Mink DeVille
| Company type | Rock band |
|---|---|
| Industry | Music |
| Founded | 1974 |
| Founder | Willy DeVille |
| Defunct | 1986 |
| Headquarters | New York City , United States |
Area served | United States, Europe |
Key people | Willy DeVille (frontman) |
| Products | Music albums, live performances |
Mink DeVille was a rock group established in 1974, recognized for its association with the early punk rock scene at New York's CBGB and as the creative outlet for Willy DeVille's artistry. Between 1977 and 1985, the band produced six albums before dissolving in 1986. Except for frontman Willy DeVille, original members contributed solely to the initial two records (Cabretta and Return to Magenta). Following this period, Willy DeVille recruited various musicians to perform and record under the Mink DeVille banner. Post-1985, he pursued recording and touring under his own name, occasionally referring to his supporting ensembles as "The Mink DeVille Band," a nod to the original lineup.
Esteemed Rock and Roll Hall of Fame songwriter Doc Pomus commended the band: "Mink DeVille captures the essence of urban life and the bravery found in a ghetto love ballad. The raw honesty in his vocal delivery transcends time—reflecting yesterday, today, and tomorrow—just as loneliness, poverty, and hardship persist unceasingly."
Formation in San Francisco
The inception of Mink DeVille dates back to 1974 when vocalist Willy DeVille (then known as Billy Borsay) connected with drummer Thomas R. "Manfred" Allen Jr. and bassist Rubén Sigüenza in San Francisco. Willy recalled, "I met Manfred at a party; he had performed with John Lee Hooker and numerous blues musicians around San Francisco... Rubén came into my life during a basement jam session, sharing my tastes ranging from The Drifters to Fritz Lang."
At times, Willy DeVille performed alongside Lazy Ace, featuring Allen on drums and Ritch Colbert on piano. After Lazy Ace disbanded, DeVille, Allen, Colbert, Sigüenza, and guitarist Robert McKenzie (known as Fast Floyd) formed Billy de Sade and the Marquis. Reflecting on their early gigs at leather bars on Folsom Street, DeVille said: "We played at the Barracks. Eventually, patrons would strip off their clothing. There was this guy—Jesus Satin was his name—dancing atop the pool table. It was wild! Absolutely crazy!"
Name evolution
In 1975, the group adopted the name Mink DeVille; lead vocalist Billy Borsay transformed into Willy DeVille. He explained, "We tossed around various names—some crude—but then someone suggested Mink DeVille. What could be cooler than a fur-trimmed Cadillac?" He added, "A mink Cadillac has that ultimate pimp vibe—in an impressionistic sense." Another story attributes the name to Fast Floyd, who had draped his cracked Cadillac dashboard with a secondhand mink coat.
A 1977 Creem feature credits DeVille’s wife Toots Deville for inspiring the name: sensing the band’s stagnation, she proposed something sleek and poetic—Mink DeVille. That issue included a photo of DeVille behind the wheel of a car with what appeared to be mink adorning the dashboard.
DeVille discovered a small advertisement in The Village Voice calling for bands to audition in New York City. He persuaded the group to relocate there. Guitarist Fast Floyd and keyboardist Ritch Colbert joined subsequently; Fast Floyd was eventually replaced by Louis X. Erlanger, who infused stronger blues elements drawn from his experience with John Lee Hooker. Colbert departed in 1977 and was succeeded by Bobby Leonards (formerly of Tiffany Shade).
House band at CBGB
Between 1975 and 1977, Mink DeVille stood as one of the pioneering house bands at CBGB, the iconic New York City nightclub instrumental in launching the punk rock movement during the mid-1970s. "We auditioned alongside hundreds of other groups, but they chose us. We performed there for three years ... [D]uring that period, we never earned more than fifty dollars each night," DeVille explained. In 1975, CBGB was recognized as the hub for punk and new wave, yet Mink DeVille didn’t entirely align with that atmosphere. Journalist Alex Halberstadt observed, "Willy's band on stage bore little resemblance to the new wave acts at CBGB." Unlike groups such as Television, The Ramones, or Blondie, Mink DeVille was rooted in R&B, with Willy delivering vocals reminiscent of classic soul singers." Mark Keresman highlighted that "Mink DeVille’s raw sound, which rejected the polished mainstream rock of the 1970s, resonated with audiences who also appreciated bands like Blondie and Television."
Daily Telegraph reviewer Neil McCormick characterized DeVille’s musical style as an amalgamation of blues, soul, Spanish elements, and New Orleans Zydeco, featuring unique instruments such as castanets and accordion. He contrasted DeVille’s edgy image—part rugged dandy, part tender romantic—with contemporaries like Bruce Springsteen.
DeVille reflected on their setlist: "We played songs by Little Walter, Elmore James... The only widely recognized tune was 'Please, Please, Please' by James Brown." Although often categorized as punk due to their CBGB ties, DeVille rejected this label: "A punk is someone who starts a fight and then never shows up." In 2007 he reiterated that musically, CBGB bands had little in common. By 1981 he dismissed the punk scene as overly hyped.
Sharing a common disdain with other CBGB acts for the hippy style, Mink DeVille brought a diverse New York attitude that was appreciated by local followers. Critic Robert Palmer commended DeVille’s "captivating stage presence" and "keen musical insight," emphasizing his blend of ethnic rhythms and blues influences into innovative original songs.
In 1976, three tracks by Mink DeVille were featured on Live at CBGB's, a compilation showcasing artists from the club (with drummer Thomas R. "Manfred" Allen Jr. credited as Manfred Jones).
Later on, DeVille developed negative sentiments toward CBGB and declined to take part in any benefit shows or recordings for the venue. He told Music Street Journal: "The entire band only made $50 a night... I never returned after that... I walked in once and saw Hilly (Hilly Kristal)... He asked if I wanted to come back. I said no because he never treated me fairly or right."
The Capitol years
This visibility eventually resulted in a recording deal. In December 1976, Ben Edmonds (1950–2016), an A&R representative for Capitol Records and former editor of Creem, signed Mink DeVille after witnessing one of their performances at CBGB. Edmonds recalled:
Willy DeVille commented on Edmonds:
Collaboration with Jack Nitzsche
In January 1977, Mink DeVille entered the studio to produce their debut album Cabretta (released as Mink DeVille in the United States), with Jack Nitzsche serving as producer. Both Nitzsche and Steve Douglas, who are inductees of the Rock and Roll Hall of Fame and former protégés of Phil Spector, were responsible for producing the band's first four records. Their mastery of the Wall of Sound production style perfectly complemented Mink DeVille’s inspirations drawn from 1960s New York City groups and the distinctive Brill Building aesthetic. Willy DeVille remarked, "Those soaring strings, percussion, castanets—that’s all Jack’s signature."
Nitzsche recalled their immediate rapport: "We connected instantly. Willy showed me his record collection—I thought, 'Wow! This guy’s got impeccable taste!'" Edmonds further commented:
Cabretta—a fusion of soul, R&B, rock, and blues—has been widely acclaimed as one of the standout debut albums from the mid-1970s. Saxophone parts were provided by Steve Douglas, while background harmonies were performed by the Immortals, an a cappella group Willy discovered at a reggae show. The lead single "Spanish Stroll" featured bassist Rubén Sigüenza delivering Spanish dialogue during the instrumental break, infusing a Latin element. This track peaked at No. 20 on the UK Singles Chart—DeVille’s sole UK chart appearance—and reached No. 3 in the Netherlands. Cabretta was ranked 57th in the 1977 critics' poll conducted by Village Voice.
The subsequent 1978 album Return to Magenta preserved the sound established on Cabretta but incorporated elaborate string orchestrations arranged by Willy DeVille along with producers Nitzsche and Douglas. Dr. John contributed keyboard performances, and Douglas once again played saxophone. That year, Mink DeVille toured across the United States alongside Elvis Costello and Nick Lowe.
Creating Le Chat Bleu in Paris
In 1979, Willy DeVille temporarily moved to Paris, where he steered his band toward a fresh artistic direction and recorded what would become Le Chat Bleu. Several tracks were co-written with fellow Rock and Roll Hall of Fame inductee Doc Pomus, who was introduced to the group by guitarist Louis X. Erlanger. Pomus, impressed by their soulful delivery, invited DeVille to collaborate.
Reflecting on this partnership, DeVille said: "At 29 years old and doing well, I was invited to write with a man who had laid the groundwork for the music I cherished since childhood. It felt unreal!"
For this project, Jean Claude Petit was brought in to arrange strings, while most original band members were replaced except Erlanger; new musicians such as accordionist Kenny Margolis joined. DeVille explained: "Recording in Paris allowed me to work with Jean-Claude Petit... The lineup was exceptional—Steve Douglas from Phil Spector’s horn section producing and playing saxophone, plus Elvis Presley’s rhythm section players Ron Tutt and Jerry Scheff collaborating with me. Writing songs alongside Doc Pomus and having Jean-Claude’s string arrangements—what could go wrong?"
Released by Capitol Records in Europe in 1980, Le Chat Bleu showcased accordion and string elements that Capitol feared American audiences might reject. Percussionist Boris Kinberg noted that Capitol's U.S. branch struggled with marketing it, viewing DeVille primarily as a punk figure from CBGBs. Nevertheless, European listeners embraced the album immediately.
Following strong import sales within the U.S., Capitol eventually issued it domestically. Critics lauded it for its distinctive combination of lush symphonic textures with raw punk energy. The album secured fifth place in Rolling Stone's 1980 Critics Poll and was later recognized by historian Glenn A. Baker as one of the ten greatest rock albums ever.
The Atlantic Records era
By 1980, Willy DeVille found a more receptive environment at Atlantic Records, where executive Ahmet Ertegun signed him to a lucrative contract and pledged personal guidance over his career development, according to Rolling Stone. Willy recounted that Ertegun told him: "You have the image, performance skills, songwriting ability—you know exactly what you’re doing."
At this stage, all original members of Mink DeVille had departed except for Willy himself, who continued using the band name for recording and touring purposes. Reflecting on earlier difficulties, he admitted they had been "merely a solid bar band" not yet prepared for major rock stardom.
Critic Robert Palmer observed in 1981:
DeVille openly acknowledged various hurdles: "I experienced issues with my bandmates, management conflicts, record label troubles—and yes, drug problems too. Eventually I secured a new deal with Atlantic along with fresh management. I cleaned up my life and hired professional musicians—players who simply wanted to perform and get paid—and they proved more dedicated than any group I’d had before."
Under Atlantic's banner, he recorded two albums: 1981's Coup de Grâce, produced again by Jack Nitzsche, and 1983's Where Angels Fear to Tread. Both featured saxophonist Louis Cortelezzi and embraced a robust Jersey Shore sound, reminiscent of artists like Bruce Springsteen and Southside Johnny.
Critic Thom Jurek stated:
While these records sold well throughout Europe, their U.S. reception was limited. Kenny Margolis—a pianist and accordionist who toured with DeVille during this era—explained: "American audiences missed out because MTV dictated musical tastes there; Europe didn’t have MTV then and welcomed diverse sounds." Reflecting on his time at Atlantic Records, DeVille remarked: "Ahmet Ertegun and I got along fine personally but never accomplished much together professionally."
Final release under Polydor
The concluding Mink DeVille album titled Sportin' Life was produced for Polydor in 1985. Willy co-wrote two tracks ("Something Beautiful Dying" and "When You Walk My Way") with longtime collaborator Doc Pomus. The recording took place at Muscle Shoals Sound Studio in Alabama featuring the Muscle Shoals Rhythm Section; production duties were shared between DeVille and Duncan Cameron. The song "Italian Shoes" found success in select European markets although some critics considered the overall production overly polished. According to Allmusic, its "mid-1980s studio sheen and compression occasionally overshadowed strong songwriting." In contrast, David Wild of Rolling Stone praised it as "[t]he most contemporary, refined sound of (Willy DeVille’s) career," emphasizing his passionate delivery.
After releasing Sportin' Life, Willy ceased using the "Mink" prefix to record under his own name exclusively. The final Mink DeVille performance took place on February 20, 1986, in New York City.
"The Mink DeVille Band" personnel
On concert posters and live recordings such as Willy DeVille Live (1993) and Acoustic Trio Live in Berlin (2003), Willy’s supporting musicians were occasionally billed as The Mink DeVille Band—a nod to his original group identity. Over several decades various players toured and recorded alongside him. Bassist Bob Curiano and drummer Shawn Murray accompanied him on European tours from 1984 through 2007. Members from different iterations of The Mink DeVille Band also contributed to studio projects. Key long-term collaborators included:
- Guitarists: Ricky Borgia; Freddy Koëlla (also violinist/mandolin player); Paul James
- Bassists: Bob Curiano; David J. Keyes; Joey Vasta
- Percussionists: Boris Kinberg
- Drummers: Shawn Murray; Thommy Price
- Keyboardists/Accordionists: Seth Farber; Kenny Margolis
- Saxophonists: Louis Cortelezzi; Mario Cruz
- Background vocalists: Billy Valentine; John Valentine; Dorene Wise; Yadonna Wise
Discography
- For an exhaustive list of recordings by Mink DeVille/Willy DeVille please consult Willy DeVille discography.
- 1977: Cabretta (Europe); Mink Deville (U.S.) (Capitol)
- 1978: Return to Magenta (Capitol)
- 1980: Le Chat Bleu (Capitol)
- 1981: Coup de Grâce (Atlantic)
- 1983: Where Angels Fear to Tread (Atlantic)
- 1985: Sportin' Life (Polydor)