Peninsula label issued singles

Peninsula Records promotional poster

By STEVE SEYMOUR

Escanaba's burgeoning rock scene in the 1960s resulted in a record label being founded here which released a pair of 45 rpm singles by local bands.

Peninsula Records was organized in late 1967 by promoter Gene Smiltneck, who booked rock acts through his business, Bands Unlimited. However, the label was actually owned by Smiltneck's brother Leon since the American Federation of Musicians wouldn't allow an individual to own a label and be licensed as a booking agent.

Recordings by The Riot Squad and Prophets of Doom, two of Escanaba's best known groups of the era, were issued by the label.

Announcing the formation of Peninsula Records in a press release at the time, Gene Smiltneck said, "Having been a musician and more or less knowing the ropes of the business, I began having a wonderful group of kids called The Riot Squad to my house for practice sessions and this led to an arrangement by which I became their booking agent. In the spring of 1967, we began talking about recordings and began to work up some arrangements on a few songs.

"We decided that there was more to gain than lose in producing a record featuring The Riot Squad. I began to make arrangements which led to the birth of Peninsula Records and our first recording," Smiltneck added.

Peninsula Records' debut release was a pair of cover tunes by The Riot Squad, formed just two years earlier. The top side of the seven-inch disc was a version of Ritchie Valens' "Come On, Let's Go." Published by Kemo Music, the song became the first hit for the Latino star who died at age 17 in 1959 in the tragic plane crash that also killed Buddy Holly and The Big Bopper.

The flip was a take on "Ferry Cross the Mersey," a tune Gerry and the Pacemakers took to number six in 1965. Appearing on The Riot Squad recording were vocalist Greg Curran, bassist Bob Anzalone, lead guitarist Brendan Williams, rhythm guitarist Jim Joque and drummer Dan Curran.

"With these selections, we had one fast number and one slow number. We altered the songs to fit our style," Joque recalled.

Anzalone noted he had a different choice for the flip of The Riot Squad 45, hoping to record a tune by Bobby Vee. The Riot Squad bass player was rooting for "More Than I Can Say," a minor hit from early 1961. Smiltneck, however, favored "Ferry," a smash for Gerry Marsden and his Liverpool group.

The Prophets, meanwhile, recorded a pair of original tunes for their single, both sung by bassist Dave Watchorn. The A side was a number called "I Told You," composed by Watchorn, while the B side was "Baba-Do-Wah," credited to Dave Brooks, a friend of Watchorn's from the Manistique area. Both songs were published by Five State & Hankbee Music of Yonkers, N. Y. Besides Watchorn, the Prophets of Doom included lead guitarist Larry Olivares, rhythm guitarist Mike Steede, drummer Jim Nelson and organ player Jim Smith.

Olivares had moved to Escanaba from Los Angeles, where he had met Ed King, lead guitarist for the psychedelic band Strawberry Alarm Clock. "They had just released 'Incense and Peppermints,' and I really liked King's lead guitar on the song. I was actually trying to replicate it on 'I Told You.' When I did the lead, I had this really neat fuzz box, a Vox Tone-Bender, I got in California. It didn't work well at low volume, so the lead stuff actually sounds like I used an electric sitar that was on the market at the time."

The Prophets recorded Brooks' tune because they didn't have a B side for the record, Olivares noted. "It was a typical early sixties kind of crooner love song. We actually did considerable re-arranging of the original version. It's still one of my favorites," he added.

Both discs appeared with a light blue label, which listed the address of Peninsula Records as 1616 11th Ave. So., Smiltneck's home. By the time the Prophets of Doom record was issued, the label also included the firm's telephone number, as well.

In fact, the songs issued on the label were recorded in the basement of the small house on Escanaba's south-side where Smiltneck lived at the time. Joque recalled: "Gene modified the basement with padded walls to get a good recording sound. I think he had some good state of the art recorders and we laid two tracks. We worked many hours to get the two songs down for recording. I was excited because I got to use my 12-string."

Joque was complimentary about Smiltneck. "Gene coached us with the music, engineered and produced the recordings. He had a good ear and knowledge of the business at that time."

One thousand copies of each disc were manufactured at a custom pressing plant in Cincinnati called Queen City, Smiltneck recollected.

"I remember a few of us from The Riot Squad, together with Gene, would drive around the Upper Peninsula to various businesses, like cafes, bars and record shops to promote and sell the records. Although we really were not in it for making revenue, other than covering the cost of making the record, our intentions were to promote The Riot Squad as a 'recorded' band," Joque recalled.

Was a third 45 ever considered? "No," Smiltneck responded. "We didn't profit from the sales. But the airplay certainly created popularity for both bands."

Both records are hard to find today.

Trips featured top blues acts

Buddy Guy

By STEVE SEYMOUR

Call them mini blues excursions, if you will.

In recent years my wife Sue and I have made overnight trips to see some of the top acts the genre has to offer.

Two years ago we witnessed a terrific double bill in Green Bay featuring blues legend Buddy Guy with young guitar slinger Jonny Lang as the opening act. Meanwhile, we traveled to Marquette to attend concerts by veteran performer John Hammond, as well as Magic Slim, one of the originators of Chicago-style blues.

Going to the Guy/Lang concert on Aug. 25, 2005 was a no brainer. Next to B. B. King and possibly Robert Cray, Guy is the biggest star in blues today. Recording since the late 1950s, he's influenced virtually every major blues/rock guitar player since.

But you might not realize that from his live shows. Guy plays signature riffs from Eric Clapton, Jimi Hendrix and Stevie Ray Vaughan to cheers from the crowd. What's impressive, however, is that Guy influenced those three great players, not the other way around. Given that fact, perhaps Guy should spotlight more of his own material.

Clapton has taken to calling Guy the world's greatest living guitar player. While Guy may welcome the accolade, fans expect him to prove it each time he plays.

At the show at the Oneida Casino Pavilion , the 69-year-old Guy turned songs into lengthy jams, but kept the audience enthralled. He even added to the excitement by leaving the stage and walking through the crowd. He didn't miss a lick as he wandered about with a big grin on his face as enthused fans patted him on his bald pate.

Certainly, Guy deserves his crown as King of Chicago Blues, like Muddy Waters did before him. Guy has been in and out of favor over the decades, but has been on an upswing since the Grammy-winning "Damn Right I've Got the Blues" was released in 1991. He was even inducted into the Rock & Roll Hall of Fame earlier in 2005 by fellow bluesmen Clapton and King.


Jonny Lang

But, who had more to prove, the time-tested veteran or the young upstart? Jonny Lang, just 24 at the time of the this show, made comparisons difficult. Lang and his band put on a low-key acoustic performance that was still entertaining. Of course, Lang performed "Lie To Me," the song that launched his career from the unlikely base of Fargo, North Dakota.

Lang may not have desired comparisons to Guy, but he is as expressive a guitarist as the elder bluesman and sounds like a seasoned player, which in the world of blues is a compliment. With his many talents, Lang should enjoy a long career, barring any missteps.

Hammond and Magic Slim, meanwhile, already have careers measured in decades.

The New York City-born Hammond presented himself in a solo acoustic setting at Marquette's Kaufman Auditorium on April 17, 2004. Touring over 250 days a year, Hammond has dedicated himself to re-interpreting songs by such artists as Robert Johnson, Sonny Boy Williamson and Willie Dixon. Besides performing his versions of blues classics, the guitarist also sang one of his own compositions, although he is not known as a prolific songwriter.

Hammond, 61 at the time of the Upper Peninsula show, has been around the music business his entire life. His father, John Hammond Sr., a renowned producer and talent scout, signed Bessie Smith, Count Basie, Bob Dylan and Bruce Springsteen to Columbia Records during his career.

As part of his U. P. appearance, Hammond told stories about the songs and the blues personalities he's met through the years and continued the conversation with fans after the show.

Hammond's appearance, and that of Magic Slim and the Teardrops, came courtesy of the of the Northern Michigan University Performing Arts Series.

Slim's show took place Jan. 28, 2006 at NMU's University Center, where the audience had a dance floor available, and they used it. One of last surviving Chicago bluesmen born in Mississippi, Slim is known for his snarling guitar.

Age 68 at the time of this show, the six foot, six inch Slim stood while singing, then sat on a stool for his fiery guitar solos. More than one college student watched in disbelief as Slim demonstrated his enviable fret-work. Although his group has a virtually limitless repertoire, Slim heralded a surge on the dance floor with the highlight of the show, a sweaty version of Wilson Pickett's "Mustang Sally."

Well, there you have a sample of three music journeys Sue and I enjoyed in recent years. The shows demonstrated the blues are alive and well and they can be had close to home, with a good time practically guaranteed.

Maybe it's time you planned a little road trip yourself.

May 24, 2007

Guitar heroines awe inspiring

BLUES CARAVAN 2007


By STEVE SEYMOUR

If you like chicks with guitars like I do, let me introduce you to Sue Foley, Deborah Coleman and Roxanne Potvin.

These three guitar goddesses have collaborated on a new compact disc, "Time Bomb," which demonstrates their considerable abilities with a relentlessly entertaining collection of 11 songs sure to remain in your CD player for some time. The recording is a virtual guitar showcase, with each of the women providing songs for the project.

Before I go on about their new disc, you should know a few things about these six-string slinging ladies. Foley, born in Canada, moved to Austin, Texas, in the early 1990's and has established her credentials with ten top-notch albums. Blending rock and blues originals, her sound is influenced by the likes of Memphis Minnie and Earl Hooker. Her guitar technique is stunning and memorable. The soulful Coleman, meanwhile, is another under-the-radar musician with considerable experience. A resident of Chesapeake, Virginia, she puts great enthusiasm into her performances gathering inspiration from rock legend Jimi Hendrix and Chicago blues master Buddy Guy. Newcomer Roxanne Potvin, a native of Quebec, started playing guitar at age 15 and generated music-industry interest with a self-produced CD of original material, released in 2003.

Although they have recorded for other labels, all three women are now signed to Germany's Ruf Records. Company owner Tom Ruf conceived the trio idea and hired producer Kevin Bowe to take charge of the project. "We did the whole record in Minneapolis a few months ago, with pre-production at my studio, basic overdubs at Terrarium Studio downtown, then back to my studio for more overdubs and mixing," Bowe told me.

"Most of the record was recorded very live as you can tell when you listen. All the studio chatting and laughing was left in the tracks. I got to use my dream band for the record. Billy Thommes nailed the drums, Bruce McCabe and Mark Lickteig were great on keys and Jim Anton did all the bass tracks.

"With three great guitarists in the room I really just sat around and said 'yeah, man that's cool' at the end of each take," said Bowe, who is a talented musician and composer, as well. The self-effacing Bowe has worked with such famous musicians as Kenny Wayne Shepherd, Jonny Lang, Etta James, Robben Ford, Lynyrd Skynyrd, Delbert McClinton, John Mayall and Tommy Castro.

"We worked hard because we did the whole record in less than a week but mostly it was just like it sounds on the tracks, a lot of laughing and horsing around," Bowe summarized.

The disc opens with Foley's instrumental composition,"Time Bomb," which ably demonstrates how much this band can rock. The women alternate lead vocals on the rest of the songs until all three sing on the album closing "In the Basement," first made famous by Etta James. Foley, who has recorded a "road song" on each of her solo discs, contributes the high-octane "So Far," "Show Me," and "Two Moons Gone." Coleman features in a funky version of James Brown's "Talking Out Loud and Saying Nothing," "Motor City," and "Don't Start the Car," written by producer Bowe. Potvin, meanwhile, is showcased in "Hitting on Nothing," and her originals, "Strong Enough to Hold You" and "Get Up."

When a lot of records today demand your attention with gimmicks, "Time Bomb" draws you in with class and style, to say nothing of the players' instrumental and vocal skills.

Their charms were not lost on Bowe. "Well, there was the one time when all three women tied me down with their guitar cables and then... oh that didn't really happen," Bowe kidded.

He did tell me another story, however, which illustrates the power of this music. "I was teaching a songwriting class at a local music college during the time of this recording so I invited my students down to watch us record while Sue Foley was doing solos on 'So Far,' I think. At the end of a particularly jaw dropping take one of my young male students broke the awestruck silence by looking at Sue and asking for her hand in marriage. A poignant moment for sure."

Will there be further collaborations with this group in the recording studio? Bowe refers that question to Tom Ruf, president of the record label, but adds, "I'd work with any or all of them again. It was one of the most fun and effortless records I've ever made."

Foley, Coleman and Potvin will begin a United States tour next month, billed as Blues Caravan 2007. Luckily for Upper Peninsula fans, the tour includes a performance at the Porcupine Mountain Music Festival in Ontonagon on Friday, Aug. 24.

This trio of guitar goddesses is ready to deliver the blues for you, on disc or live. Gentlemen, get your marriage proposals ready.


To check on Kevin Bowe's current activities, go to www.alisonscott.com

Sam the Sham details emerge

1966 POSTER



By Steve Seymour

It was urban legend around Escanaba. Sam the Sham, the musician who wrote "Wooly Bully," Billboard's record of the year for 1965, had performed here. Details, however, were sketchy until a few weeks ago.

That's when Bob Anzalone, bass player for local band the Riot Squad during the 1960s, came around to show me his scrap book of music memorabilia. On the last page, Anzalone had tucked away a poster he saved from that fabled Sam show.

Possibly a one-of-a-kind item, the 17 by 23 inch poster was folded, unfortunately, but still revealed details that otherwise would probably have been lost. The poster is dominated by a black and white promotional photograph of Sam and the Pharaohs, taken in 1966 by their label, MGM Records. Sam is shown surrounded by his group who have matching shirts and the mop-top haircuts popular at the time.

Texas-born singer Domingo Samudio took Sam the Sham as his stage name and made "Wooly Bully" a phenomenon. The song was an international mega-hit, selling three million copies. It was nominated for a Grammy Award and became the first American single to sell a million copies since the Beatles and their British counterparts invaded our shores the year before. Billboard charted the single longer than any other record released that year.

Sam the Sham and the Pharaohs' appearance in Escanaba took place on Easter Monday, April 11, 1966 at Club A Go-Go. Billed as a teen recreation center, the club was owned by Gene Smiltneck, who went on to promote numerous music groups through his business, Bands Unlimited.

Smiltneck recalled he was looking for a "big name" music act to perform at his club, which was located at 2000 Ludington St. He lined-up Sam the Sham and the Pharaohs through a national booking agency because they were available for the planned budget and date. For a fee of $2,000, a substantial sum at the time, the group was signed to play gigs in Green Bay and Escanaba over the Easter holiday weekend.

Sam's Wisconsin appearance took place on Saturday, April 9, 1966 at WBAY Auditorium, 115 S. Jefferson St. in downtown Green Bay, one of the area's largest venues. The opening act for both shows was Escanaba rock band Beat Inc. which included Hank and Corky Mroczkowski, on bass and lead guitar, respectively; drummer Jim Lewis and Bruce Douglas on keys. Douglas said Beat Inc. may have had an advantage in getting the gig because they owned a Farfisa organ. Sam the Sham probably required that keyboards, amps and a sound system be provided for them, Douglas surmised.

Following a day off for Easter, Sam and his group repeated their performance to a packed house at the club situated on the corner of Ludington and 20th St., in the building where Kobas Electric is now located. Teenagers buying their tickets in advance got to see a national act for $2, while those waiting until the day of the show paid $3 at the door.

Certainly the highlight of the night was hearing Sam launch into the introduction of "Wooly Bully," with the words "Uno, dos, one, two, tres, quatro...." Douglas said, "I remember they did a much better job than we did, even with our 'inexpensive' equipment."

Sam's appearance in Escanaba came as his Tex-Mex group continued to rack up hits. They enjoyed Top 40 entries with "Ju Ju Hand" and "Ring Dang Doo" in 1965, but their first single for1966, "Red Hot," a rockabilly song first recorded by Billy "The Kid" Emerson in 1955, barely cracked the Top 100.

At this point Sam and his band had recorded, but not released, "Lil' Red Riding Hood," which would became their second million selling song in a year. "They told us they had recently cut a new album but couldn't say much about it," Douglas, who now lives in Minneapolis, recalled.

The group which performed in Escanaba was actually Sam's second group of Pharaohs. In late 1965, the Pharaohs of "Wooly Bully" fame left Sam in a monetary dispute. They were replaced by a band from New York City called Tony Gee and the Gypsys, who became the new Pharaohs. This group which included bass player Tony "Butch" Gerace, Frankie Carabetta on sax, drummer Billy Bennett and guitarist Andy Kuha, recorded "Lil' Red Riding Hood," and appeared in Escanaba with Sam.

Smiltneck, now a Green Bay resident, was complimentary about the Pharaohs' frontman. "Sam was very personable and spent quite a bit of time after the show, talking with the patrons."

Hank Mroczkowski recalls conversing with Sam after the performance as well as Carabetta, whom he was eager to talk to because they both played the saxophone. Anzalone had his poster of the show autographed by fellow bassist Gerace who wrote in pencil: "Best Wishes, Tony of the Pharaohs (bass guitar)."

In the months following their Escanaba show Sam the Sham and the Pharaohs continued to tour. By Aug. 6, 1966, "Lil' Red Riding Hood," was ranked No. 1 on the Cashbox magazine chart of top singles.

Decades later, royalties for "Wooly Bully" continue to roll in for Sam, who still lives in Texas and makes his living as a motivational speaker with an occasional gig thrown in for old time's sake.

Smiltneck, who later changed his name to Gene Michaels, remembered the Sam the Sham show as the biggest event at his Club A Go-Go. "It was a great night for Escanaba."

Beatles prolific as solo artists

The Beatles


By Steve Seymour

It was no surprise that millions mourned when the Beatles broke-up in April, 1970. Since the band's launch in America in early 1964, fans had been treated to a dozen smash albums and more than 60 hit singles. Although the group disbanded, the music didn't stop. Fans consequently enjoyed a flood of quality material over the next five years as John, Paul, George and Ringo each launched their solo careers.

When I plunked down my $6.98 for "Let It Be" in May, 1970, I knew I was buying the Beatles final album. It was the end of an era, but also the beginning of another. There in the rack, were solo albums from McCartney and Starr to temper my disappointment. Ringo's LP, "Sentimental Journey," was a collection of standards which didn't impress me at the time. Paul's self-titled effort contained "Every Night" and the magnificent "Maybe I'm Amazed." It didn't exactly rock out, but it was pleasant enough and has grown on me over the years.

During the 1960s, the Beatles marketed themselves well, having new material available just about every Christmas season. The tradition continued in 1970 when Harrison released his triple-disc "All Things Must Pass" and Lennon unleashed "Plastic Ono Band," featuring Ringo on drums. Starr also issued his second album, the country-flavored "Beaucoups of Blues," recorded in Nashville. Harrison's single "My Sweet Lord," soared to the top of the charts, becoming the first post-Beatles number one.

McCartney issued a second solo set, "Ram," in the spring of 1971, containing his first number one, "Uncle Albert/Admiral Halsey." Lennon countered a few months later with "Imagine," a career high-point. McCartney's first album credited to Wings, "Wildlife," appeared at Christmas as did Harrison's "Concert for Bangladesh."

Although Harrison's set won a Grammy for album of the year in 1972, the only new LP to appear was Lennon's "Sometime in New York City," an abysmal collaboration with Yoko Ono containing just one worthy studio recording in "New York City."

The former Beatles soon made up for their lackluster year. In the spring of 1973, Apple Records released the group's first ever greatest hits collections, "1962-1966" and "1967-1970," known commonly as the red and blue albums. McCartney entered the fray with "Red Rose Speedway," containing "My Love." Just a month later Harrison appeared with "Living in the Material World," and the accompanying single, "Give Me Love." Both 45s went straight to number one on the Billboard chart. While those records might seem enough to satiate the public, the ex-Beatles weren't done yet.

On Nov. 2, 1973, Lennon and Starr simultaneously released new albums for the Christmas market. "Ringo" contained contributions from all three of Starr's former band-mates as well as "Photograph" and "You're Sixteen." Both singles topped the charts. Lennon returned to form with "Mind Games."

Capping off the busy year, McCartney unleashed "Band On the Run," a number one single and album, which many fans believe to be his finest solo effort.

Since "Band On the Run" continued to sell well into 1974, McCartney didn't release a solo album that year, but the other three did. Lennon's "Wall and Bridges" LP, containing the number one hit "Whatever Gets You Thru the Night," appeared in September, while Ringo's "Goodnight Vienna" came several months later. Harrison's Christmas present for fans, "Dark Horse," arrived on Dec. 9, 1974, during his first and only American tour as a solo performer.

Lennon was the first with new product for 1975 when he issued an album of oldies called "Rock 'n' Roll" in February. The "Venus and Mars" LP, containing McCartney's chart topping "Listen To What the Man Said," hit stores on May 27, while Harrison's "Extra Texture" appeared on Sept. 22. As the year was coming to a close both Lennon and Starr issued hits packages, "Shaved Fish" and "Blast From Your Past," respectively, which became the last releases on their Apple Records label.

By early 1976, the Beatles' nine-year contract with EMI/Capital expired. Lennon retired, Starr signed with Atlantic, Harrison formed Dark Horse Records and McCartney continued with Capital.

Since the dawn of the decade, they'd released 23 solo albums, and hit the charts with 48 singles, including nine number ones. I bought every one, took them home, examined the covers, studied the liner notes and played the heck out of 'em.

Remarkably, each of the solo Beatles succeeded with critics and in a very competitive marketplace. It turns out the public had a very large appetite for Beatles product which didn't diminish as they established their individual careers. Their solo product didn't always have the cultural impact of Beatles records, but the songs maintained high artistic quality and often matched or surpassed the popularity of their 1960s output.

While Beatles material, group and solo, continues to be released, the years immediately following their break-up proved to be a most prolific and musically-rewarding period. I know. I've got the collection to prove it.