Rolling Stone chronicled scene

Rolling Stone No.1

By STEVE SEYMOUR

When I received a complementary copy of Rolling Stone in the mail the other day, it reminded me of how important the magazine was to me for decades.

That's because I enjoy reading about rock 'n' roll almost as much as listening to it and the San Francisco-based periodical was an important component in that equation, beginning in the late 1960s.

Rolling Stone No. 1 carried a date of Nov. 9, 1967 and featured a cover photo of John Lennon as Private Gripweed from the film "How I Won the War" as well as stories about the Beatles, Byrds, Donovan, Jimi Hendrix and Eric Clapton.

Founded by Jann S. Wenner and veteran music critic Ralph J. Gleason, Rolling Stone was part newspaper and part magazine, but far from the slick publication it is today.

Selling for 25 cents, Rolling Stone was a tabloid in size, but was folded a second time to take less space on newstands. Publisher Wenner was young rock entrepreneur who saw a future in chronicling the emerging rock 'n' roll scene, while Gleason was a 50-year-old journalist who wrote eloquently about the music he loved in an on-going column called Perspectives.

"Rolling Stone is not just about music, but also about the things and attitudes that the music embraces. We've been working quite hard on it and we hope you can dig it," the 21-year-old Wenner wrote in a letter from the editor inside the debut issue, just 24 pages in length.

The editorial and business offices for the magazine were located at 746 Brannan St. in San Francisco, the city which was home to many of the groups the magazine covered, such as the Grateful Dead, Jefferson Airplane and Country Joe and the Fish.

Early on, Rolling Stone was grouped with the underground newspapers of the era and reported extensively on the hippie counter-culture largely ignored by the mainstream press.

The magazine grew steadily in pages and influence as the the 1960s turned into the 1970s.

Editor Wenner even snagged an extensive interview with John Lennon not long after the break-up of the Beatles, the greatest rock 'n' roll band of the time. Lennon agreed to the project on the premise that the material wouldn't be released in book form.


John Lennon gave Rolling Stone a
lengthy interview in late 1970, the first
half of which appeared in issue No. 74.

Lennon's lengthy question and answer sessions were published in Rolling Stone over two editions: No. 74 (Jan. 21, 1971), and No. 75 (Feb. 4, 1971). I eagerly read Lennon's candid interview which detailed his Beatle years and burgeoning solo career.

The interview was conducted over several days in early December in New York City, with Yoko Ono, Lennon's wife, also participating. Titled "Working Class Hero" after a Lennon song, the subsequent articles were incredibly detailed and included photographs of the couple taken by Annie Leibovitz. Later, however, Wenner reneged on his promise and published the interview in a book, "Lennon Remembers." Lennon was upset with this betrayal and didn't speak to Wenner again for years.

Hooked by the Lennon issues, I purchased Rolling Stone off newstands every two weeks for years. During 1972, the magazine produced extensive presidential election coverage and introduced readers to gonzo journalist Hunter S. Thompson. His series, Fear and Loathing in Las Vegas, was later turned into a feature film.

Democratic presidential nominee George McGovern told Rolling Stone, "I stake my hopes in 1972 in large portion on the energy, the wisdom and the conscience of young Americans." His comments appeared in a cover story in issue No. 110, dated June 8, 1972.


Sen. George McGovern actively sought
the youth vote during his run
for the presidency in 1972. A
caricature of the Democratic nominee
appeared on the cover of Rolling Stone,
issue No. 110.

Spurred on by change seemly promised in the pages of Rolling Stone, I waited in line on the campus of Central Michigan University for hours on Nov. 7 to vote for McGovern. Still, incumbent Richard Nixon won a second tern by promising to end the divisive Vietnam War while tagging McGovern as a radical.

About 1973, I decided to subscribe and let the mailman deliver my favorite periodical to me. A year-long subscription cost $12.

By this time, Rolling Stone looked more like a traditional magazine, although it was still published on newsprint. With the slogan, "All the News That Fits," Rolling Stone had found its audience.

I devoured every issue. Like thousands of other readers the first thing I turned to was the letters to the editor page titled Correspondence, Love Letters & Advice. There, readers offered opinions and their most pithy comments about current affairs. Perhaps two dozen letters were published in each issue. I wrote an earnest letter circa 1973 which was published to my delight, although today I can't recall the topic.

Another popular feature was the Random Notes section, where brief music news items were posted. The News & Opinion section featured serious pieces, often accompanied by the distinctive ink drawings of artist Ralph Steadman. Other noteworthy sections included National Affairs and Rock and Roll. Records were critiqued toward the end of each issue and reviewers often impacted sales of any given album.

And, of course, there were the feature articles, mostly about contemporary musicians. I learned about Cream, Crosby, Stills, Nash & Young, the Doors, Bob Dylan, Janis Joplin, the Mother of Invention, Otis Redding, the Rolling Stones, Sly & the Family Stone, Traffic, and the Who. Together with the music, Rolling Stone offered an education in rock 'n' roll.

One of of the magazine's most-memorable (and heartbreaking) issues was No. 335, dated Jan. 22, 1981. Then, Rolling Stone featured exhaustive coverage of the life and death of John Lennon, following his shocking assassination on Dec. 8, 1980, just days after he had released a new album. Lennon had been working with Rolling Stone writer Jonathan Cott on a cover story marking the ex-Beatle's return to public life after spending five years as a "house-husband."

Because every issue was crammed with such great material, I never wanted to throw old copies away. I just stacked them in the corner. My pile of magazines got bigger and bigger, as the years passed.

By the early 1990s Rolling Stone's management decided to go after a younger demographic. Content turned superficial, serious subjects were dropped and celebrities ruled, much like a supermarket rag. I let my subscription expire.

With my old magazines just gathering dust, I decided to get rid of them during a spring house-cleaning binge a couple of years ago. They found a new home with my friend and fellow rock 'n' roll enthusiast Rod Maynard of Gladstone. Struck by inspiration, he used the magazines to illustrate a video he made for You Tube utilizing the song "The Cover of Rolling Stone" by Dr. Hook & The Medicine Show as background music.


Rock band Dr. Hook & the Medicine
Show found themselves on the front of issue
No. 131 after their song, "The Cover of
Rolling Stone," became a hit.

At the time of this writing, the video has been viewed 168,116 times. (To see it for yourself, go to You Tube, type in yendor61 and scroll down to: Dr. Hook...Cover of Rolling Stone.) Dr. Hook's dream came true on Mar. 29, 1973 when they made the cover of issue No. 131.

Meanwhile, the free issue I found in my mailbox recently was No. 1059 and featured Hollywood rebel Robert Downey Jr. on the cover. Flipping through the pages revealed stories on national affairs, politics and rock 'n' roll, among other topics. By mailing me a complementary copy the folks at Rolling Stone were pointing out that they have returned to the editorial mix which proved so successful in the past.

Maybe it's time for me to start stacking up Rolling Stone magazines again.

Finger Eleven defies categories

Guitarists James Black and Rick Jackett
faced each other as Scott Anderson sang during
the Finger Eleven concert in Escanaba on Aug. 15.
Bassist Sean Anderson and drummer Rich Beddoe added rhythm.

By STEVE SEYMOUR

When I went to the Finger Eleven concert at the Upper Peninsula State Fair grandstand on Friday, Aug. 15, I didn't know exactly what to expect..

Although I'd heard a few of their songs, like "Paralyzer," on local radio, I'd spun their current compact disc just a few times prior to the show.

Being involved in music retailing for more than two decades, I was aware the Canadian quintet had four other compact discs in print and enjoyed considerable popularity north of the border.

Actually, the group formed in 1989 when the musicians were high school students in Burlington, Ontario. They won a talent contest in 1995 and used the proceeds to record their first album, released when the band was using a different name.

Their fourth offering, a self-titled album issued in 2003, contained the hit "One Thing" and brought the group increased recognition from fans in the United States.

Finger Eleven has been called alternative metal, hard rock, post-grunge and even pop rock. They've been influenced by dance, funk and country. Reviewer Stephen Thomas Erlewine even applied the unlikely term "disco-rock" to their most recent album, "Them vs. Me vs. You."

The band's sound is similar to the music of Chevelle, Stone Temple Pilots, Creed, Tool and Evanescense.

But, after seeing Finger Eleven play, I can tell you they defy music classifications.

Sponsored by the Chip- In Island Resort and Casino, the free concert began promptly at 8. p. m. Perhaps 1,000 of the band's most rabid fans stood in front of the stage. My wife Sue and I, meanwhile, along with friends Jack and Faye Mortensen, took our seats among the 6,000 spectators who packed the grandstand.

To start, the band showcased tunes from three albums.

Flanked by guitarists James Black and Rick Jackett, vocalist Scott Anderson opened with "Good Times," a track off their "Finger Eleven" release. Solid rhythm backing was provided by bassist Sean Anderson and drummer Rich Beddoe.

Next, the group pulled a great rocker, "So So Suicide," from their newest effort and then featured "Quicksand," the opening track from 1998's "Tip" album, as well as their first hit.

With "Talking to the Walls," the group returned to the newest CD and followed with "One Thing," the popular tune from five years ago.

During some songs, a small mosh pit developed among the mostly-young fans congregated in front of the stage. For the uninitiated, a mosh pit is where fans demonstrate their approval of of the show by pushing one another around. Some failed crowd surfing also emerged, drawing attention away from the band for brief periods.

As the show continued, Finger Eleven performed a hit ballad from the new album, "I'll Keep Your Memory Vague," which was paired with "Obvious Heart," another cut from their self-titled disc.

The remainder of the show highlighted newer songs including the single "Falling On;" "Gather and Give," with a barrage of metallic guitar; the anthem-like "Change the World" and "Easy Life."

Predictably, the audience had to wait until the encore for "Paralyzer," the chart-topping smash hit many people came to hear live.

Fans near the stage pumped their arms as the band roared through their biggest song. The tune segued into a cover of Led Zeppelin's "Trampled Under Foot," which morphed into a rousing version of "Another Brick in the Wall (Part II)." The audience sang along with the familiar lyrics to the Pink Floyd classic from 1980, "We don't need no education, we don't need no mind control."

After paying tribute to those two rock 'n' roll legends, "Paralyzer" re-emerged. The medley ended the program after just 70 minutes.

Guitarists Black and Jackett changed instruments frequently through the show, switching back and forth between Yamaha and Gibson models. The shaggy-haired Jackett leapt about his side of the stage in spastic bursts, showing enthusiasm surpassing even the patrons in the mosh pit.

The entire band, with the exception of the bassist, showed unbridled energy, with the stoic Sean Anderson seemingly content to let the others command the attention of the audience while he plucked the strings of his bass.

In all, the band played eight of the 11 songs from their current release, written collectively by all five band members. Produced, recorded and mixed by Johnny K, "Them vs. Me vs. You" was assembled at Groovemaster Studios in Chicago. Earlier this year, the radio-friendly album won the Juno award (Canada's Grammy) for Rock Album of the Year.

Touring veterans, the group put on a concise show, especially considering efforts to get the crowd delivered to midway venders shortly after 9 p. m.

Although I didn't know that many Finger Eleven songs in advance, I didn't find them to be much different than any other modern-day band. They use a basic line-up of guitars, bass and drums to create their own music. They've certainly been influenced by many styles of music. That's been unchanged since rock 'n' roll itself evolved from blues, folk and country music more than 50 years ago.

Now, if you must put Finger Eleven into a category, simply call them a rock band.

Music collectors look to eBay

Frankie Yankovic played at the Upper Peninsula's
Calumet Armory on Saturday, Aug. 13. But was
the year 1949, 1955, 1960 or 1966?

By STEVE SEYMOUR

If you like music and entertainment memorabilia like I do, the giant Internet auction house eBay is a great source for collectibles.

It's no exaggeration to say I've added dozens of rare 45 rpm singles and long-playing records to my collection, as well as a few hard-to-find posters, thanks to ebay.

For example, I recently acquired a vintage Frankie Yankovic poster from a show "America's Polka King" put on at the Calumet Armory in the Upper Peninsula's Copper Country.

Printed on cardboard by the Globe Poster Corp. of Chicago, the promotional item features a black & white photograph of the artist with his accordion and a dancing couple in silhouette. The poster lists the performer as "Frank" Yankovic, not the more familiar "Frankie."

The popular Cleveland, Ohio- based musician appeared in the U. P. many times during his lengthy career. The gig detailed on my poster promised dancing from 9:30 to 1:30 with the admission fee set at $1. The event was sponsored by the Sacred Heart School Fund Committee.

The poster credited Yankovic as a "Columbia Recording Artist" and noted that "other celebrities to appear the same night."

While Yankovic and his orchestra headlined this particular show on Saturday, Aug. 13, the year isn't stated on the poster. A check of the calendar indicates the date and day matched in 1949, 1955, 1960 and 1966.

The poster has a definite 1950's feel to it. Although Yankovic was signed to Columbia shortly after World War II, the 1949 date seems too early and judging from the photograph of a young-looking Yankovic, 1966 seems too late. That leaves 1955 and 1960 as the most likely dates.

Still, if the exact date of this performance is never determined, I won't mind. I bought it from a seller in Royal Oak, Mich. for just $3.53. The 22 x 14 inch poster isn't in mint condition. But, it also might be a one-of-a-kind item, since promotional posters are printed in very small numbers.


"Michigan Mixture, Vol. 1," features
the psychedelic masterpiece "In Wyrd"
as performed by Sault Ste. Marie's Renaissance Fair.

Using eBay also paid off for me when I finally found a rare U. P. recording I had long been seeking. This time, I won a record album which included the psychedelic masterpiece, "In Wyrd," as recorded by Sault Ste. Marie's Renassiance Fair.

The band travelled to Marquette in the late 1960s to record their composition for Princeton Records. Label owner Fred L. Crook produced the song which was conceived by band member John Ordiway. The group paid to have the recording made and sold the 45 rpm at gigs, hoping to draw attention to their talents.

Carrying the catalog number 111, the record's label showed a five-pointed crown on a yellow background. I spent many hours searching eBay and other Internet sites for this precious seven-inch piece of vinyl, without luck.

"In Wyrd" gained renewed attention a few years ago when it was included for the first on a compact disc collection called "Psychedelic Experience, Vol. 3," issued in Sweden in an edition of 1,000 copies. I tried to obtain that CD but was unsuccessful.

I discovered the song was also included on a small-pressing record album called "Michigan Mixture, Vol. 1." Besides "In Wyrd," the collection contained 14 additional gems in the psychedelic vein gathered from 45s, demos and reel to reel tapes. Besides Renaissance Fair, the groups represented on the record included Up, Dick Rabbitt, Glass Sun, Orange Wedge, Pitche Blende, Popcorn Blizzard, Sweet Cherry and She Devils. With names like that, how can you go wrong?

Finally, I found "Michigan Mixture" listed by an eBay member in Consell, Spain. The seller had a sterling reputation. I topped four other bids to win this item for $40.31. That my seem steep to you, but I considered it to be a terrific bargain.


Tokens like these were used as tickets
for the Goose Lake International Music Festival
held near Jackson in 1970.

By the way, music collectibles offered on eBay aren't limited to records and posters. The other day, I paid $13.05 for some tokens used at the Goose Lake International Music Festival, held near Jackson, Mich., in 1970.

An estimated 200,000 people attended the three-day event which has been called Michigan's version of Woodstock. The music line-up included the Stooges, Bob Seger, Chicago, Mountain, Jethro Tull and Joe Cocker, among others.

Instead of tickets for the Aug. 7-9 event, festival organizers sold colored tokens which were similar in look and feel to the poker chips issued by casinos. The tokens, which measure an inch and one-half across, were made by Ewing Manufacturing Co. The Las Vegas firm is now defunct.

Nine color variations are known to exist. I purchased a set of four tokens, two white and two green, from a seller in Howell, Mich.

The tokens are struck from die-cut molds which are very costly to make. The green tokens feature eight hats and canes around the rim. The white tokens, meanwhile, show hearts, spades, diamonds, clubs and dice. The opposing dice in the circle always equal seven.

In the center of each chip is a drawing of a bird in flight, surrounded by the words "Goose Lake Music Festival," printed in gold ink. Because the gold printing didn't look 38-years-old to me, I suspected the tokens may have been fakes. But, because they featured the original die-cut symbols, I've concluded the tokens are probably genuine.

Although I still look for music collectibles at record stores, second-hand shops, flea markets and yard sales, with a computer my search has become global. You might want to extend your reach with eBay, too.

Happy collecting!

Woodtick reunites 'Billy Shears'

The Billy Shears Band headlined the
15th annual Woodtick Music Festival on Friday,
Aug. 1. Performing, from left, were Don Baumann,
Gerry Cain, Marc Maga, Dan Ewald and Dave Minter.
Drummer Adam Cain is not pictured.

By STEVE SEYMOUR

Music fans cheered a reconstituted Billy Shears Band during the 15th annual Woodtick Music Festival in Hermansville last Friday.

The crowd packed the area in front of the stage as frontman Marc Maga led his six-piece group through acoustic and electric sets culminating in a dynamic performance of "Eleanor Rigby," the standout track from Billy Shears' 1984 LP.

Maga, a former Hermansville resident, was joined on stage by Menominee guitarist Gerry Cain, who appeared on several tracks on that record as a guest musician. The band's Woodtick line-up also included Cain's son Adam on drums, Don Baumann on guitar and Dan Ewald on bass. Billy Shears veteran Dave Minter supplied keyboards.

"It's great to be home again," Maga told the crowd.

Marc Maga

The band's opening program stressed acoustic guitars and vocal harmonies on songs from the Crosby, Stills, Nash and Young live album, "Four Way Street." Their voices and guitars blended perfectly on "Find the Cost of Freedom," "Ohio" and "Love the One You're With," as the group recreated the three classic early-70s tunes.

"Chains" came next as the band delved into the 1962 chestnut from the Cookies, although most people remember the version popularized by the Beatles. The British group was a significant impact on the band as they took the Billy Shears name from the character who leads the Beatles' fictitious "Sgt. Pepper's Lonely Hearts Club Band."


Gerry Cain

The Billy Shears' sound was updated with the next selection, a crowd-pleasing rendition of "Good Riddance (Time of Your Life)," a hit for the punk band Green Day in 1997.

The band continued with a selection of oldies, including "Brown-Eyed Girl" and "Moondance" from singer-songwriter Van Morrison, as well as such Beatles' gems as "I Should Have Known Better." "We Can Work It Out," "Nowhere Man" and "You Can't Do That."

Their acoustic set also covered such popular songs as "Wish You Were Here" (Pink Floyd), "Cathy's Clown" (Everly Brothers), "Happy Together" (Turtles), and "Under the Boardwalk" (Drifters).

The band showed their harder-rockin' side during an electric set which focused on material from the 70s. They ably demonstrated their jamming abilities on the southern-rock classic "Can't You See" by the Marshall Tucker Band and "Come Sail Away," a top ten tune originally performed by Styx. A smooth version of "Hotel California" showed the band's command of the west coast soft-rock sound of the Eagles. All three songs date from the summer of 1977.

A throat-ripping version of Bon Jovi's biggest hit, "Livin' On a Prayer," proved the band could deliver late-80s rock, as well.

Still, the Billy Shears Band saved some of its most potent licks for a powerful take on Paul McCartney's "Eleanor Rigby." Known by many as the group's signature song, a definitive seven-minute version was included on the "Dangling the Carrot" album. There is no evidence McCartney ever heard the cut, but he probably would have been surprised by the inventive arrangement the band put together for his song, turning it into an explosive rocker.


Cover of Billy Shears' 1984 album

The long-player was recorded in Appleton, Wis. at Irish Saxe Studios and propelled the band's reputation as it played gigs in the upper midwest, including the Upper Peninsula and neighboring Wisconsin. The Fond du Lac, Wis.-based band's live shows are fondly remembered by many area fans.

That fan enthusiasm supported the band's touring schedule for many years and also led to a well-publicized and much anticipated reunion concert during the 10th annual Woodtick Music Festival in 2003. At that time, the band reissued their studio album on CD and also released a live Billy Shears band disc as well as a solo collection by Kenny Wells, the group's late lead singer.

Over the years, Woodtick-- traced back to a 1994 party in Brian Whitens' garage-- has grown rapidly.

Thousands of people are now drawn to the festival grounds each year by a variety of music, including rock, country, blues, folk and bluegrass.

Festival promoter Brian Whitens didn't imagine such growth when he organized the initial event. Hermansville tavern owner Kevin Warbis dubbed the get-together "Woodtick," combining 1969's legendary Woodstock Festival with a pesky insect found in the Upper Peninsula. "I had some "Woodtick" T-shirts printed as a joke," Whitens said.

About 100 family members and friends showed up and an annual event was born.

Music in the early years was supplied by the Whitens family and Hermansville resident Bill Martin, but the bill soon began to include a wide range of musical entertainment.

Woodtick built upon itself each year and by 2000 the festival was moved to downtown Hermansville. With attendance increasing each year, the festival soon outgrew that space and was moved in 2003 to the current location which provides plenty of room for parking and camping.

In 2005, Woodtick booked a national act for the first time. The Nitty Gritty Dirt Band performed a set which appealed to country, folk and rock fans alike. Well-known southern rockers Marshall Tucker Band appeared in 2006.

This year's Woodtick presented dozens of performers on two stages over four days.

"It's a U. P. thing," Whitens says.