Blues Brothers' impact noted

THE BLUES BROTHERS

By STEVE SEYMOUR

When the Blues Brothers appeared on Saturday Night Live for the first time on April 22, 1978, it was a perfect union of music and comedy. You remember the fedora hats and Ray Ban sunglasses borrowed from John Lee Hooker. If you looked closer you saw the trademark narrow black ties, white socks and Timex digital watches.

Television stars John Belushi and Dan Aykroyd had used their comedic skills to transform themselves into colorful characters named Jake and Elwood. The Blues Brothers musical sketches proved so popular, they were made a regular segment of the show.

Then the public demanded, and received, an actual Blues Brothers record album just six months later, on Nov. 28, 1978. "Briefcase Full of Blues" featured Belushi's vocals, Aykroyd's harmonica-playing and a dream line-up of rhythm and blues musicians: Paul Shaffer, Steve Cropper, Matt "Guitar" Murphy, Donald "Duck" Dunn, Steve Jordan, Lou Marini, Alan Rubin, Tom Scott and Tom Malone."Soul Man," a cover of the Sam & Dave tune, became a smash hit.

The product had to be hot, right? You bet. With well-chosen cover songs and inspired performances, it went straight to number one on the charts. But it also started a bit of debate. Were the Blues Brothers just a long-running comedy bit to profit from a beloved American music style, or did the blues in general benefit from increased exposure the group's massive popularity brought?

When the Blues Brothers appear at the Island Resort and Casino on April 13 and 14, the sold-out audience will see a version of the band with Belushi's brother James, in the role of Zee Blues (a small pun, perhaps, but a crucial component of the band, nevertheless).

James, who stars in the sit-com "According to Jim," has blues credentials of his own. Back in 1998, he cut a disc on the House of Blues label with the Sacred Hearts. A great album, it sold poorly, and is hard to find today. Undeterred, Belushi took the band to the Harris casino four years later where he staged a pair of spot-on shows, proving emphatically he could play the blues, performing Paul Butterfield's "Born in Chicago" and other classics. Then, in 2003 he cut an album with Aykroyd entitled "Have Love Will Travel," giving further evidence of his blues abilities.

Aykroyd, meanwhile, has become a serious proponent of blues music. With his friend Isaac Tigrett, Aykroyd founded the House of Blues in 1992. The chain of restaurants and music venues feature live music, often blues, and southern cuisine to match. Represented in many major American cities, the House of Blues was sold to a company called Live Nation in 2006.

The busy Aykroyd is also heard on many FM stations as host of the nationally-syndicated House of Blues Radio Hour, in his persona as Elwood Blues. Broadcast Sundays by WIMK in Iron Mountain, the program promotes talented blues performers who otherwise wouldn't receive national consideration. This radio exposure is welcomed by the blues community, which is relatively small. Major record labels rarely sign blues artists because their CD's usually sell in the thousands, not millions of copies.

Aykroyd and the late John Belushi brought renewed attention to the blues in 1978, while there have been several other significant revivals since then. The Fabulous Thunderbirds, starring Kim Wilson and Jimmie Vaughan burst out of Texas in 1979 and Stevie Ray Vaughan followed five years later. A two-disc Robert Johnson box set, containing his entire recorded output, took the music world by storm in 1990 with primitive, yet fascinating tracks laid down more than 50 years ago.

But those genre-saving flourishes have come and gone. While the likes of B. B. King, Buddy Guy and Robert Cray don't have trouble filling venues and selling discs, they are exceptions. Thousands of blues artists and dozens of independent record labels struggle to persevere and promote a musical genre which is culturally significant to the United States and widely recognized around the world.

Take KoKo Taylor, the Queen of the Blues, for example. Her last album of new material, the Grammy-nominated "Royal Blue," has sold an average of just 100 copies a week nationally since its release in 2000.

When the Blues Brothers take the stage at Harris next month, they may very well perform Taylor's biggest hit, "Wang Dang Doodle." Not everyone in the crowd will recognize the significance of the song or even consider themselves blues fans.

Without a doubt, Aykroyd, Belushi and their band have earned their blues chops. You can be sure they'll put on a terrific show and it's sure to be plenty of fun.

Plus, with every song they play, the Blues Brothers offer a lesson in blues, soul and rhythm & blues. If even a few audience members are intrigued enough to check out the genesis of the songs they hear, everyone will benefit.

Alan Parsons taps U.P. singer

By STEVE SEYMOUR

Houghton native P. J. Olsson, who began playing music at age 6, has landed a pretty decent rock 'n' roll gig.

He's the lead singer for Alan Parsons Live Project, a configuration of musicians performing the progressive rock of the group's namesake Britisher, who first gained fame for engineering records by the Beatles and Pink Floyd.

Parsons, internationally recognized for the number three hit "Eye In The Sky," has featured various musicians and vocalists on his recordings through the years. But since mid-2003, it's Olsson who has energized crowds as frontman for the Live Project. The tour will hit a high point this October when it lands in Houghton.

Olsson, who's quite proficient in the studio, met Parsons when he was hired to engineer for a day on the veteran rocker's compact disc, "A Valid Path," released in 2004. "I ended up there for six months, engineering, writing, singing and mixing for Alan's last record," Olsson told me.

In fact, Olsson got a songwriting credit with Parsons for a tune on the disc called "More Lost Without You," on which he also sang lead vocals. The album, which features Pink Floyd guitarist David Gilmour on one cut, maintained Parsons stellar production standards and bears repeated listenings.

"Somewhere along the line he asked me to see his band. I was horrified with what the lead singer at the time was doing to the songs. Alan asked if I could do better. I sang him 'Time,' and was hired for the next world tour," Olsson said.

Since then the singer-songwriter has performed for several Live Project music treks. This year's dates will include a residency in Houghton Oct. 9-12, during which the band will play with the 65-member Keweenaw Symphony Orchestra, directed by Milt Olsson, chair of the Michigan Technological University fine arts department, and P. J.'s dad.

It seemed obvious, but I asked the young singer if he was excited by the upcoming event. "Well, let's see, Alan Parsons' music, full orchestra conducted by my dad, singing in my hometown, I'd say... YES," Olsson emphasized, feigning an expletive.

When he appears before his hometown crowd, Olsson will be fronting a world-class band which includes Parsons on guitar, vocals, keyboards and percussion; plus keyboardist Manny Focarazzo; guitarist Godfrey Townsend; drummer Steve Murphy and bassist John Montagna.

The Keweenaw Symphony will play orchestrations written by noted movie soundtrack composer Andrew Powell, keyboardist Focarazzo and the elder Olsson

The Upper Peninsula audience will hear Olsson sing "Games People Play," "Eye in the Sky," "Time," as well as other material from the extensive Parsons songbook, in a program which also includes an awe-inspiring light show.

Now a resident of Los Angeles, Olsson said he finds his "return to the simplicity of small town America inspirational and centering."

Olsson said there were few musicians his age when he was growing up in Houghton. "Since I didn't have a band, I ended up resorting to analog tape decks sped up and slowed down, synths, sequencers, and custom recorded tracks as a backdrop for my songs. Before I knew it, I was 17 with a record deal as a solo artist."

While Olsson has worked with the veteran Parsons now for years, he is still able to maintain an increasingly visible solo career. His own albums include "Dust," "P. J. Olsson," "Words for Living," "Beautifully Insane," and the soon to be issued "The Ironwood Sessions."

Tracks from Olsson's latest album, to be released on the CBS Records label, will be included on various episodes of television shows like Jericho, CSI and Nip and Tuck. Olsson's song "She Says to Fly," will be featured in the program Ghost Whisperer which will air on April 6.

Olsson has also received nationwide exposure from an appearance on Late Night With David Letterman and was reviewed in Rolling Stone magazine. In addition, his song "Ready for a Fall," was included on the soundtrack album for the hit TV show Dawson's Creek, while "Visine," the opener from his fourth solo album attracted considerable media attention when it appeared in 2005. "The Whistle Song," another catchy tune from "Beautifully Insane," has been used in a Starburst advertising campaign.

The former U. P. resident's resume also includes performances alongside such musical acts as Train, Ben Harper, Michelle Branch, Bob Geldoff, Rufus Wainright, The The, Beth Orton and Placebo.

So, take a bow P. J., we Yoopers couldn't be more proud.

Steppenwolf ends at full throttle

By STEVE SEYMOUR

Sometimes the best comes to those who wait. For me hearing a rock anthem on the radio and meeting the man who sang it took almost four decades. But, before I tell you how it happened you need to know a few details.

For rock 'n' rollers in 1968, Steppenwolf's "Born to be Wild" howled out of the speakers like Peter Fonda's California-style chopper flew down the highway in the classic film "Easy Rider." The song, bringing "heavy metal thunder" to a rebellious generation, powered into the number two position on the Billboard Magazine top singles chart, and brought the band international success.

It was written by Dennis Edmonton, brother of Steppenwolf drummer Jerry Edmonton, under his stage name, Mars Bonfire.

Next came "The Pusher," an anti-drug song, followed by the number three smash, "Magic Carpet Ride."

Steppenwolf, fronted by lead vocalist John Kay (born Joachim Krauledat), was off to a flying start for a band founded in Los Angeles just a year before. "Rock Me," became the band's final Top Ten single in 1969. But, the LP's kept coming and they always included some musical gems to satisfy the band's rabid fan base. "Live," a double-disc set, appeared in 1971. The album showcased ferocious versions of "Sookie Sookie," "Hey Lawdy Mama," and eleven other hard rock movers. I loved it.

Despite their success, Steppenwolf broke up on Valentines Day 1972, reformed, but disbanded again. They even had a well-received "farewell tour" of Europe in 1974. By the early 1980s, Kay formed a new version of the band and went on tour as John Kay and Steppenwolf. FM radio continued to broadcast old Steppenwolf classics in heavy rotation, a signal for listeners to turn up the volume. "Born to be Wild," reappeared often in movie soundtracks as the years rolled along.

Steppenwolf, with Kay as the only original member, toured heavily, even playing a double bill with David Lee Roth at the Upper Peninsula State Fair in Escanaba. The band last played this area on Oct. 7 & 8, 2005 at the Island Resort & Casino.

But, as the group's 40th anniversary approached, Kay announced that a series of 2007 dates would be the band's farewell tour. At age 62, he was ready to put the Steppenwolf name to rest.Promotional spots on local radio reminded listeners that Steppenwolf's shows at Harris were the final opportunities to see the band perform live. I snapped up a pair of third row tickets for my wife Sue and myself for the Saturday, Mar.10 show.

Once again I'd waited to see a rock icon by telling myself there was always next time. To make up for my procrastination, I went all out and joined the fan club, the first time I'd become an "official" fan of anybody in my life. Within a few days I received my Wolfpack Fan Club packet. It included a T-shirt, color photo autographed by Kay, along with keyboard player and bassist Michael Wilk, lead guitarist Danny Johnson and drummer Ron Hurst, bumper stickers and some other goodies. But, best of all was the laminated fan club membership card.

That's because that card would get me backstage to meet the band, including the legendary John Kay, after the show.

But, first came the farewell concert.

Kay kicked off the show centerstage with "Move Over," including the poignant chorus, "Yesterday's glory won't help us today, you wanna retire, get out of the way." Then he addressed the fans, "It's good to see you, but I don't really see you. It's good to hear you," said Kay.

Kay's veteran band ran through the Steppenwolf catalog, including his solo hit, "I'm Movin' On," and a crowd pleasing rendition of Muddy's Waters' "Hoochie Coochie Man," which Kay recalled from his early days as a musician in Canada. They kicked it into high gear toward the end of the 90-minute set with rousing versions of "Magic Carpet Ride," "Born to be Wild," and "The Pusher."

But for me, the most exciting part of the evening was yet to come. As the crowd left the theater, I stayed behind with my guest pass, along with a few other people, including Steve Bozarth of Escanaba. We agreed to snap one another's photo with the band.

STEPPENWOLF AND ME

Kay and his bandmates soon appeared. The amiable Kay signed my copy of an old record called "Steppenwolf, Rest in Peace, 1967-72," saying "Oh, I remember this one." We chatted a little, shook hands and Bozarth took a few pictures. The band seemed quite genuine in enjoying the meet and greet with fans, even if it only lasted half an hour or so. I left with a smile on my face as Kay disappeared down the hall.

Next month, Steppenwolf will fly to New Zealand for two shows there, while the tour likely will end this fall with North American dates.

Tour manager Charlie Wolf , born in Coloma, Mich., described Steppenwolf's 40-year career as "one helluva ride." He told me Kay "works out several times and week and is in great shape both mentally and physically. We joke by saying 'he's the only remaining classic rock 'n' roller with a waistline.'"

Hopefully, the fit Kay will enjoy his retirement. In his lengthy career, he has kept true to himself and his musical vision, bringing joy to millions of fans.What a wonderful legacy.

I'm glad I was along for the ride.

JOHN KAY IN ACTION
____________________________________________________________________________________

STEPPENWOLF'S FINAL SET LIST
1. Move Over
2. Rock 'N' Roll Rebels
3. Rock Me
4. I'm Movin' On
5. I Will Not Be Denied
6. Hey Lawdy Mama
7. Hold On
8. Ride With Me
9. Screaming Night Hog
10. Hoochie Coochie Man
11. Snowblind Friend
12. Monster
13. Rise and Shine
14. Magic Carpet Ride
15. Born To Be Wild
16. The Pusher (encore)

Wayfarers' trip lasts decades

THE WAYFARERS

By STEVE SEYMOUR

Hollywood couldn't have scripted it better.

Three music students hear about an opening for a house band, rehearse for a few hours, drive to the audition and get the gig. They play together for two decades and even tape a long-playing record album.

But, that's exactly what happened to a trio of students from Northern Michigan University's music department.

The story begins in 1972 when percussionist and sax player Larry Henry heard that a supper club in Munising was looking for a house band to play dinner and dance music. Quickly assembling a band, the Detroit native contacted Keith Polkinghorne of Laurium who had enrolled in 1970 as a vocal music major. They completed the trio with Bill VanEffen of Escanaba known for his abilities on the Hammond organ and trumpet.

"We spent one afternoon rehearsing a bunch of tunes, drove down to Munising and got the job," recalled Polkinghorne, who started playing guitar at 13. The offer of employment came from a supper club called The Red Cedar. "We were so new we didn't even have a name. The bar in The Red Cedar was called Wayfarer Lounge, so we took our name from that."

The newly christened Wayfarers were a hit. "We played a number of years in Munising, sometimes just the summer months, sometimes all year long," said Polkinghorne, who played Fender bass and sang lead vocals. "Keith was the star of our show," VanEffen said.

VANEFFEN PLAYING TRUMPET AND ORGAN

VanEffen still got his share of the limelight, my friend Dan Lee and I observed when we traveled to Munising to see an early Wayfarers show. To the delight of the crowd, VanEffen occasionally played keyboards and the trumpet at the same time. It was an impressive musical feat by the young man I'd had known since 2nd grade.

By early 1974, the Wayfarers made an LP, unusual for a local band, "by popular demand," according to the liner notes. The disc was titled "The Wayfarers...Live," but that wasn't quite accurate. According to VanEffen, the band "tried for real live recordings, but there was way too much background noise." Consequently, the tracks were laid down in the NMU bandroom. "There's not a 'live' track on the album," Polkinghorne noted.

In choosing songs for the disc, VanEffen said they "tried for a sample of very diversified styles of music that represented what we actually played." The LP's tracks include covers of hits of the era such as Santana's "Evil Ways," Bread's "Make It With You," and a pair of horn-driven Chicago hits, "Make Me Smile" and "Colour My World." Amongst other tunes was a medley of oldies by Bill Haley, Danny and the Juniors, Elvis Presley and Carl Perkins titled "Rock Show."

The record, which features a cover photo of the trio on the Black Rocks of Presque Isle in Marquette taken by William Ryde, was sold at their gigs and in local stores.

As they became more well-known, the Wayfarers also served as the winter house band at Marquette's Holiday Inn. "We actually did a live recording there, but it was never produced," VanEffen, the group's manager, remembered.

True to their name, the Wayfarers did lots of traveling. Besides Munising and Marquette, the band performed often at the Dells Supper Club and a golf course in Escanaba. In addition, they played regularly in Manistique, Newberry and Sault Ste. Marie.

All three members of the Wayfarers graduated from NMU and became music teachers. Polkinghorne has been teaching music for the Hurley School District since 1985, while VanEffen retired in 2003 as director of bands for the Tahquamenon Area Schools in Newberry after 22 years. Henry, meanwhile, was last in Lake Geneva, Wis., teaching middle school band and choir.

"The Wayfarers continued to play with various members over a period of 20 years. Always with Bill VanEffen as the glue holding it together," Polkinghorne said.

"The band actually kept going until the early 90's. We became a private party/wedding band at the end. The main reason I gave it up was because my two boys were of age to start hunting and fishing and it was a choice between the band or spending weekends with them. I chose the latter," VanEffen explained.

VanEffen, who started taking music lessons at 6, owns a piano tuning and repair business and is also a commercial pilot. A part-time church organist, he also plays piano for Hopeful Gospel Quintet. VanEffen and his wife Deb spend their summers fishing and each fall at their camp in Rock where they are avid bowhunters. They plan to move closer to the Bay de Noc area when she retires from Newberry Hospital.

Since his college days, Polkinghorne has also been involved in other groups including The Fantastics, Top Notch, The Naturals, Silver Express, and Sessions. With his wife Patti, Polkinghorne will be moving back to Marquette when he retires from teaching in the spring of 2009. They've already purchased their retirement home, just a block from Lake Superior.

What will he be doing when he joins VanEffen in retirement? "Hey, maybe we'll put the old Wayfarers back together," Polkinghorne mused.

Teen dances featured top bands

RIOT SQUAD AT TEAMSTERS HALL 1973


By STEVE SEYMOUR

For a decade beginning in 1966 local teenagers could see top name live bands for what amounted to pocket change.

The action was centered at 900 1st Ave. S., a location which was home to the Knights of Columbus Council 640 for decades, but at this point was headquarters to Teamsters Union Local 328.

These dances were sponsored by promoter Gene (Smiltneck) Michaels who had moved here from Menominee. But he wasn't the first to hold such teen events.

Elroy and Wilma Zimmermann began hosting "sock hops" earlier in the decade at the suggestion of Elroy's brother Jim, who noticed such dances were popular when he was working as a disc jockey in Ironwood while attending Gogebic County Community College.

Zim's Night Train dances, some of which were held at Marco's Stardust Room, 2120 Ludington St., cost 35 cents and featured a library of 1,000 45 rpm singles for the crowd's dancing pleasure, Wilma recalled.

For his dances, Michaels hired local favorites the Riot Squad and Prophets of Doom, but also upped the ante by adding top regional acts and even groups with national reputations.
GREG CURRAN


GENE MICHAELS

Admission to the dances, which flourished as a social activity at the time, started at a paltry 50 cents and increased to a few dollars over the ten years that Michaels' company, Bands Unlimited, promoted them.

Michaels' efforts were well received by local young people. Attendance would range from 200 to 400 people, with one dance pulling in nearly 1,000.

To meet the entertainment demand, dances were scheduled on Mondays and Thursdays during the summer as well as Friday through Sunday during the school year. Dances were also slated on the night before a day off from school, Michaels noted. Depending on the time of year, the three-hour fetes started at 8 or 9 p. m.

Linda Brown remembered: "Guys would gather right inside the front door and check out the gals as they came in. Then when they were inside they would stand all around the room against the walls and slowly circle the dancers. Most never danced."

Michaels also scheduled Sunday "Jam Sessions," during which as many as a dozen bands would play. "They came from lower Michigan, Wisconsin and Minnesota to participate," Michaels said.

Long-time Escanaba musician Greg Curran played the dances as a member of Riot Squad.

"I remember all of kinds of great bands," said Curran, who went on to perform in well known bands Rocking Chair and the Cadillacs.

"The Excels were a five piece group from Northern Michigan University who got $300 when everyone else was getting $100. I still remember the local bands just speechless because these guys had all top of the line Fender equipment that you could only dream about." Curran was also impressed by The Ravelles from Iron Mountain who were "a show band before anybody knew what that meant. They would play a song and all switch instruments part way through until everybody had played every instrument."

Curran also fondly recalled regional bands the Unbelievable Uglies (Minnesota), The Boys Next Door (Indianapolis), and the Corrupters (Flint). Michaels said those bands were among the top draws when he booked them into Teamsters Hall.

The act which generated the most interest, Michaels said, was Love Society from Plymouth, WI. Covers of J. D. Loudermilk's "Tobacco Road" and Bobby Freeman's "Do You Wanna Dance" on Scepter Records proved to be regional hits in 1968 and 1969 for the group which packed 900 people into the venue.

Next most popular was an interracial group from Cicero, IL called American Breed. They had a Top 5 hit in 1968 with "Bend Me, Shape Me."

Making a strong impression with the local audience, the Unbelievable Uglies featured the raunchy bass antics of Winston Fink. The show band, based in Detroit Lakes, MN was named best group by the Minnesota Ballroom Operators, an endorsement which translated into increased exposure.

Michaels signed the Robbs to appear at the Teamsters Hall, despite their busy television schedule. Originally from Oconomowoc, WI, the Robbs were a house band on the popular rock 'n' roll show "Where the Action Is," hosted by Dick Clark, and had cut numerous singles although none became national hits.

The Boys Next Door were another top attraction at the dances, Michaels recalled. Taking their cue from the Beach Boys, the group performed tunes about cars and girls, many of them originals, gigging around the Midwest until they disbanded in 1967. The Corrupters, a seven-piece soul group from Flint, meanwhile, featured horns and a pair of black singers.

Myriad other bands showed their chops at the dances, Michaels said, including Infinite Blue, Home Sweet, Down Home and Tongue, shortened from Tennis Shoe Tongue Band. Curran, who's wife Debbie worked the door for most of the dances, also recalled other local groups playing there including The Spoken For, Upstairs to the Left, The Minutemen and Chocolate Ashcan.

"The bands even got together one weekend and painted the place," Curran remembered.

Michaels, now a Green Bay resident, said his best memories of the dances were "watching the excitement and fun the kids would have."

Having been a teenager in the Sixties, I went to those KC dances just like hundreds of other kids. I'm afraid I was one of those guys who never or rarely danced. But, I heard some fantastic rock 'n' roll bands which influenced my musical tastes right to this day. The dances inspired a sense of camaraderie and I had a blast going.

So, thanks Gene and Greg for sharing your memories and creating some, too.
____________________________________________________________________________________

Promoter Gene Michaels lists bands
with biggest crowds at KC dances

1. Love Society, Plymouth, WI
2. American Breed, Cicero, IL
3. Unbelievable Uglies, Detroit Lakes, MN
4. The Robbs, Oconomowoc, WI
5. The Boys Next Door, Indianapolis, IN
6. The Corrupters, Flint, MI
7. The Ravelles, Iron Mountain, MI
8. The Riot Squad, Escanaba, MI
9. Prophets of Doom, Escanaba, MI
10. Infinite Blue, Menominee, MI

UNBELIEVABLE UGLIES


THE BOYS NEXT DOOR


THE AMERICAN BREED