Content license

Creative Commons Attribution-Share Alike 3.0