I grew up in France in the 80’s, at a time when the Fleshtones were omnipresent in the lives of anyone who was into rock n’ roll. They were regulars on the indie rock concert circuits and everybody and their big brother had an album of theirs in his collection. Yet I wasn’t particularly a fan.

Then, in the late 90’s, I found myself doing research on the New York punk scene of the late 70’s, and connected to that whole era. I felt deeply for the Richard Hells, Tom Verlaine and Dee Dee Ramone. I became somewhat obsessed with all those bands.

Again four years later, after moving to New York to pursue my career as a director, I met Keith Streng, guitarist of the Fleshtones, by pure happenstance. He was living in my neighborhood, and as we got talking, he mentioned that he was recording a new album.

I went home and checked out the Fleshtones on the Internet, and I found out that for 30 years, they had never had a year when they didn’t record or play live. In essence, that made them the longest running band of the era. The longest running band of my favorite era of rock n’ roll!

Among all the bands that were regulars at CBGB’s in the late 70’s, they were the only ones who were never taken in, never accepted – they were outsiders because they loved fun: when CB’s would close, they would go dance at Studio 54. Their whole approach to New York at the time, then to their own career, was always to make it about the fun!

They had their ups and downs: in the early 80’s they landed a great deal with IRS records, only to lose it two albums later. Today many people in America think the Fleshtones disbanded long ago, probably due to their low profile.

However, that never stopped them from playing on. They have always played with the same level of commitment and energy, of the sort that I think exemplifies not only the commitment a band should have, but also the integrity that I strive for.

Anyone who goes to see the Fleshtones in concert can’t help but be sold on their energy: the dancing on the bar, synchronized dance moves or jumping on and off stage.

They’re in their mid-50’s, in great shape, and full of self-deprecation.

Seeing them on stage made me want to go deeper into their story, and try to understand why and how they do it, and perhaps learn a few lessons from them about longevity and engagement with a passion.

As I’ve spent an increasing amount of time in their company, I can only hope you will too.

Geoffray Barbier