The Lance Monthly Newsletter

[TLM Editor, Dick Stewart Notes: Albuquerque, New Mexico has never been noted for its high-profile, historic musical talent, but once in a while the word gets out that a diamond in the rough has chosen New Mexico’s largest city as his or her city of residence. Such is the case with Johnny Burns. No, his extraordinary talent as a guitar picker hasn’t earned him household name status just yet, but his Dad and Uncle certainly have, especially during their heydays of comical music expression. Homer (Haines) and Jethro (Burns) were widely known in the country hillbilly sector for their satire of popular songs during the ‘40s and ‘50s with an exaggerated southern drawl; and Chet’s country guitar picking was so good that his mind-blowing guitar skills easily made a home with the ‘50s pop-chart mainstream audiences. Johnny, of course, was also impressed with their extraordinary artistry and so proud to have grown up in a family of country-and-western icons; but blues and rock and roll was his passion as a performer. “I know he (my Dad) was proud of my playing, but was also distant in the same way anyone would be if they weren't all that interested in rock, but he was supportive, and as I became a better player, he was my biggest fan.”]

Dick [Dick Stewart- TLM Editor]: John, when and where were you born, in what kind of neighborhood did you grow up, and what sort of things did you like doing during your free time as a kid?

John (John Burns): I was born in Knoxville, Tennessee September 30, 1948. I remember absolutely nothing about my brief time there and was only first aware of my own existence as sole occupant of the back seat of a Studebaker. My dad and mom would drive night and day to Homer and Jethro gigs and I remember sleeping, eating and driving. I vaguely remember the fairs and backstage areas, bars, racetracks, theatres, etc. Dad and Homer were opening shows for Bob Wills and his Texas Playboys as well as Hank Williams.

Dad and Hank were fishing buddies and Hank loved the fact that he and Homer could make parodies of his hits. He even cut them in on royalties. They were the opening act for the concert that Hank never made it to. Sometime during this period we moved to Chicago as a result of Dad and Homer being hired to do the WLS Barn Dance on Saturday nights. It was a Grand Ol' Opry style show but with a more powerful station and more money apparently.

After attending Kindergarten at Knickerbockers School in Chicago, my family moved to nearby Evanston, closer to the lake and more open and tree infested. Home of Northwestern University and the WCTU. I grew up pretty much like most suburban kids did, I had friends in the neighborhood to play with and a dad who played music and was on the radio. This was working out pretty good for me. My dad's celebrity was a real icebreaker and it cut me a lot of slack in school. I guess that went a long way to explain my eccentricities. I was a bit of a cut up and made things a little bit sticky for my sister eight years my junior and destined to follow in some really ill behaved footsteps.

My dad was a rabid sports fan and was nuts about baseball. I caught the fever as was your typical boy of summer with a well-worn mitt, beat up hat and energy to play all summer long. I played all the way through college, but eventually gave in to that music thing. Of all the cool stuff my dad gave me in my lifetime, the only thing I've kept and is stiff usable and in good shape is the ball glove he gave me in 1959. My son actually used it in the 80's, outgrew it and I took it back and had it refurbished again.

One of the wonderful things about growing up in the ‘50s was the music. It was the dawn of rock and roll and nobody had a clue as to where it was going to end up. We all had these little transistor radios and carried them everywhere. Elvis, Ricky Nelson, Gene Vincent, The Platters, Little Richard. Unreal, we were in audio heaven. Country music was pretty cool also and at that time they played everything on the same stations so you got a real earful. Marty Robbins, Don Gibson, Patsy Cline, Hank Snow, Ernest Tubb, great stuff. There were a lot of drive-ins back then and yes, the car hops did wear roller skates. My personal favorite was Richard's Drive-In Cafeteria. My mom had a 57 Olds Starfire convertible. Red and white inside and out, she'd drop the top and I'd sit on the back like I was in a parade and we'd go to Richard's. A total miracle I never fell out and of course, it wasn't against the law to ride like that.

Drive in movies were great then, too and a real family affair. There was always a playground down in front of the screen and when the movies would start all the kids would run back to their folks cars, usually in their PJ's and watch the movies. I remember seeing "Godzilla" (1954) Forbidden Planet, "No Time For Sergeants" with the folks. There would come a time some years later when I would return to these drive ins and not remember what movie was playing.

There was also a very old amusement park called Riverview. We started going when I was 6 or so and it was old even then. It had about 6 of the wooden frame roller coasters that although eclipsed by the technical monsters they have now, still managed to dig a certain primitive fear out of the riders. It may have been the always present concern that the whole thing might come apart this time. In the ‘50s they also had an adult only semi-legal freak (Geek) show where seemingly normal people would ingest live rats and pop out and eye for only .50 Ah, the good old days.

John: Dad and Homer had pretty much moved into the higher level by the time I was aware, say early 1950. They had radio play with a few King records releases and several with Spike Jones and orchestra including the hilarious and MY favorite 'Pal-Yatch-Ee," which concerns two hillbillies seeking shelter from the rain only to find themselves at the opera. Imagine doing this live in the studio. They also charted with two RCA singles recorded with June Carter, "Baby it's Cold Outside" and "The Hucklebuck." "All I Want For Christmas Is My Upper Plate" was another chart tune that also saw hundreds of teeth, false and wind-up arriving at our doorstep from fans.

In 1959 they parodied Johnny Horton's "Battle of New Orleans" and won Best Comedy Grammy of 1959. After getting the publics attention they were guests on "Jimmy Dean Show", "Mike Douglas", "Dean Martin", Johnny Carson", "Dick Cavett", as well as appearing on the WLS Barn Dance every Saturday night out of Chicago.

In the early 60's they were signed to represent Kellogg’s Corn Flakes for the run of the Beverly Hillbillies. Needless to say things were good.

Dick: Was your relationship with your dad somewhat strained because of his busy performance schedule?

John: Dad and I were on good terms most of my life. When I was too old to travel year round because of school, I saw less and less of him and the bigger he and Homer became, he was gone much more. The transition was a smooth one and I was quite content to grow up without him. You get used to anything when you have to and while we were never at odds, I had adjusted to being without him. I have heard people say that our musical differences kept us at a distance but actually we shared a lot of music and were both rabid sports fans.

I'd wager Dad and I got along better than most father/sons even if we were somewhat dysfunctional. There are several people, Steve Goodman included, who were very close to dad and more or less replaced me to a certain extent, but I never felt badly about it; they filled a need that he and I didn't share and all was well. I suppose it would have been nice to have [had] a full time dad, but I doubt that I would have grown to be who I am and do the things I did if it were different. I've led a pretty cool life so far!

John: Dad was one of the nicest people you could have ever known. If he had been a billionaire he would have given it all away and still been funny and friendly despite the loss. People who didn't like him don't talk about it and don't come around me. You would have liked him. If they had run the road we all tend to run, then they saw a seedy side to show business, but they were pretty well rockin' by the time I was aware. No matter what, "this sure beats workin'!" was pretty much his attitude.

Dick: I never knew Chet Atkins personally, but his simultaneous rhythm-lead guitar playing technique was truly amazing. How would you describe his personality? Did you have a close relationship with him? Did he teach you any of his guitar licks?

John: I grew up around Chet and spent many summers with my Aunt, my cousin, and him. I never approached him with musical favors and as a result was always welcome. He thought I was funny and enjoyed my company. I spent many dinners at his country club and was invited to play with him at a regular gig he had at Nashville's Cafe Milano where I got to play with him as well as Waylon Jennings, [and] Steve Warner. He really enjoyed our stage time and I will always wear THAT feather proudly.

I never really learned anything from him but I had free run of all his stuff and that alone was beyond cool. I actually owe most of my guitar beginnings to an old friend in Chicago, who was a couple of years ahead of me in guitar playing. He showed me the cool progressions and the easy shortcuts and licks as well as the incredible tone he could generate from any amp he had—a truly amazing mentor for a 13 year old Ventures freak. His name is Don Bradley and if it wasn't for him, I'm not sure what I'd be doing. He still makes amps that sound like heaven.

Dick: You sort of hinted that you and your Dad didn’t necessarily share the same musical interests. Was this because you became enamored with the early pioneers of rock-and-roll like Presley, Berry, Duane Eddy The Ventures, Domino, and Buddy Holly?

John: My first real interest in music was during the heyday of rock. A lot of these records were backed by players from the swing era and absolutely smoked. You can hear it in the bass playing and especially the incredible sax solos. Guys like Mickey Baker were doing shots on uncredited records and everybody was blowing hot and having fun while the world hung on and waited to see what was going to happen. It was a very exciting time and a great musicians like my dad was listening, too. He bought me my first 45's, generally anything that was in the top 20, often found in corner drugstores as well as record stores. He'd come home and lay the new records on the table and I'd scoop them up and run to my room and play them over and over on my portable.

Some of my first discs were "I Walk the Line," "Whole Lotta Shakin’," "No Chemise, Please," "Rebel Rouser," "Hound Dog," "Tutti Frutti," "Only Make Believe," "Just Walk on By"; all classics and played till they were gray. Elvis had just joined RCA and since my Uncle Chet was head of A&R I got all of Elvis' records before they were released, and no, I don't still have them. Actually I have "Jailhouse Rock" and the Christmas Album and no, they're not for sale. As I mentioned before, the AM stations played everybody at first so dad and I listened to a lot of the same music. It was only after the stations split into catagories that we drifted apart musically. Understand this was not a bad thing. We liked some of the same artists (one of his lifetime friends was Carl Perkins). We just coexisted musically.

The excellent part about all this was I knew what a monster dad was, I grew up watching people fall all over his endless talent and while I didn't share his love for country or swing jazz, I was very proud of him and loved watching him tear up a room full of pickers. I know he was proud of my playing, but was also distant in the same way anyone would be if they weren't all that interested in rock, but he was supportive and as I became a better player he was my biggest fan. We never did come together well, though. Several times we played together, me in his band and he with mine. I think he was better suited to his style, but I felt the structure of mine was better suited for the two of us. I would have loved to put his band together for him and made him work a little harder. He had a lifelong tendency to jot down a few tunes everybody knew and just go for it on stage, but even alone he was awesome and he was what he was.

Dick: When did you begin pickin’ the guitar and were you just a novice player when you met Bradley, and how did you come about getting your first guitar? Do you remember what it was?

John: I began playing the guitar in earnest in 1961. I learned enough from dad to get going on the physical complexities and when I actually learned to put three chords together, Don Bradley showed me exercises and different progressions that I could hone my chops on. I used to practice long into the night with towels stuffed under my bedroom door so they wouldn't know I was up playing. My schoolwork and sleep habits suffered, but I was a whiz by the time I was 15. Because Chet was my Uncle, dad had a few vintage Gretsch guitars lying around. I learned on a 59 Country Gentleman until I talked dad into buying me a 63 Stratocaster, which I still play as my main electric. I guess once a Ventures fan, always a Ventures fan.

Dick: When did you make music your profession and were you ever a part of your Dad’s tours?

John: I had several bands in high school and was approached by the IRS when it looked like I might actually be making a living. I dropped out of college in 68 to rejoin some of my old band members back in Evanston and I got drafted. When I got out, I drove from San Antonio to Chicago stopping only one night. By the second day back, I had joined and replaced a guitar player and was in a working band and off into the professional world. A few bands later I began playing with Steve Goodman and eventually landed the bandleader gig with John Prine. Ask me about THAT someday.

Dick: You mention playing with Waylon. I didn’t know him but many of my high-profile friends in the music business that did, described him as a “man’s man.” Can you elaborate on that from your own perspective?

John: As I remember Waylon, we were all sitting at Chet's table at the Cafe Milano, Waylon, Me, My cousin Merle, Waylon's son Shooter, and some other folks I don't remember. I was introduced as Jethro's son and He was up on his feet hat in hand as gracious and respectful as any gentleman I'd ever met. He was soft spoken and unassuming and very friendly. He didn't mention the Holly stuff at all. I had opened a show for him in Long Beach, California some years before and saw him give his steel player a new Cadillac for his birthday. When Chet died, there were private services for him at the Opry House. Waylon had been in the hospital and was there in a wheelchair. As the family filed out I waved to him and walked over and he actually stood up to shake my hand even though he couldn't even walk. He was a fine person and I'm certainly better off for having known him even briefly.

Dick: Did you ever have a connection with Norman Petty or have a music relationship with anyone who recorded at his studio?

John: No Norman Petty stories, but I did spend a couple of months with the Phillips boys doing an album with Prine in the Phillips Studios in Memphis. Sam actually came in and produced a tune while we were there. Talk about some history!

Dick: What was your take on the Phillips studio in Memphis, including Sam himself during your recording days there? How would you describe his sound-studio setup and his overall demeanor?

John: The fiasco in Memphis was a two-month party at the record company's expense. Prine was out of control and fronting a rock band and was bound and determined to be the next big rockabilly star even though he missed the boat by several decades! We were all pretty much in awe of the town and the studio, and we rented two townhouses and hunkered down for some wood shedding in the lap of the legacy of Phillips. The studio itself was exactly like it was when Orbison, Cash, and Elvis and Co recorded in it all the way down to the furniture and ‘50s wall hangings', but the best part was the original board and equipment. I don't know how many times we had to stop so they could replace a smoking module. There was a [haunted] feeling in the air and everything was a little dim--bad lighting or maybe a room full of memories.

Knox and Jerry Phillips were the producers and they basically agreed that the correct approach was to fire up the board and record till everybody dropped dead. We started after dinner every night and went till dawn. We must have cut 50 songs and more than one version of each. John was possessed and chased us through a lot of changes to get what he thought was a great record and all this remember was in an era when digital perfection was the norm and we were cutting on machines that were older that we were. I think the Phillips boys were caught up in the past glory feeling of the record and allowed John to set the pace and pick the tunes, I know several of us were a little skeptical of a lot of the album and would have just as soon seen half of it left out and replaced with other unheard cuts.

I think the best stuff was when we stood around an old overhead mic and cut live. The drums were an upside down wastepaper basket played with brushes, an acoustic bass, Howard Levy on Harmonica, my guitar through an amp in the other room and we would step in and out for the vocals. Hot stuff and I'm sure unheard. We really should have done the whole thing that way and let the studio tell the tale.

Sam Phillips came in around 3 am one night and supervised the recording of a tune John and I wrote called "Saigon" which was supposed to be an out of control rocker. Sam had been in the cooking sherry beforehand and had us do it really slow and plodding, actually blowing out the spring reverb system and distorting the guitar in a way that had people returning the album because of the scratchy sound. He also produced "How Lucky," which was better but not as good as the live version. All and all I think it was an enriching experience and we loved the whole vibe. It's a good studio and the Phillips boys know how to get it to run. It was worth the trip just to hear the Jerry Lee outtakes and unreleased tunes of just him and the piano. Sam Phillips was the devil incarnate and was easy to see how he helped invent rock and roll!

Dick: The Ventures also knocked me out when they came on the scene, and like you and a million other aspiring guitarists of the early ‘60s, fell in love with the group’s signature mastery of the tremolo bar and its employment of the Fender guitar. However, it was the unique tone of the Jazzmaster that appealed more to me than that of the Stratocaster, and I’ve played it since the “Instrumental Guitar Band Explosion of the early ‘60s.” What is it about the Strat that most appeals to you?

John: After the thrill of getting a Strat and learning how to make it sound like all the famous Strat players, I branched out and got into Teles for their simplicity and sharp tone. I bounced around with a Les Paul for a while and when aftermarket stuff started coming out, I reclaimed my Strat and headed for the workshop. I always like the feel of the neck but felt it was a little bat-like so I had mine shaved slightly. I did a lot of manhandling so it saved my hands on the longer self-indulgent stuff that made the ‘70s so much fun. I had Fender Gold Lace Sensors installed along with an Alembic Pre-amp so I could have an amazing amount of gain. It made overdriving really easy, and with a compressor the sustain and tone was/is very cool. I put D Marzio "11" knobs on it and it does go there!

Dick: When you were drafted, were you immediately shipped out to Viet Nam for active duty, or were you stationed somewhere else, at which you had an opportunity to jam with others and perform?

John: My life in the service was unrelated to my musical development. I was station stateside and was a purchaser/recreation specialist and I hired bands for service clubs--a black hole and a time out till I got out.

Dick: A friend of mine, Larry Knechtel, who played bass and keys for a number of noted touring bands during the early ‘60s, opted for a life as a professional studio musician and became a member of the famous Wrecking Crew in Los Angeles. Did you ever have a desire to go in that direction?

John: When I lived in Nashville I became involved in cutting song demos for songwriters of little or no talent. Nashville has a lot of factories that indulge people who think they can write and they're told they need demos to sell their tunes. True enough, I suppose, but you learn early on that this is just a business and the studios don't exactly clue these people in on the fact that they should go back to Indiana and stay gainfully employed. It was nice easy money but you begin to want to have some relevance and that's just not something attributed to Nashville.

All the major studios use the same eight or nine guys, which is why all the records sound so much alike. It's virtually impossible to crack into the inner circle, and with all the good players around it was/is a long shot at best. I didn't enjoy my musical experiences in Nashville, but it was a fun place and the food is good.

If I did session work, for me it would have to be very open and spontaneous, I love surprises and I think music is something that requires and flourishes with changes and creativity not formula.

Dick: Did you enjoy the music of Buddy Holly and other West Texas rockabilly artists of the late ‘50s?

John: I loved all the guitar and piano guys in the ‘50s. Buddy Holly was a favorite and I learned to play like him early on. I wasn't really aware where these guys came from so I can't put any regions down as a favorite place for artists. I dug a lot of the doo-wop guys too so Philly and Detroit and Chicago and NY were on my list. I really couldn't get enough.

Chicago was a great place to listen to music because the radio stations were so diverse. Buddy and Muddy were on the same playlists on some stations and Ernest Tubb and Pee Wee King were mixed with the R&B guys. I got to play in Texas with Prine, we were touring with the Fabulous Thunderbirds and got to see a lot of music as well as dish it out. Texas is so hip musically and I'm sure it's just a continuance of the magic Bob Wills and Buddy Holly etc. started. I can't wait to gig in Texas, know any agents?

Dick: One of our mutual music business associates, Sue Lucas of Sky Limit Music (www.skylimitmusic.com), was kind enough to send me a couple of pics from your Dad’s collection: one of your Uncle Chet with Paul McCartney taken in the mid-‘70s, one of a 1959 Homer-and-Jethro Grammy, and a pic of a “Confucius Say” promo bill. Give our readers a little history behind these fascinating pics.

John: When McCartney was in Nashville recording in the ‘70s he visited with Chet at his home. The photo was taken by Linda, as Paul played the right-handed guitar upside down in true lefty fashion. It was a fan visiting a hero visit. The Grammy was the 1959 Comedy Recording "Battle of Cucamonga" and probably the event that made them household names. Everything happened after that.

“Confucius Say” was another of the Kellogg campaigns, following the Oooo, That's Corny campaign. There was a joke book available also, which is much sought after and not all that funny. They also didn't write any of the jokes! The Kellogg’s years ran the length of the Beverly Hillbillies and forever linked them all together. They even did promo tours together and the Hillbillies were very funny and did skits just like the show. Nice folks!

Dick: Sue also told me about some of the comical scenarios that you witnessed, especially about Carl Perkins’ embarrassing affair in Vegas. What was that all about and can you provide our readers with some other interesting humorous occurances of note?

John: Dad and Homer were longtime friends of Carl Perkins from their days growing up in Knoxville. I met Carl in the ‘80s and he related to me this story: When Homer and Jethro played Vegas in the ‘50s, Carl had just hit with "Blue Suede Shoes" and was enjoying the ride as much as anyone did back then not really knowing what was going to happen. He was a country boy suddenly thrust out on the music scene with newcomers like Jerry Lee and Elvis and he was shy and a little uncomfortable with all the attention. He told me that all the "cats" had these piled up pompadours, and he was a little concerned, as he was prematurely balding in front. So he wore a hairpiece. He read in the paper that H&J were at the Thunderbird Hotel and he cabbed over to say hey to his old buddies.

He found a seat at the bar and ordered a drink, when from behind the curtain Homer and Dad peeked out and acting the perfect hayseeds, began peeking out the closed curtains and commenting on the celebs in the audience: "Hey Jethro, look. There's Lucille Ball! And over, there's Gene Autry,” and everybody would applaud as the spotlight would locate them. Finally they spotted Carl and Dad said, "Hey, there's Carl Perkins over at the bar! You know, the guy that sings ‘Blue Suede Shoes!’” And right when Carl was feeling pretty proud and preening for the spotlight, Homer says, "How long do you 'spose he's been wearing that toupee?" I guess good friends do that cause Carl told that story a lot and with a lot of affection.

Dick: All high-profile musicians have gotten the royal shaft now and then from either a manager, producer, label, or publisher. I’m certain you have too. Your thoughts?

John: I have a lot of thoughts about managers and agents but nothing specific to talk about. The music industry is full of leeches, who want to cash in on anyone with a talent or a saleable product. If you can't make music, sell it. Unfortunately most musicians are bad business people and they need people, who sell, which is where most folks get into trouble. I have been screwed royal several times both for royalties and recording money. I even had an agent once who was a housewife and who got us good bookings till we found out she was getting double what we were asking and keeping it. She said because we were getting what we wanted, what's the problem? I'm actually seeking representation now and hopefully will click with someone. It's not unusual to go through agents and managers, but it sure pays to ask around and make sure to cover your ass on paper. These people can't screw you unless you let them.

As far as record labels are concerned they get all the money, period. If they can promise to make you rich, great, most of them are content to take all the money and let the artist tour for whatever he can get. The problem is too many people have seen bands like Led Zeppelin and the Stones, etc., make millions of dollars forever and they don't see the change in power and recognize that things are different and the record people are very smart now. Without seeming too paranoid, you can never be too paranoid. Be careful out there.

Dick: Describe to our readers about the final days of your Dad, Homer, and Uncle Chet. Did they retire because of health reasons long before they passed away and did they experience long periods of depression because of their retirements?

John: My dad chose to just give up his battle with bone cancer and spent his last months at home. He was already semi retired so being home wasn't all that different. A lot of people called or came over and he shared a special relationship with John Hartford, who was dying of Leukemia. I think he was as ready as a person could be at the end and he passed while I was waiting to go onstage with John Prine at the Park West in Chicago. When John called me out, he was informed that I left because dad had died. John walked out onstage and told the audience, "This is for Jethro and Stevie." (Goodman who had died before) and then he sang "Souvenirs"

Chet kind of faded and became weaker and confused as his cancer progressed. I had little contact with him at the end and actually had become the object of his anger at a table of his friends a month or so before he passed. I'm sure it had a lot to do with his illness, but I stayed away from him so as to not upset him further, and I actually never saw him alive again. He went fast enough that he didn't have a lot of time to reflect on his forced retirement.

John: I ended up in Albuquerque as a result of having had a little too much Nashville in my life and a fortuitous job offer at UNM for my wife, who had lived here years ago and always wanted to return. I like it here except for the non-existent music scene and hadn't really anticipated that I would have to perform outside of the state to make ends meet. Quite a difference between Nashville, Chicago and here! Still it's nice to live in such a beautiful place and after all we're all travelin’ men, aren't we?

Good to hear from you. Hope all is well. I have been incredibly busy with a dozen films in the pipeline but I am trying to find time to put together a new Marketts’ CD with some of the hit songs, but also some new songs. I am trying to combine some of the original Marketts and Routers who played on the original songs.

I've lost a lot of my good friends/musicians who played with me in the old days including Jimmy Griffin, Mike Botts, Mike Daughtry, Lanny Duncan, Bob Duncan and Marc Cavell.

Hardrock Gunter – “I claimed to have named the music, Rock and Roll”

I haven't been playing for some time now. About October of 2008, for unknown reasons, I lost all interest in food. I didn't realize what was happening until it was too late. In about a year I lost 75 pounds. Dick, I have been overweight for years but nothing like that! I have had every kind of test known to man and there is nothing except what everyone has known all along - I am a complete NUT! Since then, I have maintained my weight at 165. All my parts are working fine and except for my left hip and leg I feel very well. I do use a walker to maintain my balance but other than that I'm still kicking as the old saying goes.

Before I got sick I was playing some with the Curio Cowboys. I really did enjoy it. Since that October of 2008 I really haven't had any interest in playing. My fretting fingers feel like [that of] a baby's and I am sure it would be painful to play. I do have hundreds of MIDI backups and if I ever get into the mood again, I will have a lot of fun and listen in AMAZEMENT at my playing. I remember Merle Travis telling me one time that Ike Everly was telling him (Merle), "You know Merle, I git to picking and listening to what I'm a' playing and it plumb ‘stonishes me at how damned good I am’!"

Are you familiar with the Curio Cowboys? They are a really nice bunch and they have a girl singer who can really stomp it out! We were playing at the COOPERAGE [in Albuquerque, NM] on Sunday afternoons.

Before I forget, you probably know this, but New Mexico has a music web site and I was recently put on it. You can get it at www.newmexicomusic.org I believe. They really gave me a very nice spread.

Dick, that's about it for now. I do so look forward to getting back with your TLM and want to thank you again for remembering me! It's a little hard for me to believe, but I'm 84 years now and I think I am doing very well for that. Stay well and in touch. Best always in all ways.

Tim Coffman – Songwriter, musician, music producer and instros is his game

The last several years have been very productive for me. In addition to releasing my fifth CD entitled “The Rhythm of Paradise” I continue to compose and produce tracks for the Rolltop Music Library. I have contributed dozens of soundtracks for film, video and commercials. I have also been at the forefront of adding video production to my list of projects. Look for several of my video productions to surface on YouTube in the next few months.

I had two of my songs nominated by the International JPF Music Awards for song of the year. The two songs that were nominated are “Jungle Wave” from my CD “Beach & Guitar” and “Fascination” from the “Music from Beach Boulevard” project. Both nominations are in the surf rock category.

I also contributed my surf song “Which Way Is Up” for the soundtrack of, “Can’t Keep Me Down,” The Bobby Ducharme Story, a movie about a San Diego pro-surfer who broke his neck in a surfing accident and his fight for survival.

I have released five original instrumental projects. This is Fun - Nonstop to Paris - Beach & Guitar - Music from Beach Boulevard and The Rhythm of Paradise. Each CD has produced a number of radio favorites. Look for the release of a new CD in 2009

[Editor’s note: Tim performs live as Tim Coffman & The Beach Boulevard Band. For interviews or artist profile contact: Pam - E-mail: pam@rolltopmusic.com CDs are available online at rolltopmusic.com or cdbaby.com Rolltop Music Soundtrack Library-Contact – tim@rolltopmusic.com

Sid “Don’t Piss Him Off” Holmes – original co-founder of J. Frank Wilson’s Cavaliers

The Great Pretenders: Before I do an up-date, I feel sure readers would surely get a kick out of some reminiscing going back to 1993. In 1993 a J. Frank Wilson imposter had been touring Michigan and surrounding states for about three years. Although we are not trying to peddle anything, we have this guy on an actual recording performing live, using a Karaoke [of] “Rhythm of The Rain,” “Mack The Knife,” “The Wanderer,” “Dream,” “Lonely Blue Boy,” and of course, “Last Kiss” at a golf tournament in New York.

The entertainment program begins with a drawing for various prizes, then concludes with the MC saying: “Now, here is one of the celebrities you’ve been waiting for: “Mr. J. Frank Wilson,” then applause. When “J. Frank Wilson” takes the microphone he says, “He’s just lost for words along with commenting what a great audience.” When it comes time for “Lonely Blue Boy,” he says “I met Conway Twitty two or three times in Nashville but never got to sing a duet with him.” He goes on to say he’s now honored to sing with him (Karaoke). When he concluded with “Last Kiss,” girls could be heard screaming in the background.

This performance was not just an isolated case; as we learned he was being booked by one the largest agencies in the state of Michigan. For some of you who might not know J. Frank Wilson, [he] died in 1991 and was a member of The Cavaliers from 1962-1964. The J. Frank imposter had his own story: “After hearing the original version of ‘Last Kiss’ by Wayne Cochran in 1963, I recorded ‘Last Kiss’ at Dot Records in California while I was in the service. While I was having a beer at the NCO club with a couple of my friends in the summer of 1964, I happened to hear it being played by a J. Frank Wilson & The Cavaliers, telling my buddies, ‘Hey, that’s me singing.’ After being discharged from the service I had no choice but to use J. Frank Wilson’s name. I learned Dot Records had sold the master to Josie Records, who then added a girl back-up singer behind my track.

“Since I was in the service, at the time they didn’t know how to get in touch with me sending this J. Frank Wilson out on the road in order to promote the record. After settling a lawsuit out of court with Josie Records for lost royalties I continued performing as J. Frank Wilson.” Note: Michigan newspapers along with the Lufkin, Texas paper (where Frank was born) did exclusive coverage’s of this story.

Many in Lufkin began to call Frank a fake, which fed more fuel to the fire bringing in record label executives, Frank’s mother, [and] fans along with the booking agency in Michigan who stood by him to the end. So, who was this imposter? He turned out to be an 18-wheeler truck driver.

This “Great Pretender” group began booking the New York area as J. Frank Wilson’s Cavaliers around 1999 when Pearl Jam, a top rock group of the ‘90s, hit big with their slow version of “Last Kiss.” Eddy Fedder, lead vocalist, happened across a 45 record of “Last Kiss” by the Canadian group, Wednesday, who also had a hit back in 1973. Fedder decided to record “Last Kiss” for Pearl Jam fans in 1998 as a Christmas gift. The song became so popular with their fans it was released nationally and began climbing the charts in 1999. It eventually ended up #2 behind Britney Spears holding down the #1 spot, Ricky Martin #3 and Jennifer Lopez #4.

This unexpected hit brought back renewed interest in J. Frank Wilson & The Cavaliers with write-ups in The New Yorker, Houston Chronicle, Nashville and other large newspapers. We have to assume the leader of J. Frank Wilson’s Cavaliers in New York happened upon a copy of the New Yorker. After receiving an e-mail from someone in the New York, City area around 1999 inquiring about the Cavaliers being booked at an outdoor event, I began doing some extensive research on the Internet. Seems this group had become popular and were advertising on the Internet. I then contacted Jerry Naylor in Oregon requesting that he contact them, requesting information on how to book them. He immediately received professional glossy 8 x 10 promo photos of five guys dressed in white tuxedos. The promo photos were black & white with the exception of a woman’s red lips [that] reads, “’Last Kiss’ by J. Frank Wilson’s Cavaliers.” These guys were serious even going as far as registering the name along with making their own recording of “Last Kiss.” In the past few years they’ve been performing on doo-wop oldies packaged shows.

They are featured on an LP entitled “Golden Group Memories” that includes a member of Frankie Lymon and The Teenagers, The Impalas, [and] The Limelight’s and The Salutations. Credits read: “Some of the most popular, talented entertainers today in the music business. They have appeared at Madison Square Garden, Radio City Music Hall and the Apollo entertaining countless number of fans worldwide.” Two of J. Frank’s boys are on the cover wearing white and gold designer stage suits with white shoes.

When the “Truth In Music Act” (requires groups to have one original member protecting original groups from ID theft) began sweeping the country (includes New York and Texas), I began getting offers to appear with “J. Frank Wilson’s Cavaliers.” The first offer, in 2008, was to appear on a doo-wop show on PBS. The next offer came this year for Jerry Naylor and me to be a part of a big doo-wop show in Vegas this November 2009.

So, who is the leader of “J. Frank Wilson’s Cavaliers” in New York? He is the lead singer owning a small auto repair shop in Long Beach. So, why do imposter groups get bookings when original groups are often passed over? They are cheaper. P. T. Barnum (circus owner) once said: “A sucker is born every minute.”

Davie Allan – King of the Fuzz Guitar

[Last month] was the ceremony for the "South Bay Music Awards." After 3 1/2 hours of listening to band after band (with no melodies to be found), I was asked to come up to receive my plaque. The design was cool and I was anxious to display it when I got home. As I prepared to say my thanks, I looked at the plaque, which read: “Lifetime Achievement Davie Allen!” [Editor’s Note: When will they ever learn! It’s Allan, not Allen!]

No need to say how I felt. I left it with the head guy who promised to have it redone. He said it would be a week. By the way, he had told me two weeks ago that he talked with the engraver to make sure it was done correctly!

Also, I've started another album (which is shocking to some after the dismal sales on the last four, especially the last two). This one will be a little different in that it will still have my original "melodic grunge" tunes but it will also have six unreleased tracks, with three of those going back to the ‘60s. I've already transferred the old tracks, and the sessions for recording the new ones is set for the first week in June.

We performed at all of the venues; Davenport, IA, Capitol Theatre; Val Air Ballroom, Des Moines, Iowa and the Surf Ballroom on Saturday night, Clear Lake, Iowa, to much success. More on this when I return from Rhode Island where we are flying tomorrow. We arrived home late last night (12:30 p.m.). We had amazing press coverage and even news cameras covered both the rehearsal and concert at the C apitol, the Val Air and two cameras (one a CBS affiliate in Mason City, IA/ Dave Hansen). More when I get home May 14th.

Sonny West – Composer of Holly’s “Rave On” and “Oh Boy”

I'm looking forward to collaborating on a recording project in New Mexico with The Knights. Also I will be appearing at large original-style rock and roll shows in Spain and Italy this summer.

Alan Clark – Composer, professional musician

Good to hear from you. I had a great time in Clear Lake this year with my tribute to Eddie Cochran. We played for three straight days in the Surf Ballroom. We also backed Richie Lee from Iowa. We also played a show in Albert Lea, Minn. that went real well. We were also front page news in their local newspaper. I have a new CD coming out entitled Alan Clark and the Classics-Live at the Surf Ballroom. I also have a new all original rock and roll and rockabilly CD coming out in a couple of months with all new material. I also have 4 new live CD's coming out in the near future. Two of them were recorded live in December of 1989 with surf legend, Johnny Fortune on guitar. Two other live CD's were recorded at the Rockin' Robin NIte Club in Redlands, California Between 2002 and 2004.

In April of 2008, a new CD was released entilted Alan Clark- "My Tribute To The King" which included 14 Elvis tracks and featured Scotty Moore, D.J. Fontana, Bob Moore and the Jordanaires. Another CD was released in January of 2009 entitled Alan Clark and the Classics-"My Tribute To The Three Stars." This CD featured 14 Holly/Valens and Bopper tracks. It consisted of myself on lead guitar and all vocals; Billy Webb from the Bobby Fuller Four on lead guitar; Pat Woertink on Bass and Dave Cimino on drums.

I appeared on the 10th Anniversary Show at the Elvis Honeymoon Hideaway in Palm Springs, California on May 2, 2009. Also appearing was rockabilly legend, Glen Glenn. I have two new books coming out this year. One on Buddy Holly and the other on Ritchie Valens, the Big Bopper and the Winter Dance Party tour.

I will be appearing on July 4th at the 50th Celebration Concert show for Buddy Holly, Ritchie Valens and the Big Bopper. Special guests include Tommy Allsup, Bopper Jr., Chris Montez, Tierra, John Mueller's Winter Dance Party, Ernie Valens and many others. It will take place at the Hansen Dam in Lake View Terrace, California. You can visit my web site at www.aclarkarchives.com. Thank you.

P.S. I have included two photos--the first one is from the show I did in Albert Lea, Minn which included Graham Pugh on guitar; myself on guitar; Dave Cimino on drums and Pat Woertink on bass guitar. The second one was taken at the Elvis Honeymoon Hideway in Palm Springs, California.

Gary and Ramona Tollett – Backup singers for Holly’s “That’ll Be the Day”

We are really enjoying our retirement! We travel some and enjoy visiting "old friends". We still teach second-grade Sunday school in our church. Ramona has been teaching that class in the same room for 45 years. She is now teaching the second generation of some of her first pupils.

We were invited to Clear Lake this past February for the 50th anniversary of Buddy Holly's passing. We really did want to go, but the winters are so severe up there that our "old" Arizona bones just couldn't handle the trip.

We still enjoy meeting with our musical friends and talking about old times, especially the ‘50s. We have been invited to several Buddy Holly related events this year and are looking forward to enjoying each one.

Good luck to you in all your enterprises, hope to see you soon somewhere down the road.

John Beecher – Rollercoaster Records

Pleased to hear that, Dick, hope it all goes well! Not much going on here but we are having a little excitement with the release of a ten-inch vinyl Buddy Holly LP on Rollercoaster, “Baby Lets Play House.” It became our fastest-selling release for about 30 years! Details on our website at http://www.rollercoasterrecords.com.

Merrell Fankhauser – early ‘60s surf guitarist, who some believe was the original composer of “Wipe Out”

Glad to hear you’re going to start back up. A lot has been going on for me: My "Move To Higher Ground" 12 song CD is out on Music Maniac Records and available everywhere online and at all Target stores. Om Om Records of Italy (info@omomworld.com) has just reissued my 1983 sessions with John Cipolinna, “Merrell Fankhauser And Friends,” featuring John Cipolinna. The album was recorded live when John was visiting the island of Maui where I was living in 1983; a marathon session from 12 noon to 12 midnight! Also Warner Rhino Records is releasing a 100-song, box-CD set Sept. 2, "L.A. Nuggets (1966-1970"; it has every big group from the ‘60s like The Mamas & Papas," The Byrds," "Steppenwolf," and many more. They are including my 1967 release, "Tomorrow’s Girl" that won the American Bandstand 'Rate A Record' contest in that year. I was impressed they thought I was important enough to be included in the release.

I am still doing the Tiki Lounge TV show (on air for over 8 yrs now) and it reaches over a million viewers covering the entire central California coast and Hawaii. Tiki Lounge can now be seen online at www.beyondthebeatgeneration.com. I am still playing three to four gigs a month in and out of town.

Jimmy Torres – Lead guitarist for The String-A-Longs

Many moons have come and gone since Clovis 2006. I came back home unaware [that] I had become defunct! In other words, I crashed and burned. I went to several specialists and no one could figure out what was wrong with me until a naturopath friend diagnosed me with pernicious anemia. It took me a while to get back to being myself, during which time I broke four ribs and had surgeries on both elbows and my left wrist for nerve compression and damage. It has been a great couple of years!

In the middle of all this, we went to Madrid where I recorded with Los Jets a song I had written back in 1962 or 63 (just after the Eocene epoch), and made appearances at the Shadows Convention in Tilburg, Netherlands and at the Pipeline Convention in London. The album is called “Los Jets Fiftieth Anniversary.” There were a bunch of guest artists, including Brian Locking, several Spanish guitar pickers, and a picker of East Indian origin. My song is "To Need, To Want, and Not to Have." The CD is apparently number one in Europe, and the song they are playing is "To Need, To Want, and Not to Have."

Anyway, I had great intentions of returning to Clovis and performing. Aubrey deCordova [original String-A-Long bassist] bought a set of Rogers drums in Oklahoma City, which I drove down and picked up. His intent and mine was we would have these drums to return to Clovis. But being as how I made the trip like a walking dead man because of the broken ribs, I returned to Bend and crashed. No Clovis.

Glad Lance Monthly is back as I am also back in operation! Go get 'em, Dick.

Billy Truitt – Past Keyboardist for Jack Ely and the Kingsmen; high-profile talent booker

HI Dick, great hearing you’re back with The Lance Monthly. Just a quick update on Jack Ely and the Courtmen: We gathered in Las Vegas this past September for a small reunion and performed at the Sand Dollar Blues club and had a great time and will be performing at the Ontario, Oregon Armory Aug.29 for another reunion. This venue was one of the main stops for all the northwest and national touring acts in the sixties and our last performance there was in 1966 if my memory is correct. This will also be a tribute to Bob Dye the promoter who ran it and was an important part of the northwest music scene in those days. I hope all else is well with you and look forward to seeing The Lance Monthly.

Clint Beachwood – KCR Radio (San Diego State University) A Day at the Beach

Change seems to constantly be a part of life at KCR radio. We are currently in the midst of an Internet blackout due to some non-compliance issues with various Internet streaming regulations. At the top of the ‘violation’ list is the fact that we do not display the name of the artist, song title and CD/album title on the computer monitor as the song is being streamed. We have been told that if we do not come into compliance that we will be fined on a daily basis. Considering our non-existent budget, a one-day fine will spell the end of KCR. An entire article, make that books, could be written about the corporate record labels vs. small indie bands like we have in the surf community, but I’ll leave that for Dick and another day.

This is the second time KCR has had its Internet stream plug pulled since I’ve been at the station in 2001. I have no doubt that we will acquire the hardware and software necessary to get us up and running once again—hopefully sooner than later, but no promises. KCR is also about to move locations on campus which I hope will improve our ability to host live shows.

In the meantime, I continue to do the show every Thursday, 4-6pm, broadcasting to the limited audience of two San Diego cable carriers. It’s very frustrating not to be able to broadcast over the worldwide web. I ask my listeners to be patient and I hope KCR will be back soon. Until then, continue to check out my playlist on various surf music Internet groups or at my MySpace site: http://www.myspace.com/clintbeachwood

Jack Ely – Original vocalist on Kingsmen’s “Louie Louie” smash hit

"Jack Ely and The Courtmen," the offshoot of my "Jack Ely and The Kingsmen" band that sprang from the court case banning me from using the name "The Kingsmen," is up and running again, sort of. We played a little reunion gig in Vegas last November and now we're scheduled to play a full scale Show and Dance at what was once one of the hottest venues in the tri state area, the Ontario Armory in Ontario, Oregon on August 29th, 2009. I am told that the show is already almost sold out, so be there or be square.

The song list will include: Money (that's what I want), Little Latin Lupe Lu, Walkin' the Dog, Rosalie, Mustang Sally, Midnight Hour, Louie Go Home, Oo-Poo-Pah-Do, David's Mood, Louie Louie

The original lineup will include: Bill Truitt – Keyboards, Daryl Robin – Guitar, Gordon Hirsch – Drums, Jack Ely - Bass and Mouth

Aubrey deCordova – original bassist for the String-A-Longs

I am looking forward to getting TLM again. I don't have much of an update. I still play around San Angelo every once in a while, mostly with my upright bass. I am now a County Commissioner for Tom Green County. That is a full time job and keeps me busy, but I do still enjoy playing when I get the chance. I guess for some of us that is something that we never get over. It's good to hear from you again.

Sonny Curtis – guitarist for The Crickets; composer of “I Fought the Law”

Good to hear from you. We've been out of town to Kalamazoo visiting our daughter and her family and just got back. Glad to hear you are reviving TLM. I know it must be a lot of work, but I always enjoy finding out what's going on.

J. I., Joe B. and I (Crickets) haven't been terribly busy this year. We've sort of slowed down a little, by choice. As you know, we have suspended touring and just go out and do one or two gigs at a time.

This year, we played the NAMM convention in Anaheim, CA in January. Boy, it's good fun to play in a warm spot in January.

We played the tribute to Buddy, Ritchie and the Big Bopper in February on the fiftieth anniversary of their last gig in Clear Lake. It was sponsored by The Rock and Roll Hall of Fame in conjunction with the Surf Ballroom. It was quite a deal. Other than us, it featured Bobby Vee, Sir Tim Rice (Andrew Lloyd Weber's lyricist), Graham Nash, Peter and Gordon, Joe Ely, Tommy Allsup, Kevin Montgomery and the Vees (who produced the affair). I'm sorry if I've let out some, but the whole thing was great fun.

The only other gig this year was on Long Island, New York at the Westbury Music Fair for one of our favorite promoters, Dick Fox.

Personally, I played at the Station Inn in Nashville in April for the NSAI's Tin Pan South. I was with Tim O'Brien, Tommy Ramone (of the Ramones) and Claudia Tienan. I really enjoyed that gig. It was loose and intimate. Great fun!

Last October, J. I., Joe B. and I had the honor of being inducted into the Musicians Hall of Fame at the Schermerhorn Symphony Center in Nashville.

We've got a few things coming up. We'll be in Green Bay, WI at the Oneida Casino, August 13-15.

Dick, I hope this brings you up to date. Hope you are well. Give my regards to all.

An Interview with Ralph Scala

Organist and Vocalist for the Blues Magoos

(By Beverly Paterson – TLM Staff Writer)

[TLM Staff Writer Beverly Paterson Notes: As 1966 melted into 1967, Blues Magoos peaked at the number five slot on the national charts with a song that remains as powerful today as it did way back then. Sparked by an intense performance devised of rattling guitars, rollicking keyboards, a thundering chorus, cocky sneering and stabbing breaks, “(We Ain’t) Got Nothin’ Yet” sounds almost like a sports team cheer. The boys in the band admit they’ve been struggling, but they’ve got what it takes and their name will soon be spread all over town. And how correct they were, as “(We Ain’t Got) Nothin’ Yet” was the tune that elevated Blues Magoos to stardom.

Formed in 1964 as The Trenchcoats, the Bronx, New York based band included vocalist and rhythm guitarist Peppy Theilhelm, lead guitarist Mike Esposito, bassist Ronnie Gilbert, keyboardist and vocalist Ralph Scala and drummer Geoff Daking. Starting life out on a folk rock footing, the quintet’s debut single, “So I’m Wrong And You Are Right”/”People Had No Faces” knowingly crossed Bob Dylanized poetry with the crisp and jingly demeanor of The Byrds. Distributed by the Verve/Parkways label, the disc sadly failed to create much noise. But Blues Magoos hung in there, and ultimately landed a deal with Mercury Records.

Along with the evergreen “(We Ain’t) Got Nothin’ Yet,” the band’s first album, “Psychedelic Lollipop” burst at the belly with a wealth of musical marvels. Mating gritty garage punk moves with quirky acid rock flourishes, Blues Magoos produced a style that was remarkably unique. Pounding with persistence, “Gotta Get Away” ripples and roars with catchy harmonies and tipsy hooks, “One By One” snaps, crackles and pops with excitement and “Sometimes (I Think About)” is an eerie meditation. The band clearly had a gift for writing original material, but a copy of John Loudermilk’s “Tobacco Road” plugs in as another glistening jewel on the record. Splattered with distortion and heavy duty jamming, Blues Magoos attacked the song with fangs bared and heat pouring from their ears. “Psychedelic Lollipop” disclosed the band as real daredevils, pitching them somewhere between the improvisational techniques of The Yardbirds and the hard driving pop rock of The Who and Paul Revere and The Raiders.

Spring 1967 saw the release of the band’s second album, “Electric Comic Book,” which further contained a host of tangy tunes. Blues Magoos once again demonstrate their talent for unleashing turbo-charged jams on the accurately titled “Rush Hour” and a wickedly extended version of Van Morrison’s “Gloria” that has to be heard to be believed. The yearning “Baby I Want You” shines brightly with plump pop melodies and clever tempos, while the dancing and prancing “Take My Love” possesses a blue-eyed soul, frat rock appeal nailed in the vein of The Young Rascals or Mitch Ryder and The Detroit Wheels. Pronounced by drama and sweeping arrangements, “Albert Common Is Dead” and “Pipe Dream” additionally rank high on the scale as winning tickets.

Despite the fact Blues Magoos never matched the commercial success of “(We Ain’t) Got Nothin’ Yet,” they proceeded to wax worthy music. The band’s last three albums, “Basic Blues Magoos,” “Never Goin’ Back To Georgia” and “Gulf Coast Bound” each have their moments, covering a broad range of genres from psychedelic to blues to pop to plain old rock and roll. Blues Magoos may forever be remembered as a one hit wonder band, but those who dig deeper into their catalog will discover a treasure trove of fascinating fare.]

Ralph: Through an Internet dating service--Ronnie, Peppy and I went to the same high school.

Beverly: The band soon became regulars on the Greenwich Village circuit. According to history, it was pretty exciting! How would you describe the atmosphere of Greenwich Village back then?

Ralph: A place where dreamers were in charge, which made sense since most of us were succeeding at dreaming.

Ralph: In the Village then you had to play original music to get into the clubs. The real pro bands played uptown at the bar clubs so we did not compete.

Beverly: Where were you the first time you heard your music on the radio? What songs was it and how did you respond?

Ralph: Too many first times to remember the very first. But usually in a car just after a radio station interview.

Beverly: Whose idea was it to call the band’s debut album, “Psychedelic Lollipop”? As you well know, that was the first time the word psychedelic was ever used on a record!

Beverly: Unlike a lot of bands at the time, Blues Magoos actually wrote their own songs. “Psychedelic Lollipop” features a lot of great original numbers like “(We Ain’t Got) Nothin’ Yet,” “Love Seems Doomed” and “One By One.” How did the band approach songwriting? Did you all chip in on both the music and the lyrics, or did you divide up the duties?

Ralph: Usually someone got a lyric idea and if he needed help he got it. Other times a musical riff became the start of a song with a story added later.

Beverly: Another highlight on “Psychedelic Lollipop” is your freakout version of John D. Loudermilk’s “Tobacco Road.” Did you perform this song often before recording it?

Ralph: Yes, it was our trademark when we first went out on the road and in the Village.

Beverly: What can you tell me about those famed electric suits Blues Magoos used to wear? And do you still own your suit?

Beverly: Were Blues Magoos purposely aiming for a certain image? Or were you just happy to be playing music and went with the flow?

Ralph: I think we wanted to be admired as an innovative band, who could influence society and spread what we were learning about music around to the audience and record buyers.

Beverly: Have you ever encountered stage fright? And what usually goes through your mind when performing onstage?

Ralph: Yes, every morning when I see myself in the bathroom mirror! No stage fright—people, who do this are energized. Only sometimes when you’re doing a new song and you’re not too sure of some parts to you get scared.

Beverly: The band’s second album, “Electric Comic Book” was just as great as “Psychedelic Lollipop.” By the way, both those albums are all time favorites of mine and I even have the comic book that originally came with “Electric Comic Book,” which is quite a rarity now. There’s a few songs on “Electric Comic Book” that I would like to ask you how you arrived at writing them and what the stories are behind them. So, here we go - what can you tell me about “Pipe Dream?”

Ralph: We thought it was cool to allude to getting high references on that one.

Ralph: My friend, Albby Roessert, who’s now a successful San Francisco banker, was the theme for that.

Beverly: How would you compare “Electric Comic Book” to the first Blues Magoos album?

Beverly: As evidenced on the third album, “Basic Blues Magoos,” the band started to change directions. Since you’ve always been innovative, it’s really no surprise the album is stylistically diverse. Would you say everyone in the band shared the same influences or did each member bring something different to the table?

Ralph: Each guy brought [his] concept. We did a lot of home recording then so one guy could practically compose and arrange instruments and play them all on the tape machine, then get the band to do it the way he heard it needed to be played.

Beverly: Released as a single from “Basic Blues Magoos” was your cover of The Move’s “I Can Hear The Grass Grow,” which is even better than the original recording. And that’s saying a lot! Did anyone from The Move ever comment on your version of their song?

Beverly: Speaking of cover versions, many bands over the years have recorded your songs? Do you have any particular favorite versions? And what is the most bizarre recording of a Blues Magoos song you have ever heard?

Ralph: I’ve never heard any of our songs covered, although Bruce Springsteen said he used to do some of our stuff when he started out.

Beverly: Getting back to “Basic Blues Magoos,” what can you tell me about “President’s Council On Psychedelic Fitness?” Aside from having a cool title, it’s a good song!

Ralph: Johnson was taking 30,000 kids a month and we were pissed at the government, so we needed to put it down. However, we picked a JFK initiative to pick on. I got to imitate Sam and Dave, and Geoff flashed his southern roots on that song.

Ralph: Yes, practicing the piano and guitar, just in case I have to play someday.

Beverly: How much of an influence would you say Blues Magoos had on other bands?

Ralph: I actually hear a lot of successful players say that we influenced them. I’m proud of that accomplishment.

Beverly: What is the most interesting comment anyone has ever made on Blues Magoos?

Ralph: What Pete Townshend said to me after hearing our ¼ track demo of “I Can Move a Mountain.“ He came up to the Bronx house while on tour and said, “Blues Magoos are a serious band.”

Beverly: If you could go back and do it all over again, is there anything you would change about the band or are you fully satisfied with your experiences and the music itself?

Ralph: Play Woodstock, instead of turning them down. We played the first two when we lived there, thinking it was just going to be another local festival.

Beverly: What do you think sets Blues Magoos apart from all the other bands of the sixties? You certainly made your mark and continue to do so today, so there’s definitely something very special about the band!

Ralph: We played well structured music for our time and ages and came up with interesting and attention getting song concepts. Actually the two guys who replaced Ronnie and Mike always comment on how intricate and musically sound the parts to our songs are to play. Credit to Peter Stewart (bass) and Mike Cillaberto (guitar extraordinaire).

Jump, Jive and Harmonize

Reviews of Releases by Scott Brookman; The Panics; Leslie's Motel

By Beverly Paterson – TLM Staff Writer and Reviewer

“Not only is Scott Brookman blessed with a set of pipes that sound like these legendary artists, but he’s also a snazzy keyboard player.”

Here’s a fellow who has clearly been schooled on Paul McCartney and Emitt Rhodes records. Not only is Scott Brookman blessed with a set of pipes that sound like these legendary artists, but he’s also a snazzy keyboard player. Now toss a pinch of Kinks, a spoonful of Burt Bacharach, a dash of The Beach Boys and an ounce of smooth jazz in there, and that’s what his latest album, “A Song for Me, A Song for You” offers. Comparisons aside, Scott does have his own special identity, which is consistently revealed throughout the course of the disc.

The material on “A Song for Me, A Song for You” alternates between bright and shiny and light and breezy. An instrumental, “Bossa Brookmania” twinkles with swaying tempos, where cuts such as “Monday Shirt,” “Real Estate” and “It’s Too Late, It’s Friday” hum with classy melodies, crystal clear vocals and clever arrangements. Each track on the record accents Scott’s strong tunesmith abilities, which are immediate and direct. Alive with color and polish, “A Song for Me, A Song for You” yields a masterful task of putting the quirkiness into sunshine pop. Or is it the other way around? That’s for you to decide, and I do hope you give a listen to the album, as both its beauty and beat are something to behold.

“The Panicks laid down a sound that was instantly catchy, fun and great to dance to.”

Operating out of Ohio, The Panicks were a hotshot band on the local front back in the day. And it’s easy to hear why, as “The Complete Recordings,” which covers the years 1965 to 1968, fully captures the combo’s energy and enthusiasm. By blending grimy garage rock elements with pop sensibilities, The Panicks laid down a sound that was instantly catchy, fun and great to dance to.

Laced with jangly guitars and a tone, dripping with desperation, “Don’t Pick on Me” tells the tale of a poor soul who’s mercilessly bullied by his peers. His clothes are stolen, his tires are slashed and so on. Generated by buzzing licks, trashy drumming, whining vocals and pounds of passion, “I’m Gonna Leave,” “Stoned” and “Treat Me Right” are pure “Pebbles” and “Highs in the Mid-Sixties” fare. The Panicks get all funky on “Work” and a remake of Ron Holden’s “Love You So” effectively pairs romantic teen balladry with a primal punk delivery. A fiery copy of “You’re My Baby” by The Vacels also cements the disc. A whole bunch of previously unreleased material further appears on “The Complete Recordings,” including instrumental versions of the aforementioned songs.

“Recorded in 1972, “Dirty Sheets” is dominated by heavy duty jamming.”

Louisville, Kentucky, where Leslie’s Motel was stationed, boasted an incredibly fertile music scene in the sixties. Members of the band previously played in popular groups like the Specters, the Oxfords, Conception and Tom Dooley and the Lovelights, so there’s no doubt they were quite the seasoned professionals. In fact, they were so impressive that Blues Project drummer Roy Blumenfeld asked if he could join the band. Of course, they said yes, and the timing was perfect, as Roy came on board just as they were preparing to cut some tracks. By the way, Roy is still very involved in music and performs regularly in and around the San Francisco Bay Area with both the Nick Gravenites Band and The Barry Melton Band. I’ve seen him live and in action, and what a showstopper he is!

Recorded in 1972, “Dirty Sheets” is dominated by heavy duty jamming. There’s lots of cool improvising going on here, as smoking guitars weave in and out of throbbing drum fills and the soulful romp of a Hammond organ. A southern fried rock tenor trims “Reason Why,” while “My Sweet Woman” twirls with paralyzing rhythms and the hip shaking, conga induced “Latino Motel” certainly does possess a Latin feel. “Step Down Baby” boogies and swings with force and fury, and a bit of psychedelic residue hangs over the hard driving “Movin’ Rock & Roll.” Although instrumentals tend to take center stage on “Dirty Sheets,” these guys could also carry a tune, as their vocals are bluesy, edgy and teeming with raw emotions. Fans of the Grateful Dead, Santana and the Allman Brothers will find much to love about Leslie’s Motel and their mixed bag of sonic delights.

The Perspectives

Foster City Art & Wine Festival - Sunday, May 31, 2009

Foster City, California

Performance Review by Beverly Paterson – TLM Staff Writer

By the time The Perspectives hit the outdoor stage at Foster City’s Art & Wine Festival, an annual event that just celebrated its thirty-eighth birthday, the San Francisco Bay Area morning fog had burned off, the sun was blazing and a cool and gentle breeze wafted through the air. The weather was perfect and so was the music!

To quote Willie Dixon, you can’t judge a book by looking at the cover, but in this case, such a statement rings true. One quick glimpse at The Perspectives lets you know exactly where their hearts and souls rest. Attired in a headband, a loud tie-dyed shirt and flared bell bottoms, not to mention a shock of curly, long brown hair, lead singer and rhythm guitarist Alex Jordan resembled a Caucasian version of Jimi Hendrix. Made up of four youngsters, who aren’t even old enough to order a glass of wine, The Perspectives, nonetheless, have studied the masters well and actually transcend their influences.

Genre melding has always been the essence of good rock and roll, and The Perspectives excel at the art. Aside from playing songs by their favorites performers, they also write their own material, which enthusiastically explores an eclectic mix of styles revolving around lengthy jams. A bit of a reggae reflex was applied to “Just Be Me, where the powerful “Run Soldier Run” slyly sneaks a couple of shots of funk and folk into a hard rocking stew of bare emotions. Free forming comes very naturally to The Perspectives. The gig was quite suspenseful, as their tunes hummed and buzzed with surprising curves. Drummer Missy Hoffman maintained a consistently mesmerizing beat, while Owen McInnis plucked a throbbing bass. Alex’s vocals were rich and dynamic, and the harmonies radiated with a ragged but right vibe.

Since The Grateful Dead are the band’s chief role model, it was only expected they would hijack a tune from the group’s library. An interpretation of “Fire On The Mountain” bristled with loyal affection, and basically characterized everything The Perspectives encompass, meaning adventure and the sheer joy of creating music together. The spirit of Bob Dylan further appeared in the shape of a dramatic rendition of “All Along The Watchtower,” which was clearly more in line with Jimi Hendrix’s recording of the eerie classic. On their final song, The Perspectives encouraged audience participation, as they plunged into Buddy Holly’s “Not Fade Away.” A call and response chorus, from the band to the crowd, ensued and satisfaction reigned supreme. The psychedelic mentality of The Perspectives was certainly at the top of its game that day!

An Interview with Herb Gross of Herb Gross and the Invictas

“The Hump”

(Interview Conducted by TLM Staff Writer, Mike Dugo)

“One time the police in Newark, New York told us we could not play “The Hump,” and the crowd became angry and were ready to riot.”

[TLM Staff Writer, Mike Dugo Notes: Perhaps no band has capitalized on the current fascination with ‘60s garage bands like The Invictas have. While Herb Gross’ band made a wave of noise in 1965 upon the release of their controversial single, ‘The Hump,’ the current incarnation of the group is riding a considerable wave of popularity, and has several high-profile projects lined up that are bound to assure continued success for the foreseeable future.]

TLM Staff Writer, Mike Dugo: How did you first become interested in music?

Herb Gross: I became interested in music after hearing a neighbor practice with his band in the basement of his house. I and some friends (who were younger than they were) would listen to them from outside their basement window.

Gross: The Invictas were my first band. We started as a neighborhood band and called ourselves The Furies. Then we received a letter from an attorney telling us the band name was already taken. I was a freshman in college attending RIT (Rochester Institute of Technology) in Rochester. I went to a group of friends who helped me brainstorm band names. The name The Invictas was mentioned, which was a takeoff from Buick's car, The Invicta. I liked it and started to use it.

Gross: I started the band in 1960 in Rochester, New York as a senior at Madison High. In 1961, I attracted new band members from RIT and we played together though 1967 when Vietnam broke the band up. I continued with two other fill-in bands I called The Invictas through 1970 and then I started my advertising agency known as Herb Gross & Co. Inc.

The Invictas started with Dave Hickey on drums, Bruce Hickey on guitar and myself on guitar. Bruce Hickey had to leave the band because he was too young to play in bars. At RIT, I added Charlie Bisuito on guitar, Dave Hickey continued on drums, Mark Blumenfeld was added on lead guitar, and I played rhythm guitar and did vocals. Soon after, Charlie Bisuito had to leave the band and we ended up with the four members, who are most recognized as the original band members: Jim Kohler (Spank) on bass, Mark Blumenfeld (Max) on lead guitar, Dave Hickey (Sticks) on drums and me (Herb Gross) on rhythm guitar and vocals.

Gross: Our sound was ‘60s party rock 'n’ roll. Our music was made for dancing and having fun, which we continue to play today. The Rolling Stones, The Kinks, and other British Invasion bands influenced us.

HG: The Rochester rock 'n’ roll scene was fun. The area was prosperous during the ‘60s; people were making money and we played at the hottest college bar, Tiny's Bengel Inn. The Invictas would play at Bengel’s two to three nights a week and then we would play at clubs, area colleges and major music events. We played throughout the Northeast at colleges like Hobart, Geneseo, Brown University, clubs in Buffalo, Canada and elsewhere. We played so many places, I don't remember the names.

The band traveled in a black 1955 Cadillac hearse that was known for breaking down. On one occasion, our lead guitarist (Mark) received a ticket for dancing on the New York Thruway while we were waiting for a tow truck.

Gross: Just prior to The Invictas becoming popular, there was a Rochester band that was also very popular called Wilmer Alexander and The Dukes.

Gross: The Invictas only played at one battle of the bands in 1961, and we did not win. However, once our record and dance “The Hump” came out in 1964, we were on our way.

Gross: The Invictas had a manager for a few months but it did not work out. I did almost all of the promotion and booking for the band.

Gross: Once The Invictas record and dance “The Hump” was released there were fan clubs, police escorts, thousands of screaming fans and shocked parents. Many parents turned the radio off when they heard “The Hump.” Some radio stations were afraid to play the record but were bombarded with phone calls requesting that the record be played.

“The Hump” made it to the top of the charts from Buffalo (in the top 5) to Miami and the top 100 in the U.S. One time the police in Newark, New York told us we could not play “The Hump,” and the crowd became angry and were ready to riot. The police let us play the song. In Upstate New York, “The Hump” was reported (in a Gannett newspaper article) to be selling more records than The Beatles. If “The Hump” had been on a major label, there is no telling how far it would have gone. “The Hump” was on The Sahara label. The Bengel label was used for later record releases. Other records did not receive as much airplay.

HG: “The Hump” was controversial because of the name and the dance. As per the lyrics, you put your hands behind your head and push your hips in and out towards your partner. Yes, it was racy for the ‘60s, but benign as compared with today. Per our record label, the song was “Banned In Boston.” Today, we are still banned in Boston. A major festival turned down the band because of the song.

Gross: Our album, “The Invictas A Go Go,” was not our favorite. We were asked to record the album in one weekend. The label just wanted to make money and we did not know enough to object. We did not like the quality of the recording, but today the album sells for hundreds of dollars on eBay.

Dugo: Are there unreleased Invictas songs that haven’t appeared on earlier CD compilations?

Dugo: I understand that The Invictas have been reunited for a few years now?

HG: Since reuniting the band in 2005, the band has achieved many firsts. We have played with The Beach Boys and Jay and The Americans. We’ve been featured on NBC's Today Show, appeared in USA Today and 50 other newspapers across the country, recently played at The Villages and The Oldsmar Days Festival in Florida, and recorded several CDs. Recently articles were published by The Villages and in the St. Pete Times.

Some of our newest original songs include: “Skip 'N Go Naked” (named after a favorite ‘60s drink), “Rock Till Ya Drop,” “Big Caddy Hearse,” “Girl Like You,” “Finger Lickin’ Good,” “Red White Blue and True,” “One More Time” and our newest song, recently recorded, “Toast One To The Good Times.” Our lead guitarist, Dave Profeta and I write the songs.

Gross: Today, The Invictas have three of the four original members on stage. The band includes Dave Hickey on drums (original member), Jim Kohler on bass (original member), Dave Profeta on lead guitar (joined the band in 1980 during our first reunion), Sam Gruttadauria on keyboards, Dick Callari on rhythm and lead guitar, and me (an original) on rhythm and vocals.

We play about 10 to 12 gigs a year but this may expand. I am a TV producer whose working on a TV concept called “Rock Till Ya Drop.” The show will seek out some of the biggest parties in America and The Invictas are the show's official rock 'n’ roll band.

Gross: The best way to summarize The Invictas is that we will “Rock Till We Drop.” We're out to have fun, and we love to play and get people dancing. We are living our dream and we want others to follow their passion and dreams like we are doing. That is what “Rock Till Ya Drop” is all about.

“Rock Till Ya Drop” is the name of the band's tour and there's also a book and song with the same title. Everyone is invited to visit our web sites at www.theinvictas.com and www.rocktillyadrop.com

MuzikMan’s Lance Album Pick of the Month

Artist: Rock City

Title: Who Can Find The Dreamer?

Genre: Rock-Pop

Label: Made In Memphis Records

Website: http://rockcitymemphis.com

CD Baby Link: http://cdbaby.com/cd/rockcitymusic/from/muzikman

(Review by TLM Staff Writer, Keith “MuzikMan” Hannaleck)

It has been a long wait for the next Rock City album. Six years between albums is not your typical time frame; however, this is not your typical band by any means.

Rock City made some extraordinary music and one of those albums that never made it out to the general public was “Who Can Find The Dreamer?” Was this second coming a complete surprise or just long lost classic just itching for a chance to live again? That question is only answered by those in the know and I do not count amongst those select few. I can tell you one thing without any hesitation; this was a classic that was waiting to happen. 1984 was the year it was intended to be released, but everything happens for a reason and 25 years later the band blew the dust off the master tapes and added some live drums and select guitar parts. What we now have is a new release that has been freshened up a bit.

Original members Jeff Smith (guitars), Thomas Dean Eubanks (bass, vocals), and Terry Manning (keyboards) got back together to remaster and add all the new parts while bringing in Joshua Dougan (Jonah 33) to handle the drums. The drums are all excellent and the overall sound is exceptional, highlighting every nuance of the original intent of the recording and more.

Eubanks sounds like Byran Ferry, particularly on the opening track “Seems So Long,” but only in spots thereafter. He has a solid rock voice that is full of emotion enunciating the lyrics with profound clarity. There are some interesting things going on with the storyline of the Dreamer. Track #2 “Denied” and “Final Message” are the same. It has a distraught man sobbing leaving a message to an overprotective father telling him “You won, I hope you are happy”—the poor-me story we all know too well coming from the all time loser, or is he the Dreamer in all of us? Then it launches into the full rocking track with verses such as “you cannot do this, you cannot do that.” The best track is the title track and prelude. What it ends up sounding close to when it’s all over is a rock opera. You get the feeling that perhaps this is just the beginning of an ongoing story with an eventuality that is up for grabs, leaving room for another album. There are a lot of possibilities to speculate with this fine recording but you can bet your bottom dollar that what you will hear is a rock solid album full of great music and fine tuned musicianship.

The effort put into this package is commendable. Every aspect is above average. A menagerie of freak clowns and one very sad little girl surrounds the bizarre Chuckie-looking character on the cover. What it all means is anyone’s guess, but it does fit the concept of the album quite well if you listen to the words and how the tracks are arranged. The artwork is stunning regardless of how chillingly odd it may be.

My first inclination was to tab this as a progressive rock album and it is progressive in regards to the presentation and artwork coupled with a compelling story then matched up with some complex music at times. After listening carefully and breaking it all down, what you really have is a rock album with pop elements that are filled with lyrics that are a bit slanted or alternative if will, in comparison to anything else you would hear on an album today. It does not sound dated as you may anticipate just because it was intended for release in 1984; instead you get a very modern recording, thanks to the embellishments and remastering and additional guitars. I would recommend this CD to any rock fan—besides aren’t you wondering now Who Can Find The Dreamer?

5/5 Stars

Tracks:

01. Seems So Long

02. Denied (Intro)

03. Denied

04. Time Passes

05. Dreamer Prelude

06. Who Can Find The Dreamer?

07. Don't Keep Me Waiting

08. Easy Way Out

09. Gonna Give It Another Chance

10. Final Message

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