Three Dog Night recreates past

Three Dog Night

By STEVE SEYMOUR

Three Dog Night took its audience on a trip to the past at the Island Resort and Casino showroom last weekend.

Fans remember the Los Angeles- based rock group for the 21 smashes it racked up between 1969 and 1976, utilizing the talented triumvirate of lead vocalists Cory Wells, Danny Hutton and Chuck Negron.

After hearing "One (Is the Loneliest Number)" all over the radio airwaves during the summer of 1969, I eagerly looked forward to each new single from the band, named after the coldest night in the Australian outback. And they delivered hit after hit, reaching a peak two years later with "Joy to the World," with its unlikely reference to a bullfrog named Jeremiah.

The band broke up in 1977 when the hits stopped, but Three Dog Night re-assembled a decade later without Negron. He sang many of their biggest hits, but Negron's drug abuse had also caused friction within the group.

Still, the 2008 version of the iconic band appearing at the Harris venue was surprisingly intact, boasting four original members: Wells, Hutton, guitarist Michael Allsup and keyboard player Jimmy Greenspoon.

With the addition of bassist Paul Kingery and drummer Pat Bautz, Three Dog Night recreated most of the hits from its storied past during a performance my wife Sue and I attended on Feb. 22.

The show opened with the two vocalists doing "Family of Man" and "One Man Band." As the audience settled back, Hutton, 65, took solo lead vocals on "Black & White," a number one from mid-1972. Wells, 66, was spotlighted on "Never Been to Spain," written by Hoyt Axton, and "Shambala," both Top Ten hits.

The two vocalists were featured on "Out in the Country," while the task of singing "Easy To Be Hard," originally done by Negron, fell on Wells, with an assist from Hutton. Hutton followed with "Old Fashioned Love Song," another tune originally sung by Negron.

Next, the group highlighted a Randy Newman tune they recorded for the "Coming Down Your Way" album in 1975, the last LP featuring all three vocalists. An unexpected addition to the set list, Wells sang a rousing version of "You Can Leave Your Hat On," explaining to the audience that Joe Cocker, who had a big hit with the song, found it on their album. Cocker's version appeared in the 1986 movie, "9 and 1/2 Weeks."

Wells followed with "One," written and recorded by Harry Nilsson in 1968. The group's first Top Ten, "One" was another number originally song by Negron. Wells followed with "Play Something Sweet (Brickyard Blues)," written by famed New Orleans musician Allen Toussaint.

While Three Dog Night was known for recording the best work of contemporary songwriters of the time, Wells changed direction midway through the show by performing his "Heart of Blues," a number written when the band was booked to headline a blues festival a few years ago.

The band returned to familiar territory when Hutton performed an energetic version of "Liar." The tune allowed Allsup to get in some inspired guitar licks, as well.

The John Hiatt-penned "Sure As I'm Sittin' Here" followed with Wells back on lead vocals. Next came Wells' turn to sing "Mama Told Me (Not to Come), another Newman classic, which Three Dog Night took to the top of the charts in 1970. Midway through the song, Wells announced they had put together a "rap" version for the 21st century and turned the old hit into a comedy routine.

To end their program, Wells and Hutton shared "Celebrate," another song the band had released at the start of the 70s.

Following a standing ovation, the band returned to the stage for a one-song encore, performing their biggest hit, "Joy to the World," which stayed in the top position for six weeks in 1971. The song made plenty of money for the group and songwriter Hoyt Axton. Originally sung by Negron, Wells and Hutton handled vocals this time.

With that the 75 minute trip back in time was over.

Fans could quibble about the song selection or the short program, but the show was well done, if some of the performances were rather reserved.

As you might expect, some of Negron's tunes were missing in action, including "Pieces of April," "The Show Must Go On," written by Leo Sayer; and "Til The World Ends." That might not seem so surprising if you visit Three Dog Night's official website. There you'll find a history of the band which doesn't even mention Negron's name.

But, three songs originally sung by Wells were also left off the show: "Try a Little Tenderness," "Let Me Serenade You" and the Laura Nyro gem "Eli's Coming."

For his part, Negron, 65, suffered through years of heroin abuse, following his Three Dog Night tenure. But, he has overcome his addiction and still performs his old Three Dog Night hits.

For some shows this year he has teamed with Blood, Sweat & Tears in a double bill. Negron sings BS&T songs like "You've Made Me So Very Happy," "And When I Die," and "Spinning Wheel," during one set, while the veteran group backs Negron as he sings his Three Dog Night hits during a second set. Negron has chronicled his ups and downs in his book, "Three Dog Nightmare."

Four decades after the hits started to pile up, both Three Dog Night and Negron remain active performers, able to deliver baby boomer era memories at every show.

But, don't look for a reunion anytime soon.

Vinyl records get new attention

By STEVE SEYMOUR

While many people are busy listening to downloaded music on their iPods, a surprising development has been taking place in the music marketplace: vinyl records are making a comeback.

Some youngsters, romanced by today's technology, may not even know that records were the primary music delivery system in the 1960s and 70s when rock 'n' roll revolutionized popular culture. Folks who lived through the era, however, often collected the 12-inch discs.

Perhaps, you even have a crate or two of old records gathering dust in your living room or basement. Looking through them will remind you of why you bothered to collect them in the first place. These record albums, also called LPs (short for long players) or 33 and a thirds, for the speed they rotated on the turntable, offered the music fan more for their money.

The covers usually displayed some appealing artwork or a photo of the artist. As you were listening to the music you could read some entertaining and informative liner notes. More facts about songwriting and publishing were revealed on the record's label.

But, most importantly the LP delivered a "warm" sound compared to the often "tinny" sound of compact discs and compressed downloads, even with the noise of scratches which came with repeated plays.

Many folks swear to the superiority of the LP to this day, and record companies have responded by issuing selected titles in the vinyl format. Internet merchandiser Amazon.com has even introduced a vinyl-only store and the CBS-network Sunday Morning program recently aired a feature on vinyl's return.

Truth is vinyl never went away. Collectors have amassed them for decades. A magazine called "Goldmine" has served the advertising needs of collectors, to say nothing of the giant internet auction house Ebay, which lists over a quarter million records at any given time.

A search on Ebay will show the wide variety of vinyl available for bidding. A few records sell for impressive prices, while many offerings expire without bids. Of course, the reason is that not all records are collectible or valuable.

Demand for vinyl is based, not on the age of the record, but on scarcity and condition. The Beatles have thousands of entries on eBay, as one might expect for the most popular musical group of all time. Yet, the Beatles sold tens of millions of records, so many titles are common. Still, finding some of their original LPs on the original labels in mint condition may be difficult because kids played the heck out of their records.


The Beatles

One highly sought-after Beatles title is known as the "butcher cover." This early version of the "Yesterday & Today" album pictured the Fab Four in butcher's smocks with decapitated baby dolls and raw meat scattered about. It was quickly recalled and can fetch a good price today.


Elvis

Elvis, certainly rock's greatest early performer, is at the center of many collections. Some people assume his "Moody Blue" album, pressed on blue vinyl must be valuable. I've seen dozens of copies of this record and it's only worth a few dollars. Find that record pressed with black vinyl and you have something quite collectible.

Some media, like "Antiques Roadshow" on public television, occasionally highlight a rare Elvis or Beatles collectible, with some people drawing the mistaken assumption that everything issued by those two music icons must be valuable.

In fact, the very nature of a hit record tends to make it common. Millions bought Michael Jackson's "Thriller" or "Rumours" by Fleetwood Mac. Discs by the likes of Elton John or the Eagles will never gain in value because so many were sold. Of course, that doesn't mean that the music contained in the grooves isn't worthwhile.

If you ever take to listening to your LPs, you'll realize it always pays to take care of them. So, when you're through listening to an LP it's always best to slide it back into its inner sleeve and cardboard jacket. Records should also be stored vertically at room temperature. Attics aren't good storage areas because of the extremes in temperature and basements add the possibility of moisture and mildew into the mix.

Folks new to collecting vinyl might want to study up on the hobby first. But, you can never go wrong collecting what you like. Of course, you can go to Ebay to buy, but don't forget about used record stores, antique shops and thrift stores like Goodwill, Salvation Army and St. Vincent de Paul. During warmer months, persistent buyers often find bargain priced records at garage sales. Mountains of records are available from these sources for just a few dollars each.


Mae West

I have to admit I still enjoy picking-up records here and there, adding to the collection I started as a teenager. I recently bought three LPs from the 60s. The first is by Mae West, called "Way Out West." Although the title can be taken several different ways, the record features the actress singing rock 'n' roll hits to the backing of an obscure garage-rock band named Somebody's Chyldren.


Paul Revere and the Raiders

The second LP, by Paul Revere and the Raiders, was issued at the height of the Vietnam War. Called "Hard 'N' Heavy (with Marshmallow)" the cover pictures the group crushing a guitar by driving over it with a tank. Most fans probably understood the symbolism.


The Sunrays

The third record has a great story behind it. The Sunrays, who issued an album called "Andrea," thought they would be the next Beach Boys. That's because they were told so by Murry Wilson, who produced the record. Wilson had recently been fired as manager by his sons and was out to prove HE was the real Beach Boys. He wasn't, but the Sunrays had several hits, nonetheless.

Considering the recent additions to my record collection, you might want to take up the hobby yourself.

Even if the pieces you buy aren't particularly valuable, there can be joy in collecting. After all, it's about the music.

In the end, pursuing records gives you something tangible to collect, quite unlike downloading music with your computer.

Happy collecting.

Riot Squad had enduring career

Early Riot Squad poster

By STEVE SEYMOUR

Founded in 1965, Escanaba's Riot Squad enjoyed a lengthy and influential career, despite numerous personnel changes.

The rock band was formed by Jim Joque, rhythm guitar; Dan Curran, drums; Bob Anzalone, bass; and Brendan Williams, lead guitar. An early business card listed the young musician's first names only, except for Williams, whose last name, address and phone number were given.

After a brief period as a quartet, Greg Curran, a cousin of the band's drummer, was added as vocalist and keyboard player. New member Curran and Williams attended Escanaba public schools, while the remaining three musicians attended Holy Name High School.

Not long after his arrival in Escanaba from Menominee, the Riot Squad met promoter Gene Smiltneck, who had opened a teen night club in downtown Escanaba called Club A Go Go. Smiltneck told the band they were good enough to be booked but lacked the equipment necessary for such work.

Owner of Bands Unlimited, Smiltneck allowed the group to practice at his house located at 1616 11th Ave. S. As I made weekly collections on my Escanaba Daily Press newspaper route, Smiltneck and his wife Lynn explained to me that the boys rehearsing in their basement were an up and coming group called the Riot Squad.

Early on the band played gigs at the Tony Revord American Legion Hall in Powers every other week, including a Christmas dance which took place on Dec. 23, 1966. As the Riot Squad's reputation grew in 1967, they planned to invest in additional equipment to become more employable.

Already, the Riot Squad had spent $2,500 for a drum kit, three guitars, two amplifiers, a public address system and five microphones. "By the spring we plan on having from $3,000 to $4,000 worth of Vox and Fender equipment," band leader Dan Curran said at the time.

A big gig came next. The Riot Squad performed live on the March of Dimes Telethon on WLUC-TV 6 on Sunday, Jan. 29, 1967. Although the group had to travel to the station's studio in Negaunee, the effort afforded them valuable peninsula-wide exposure.

Dances at Escanaba Area High School, Holy Name and Bay de Noc Community College became regular stops for the Riot Squad as did teen dances at Teamsters Hall put on by Smiltneck, which were referred to at the time as "K.C." The band also made the rounds of teen dances around the Upper Peninsula, including the Trenary Township Hall, Chatham, Gwinn High School gym, upstairs at the Eat Shop in Manistique and Lloyd's Good Fellowship Hall in Menominee. At the time, dances were often booked seven days a week around the central U. P.

The tiny community of Rock in Delta County was especially fond of the Riot Squad. In just a matter of months, the group played at the school gym, Finn Hall and Lions Clubhouse.

Eventually, the band performed throughout the U. P., northern lower Michigan and most of Wisconsin and-- with at least 134 songs in their repertoire-- came prepared to entertain any crowd. The group also made stops in Canada and Minnesota.

One time, the exhausted band called Smiltneck from St. Ignace to tell him their bus broke down as an excuse to avoid a engagement that evening in Superior, Wis., a bone weary 410 miles away. Over the years, the Riot Squad's green and orange bus became a familiar sight to many fans.

Smiltneck saw increasing potential in the Riot Squad and formed Peninsula Records with his brother Leon to release a seven-inch 45 rpm recording by the five young men. The resulting single paired a cover of Ritchie Valens' "Come On, Let's Go," with the Riot Squad's version of "Ferry 'Cross the Mersey," originally recorded by Gerry and the Pacemakers.

Both songs were taped in Smiltneck's basement where the band had logged many hours in rehearsal. An order at a custom pressing plant was put in for 1,000 copies which reached the record buying public in early 1968.

The rivalry between the Riot Squad and Prophets of Doom was ratched up as the groups competed in a Battle of the Bands contest at the Escanaba Area High School commons on March 2, 1968. "The battlefield is expected to be crowded with spectators who will be taxed at one dollar to provide the aid required for an undertaking of this tremendous size," a handout promised.

That summer, the Riot Squad took part in another Battle of the Bands, this time at the Upper Peninsula State Fair in Escanaba. Organized by Smiltneck, the Aug. 14, 1968, competition included the Prophets of Doom, Spoken For, and Three Days and a Night, all from Escanaba; as well as Iron Mountain's Ravelles. Although the Ravelles, featuring female vocalist Carmella Altobelli, won the battle, they had nothing over the Riot Squad in that regard. That's because the Escanaba combo had added vocalist Karin Beck to the line-up.

The group expanded at times to include singer Kathy Kolich, guitarist Tom McGovern and keyboard player Dale Stannard.


Riot Squad promotional photo

As 1969 wore on, musical differences began to put strains on the group. To change with the times, Greg Curran wanted to add a brass section, while the others didn't support the idea. In September, the Riot Squad split over the issue with Dan Curran, Williams, McGovern and Stannard leaving to form a "heavy music" version of Porridge with Mitch Jensen.

Retaining the Riot Squad name, Greg Curran added five new members to the group, including ex-Porridge members Loreene Zeno and Bob Derouin; Fred Bingman, Greg Tolman, and Larry Willette. All the players were capable on more than one instrument. A vintage poster dubbed the band the "fun lovin' Riot Squad" and portrayed them in a collage of 18 photographs.

The Riot Squad cut a second 45 at Smiltneck's studio when the promoter moved to 2214 25th Ave. S. The facility featured a four-track recorder which cost about $2,000, Curran recalled. "Takin' It Easy" backed with "Before I Leave Tonight" appeared on the Demian label.

On Dec. 16, 1970, a five man Riot Squad performed at what was billed as the area's first sit-down concert featuring local acts. Held at the William Oliver Auditorium at Escanaba Junior High School, the event featured sets by Curran, Tolman, Derouin, Willette and Tom Vardigan; the Prophets of Doom and Jim Lewis. At the time, the Riot Squad played original material by Tolman and Curran, as well as covers of George Harrison, Chicago, the Who and Blood, Sweat & Tears, among others.

On occasion, various other musicians played with the group, including Bob Ling, who ran the Riot Squad fan club from his house at 620 S. 12th St.; Matt Gadnis, Greg Swank, John Adams, Mike Backlund and Dan Stoor. Promotional black and white 8 by 10 photographs show several popular configurations of the group including a quartet composed of Curran, Tolman, Derouin and Backlund, and a trio with Curran, Tolman and Adams.

Although the Riot Squad broke up for good in 1973, Curran, Williams and Tolman formed Rocking Chair, another popular local band. Derouin replaced Tolman in 1975 and the new trio played together until 1985.

Riot Squad photo gallery ...

High school dances reflected era

The Rebels featured guest vocalist Greg Curran during a 1968 Halloween dance at Escanaba High School

By STEVE SEYMOUR

Everybody remembers going to high school dances like Homecoming, Halloween, Sadie Hawkins and the Senior Ball.

For me, I recall seeing many of the area's most popular rock bands-- the student handbook called them "orchestras"-- perform at dances when I was completing my secondary education. I also saw a few obscure ones and missed a couple, too.

As a ninth grader at Escanaba Area Public High School in 1965, I attended the homecoming dance, held Oct. 2, in the commons area. Entertainment for the event was provided by Beat Incorporated, a pioneering rock 'n' roll band from Escanaba which included bassist Hank Mroczkowski; lead guitarist Corky Mroczkowski; drummer Jim Lewis and keyboardist Bruce Douglas. Admission was 50 cents or $1 for couples. Dancing took place from 8:30- 11:30.

Just a freshman that school year, I didn't attend the formal Holiday Ball or Senior Ball, although both featured terrific bands.


The Bossmen, from Saginaw, appeared at an Escanaba High School dance in 1965

Held at Marco's Stardust Lounge in downtown Escanaba on Dec. 28, 1965, the Holiday Ball was highlighted by the boss sound of Saginaw's Bossmen, led by guitarist and vocalist Dick Wagner, who went on to record three LPs as a founding member of The Frost. Mark Farner, who later formed Grand Funk Railroad, also joined the Bossmen about this time. Theme for the 9-12 dance was "Far Away Places."

"Holiday in Venice' was the theme for the Senior Ball, held at the commons on April 30, 1966. One of the Upper Peninsula's best bands, the Henchmen VI, provided the entertainment for the evening from inside a specially constructed gondola. The Rogues were originally scheduled to play, but broke-up a few weeks prior to the event.

As a sophomore, I attended the annual Halloween dance which featured the music of the Livings Ends of Escanaba, while the special attraction for the Sadie Hawkins dance on Feb. 23, 1967 was a combo called Psychedelic Circuit. On April 29, 1967, graduation candidates were treated to the dance stylings of John Evil and the Spirits at their Senior Ball. The band was formed when Beat Inc. added vocalist John Bergquist to their line-up.

Escanaba's Riot Squad played a dance in the commons area during the early fall of 1967, just as I was beginning my junior year. The event, called "What-cha-ma-call-it," raised funds for the yearbook which had lapsed publication a number of years earlier. The young band included lead singer Greg Curran; guitarist Brendan Williams; drummer Dan Curran; bassist Bob Anzalone; and rhythm guitarist Jim Joque.

Sponsored by the Library Society, the Homecoming dance was held Oct. 21, 1967, with music provided by Lovin' Kind. Lasting 8- 11, the event packed students into the commons area.

Yet another dance was held there on Nov. 11, 1967, sponsored by the staff of the Escanaban, the school's student newspaper. The young journalists were raising money to send Christmas packages to area soldiers in Vietnam in an project called "Operation Appreciation." Music for the event was provided by the Ultra Sonics of Escanaba. The group included Tim Mulvaney, drums; Dick Peterson, guitar; Kim Erickson, bass; Matt Gadnis, organ; and Mickey Van Effen, lead singer.

The Riot Squad returned to the commons on Dec. 23, 1967, for "Holly Hop," sponsored by the high school bookkeeping department, which was raising funds for new adding machines.

The Holiday Ball, meanwhile, was held at the Terrace on Dec. 27, 1967, with a theme of "Silver Bells." Couples danced to the music of Just Us from Appleton, Wis. I didn't go, but there were plenty more dances in the future.

Esky's corridors buzzed with excitement when word spread about a battle of the bands scheduled for March 2, 1968. The competition pitted the Riot Squad against their biggest rivals, the Prophets of Doom. Also from Escanaba, PoD consisted of Jim Nelson, drums; Calvin Rose, bass; Dave Watchorn, lead guitar; Jim Smith, organ; and Mike Steede, rhythm guitar.

A flyer distributed at the time promised a "showdown... without truce or interruption." The handout contended: "The battle is the result of much provocation from both groups. In the last few weeks, the maneuvers have been quite extensive and it is expected that the battle will be one of the most remembered to go down in history. Both groups will be using secret weapons that they have been developing in recent weeks. Public opinion is divided as both group are well represented amongst the classes of both area high schools. Both groups are evenly matched and the battle should be quite interesting to see."

But, because battle of the bands competitions were so prevalent at the time, it's not entirely clear which band won this particular one.

Dances during my junior year ended with the Senior Ball, held at the Terrace on May 11, 1968, featuring Iron Gate from Rockford, Illinois. I didn't go.

One of the first activities of senior year was the Homecoming dance, held from 8- 11 on Oct. 12, 1968. About 400 people attended the event which featured the Prophets of Doom. The Library Society collected $394 for its coffers by sponsoring the gathering.

A Halloween dance on Oct. 30, 1968 was "livened by music of the Rebels," according to an article in the Escanaban. What the story didn't say was that the band had a bit of a problem that night. Singer Ron Derouin had been expelled and school officials won't allow him to perform. Rebels guitarist Mitch Jensen says Greg Curran, vocalist for the Riot Squad, was recruited to fill in for the missing Derouin. In true show business fashion, the Rebels completed the evening with a line-up of Curran, Jensen, bassist Dave Berndt, drummer Dan Ducheny and keyboard player Dale Stannard.

Next up, came the Holiday Ball, which took place at the Terrace on Dec. 27, 1968 with the theme, "A Christmas Carol." I didn't go and was especially disappointed when classmates told me what a fantastic job the Ravelles did entertaining the crowd. The Iron Mountain based group was one of the first to spotlight a female lead singer, in this case, Carmella Altobelli. The band had cut several 45 rpm singles at the time.

I didn't miss the next dance, which was a fund-raiser for March of Dimes. Held at Esky commons, Riot Squad played before 500 students for three hours in what was billed as a 'MOD' dance. The event raised $320 for the charity.

Another local group, Three Days and a Night, was the attraction for the Valentines dance, held from 8-11 on Feb. 15, 1969. The band included Kim Erickson, guitar; Al Gossan, drums; Dick Peterson, lead guitar; and Tim Mulvaney, bass. Admission was $1.

The final dance during my last year in high school, the Senior Ball, with the theme "Cherish," was held from 9- 11 on May 10, 1969. The Head Hunters from Appleton entertained 143 couples during the evening at Esky commons. It was the biggest event of the school year and the administration authorized that $40 be spent on decorations, rather than the usual $25. This time I overcame my fear of formal events, got a date and went.

Better late than never, right?