Fure left U. P., played with stars

Tret Fure

By STEVE SEYMOUR

Tret Fure has played with many famous musicians in a career that stretches back to the 1960s, but she had to leave the Upper Peninsula to do it.

She has recorded and toured with Spencer Davis, issued a major-label solo album produced by Lowell George, and opened for such acts as J. Geils Band, Yes and Poco. After that early success, she became one of the first female recording engineers in the country, and continues to earn recognition for her work in folk and women's music.

Fure (pronounced FURY) lived in Marquette from 1963 through 1969, her junior and senior high school years, and performed in a folk duo with her brother Rob. "We played the local coffee house. It was a great place and I really learned to perform there. We played a lot of faculty parties at Northern, student union gigs and some church basements," Fure said.

"Growing up in the U. P. was hard as a determined musician. I had very few peers. I knew a few players at Northern, but I was pretty much on my own, learning songs by putting my ear against the hi-fi, and it was a hi-fi in those days."

As a musician, Fure felt isolated in the U. P., but things changed when she was accepted at the University of California in Berkeley. "I'd sit on the steps of Sproul Plaza with my guitar case open and sing every Bob Dylan, Joni Mitchell, James Taylor, Joan Baez and Tom Paxton song I knew. I gathered quite a following and made good spending money and the fuse was definitely lit."

After a year, she decided to pursue music full time, and moved to New York to play the hootenanny scene in Greenwich Village. "I had hopes of finding a manager and making it big," Fure told me.
She found a new manager who led her to Los Angeles where she was introduced to a female rock quartet called Fanny, famous for their song, "Charity Ball." "They were the first real all women rock band that could play their instruments," Fure explained. "I became good friends with the band members, moved into their house in the Hollywood Hills and through their keyboard player met Spencer Davis."

Davis, whose hits included "Gimme Some Lovin'" and "I'm a Man," was looking for a guitar player who could play acoustic blues. "I auditioned for him, as I was quite adept at Leadbelly style fingerpicking and 12-string slide guitar. Plus, I could sing. He hired me, I found a bass player, and the New Spencer Davis Trio was born."

The group toured extensively in 1971-72 and recorded his "Mousetrap" album. Fure wrote the long player's single, "What's Gonna Happen When the Rainy Season Comes." As luck would have it, Fure was "discovered" during one of the band's last shows at Santa Monica Civic Center and signed to MCA Records.

Tret Fure's first album

Lowell George, a founding member of the influential Little Feat, was brought in to produce "Tret Fure," her debut LP. "Lowell taught me so much about songwriting, producing and engineering and dealing with the insanity of the industry. At that time, there were very few women artists. Lowell taught me how to maintain my integrity, my rights, my publishing and helped me to became the independent artist I still am today."

The resulting record, which featured Bonnie Raitt, Little Feat, Van Dyke Parks and the women of Fanny, sold well, with the single "Catalina," making the west coast charts. Fure toured in support of that album, mostly in the south, opening for many top acts, including Black Oak Arkansas. "It was tough, but I definitely learned my chops. These were arenas that held 20,000 kids. I was the walk-in act, the artist who played while everyone filed in and took their seats. Mostly I played to the front rows, where people were actually seated and listening. I discovered many people were actually familiar with my music because of the airplay the album was getting. It helped get me through a very tough time."

Unfortunately, Fure was dropped by MCA when the management changed. She was picked up by United Artists where she completed her second solo album, but the company was sold and the new owners closed the music division to concentrate on movies. Still, during her time at UA, she learned record engineering and was able to support herself during a difficult period.

A decade after leaving her Upper Peninsula home, Fury was getting discouraged. "Any deal I could make was too much of a sacrifice, having to give up publishing, my creativity, my own songs. Plus, the music business was youth driven and I was approaching 30. I was not a hot commodity. But I discovered the burgeoning genre of women's music and found myself on the independent side of music. It suited me."

Consequently, she played to thousands of women who were "hungry for good music. "I became the house engineer and producer for Olivia Records and produced three solo albums on their subsidiary, Second Wave Records. I worked with them into the 1990s at which time Cris Williamson and I started our own label, Wolf Moon Records, and produced three duo albums on our label."

Relocating to Madison Wis., Fure has also returned to her folk roots and continues to enjoy a career in independent music. She owns her own label, Tomboy girl Records and has released four compact discs since 2000, all acclaimed by folk critics. She also owns a line of clothing and is vice president of Local 1000 of the North American Traveling Musicians Union. When she's not on stage, you can find Fure teaching guitar and song writing.

The singer and song writer hasn't forgotten about Marquette, either. Fure performed at the Ramada Inn on March 18, 2005, her 54th birthday, to celebrate the release of "Anytime, Anywhere," the 10th compact disc of her career. "I love playing Marquette and have a good following there between my usual fans and my family and friends. It's always on my itinerary.

"I have two brothers who still live there with their families. When I came back to the midwest after 30 years on the west coast, I would have moved to Marquette in a heartbeat. But, it's too hard to get out in the winter and my work involves so much travel. I still consider it home."

NMU student wrote rock anthem

Mike "Cub" Koda

By STEVE SEYMOUR

One of the greatest rock songs ever to come out of Michigan was written by a former Northern Michigan University student named Mike Koda.

"Smokin' in the Boys Room" not only reached the Top Three for Brownsville Station in 1973, it became Motley Crue's break-out hit when they covered the tune a dozen years later.

Born in 1948, Koda had a life-long fascination with music. He began playing drums at age 5, but switched to guitar at 14. At downstate Manchester High School, he formed The Del-Tinos with rhythm guitarist Rusty Creech and drummer Doug Hankes. With Koda taking vocals and lead guitar, the trio put out three singles, starting with a version of Roy Orbison's "Go, Go, Go" in the fall of 1963.

Koda came to Marquette after graduating from high school in 1966. The move to college forced the break-up of The Del-Tinos, but didn't quiet Koda's musical aspirations.

He walked into MacDonald's Music Store, then located on Washington St., and introduced himself to Gordon MacDonald, whose parents owned the musical instrument business. That was the start of a new band which took the name Mike Koda and the Blue Blades. The group included MacDonald on rhythm guitar, his brother Warren on drums and Kim French on bass.

At a time when most teenagers were interested strictly in pop music, Koda was enthused by the blues. With a repertoire of blues tunes, Mike Koda and the Blue Blades played teen dances in Marquette County for young people who were disappointed when they heard the strange songs of Muddy Waters and Robert Johnson instead of current hits. The band got a better response when it played before a more diverse audience at K. I. Sawyer Air Force Base, Warren MacDonald remembered.

Koda made an impression on many people who heard him play, including MacDonald. "He was a fabulous guitar player, the best, hands down."

The guitarist also made an impression on campus, where he lived at 151 Gries Hall. Harry Nelson of Cornell, then an NMU student, remembered Koda wearing a "shaggy bright green jacket" which stood out from the attire worn by other students. Nelson recalled seeing Koda perform on campus several times, as well.

Others remember the Blue Blades from their appearance during a production of T. R. Richard's "Revival" at Forest Roberts Theatre. The band played blues on stage for the three act play, which had an evangelical theme. "It was fairly risque for its time," MacDonald said.

Koda's musical ambitions also led him to the recording studio for his first solo disc. "Let's Hear a Word (For the Folks in the Cemetery)" was paired with "More Than Me" on a 45 rpm single released on Marquette's Princeton label. The record, produced by label owner F. L. Crook, was pressed in a small quantity and few people have ever heard it. Bearing a five-point crown printed on yellow background, the label lists the record's catalog number as Princeton 110.

While Koda was having some success as a musician, college wasn't mixing well into the rock star formula. Finally, the young musician confronted his parents about his situation. "Dad, I can't be a rock 'n' roll star and go to college," George Koda quoted his son as saying. With that, Koda dropped out of NMU, after a year, and returned to the lower peninsula.

Koda quickly formed another band, the Mike Koda Corporation, which played at the Hullabaloo in Ann Arbor. It met with little success.

Brownsville Station

Then, in early 1969, Koda entered an Ann Arbor music store and met guitarist Mike Lutz. Together with bassist Tony Driggins and drummer T. J. Cronley, they formed Brownsville Station.

Their first single, "Rock & Roll Holiday," appeared on the Hideout label in June, 1969. The song was credited to Cubby Koda, an early reference to the guitarist's nickname. He was also called simply "Cub."

The band's debut LP, "No B. S." was released a year later on Palladium Records, based in Birmingham, Mich. Koda had a new gig and the memories of college in the Upper Peninsula faded.

Years passed for Brownsville Station as they toured and continued to release records. On the road, they developed an incredible live show and Cubby was master of ceremonies. I was lucky enough to see the band perform at Finch Fieldhouse on Saturday, April 8, 1972, while I was a student at Central Michigan University in Mount Pleasant. I remember a very animated show, with the band sporting outrageous costumes and Koda wearing his trademark round black-framed glasses. Contrary to their flamboyant image, the music didn't stray too far from the influences of Chuck Berry, Jerry Lee Lewis and classic Who.

In the fall of 1973, an FM radio station in Portland, Maine began playing "Smokin' in the Boys Room" off the Brownsville Station LP titled "Yeah." Other stations joined in. But, producer Doug Morris, also owner of Big Tree Records, didn't like the song, and it wasn't immediately released as a single. He changed his mind after the label received 100,000 orders.

The song became an anthem, eventually selling two million copies.

Although it was credited to Koda and fellow band member Mike Lutz, Cubby wrote the song while still in high school, his father said.

Koda played the hit when Brownsville Station performed at Northern Michigan University's Hedgecock Fieldhouse in Marquette on March 25, 1976. Koda's drummer from the Blue Blades, Warren MacDonald, was there near the front of the stage to watch his former bandmate bask in the glory he worked so hard to attain.

Motley Crue

Brownsville Station broke up in 1979, but Koda was to enjoy much more success. Hard rock band Motley Crue covered "Smokin' in the Boys Room" in 1985 and it became their first song to be heavily featured on radio. "He made more money off Motley Crue than he did off Brownsville Station," Koda's father reported.

In succeeding years, the multi-talented Koda formed several other bands, recorded prolifically, and wrote about music as well. His popular column, "The Vinyl Junkie," appeared in "Goldmine" magazine and he contributed heavily to the "All Music Guide to the Blues."

Sadly, Koda died at age 51 in downstate Chelsea on July 1, 2000, from complications related to kidney dialysis.

Millions of fans, including many here in the Upper Peninsula, won't soon forget the man who gave us "Smokin' in the Boys Room" and so much more.

LP proves Michigan rocked hard

\
Michigan Rocks LP

By STEVE SEYMOUR

Back in the day, southeastern Michigan spawned a thriving music scene, separate from the Motown sound which permeated the country.

While Stevie Wonder, the Temptations, The Supremes and their contemporaries were entertaining young America, Detroit also spawned a regional hard rock arena
which escaped the notice of many observers, and certainly those who compiled music sales charts.

"Sound" evidence is contained in a compilation long player called "Michigan Rocks" documenting ten tracks which, while huge regionally, didn't fire the national imagination. Still, these home grown bands left a legacy which provides a common back ground for many baby boomers.

MC5

Suitably, the record album starts with the incendiary "Kick Out the Jams," by the MC5, recorded at the Grande Ballroom on Halloween Night, 1968. Singer Rob Tyner takes the band through a dynamic version, but when released as a single, the song reached a disappointing number 82. Despite the lack of airplay, or perhaps because of it, the song became a counterculture anthem.

The LP's momentum continues with another cut licensed from Elektra Records, "1969" by The Stooges. Creem Magazine record reviewer Air Wreck Genheimer paid tribute to the group in his liner notes. "Before we can justifiably leave the subject of madness indicative of the music from this area, we must pay homage to that most bizarre grand pappy of all, James Osterburg, better known these days as Iggy Pop, who crawled out from under the rocks on his parents' trailer park lawn in Ypsilanti to successfully share with us the very depths of his own tormented nightmares, even illuminating a few of own own, despite his self proclaimed philosophical determination to fail at anything and everything he attempts to do." Whew!

Next up on this vintage vinyl is Bob Seger, now regarded as an American musical treasure. But at the time, his "Heavy Music" didn't cause a ripple outside Michigan.

Fellow rocker Mitch Ryder, with his new band Detroit couldn't turn "Rock & Roll," written by Lou Reed, into a national radio staple, either. Since the song defines the genre in name, spirit and performance, all the more's the shame.

Dick Wagner's Frost recorded his similarly titled "Rock & Roll Music," at Detroit's Grande Ballroom, but to no avail. It's a great song with a great performance which suffered a great lack of success.

The second side of "Michigan Rocks" kicks off with "Journey to the Center of the Mind" by Ted Nugent and the Amboy Dukes. Nugent's powerful guitar-playing and a little luck led this song to a number 16 spot on the national charts in the summer of 1968. Nugent, while disavowing any drug imagery in the song, has seen his fame and influence grow over the years.

One of Detroit's earliest rockers, Mitch Ryder, is given a second slot on the LP, following Nugent with "Long Hard Road." Despite the dynamite vocal you would expect, radio deejays beyond Michigan ignored the track.

The same holds true for the next two songs on this compilation. "Persecution," written by Drew Abbott, a pal of Bob Seger, and performed by Third Power, as well as Skip James' "I'm So Glad," recorded by SRC, made no waves, despite being impressive tunes.

The last track on side two is "Respect" by The Rationals. When released in 1966, this cover of the Otis Redding tune reached just number 92 on the pop charts, but it did impress Aretha Franklin, who recorded a smash version a year later. It became her signature song and biggest hit.

Appearing on Seeds & Stems Records, "Michigan Rocks," was conceived and produced by Tom Conner. Released in 1977, the record's gatefold features a collage of black & white photographs of the featured bands. The disc was followed by "Michigan Rocks II," which included tracks from such stalwarts as Grand Funk Railroad, Frijid Pink, The Woolies, Brownsville Station, Rare Earth, Stix and Stones and Teegarden & Van Winkle.

At this late date, whether or not these recordings were national hits is beside the point. They have shown a lasting impact on a generation which recognizes their status.

Fully five of the tracks on "Michigan Rocks" were included among the "100 Greatest Detroit Songs Ever," as published in November by Metrotimes, a southeastern Michigan weekly.

Air Wreck Genheimer summed it up best. "In a way, this album is a present from ourselves to ourselves to enjoy or more approximately to stomp, scream and drool over."

I'll second that.

Holly's drummer stranded in U. P.

Winter Dance Party tour poster

By STEVE SEYMOUR

When rock 'n' roll legend Buddy Holly was performing for what turned out to be the final time, drummer Carl Bunch was missing from the stage in Clear Lake, Iowa.

But, Bunch had a good excuse. He was hospitalized in the Upper Peninsula, hundreds of miles away.

Bunch had drummed in Holly's band during nine stops in Minnesota, Iowa and Wisconsin during January, 1959 in what was billed as the Winter Dance Party.

Buddy Holly

Thousands of teenagers showed up during the upper mid-west tour to see Holly perform such hits as "That'll Be The Day," "Peggy Sue" and "Oh, Boy," all top ten hits for the 22-year-old sensation from Lubbock, Texas.

But the tour had other attractions as well. Concert goers also saw future legends Dion and the Belmonts, The Big Bopper (aka J. P. Richardson) and Ritchie Valens.

Still, everything wasn't perfect. The schedule for the shows was haphazardly organized causing the rickety tour bus to criss-cross the three states seemingly at random.

Despite the constant stress of travel, Holly and his fellow performers didn't disappoint their fans. One admirer, especially taken with Holly's performance at Duluth's National Guard Armory on Saturday, Jan. 31, was 17-year-old Robert Zimmerman. Holly made eye contact with the young music devotee sitting in the front row, then a high school senior.

It was a defining moment in rock 'n' roll when you consider Zimmerman changed his name to Bob Dylan and became one of the greatest musicians of his generation. Dylan recalled the incident with Holly when he accepted a Grammy award for "Time Out Of Mind" in 1998. "I just have some sort of feeling that he was-- I don't know how or why-- but I know he was with us all the time we were making this record in some kind of way," he said.

As Zimmerman left the show to return to Hibbing, Minn. Holly and his fellow entertainers boarded a bus for their next engagement, a matinee at the Cinderella Ballroom in Appleton, Wis. on Sunday, Feb. 1.

For the performers, the adoration of the crowds soon turned to the harsh realities of the road. The heater on the old bus didn't work and the weather was bitterly cold. They huddled under blankets to keep warm, but then things got even worse. The bus broke down about 15 miles south of Hurley, Wis. Without winter jackets, hats or gloves, the crew of rock 'n' roll stars was in serious trouble that frigid night. In the middle of nowhere, there was no traffic and 19-year-old drummer Carl Bunch was suffering from frostbite to his feet.

Eventually, a trucker who passed the disabled vehicle contacted the sheriff's department which sent deputies to the rescue.

Bunch was taken to Grand View Hospital in Ironwood, just across the state border in Michigan.

The bus was towed into Ironwood so repairs could be made as the driver waited at a local garage. But the performers didn't have time to waste. Although the promoter cancelled the Appleton show, an evening concert at the Riverside Ballroom in Green Bay remained on the schedule.

Minus Bunch, the weary musicians took a train to the venue. During Holly's show, Ritchie Valens, familiar to teenagers for his hits, "Donna" and "Come On, Let's Go," filled in on drums for Bunch, who was to spend several more days recovering in Michigan's western-most city.

When the driver arrived in Green Bay with the repaired bus, the tour pressed on to Clear Lake, Iowa, almost 360 miles away, where a performance was scheduled for Monday, Feb 2. En route, the bus broke down again, to everyone's chagrin.

With a distant Minnesota gig set for Tuesday, Feb 3, Holly decided to end his travel aggravation by chartering a plane to Moorhead. Blizzard-like conditions prevailed when the small aircraft took-off. Tragically, it slammed into a cornfield minutes later, killing Holly, The Big Bopper, Ritchie Valens and the pilot.

In true show business fashion, no dates were missed, even with the deaths of the three stars. Bobby Vee, Frankie Avalon, Jimmy Clanton and Fabian served as substitutes for the remaining shows.

Carl Bunch

Bunch, who learned of the crash in the hospital, rejoined the tour in Sioux City, Iowa on Thursday, Feb. 5. The last concert of the 12 dates following the tragedy was held on Sunday, Feb. 15, 1959 in Springfield, Ill.

After the tour, Bunch looked for a new direction and decided to join the Army. Following his discharge, he played drums in Nashville for Roy Orbison and Hank Williams Jr.

Later, he operated Dove's Nest Ministries in California, working as a substance abuse counselor.

Despite the passing of decades, Bunch, who acquired the name "The Frostbitten Cricket," never forgot his experience with the ill-fated Winter Dance Party tour. Over the years, he has often taken part in tributes in Buddy Holly's home state of Texas and in Iowa, where he played his last concert.

While Bunch missed the Green Bay stop in 1959, he made up for it with an appearance at the Riverside Ballroom on Friday, Jan. 28, 2000. The mayor's office declared the date "Carl Bunch Day."

The occasion became another milestone for the man who drummed his way into rock 'n' roll history.

Music brightened depression era

WPA Stringed Band members

By STEVE SEYMOUR

A little known chapter in Delta County history tells how a group of young people softened the harsh realities of the Great Depression by taking up musical instruments to entertain the public.

The story is told in an old scrapbook put together years ago by Joseph Bussineau, who ran a music program in Flat Rock for the Works Progress Administration.

Created in April, 1935, the WPA was the largest agency in President Franklin Roosevelt's New Deal program, employing millions of people, especially in rural areas.

Bussineau was charged with teaching young people, who had no previous music training, to play a variety of stringed instruments such as violin, mandolin and banjo.

He took to his new assignment with relish.

The local program was started in early 1936 when large numbers of eager young music students began to congregate at Bussineau's residence in Flat Rock.

Soon, his basement became a studio where the aspiring musicians were taught in groups every night of the week, beginning at 7 p. m.

After just six months of instruction, the youths began to make public appearances all around the area. Publicity at the time said the band could be "obtained to play at any entertainment program in Delta County without charge, provided no admission is charged by the sponsors. Any club, organization or church desiring the services of this organization is asked to call."

An early appearance took place at the Bark River community building on Thursday June 18, 1936.

The public, desiring to forget about the economic hardships of the time, responded with enthusiasm.

Early on, the band included 86 pieces, then 150, and finally over 200 youngsters participated. The students broke into smaller groups to entertain at various events such as social club meetings and civic celebrations.

While the group made dozens of public appearances to entertain the weary public, Bussineau noticed another benefit. "It is one way to deal with the child delinquency problem. Give the children something to do in which they are interested and you will have no trouble. In my musical training work, I have found it easy to get the youngsters to give attention to every demand made upon them," a newspaper article quoted him as saying at the time.

Billed as the WPA String Band of Flat Rock, but also called the Junior Music Club, the group entertained crowds at the Labor Day picnic at Gladstone City Park on Sept. 7, 1936.

Joseph Bussineau residence

A large group of participants was photographed in front of Bussineau's residence one Sunday afternoon, 96-year-old Bill Charlebois recalled. A sign posted on the house, identifying it as "Home of the Junior Music Club," was made by Bussineau for the occasion, Charlebois remembered.

Paging through Bussineau's scrapbook reveals what popular entertainers his students became. An old ticket revealed the group held its 50th performance at Flat Rock town hall on Wednesday, Dec. 15, 1937. The event, which included "movies, music and entertainment," was free of charge.

The group's fame even extended to the airwaves. Although Escanaba didn't have a commercial radio station at this time, Bussineau approached the management of Marquette's WBEO, owned by Lake Superior Broadcasting Co., for consideration. Manager Gordon H. Brozek granted 15 minutes of air time, beginning at 10 a. m., Sunday, June 4, 1939.

Bussineau's daughter, Frances Bougie, now 80, remembers the occasion distinctly.

Notes in Bussineau's scrapbook testify that the program was well received. "Just wanted to compliment you on the fine program broadcast over WBEO last Sunday. Many of my friends and myself would like to have you broadcast often," wrote George Henricks. "Heard your very enjoyable program over WBEO Sunday morning. Please let us hear from you again soon," stated Mr. and Mrs. Oral Thompson Sr. Added M. Levesque: "I listened to your program on Sunday and enjoyed it a lot. I only wish you'se (sic) would be able to get a program every week. Every number sounded good and believe me I think it was grand."

Despite the favorable response, Mrs. Bougie said she thought it was the only time the group was broadcast on radio. One of the final performances was at the second annual U. P. Townsend Rally and Picnic, held Sunday, Aug. 4, 1940 at the fairgrounds in Escanaba.

As the WPA music program ended, Bussineau worked for Meiers Signs. He was later in charge of the State Highway Department Sign Shop in Escanaba. He died in 1974.

Because Bussineau was careful to paste dozens of newspaper clippings, letters, programs and photographs into a scrapbook, a little known chapter of local history has been preserved.

U. P. rockabilly star left mark

Al Barkle

By STEVE SEYMOUR

Although he moved to California with the occupation of mason, the Upper Peninsula's Al Barkle built a solid music career with at least two recordings continuing to reverberate today.

A native of Iron Mountain, the young Barkle began recording in 1951, cutting two 45s for the Sheboygan, Wis. based Polkaland label. But, after playing around northern Michigan for a few years, Barkle put his masonry training in his hip pocket, and relocated to the Oakland, Cal. area.

He began recording on the west coast in 1956 with "Jumpin' From Six to Six" becoming one of his earliest efforts. The song was written by Odie Ervin, a new artist, who first committed it to tape in 1954. But, it was the version credited to Al Barkle and the Trailblazers which caused rockabilly fans to take notice of the budding musician's talents as a singer and guitar player.

Then, while Barkle was busy "launching" his music career, halfway around the world the USSR was occupied with putting the Sputnik I satellite into space on Oct. 4, 1957.

With the news quickly circling the globe, Barkle teamed with songwriter Les Kangas to record "Sputnik II," a catchy-- if kooky-- love song to the Russian innovation which shocked the United States into a
race to the moon.

Credited to Al Barkle and the Tri-Tones, the tune begins with the singer imitating the low-frequency beeps emitted by Sputnik I as it orbitted earth. Near the end, the singer urges the space craft to start "spinnin' 'round my heart" as the song is completed with a wolf howl.

< Other musicians rushed to record space age songs, too. Another rockabilly entry by Jerry Engler and the Four Ekkos was called "Sputnik (Satellite Girl)," while Roosevelt Sykes did a rythym and blues number, "Sputnik Baby," and Ray Anderson and the Homefolks offered "Sputniks and Mutniks."

Still, Barkle's song stood out. It made enough of an impact on popular culture that it was noted in a cover story on the 50th anniversary of Sputnik printed in the Sept. 26, 2007 edition of the USA Today newspaper.

While "Jumping From Six to Six" and "Sputnik II" were early successes for Barkle, he continued to record regularly. The U. P. native cut singles for M&M, Vita, Frantic, Koo Koo, Fiddle and Bow, Royal American, Voice of Country and Kangaroo.

Based in San Gabriel, Cal., the Kangaroo label was owned by Les Kangas, the man behind the "Sputnik II" recording. The company's 45 rpm single called "A Talk With My Heart," pictures Barkle on the label with the "e" dropped from his last name.

The former U. P. resident recorded other songs written by Kangas, as well, including "Wait Till The Commercial" and "The Signal." Kangas, in fact, made a career out of novelty material. In response to the Beatles- led British Invasion, he later wrote "Beetle Bug Bop" for the Collins Kids, legends on the rockabilly circuit.

Barkle himself was well-known among rockabilly fans for his sound which effectively combined early rock 'n' roll and country, or hillbilly music, with western swing.

Most of Barkle's recording took place in the 1950s. He only entered the studio sporadically after that as the rockabilly craze waned.

Named Albert Frank Barkle, the rockabilly star was born in Iron Mountain, MI on May 17, 1927 to Clifton and Josephine (Smeltzer) Barkle. The musician married Lucille Ballario and the couple had three daughters, Carla, Debbie and Nicole.

In 1969, Barkle moved to Nashville, Tenn., the epicenter of counrty music, where he continued to perform for nearly three decades. He died in a nursing home there on May 6, 2006, just 11 days short of his 79th birthday.

Today Barkle's recording of "Jumpin' From Six to Six" is recognized as a classic in 1950s rockabilly music. The song received renewed interest when it was rerecorded by Big Sandy and His Fly-Rite Boys, a rockabilly revival band, as the title track to their debut album in 1994. So impressed was critic Jana Pendragon, she wrote "Jumpin' From Six to Six" marked nothing less than "a new era in country and western music."

Due to its connection with the space race, Barkle's take on "Sputnik II" will remain iconic in pop music.

Rockabilly, so popular five decades ago, enjoyed a revival in the 1980s with acts like the Stray Cats gaining wide acceptance. The style now exists as a subculture, combining music and fashion.

With "Sputnik II" and "Jumpin' From Six to Six" Al Barkle's family members have two special reasons to be proud of his musical legacy.

Band revives French Church tune

The Cyril Lords

By STEVE SEYMOUR

When Detroit garage rockers the Cyril Lords recorded a tune called "Slapneck 1943" in a bowling alley in 2005, few in the audience realized they were covering an old rock song about a tiny community in the Upper Peninsula.

At the time, guitarist Marty Morris and drummer Mayuko had just added bassist Sean Ellwood to their new band. Looking for fresh material for an upcoming gig, Ellwood suggested "Slapneck," a song he liked from a Michigan garage music compilation.

Originally recorded by a Marquette rock band called French Church four decades ago, "Slapneck" became a staple in the Cyril Lords live show for quite some time. When the band approached record label Nu Gold to release a single, owner Eric Silvenis insisted "Slapneck" appear as the record's flip side.

"I was hesitant to record a cover song at first," Morris, also known as Mother, told me. "I decided to record the b-side at the Garden Bowl, a bowling alley I was working in at the time-- the nation's oldest-- to attempt to have a sort of foil to the heavily produced, pop a-side called 'Ginger.' We set up and played a free show," Morris said.

"I think we played "Slapneck" twice that night to make sure we had a good take. We made $50 from the bar and handed it over to Kevin Peyok, the gentlemen who produced the live recording."

Not long after, the band had a brand new seven inch vinyl single to promote, their original tune paired with a song, credited to Spratto/ MacDonald, plucked from the past.

John Spratto and Gordon MacDonald composed "Slapneck" in 1967. "We actually were out squirrel hunting when we came upon an old sign for Slapneck. I came up with the idea for the song and it took all of five minutes to come up with the melody and chords the next time we were at practice in my parents' basement. Gordy helped with the words and as the say, 'the rest is history,'" Spratto recalled.

"That was the first time we traded song and lyrics, so John gets the credit for the punk rock sound of January, 1968," Gordon added

With Spratto on guitar, Gordon on bass, brother Warren MacDonald on drums and vocalist Mike Cleary, French Church rehearsed their new composition as arrangements were made to record it.

The band paid to have owner Fred Krook record "Slapneck" and "Without Crying" at his Princeton Studio, located in the basement of a lumber company in downtown Marquette. French Church had recorded other tracks for the label in the winter of 1966 when it was headquartered at Princeton Post Office, near Gwinn, Gordon remembered.

The four young men taped a legendary version of their new song, which included the catchy chorus, "Slapneck, come along with me." Two characters mentioned in the song, a milkman and a restaurant owner named Mrs. R. J. Green, were completely fictitious. The original song also contains a third verse about Mr. Green returning home from World War II, Gordon noted.

Released in 1968, "Slapneck" garnered airplay and sales while boosting the band's profile. During the year, French Church opened for Gary Puckett and the Union Gap, which had a handful of current hits, during an appearance in Ironwood. The Marquette band also shared the stage with the McCoys, featuring Rick Derringer, during a show at the Northern Michigan University Fieldhouse that same year.

Warren remembered getting a check from BMI in 1969 for $12.50 which covered performance rights for "Slapneck." He thought "Without Crying," at one-minute 38 seconds, may have received more airplay because it was shorter and "we all know disc jockeys love to talk."

Starting on drums in kindergarten, Warren today is owner of MacDonald Music Store in Marquette. He continues to play and even got together a few years ago with other members of French Church to record 15 or 16 songs including a new take on "Slapneck."

Although Warren was well aware the two French Church songs were included in a compilation LP in 1985, called "Highs in the Mid-Sixties, Vol. 19," he didn't know "Slapneck" had been covered by the Cyril Lords. He still owns a few dusty copies of the original single.

Today, the original "Slapneck" 45 is highly sought after by collectors for its stunning punk feel and originality. With the version issued by the Cyril Lords, the song's fan base continues to grow.

Meanwhile, the speck of real estate about five miles east of Chatham in Alger County known as Slapneck remains largely untouched by the fame brought by its namesake song.

Named for John F. Slapnick, who surveyed the region, the moniker was soon misconstrued as Slapneck. At its peak, the area contained large farms, a railroad depot and a one-room schoolhouse, which enrolled 40 students in 1926. A centennial celebration at the Elmer Wanska farm on Aug. 5, 1995, attracted 500 people. Although the community feeling remains, only a few hardy people live in Slapneck these days.

The song, the hamlet which spawned it, the two bands which committed it to tape and even the places where it was recorded, have become part of the "Slapneck" legend.

Now, you know the story behind "Slapneck 1943."

U. P.'s Joey Gee met radio goal

Joey Gee, then

By STEVE SEYMOUR

Joe Giannunzio was determined to get on the radio, one way or another.

In the period following the Beatles invasion of America, the youthful Iron Mountain native thought making a hit record was one way to get on the airwaves. If that wasn't possible, being a radio disc jockey was another option.

When Giannunzio became known for his skill in singing along to songs on the radio, it wasn't long before he found himself in a rock band with Craig Sorensen, Bill Morrison and Ricky Bates. His Italian moniker shortened, Joey Gee and the Blue Tones began to reach for their dreams.

The group debuted at a record hop at the Kingford Armory in 1964. As their repertoire grew, they played between shows at the Braumart Theatre and the Tri City Drive- In, drawing record crowds. A popular local attraction, Giannunzio recalled the band playing at street dances, utilizing a service station parking lot, drive-in restaurant, or city park.

As the Blues Tones' reputation grew, Giannunzio discovered Cuca Record Corp., a tiny Wisconsin label which made a name for itself with "Mule Skinner Blues," by the Fendermen. "I called (label owner) James Kirchstein and he arranged a recording session with Joey Gee and the Blue Tones," Giannunzio said.

The resulting 45 rpm single, "Don't You Just Know It," backed by "Little Searcher," appeared on Cuca's main subsidiary label, as Sara 6541. With fresh product in hand, Giannunzio sent the 45 to various radio stations, along with a letter introducing the group.

One such mailing ended up in the hands of Dick Biondi, the influential disc jockey credited with being the first to play the Beatles' "Please Please Me" in America. In a stroke of luck, Biondi, then working at powerful Chicago radio station WLS, read the letter on the air and played the song.

While "Don't You Just Know It," didn't become a hit, Giannunzio decided to move to Milwaukee to attend radio broadcasting school at Career Academy. There he formed Joey Gee and the Come-Ons.

"We played all sorts of places in Milwaukee and came in sixth in a battle of the bands contest which had close to 1,000 entries."

Still optimistic, Giannunzio returned to Cuca's studio at 123 Water St. in Sauk City in the summer of 1965 to record a second 45. The group cut "She's Mean" and "You Know Till the End of Time," which were coupled as Sara 6599. Giannunzio wrote and sang lead vocals on both tracks. Although "She's Mean" had plenty of punk attitude, without major label backing to expose the song to a national audience, it failed to get much radio play. However, the song would resurface years later.

With his broadcast schooling completed, Giannunzio was hired by radio station WHAK, and moved to the northern lower Michigan community of Rogers City. When the station owner's wife told Giannunzio that he didn't belong in radio because he wasn't good enough, the young broadcaster took a job in St. Ignace. Undaunted, he worked for WIDG, known locally as widg by the bridge, due to its proximity to the span known as Big Mac.

Keeping his options open, Giannunzio formed another band, Gross National Product. "We never recorded any songs that were released, but the band was very good," the Upper Peninsula native recalled.

While in St. Ignace in 1968, Giannunzio, who chose the radio name Joe Arthur, married Kathleen Sweeney. Deciding to concentrate on broadcasting, Giannunzio's on-air personality led him to some of Michigan's best-known radio stations including WJIM in Lansing, WGRD in Grand Rapids and WKNR in Detroit.

He later moved to KGW, the number one station in Portland, Ore., which offered big city living, but was also close to the wilderness, a reminder of his northern Michigan upbringing. His profession then took him to Seattle's KING and KJR. During his west coast career, Giannunzio became familiar to millions of listeners who knew him as Joe Cooper.

Joe Giannunzio, now

Born in 1942, Giannunzio is retired but still takes the occasional radio fill-in job and does some commercial work. He and Kathy, who reside in Redmond, WA, will celebrate their 40th wedding anniversary in 2008.

"I have a lot of great memories of the U. P. I always liked going to the State Fair in Escanaba and seeing famous singers perform," Giannunzio said. He attended the Roy Orbison concert at the 1964 fair just as "Oh, Pretty Woman" was beginning to be played on radio. During his rock band days Giannunzio shared the stage with groups which later became famous, including the Mojo Men, Turtles and Grand Fund Railroad.

In those days, it seemed like any rock band with enough talent and determination could made it big. That enthusiasm propelled many small town groups into the recording studio, sometimes emerging with energetic blasts of rock 'n' roll, just like Joey Gee did.

CD featuring Joey Gee material

Ace Records, a label based in Germany, envisioned a demand for such music. Last year the company issued a 26-track compact disc featuring four songs by Joey Gee and the Come-ons. "Garagemental! The Cuca Records Story, Volume 2," includes their 1965 single along with takes on Little Richard's "Jenny Jenny" and "Little Latin Lupe Lu," the first hit for the Righteous Brothers. Both were previously unreleased.

Until I mentioned the two cover songs, a surprised Giannunzio said he was unaware they had been issued.

Reflecting on those days, Giannunzio said, "A lot of bands from the 60s and 70s had to curtail their music careers and work regular jobs. Many are starting bands again."

Then, Giannunzio added he has "often thought of singing again and maybe I will."

That he was pragmatic enough to follow his music career with one as a broadcaster, makes the return of "Joey Gee" seem perfectly plausible.

Music columns evolve into book

Steve's shameless self- promotion

By STEVE SEYMOUR

An old adage claims everyone has a book in them.

When I started writing a weekly column for the "That's Entertainment" section of the Daily Press on July 28, 2005, I thought I had a few installments in me, after all I had an interest in music and writing dating from my teenage years.

My first column explained to readers how the local Woodtick Festival had grown from a party in Brian Whitens' garage in 1994 to a regional event headlined by the Nitty Gritty Band just eleven years later.

As I began looking for story ideas, I soon found the Upper Peninsula had an incredible music heritage. But, regrettably, that rich tradition wasn't being documented. While a mere newspaper column couldn't remedy that neglect, I thought it could be a beginning.

So, I tried to give the stories a U. P. slant, whether I took a nostalgic look at Michigan's stars, local musicians or beloved international rock legends.

Taking a scatter shot approach, I wrote about which ever topic most interested me at the time. It might be Duke Ellington's 1959 trip to Marquette one week, a 1968 Battle of the Bands contest in Escanaba the next, or going backstage at a Steppenwolf concert, the following week.

Readers were quite receptive to the columns I presented and talked about them long after the newsprint they were printed on had yellowed. So to keep the stories available I started a website, rocknrollgraffiti.com.

Since the beginning I have received supportive comments and emails virtually every week. And, for well over a year now, people have also asked me to put my columns into a book. I finally began to take them seriously.

Thinking about all the fine people I've written about and all the folks who spent their precious time reading what I'd written, I decided over the Memorial Day weekend to enter the world of self-publishing.

In June, I asked my niece Jackie Hughes, with her considerable computer skills, to help me assemble a book. Not wanting to disappoint anyone if we decided to abandon the project, and to avoid having to update everyone about the book's progress, I swore Jackie to secrecy. We referred to it covertly as "the project."

Each Monday we spent four hours at the computer doing the drudgery required to ready a manuscript for printing. Our routine was occasionally broken by a heart-stopping moment.

Once, sparks shot out of the electrical outlet, like it was the Fourth of July. We thought the computer--with my book in it-- was fried, but miraculously, it wasn't harmed.

Another time, just hours before we were to submit the book electronically, the computer screen suddenly went blank. We thought disaster was stalking us, but luckily Jackie was able retrieve the pages from the realm of cyberspace.

As the summer disappeared, we emerged from our basement work station with a 300-page volume containing over 90 stories and dozens of photographs. Most of my columns up to that time were included. Like my website, the book was titled "Rock 'n' Roll Graffiti."

With two key strokes, the manuscript and cover were dispatched to Collierville, Tenn. where, in a few weeks, it was printed by Instantpublisher.com, the short-run publishing division of Funcraft Publishing Co.

Then, my wife Sue and I anxiously tracked the shipment from the printing plant to our back door over a three day period. But, when United Parcel Service finally delivered the boxes last week, my mood changed rapidly from excitement to panic. What if the book was defective? What if all our work was for nothing? Signing the UPS log, I was suddenly struck with a migraine headache.

However, when I opened one of the boxes to reveal a book as attractive and professional looking as any other, my headache vanished instantly.

My family and friends were all surprised when I presented them with copies. No one had learned about "Rock 'n' Roll Graffiti" in the four months it had taken to put together.

Now, since I've got a big stack of books to move, I want everybody to know about my "literary work."

If I might be allowed a bit of shameless self-promotion, you can get a copy of "Rock 'n' Roll Graffiti" at The Record Rack, Canterbury Book Store or Sayklly's Confectionery & Gifts, all in downtown Escanaba.

I'm still not sure if everyone has a book in them, but thanks to many helpful people, I discovered I had one in me.

ZZ Top, Lewis tribute rule

ZZ Top

By STEVE SEYMOUR

In the end, it was all about the blues.

The classic American musical style brought people together for fun when ZZ Top played in Harris, and for charity when friends and fans of Jim "Smiley" Lewis gathered to honor the late musician during a get together at the Terrace.

The Texas trio packed fans of all ages into the showroom at Chip-In's Island Resort and Casino for two shows, while the "Paws for the Blues" tribute raised funds for the Delta County Animal Society, Smiley's favorite charity.

My wife Sue and I attended both events, coming away with the belief that music is a mighty force, doubly powerful when you talk about the blues that inspired both Lewis and the self-described Little Ol' Band From Texas. Were it possible, you know that Lewis, who died in 2005, would trade blues licks on stage with ZZ Top's Billy Gibbons, not missing a beat. You could imagine they'd talk about some tasty Muddy Waters' song which influenced them in their early careers when other folks paid little attention to the blues.

The blues genre has escaped obscurity and is now widely recognized as the foundation for rock 'n' roll. ZZ Top made that fact evident as they brought their Hollywood Blues Tour 2007 to the Upper Peninsula.

Gibbons, the band's lead guitarist, explained their history to the crowd: "We come up a long way, y'all. We been doing this a long, long time. It's the same three guys here, playing the same three chords for y'all. Been doing this for you for 35 years."

The band enjoyed early success in the 70s with songs like "La Grange" and "Tush" and again in the mid-80s when they were discovered by the newly popular MTV which helped propel "Legs" into the Top Ten.

A diverse casino crowd heard those songs and more than a dozen others as Gibbons, bassist Dusty Hill and drummer Frank Beard demonstrated their choreographed guitar chops and syncopated drum beats.

Yes, the bearded Gibbons and Hill wore their patented silver trimmed black suits, hats and "cheap sunglasses." And, yes, they produced lots of sturdy sound.

But, if there were to be a fourth member of the band, it would certainly be the person in charge of the electroluminescence, also known as the lighting guy. The band performed in front of a LED drape which displayed rapidly changing images, including one of the '32 Ford Roadster from the band's videos and popular "Eliminator" album.

In fact, the show opened with "Got Me Under Pressure," just one of four songs the band played from that enormously popular 1983 LP.

Since the band was touring without a new album, the 19-track set delved exclusively into ZZ Top's back catalog. They got down and dirty with "I'm Bad, I'm Nationwide," "Pearl Necklace," "Just Got Paid," "Gimme All Your Lovin'," "Sharp-Dressed Man" and "Tube Snake Boogie."

Gibbons announced, "It's blues time," before the band tackled "Blue Jean Blues," then slipped into a fiery version of the Jimi Hendrix gem "Foxey Lady," the only non-original song on the set list.

Although they encouraged the band with plenty of whopping and hollering, the audience also appeared to respect the honesty in which the band played, capturing the blues from within while delivering it with hard rock style.

Quite simply, the Friday, Oct.19 ZZ Top concert was the best show I've seen at the casino, bar none. But, my blues weekend wasn't over yet.

Next up was the second annual tribute to Jim Lewis, held Saturday, Oct. 20 at Escanaba's Terrace Bay Inn. Organized by Wendy Pepin, the event showcased Smiley's musician friends performing gratis, with proceeds going to the local animal shelter.

Smiley was remembered for his lifelong dedication to live music. He started in a folk duo while still in high school, and was a member of pioneering local rock band, Beat Inc. Through the years, he joined or founded other rock, country and blues bands, including such memorable groups as Black Dog, Blues Bombers and the Shuffle-aires.

Although the stage at the Terrace wasn't elaborate, the playing was just as genuine, spontaneous and ultimately rewarding as a big-time casino show.

Hundreds turned out to honor Smiley, including fans, friends and dozens of musicians who took the stage to play not only blues, but rock, country, bluegrass, rockabilly and more.

"Big Al" Ek

Judging from the turnout of performers and fans it was evident that Lewis had an large and lasting impact as a musician and friend during a career which spanned more than four decades, including stints in lower Michigan, Milwaukee and Las Vegas.

Performances went on without a hitch during the marathon ten-hour show headlined by "Big Al" Ek, well-known Las Vegas musician who played with Lewis in the Shuffle-aires.

Jim Lewis Tribute Band

During three jam sessions, Ek was joined on stage by musical brethren the Lark Brothers, Steve "Doc" Yankee, Bruce Douglas, Mike Riegel, Dave Cass, Dick Miller, Rich White, Joe Heribacka and Fred Cavill.

Bill Lark opened the tribute by leading the band through a commanding version of "Wait On Time," originally recorded by the legendary Fabulous Thunderbirds, another Texas outfit. Dave Lark added "Crosscut Saw," while Ek put his personal stamp on "Big Boss Man," blowing some expressive harp.

Following the opening jam session, Chicago's Mike Felten offered a set of original acoustic material. A former Iron Mountain resident, he was once in a band with Lewis called "Blue River." Next came Sit Down Francis which featured another of Smiley's friends, Troy Sovey on guitar.

Larry Brown brought his Bounty Hunter group to the stage saying, "Jim was one of my best friends. I'm proud to say I own several of his guitars." Brown's daughter Cera offered inspired lead vocals on "Black Velvet" and "The Rose."

Local group Pink Zinc, with guest keyboardist John Beck, played energetic versions of a wide variety of seldom heard cover songs by Duran Duran, Depeche Mode, Midnight Oil and other period groups.

The versatile Ek returned to the stage to play mandolin and harp with local bluegrass enthusiasts Grassfire. Their fare ranged from the Stanley Brothers to Steve Earle.

Five piece Hey Mikey filled the dance floor with their brand of no-nonsense rock from Lynyrd Skynyrd, Free, Steve Ray Vaughan and Neil Young. They even paid their respects to the venerable ZZ Top with "Tush," straight out of 1975.

Twelve-bar songs returned to the stage with the arrival of Fast Eddie's Blues Band from Marquette. They opened with a raucous version of Charlie Musslewhite's "Blues Overtook Me." The band gave the blues a workout on such chestnuts and "Rocket 88," "Mona" and "Walking the Dog."

The all-star jam band closed the evening by improvising another set of blues standards. As a great summation of the day, Dave Lark led the band through a hardy take on "Everyday I Have the Blues," while brother Bill took vocals on an explosive version of "I'm Tore Down."

First recorded by Texas blues master Freddie King in 1961, "I'm Tore Down," also found its way onto Smiley's set list many years ago. A perfectionist at heart, Lewis performed it with an informed growl, also paying close attention to King's instrumental precision. Both traits were hallmarks of Smiley's style.

During the band's early days, ZZ Top was fortunate enough to perform with King, incorporating some of the bluesman's techniques into their own songs.

So it is that Smiley's career and ZZ Top intersect in the music of Freddy King.

That pleasant little coincidence made my blues weekend complete.

'Garage' bands span the decades

Little Steven Van Zandt

By STEVE SEYMOUR

During the mid 60s, the garage wasn't just where you parked your car, it was where your rock band got together to practice.

In the period immediately after the Beatles struck in America, countless teenage boys grabbed guitars and drum kits to create a tough musical response to the latest British Invasion.

Working on the theory that every band had a hit single flowing through their testosterone fueled systems, these groups created music with a raw honesty missing from today's fare.

Proponents had names like the Electric Prunes, Vagrants, 13th Floor Elevators, Seeds, Barbarians, Remains and Chocolate Watch Band. They hailed from every part of the country, springing up in metropolitan centers and rural areas alike.

These bands labored in the shadows of the Beatles, Rolling Stones, Animals, Dave Clark Five, Herman's Hermits and their counterparts. The stateside groups weren't intimidated, especially because those foreigners had the audacity to rework American rhythm and blues riffs and present the results as something new.

Some of the freshly organized bands may have imitated the British groups, but soon these upstarts began to emerge from the garage with exciting new sounds.

Thousands of bands became good enough to earn a paycheck at high school dances, frat parties or Battle of the Bands contests. Many even cut singles for various independent record labels which started around the country during the post World War II period. A few even managed to score national hits.

Although most AM radio stations were locally owned, it was still difficult for many of these acts to get their singles on the air waves. That's because for a song to be played on the radio, it had to be a hit. And, for it to be a hit, it had to be on radio.

It was difficult to break into this system unless you were already a "name" group, backed by one of the major record labels. When radio stations were presented a crudely-recorded 45 consisting of two or three minutes of raw guitar and primitive organ fills combined with angst-ridden vocals, they usually chose the slick major label "hit" instead.

Ishpeming native Kris Erik Stevens, former DJ at Chicago's powerful WLS, tried to explain the conundrum to me. "Big time radio stations either make records into a hit by airplay or play existing hits that other stations are airing around the country. It is usually researched before it goes on the air. Jocks do not get to play whatever they want."

In Michigan, the Detroit area spawned a vibrant garage band scene. The Woolies had a hit with "Who Do You Love," The Rationals registered with "I Need You," the Unrelated Segments got some mileage out of "Story of My Life" and the Underdogs scored with "Love's Gone Bad." The Woolies, who re-located to East Lansing, saw their garage version of Bo Diddley's song reach No. 95 on the national singles chart.

Despite the burst of activity, many of the bands started in the wake of the Beatles broke up after a few years, some losing members to the draft. The music evolved with the introduction of drugs into American culture, ushering in the psychedelic era.

As music was changing, rock critic and future Patti Smith guitarist Lenny Kaye was casting a backward glance. Recognizing the phenomenon which disappeared so quickly, he compiled an imaginative collection of little-known mid-60s singles called "Nuggets."

Released in 1972, I bought the two-LP set, which collected 27 of the best of what were called "punk" songs at the time, because I was familiar with some of the band names. It wasn't until years later that those brief blasts of joyous noise became known as garage music.

Now, I listen to those obscure gems from the past as often as I spin The Beatles or my favorite blues titles. In fact, so many music fans are hungry for the songs which escaped popularity decades ago, that record labels have issued dozens of garage band compilations, including a series called "Pebbles" and another dubbed "Back From the Grave."

Even today, garage music refuses to die. Many current bands, such as Detroit's massively popular White Stripes, the Hives, the Vines and the Strokes, continue to be inspired by the musical fury of the era.

The genre also has a serious friend in Little Steven Van Zandt. Since 2002, Van Zandt has hosted "Little Steven's Underground Garage," a syndicated program heard on over 200 U. S. radio stations. You might also recognize Van Zandt as Silvo Dante, mob consigliere on HBO's ''Sopranos."

Of course, Van Zandt also plays guitar and mandolin in Bruce Springteen's E Street Band. That group might not qualify as a garage band, but we'll let it slide.

Spector's best work behind him

Phil Spector

By STEVE SEYMOUR

What should we think of Phil Spector?

A legendary music producer, Spector has brought joy to millions of rock 'n' roll fans with songs like "You've Lost That Lovin' Feelin'," "Be My Baby," and "To Know Him Is to Love Him."

He has also been accused of murdering actress Lana Clarkson in a case declared a mistrial last month.

Although the jury could not agree on Spector's guilt or innocence, many people are now taking a closer look at his lengthy and influential music career.

Millions know Spector through his 1965 hit for the Righteous Brothers. "You've Lost That Lovin' Feelin'" spent just two weeks at the top of the pop charts, but went on to become the most played song on U. S. radio and television in the 20th century.

Spector produced the song, which he had co-written with Barry Mann and Cynthia Weil, for the blue-eyed soul duo. Baritone Bill Medley sang lead vocals on the classic recording, while tenor Bobby Hatfield, who died in 2003, joined him on the chorus.

According to Broadcast Music Inc. (BMI), "You've Lost That Lovin' Feelin'" had been performed more than eight million times by late 1999, equal to back to back play for 45 years.

While the song's popularity is phenomenal, it was only one of many successes for Spector. Arriving in California in the late fifties, the young artist enjoyed a No. 1 hit with his first recording, "To Know Him Is to Love Him," which he wrote and produced for his group, The Teddy Bears. He had taken the title from the inscription on his father's gravestone.

The hits came often for Spector but the first one which caught my attention was by the Ronettes, named after lead singer Veronica Bennett. "Be My Baby," written by Spector, Ellie Greenwich and Jeff Barry, dominated the charts as the 1963 school year began. When she sang, "For every kiss you give me, I'll give you three," many young men fell in love with Ronnie. At the very least there were three: Spector, Eddie Money and me.

Money felt compelled to have her reprise the "Be my baby" line during his 1986 hit, "Take Me Home Tonight;" while I got an autographed photo years later, signed "Love Ya, Ronnie," with three X's. Of course, Spector got the girl when he and Ronnie married in 1968, even if they divorced a few years later.

In a decade, Spector assembled dozens of hits while perfecting his "wall of sound" production technique, but he wasn't done yet. The Beatles were calling.

In Britain, Spector had worked his magic on the Top Ten hit, "Instant Karma" so impressing John Lennon that the Beatle invited the American to produce an album's worth of material the Fab Four had shelved the previous year. Spector added orchestra and choral elements to the songs which became known as "Let It Be." While Lennon and George Harrison were pleased with Spector's imprint on the recordings, it maddened Paul McCartney, who wasn't consulted regarding overdubbing on his own compositions. Still, the single "The Long and Winding Road" and the "Let It Be" album both reached number one. Despite McCartney's objections, it's hard to agrue with a hit.

Spector went on to produce two albums for Harrison, "All Things Must Pass" and "Concert for Bangladesh." Both were immensely successful. Lennon also hired Spector to produce a series of studio efforts for him, including "Imagine." But, during sessions for an oldies project in 1973, things began to go wrong. Spector allegedly waved a handgun around the studio, shocking the musicians, before disappearing with the master tapes to Lennon's "Rock 'n' Roll" album.

Some years after that fiasco, Spector refurbished his image by producing "End of the Century" for The Ramones, which included some of the group's best known songs.

The pop music world was still paying attention to Spector as his most important period began to recede into the realm of oldies radio. He was inducted into the Rock & Roll Hall of Fame in Jan., 1988 and readily signed copies of a photograph taken of the event. He autographed an 8 x 10 for my wife Sue and me, writing "With warm regards, Phil Spector." Spector's signature is a distinctive group of swirls, exactly what you might expect from an man who wants his autograph to stand out from all others, like John Hancock on the Declaration of Independence.

After obtaining Spector's signature, we decided to add his four disc box set to our music library, despite a hefty $74.98 price tag. The 1991 retrospective included 60 songs from his 1958- 1969 prime as well as his highly regarded Christmas album, a masterpeice on its own. Just for good measure the package included a book and a pinback button declaring Spector's slogan: "Back to mono."

Today, that same collection retails for a lowly $19.98. The significant price drop might be because the music of that long-ago era no longer holds the allure it once did. Or it might be that the "Spector" brand name was tarnished during the four years he stood charged with second-degree murder.

Regardless of the outcome of any retrial, Spector, once the celebrated genius of pop gold, has gone from famous to infamous.

'Beaker Street' swayed listeners

Black Oak Arkansas

By STEVE SEYMOUR

The crowded AM radio spectrum offered plenty of choices to the curious listener in the era before FM came into dominance.

Among the channels I discovered while twisting the dial late at night was KAAY, a 50,000 watt giant broadcasting from Little Rock, Ark.

There, I heard the fascinating "Beaker Street," a music program which abandoned the Top 40 concept, instead concentrating on album cuts which escaped airplay elsewhere.

Beginning in 1966, Beaker Street pioneered a format which would set the standard when FM radio finally caught on years later.

In this earlier period discerning young people heard tracks from Pink Floyd, Savoy Brown, Traffic, Frijid Pink, King Crimson, Jethro Tull, Quicksilver Messenger Service and other "underground" acts years before the mainstream caught up with them.

While AM radio would play two or three minute blasts of pop music, Beaker Street, which was broadcast starting at midnight, broke the rules and aired lengthy album tracks to devoted listeners and insomniacs all over the mid-section of the country.

The influential program was launched as a money-saving maneuver. Because the FCC required the station to employ a studio engineer at all times, KAAY had him broadcast directly from the transmitter, avoiding the need for a disc jockey during the graveyard shift. That employee, Dale Seidenschwarz, calling himself Clyde Clifford on the air, was given the freedom to do as he pleased, more out of indifference than anything else.

However, broadcasting from the transmitter created a problem. The equipment required giant cooling fans which caused quite a bit of noise. To cover the discordant sounds, Clifford utilized a bed of mysterious background music whenever he was announcing.

Local opportunities to hear the music which accompanied the counterculture were scarce in remote places like the Upper Peninsula. Jack Mortensen, who grew up in Ironwood, remembers staying up past his bedtime in the early 70s just to listen to Beaker Street. He savored hearing songs by Deep Purple, Yes, The Allman Brothers and Led Zeppelin. The next day he would get together with his friends Doug and Kevin to talk about the coolest songs played on the overnight program.

Mortensen, now an Escanaba resident, said he received KAAY "clear as a bell" in the western U. P. "Beaker Street was how I was exposed to new music during that time. It still influences me in the music I listen to today," he added.

Local music teacher John Beck recalled he heard the southern rock band Black Oak Arkansas for the first time while listening to Beaker Street. By conspicuously spinning "Lord Have Mercy on My Soul," featuring the raspy voice of Jim Mangrum, the late-night program introduced the group to a national audience. Not counting KAAY itself, Black Oak was Arkansas' biggest export, at least until Bill Clinton began his rise in politics.

Dyrk Trout of Escanaba also fondly remembers Beaker Street from his youth. He drove to Ludington Park's Aronson Island, where lack of interference brought the best radio reception. So eager to pinpoint the station when he listened, Trout put a scratch mark at 1090 on the family car's radio dial so as not to interfere with his parents' pre-sets.

Of course, I loved most of the songs played on Beaker Street, but I was also fascinated by the background music. In the early years, listeners heard a segment of Henry Mancini's score to "Charade," released in late 1963. In the early 70s, a 17-minute long track named "Cannibis Sativa," by the group Head was used. The experimental synthesizer music, on the Buddah label, was actually performed by Nik Pascal Raicevic, who later played percussion for the Rolling Stones on "Goats Head Soup."

In addition to the spacey music, one of the biggest appeals of the program was the cool laid-back voice of Clyde Clifford who enticed you to keep listening through the late night hours. His style influenced countless disc jockeys in coming years as FM radio abandoned its stodgy past.

Although several other DJ's followed Clifford on Beaker Street, the program ended in the 70s. Years later, KAAY was sold to Citadel Communications Corp.which changed the format to Christian programming.

Surprisingly, Beaker Street has been ressurrected on the internet, with Clifford still at the helm. New programs are streamed live from the Beaker Street homepage every Sunday at 8 p. m.

Maybe history is repeating itself.

LRB's 2007 line-up still satisfies

Wayne Nelson of LRB

By STEVE SEYMOUR

Playing impeccable versions of a dozen hit songs from the group's heyday, the 2007 version of the Little River Band (LRB) appeared at the Island Resort and Casino showroom on Friday, Sept. 20.

While the band enjoyed its greatest popularity from 1977 to 1983, it has continued to be active, playing about 100 dates each year.

Wasting no subtlety on the audience, the band launched the evening's program with "Reminiscing," their biggest hit. No less than John Lennon admitted to liking the song which reached No. 3 on the charts in the summer of 1978 thanks in part to heavy play on FM radio.

Vocal duties were handled by Wayne Nelson as they have been since 1999, although the singer joined LRB in 1980 as bassist. The rest of the current band includes guitarist Greg Hind, who joined in 2000; keyboardist Chris Marion, who was added in 2004; and new drummer Melvin Watts. Signing up with the band last year was lead guitarist Rich Herring. He replaced Stephen Housden, owner of the Little River Band name, who decided not to participate in the current tour.

After "Reminiscing," the band delivered note perfect renditions of "Man on Your Mind," "Happy Anniversary" and "Take It Easy on Me," all featuring Nelson, who used his fine rock voice with confidence throughout the show.

Next up, Hind took a turn at the microphone with "The Other Guy," which was given a bluesy arrangement, quite different from the 1983 original. LRB's first American hit, "It's a Long Way There," complete with a funky guitar solo, followed.

An obscure "Forever Blue," a hit in Holland in 1996, was a surprise for fans.

A trio of Top Ten tunes drove home the striking number of hits attributed to LRB, with the veteran Nelson commanding the audience's attention from center stage. "The Night Owls," closely recalled Nelson's vocals on the original recording, while some fans stood during "Cool Change" which included an appealing keyboard intro courtesy of Marion. With an extended version of "Lonesome Loser," the band earned a standing ovation and left the stage.

An encore was demanded by the audience, of course, but when the band returned the house lights were turned on when Nelson explained he needed a few pictures of the crowd to post on the band's website.

The singer then invited eager audience members to dance in front of the stage as the band played "Drift Away." With Nelson telling the crowd, "This is the best Friday night I can remember in a long time," the band concluded with a meticulous version of 1979's "Lady."

Always known for immaculate live shows, the LRB line-up which played at Harris last weekend offered flawless timing and technique, including inspired guitar solos from Hind and Herring.

The original group, formed in 1975, included key members Beeb Birtles, Glenn Shorrock and Graeham Goble, three talented singers and songwriters who wrote most of their hits.

Conflicts over touring, musical direction, and the pressures of success took their toll as the years passed. Shorrock, the lead singer, was forced out of the band in 1982, replaced by John Farnham. Birtles left the following year while Goble did the same in 1990. In turn, Farnham left in 1986, only to be replaced by Shorrock.

In fact, there have been numerous personnel changes during the band's existence. Including current members, the Little River Band has had four lead vocalists, five lead guitarists, five guitarists, five bassists, seven drummers and seven keyboardists.

Various legal battles also caused clashes among band members. By 1997, when 15-year-veteran guitarist Stephen Housden remained as the lone member of LRB, band assets, including the name and logo, were transferred to his control in what some interested parties called a legal blunder.

While founding members Birtles, Shorrock and Goble have performed together under their own names in Australia, Housden's Little River Band continues to stake out musical territory in the United States during annual tours.

Thus, the story continues, 32 years on.

Protest songs had local impact

Country Joe

By STEVE SEYMOUR

When protests against the Vietnam War grew into a national moratorium in the fall of 1969, the young people of Escanaba were involved, just like virtually every other community in the country.

Opinions about the war, which had taken the lives of 39,969 American soldiers by mid-October, had been galvanized by a hotly political climate.

A few years earlier, recordings like "Ballad of the Green Berets" by Staff Sgt. Barry Sadler and "Gallant Men" by U. S. Sen. Everett Dirksen, reflected public opinion. By 1969 however, with casualties mounting, John Lennon's "Give Peace a Chance," the Doors' "Unknown Soldier, "Feel Like I'm Fixin' to Die Rag (Next Stop Vietnam)" by Country Joe and the Fish and "Sky Pilot" by the Animals were increasingly being heard.

On Wednesday, Oct. 15, many of the students at Bay de Noc Community College, then located on Escanaba's south side, wore black armbands to signify their opposition to the war and pay tribute to those Americans killed in Vietnam.

The college administration was well aware of the national march on Washington that day and scheduled an informational symposium that evening possibly to channel student enthusiasm away from any spontaneous demonstrations which might embarrass local officials.

More than 200 people attended the event, held at the student center, where college president Dr. Richard Rinehart hosted discussion concerning the political and moral complexities of the war. Political science instructor Paul Opferkuch presented the historical background of U. S. involvement. Other speakers included diplomat George St. Louis, instructors Al Howard and Michael Youngs, as well as students Bob Erickson and Tim Brostrom.

The meeting lasted until 11 p. m. It's anybody's guess if the symposium changed anybody's mind about the Vietnam War.

But, after the meeting a large group of students marched down south 12th Street toward downtown singing protest songs. "All we are saying is give peace a chance," the group intoned. I don't think anyone knew more than the chorus of the anti-war anthem which had been a hit just a few months before.

As I recall, a few Country Joe fans attempted the "Feel Like I'm Fixin' to Die Rag," which included the line "And it's one, two, three, what are we fighting for? Don't ask me; I don't give a damn. Next stop is Vietnam."

The biggest rally in the state took place at Michigan Stadium in Ann Arbor where 22,000 people gathered to hear U. S. Sen. Philip Hart, D-Michigan, speak against the war along with Tom Hayden, who founded Students for a Democratic Society (SDS) in Port Huron.

Nationally, about two million people participated in the moratorium which was conceived by a 26-year-old named Sam Brown. About 100,000 attended an anti-war speech in Boston by U. S. Sen. George McGovern.

While various moratorium events where held across the U. P., the small community of Ontonagon was quiet. Many of the county's 10,584 residents continued to support the Nixon administration's policies in Vietnam even though the area had suffered eight fatalities in southeast Asia, a higher percentage than any county in the country.

A second moratorium was held in November. At a rally in Washington, D. C., folk singer Pete Seeger led 500,000 people through a version of "Give Peace a Chance."

At this time Creedence Clearwater Revival released "Fortunate Son," a number 14 hit. With the line "And when they play hail to the chief, ooh, they point the cannon at you," the song become a favorite of war protesters and veterans alike.

A few months later, "War" by Edwin Starr was the most popular song in the country for three weeks. The track struck the national consciousness with its simple lyrics: "War, what is it good for? Absolutely nothing."

One of the most enduring songs of this genre, however, may be "Eve of Destruction" by Barry McGuire. Talking about the eastern world exploding, bodies floating in the Jordan River, and the possibility of nuclear holocaust, the lyrics are as relevant today as they were in 1965.

Despite the demonstrations of 1969 and despite the protest songs, the Vietnam War didn't end for six more years.

Nugent's career earns attention

Ted Nugent

By STEVE SEYMOUR

The first time Ted Nugent caught my attention was the summer of 1968 when his band, the Amboy Dukes, issued their psychedelic masterpiece "Journey to the Center of the Mind."

That song leaped from your car radio like nothing else. Detroit-born Nugent wrote the tune with fellow guitarist Steve Farmer, while John Drake sang lead vocals. "Journey to the Center of the Mind," became the first and only hit for the Amboy Dukes, just missing the national top ten.

But, as follow-up hits failed to materialize, original members left and were replaced until only Nugent remained. He finally disbanded the Amboy Dukes in 1975, launching a solo career.

Recording on his own, Nugent's ferocious guitar-attack met with massive success in the last half of the 70s and he racked- up such hits as "Cat Scratch Fever" and "Stranglehold."

Having toured all summer, Nugent, amazingly, is approaching his 6000th live concert. Performing professionally since he was a pre-teen, the young Nugent had to bring his mother along in order to play at the fabled Grande Ballroom in Detroit, according to a story told to me by owner Russ Gibb.

Although Nugent experienced career ups and downs, he has always held his fans, especially those in the U. P., in high regard. In the spring of 1989, my wife Sue and I asked "Uncle Ted" for his autograph to add to the rock 'n' roll memorabilia collection displayed in our store. He responded with a note and a collection of three color photographs which he had signed.

"Give my best to all those rockers in the U. P. I dig 'em," Nugent wrote on his personal camouflaged stationery. He included a picture of himself on stage, another with a gigantic black bear he had felled with a bow, and a third showing himself surrounded by dozens of guitars. We later acquired a signed arrow which seemed to complete the collection.

Shortly after autographing those photos, Nugent enjoyed some of his greatest success as a member of the superstar rock group Damn Yankees. Besides Nugent, the group consisted of bassist Jack Blades of Night Ranger, guitarist Tommy Shaw of Styx and drummer Michael Caretellone. The band received subtantial radio play with "Coming of Age" in the spring of 1990 and hit again with the No. 3 smash "High Enough" later in the year.

Nugent has visited the U. P. many times on hunting expeditions. He even contributed a hard-rocking track called "Comin' Down Hard" to the soundtrack of "Escanaba in Da Moonlight," the deer hunting comedy written by Hollywood big-shot and Michigan-native Jeff Daniels.

In fact, Nugent's presence north of the Mackinac Bridge is so formidable that many Yoopers earnestly claim that the 58-year-old rocker actually owns property near their own camps. A local rumor even suggested Nugent had purchased the Mead Lodge on the Escanaba River. But such was not the case. "I would like to clarify the fact I don't actually own land in the Upper Peninsula," Nugent told the Upper Michigan Outdoor Journal.

The Motor City Madman loves northern Michigan and has proved it by performing here many times. He has appeared at Chip-In's Island Resort and Casino in Harris and the Upper Peninsula State Fair in Escanaba where he played on Wednesday, Aug. 17, 2005. On stage, he performed many of his hits including the magnificent "Fred Bear," his pean to hunting and the favorite tune of more than a few Yoopers.

The world of politics, meanwhile, is never far from Nugent's mind. A director of the National Rifle Association, he is pro-gun and anti-drug, if you weren't aware. Well-known as an outdoorsman, Nugent visited Escanaba again on July 31, 2006 during a campaign stop by unsuccessful Republican U. S. Senate candidate Michael Bouchard. Nugent fans shouldn't be surprised if their outspoken hero makes a run for governor in the next few years.

Always active, Nugent recorded his new 13-track album, "Love Grenade," at Jack Blades' Paradise studio in Santa Rosa, CA., in May. Blades co-produced the disc, and added bass to three tracks. He also contributed background vocals along with fellow Damn Yankee Tommy Shaw.

The project shines from start to finish, with plenty of Nugent's trademark guitar fireworks throughout. Midway through the set Nugent revisits "Journey to the Center of the Mind," the track that launched his career. The new version is just as addictive as the original, complete with Nugent's unforgettable swirling Gibson guitar solo. This time Nugent takes the lead vocal role. Although he does a credible job, long-time fans many wonder how Derek St. Holmes, the Nuge's former vocalist, would have handled it.

With the release of a great new album this month, Nugent has caught my attention yet again.

Lark Brothers kick-off Blues Fest

Westside Andy

By STEVE SEYMOUR

Delta County's Lark Brothers kicked off the 4th annual Marquette Area Blues Fest Sept. 1, in what turned out to be the biggest day in the event's history.

Festival goers arrived early at Mattson Lower Harbor Park to witness a rare performance by Dave, Bill and Sam Lark, augmented by drummer Rich White, keyboardist Mark Peterson and harp player Dean Peterson.

The veteran group, which includes former members of the Blues Weasels, fired up the crowd with original material such as "Tangerine" and "Look Before You Leap" as well as traditional numbers like "Sweet Home Chicago" and "Walking the Dog," showcasing Peterson's considerable harmonica skills.

In fact, the harmonica, or harp as it's known in the blues world, played a significant role in most of the acts hitting the stage on Saturday, including Fast Eddie's Blues Band, which followed the Larks.

Veteran Marquette musician Fast Eddie Consolmagno, playing both harp and slide guitar, delivered an inspiring set with the guitarist known simply as "Crabbe" adding Chicago-style lead fret work. "Rocket 88" and "Crosscut Saw" paced the band's set which ended with the cover of a Rory Gallagher gem, "Ghost Blues."

Peter "Madcat" Ruth took the harmonica theme down a more traditional path when he appeared on stage with partner Shari Kane. Madcat's impressive harp work has been evolving since he studied with Big Walter Horton in the late 60s. The duo worked through a set of old-time blues standards by the likes of Robert Johnson, Charlie Patton, Kokomo Arnold, Bukka White and Big Bill Broonzy. Kane cleverly changed the gender in Willie Dixon's "Hoochie Coochie Man," making the song her own while also sounding striking on steel guitar.

Mel Ford

Westside Andy and the Mel Ford Band, hailing from Madison, followed with a set of distinctive, mostly original material. Ford's tasty guitar work blended perfectly with the blues harp style Westside Andy Linderman brought to songs such as "Nervous Fella," "Alley Cat" and "Call it Love." Hard-working keyboardist Jimmy Voegeli, playing his heart out on "Party Girl" added to the excitement. Linderman, with a portable microphone, wandered through the crowd, even posing for pictures, all the while continuing to blow his harp. Ford, not to be outdone, played his guitar behind his back, Jimi Hendrix style.

Although the sun was setting as Saturday headliner Tinsley Ellis took the stage, his set offered plenty of heat. "It's great to play in the U. P. for the very first time," the Atlanta native told the crowd between mesmerising guitar solos.

Ellis, who commanded the stage at once, played numerous songs from his last two compact discs, with bass added by a player known as The Evil One. Tracks like "A Quitter Never Wins," "Tell the Truth," "Get to the Bottom," "To the Devil for a Dime," and "The Last Song" demonstrated his world-class guitar prowess. An encore of "Double Eyed Whammy" ended the evening.

My wife Sue and I were back with our lawn chairs near the stage early Sunday afternoon for the Flat Broke Blues Review, as orchestrated by bass player Mark Johnson.

"I Got My Mojo Working," started a segment with Doc Woodward on Hammond B-3, guitarist Mike Letts and a young blues combo known as VooDoo Brew. That was followed by a Flat Broke Blues Band set, opening with a cover of the Janiva Magness song "Every Night," and continuing with guitarist Walt Lindala's version of "Big Legged Women." After vocalist Lorrie Hayes completed an effective version of "Lies," the Million Dollar Horns were brought on stage to complement a rousing rendition of Bobby Bland's "Twenty Room House."

The enlarged band powered through "Consequences," "Rock This House" and "Turn Back the Hands of Time." With all 11 musicians on stage, the Flat Broke Broke Blues Review finished with "Flip, Flop and Fly."

Rusty Wright

Next, fans of contemporary blues with a touch of southern rock were treated to a strong performance by Rusty Wright Blues, a combo based in Flint. Wright tore through a set of original material including "I Ain't From Mississippi," "The Fool Will Do," "Feel Good Blues" and "Ain't No Good Life," with the crowd falling in love with Wright's vivid guitar technique. Not to be categorized, the band also performed a touching rendition of the Gershwin classic "Summertime" with Wright's wife Laurie taking lead vocals.

The six-piece Big James and the Chicago Playboys brought their horn-driven, soul and funk flavored blues to the stage next. With trombonist Big James Montgomery handling vocals, this choreographed outfit was at its best on original material such as "Thank God I Got the Blues," "The Blues Will Never Die," and "Don't Take Your Coat Off." Obviously having fun on stage, the band played bits of "Smoke on the Water," "Wipe Out" and "Pink Panther Theme" just to make sure the audience was
paying attention. It was.

Sunday's headliner was veteran rhythm and blues singer Bettye LaVette, who despite her 46-year career, has just started being recognized for her obvious abilities. "Rumors of my demise have been greatly circulated. I am back," LaVette announced to the crowd. Dressed in black, LaVette danced about the stage singing tracks from her award-winning album, "I've Got My Own Hell to Raise."

Backed by a four-piece band, the 61-year-old Muskegon native gave a dynamic performance which included "I Do Not Want What I Haven't Got," "Joy," Dolly Parton's "Little Sparrow," and "How Am I Different." In an intimate moment with the audience, she sang a poignant rendition of John Prine's "Souvenirs" while sitting cross-legged at the edge of the stage.

LaVette's set closed the festival before 10 p. m.

The good times continued with an official post party at the Skyboxx in downtown Marquette where many of the festival's performers gathered to jam into the wee hours. Some of the weekend's most inspired improvisational playing took place there. But that's my little secret.

Marquette area Blues Festival 2007 picture gallery
by Sue Seymour


Tinsley Ellis


Lorrie & Walt from Flat Broke Blues Band


Big James from the Chicago Playboys


Betty Lavette


Dave Lark


Fast Eddie


Madcat Ruth


Shari Kane


Blues fans Mike & Michelle Miller of Escanaba

Fest draws music fans to Porkies

By STEVE SEYMOUR

The western Upper Peninsula's Porcupine Mountains were doubly spectacular this past weekend. That's because the area's breathtaking scenery, like Lake of the Clouds, was enhanced with a first-class music festival, as thousands of fans from around the Midwest transcended on Ontonagon County.

My wife Sue and I made plans months ago to attend the third annual Porcupine Mountains Music Festival which takes place in Michigan's largest state park, featuring dozens of top touring acts on three stages. Our eagerness was reflected in our tickets, numbered 0003 and 0004, for opening day, Friday, Aug. 24.

We were particularly interested in seeing the festival's headlining act, Blues Caravan 2007, which includes three dynamic guitarists and singers in Sue Foley, Deborah Coleman and Roxanne Potvin. But there were other draws, too. Despite living in the U. P. all my life, I'd never seen Marquette's Conga Se Menne perform; and Copper Country native Lindsay Tomasic, enjoying much success in the Los Angeles music scene, was to appear on stage, as well.

You may not have heard of Tomasic, but you almost certainly know her music. Her songs and themes are widely heard on television and in the movies. Her work has appeared in the motion picture Wild Hogs, and on TV in Desperate Housewives and Malcolm in the Middle as well as Get This Party Started on UPN. During two sets, Tomasic played tracks from her three solo CD's, "Well Kept Secret," "Paradise Road" and the soon to be released "What in the World." The singer-songwriter then invited the audience to attend her performance the following evening at Lake Linden's Little Gem Theater, which would include legendary keyboardist Bill Payne, a founding member of Little Feat and now a U. P. resident.


Conga Se Menne

Also bolstering the U. P. was Conga Se Menne, founders of their own category of music, "Finnish Reggae." Frontman Derrell Syria led his band through many of their best-loved songs including "Living Inna Northern Paradise," "Born in the U. P. Ay," "Sauna Song," "U. P. Boy," "West U. P. Town," "Gainses' Rock" and others.

"The band has a new CD coming out," Syria said, teasing the audience from a stage under a ski lift, "in about a year and a half." Commenting on his tendency to procrastinate, he added: "We have five songs completed and only need four or five more." Some of the tracks will be about Les Ross, the band's co-founder, percussionist and long-time Marquette area musician, who died in 2003.

While local residents were well aware of the beauty of the Porkies, the festival location also impressed Blues Caravan star Sue Foley.

"Man, what a place to hold a festival. I didn't even know this town existed. I'm sorry. I'm from Canada, too. You'd think I'd know things like that. This is a damn long way to come, but I'm glad you're here. After the show, the ladies and I will be over there, sitting in the dark, signing CD's, hopefully. Maybe somebody could bring a flashlight and shine it on us."

But, with her trademark paisley Telecaster in hand, Foley and her band shone brightly without any help. They launched into their set with a blistering version of the instrumental "Time Bomb," from their Ruf Records CD released earlier this year.

The three guitar goddesses then took turns leading the band, which included bass, drums and keyboards, through an impressive list of mostly original material.

Potvin, born in Quebec just 23 years ago, played, sang and danced through "Hitting on Nothing," "Caught Up" and the John Hiatt-penned "A Love That's Simple."

The hard rockin' Coleman, meanwhile, played numbers such as "Talking Loud," stressing her jamming abilities. The 50-year-old Virginia native kicked it into high gear for "Bad Boy" and a no-holes-barred version of Buddy Miles' "Them Changes."


Sue Foley

The red-headed Foley, who has a dozen albums to her credit, then returned to the stage for "So Far," a tune she wrote for the new disc..

After telling the audience she was writing a book called "Guitar Women," Foley, 39, played "Down the Big Road Blues," by Mattie Delaney, an obscure blueswoman from the 30s. The song appears on a double CD Foley assembled to demonstrate the skills of the greatest contemporary and traditional blueswomen, including Debbie Davies, Joanna Connor, Bonnie Raitt, Rory Block and Memphis Minnie.

Bringing her set to a close, the Ottawa native demonstrated her considerable guitar prowess on "Doggie Treats," "Long Distance Lover" and "New Used Car."

The trio concluded with "In The Basement," each vocalist singing one verse of the song before leaving the stage. But, the crowd demanded an encore. The band returned with a saucy rendition of the Irma Thomas classic "You Can Have My Husband (But Please Don't Mess With My Man)" before ending with a protest number, "No War, No More" as the crowd cheered.

Following their set, a bearded man mentioned to Foley that he thought "three hot chicks with Telecaster guitars" matched a fantasy some guys had. "That's what I've been told," Foley said, matter-of-factly.

To cap off the day, my wife Sue took a snapshot of me and Sue, the blueswoman. We headed back to our motel room while Foley got ready to travel to Red Lake, MN for the Last Ride Blues Festival the following day.

Satisfied with a great festival at a gorgeous location, we're already looking forward to next year.