Radio denies divas their due

Based on airplay reports, the top blues album last year was Marcia Ball's "Live! Down the Road," released on Alligator Records. Unless you're into the blues, you've probably never heard (or heard of) this talented lady, although she's been on the scene for over thirty years.

Truth is, if you depend on commercial radio to hear the best divas in music today, you may be missing the most musically gifted ladies around.

Take Candye Kane, Janiva Magness, Thornetta Davis, Rory Block and Shemekia Copeland, for instance. These fantastic blueswomen will amaze you on stage, but don't hold your breath waiting to hear them on radio.

Still, my wife Sue and I know these performers deserve to be heard over the airwaves because we've seen them in person and enjoyed their recordings as well.

In mentioning Marcia, nick-named "Too Tall" Ball, you should know she's a keyboard virtuoso. An acknowledged star of the Bayfront Blues Festival in Duluth in 2001, it isn't surprising she has created a favorable impression with a live disc.

Making her home in Austin, Texas, Marcia has a pleasant drawl that speaks to her southern upbringing. At Duluth, she commanded the stage and demonstrated her New Orleans-style R&B. She breezed through "Red Beans and Rice," "Just Kiss Me Baby," "Hey Big Shot," and "Craw Fishing" to the delight of the crowd.

Another stand-out performer at the Duluth show was Candye Kane, a unique commodity on the blues circuit. The former adult entertainer may be over the top with her costumes and politics, but her voice'll knock you out. She's a large lady with equally-big vocal abilities. Her song-writing is top rate, too, with lyrics that may surprise you.

Other great blues ladies have been spotlighted during blues festivals in Marquette during the Labor Day weekend in 2004 and 2005.

Janiva Magness, who hails from the west coast, gave a stand-out performance during her debut Upper Peninsula performance at the first Bluesfest, held at Marquette Mountain. She's released half a dozen top-notch CD's on small independent record labels, somehow escaping the notice of millions of music fans. Still, she perseveres. Her latest effort, "Do I Move You," appeared this month and may be her best yet. Janiva's exceptional talent has been recognized with several W. C. Handy Awards in the blues community. In concert, you won't soon forget Janiva's trademark rubboard or distinctive vocals. She deserves mainstream stardom.

Folks attending the second Bluesfest were treated to memorable performances from veteran singer Rory Block and the lesser-known Thornetta Davis, who hails from Detroit.

Rory, a genius on acoustic guitar, learned her craft from blues legend Son House while still a teenager. As an interpreter of traditional country blues, Rory is unsurpassed. She has devoted her life to that endeavor, and it showed in concert. Her CD catalog is extensive and excellent as well.

Thornetta's talent hasn't been exploited to the fullest. While she puts on an enthusiastic performance, ably demonstrated on stage and in a five year-old disc "Covered Live At the Music Menu," her song selection is uninspired. She's got power, personality and soul, but "Hound Dog" isn't what she should be singing. She needs to break out of the Motor City scene.

And, what can you say about Shemekia? She's the daughter of blues icon Johnny Copeland and actually worked in a dry cleaners at the beginning of her music career. With three strong albums to her credit, she's earned every bit of her success. During a concert at Northern Michigan University on March 19, 2004 she sang "It's 2 A. M.," and other classics that would jump right out at you if you ever heard them on the radio.

But don't bet on it. Radio, for better or worse, is almost exclusively the provenance of Britney Spears and Jessica Simpson. That's better for Britney and Jessica, worse for us.

Collecting rock memorabilia

Question: What's the first step in building an enviable rock 'n' roll memorabilia collection? Answer: Start collecting a long time ago.

Seriously, though, assembling an interesting group of music-related collectibles can be fun and profitable.

Consider autographs, photos, ticket stubs, guitar picks, toys, rare albums, picture sleeves, concert posters, stage costumes, musical instruments and backstage passes.

There are three reasons to collect such memorabilia: nostalgia, investment and decoration. College kids, short on cash, buy old albums for their covers which provide cheap artwork to decorate dorm rooms. Folks with deep pockets, like the owners of the Hard Rock Cafe, aren't afraid to spend hundreds of thousands of dollars at auction to buy the personal effects of well-known musicians like John Lennon, Elvis, Jimi Hendrix or Johnny Cash.

Within those perimeters are many opportunities to assemble a satisfying collection of music memorabilia. Original items from the fifties and sixties are increasingly difficult to find. But in the period since various companies and musicians themselves have jumped on the memorabilia bandwagon. The rock group Kiss licensed dozens of products ranging from Halloween masks to snow domes, then topped it off with a Kiss casket retailing for $5,000.

Millions of people buy and sell on eBay, the giant Internet website. However, this method requires some caution. For instance, some experts estimate that 90 percent of the autographs listed on eBay are fake. Consequently, buy only from people you trust and require the provenance of signatures you want.

Still, autographs are among the most sought after items by collectors. A complete set of Beatles autographs can fetch $5,000 if the authenticity can be verified. While writing to stars and requesting their autographs is common, many do not have the time to personally respond. Fans then get stamped or auto-pen signatures or autographs by staff members called "secretarials."

Concert posters are also collectible. Especially desirable are those designed for a specific venue which indicates the poster was printed in small numbers. Posters from San Francisco's Fillmore Auditorium are in demand due to their psychedelic design and the top-name stars they promoted, as well as the prominent artists who created them. Few such posters survived and those available today may not be first printings and instead merely copies of the original. Condition is also important.

As collectors have known for years, thrift stores run by Goodwill, St. Vincent de Paul Society and Salvation Army often offer artifacts from the past culled from the donations they receive. You might have to visit often, but eventually an underpriced collectible album or two will turn up. Don't overlook antique stores in your quest, too. The rock 'n' roll era started over half a century ago and unique items may be found in the nooks and crannies of antique shops if you care to undertake the search.

Many well-known musicians offer items for sale on their own websites. Concerts offer another opportunity for the persistent collector to get a sought-after autograph. Many collectors bring albums or photos to shows and accommodating stars may sign those items, if requested. Keep your ticket stubs and build a collection just by tossing them into a drawer.

Through the years, my wife Sue and I have been fortunate enough to acquire some gratifying collectibles. Some examples: We have a tanktop signed by Cher, cap autographed by Dion, and a Lou Christie shirt with a picture of him wearing it on stage. Our collection includes guitar picks from Carl Perkins and Guns 'n Roses and well as signed Metallica drumsticks. We're the proud owners of a signed Robert Cray guitar and backstage passes from Pink Floyd and Kiss. Other Kiss items in our collection include a transistor radio and lunchbox. We also own lunchboxes from the BeeGees, Beatles and Partridge Family. A Led Zeppelin ticket dated Nov. 12, 1980, for a show cancelled due to the death of drummer John Bonham, also resides in our collection, as does an arrow autographed by Ted Nugent. We've got toys, too, including a Jerry Garcia doll and Beatles' "Flip Your Wig" board game.

With that comes the question: What's the first step in building an enviable rock 'n' roll memorabilia collection? Answer: Start collecting today.

Rock 'n' roll queries answered

Dear Rock 'n' Roll Answer Man,

We want to make sure we have the right opinions about music. So, here are ten rock 'n' roll questions:

1. What's the heaviest album in rock 'n' roll? That's easy. Led Zeppelin's debut LP, complete with the seminal "Dazed and Confused," ranks as the weightiest slab of modern music. You've got Jimmy Page's masterful guitar licks, Robert Plant's primitive vocals and a powerful rhythm section comprised of bassist John Paul Jones and drummer John Bonham. Surprisingly, this bombast drew straight from the blues heritage of the southern U. S. You don't need an illegal substance to have your mind blown by this album.

2. Who's rock's greatest guitarist? That was and is Jimi Hendrix. He only produced three albums during his lifetime and guitar players of the day couldn't figure out how he created his unmistakable sound. Many more posthumous albums have appeared and guitarists are still trying to duplicate Jimi's riffs from "Little Wing," "Red House," and dozens of other classics.

3. Which older disc has the best sound? Put on "Chronicle" by Creedence Clearwater Revival and prepare to be amazed. Singer, songwriter, lead guitarist, arranger and producer John Fogerty masterfully put onto disc the "swamp rock" he heard in his head. "Proud Mary," "Green River," "Who'll Stop the Rain," and more still sound fresh today.

4. Who has the most rabid fans? The Grateful Dead's psychedelic horde of fans, known as Deadheads, have followed the band, literally and figuratively for forty years. Some bands, like Phish, have tried to replicate the phenomenon, but have drawn only mild comparisons. Things splintered a bit following the death of beloved lead guitarist Jerry Garcia, but shows till then were as curiously fascinating as any traveling sideshow or carnival on earth.

5. What is the rockingest CD? Try "Meaty Beaty Big and Bouncy," by the Who. This collection cooks from start to finish with no-nonsense noise like "I Can't Explain," "My Generation," "Pictures of Lily," and "Happy Jack." Pete Townshend knows how to write a tune that'll stay in your head for decades. And, bandmates Roger Daltrey, Keith Moon and John Entwistle rock like there's no tomorrow.

6. What rock 'n' roll book should everybody read? "Heroes and Villains," by Steven Gaines is the true story of the Beach Boys and leader Brian Wilson. You'll wonder how Wilson, even if appearing fragile mentally, managed to survive his tumultuous life before and after the early hit-making years. Michael Jackson's got nothing on Brian Wilson.

7. What album should exist but doesn't? Most of Bob Seger's pre-"Night Moves" albums remain out-of-print, allegedly because he doesn't think they sound that good. But, Seger recorded tons of great rockin' singles that deserve to be heard again. So, Bob, please gather up your early tapes, like "Ramblin' Gamblin' Man," "Lucifer," "Ivory," "Lookin' Back," and "Get Out of Denver," and issue "Greatest Hits: The Prequel."

8. What's the most under-rated rock band? That has to be Badfinger. These Beatles proteges put out the perfect single, "Come and Get It," followed by "No Matter What," and "Day After Day." They even wrote "Without You," recorded by Harry Nilsson and Mariah Carey. Being compared to the Fab Four was both a blessing and a curse, however. Success eluded them and two members of the group committed suicide in a sad ending to a great band.

9. What CD is out of print but shouldn't be? Imagine an album with performers such as George Harrison, Bob Dylan, Roy Orbison, Tom Petty and Jeff Lynne. That album would be called "Traveling Wilburys, Vol. 1," and would contain "Handle With Care" and "End of the Line." Now imagine it out-of-print. It is and only God knows why.

10. What's the worst song to make number one? "Sugar, Sugar," by the Archies, a studio group based on the cartoon series, is etched into musical history, circa 1969. Nobody knows why, not even the Archies.

Backstage with Eric Burdon

We had traveled to Oshkosh to see rock icon Eric Burdon, lead vocalist on the Animals' number one hit, "House of the Rising Sun," who was performing at the annual WaterFest summer concert series.

Pre-show anticipation was growing as we got situated near the stage, finding the best spot to hear Burdon's unmistakable Newcastle baritone shred through his repertoire. I was about to see a musical hero from my youth perform the songs that made him legendary. Songs like "Don't Let Me Be Misunderstood," "It's My Life," and "When I Was Young," were anthems to me.

But, as dark storm clouds gathered over the Fox Valley, our enthusiasm began to wane. After waiting in the rain for some time, it was announced that the show was being cancelled in order to protect the safety of the musicians at the outdoor venue.

My wife Sue and I were devastated. We knew we'd need a miracle to get backstage following the concert, but now that slim possibility seemed to vanish. The disappointing announcement, however, did not dash the hopes of fellow concert-goer and former Gladstone resident Jim Pierron.

Dejected, we accompanied Pierron to the nearby Oshkosh Convention Center. Pierron, who's collected tons of music autographs, has a charming ability to talk his way backstage after concerts. He chatted with various security personnel and before long we were surprised to find ourselves in a small room where Burdon was signing autographs and talking to a handful of fans.

Although a giant in the world of rock and owner of a powerful voice, Burdon is relatively small in stature. He conversed easily, wearing an outfit which included cowboy boots and a well-worn jean jacket. (Considering the location, you might think Burdon would sport Oshkosh B' Gosh denim products, but according to his website, he wears Antik brand clothing.)

He also posed for pictures with his fans, including me, seemingly to compensate for the cancelled show.

Pierron had come armed with old records by the Animals and compact discs for the British singer to autograph. Burdon obliged until he noticed a bootleg recording which he refused to sign. "Where did you get this?" Burdon demanded, adding he had received no royalties for the recording. Burdon's uncharacteristic response amazed Pierron who was unaware one of his discs was of dubious legal status.

Like many artists of the fifties and sixties, Burdon was victimized by various management deals and recording contracts which sought to exploit his talents without fair compensation. While he has the right to be bitter, Burdon instead has concentrated on pleasing his fans.

Burdon has had his ups and downs, but continues to tour and record. He has had dozens of recordings both with the original Animals, later with the "new" Animals, and as a solo artist.

He made his first "comeback" in 1968 and fronted the group War, taking "Spill the Wine" to number three on the Billboard singles chart in 1970. A member of the Rock 'N' Roll Hall of Fame, Burdon also took the time to pen an intriguing autobiography.

Today, the 64-year-old Burdon lives a life on the road and often performs 100 or more shows a year.

Currently, he's touring Europe in support of "Soul of a Man," a new compact disc released in January. The 14-track recording, hailed by critics, highlights Burdon's musical roots. It includes songs first performed by his blues idols including Blind Willie Johnson, Mississippi Fred McDowell, Howlin' Wolf and Muddy Waters.

In a four-decades long career, Burdon has refused to compromise. Just like he did with his original Animals' recordings, Burdon continues to reinterpret vintage American blues classics, recycling them both on stage and in the studio, for an appreciative audience.

Thanks, Eric for putting us fans first. And, it was great to meet you.

Grateful Dead shows vivid

It's been said that if you remember the sixties, you weren't really there. The same can probably be said about the legendary Grateful Dead. Still, I recall attending a few Dead shows in the eighties.

The Dead launched their "long strange trip" in the mid-sixties and flew high for three decades, inspiring hordes of Deadheads along the way.

A Dead show involved not only the musicians on stage, but the audience as well. The Dead encouraged fans to attend more than one show by playing a different set list every night. They knew hundreds of songs and never did the same show twice. Not knowing what the band was going to play moved tapers to record virtually every improvisational performance.

Unlike nearly every other act, the Dead fostered this activity by setting aside a special section just for tape enthusiasts. For the tapers, only one rule applied, you can trade your recordings, but never sell them.

Over the years, the Dead's tapers grew in number as did their fans in general. It became a crusade to follow the Dead for an extended period of shows, living cheaply on the road as you went along. This meant various amateur vendors sold trinkets, jewelry, t-shirts, or perhaps vegetarian food before and after the show. Unfortunately, some fans saw the need to peddle illegal substances in this atmosphere as well, often making Deadheads targets for police.

The Dead’s multi-generational fan-base, with their psychedelic clothing, made for a colorful scene, and generated excitement reminiscent of the circus coming to town.

In our case, the Dead experience would include a traffic jam getting to the venue, a parking morass once there, a sea of tents and campers, followed by a carnival-like vendor’s area.

Walking through this territory of merry-makers was a prerequisite to attending the show. There you experienced first hand the sights, sounds and smells of the Grateful Dead on tour, just like Barnum and Bailey, but without the elephants.

The Dead and their fans enjoyed this long-standing symbiotic relationship, each benefiting from the existence of the other.

Following the amusements of the vendor area, you finally came to the arena itself, in this case the Alpine Valley Music Theater, located in East Troy, Wis. The date was Wednesday, June 22, 1988, a year after the band's first Top Ten hit, "Touch of Grey."

As usual, the group performed two lengthy sets, separated by a segment called "drums/space," which featured the incredible talents of the band's two drummers- Mickey Hart and Billy Kruetzmann. True to form, the Dead made the evening especially noteworthy by playing a new song called "I Will Take You Home," written by keyboard player Brent Mydland.

My wife Sue and I were back in the Milwaukee area the following spring for a performance by the Grateful Dead at The Mecca. The location of this show didn't allow for camping and vending, but Deadheads transcended on the area nonetheless.

The Sunday, April 16, 1989 show featured plenty of tasty guitar jamming from Jerry Garcia and Bobby Weir, but the surprise of the show came at the end. For an encore, bassist Phil Lesh, who rarely sang, performed "Box of Rain," my favorite Dead song.

Our travels with the Dead continued that summer when we attended another show at Alpine Valley, on Monday, July 17, this time with my sister Laurie Dunlap. The Dead were in Wisconsin on a three-day stand. After a solid show, the band stunned the audience with their encore. With only Garcia playing guitar, they sang "And, We Bid You Goodnight," a song they had not performed since 1978.

We had seen three Dead shows in little over a year, each one made distinctive-- and memorable-- by the band.

Although we later saw Weir and Garcia perform separately, we never attended another Grateful Dead concert.

By 1994, the Dead were inducted into the Rock 'N' Roll Hall of Fame and sadly, lead guitarist Jerry Garcia died the following year.

Those great shows from the late eighties already seem distant, but the memories they created remain as vivid as the tie-dyed Grateful Dead t-shirts we bought as souvenirs.