Niles, 45s boast Tommy James

Rocker Tommy James formed the original Shondells
and recorded the No. 1 hit "Hanky Panky" in the small
lower peninsula community of Niles.

By STEVE SEYMOUR

Rocker Tommy James, pride of the small lower peninsula town of Niles, made an impression on millions of youngsters during his reign in the 1960s.

As leader of Tommy James and the Shondells, the singer hit the top of the charts in 1966 with "Hanky Panky" and three years later did the same thing with the psychedelic "Crimson and Clover."

Both those songs, as well as "Crystal Blue Persuasion," "Mony Mony" and "I Think We're Alone Now" are contained on the "Best of Tommy James and the Shondells," the first long playing (LP) record I ever owned.

My memory of that old album was jogged recently by my friend Ken Raisanen. A teacher by vocation and a drummer by avocation, Raisanen is head honcho at public radio station WOAS- FM 88.5 and writes a music column for the Ontonagon Herald called "From the Vaults."

The topic of one of his recent columns was "firsts." Raisanen told readers about his first 45 rpm single, first concert, first CD, first LP and other sundry firsts.

An LP was a major purchase when I was a teenager at about $5. I preferred the 45 rpm singles, which sold for about 69 cents each.

My Tommy James and the Shondells' album, however, was a good value since it contained ten songs, all of them hits.

Tommy James and the Shondells reached international stardom-- with the help of a lucky break-- from a modest start in Niles, a southwestern Michigan community of 12,000.

Born Thomas Gregory Jackson in Dayton, Ohio, on April 29, 1947, the future rock 'n' roll star moved to Niles with his family in 1958.

He formed the Tornados, later to become the Shondells. This "original" group of Shondells included Larry Coverdale (guitar), Larry Wright (bass), Craig Villeneuve (piano) and Jim Payne (drums).

The high school friends played parties and dances.

James even got himself a job at a local store, Spin-It Records, where he learned about the music business.

The group drew the attention of J. D. Deafenbaugh, who worked as a disc jockey under the name Jack Douglas on local AM radio station WNIL. Deafenbaugh brought the teenage group into the station's studio in early 1964 to record four songs, including "Hanky Panky."

James had heard another band perform "Hanky Panky" in a club in South Bend, Indiana, and noted the tremendous response from the crowd.

"Hanky Panky" and "Thunderbolt" were paired on a 45 record released on Deafenbaugh's new label, Snap Records.

Written as the flip side to a single by the Raindrops in 1963, "Hanky Panky" was composed by the famous Brill Building team of Jeff Barry and Ellie Greenwich.

The single was a hit in the tri-state area of Michigan, Illinois and Indiana, but didn't go further because Snap lacked national distribution.

Several years passed and "Hanky Panky" faded from memory.

Somehow, a few copies of "Hanky Panky" found their way into the stock of a used record store in Pittsburgh owned by Ernie Kashauer.

The disc got played at a teen club run by Bob Mack who told local disc jockeys about the wild reaction kids gave "Hanky Panky."

Thinking it was a new single, youngsters began calling Pittsburgh radio stations requesting "Hanky Panky."

Since the single was out of print, an estimated 80,000 gray market 45 rpm singles were pressed in Pittsburgh to meet local demand for "Hanky Panky."

As "Hanky Panky" was taking Pittsburgh by storm, DJ "Mad Mike" Metrovich called James, telling him about the single's surprise success and looking for the Shondells to appear in Pennsylvania.

James, who was working as a solo act, told the caller the Shondells had broken up.

Still, the singer agreed to play. In Pittsburgh, he auditioned a group called the Raconteurs to serve as the new Shondells.

Not long after, James traveled to New York where he sold his recording of "Hanky Panky" to Roulette Records for $10,000. With Roulette's marketing muscle and distribution, "Hanky Panky" became the nation's No. 1 single on July 16, 1966.

Their first LP, also titled "Hanky Panky," was issued soon after. The Shondells at that point included Joe Kessler (guitar), Ron Rosman (piano), Mike Vale (bass), George Magura (sax) and Vinnie Pietropaoli (drums).

During their stay with Roulette, Tommy James was given creative control of his music. Consequently, with producers Bo Gentry and Ritchie Cordell, Tommy James and the Shondells hit the Top 100 with 19 songs.

Many of the group's songs also included Ed Gray (guitar) and Peter Lucia (drums), when Kessler, Magura and Pietropaoli left the band.

The collaboration resulted in such hits as "Mirage," "Sweet Cherry Wine" and "Sugar on Sunday."

The propulsive "Mony Mony" was one of the group's most successful singles.

While growing up in Marquette, my music columnist buddy Ken Raisanen remembered practicing the drums to the tune in his basement.

"I used to open my basement window and crank the song and my drums to '11' for the benefit of the girls sunbathing outside of Spalding Hall," Raisanen recalled. The girls "used to yell and wave at me when I was out in the yard: 'Hey, play your drums.' Ah, the benefits of living across the street from a girls' dorm in your formative years, in 6th and 7th grade."

Although Woodstock promoters asked Tommy James and the Shondells to perform at the historic music festival in the summer of 1969, the group declined after being told the event was a "stupid gig on a pig farm in upstate New York," by their booking agent.

After Tommy James collapsed on stage in 1970 and was hospitalized for several weeks, the Shondells broke up.

James managed to hit the charts a dozen more times as a solo artist, most notably with "Draggin' the Line" in 1971.

The group's songs have returned to the charts in versions by other artists.

Joan Jett had a hit with her take on "Crimson and Clover" in 1982, while in late 1987, Tiffany and Billy Idol, respectively, had consecutive No. 1 hits with their renditions of "I Think We're Alone Now" and "Mony Mony."
Even today, hits by Tommy James and the Shondells are fondly recalled by fans and continue to be heard on oldies radio.
Now if you'll excuse me, I'm going to spin a Tommy James and the Shondells' record for old times' sake.

'Smiley' fans support show, CD

Almudena Aguirre and Mike Riegel joined
the Lark Brothers for a rendition of "Sweet
Home Chicago" during a charity show at the
Terrace Bay Inn on Nov. 7.

By STEVE SEYMOUR

Fans of Jim "Smiley" Lewis gathered on Nov. 7 for a tribute show which included the release of a new compact disc of the late bluesman's recordings.

Held at the Terrace Bay Inn, "Paws for the Blues" benefited the Delta Area Animal Society, Smiley's favorite charity.

Performers included headlining act the Lark Brothers, keyboardist Steve "Doc" Yankee and other musicians who played with Lewis during his four-decades long career.

Lewis, who died in 2005 at the age of 57, was a superbly-gifted singer, songwriter and guitarist who devoted himself to blues and rockabilly music.

The tribute show, following similar events in 2006 and 2007, was organized by blues enthusiast Wendy Pepin, a friend of Smiley's.

The Hip-Tonics (Mike Riegel, Jesse Pepin and Greg Ducheny) opened the proceedings with "Pipeline," a 1963 surf classic by the Chantays. Fittingly, Riegel learned the song from Smiley.

This year's program also included performances by Augie Peters and Almudena Aguirre, Old Dawgs (Fred Cavill, Dan McDonald, John Roman and Brad Gleason), ToHuboHu (John Beck, Bruce Cassell and Dave Potvin), Grassfire (Allen Stenberg, Tom Caron, Bruce Irving and Marv Anderson), Fast Eddie's Blues Blues Band (Fast Eddie Consolmagno, Kurt Touimila, Rob "Crab" Samsey and Scott Stevenson) and Red, White and Blues Band (Russ "Fingers" Fennick, Jay Olivares, Rick "Sugar White" Bailey, Jake Jacobs, and Jay "JJ" Davis).

The Lark Brothers, featuring Dave and Bill Lark, Dean Peterson, Mike Larsen and Yankee, delivered a set of blues in the afternoon and reconvened to end the evening's entertainment with several friends, including drummer Dave Cass and bassist Bob LaLonde.

Dave and Bill Lark shared a love of the blues with Smiley. At one point, they formed the Blues Bombers with drummer Craig Seckinger.

The tribute show concluded with Yankee and the Lark Brothers performing a powerful version of "Bad Dream Blues," a track from Smiley's just-issued CD, "Rebel Without a Pause."

Yankee, an East Lansing resident, plays on the studio take of "Bad Dream Blues" and several other selections on the new CD.

The disc contains seven tracks Smiley recorded at home with Jay Brodersen on stand-up bass, four songs with the Shuffle-Aires, and five numbers from a reel-to-reel tape dating from the 1990s.

Menominee musician Ron Patron plays drums on a couple of the tracks, as well.

Brodersen, who produced the recordings and penned the album's liner notes, said Smiley "was a true blues disciple who was into the blues long before it became trendy."

"He shared many stories with me of hitchhiking from Escanaba to Detroit, Minneapolis or Chicago to seek out blues bars and the musicians who played them. Many times he would be the only white person in the club, listening and learning both the music and its history," Brodersen noted.

Nearly an hour long, Smiley's CD opens with "I'm Ready" and "Keep Your Hands Off Her." By Muddy Waters and Leadbelly, respectively, the two songs were staples on Smiley's set list.

Three sterling originals follow: "Love Bug Blues," "Bad Dream Blues" and "Disappearin' Blues."

Next, Smiley covers his blues hero, Howlin' Wolf, with "Who's Been Talkin'." The traditional "Tell Old Bill" features Smiley on mandolin.

Smiley recorded a number of tunes with "Big" Al Ek and Mary Corbett as the Shuffle-Aires. He interprets "Statesboro Blues," Corbett takes the vocals on "Hollywood Bed" and "I Hear You Knockin'," while Ek sings Jim Liban's "Without Her."

With the exception of Brodersen on bass, Smiley plays all the instruments on "Route 66," originally recorded in 1946 by Bobby Troup.

Smiley also runs through B. B. King's "She's Dynamite," Bo Diddley's "You Can't Judge a Book By Its Cover" and "Dirty, Low Down and Bad," by Keb' Mo', a contemporary bluesman he admired.

The disc concludes with Smiley's original, "Blacktop Blues," a long-time fan favorite.

Simply put, "Rebel Without a Pause" is a treasure. It follows the excellent 16-track "No Explanation Necessary" album which Smiley released in 1991.

Smiley's friends and fans snapped up the disc and reminisced during the get-together at the Terrace.


Steve "Doc" Yankee

Veteran musician Steve Yankee, a native of Iron Mountain, told me his friendship with Smiley began about 1974 when Lewis was gigging around Grand Rapids as a solo act.

"I was impressed with how professional he was," Yankee remembered.

For a while the two played in the Jim Galligan Band.

Not long after, Yankee, Smiley and his girlfriend moved into an apartment on Union Street in the Heritage Hill district of Grand Rapids.

Together with a second guitar player, bassist and drummer, Smiley and Yankee assembled a five-piece blues outfit, the Union Street Boogie Band.

Union Street played all over Michigan, Yankee recalled. The band even did five nights at Steve Mitchell's Stephenson Street Distillery in Escanaba, also known as The Still, in 1976.


The Union Street Boogie Band

"We did a few originals. Jim had written a fast little instrumental number we used for a break song. We did a couple of mine and a couple that one of the other band guys wrote. But mostly it was stuff Jim picked out for us," Yankee said of the group's repertoire.

According to Yankee, Union Street lasted several years, then reformed as a four-piece called Bacon Fat. "A year later we started working as the Boogie Boys, doing a duet with guitar and keys. We did that for maybe half a year, before I got married and retired from the band biz," Yankee related.

"He had exquisite taste when it came to the blues," said Yankee about Smiley, his buddy and bandmate.

With a fresh CD, a tradition of tributes featuring his musician friends, and plenty of shared memories, Smiley's legacy seems secure for years to come.

U. P. labels met local demand

Upper Peninsula-based independent record
labels, including Princeton, Peninsula, Spoke,
HerMi and Tevar, released 45 rpm singles during
the 1960s era.


By STEVE SEYMOUR

Although they were minuscule compared to Capitol, Columbia or RCA, the Upper Peninsula sported a number of independent record labels labels in the 1960s.

The U. P. labels lacked the financing and national distribution of the majors, but they weren't promoting big names like the Beatles, Bob Dylan or Elvis Presley, either.

What the small labels did, however, was offer local acts an opportunity to get their songs recorded and manufactured.

Having a 45 rpm single with their name on it distinguished those bands from their "unrecorded" brethren who couldn't brag about having a record.

The labels bore such names as Princeton, Peninsula, Spoke, HerMi and Tevar.

In fact, the labels were founded to meet the demand from the many bands which surfaced during the musically-prolific decade.

The labels allowed regional bands to have product to sell at gigs, send to booking agents and give to radio stations.

Disc jockeys of the period had some latitude in determining play lists, so many did indeed play the seven-inch vinyl offerings of local bands.

The records were generally pressed in quantities of up to 1,000 copies, sometimes just a few hundred, making many titles quite hard to find today.

Based in Marquette, the Princeton label issued at least six singles, from such acts as the French Church, "Country" Tommy James, Renaissance Fair, Mike Koda and the Executives.

Marquette's French Church recorded the debut Princeton record, "Without Crying"/"Slapneck 1943."

Little is known about "Country" Tommy James, although he apparently worked as a one-man band, and was not the same artist who recorded "Hanky Panky."

Both Renaissance Fair and the Executives hailed from Sault Ste. Marie. Renaissance Fair taped original tunes for their two 45s, while the Executives recorded cover versions of "Cara Mia" and "My Special Angel."

Mike Koda, meanwhile, recorded a song called "Let's Hear a Word (For the Folks in the Cemetery)" and went on to form Brownsville Station, famous for "Smokin' in the Boys Room."

A discography of the label, owned by Fred L. Crook, is incomplete. But, based on the catalog number of known 45s, two or three additional discs may have appeared under the Princeton imprint.

Escanaba's Peninsula Records, meanwhile, issued 45 rpm singles by local bands the Riot Squad and Prophets of Doom.

Peninsula was owned by Leon Smiltneck, brother of promoter Gene Smiltneck, who founded Bands Unlimited to book bands in the upper Midwest.

Riot Squad was the first to have product appear on the label with their cover versions of "Come On, Let's Go" and "Ferry 'Cross the Mersey."

The Prophets of Doom, on the other hand, wanted to issue original songs on their 45, according to founding member Dave Watchorn, who played lead guitar and sang for the group.

In the year before Prophets of Doom got together Watchorn met Irene L. Davis, owner of Manistique's Spoke Records.

"I was with Dave Brooks in Manistique, 'bombin' the drag' when he remembered he had to make a stop to sign some papers. Irene had papers ready for him to apply for a copyright for one of his songs. I believe it was 'Baba Do Wah.' I asked him about her after we left and he said she was a music publisher."

Later, Watchorn told Gene Smiltneck the Prophets of Doom wanted to make a record using original songs. Smiltneck told them original songs would have to be copyrighted and a music publisher would have to be found.

"I think I blew Gene away when I told him we had two songs, one of which was copyrighted, another song almost ready, and the big one, that I knew a music publisher," Watchorn recalled.

Consequently, the Prophets of Doom recorded Watchorn's "I Told You" and Brooks' "Baba Do Wah."

Both tunes were published by "Five State Music," owned by Davis, and a New York-based music publisher, "Hankbee Music."

"Irene was a big help in getting my song copyrighted and published. There are a lot of legalities and contracts involved and she and Gene shared a lot of information," Watchorn remembered.

Davis, meanwhile, issued at least three 45s on her Spoke label, none of them by Upper Peninsula acts.

The label's first release was "Suddenly Just Like That"/"Walk the Waves," by a group called the Innocence. It's uncertain where the band originated, although it was certainly outside the U. P. A second 45, "Just as Much"/"Nicotine Fit" was recorded by a Chicago group named the Society.

A third Spoke 45, "You Can't Hardly Tell"/"So Little Time," was taped by Frank Perry, who may have been from Wisconsin.

On the other hand, the obscure HerMi label was attached to just one release by the Vigilantes, a Copper Country-based rock group.

The group recorded "Warm Wind" at radio station WHDF in Houghton in 1962, and moved to the Chicago area the following year.

Drummer and founding member Jay Mihelich, who now lives in Muskegon, told me he owned the imprint along with bandmate Don Hermanson, who played guitar for the Vigilantes.

The HerMi moniker was a combination of the first few letters of their last names, Mihelich explained.

The record's label credits the song to Vic Scerney, although Phil Geratano actually composed it, Mihelich said. Mihelich learned that from his La Grange, Ill. neighbor Jim Holvay, who wrote "Kind of a Drag" for the Buckinghams.

Jim Kirchstein, owner of Cuca Records in Sauk City, Wis., where many U. P. groups recorded, was supposed to publish the song, according to Mihelich. "But, I don't think it ever was," he added.

"We pressed 1,000 copies with Kay Bank Studios in Minneapolis, but there are probably less than 50 in existence as I ground up over 900 of them at our pressing plant in the early seventies," Mihelich revealed.

Menominee's Trevar label put out two 45s, both involving the local rock band Infinite Blue.

On the first disc, young folk singer Patti Whipp performed her songs "Walking"/"It's Gone," with Infinite Blue playing the instrumental backing.

In 1971, Infinite Blue released a 45 under their own name containing the songs "Black Train"/"Lies." The A side was composed by Dick Wagner of the rock group The Frost, while the flip was an original song.

The Trevar label was owned by Menominee brothers Jim and and Philip Ravet, who reversed the letters in their last name to identify their record label.

Actually, Princeton, Peninsula, Spoke, HerMi and Trevar were just some of the labels which have operated from the U. P.

Although acts which recorded for such labels may have hoped their singles would become nationally-charting hits, none did.

Those U. P. imprints, like hundreds of independent labels around the country, preserved local music from the 1960s era, then vanished.

Wagner expanded early success

Michigan rock band The Frost
cut three albums for Vanguard Records
in 1969-1970. The group included clockwise
from top, Dick Wagner, Bob Rigg, Don Hartman
and Gordy Garris.

By STEVE SEYMOUR

Before Dick Wagner met success as a guitarist and collaborator with Alice Cooper and Lou Reed, his career path took him through northern Michigan communities like Alpena and Escanaba.

Fans of Michigan music know Wagner was featured in The Frost, prominent in the Detroit hard rock scene of the late 60s and early 70s, and first emerged as leader of the Bossmen.

A Saginaw based garage band, the Bossmen were comprised of Wagner (lead guitar), Warren Keith (piano), Lanny Roenicke (bass) and Pete Woodman (drums). Everybody sang but Woodman.

The Bossmen were well-received as a live act at venues such as Daniel's Den, a teen hang-out in Saginaw, and began issuing 45 rpm singles on local labels in 1965.

Seeking to broaden the band's base, Wagner even took the Bossmen to the Upper Peninsula late in the year.

They were booked to play a Holiday Ball for high school students at Marco's Stardust Lounge in Escanaba on Tuesday, Dec. 28, 1965.

Considering the travel distance from the band's lower Michigan home, the 9-12 dance was appropriately themed "Far Away Places."

"I certainly do remember the gig in Escanaba," Wagner told me recently.

"Our bus blew out its engine, and we had to leave it at a gas station about 25 miles out of town. (We) had a friend drive up from Saginaw the next day to give us a ride home," Wagner recalled.

Remembering "lots of snow and ice," Wagner said the Bossmen didn't return to pick-up the disabled vehicle.

Back home, the Bossmen continued performing and cranking out singles on such labels as Soft, M & L, Dicto and Lucky Eleven. Radio stations snapped up the records for airplay in the mid-Michigan area.

Rhythm guitarist Mark Farner, a future member of Grand Funk Railroad, joined the Bossmen as 1966 wore on.

Their most successful single may well be "Baby Boy" which reached No. 2 on WTRX in Flint on Dec. 9, 1966.

When the group broke up in early 1967, Wagner suddenly found himself without a band.

On a trip to Alpena, he met with local favorites Bobby Rigg and the Chevelles, a rival band which also played extensively at Daniel's Den.

Wagner began playing with the Chevelles, including Don Hartman (guitar, harmonica, vocals), Bobby Rigg (drums, vocals) and Jack Smolinski (bass).

Calling themselves the New Bossmen, then Dick Wagner and the Frosts, the group released two singles on the Date label in 1967.

The Frost's line-up and name were finalized in 1968 when Gordy Garris (bass, vocals) replaced Smolinski. Garris was a member of The Beaux Jens, a high school band from Grand Ledge, which recorded the single "She Was Mine."

Known for their high energy shows, The Frost were soon embraced by the burgeoning regional rock scene and were the contemporaries of Bob Seger, Mitch Ryder, MC5, SRC, Iggy Pop & the Stooges, and the Amboy Dukes.

They played at Detroit's most prestigious venues, including Cobo Hall, the Grande Ballroom and Eastowne Theatre.

Soon Vanguard Records executive Samuel Charters came calling and signed the group to his label, which boasted mostly folk acts up to that point.

Between 1969 and 1970, the Frost released three long-players: "Frost Music," "Rock and Roll Music" and "Through the Eyes of Love."

Their debut LP, recorded at Vanguard studio on 23rd St. in New York, was produced by Charters. The disc featured ten tracks, with all but one composed by Wagner.

Unfortunately, the album's cover artwork was lackluster, with just the words "Frost Music / The Frost" on a black background. The record included a 12 x 12 sheet with lyrics to the songs.

The second Frost LP was taped live at the Grande on Aug. 6 & 7, 1969 with engineer Ed Friedner, although considerable overdubbing was done later.

Frost's final LP was a studio effort with Vanguard studio musician Mike Tschudin added on keyboards.

Vanguard issued four singles, including "Rock and Roll Music," a Wagner composition which may be the group's best-known song.

One of the band's high points was an appearance at the Goose Lake Music Festival near Jackson in 1970, considered by many to be Michigan's version of Woodstock.

In an effort to gain national recognition, they played gigs in New York and at the legendary Fillmore West in San Francisco, where they opened for B. B. King on July 8-10, 1969.

The band became disillusioned, however, when audiences endorsed their shows but couldn't buy their records because they weren't being distributed beyond the Frost's base in Michigan.

By 1971, Alpena natives Hartman and Riggs quit and returned to their lower peninsula homes.

Wagner, however, had the desire to continue and went on to form Ursa Major. After one album the group parted ways and Wagner hooked-up with Lou Reed, former lead singer of the Velvet Underground.

Wagner's six-string talents are evident on Reed's live "Rock 'n' Roll Animal" album, which also included guitar slinger Steve Hunter.

Producer Bob Ezrin was impressed with the two guitarists and brought them into sessions he was conducting for Detroit native Alice Cooper.

During his tenure with the shock rocker, Wagner collaborated on the albums "Welcome to My Nightmare," "Goes to Hell," "Lace and Whiskey," "From the Inside" and "DaDa."

Cooper and Wagner co-wrote "Only Women Bleed," which reached No. 12 when it was released as a single in 1975. The song is about domestic abuse.

Wagner and Cooper actually co-wrote more than 50 songs which have appeared on 19 Alice Cooper albums.

Wagner's impeccable guitar playing has contributed to an impressive resume. He played on Peter Gabriel's first solo album and ghosted guitar parts for Ace Frehley on the "Destroyer" album from Kiss.

He has also played lead guitar or written songs for Aerosmith, Rod Stewart, Tina Turner and many others. In fact, Wagner has been featured on more than 150 albums.

In 2005, Wagner moved to Phoenix, Arizona where he suffered a heart attack two years ago. While he regains his health, Wagner is working with a new artist called Wensday.

Now 65, Wagner can look back at an enviable career in rock 'n' roll, which included that 1965 trek north of the Mackinac Bridge with the Bossmen. About that long-ago trip, Wagner remains us, "Winter in the U. P. is not kind."

Woolies hit with Diddley classic

The Woolies, hailing from East Lansing,
struck a chord with their rendition of "Who Do
You Love" in 1967 and served as Chuck Berry's
back-up band for numerous shows.

By STEVE SEYMOUR

Poised for national success, Michigan rock band the Woolies made a lasting impression with their version of Bo Diddley's classic "Who Do You Love."

Calling East Lansing home, the band was comprised of Stormy Rice (lead vocals), "Boogie" Bob Baldori (keyboards, harmonica), brother Jeff Baldori (guitar) Ron English (bass) Bill "Bee" Metros (drums).

Originally formed in Dearborn in 1964, the Woolies cut a 45 rpm single of Townes Van Zandt's "Black Crow Blues" for the tiny TTP label in 1965, but the record did not take off.

Undeterred, in June 1966, they entered a Vox- sponsored "best band in the land" contest which offered a Hollywood recording contract as a prize, along with set of speakers.

To their delight, the Woolies won.

While their prizes were slow in coming, the band was flown to Los Angeles where they demoed recordings to various record executives.

Lou Adler of the Dunhill label liked what he heard and ushered the Woolies into the studio to record "Who Do You Love" and "Hey Girl," an original tune composed by Rice and Bob Baldini.

"Who Do You Love" was written by Bo Diddley, born Ellas Otha Bates, later McDaniel. That song, coupled with "I'm Bad," was released as Checker 842 by Chess Records in 1956.

The rhythm and blues song refers to African-based hoodoo folk magic, but has no chord changes.

The Woolies newly-recorded songs, clocking in at about two minutes each, were produced by Jill Gibson and Don Altfield for Sunshine Productions.

After the taping session, the group returned to Michigan, opening Russ Gibb's famed Grande Ballroom on Oct. 6, 1966, along with the punk rockers, MC5.

Back in Los Angeles, meanwhile, Dunhill issued single 4052, promoting "Hey Girl" as the hit side.

However, it was the rhythmically-exciting "Who Do You Love" which grabbed the attention of disc jockeys and radio listeners.

"I walked 47 miles of barbed wire, used a cobra for a necktie. Got a brand new house on the roadside, made of rattlesnake hide," vocalist Rice snarled.

A nifty guitar solo is found about halfway though the track adds to the song's appeal.

The recording reached the Top Five at CKLW in Windsor, WKNR in Dearborn and WPAG in Ann Arbor.

"Who Do You Love" also received considerable airplay in Cleveland, Louisville, Toledo, Pittsburgh, Sioux City, Boston and Milwaukee.

Despite the confusion over marketing, or perhaps because of it, the record spent just three weeks on the national chart peaking at No. 95 on March 11, 1967.

The "Who Do You Love" single was issued in Germany, as RCA 9744, complete with a picture sleeve depicting the Woolies and the audience from behind the stage.

Back in the U. S., Dunhill issued a follow-up, "Love Words"/"Duncan & Brady," to no avail.

About this time the Woolies backed Chuck Berry for the first time when the veteran rocker played a club on the north end of Lake Lansing called the Dells.

In this active period, the Woolies moved to East Lansing to attend Michigan State University and became the defacto house band for the growing student movement at campus.

When the Woolies' Dunhill singles failed, vocalist Rice left for a solo career. In April 1968, Ode Records released "Go Now"/"Comin' Down," the only disc under the singer's name. It did not chart.

Still, the Woolies decided to press on without Rice and continued to issue 45s under their own Spirit Records banner.

Multi-instrumentalist Jack "Zocko" Groendahl replaced Rice, while the Baldori brothers assumed vocal duties.

From 1965 to 1974, the Woolies released about a dozen 45 rpm singles. (A 15-track collection of their 45s is contained on the Woolies' compact disc, "Ride, Ride, Ride.")

Bob Baldori cemented his relationship with Berry by playing harmonica on "Back Home," Berry's 1970 homecoming LP for Chess.

Four members of the Woolies played on Berry's follow-up LP, "San Francisco Dues," issued in 1971. The line-up was: Bob Baldori (harmonica and piano), Jeff Baldori (guitar), Groendahl (bass) and Metros (drums). Johnnie Johnson, Berry's original piano player, was also involved in the sessions.

That same year, the Woolies released their first long-player, titled "Basic Rock."

The Woolies maintained their regional fame and backed up their heroes, like Berry, Bo Diddley and Muddy Waters, whenever they were touring the area.

Over the years, the band played hundreds of shows with Berry, famous for "Johnny B. Goode," "Maybellene" and dozens of other songs.

The first time I saw Berry perform, the Woolies were his back-up band.

The occasion was a free outdoor concert between Pearce and Anspach Halls on the campus of Central Michigan University in Mount Pleasant.

Berry was riding high with his recording of "My Ding-A-Ling" which had just reached No. 1 on the charts.

I don't know the exact date of the show, but it was probably in late October, 1972.

Berry and the Woolies played at Eastern Michigan University's Bowen Field House in Ypsilanti on Friday, Oct. 27 and probably made several stops in lower Michigan about that time.

The Woolies opened the CMU program and played "Who Do You Love," before Berry appeared on stage, as I recall.

By 1973, the Woolies had issued another LP, "Live at Lizards."

In the four decades since the Woolies were formed, they continue to be cult favorites.

Born in 1943, Bob Baldori has also pursued a solo career. He has performed with John Lee Hooker, Del Shannon, John Hammond and others.

Baldori, who lives in Okemos, operates his own recording studio and has engineered and produced over 200 albums.

He released a solo album, "Who Do You Love," in 1994. A collaboration with Bob Seeley, "Boogie Stomp!," followed in 2006.

An entertainment attorney, Baldori also does legal work for Berry, blues guitarist Hubert Sumlin and other performers.

Brother Jeff Baldori graduated from MSU in 1973 with a bachelor's degree in English. He has been active in music since he joined the Woolies at age 15.

As for the other Woolies, Rice and Groendahl live on the west coast, while Metros is also an attorney.

The significance of "Who Do You Love" was recognized when it was included in the compact disc box set, "Nuggets: Original Artyfacts From the First Psychedelic Era," released by Rhino Entertainment in 1998.

The Woolies and their fans may have been disappointed "Who Do You Love" didn't rocket up the charts, but the song has had influence and staying power enough to earn it a permanent place in the history of rock 'n' roll.

? & Mysterians had rare No. 1

Saginaw rock band ? (Question Mark) & the Mysterians
took "96 Tears" to the top of the charts in 1966,
no small feat for a group whose song first appeared on
a tiny independent label.

BY STEVE SEYMOUR

During the format's heyday in the 1960s, thousands of 45 rpm singles were released on small labels, but few became chart toppers, with the notable exception of "96 Tears" by ? (Question Mark) & the Mysterians.

Formed in Saginaw, the band was comprised of Rudy "?" Martinez (vocals), Bobby Balderrama (guitar), "Big" Frank Rodriguez (organ), "Little" Frank Lugo (bass) and Eddie Serrato (drums).

"96 Tears" reached No. 1 on the Billboard chart in the fall of 1966, making the Latino group into garage band legends.

From the first time I heard it, "96 Tears" was one of my favorites.

Although Martinez is credited as the composer of the song, it's actually his original lyrics for "Too Many Tears" with instrumentation added by the Mysterians.

The song was wildly received when the band played it at Mount Holly ski resort and other teen dance venues around the Saginaw tri-city area.

Hoping to get their song committed to vinyl, the band approached Saginaw entrepreneur Lilly Gonzales, whose family owned an independent record label, Pa-Go-Go. Based at 408 Hazel St. in San Antonio, Texas, the label name was derived from the owner's names: Pato, Rudy and Manuel Gonzales.

Lilly Gonzales was impressed by the group. She agreed to manage them and scheduled time at Art Schiell's home recording studio in nearby Bay City to cut "96 Tears" and another original, "Midnight Hour."

Lead singer Martinez, born in 1945, delivered his committed vocals when the group recorded on March 13, 1966. "Too many teardrops for one heart to be cryin'," Martinez sang, his lyrics charged with emotion.

Vox organ accompaniment by Rodriguez added more power to the song.

Soon after the taping session, 750 copies of the seven-inch disc were pressed on the yellow Pa-Go-Go label, assigned catalog number 102.

"96 Tears," 2 minutes and 57 seconds in length, was registered at BMI by Ed Arguello Publishing Co.

With product in hand, Gonzales and the band began pushing the 45 to radio stations, looking to get airplay and additional exposure for their 45.

Saginaw radio broadcasters picked-up on the tune and its popularity spread to stations in Flint and Detroit.

Catching the public's attention, "96 Tears" became the most requested song on Flint's WTAC and Windsor's influential Top 40 station, CKLW, broadcasting 50,000 watts across the river from Detroit.

Neil Bogart, an executive at Cameo-Parkway Records, soon came calling, offering ? & the Mysterians the national distribution which Pa-Go-Go lacked.

Home to Chubby Checker and Bobby Rydell, Cameo-Parkway looked like a good choice to Martinez. He apparently chose the Philadelphia-based company in part, because he liked the orange color of their record labels.

Re-released with a shorter fade-out as Cameo-Parkway 428, "96 Tears" swept the country, selling more than one million copies. It knocked "Reach Out I'll Be There" by the Four Tops, another Michigan act, out of the No. 1 position on Oct. 29, 1966 and charted for 15 weeks.

The young rockers, who took their name from a 1957 Japanese science fiction movie, went from local to national success in just a few months.

Television got into the game too, with ? & the Mysterians appearing before millions of teenagers as guests on "American Bandstand," "Where the Action Is" and Detroit's own "Swingin' Time."

Teens were impressed by Martinez, who always wore wrap-around sunglasses, whether performing or being photographed.

Fans were further intrigued because the group's frontman insisted on the question mark moniker and refused to reveal his real name.

By year's end, Cameo-Parkway issued an LP ("96 Tears"), and a second single, "I Need Somebody," which reached No. 22. The song charted for 10 weeks.

R&B singer/pianist Big Maybelle tried to capitalize on "96 Tears," issuing her own version in early 1967. Coincidentally, her record stalled at No. 96. It was her only pop chart entry.

Meanwhile, Cameo-Parkway issued another ? & the Mysterians LP ("Action") and three more singles in 1967. "Can't Get Enough of You, Baby," reached 56 and "Girl (You Captivate Me)" nicked the chart at 98. Their final vinyl of 1967, "Do Something to Me," failed to make the Top 100.

Unfortunately, Cameo-Parkway was about to collapse financially and take their roster with them.

By the end of 1967, the company was sold to the late Allen Klein, who went on to manage the Beatles and Rolling Stones.

In succeeding years, ? & the Mysterians moved on to other record labels, including Capital, Tangerine, Super K and Chicory. Besides "96 Tears," Martinez registered an additional 24 songs with BMI during his career.

In the early 1970s, a Martinez-engineered comeback effort brought the band to the Upper Peninsula. The group was booked by promoter Gene Smiltneck to play a teen dance in Escanaba sponsored by Bands Unlimited.

My wife Sue, who worked for Smiltneck, recalled a well-attended event. "Local kids were quite excited to see such a legendary group," she said.

Athough fans continued to be interested in their early recordings, label owner Klein kept the ? & the Mysterians catalog out-of-print until 2005. At that time his Abkco Records released a 27-track "Best of" collection which included both ? & the Mysterians albums and their last Cameo-Parkway 45.

Martinez was back in the news in early 2007 when his home near Clio was destroyed in a fire.

The property was not insured and a number of benefit concerts were organized to help the music veteran get back on his feet.

In the last four decades, artists such as Aretha Franklin, Garland Jeffries, Music Machine and Iggy Pop, have testified to the greatness of "96 Tears" by recording their own versions.

More than one-hit wonders, ? & and the Mysterians needed only that single song to achieve rock 'n' roll immortality.

By the way, if you have a copy of "96 Tears" on the original Pa-Go-Go label, it might fetch up to $500 today.

Kiss played Cadillac HS dance

This collage depicts Kiss when the hard rock band
visited Cadillac High School to play the homecoming dance
in 1975.

By STEVE SEYMOUR

While many fans know Kiss recorded part of their momentous "Alive!" album in Detroit, fewer may realize the iconic band also played a homecoming week concert at Cadillac High School the same year.

Kiss came to the lower Michigan town of 10,000 on Oct. 9, 1975, just weeks after their much-heralded live double-LP was released on the Casablanca label.

Formed in New York City in 1973, Kiss comprised Gene Simmons (bass), Paul Stanley (guitar), Ace Frehley (lead guitar) and Peter Criss (drums).

The story of how Kiss came to perform in Cadillac begins with the high school Vikings football team.

Among the people instrumental in getting Kiss to come to Cadillac was football coach Dave Brines and assistant Jim Neff, who had seen Kiss in concert.

The Vikings had an undefeated record in 1973, but opened the 1974 campaign with two uncharacteristic loses.

Neff, also an English teacher at the school, thought to rev-up the team by playing Kiss music in the locker room before games.

The assistant coach also heralded a connection between the team's defensive game plan, Keep It Simple Stupid, and the band's KISS moniker.

Even at away games, the Vikings towed along a record player to spin the "Kiss," "Hotter Than Hell," or "Dressed to Kill" albums.

The Kiss strategy paid off with the team winning seven games in a row.

It was during this period that Neff wrote a letter to the band's management company, telling them how Kiss recordings inspired a winning tradition in the team.

After that the band and coaches traded correspondence. Kiss even asked for phone calls to notify them of the score after each game.

Kiss extended its support by sending the school a number of complementary tickets so some of the football team could experience the hard rock band in person at Cobo Arena in Detroit.

As the school year began in 1975, Neff saw that Kiss was scheduled to play at Western Michigan University in Kalamazoo just a few days prior to Cadillac's homecoming.

With that luck of geography, school officials decided to ask Kiss to come to the mid-Michigan community, never expecting the band go along with the idea.

At that point, the band was on the verge of success, but yet to make any money, according to manager Bill Aucoin.

Surprisingly, the band agreed to come to the Wexford County community, but only if everyone at the high school would get into Kiss make-up, Aucoin said.

Consequently, art students at the school were given special diagrams detailing the make-up each of the band members wore. Simmons was portrayed as "Bat Lizard," Stanley as "Star Child," Frehley as "Space Man" and Criss as "The Cat."

Kiss arrived in Cadillac from the WMU gig with seven semi-trucks of gear to squeeze into the school gym.

During their two-day stay, a photographer shot as much 16-millimeter film as the band's limited budget would allow.

Kiss stayed at the Hotel Caberfae Motor Lodge and were accompanied by a police escort during their time in the city.

At mid-afternoon, they arrived at the high school for a ribbon-cutting ceremony and were welcomed by students and staff.

Kiss met the football team, marching band and other students and posed for pictures before heading to the gym for a sound check.

They later attended a bonfire, with students decked out in Kiss make-up.

Kiss began their show shortly after nine o'clock. Open to the public, an estimated 2,000 people attended, with admission set at $3.50.

Among the songs Kiss performed were "Deuce," "Strutter," "Got to Choose," "Hotter Than Hell" and "Nothin' to Lose."

The concert was the first to feature the Kiss "snow storm," actually a blizzard of confetti at the end of the show, which became a permanent part of their concerts.

The band received a paycheck of $3,000, which probably didn't begin to cover their expenses.

On Friday morning, Kiss received a key to the city at a breakfast attended by city officials. City Manager Don Mason, Mayor and Mrs. Raymond "Pete" Wagner, School Superintendent William Smith, Principal John Laurent and coaches Brines and Neff wore Kiss make-up.

During the event, the officials stood up, raised their right arms and shouted "rock 'n' roll." Kiss, in turn, presented the officials with plaques making them honorary band members.

Kiss then participated in a homecoming parade down Mitchell Street, re-named Kiss Blvd. for the day, ending at the school's Memorial Stadium.

In the hours before the game against Remus Chippewa Hills, Kiss made a dramatic departure.

A helicopter hired by the band landed on the field and whisked Kiss to a nearby airport, but not before the band tossed out 4,000 flyers which read, "Cadillac High, KISS loves you."

Cadillac defeated Chippewa Hills, 10-6, as Kiss made their way to Columbus, Ohio, for another concert the next day.

A photo spread of the visit Kiss made to Cadillac appeared in the Random Notes section of Rolling Stone magazine on Dec. 18, 1975.

In one picture, Vikings football team captain Harry Hagstrom, now a resident of Escanaba, is shown "tackling" Simmons.

Hagstrom, who went on to play football at Michigan State University, says he'll never forget the two days Kiss spent in Cadillac.

The appearance of Kiss has remained part of local lore.

For its part, Kiss achieved mega-stardom and remains as popular as ever.

Last month, they opened their Kiss Alive 35 tour by recreating their first live album at Cobo Arena. The anniversary marks the 35 years since the release of their self-titled debut LP in 1974.

The band's most recent album, "Sonic Boom," was issued on Oct. 6. Kiss shot a video for the album's first single, "Modern Day Delilah," during a Cobo performance.

In addition, Kiss is among 12 acts nominated for induction into the Rock & Roll Hall of Fame. The top five vote-getters will be inducted during a ceremony at the Waldorf Astoria on March 15, 2010.

With a new album and tour as well as possible rock hall infamy, residents of Cadillac have renewed opportunity to reminisce about when Kiss came to their town.

Chown has fun with new CD

Former Escanaba resident Kevin Chown
plays bass in a new jazz-oriented band dubbed
Chad Smith's Bombastic Meatbats. Pictured from
left are: Chown, Ed Roth, Jeff Kollman and Smith.
©Autumn Lee Photo

By STEVE SEYMOUR

"Jazz should be fun," contends Kevin Chown.

The former Escanaba resident makes that statement as the bass player in a new band with a debut CD aimed at jazz aficionados.

Credited to Chad Smith's Bombastic Meatbats, the album is distributed by Universal Music Group, a subsidiary of the world's largest record company.

Although their name is a bit unwieldy, the band's namesake and leader is the drummer for the hugely successful Red Hot Chili Peppers and the supergroup, Chickenfoot.

About the album, Chown says: "It's in the 'jazz' category on I-Tunes, but we are not the stereotypical jazz guys. We have too many influences to say we are one thing. Funk, rock, comedy, metal, psychedelic, we don't think about it. We just play."

Chown stopped by the Record Rack a few weeks ago and updated me on his recent musical activities.

His new band also includes Chown's friend and musical cohort Jeff Kollman on guitar, Ed Roth on keyboards, and of course, Smith, who looks strikingly like comedian Will Ferrell, on the skins.

"When we started this, we had no intention of anything other than recording some cool music," Chown said.

Based in Los Angeles, the group recorded "Meet the Meatbats" at Word of Mouth Recording in Woodland Hills, CA.

The album's ten instrumental selections are group compositions, although Chown is the main force behind a track titled "Pig Feet." "That song in particular I did arrange and bring in," Chown explained.

"Our 'writing' sessions are really just jam sessions. We record everything and sort out the details later; then develop songs out of things that happen organically."

Fans of David Gilmour will appreciate the album's closing number, "Into the Floyd," which contains a spacey vibe reminiscent of the legendary British rockers, Pink Floyd.

Other songs carry such titles as "The Battle for Ventura Blvd.," "Night Sweats" and "Lola."

Concerning the band's moniker, Chown said: "We wanted a name where we could play instrumental music and not have people take us too seriously.

"Jazz somewhere along the line lost its sense of humor and became music that was put in a box and placed in a museum. I don't think that was Louis Armstrong's intent. He wanted to make people laugh.

"I guess subconsciously, it's our intent to smash the box and free the music," Chown said.

Chown grew up in Escanaba, the son of John and Ruth Chown. His father was a high school band teacher and his mother gave private piano lessons.

The young musician began performing professionally at age 15. He started on drums, but soon switched to bass.

After a year at Bay College, Chown moved to Detroit to attend Wayne State University where he earned a bachelor's degree in jazz studies.

He has performed with Uncle Kracker, among others.

The bassist currently resides in Sherman Oaks, CA, not far from where "Meet the Meatbats" was recorded.

Chown's favorite track on the new album is "Oh! I Spilled My Beer."

The song title comes from near the end of the track when Smith spilled his beverage and his verbal comment was left in as a homage.

Band humor is also evident in their use of nicknames. Smith is tagged "the Big Galute," Kollman is known as "the Worker Bee" and Roth is called "the Wrench." Chown's nickname is "Bubbles."


Kevin "Bubbles" Chown

"The names of the songs are extensions of our own lives or about people we know. Chad likes to say that since we don't have lyrics in the songs, we have to have titles that paint a picture and tell a tale all by themselves.

"In the Meatbat inner circle, there is also the Dragon, the Jockey, Boots, the Closer, T-Rex, and our latest is Kenny Aronoff, who is known as the Pinch."

"Basically, our nicknames, band name and song names are all part of a larger scheme of overall madness," Chown said.

The group's convivial spirit even extends to the cover for their album, where the Meatbats are pictured as cartoon characters. The drawings were made by Tim McFadyen.

The disc itself features a silk-screened photograph of a cake made for the group by a Japanese fan.

Issued by Warrior Records, the album clearly shows four masterful musicians enjoying themselves while making funky jazz just for the fun of it.

Nearly an hour long, the album was recorded and mixed by Jono Brown and produced by the Meatbats.

To promote "Meet the Meatbats," the group will tour Japan in October and November with some U. S. dates to follow.

Amid that backdrop, drummer Smith will begin recording a new album with the Red Hot Chili Peppers, famous for such hits as "Under the Bridge" and "Scar Tissue."


Chad "The Big Galute" Smith

"Chad's a busy guy. The Chili Peppers are starting work on a new record, so he will need to be in L. A. during the week, but we will be popping out to do some weekend dates as much as we can. Maybe some festival dates next year, but it's really wide open," Chown commented.

The Meatbats have already toured the Far East. "The first Japan tour, considering we didn't have any music out there and were for the most part touring on Chad's fame and name, went great. The tour really was the first time we played 'live,' as we evolved out of the studio, and it took the band to the next level."

Things are moving rapidly for the Meatbats. "We have already recorded the follow-up to our debut, and have a live CD ready to roll as well," Chown revealed.

Whatever musical endeavor the Meatbats try next, you know they'll have fun doing it.

###

If you are a member of Facebook: Everyone becoming a fan of Chad Smith's Bombastic Meatbats (www.facebook.com/bombasticmeatbats) between now and Nov. 1 will be placed in a drawing for a free CD. Be sure to add the words "from the U. P." with your friend request.


Ed "The Wrench" Roth


Jeff "Worker Bee" Kollman

Books add to audio experience

Lillian Roxon

By STEVE SEYMOUR

Back in the day, one of my favorite books was the encyclopedia. Not Britannica or World Book, mind you, but "Lillian Roxon's Rock Encyclopedia."

Roxon's scholarly work was found in the reference section at the local library and it drew me back to the shelves time and time again.

The author had assembled the first text taking a comprehensive look at the intriguing new rock 'n' roll music scene.

The book contained informative biographies, discographies, commentary and analysis of over 1,200 rock stars.

You could discover the diverse world of rock music by flipping through the book's 611 pages.

The dust jacket promised coverage of everyone from Roosevelt Gook (piano player for Tom Rush) to the Beatles.

Roxon crammed her book with facts. Want to know who was in Ultimate Spinach, or the tracks on Blue Cheer's first album, or what feedback is? Roxon had the answers.

Born in Italy, but raised in England and Australia, Roxon came to New York in 1959.

She planned to write about this country for Australian newspapers and a world-wide feature syndicate, but became fascinated by pop music during the mid-1960s.

Her articles were among the first to treat the emerging rock scene seriously.

In 1968, she was commissioned to write a comprehensive treatment of rock music, published by Grosset & Dunlap of New York.

"Trying to get the rock world to keep still long enough for me to take its picture was one of the most difficult tasks in putting this book together. Groups split even as I wrote of their inner harmony, and got themselves together just as I had acknowledged their tragic demise," Roxon wrote of the book.

"I wanted to record the facts without losing the feelings. In the end, though, the music itself has to tell the story. This book is the companion to that story," she added.

Unfortunately, Roxon died after suffering a severe asthma attack at age 41. Despite her death in 1973, Roxon's influence lives on through her writings.

So respected was Roxon that some admirers refer to her as "the mother of rock."

While Roxon poured countless hours into her book, so did music researcher Joel Whitburn.

He began collecting 45 rpm singles as a teen in the 1950s. As his hobby grew, he began to organize the records with data he obtained from charts published by Billboard.

Consequently, Whitburn compiled that information into a vital volume called "Top Pop Records, 1955-1970."

The book listed every rock record charted by the magazine from Nov. 2, 1955 to Dec. 27, 1969. Even at that time, the book included 9,800 recordings by 2,500 recording artists.

Compiling that information must have been a monumental task in the days before computers.

Whitburn also included the date each record first charted, its highest position and total weeks on the chart. He also included the record title, label and catalog number.

Not long after it came out, I felt compelled to purchase Whitburn's hardcover edition which comprised his original research and supplement for 1970.

I still remember buying the book at Canterbury Book Store because it was a bit on the pricey side. Still, considering how often I've consulted it, the publication was a tremendous bargain.

The book was very handy when I was trying to collect all of an artist's 45s or determining if a greatest hits album actually contained all of an artist's hits.

I used the book to study the singles of the Beatles, Rolling Stones, the Who, Animals, and all my favorite acts.

My early version of the book was published by Gale Research Co., located in Detroit's Book Tower.

Over the years, Whitburn's work has proved popular among pop music fans and he has issued updated books on a regular basis.

A native of Wisconsin, Whitburn is widely recognized as the leading historian on the music charts and his collection includes every charted Hot 100 and pop single beginning in 1920.

A few weeks ago, I decided it was finally time to add Roxon's book to my library. I bought a copy by way of the Internet from Market Street Bookstore in Maysville, Kentucky.

Looking through it now is just as fascinating and informative as it was when it was newly published.


Mary Travers

After singer and songwriter Mary Travers died on Sept. 16, I looked up the entry for Peter, Paul and Mary in Roxon's book.

I learned that the folk three-some was the idea of manager Albert Grossman, who sought to improve on the Kingston Trio with a group including two men and a woman.

Peter, Paul and Mary were a huge success, opening the door to a folk rock scene which included Bob Dylan, perhaps the greatest rock poet of his generation.

A peak into Whitburn's book, meanwhile, shows the trio's first hit was "Lemon Tree" in 1962. Their Top Ten entries included "If I Had a Hammer," "Puff The Magic Dragon" and "I Dig Rock And Roll Music."

They made hits of Dylan's "Blowin' In The Wind" and "Don't Think Twice, It's Alright," years before the folk singer from Minnesota hit the charts with his own recordings.

Whitburn's book lists the last Peter, Paul and Mary hit as "Leavin' On A Jet Plane," written by John Denver, which went to No. 1 in late 1969.

Peter, Paul and Mary disbanded two years later, but had several reunions.

Roxon described the group's power: "They did have a hammer, they had a bell, they had a song to sing, and they sang it when it counted."

The Whitburn and Roxon books provided me with a foundation to understand and appreciate the rock 'n' roll music which has held my attention for over four decades.

While listening to music is better than reading about it, knowing some pertinent facts can enhance the experience, don't you agree?

Festival attracts blues acts, fans

Harmonica player and vocalist Geneva Red
entertained at the 6th annual Blues Fest in
Marquette.

By STEVE SEYMOUR

There was a bit of deja vu over the Labor Day weekend as the Marquette Area Blues Society (MABS) presented its 6th annual Blues Fest at Mattson Lower Harbor Park.

The scene may have been a little familiar because my wife Sue and I have attended every yearly get-together from the first, held at Marquette Mountain.

Still, organizers put a new twist on the theme, filling the bill with a fresh and interesting collection of blues entertainers.

Ten acts graced the stage over the weekend, with the Twistin' Tarantulas opening the program on Sept. 5.

Actually a rockabilly outfit, the Twistin' Tarantulas feature Marquette native George Friend on guitar. With founding member Pistol Pete Midtgard on upright bass and lead vocals, the band played a set of original and cover material, including Louis Jordan's jump blues classic, "Cho Choo Ch'Boogie."

The Original Delta Fireballs, comprising Geneva Red on vocals and harmonica, and Jackie 5 & Dime as a one-man backing band, followed. The two performed such varied fare as Bessie Smith's "Sugar in My Bowl," The First Edition's "Just Dropped In (To See What My Condition My Condition Is In)," and "Minnie the Moocher," originally recorded by Cab Calloway.

A Blues Fest favorite returned to the stage when Biscuit Miller appeared at the Marquette event for the third time in six years. Fans know the funky bassist played behind blues great Lonnie Brooks for a decade. Miller performed in the Anthony Gomes Band during the first Blues Fest in 2004 and again in 2006 during an impromptu set.

Biscuit Miller and the Mix paid tribute to James Brown, the Godfather of Soul, with "Soul Power." Miller tossed out Mardi Gras-type necklaces, firing up the crowd, which clearly approved of his performance. His original material, including "Let's Go Fishing," was also well received.

Philadelphia's rising blues star, Gina Sicilia, entertained next.

Just 24, Sicilia has already released two critically-acclaimed compact discs, "Allow Me To Confess" and "Hey Sugar."

A gifted vocalist and songwriter, Sicilia's set included "Try Me," an obscure Esther Phillips' chestnut; "Rest Of My Days," which Sicilia wrote at age 16; and Billie Holiday's "Fine and Mellow" from 1957.

Saturday's headliner was James "Super Chikan" Johnson, who spent his childhood working on his family's farms on the Mississippi Delta. Talking to the poultry, Johnson earned the nickname "Chikan Boy."

Years later, in 1997, he released his first compact disc, "Blues Come Home To Roost," which includes "Super Chikan Strut," a centerpiece to his stage show.

The inventive Johnson constructed his guitar from a ceiling fan and even made it cackle like a chicken.

Besides his original material, Johnson performed "Little Red Rooster," the blues standard by Willie Dixon, first recorded by Howlin' Wolf in 1961.

Sunday's entertainment started with Millie Street. Named after an address on the north side of Iron Mountain, the band offered "Share the Love" among a fine set of blues material.

Then, Reverend Robert Sexton brought some "prohesizin' and preachin''' to the blues as leader of a five -piece ensemble.

Dressed in suits and fedoras, the Reverend and his disciples tore through "The American Blues," "Have Mercy" and "The Mississippi Medley." A roadie tossed miniature Bibles into the audience.

The Reverend's performance included their take on Muddy Waters' "I Want To Be Loved."

Flint's Maurice Davis, "King of the Party Blues," complimented event organizers, saying "This is the best festival we've ever done."

Davis should know, he's headlined concerts and outdoor festivals throughout Michigan.

His set at this show included "Show Me," "The Maurice Shuffle" and "Stormy Monday," written by T. Bone Walker and first recorded in 1947.

Eugene, Oregon-based bluesman Curtis Salgado, who appeared next, has an emotional story to tell whether on or off the stage. He played with Robert Cray in the 1970s and honed his vocal and harmonica skills along the way.

When comedian John Belushi was in Eugene filming "Animal House," he caught Salgado's blues show. Belushi was apparently taken with the music and much of what he learned from Salgado later ended up in the "Blues Brothers" movie. The Blues Brothers first album, "Briefcase Full of Blues," was dedicated to Salgado.

Diagnosed with liver cancer just a few years ago, Salgado had no insurance. Numerous benefits were held around the country which raised half a million dollars for his transplant.

Salgado, who performed as lead vocalist in Santana for a period, puts his all into singing, whether it's blues, R&B or rock 'n' roll.

For his Marquette performance, Salgado opened with "Bottle of Red Wine," a track from the compact disc "Clean Getaway," released on Shanachie Records in 2008. He continued with the title song, "20 Years of B. B. King," "Let's Get Married" and "What's Up With That."

Headliners Smokin' Joe Kubek & Bnois King closed the day's program.

Kubek, who grew up in Texas, was playing blues clubs by age 14. Later he took a gig playing rhythm guitar for Texas blues legend Freddie King. Bnois King (no relation) and Kubek finally teamed up in 1989, offering contrasting but complementary styles. Kubek plays in the Texas guitar-slinger tradition, while King's sound is more jazz-oriented. King's soulful vocals tie the instrumental partnership together.

The band entertained the crowd with such songs as "It's Alright," "Texas Cadillac" and "TV Light."

During the event, festival-goers were exposed to a wide-variety of blues styles, all performed with expertise by a talented line-up of local, regional and national acts.

Blues fans, like Sue and myself, enjoyed the music, the surroundings, the food and friends over a memorable weekend.

If I experienced some deja vu, it was probably because that's the same pleasant feeling I've had after attending Blues Fest every year since it was first held in 2004.

Longevity pays off for Chicago

Chicago's horn section was the center of attention
at the group's Sept. 4 concert at the Island Resort & Casino
in Harris. Pictured, from left, are James Pankow, Larry
Klimas and Lee Loughnane.

By STEVE SEYMOUR

Rock band Chicago showed their time-tested method for delivering the hits during an exhuberant concert at the Island Resort & Casino in Harris over the Labor Day weekend.

The veteran group, formed in 1967, includes founding members Robert Lamm (keyboards, guitar, vocals), Lee Loughnane (trumpet, vocals), James Pankow (trombone) and Walter Parazaider (saxophone). The remainder of the band comprises Jason Scheff (bass, vocals), Tris Imboden (drums), Keith Howland (lead guitar, vocals) and Lou Pardini (keyboards, vocals).

For the local shows, Larry Klimas substituted for Parazaider and a second drummer, Drew Hester, was added. Hester has performed with alternative rock band Foo Fighters.

Originally known as The Big Thing, Chicago originated in the Windy City, but quickly followed producer James William Guercio to Los Angeles.

Guercio, who had success with the Buckinghams ("Kind Of A Drag") and Blood, Sweat & Tears ("You've Made Me So Very Happy"), saw promise in the new band.

Under Guercio's guidance, they performed in Chicago, L. A. and San Francisco as "Chicago Transit Authority," also the name of their first album. "Call them 'Chicago'," Guercio said in the album's liner notes.

Issued on Columbia Records in 1969, their double-disc debut contained four hits, combining jazz and rock. They followed with "Chicago II" which firmly established the band as a major force in pop music.

My wife Sue and I saw the Sept. 4 show from seats in the third row.

The band opened with a brassy medley including "Make Me Smile," "So Much To Say, So Much To Give" and "Colour My World," three tracks from their second album, released in 1970.

Loughnane handled lead vocals on "Colour My World," originally sung by Terry Kath, the Chicago guitarist who died of an accidental self-inflicted gunshot wound in 1978.

Next, the legendary group moved to "Dialogue (Part 1 & 2)," a lengthy jazz-rock experiment from 1972. "If You Leave Me Now," Chicago's first No. 1 hit, from 1976, followed.

Obviously having fun, the band performed "Call On Me" and "Alive Again," both 70s hits.

They returned to their early days for "I'm A Man," a track from their first long-player, originally a hit for the Spencer Davis Group. The performance, one of the night's high points, included a drum duel between Imboden and Hester.

Two 80s hits, played on regular rotation on MTV, followed. Both "Hard Habit To Break" and "You're The Inspiration" were included in "Chicago 17."

Lamm moved from keyboards to guitar for his song, "Beginnings," another standout from the group's first album.


Jason Scheff

Scheff sang a heartfelt version of "Old Days," from 1975. The ballad "Just You 'N' Me" followed as fans moved to stand in front of the stage. Both songs were Top Ten hits.

Founding member Lamm returned to center stage to sing his composition, "Saturday in the Park," Chicago's first gold single, released in 1972.

Chicago's all-hits program continued with "Hard To Say I'm Sorry," a chart-topper from 1982, featured in the movie "Summer Lovers," starring Daryl Hannah. "Feelin' Stronger Every Day," a Top Ten selection from 1973, followed.


James Pankow

The three-piece horn section dominated the stage during the evening and was responsible for the group's trademark sound. Pankow twirled his trombone like he was a gunslinger in the Old West. In fact, Pankow wrote most of Chicago's horn arrangements.

Obviously enjoying themselves, Pankow, Loughnane and Klimas smiled throughout the show.

During a three-song encore, the band went back to 1972 for "Free," as a large United States flag dropped to cover the Chicago logo located at the back of the stage.

The band returned to their early albums for the last two songs. "Does Anybody Really Know What Time It Is?" originally appeared on "Chicago Transit Authority" while "25 Or 6 To 4" was contained on "Chicago II." Both songs were Top Ten hits in 1970.


Robert Lamm

Many of the concert's best moments came when the group performed Lamm's songs, "Beginnings," "Saturday In The Park" and their final two selections.

A perfect cap to the evening, "25 or 6 to 4" was a thunderously powerful experience.

As the audience probably expected, Chicago delivered their well-crafted jazz-rock hits with perfect musicianship, keeping with their decades-long winning formula.

Original members Pankow, 62; Loughnane, 62; and Lamm, 64; showed an energy which belied their age. Although he didn't play at this show, 64-year-old Walter Parazaider still performs at most Chicago dates, as well.

On this night, Chicago relied on its early albums, but the group has added dozens of hit records to their catalog over the years.

From "Questions 67 And 68" in 1969 to "Here In My Heart" in 1997, Chicago registered 50 songs on the Hot 100 singles chart. In addition, they have five No. 1 albums to their credit.

In an unmatched feat by an American act, the "rock 'n' roll band with horns" has charted albums in each of the last five decades.

Despite a number of personnel changes over the years, the band hasn't stopped touring and recording since the late 1960s.

For Chicago, it's all a matter of time.

Blues siblings gather no 'Moss'

NICK MOSS


By STEVE SEYMOUR

An old proverb says: "A rolling stone gathers no moss."

Alluded to in bluesman Muddy Waters' composition, "Rollin' Stone," that statement may well hold true for Nick and Joe Moss.

The Chicago-area brothers have played memorable gigs in the hinterlands of the Upper Peninsula during separate careers which have brought them well-deserved recognition in the blues world.

My wife Sue and I have seen the siblings perform close to home during the last decade.

When our friend and fellow blues enthusiast Wendy Pepin told us Nick had scheduled a solo appearance nearby, we decided to take a little road trip last Friday, Aug. 28.

Our destination was Bomber's Clubhouse of Blues, a bar and BBQ restaurant, just outside Norway.

Bomber's tavern area provides an intimate setting for a blues show with a tiny stage located behind a "U"-shaped bar.

A large man with an equally-sizable talent, Nick introduced his first set saying, "I'll play some blues tonight. That's all I got for ya."

The audience included Nick's wife Kate and their five-year-old daughter Sadie Mae.

Just a few songs into the program, Nick performed his composition,"Sadie Mae," a tribute to the little girl who just entered kindergarten, and the title song to his fourth album.

"Look how you make your daddy smile. You're my first-born baby child," Nick sang.

Sadie Mae, meanwhile, coyly hid behind a table as her father sang her praises.

Armed with an electric guitar, Nick played an entertaining mix of originals and well-chosen cover songs from a variety of blues greats.

First set highlights included Nick's interpretations of mythic bluesman Robert Johnson's "Ramblin' On My Mind" and "Louise" by John Lee Hooker.

During a break, we reminisced with the musician about a gig his band, Nick Moss and the Flip Tops, played at Gladstone's Sand Bar not long after their first compact disc was issued in 2001. Nick remembered that piano player Barrelhouse Chuck Goering caused him to fall to the floor laughing at one point in the show, but he continued to play his guitar in the prone position.

Nick also recalled stopping by Escanaba's Record Rack where he came across a few old 45 rpm singles. He completed the cashless deal by trading a copy of his debut CD, "First Offense," for the dusty discs. The singer-guitarist collects records as a hobby.

A tasty slide instrumental opened Nick's second set. He followed with "Black Mattie Blues," by Sleepy John Estes and B. B. King's "Woke Up This Morning (My Baby's Gone)."

Nick saluted his wife with "Katie Ann," an original slow blues number from the "Got a New Plan" CD, released in 2003. Besides being Mrs. Moss, Kate is a musician herself. She played bass on Nick's "Live at Chan's, Combo Platter No. 2," released earlier this year.

The music continued with Nick's instrumental version of the traditional tune, "Frankie and Johnny," another guitar workout.

Other standout performances included "Wine Headed Woman" by Sonny Terry and Hound Dog Taylor's "Gonna Send You Back to Georgia."

Nick's playing demonstrates his affection for the old blues players. Born in 1969, Nick has paid some dues himself.

He started on bass while a teenager, but switched to guitar later. He scored a job with Jimmy Dawkins and also played for Jimmy Rogers, a long-time compatriot of Muddy Waters, a founding father of modern blues.

Nick's resume includes time with the Legendary Blues Band which featured Willie "Big Eyes" Smith, a Chicago blues mainstay and another of Muddy's bandmates.

After a ten-year stint as a sideman, Nick started the Flip Tops. The band today includes Gerry Hundt (bass, harmonica, mandolin), Willie Oshawny (keyboards) and Bob Carter (drums).

During his time as a band leader, Nick and the Flip Tops have impressed audiences across the United States and around the world.


Joe Moss

Still, Nick credits his older brother Joe with inspiring him to play Chicago-style blues.

The brothers grew-up in Chicago's northwest suburbs, where their mother exposed them to blues and soul music.

Joe began playing the blues seven days a week beginning when he was just 15 years old. He learned early blues lessons as a member of Buddy Scott and the Rib Tips.

When Scott died in 1994, Joe continued as a sideman for other blues acts before starting his own band in 1997.

The Joe Moss Band traveled to the U. P. in 2004. They were the featured entertainment at an annual fundraising dinner and auction for the YMCA of Delta County held at Danforth Place.

The elder Moss led his crack Chicago band through a number of well-known cover songs to satisfy an audience not particularly savvy in the blues idiom, even though he could have performed more original material.

At the time, the band was promoting their debut CD, "Monster Love," released on 212 Records. Joe composed all but two of the tracks on the disc, "Have You Ever Loved a Woman," by Billy Myles and B. B. King's "Please Love Me."

Keeping it in the family, the CD's packaging was designed by sister-in-law Kate Moss, Nick's wife.

Just like Nick, Joe's a devoted family man, married to Sandy, and the father of Maricela. In fact, Joe titled his 2008 CD "Maricela's Smile."

The Moss brothers play together occasionally, Nick says, but their touring schedules often put them in different parts of the country.

Joe is currently on an east coast tour, while Nick recently returned from traversing the same territory.

Last week, Nick traveled from his home in Elgin, Illinois, for the solo gig at Bomber's, located near the Menominee River, which separates Wisconsin and the Upper Peninsula. It was a working vacation, mixing blues with fishing.

Like the old proverb says, "A rolling stone gathers no Moss."