Keeping an 'eye' on Alan Parsons

Don't rush Alan Parsons.

You'll remember him as the namesake of the Alan Parsons Project, with credits including "Eye in the Sky," a number three smash from 1982.

When the song appeared you had to be content playing it on your home stereo, or catching it on the radio.

That's because Parsons didn't create a video for the song or tour to support it.

Parsons spent 15 years in the music business before he came to record "Eye in the Sky." He spent that time with the likes of the Beatles and Pink Floyd.

Hired as a staff engineer by record label EMI in 1967, Parsons worked at the famed Abbey Road studios while the Beatles recorded "Sgt. Pepper's Lonely Hearts Club Band." By the time the group recorded "Let It Be" and "Abbey Road" Parsons was credited as assistant engineer. He was present at the famous "rooftop concert" when the Beatles performed live for the last time.

Parsons impressed Paul McCartney who hired the young sound technician to work on three of his early solo albums, including "McCartney," "Wildlife" and "Red Rose Speedway."

When he landed a gig to engineer Pink Floyd's "Dark Side of the Moon," also recorded at Abbey Road, Parsons added significantly to his resume. Released in 1973, the album has been lauded as a brilliant achievement by critics and fans alike, selling tens of millions of copies worldwide.

Work on Floyd's sonic masterpiece as well as Al Stewart's concept album "Time Passages," led Parsons to form his own band, sort of.

While the Alan Parsons Project maintained a steady presence on the charts for a decade beginning in 1976, it wasn't even a proper group. Actually, Parsons used a rotating group of musicians and singers in the studio.

Parsons' many albums feature his work on guitar and keyboards, and although he's an accomplished vocalist, he rarely sings. He serves as his own engineer and producer, as you might expect.

During his most productive period, Parsons worked with lyricist Eric Woolfson, who sang lead vocals on "Eye in the Sky."

Their biggest hit, "Eye in the Sky" was one of the industry's first digital recordings. Recorded at the familiar Abbey Road studio, the album opens with an instrumental track, "Sirius," which the Chicago Bulls use as their theme song.

London-born Parsons related his experiences working with Pink Floyd and the Beatles, as well as his Project efforts, during a fan convention my wife Sue and I attended at Chicago's Hyatt Regency O'Hare Hotel during the weekend of Aug.16-18, 2002.

The amiable musician told stories from the earliest days of his career and answered questions from the audience.

Parsons was content to concentrate on recording in the Seventies and Eighties, creating a number of memorable concept albums, but opted for a solo career in 1993. At that point, he finally decided to tour extensively.

Years after his records fell off the charts, fans finally got to hear live versions of Parsons' work.

To cap off his appearance at the convention, Parsons performed the 20-year-old "Eye in the Sky" before an enthusiastic crowd, adding "Games People Play," from the popular "Turn of a Friendly Card" LP, and other hits as well.

His most recent compact disc,"Valid Path," appeared just two years ago and at age 56, Parsons continues to record, now nearly four decades into his musical endeavors.

All told, Parsons has had an enviable career, including numerous smash albums and 17 hit singles under his own name, not including his work as an engineer or producer for other acts.

Now, next time you hear it, you'll know the history that came before and after "Eye in the Sky" struck gold for Alan Parsons.

Be warned: rock isn't dead, yet

You wouldn't know it by listening to the radio, watching music videos, or checking sales charts, but rock isn't dead yet.

While the likes of the Dixie Chicks, Shakira and Chamillionaire are dominating your attention, some veteran rockers are plotting an alternative future.

So, get ready for new albums, reunions, tours and even a memoir.

Late summer will see the release of new albums from our favorite Bobs.

It has been an interminable 11 years since Bob Seger graced us with new product, but Capitol Records has scheduled "Face the Promise" for Sept. 12. A single, "Wait for Me," (yeah, we've been doing that) should precede the new disc, which will also include a duet with Kid Rock on "Real Mean Bottle," a Vince Gill tune. Will he tour? Nobody's saying.

Bob Dylan's album, meanwhile, is slated to hit retail on Aug. 29. The prolific Dylan has titled his 44th album, "Modern Times." The Columbia Records disc features 10 songs and follows "Love and Theft," his Grammy-winning 2001 effort. Dylan might even play tracks from the new release on his XM radio show.

Eric Clapton, on the other hand, doesn't have a new album, but he will be touring North America, and writing a book. The guitar god's tour will kick-off Sept. 16 at the Xcel Energy Center in St. Paul, with bluesman Robert Cray as the opening act. Clapton, who sold out shows last year as part of a Cream reunion, may add Derek and the Dominos tunes to the coming shows.

Conceivably, Eric will recall his days in Cream, the Dominos and Yardbirds in his new autobiography. Hopefully, he'll be able remember enough details for the book, considering his bouts of addiction all those years ago.

It isn't known if the Cream reunion made Ray Davies think about his brother Dave, but the Kinks' frontman is talking about new recordings with his sibling. The brothers have been famously fighting since, well, forever. But, as Dave recovers from a stroke suffered two years ago, they plan to write new songs together and see what happens. Ray, meanwhile, will play Detroit on July 1 and Milwaukee's Summerfest the next day, in support of his "Other People's Lives" album.

There has also been a meeting of the minds in the Beach Boys camp, if only temporarily. The legendary Brian Wilson, cousin Mike Love and Al Jardine made their first public appearance in a decade recently on the occasion of the 40th anniversary of the equally-legendary "Pet Sounds" album. Lawsuits flew for years between Wilson and Love, but the animosity seems to have diminished as the years have passed. Capitol is planning another Beach Boys hits package, to be called "Warmth of the Sun."

With several different configurations of the Beach Boys having toured in recent years, the Rolling Stones will venture out again July 11, after a bump or two. The tour had been delayed due to guitarist Keith Richards' shadowy south Pacific mishap and subsequent surgery. Fellow guitar picker Ron Wood has since checked into a rehab clinic to dry out before the tour resumes in Italy. He'll have to wait till later to party, apparently.

Fellow Britisher Ringo Starr has also started another tour, his 9th as a solo artist. This time around, Starr tackles "What Goes On" for the first time. He wrote the tune years ago with some old bandmates named John Lennon and Paul McCartney. Ringo scheduled a Las Vegas concert date so he could see the new Cirque du Soleil show which features new takes on Beatles songs, as produced George Martin and his son Giles.

The Who, meanwhile, put on a show of their own at Leeds University to mark the 36th anniversary of the group's landmark live album. Pete Townshend and Roger Daltrey duplicated their long ago performance, belieing their advanced ages with vocal and guitar showcases rivaling the originals. While drummer Keith Moon and bassist John Entwistle have gone to rock 'n' roll heaven, it hasn't stopped this band.

Somebody warn the Dixie Chicks, Shakira and Chamillionaire.

Rock isn't dead, yet.

A song mix certain to please

Okay, what do these songs have in common?

"When I'm With You," (Sheriff); "The Flame," (Cheap Trick); and "Wind Beneath My Wings," (Bette Midler). If you guessed number one pop singles from the Eighties, you're right.

What about "The Most Beautiful Girl in the World," (Charlie Rich); and "Blinded By the Light," (Manfred Mann's Earth Band)? Give yourself a pat on the back if you said number ones from the Seventies.

Now add these to the mix: "Catch Us If You Can," (Dave Clark Five); "Morning Has Broken," (Cat Stevens); "Green River," (Creedence Clearwater Revival); and "Unchained Melody," (Righteous Brothers). Yes, they're top ten hits from the Sixties and Seventies.

Next, contemplate how these songs fit into the equation: "Little Wing," (Jimi Hendrix); "She Belongs to Me," (Bob Dylan); and "100 Years," (Five For Fighting).

While you're at it, think about "The Closer You Get," (Alabama); "Convoy," (C. W. McCall); and "Hot Rod Lincoln," (Commander Cody). Heck, so long as you're at it, you might as well toss in "Rhythm of the Day," (Red Nichols); "I Will Be Here," (Steven Curtis Chapman); and "Fred Bear," (Ted Nugent).

So, got anything on those last nine? Here's a clue: "In Heaven There Is No Beer," (Frankie Yankovic).

Well, I probably gave it away with that last one.

Anyway, take a handful of rock hits, add some oldies, a few country smashes, a couple of slow numbers, a big band standard and a polka and you have the formula for a perfect wedding reception.

Few Upper Peninsula deejays don't have the Yankovic classic in their collection because it gets people dancing and singing along. "In heaven there is no beer, that's why we drink it here." You can't fail to have fun when that polka's being played.

Music brings people together and that point will be demonstrated on June 17, when my nephew Jason Dunlap marries his fiancee Yvonne Thoune. They thought a great way to get their wedding reception rolling would be to play songs from everyone's hit list.

Yes, this eclectic mix represents the favorite songs of the wedding couple's family and friends. These may have been disparate titles before now, but after this weekend, they'll be remembered as the songs played at Jason and Yvonne's wedding party. The music will help create memories which will last a lifetime.

By the way, the newlyweds will be dancing to "Amazed," a number one smash by Lonestar from their "Lonely Grill" compact disc. This won't be the first time "Amazed," written by Marv Green, Aimee Mayo and Chris Lindsey, has been featured in a wedding, of course. The contemporary country tune has been an immensely popular crossover radio staple since being released in 1999.

It's a safe bet, though, Jason and Yvonne won't forget what that song means to them. Whenever they hear it, "Amazed" will bring them back to their wedding day.

You probably have your own wedding reception favorites. Maybe it's "Love Shack," (B52s); or "Mony Mony," (Billy Idol). Or perhaps you have fun with novelty tunes such as "The Hokey Pokey," (Ray Anthony); "The Chicken Dance," (Lawrence Welk) or "Beer Barrel Polka," (Frankie Yankovic, again). He is the polka king, you know.

In the end, though, it's not what the songs have in common, but what we have in common with the music. It's a powerful connection, regardless.

Certainly, music can have no more lasting impact than bringing family and friends together for a memorable day. After all, that's what the wedding ceremony and reception are meant to do.

So, with that in mind, let's polka! Or, maybe not.

Who show was rare treat

The Who played thousands of concerts during an illustrious career beginning in the early Sixties. My wife Sue and I managed to see just one, but it was a magnificent show indeed.

In their heyday, the Who were the epitome of rock 'n' roll. You heard their essence in records like "My Generation," "Magic Bus," "I Can See for Miles," "The Seeker" and dozens more.

But for me their spirit was captured visually in a photograph I saw in downtown Cleveland during a visit to Ohio for the grand opening of the Rock 'N' Roll Hall of Fame in 1995. The photographer snapped the shutter just as a frantic Keith Moon hurled his drum kit into the crowd of screaming teenagers. Moon's antics weren't premeditated, he was just caught up in the frenzy.

Keith's energy couldn't be contained by a rock 'n' roll show or by life itself. Unfortunately, this wild side led to his death in 1978 from an overdose of prescription drugs.

Although the group pressed on with the release of the "Who Are You" album, misfortune still trailed them. In a rush to get the best seats, 11 concert-goers were suffocated in a stampede at a Who show on Dec. 3, 1979. The tragedy happened just a few miles down the road at Cincinnati's Riverfront Stadium. The band was faultless in the accident, but it still weighed upon them.

By 1982, the Who undertook a "farewell" tour and issued "Who's Last," which I gratefully received as a Christmas gift.

But, the Who wasn't finished.

As the years passed, lead guitarist and songwriter Pete Townshend decided it was time for his group to to play "Quadrophenia,"-- their two disc masterpiece from 1973--live for the first time. For those not familiar with the work, Quadrophenia is the story of mod rocker "Jimmy," who has four personalities. It is paired in the Who's discography with "Tommy," another acclaimed rock opera.

After rehearsals with drummer Zak Starkey (Ringo's son), the Who set out on the road.

Our paths finally intersected when Sue and I saw the iconic band perform at Milwaukee's Marcus Amphitheatre on July 23, 1997.

The audience at the outdoor venue was treated to a multi-media performance of the complete "Quadrophenia" program, during a warm summer evening. Not unexpectedly, the crowd was enthralled by the performance, seeing a classic rock 'n' roll story come to life before their eyes for the first time. Watching the spectacle offered me a respite from mourning the passing of my mother, Jean Seymour, who had died a few months before.

On stage, the explosive Starkey propelled the the rhythm section, which also included the rock steady bass licks of a typically stoic John Entwistle. Also appearing were numerous guest singers and musicians, including P. J. Proby and guitarist Simon Townshend, Pete's brother.

Singer Roger Daltrey had his vocal chords tested during a closing hits segment which included "Won't Get Fooled Again," "Behind Blue Eyes," "Substitute," "I Can't Explain," and "Who Are You."

The Who demonstrated their enviable talents for the Milwaukee crowd, playing part of the Who canon never before performed live. The show was a gutsy move for a trio of aging rock 'n' rollers.

A testament of the band's prowess is being released this week when Rhino issues the DVD souvenir of the tour, "Quadrophenia Live."

Only five years after the Milwaukee show, John Entwistle followed Moon into the rock 'n' roll hereafter when he suffered a fatal heart attack in Las Vegas, just a day before a Who tour was scheduled to start.

Now, Townshend and Daltrey have announced the band will launch a 2006 world tour by recreating their legendary Leeds University gig on June 17, exactly 36 years after the original performance. The resulting 1970 LP is still considered one of the best-ever live albums.

Whether Sue and I will ever get to see the Who ever perform again isn't clear. If we do, they're bound to surprise us again. If not, we can look back on their Wisconsin performance knowing one of rock's greatest live groups took the challenge to play a complicated rarely-performed long-form masterpiece, rather than simply knock out the hits.

How 'Black Betty' got her name

Bam ba lam!

When it came time to name my 1940 Plymouth coupe street rod, the task was easy.

That's because a 1970's rock band and an African-American folk singer did the work for me.

Huddie Ledbetter, also known as Leadbelly, wrote numerous classic folk and blues songs including "The Midnight Special," (Creedence Clearwater Revival); "C. C. Rider," (The Animals); "Rock Island Line," (Lonnie Donegan); "Goodnight Irene," (The Weavers); and Black Betty.

Leadbelly was first captured on tape on field recordings by John and Alan Lomax for the Library of Congress. The folksinger had served prison time for murder, but was released. He had a prolific recording career and was a particular favorite in Manhattan.

Although Leadbelly died broke in 1949 after being diagnosed with Lou Grehrig's disease, "Goodnight Irene" became a million-selling No.1 hit the following year.

"Black Betty," meanwhile, was a hit waiting to happen when the rock quartet Ram Jam considered the song for its first album.

Based in Long Island, New York, Ram Jam was comprised of singer Myke Scavone, guitarist Bill Bartlett, bassist Howie Blauvelt, and drummer Pete Charles. They reworked Leadbelly's original 1930's arrangement for "Black Betty," giving the song a hypnotic rock beat.

Leadbelly's recording from 1939 is actually just a vocal with handclaps. It's also part of a medley, so Ram Jam had to write additional verses and add instrumentation. The song was actually a favorite of Bartlett's; he brought the song to the band and sang lead vocals on the track.

Released in the spring of 1977, the song is a two and one-half minute blast of pure rock 'n' roll. It became an international hit, reaching No.18 on the Billboard magazine singles chart in the United States. Although the band tried several follow-ups, including a song called "Keep Your Hands on the Wheel," nothing clicked with the public and Ram Jam became a one-hit wonder.

Still, "Black Betty" refused to fade away. When Australian group Spiderbait recorded their version, it went to the top of the Aussie charts in 2004. "Black Betty" was on my mind that year when my wife Sue and I started looking for a classic car to replace the Corvette we had sold a few years earlier.

I knew exactly what I wanted in a vintage car, too. Many folks desire 1960's or 70's era muscle cars, but I wanted a pre- World War II coupe. Sure, I liked the Camaros and Mustangs of my youth, but I wanted something older, but not the box-like models of the 1920s.

Why did I especially like cars from this earlier era? Well, as a kid in the early 1960's my dad took me into the pits during stock car races on the clay track at the Upper Peninsula State Fairgrounds. Then, the fastest, coolest cars were Chevy, Ford or Plymouth coupes.

Now, after months of searching, a two-door to my liking showed up on eBay, the giant Internet auction house. The car was powered by a 318 engine with an Edelbrock carburetor. An automatic, it had power steering, brakes and windows. The coupe featured bucket seats, frenched headlights, a v-butt windshield and was decked out in black primer.

We bid on the car and won. Now it needed a name.

For the uninitiated, "Betty," besides being a nickname for Elizabeth, is a slang term for a good-looking woman. My new car had curves in all the right places. It was in black primer. I had a life-long interest in music. "Black Betty" appeared to be the perfect name.

Getting behind the wheel, I turned on the stereo and slid in the Ram Jam compact disc. The ride proved to be a flawless combination of 100 percent American hot rod and timeless American music.

Bam ba lam!