U. P. country acts delivered 45s

This publicity photo was issued
to promote a 45 rpm single Hoot Roberts
released on Choco Records, a label located
in Marquette.

By STEVE SEYMOUR

If you like 45 rpm singles as music collectibles, don't forget Upper Peninsula-based country artists.

Although many people may not be aware of it, a wealth of country & western talent cut seven-inch discs, beginning in the 1950s.

Many of the musicians lived in the central U. P. Marquette County boasted the Ramblers, Lane Dawson, Tiny Cochart and Hoot Roberts, while Delta County acts issuing singles included Denny Peltier, the Coppertones and Lorraine Irving.

Ishpeming's Ramblers played what their hometown fans wanted to hear, including polkas and waltzes, so they may not precisely fit into into the "country" category, but they did blaze the way with a pair of 45s issued more than 50 years ago.

Released in 1957, "The Michigan Waltz" featured lead vocals by Jeanneane Adamini, while the instrumental flip side was called "The Raindrop Polka." The follow-up single, issued in 1958, highlighted "I Should Be the First to Know," written by Jeanneane, while Ray Adamini composed the reverse, "I Bet'cha." The singles carried custom Rambler Records labels.

I met Lane Dawson, meanwhile, on a motorcoach. The "singing bus driver," as he was known, transported a large group of Yoopers to a convention in Lansing in the early 1980s. True to form, he enthralled passengers with his singing ability.

Drummer Jim DeCaire, now leader of Da Yoopers, described Dawson as a "cross between Roy Orbison and young Marlon Brando." Dawson worked as a traveling musician as well as a radio engineer and announcer.

Dawson's recording career began with a single cut for Cuca Records in Sauk City, Wis. in April, 1967. Credited to the Dawson Boys, "Black Mountain Rag" featured Fiddling Tommy Mason. Two more 45s, "The Dock of the Bay" and "Green Green Grass of Home," were credited to Lane Dawson and the Dawson Boys. The tracks, appearing on Cathay Records, were produced by none other than Buck Owens.

Dawson was credited as a solo artist on another Cathay disc, "It's All So Wrong." His take on "Stolen Moments" was issued by Clark Records in Goodlettsville, Tenn., while "Caterpillar Man" was released on the Nuggett Records label.

Born Norbert Cochart, in Algoma, Wis., the six-foot three-inch, 250-pound country musician known as "Tiny" Cochart spent decades in the music business. Falling in love with the area after playing a gig in Ishpeming, Cochart re-located to Marquette from Nashville in 1970. In Marquette, he organized the Tiny Cochart Night Riders which played night clubs around the country.

Before he retired in 2005, Cochart worked with such stars as Tex Ritter, Waylon Jennings, Merle Travis, Johnny Cash, Jim Ed Brown and Dottie West.

I'm lucky enough to own his second single, "Alone Again," recorded at Cuca Records in Sept., 1965. In the 1970s, he recorded an LP at Studio One in Nashville. Containing cover songs and two originals, "One More Drink" and "Let Me Live Again," the album was credited to Tiny C. Hart.

Two Marquette record labels also issued country 45s. Choco Records Inc. released "The King Has Fallen," backed with "Invitation to the Blues," by Hoot Roberts. I also own a second record by the country performer, "Little Bird," which appeared on Dare Records, based in Montgomery, Ala. Roberts, who resided in Merrill, Wis. died in the late 1960s.

Princeton Records, meanwhile, issued a single by "Country" Tommy James, not to be confused with the Tommy James who recorded dozens of pop hits, including "Hanky Panky." Described as a one-man band, James recorded "Auctioneer," a Leroy Van Dyke song; and "A Thousand Miles to Go," composed by Mel Tillis and Webb Pierce. The songs were taped at Superior Recording Co. in Marquette.

At the same time, Delta County's country musicians were busy recording, too. Denny Peltier waxed a single for Comet Records, "I'm From Georgia, That's All," written by Gene Taft. The flip, "It's Almost Midnight," was composed by Larry G. Whitehead. Comet Records were distributed by Goldmont Music, headquartered in Nashville. Peltier now lives in Newberry.

Escanaba radio personalty Wayne Nault produced two records for the Coppertones, comprised of Mike Kadletz, Larry Deno and Bradley Gleason. One of the releases, appearing on Rapid Records, was actually an extended play disc containing four songs. Side one includes "Six Days on the Road" and "If You Leave Me Tonight," while side two features "Polka Medley" and the instrumental favorite, "Wipe Out," originally a hit for the Surfaris in 1963.

The Coppertones' other disc has "Coquette," featuring Joe Micheau on steel, comprising side one. The flip, "Wedding Bells," written by Claude Boone, spotlights vocals by Kadletz, a former member of the Rhythm Rockers. Composed by Johnny Green, Carmen Lombardo and Gus Kahn, "Coquette" was recorded by Guy Lombardo in 1928 and covered by Fats Domino 30 years later.

The late Lorraine Irving of Escanaba recorded a pair of songs manufactured on 45 by Queensgate Records of Cincinnati, Ohio. Irving sang a cover version of Jean Shepard's "If You Were Losing Him to Me" as the A side, while the B side is called "Just Married," clocking in at a brief 1:50. Although Marty Robbins recorded a song with the same title, Irving's song is a different composition.

Other U. P. women also issued 45s which grace my collection.

Former Delta County resident Helen DeBaker released a single on the Bakersfield label, a division of Global Record Co. "Burning Flame" and "The Man Upstairs" were produced by Mike Johnson in Nashville. DeBaker wrote both songs which were registered to Saralee Music Publishing.

Likewise, Ruthie Hall recorded a pair of songs for Collins Records, located in Sault Ste. Marie. Her disc is comprised of "Sing Me a Love Song Where Nobody Cries," written and produced by Joe Bob Barnhill, and "Until You Give Her Up, I'm Not Giving In." The latter, composed by Jim Vest and David Chamberlain, was also produced by Barnhill. My copy is also autographed, "Ruthie."

I also own several country 45s under the "U. P. Music" imprint. With a plain light blue label, one disc contains "You Look Well" and "Days In The Park," written and performed by Fred Bergeron.

The other record, with a yellow label, contains the slogan "Nashville of the North" and a contorted outline of the U. P. The 45 plays the Lance Hill recordings of "Riding in a Dump Truck" and "In the Back of My Mind." Both tracks were composed by U. P. songwriter and radio host Elmer Aho.

As you can probably tell, I've collected quite a few U. P.-related country singles over the years. It was fun looking through them again and spinning a few along the way. While none gained massive popularity, those records provide a tuneful insight into the region's unique and varied music heritage.

U. P. groups on 'legends' ballot

Fans crowded the stage at Daniel's Den
in Saginaw when the Excels, a popular Marquette-based
rock band, made an appearance in 1966. The Excels
are among the Upper Peninsula acts included on
the 2009 ballot for an on-line Hall of Fame at
Michigan Rock and Roll Legends.

By STEVE SEYMOUR

Vintage Upper Peninsula rock bands have long been overlooked when to comes to recognizing acts which have contributed to the state's musical heritage.

It may be true that no northern Michigan group had the impact of Alice Cooper, Bob Seger or Grand Funk Railroad.

Still, a case may be made that U. P. groups have been ignored simply because they came from the state's sparsely populated northern counties.

Now, U. P. music fans have an opportunity to help correct this omission.

Fifteen of the region's best 1960's era bands-- and a talented solo performer-- are included on the 2009 ballot for Michigan Rock and Roll Legends, an on-line Hall of Fame conceived by Gary Johnson.

"The idea for Michigan Rock and Roll Legends came from a proposal that I wrote for an actual physical museum project in downtown Bay City," said Johnson, who lives in nearby Essexville. He thought tourists would flock to a music museum located in Madonna's hometown.

"Unfortunately, the powers-that-be didn't care much for the idea, so I went ahead and put together an on-line version," Johnson, a retired school teacher, explained.

Seventeen acts were inducted into the 2005 class during voting held at rock and roll trivia shows Johnson ran in Bay City. During on-line voting in the three succeeding years an additional 17 performers have been cited. Most of Michigan's best-known stars have already won places in Johnson's virtual Hall of Fame.

This year's honorees are the Amboy Dukes ("Journey to the Center of the Mind"); Brownsville Station ("Smokin' in the Boys Room"); Frost (Alpena's most famous rock group); Stooges (including punk rocker Iggy Pop); and Terry Knight and the Pack (predecessor to Grand Fund Railroad).

The U. P. groups on the ballot include Renaissance Fair and Rob Kirk and the Word from Sault Ste. Marie; Danny and the Galaxies from Ironwood; and the Benders, featuring Menominee's Gerry Cain. The Copper Country is represented by the Vigilantes, Henchmen VI, the Kinetics (Kinetic Energy); and the Rhythm Rockers. Dickinson County bands on the ballot include Joey Gee and the Blue Tones; Lexington Project and the Ravelles. Escanaba's Riot Squad and Prophets of Doom are named as are the Fastells from Negaunee and the Excels from Marquette. Clark Sullivan, lead singer for the Excels, is also nominated as a solo artist.

All the U. P. combos issued 45 rpm records during their careers and were active during an era in which Baby Boomers demanded new music and encouraged local acts to reach for their dreams of rock stardom. Many of these bands were popular well beyond the confines of the U. P. and have recordings highly regarded by collectors today.

To get elected to Michigan Rock and Roll Legends, the upper Michigan groups are competing against hundreds of bands from lower Michigan. So, does an Upper Peninsula act have any chance of being inducted?

"I certainly hope that a U. P. act will be voted in," Johnson, also known as Dr. J., said.

In the context of Michigan rock and roll history, which includes the likes of Marvin Gaye, Stevie Wonder and the Supremes, an outfit comprised of teenage boys from rural northern Michigan probably doesn't stand much of a chance.

"Speaking for myself, I was pretty much unaware of the Upper Peninsula artists. The only act I was familiar with was the Excels," Johnson told me.

Although they were based in Marquette, the Excels cut five 45 rpm singles for Detroit's Carla Records under the tutelage of influential producer Ollie McLaughlin. Their song, "Little Innocent Girl, did well on many lower Michigan radio stations including WTRU, Muskegon; WVMO, Monroe; and WKNX, Saginaw.


Terry Knight and the Pack

"If there was a teen club in the lower peninsula, we played it," recalled Clark Sullivan, the group's lead singer. "A few memorable ones were Daniel's Den in Saginaw, the Tanz Haus in Traverse City, and the Roostertail in Detroit. These were the clubs where we would alternate dates with some of Michigan's top groups such as Bob Seger, Terry Knight and the Pack, and the Bossmen, led by Dick Wagner, later Alice Cooper's guitarist. And, there was a group called the Mushrooms, with a guy named Glen Frey, who went on to stardom with the Eagles."

Following the demise of the Excels, Sullivan continued working with McLaughlin, taping material in New York City.

To be eligible for the on-line Hall of Fame, an artist must have started their career in Michigan, or be a native or resident, and have a record which received AM or FM radio airplay prior to 1988.

Besides the Excels, other U. P.-based rock bands also had significant musical accomplishments, which might have escaped the notice of lower Michigan music fans.

Take the Vigilantes, for example. This group of high school friends from Ontonagon recorded at least ten 45 rpm singles under various names for a variety of labels. Led by vocalist Jim Brogan, they also recorded as the All Nighters, the Flagmen, the Lovers, Pastels and Playboys. Rare for the time, they issued an LP called "Live at the Barn," credited to the All Nighters.

The same basic band backed-up for singles by Jay Johnson, Richard Parker and Johnny Tucker. In addition, Brogran taped a 7-incher under the name Jimmy B and the Rockatones.

Another act which gained considerable notoriety outside the U. P. was the Kinetic Energy, fronted by Frank Gallis. Based in Houghton, the group was also known as the Kinetics and Five Kinetics. They cut a pair of singles, including "Susie Q," and a frenetic LP of cover songs called "Snow Children."

The other U. P. acts on the 2009 Michigan Rock and Roll Legends ballot also have compelling stories.

On-line voters have already given favorable nods to many of Michigan's greatest rock stars, including the Temptations, Mitch Ryder, Del Shannon, Aretha Franklin and Madonna.

Johnson's mission statement declares: "Michigan Rock and Roll Legends is a web site dedicated to the artists and music that are part of Michigan's rich and diverse rock and roll legacy. In order to help promote and preserve this vital aspect of the cultural history of our state, Michigan Rock and Roll Legends was created. It is hoped that the site will not only give recognition to artists who were important contributors to the rock and roll movement, but will also help keep the spirit of Michigan music burning bright."

To be elected, a nominee must be included on one-third of all on-line ballots, Johnson said. Voters name their top ten choices.

Balloting for the 2009 class begins Jan. 1 at the Michigan Rock and Roll Legends website.

Since the 15 northern-most counties contain just three percent of the state's population, the numbers are against an Upper Peninsula act being elected. Still, getting representation in the on-line Hall of Fame would remind music fans that Upper Peninsula acts created a vital chapter in the history of Michigan rock and roll.

If you agree, cast your ballot at michiganrockandrolllegends.com and ask your friends to do the same.

TV aided careers of U. P. bands

A WLUC-TV6 camera operator, at left, captured a
performance by Ontonagon's Henchmen VI rock band during
a March of Dimes Telethon circa 1967.

By STEVE SEYMOUR

While many people may remember seeing their favorite rock acts on Dick Clark's nationally-broadcast American Bandstand television program during the 1960s, Upper Peninsula bands also used TV to further their careers during the same period.

Escanaba-based Prophets of Doom and the Riot Squad increased their exposure in northern Michigan by performing on a telethon aired by WLUC-TV Channel 6 in Marquette, as did other rock bands, including the Henchmen VI, from the Copper Country.

Television publicity wasn't limited to the U. P., either. Iron Mountain's Ravelles performed on a Minnesota station, while the Excels, headquartered in Marquette, appeared on a pair of popular rock 'n' roll TV programs.

Prophets of Doom and the Riot Squad appeared live on the March of Dimes Telethon on Sunday, Jan. 29, 1967. Part of a national charity drive, the event actually started at 10 o'clock the previous evening.

"Back then, being on television was like being a celebrity," recalled Jim Joque, rhythm guitarist and founding member of the Riot Squad.

The band, including drummer Dan Curran, bassist Bob Anzalone, lead guitarist Brendan Williams and Greg Curran on keyboards and vocals, was slated for a 2:50 p.m. performance.

"I remember being excited yet anxious about being on television. To my knowledge, none of us had been on TV. This was a first time experience for us," Joque said.

"I really don't remember the songs we played. It may have only been one or two numbers," Joque recalled.

"My parents and siblings all supported our band and my music involvement. I recall that when I returned home, they were all excited and talked about our appearance. Friends of the band and our manager, Gene Smiltneck, were excited about it as well."

Joque added: "I do recall heading out the back door of the studio and walking right into one of the Green Bay Packers who was appearing on the telethon as well."

The newly-crowned world championship Packers also played into the appearance of the newly-formed Prophets of Doom, who telethon organizers had scheduled to begin their set at 8:20 that morning.

"I talked the band into signing up for the telethon as soon as we knew a half dozen songs," said lead guitarist and singer Dave Watchorn. "I played on the telethon with my first band and I knew that it was the best way to get some bookings."

The band had been together for a few months and knew about 25 songs, although the newest member, keyboardist Jim Smith, was familiar with only eight. In fact, the group was so new that the telethon performance would be their first public appearance. "We practiced those eight songs over and over for our debut," Watchorn recalled.

The group traveling to the Negaunee television studio also included drummer Jim Nelson, guitarist Mike Steede and bassist Calvin Rose.

Expecting just to play two songs, the Prophets of Doom ended up performing all eight of the tunes they practiced. With the phones ringing off the hook, they were then asked to do another number for a donation of $50. The pledger wanted to see the "Packers' 'Golden Girl' dance with a certain person and one of the Packers dance with one of the telethon staff," Watchorn remembered.

The group performed the tune with Smith feigning his keyboard parts because he didn't know the song. Nobody seemed the wiser, including the cameraman who focused on the organ player, much to the band's amusement, Watchorn added.

While fledgling rock groups were eager to appear on television, the presence of local acts on such programs also increased the number of viewers from various communities around the U. P. This fact was not lost on WLUC-TV which even bought newspaper advertisements to promote the March of Dimes program.

Dozens of music groups appeared on the telethon over the years, including the Henchmen VI. Based in Ontonagon, the group gained notoriety by recording a 45 rpm single of original material for Cuca Records of Sauk City, WI. The Henchmen VI may have performed "Is Love Real?" and "All Of The Day" during a telethon appearance, circa 1967. A short performance clip of the group is contained on the WLUC-TV documentary, "Lights, Camera, Action," celebrating the station's 50th anniversary. Featuring songwriter Scott Heinske on lead guitar and vocals, the Henchmen VI also included Joe DeHut (rhythm guitar), Bob Durant (drums), Art Moilenen (bass), Jay Jackson (drums) and Jeff Jackson (tambourine).

Iron Mountain's Ravelles found themselves on television after cutting a single for Illinois-based Mobie Records in 1968. "Psychedelic Movement" climbed to No. 13 in Fargo, N. D.and earned the band a booking there on Nov. 22. The next day the band played their hit on Teen Beat '69, a program which aired at noon Saturdays on KCMT-TV Channel 7 in Alexandria, Minn. Lead singer Carmella Altobelli had a cold but still did a great job singing, said rhythm guitarist John Richtig. Other members of the Ravelles included Tom Lucas (lead guitar), Ray Broullire (bass), Rand Alquist (drums), and brother Brian Alquist (keyboards).

The Excels, a popular Marquette-based group with five 45 rpm singles to their credit, performed on a pair of significant television programs during their career.


Robin Seymour

Drummer Steve Contardi recalled the Excels promoted their first single on Robin Seymour's Swingin' Time program on CKLW-TV in Windsor, Ontario. The Excels lip-synched "Gonna Make You Mine, Girl," written by vocalist Clark Sullivan, on the show which featured 50 to 75 local kids demonstrating the latest dances. Other members of the Excels at this time were Terry Quirk (guitar), Ken Forrest (keyboards) and Carl Holm (bass).

Spanky and Our Gang, noteworthy for "Sunday Will Never Be The Same," performed on the same episode. Similar to American Bandstand, Swingin' Time was broadcast six days a week and spotlighted such acts as the Supremes, Mitch Ryder, Bob Seger and the MC5.

An additional television appearance came in Cleveland when the Excels were featured on an early rock 'n' roll variety show called Upbeat which originated on ABC affiliate WESW-TV. Hosted by Don Webster, Upbeat included a live audience and was syndicated to 100 television stations at its peak, including outlets in New York, San Francisco, Boston and Dallas.

Webster's program featured regional groups such as the GTO's, James Gang and Outsiders, but also showcased dozens of top acts including the Beatles, Otis Redding and Simon & Garfunkel. The show even had "go-go girls" when that fad was popular.

Whether on a local, regional or national level, rock 'n' roll and television developed a symbiotic relationship in the 1960s which continues to today.

Rock bands toured U. P. in '66

This custom poster publicized a 1966 tour
of the Upper Peninsula which included the Buckinghams,
Luv'd Ones, Excels and Ravelles.


By STEVE SEYMOUR

A week-long tour of the Upper Peninsula by four rock acts in 1966 was thought to be a surefire success, but instead the event slipped into obscurity.

Called "U. P. Swings" by promoters, the tour was headlined by Chicago's Buckinghams and featured an all-girl combo from lower Michigan called the Luv'd Ones. To add local appeal, the bill also included Marquette's popular Excels and the Ravelles, an up and coming band from Iron Mountain.

The shows were promoted by Don Cooper and Dale Chenoweth who ran a teen center in Iron Mountain and regularly hired the Ravelles for dances at the local armory which drew hundreds of teenagers.

Also a popular draw at dances in northern Michigan, the Excels had signed a recording contract with Detroit's Carla Records, owned by influential producer Ollie McLaughlin.


Chicago's Buckinghams were depicted in this
early promotional photo used during the "U. P. Swings" tour.

Top of the bill was anchored by the Buckinghams, a Windy City group getting massive airplay on WLS, a giant 50,000 watt radio station which easily reached into the U. P. with a teen-friendly rock 'n' roll format.

The Buckinghams were a client of the Willard Alexander Agency, which also represented the Luv'd Ones, led by guitar virtuoso Char Vinnedge. Vinnedge's band, based in downstate Niles, had played Escanaba earlier in the year.

The talent package was tied together by lower Michigan disc jockey and well-known radio personality Bill Eberline, who for contractual reasons was referred to as Bill Berline.

Looking to pack their venues, the promoters took out newspaper advertising and distributed posters prior to the tour. The poster, picturing all four groups, promised three hours of entertainment for ages 6-60 for a $2 admission fee. The event was sponsored by Teen Promotions, P. O. Box 63, Iron Mountain.

The tour represented the first time the Buckinghams performed in the U. P., singer and guitarist Carl Giammarese told me in a telephone interview on June 19, 2008.

The trek's initial stop took place on Tuesday, Aug. 9 at the fairgrounds in Norway, a Dickinson County location aimed to capitalize on the Ravelles' fan base. Indeed, the show drew a good crowd, Rand Alquist, the band's drummer, recalled. Lead singer Carmella Altobelli, remembered the audience was especially receptive to their version of Napoleon XIV's "They're Coming to Take Me Away, Ha-Haaa!," during which keyboard player Brian Alquist jumped out from a box while on stage.

Although the Ravelles didn't have a 45 rpm record to promote, the other bands did. Released on Carla Records, the Excels' first single was a solid rocker called "Gonna Make You Mine, Girl." The Luv'd Ones were promoting "I'm Leaving You," issued on the Dunwich label, while the Buckinghams had released an appealing take on "I Call Your Name," a Lennon-McCartney number, on USA.

On Wednesday, Aug. 10, the tour stopped at the Escanaba High School gym, but the crowd was less than stellar. On Aug. 11, the groups travelled to Sault Ste. Marie's Pullar Stadium. The eastern U. P. ice skating facility, which was often crowded for teen dances, did not fill up on this occasion.

Then, on Aug. 12 the bands piled into their vans and cars and drove 369 miles to the peninsula's western-most city to perform at the Ironwood Theatre. Despite the talented line-up and the venue's elaborate Italian renaissance decor, attendance was disappointing. Still, Tom Lucas, lead guitar player for the Ravelles, took the opportunity to preserve the evening's performance on tape.

While the Buckinghams were busy playing engagements in the Upper Peninsula, excitement was building in their hometown of Chicago over an appearance by the Beatles. The famous British quartet set Aug. 12 as the date they would begin their 1966 North American tour.

If two Chicago shows weren't enough to create an uproar, controversy surrounded the Beatles over a comment John Lennon made about the group's popularity. Months before, Lennon had commented in the London Evening Standard on the current status of religion, surmising the Beatles were more popular than Jesus.

Although Lennon's statements were taken out of context in the United States, he apologized profusely during two press conferences.

Despite the political firestorm, 13,000 screaming fans attended each of the two shows, where the Beatles played old songs but nothing from their newest album, "Revolver." The warm-up acts were Barry Tashian and the Remains, Bobby Hebb, the Cyrkle, and the Ronettes.

Meanwhile, back in northern Michigan, the final date of the "U. P. Swings" tour came at Menominee High School on Saturday, Aug. 13. Turnout was lackluster, Rand Alquist recalled. Following the gig, the four bands went their separate ways.

In the end, the Upper Peninsula tour failed financially because not enough tickets were sold. "There were some long faces," Alquist remembered.

Still, band members have fond memories of the experience.

"The Buckinghams had the same sense of humor as the Excels and we tried to outdo each other with gags while each group was on stage," said Clark Sullivan, lead singer for the Excels.

At one stop, the Excels "found these custodial outfits in a closet with all the cleaning supplies, brooms and vacuums. During one of the Buckinghams' songs, we emerged from the wings of the stage dressed in these custodial uniforms and proceeded to clean the stage in back of the group. Everyone in the audience was thinking it was the custodians cleaning and they cracked up. The Buckinghams were performing one of their tear-jerker songs and couldn't understand why everyone was laughing," Sullivan remembered.

"Needless to say, they started contriving their payback. When we were performing, they held up placards directing the crowd not to clap, get up and walk toward the door and pretend to fall asleep," Sullivan added.

Steve Contardi, drummer for the Excels, also remembered the tour.

"This was a big deal for us because the Buckinghams were big on Chicago's WLS. So, here we were on the same stage with a group that was all over Top 40 radio. Although we had opened for a good number of big acts before, most of those shows were outside of the U. P., so our friends and neighbors had not seen us sharing the limelight with such headliners," Contardi said.

"The Buckinghams were fun guys and we had a good time with them off stage. There were also a few on-stage pranks, lots of great music and good fun," Contardi recalled.

"The Excels and Ravelles were each trying to claim our 'turf' at home in the U. P. We normally spent the summers almost exclusively in the lower peninsula. This tour gave us a chance to be home for that period," Contardi added.

Despite the antics, the Buckinghams' Giammarese remembered the groups taking the music quite seriously. "We were pretty focused," he said.

That the U. P. tour failed to generate significant crowds was disappointing enough, but Alquist said the Buckinghams also missed an opportunity to open for the Beatles during what became their last tour of America.

But, don't feel sorry for the Buckinghams. Just six months after their northern sojourn the band enjoyed a chart-topping hit with "Kind of a Drag." Six more hits followed, including "Don't You Care" and "Mercy Mercy Mercy."


Carl Giammarese, center, an original member
of the Buckinghams, reminisced about touring the Upper
Peninsula with Rand Alquist and Carmella Altobelli,
of the Ravelles.

In later years, the Buckinghams played more dates in northern Michigan, most recently in Kingsford last summer. After that show, Giammarese reminisced backstage with Alquist and Carmella Altobelli, both members of the Ravelles, about touring the U. P. all those years ago.

Joey Gee traces Blue Tones era

Vocalist Joe Giannunzio, using his professional name,
autographed this photograph of Joey Gee and the Blue
Tones. The Iron Mountain-based group, which also included Bill
Morrison, Craig Sorenson and Ricky Bates, recorded a 45 rpm
single at Cuca Records in 1964.

By STEVE SEYMOUR

Iron Mountain's Joe Giannunzio was an early rock 'n' roll enthusiast, fronting a band in the era before the Beatles inspired an explosion of fledgling pop groups.

Formed in the summer of 1963, the Bluetones were comprised of Bill Morrison, rhythm guitar; Craig Sorenson, lead guitar, Ricky Bates, drums; and Giannunzio, vocals. Bates was also from Iron Mountain, while the other two band members resided in neighboring Kingsford.

Their debut gig came during a dance at the Iron County Armory in Kingsford on Friday, July 26, 1963. On a poster for the event, the band was billed as the "Bluetones with singer Joey G." The vocalist's last name was reduced to a single letter "because there wasn't enough room on the poster for my full name. I later added a couple of e's and came up with Joey Gee," Giannunzio recalled.

Giannunzio drove to many early gigs in his 1958 Ford convertible, with band-mate Sorenson riding shotgun and a microphone in the backseat. "We did our entire show, including the PA for my voice, with just one Fender amp," Giannunzio remembered.

Targeting a young audience, the group also performed at the Tri-City Outdoor Theatre. On one Saturday in 1964 the band played during a program which also featured the movies "Beach Party" and "The Young Racers." For an admission fee of 85 cents, movie-goers also received free Beatles miniature novelty records, according to a newspaper advertisement.

To give the audience the best perspective, they played on the concession stand roof

The band also drew a record number of patrons during a performance at the Braumart Theater in Iron Mountain, Giannunzio said.

Managed by Frank Osteroth, the group grew in popularity. Soon, their attention was drawn to cutting a 45 rpm single. Giannunzio learned from the Fendermen about Cuca Record Corp., located near Madison. Jim Sundquist, a guitarist for the Fendermen, came from nearby Niagara, Wis. A few years before, the Fendermen had taped a record called "Muleskinner Blues" at Cuca. The song became an unexpected hit.

Giannunzio contacted Cuca for more information. Shortly after, he received a letter from Jim Kirchstein, owner of Cuca. "Please find enclosed our brochure 62A explaining a widely used recording program," Kirchstein wrote from the business at 123 Water St. in Sauk City, Wis.

So it was that Joey Gee and the Blue Tones found themselves in the recording studio in May, 1964. Giannunzio came armed with a song he wrote called "Little Searcher." The band recorded five takes of the original composition, one take of "Don't You Just Know It," written by Huey Piano Smith; and two takes of "Heartbreakin' Special," a tune recorded by the Fendermen in 1960.

"Don't You Just Know It," was chosen as the single's A side while the B side was occupied by "Little Searcher." The Bluetones' version of "Heartbreakin' Special" was never released.

The 45 rpm single was assigned number 6451 and appeared on the Cuca subsidiary label, Sara.

Joey Gee and the Blue Tones returned to the Upper Peninsula and waited. Kirchstein followed the recording session with a personal note to the group, telling them their records should arrive shortly. "Nice working with you. Good luck," the record executive wrote.

Finally, the big day came on June 17, 1964. Clairmont Transfer Co., headquartered in Escanaba, delivered three cartons of phonograph records, collecting a fee of $5.72. Although recorded in Wisconsin, the records were pressed by Kay Bank Recording Corp.of Minneapolis.

Giannunzio didn't wait long to bring one of the records to WMIQ, the only radio station in Iron Mounain. Disc jockey Dean Barry listened to both sides. The band liked "Little Searcher," but Barry thought "Don't You Just Know It" could be a hit. "He played that side the most," Giannunzio remembered.

"It was kind of a thrill riding through downtown Iron Mountain in my convertible and hearing those songs on the radio in other teens' cars. I aways kept a few of the 45s with me because people would want to buy them. Gave a lot away, too," the singer recalled.

The band set about a promotional campaign to get radio airplay outside their home base. Giannunzio drafted an introductory letter to radio stations, including a copy of the 45. "We are hoping this record will be a hit for us and we could use all the help you can give us. We would appreciate it very much if you would plug it for us on your station. We would appreciate your comment on our record. Thank you for the time you have taken to read this letter," said the typed document, signed by Giannunzio.

Major radio stations seldom played records that hadn't already generated some interest, so it was rather remarkable that Chicago powerhouse WLS paid any attention. Popular disc jockey Dick Biondi read Giannunzio's letter on the air and played the record, as well.

While Joey Gee and the Bluetones were meeting with some success on a regional level, Giannunzio decided to take a more pragmatic route to get on the airwaves. He moved to Milwaukee to attend broadcasting school at Career Academy.

In 1965, the broadcasting student put together another band in Milwaukee. Giannunzio handled lead vocals for Joey Gee and the Come-ons, but this time he also took on harmonica duties. They played around the southern Wisconsin area, even placing highly in a band of the bands contest..

And, true to form, Giannunzio made another trip to Cuca to record a second 45 rpm single in September.

This time, the band recorded four numbers. "She's Mean" and "You Know Till the End of Time" were paired as Sara 6599. Giannunzio composed and sang lead on both songs. In addition, they taped "Jenny, Jenny," a top ten smash for Little Richard in 1957, and "Little Latin Lupe Lu," a hit for the Righteous Brothers, Kingsmen and Mitch Ryder.

Unfortunately, Giannunzio's second single didn't ignite at radio either, although "She's Mean" has garnered many admirers over the years. Because 45s released on small independent labels lacked the distribution muscle, production values and promotional budgets of the major labels, such records rarely registered on the national charts.

Still, "She's Mean" and "You Know Till the End of Time" were featured on a 2005 compact disc collection called "Garage Beat '66," issued by Sundazed Music in 2005.

The two cover tunes Giannunzio and his band recorded at the 1965 session remained unreleased until 2006 when all four tracks appeared on a compilation compact disc, "The Cuca Records Story, Vol. 2," on Ace Records.

Returning to Michigan to pursue his radio career after graduating broadcasting school, Giannunzio continued to sing in bands in the northern lower peninsula and U. P. The Heathens lasted for a few months in 1966, while Gross National Product survived until 1968, when Giannunzio made a job change and decided to concentrate solely on radio.

Giannunzio also performed in the Detroit area for one memorable show, opening for Chubby Checker. Giannunzio was in the Motor City the same day as the Beatles played their last show in Michigan, at Olympia Stadium on Saturday, Aug. 13, 1966. "The Beatles where there at that time but I never had enough money to buy a ticket to see them. Sorry I didn't."

Following a lengthy radio career, Giannunzio returned to the Upper Peninsula last summer to play with his old band-mates during Kingsford's Hog Wild Music Jam. After more than four decades, Joey Gee and the Bluetones came full circle, performing a classic set, including "Little Searcher," their 1964 single.

Editor's note: Go to YouTube to see Joey Gee and the Blue Tones videos for "Little Searcher," "Alley Oop," and "Don't You Just Know It."

Ace girl band made U. P. stops

Guitarist- extraordinaire Char Vinnedge,
left, brought her all-girl rock 'n' roll combo,
the Tremolons, to Escanaba in April and again in
August, 1966 after they changed their name to the
Luv'd Ones.

By STEVE SEYMOUR

One of rock 'n' roll's most-astounding female guitarists played in Escanaba not once, but twice.

You probably have never heard of Char (short for Charlotte) Vinnedge, unless you appreciate the raw guitar sound she explored in the male-dominated six-string world, which included the likes of Jimi Hendrix. Besides fronting the band, Vinnedge wrote the group's songs, designed their promotional material, fixed their equipment and drove their van.

Vinnedge's group, the Tremolons, had been touring heavily. They played extended dates at state fairs in Minnesota and Illinois and capped off the summer of 1965 with an appearance at the famed Danceland Ballroom in downtown Cedar Rapids, Iowa on Saturday, Sept. 4. A poster for the event called the combo "America's greatest all-girl rock 'n' roll group" and urged fans to "see and hear four really cute sweethearts in action."

The Tremolons were highly touted on a list of available bands compiled in March, 1966 by Madison, Wisconsin-based promoter Ken Adamany Music Enterprises.

With that background, Vinnedge brought her band to Delta County on two occasions during 1966.

The first appearance came when the Tremolons were signed to play at Club A Go-Go, a newly-opened teen night spot at 2000 Ludington St., in downtown Escanaba.

Owner Gene Smiltneck booked the all-girl group for a four- hour program, beginning at 7:30 p. m. on Friday, April 15.

The quartet was the vision of Vinnedge, who sang and played lead guitar, but also included her sister Chris on bass, Mary Gallagher on rhythm guitar, and Faith Orem on drums.

An advertisement for the show in "The Escanaban" student newspaper included an illustration of young people around a jukebox with copy which urged students to "get with it."

Perhaps as a bit of promotional bluster, the ad claimed the girls were from New York City, although Niles, Michigan (hometown to Tommy James and the Shondells) was more accurate.

The girls cut blistering takes of "Whole Lot Of Shakin' Going On" and "Heartbreak Hotel" for their first single which appeared on Benton Harbor's Wildwood Records in 1964. The label also released a second Tremolons' 45 which paired two original songs: "Please Let Me Know" and "Theme for a DJ," the first song Vinnedge ever wrote.

Smiltneck's Club A Go-Go had created quite a buzz among the area's youth just five days before with a show featuring Sam the Sham and the Pharaohs, famous for the smash hit, "Wooly Bully."

By the time the Tremolons arrived in Escanaba, they already had two years' experience as a professional rock 'n' roll band, although the field was crowded with testosterone-fueled groups imitating the Beatles. The girls carved a place for themselves by playing ferociously and taking no prisoners as their versions of the popular songs of the day, including Beatles' hits, proved.

Perhaps their appearance was scheduled too soon after Sam the Sham or perhaps area teenagers were already tapped-out, but few attended the Tremolons' performance.

Although the four young women toured as the Tremolons, the moniker didn't seem to catch on with the public. So, not long after their local debut, the girls adopted a more feminine- sounding name, The Luv'd Ones.

On July 12, they were in Chicago at Sound Studios Inc. to tape "Yeah, I'm Feelin' Fine" and "Up Down Sue." It was actually the band's second go-around with "Up Down Sue." They had recorded another version of the song for the White Oak label in Dania, Florida, earlier in the year.

By mid- August, The Luv'd Ones were on a five-stop tour of northern Michigan in what promoters called "U. P. Swings." The bill, headlined by Chicago's Buckinghams, also included The Excels, from Marquette; and Iron Mountain's Ravelles.

In Escanaba, the three-hour program was presented at the recently-constructed Escanaba Area High School beginning at 8 p. m. on Wednesday, Aug. 10. Admission was $2.

The Luv'd Ones were pushing their first Dunwich single, "I'm Leaving You," backed with "Walkin' the Dog," just released on the Chicago-based label. The newly-formed Dunwich had a Top Ten hit a few months before with a garage-rock version of "Gloria," by the Shadows of Knight.

Hopeful promoters hyped the shows with posters and newspaper advertising. Still, attendance in Escanaba was lower than expected, said Rand Alquist, drummer for the Ravelles. Maybe area teens were saving their cash for the annual U. P. State Fair or money was short due to the approaching school year.

The Luv'd Ones also performed in Iron Mountain, Sault Ste.Marie and Ironwood. They completed their northern excursion in Menominee on Aug. 13, the same day the Beatles played at Detroit's Olympia Stadium for the last time.

By the time the Luv'd Ones appeared at the Cow Palace in Fond du Lac, Wisconsin on Saturday, Nov. 26, the group had spent two years on the road.

During their stay at Dunwich, the band cut two more 45 rpm singles: "Come Back" was backed wwith "Stand Tall," while "Dance Kid Dance" was paired with the previously released "I'm Leaving You."

While Char Vinnedge didn't meet commercial success with the Tremolons or Luv'd Ones, she didn't give up her music dreams either.

She resurfaced a few years later in Nitrofunction, a band comprising Billy Cox (a member of Hendrix's Band of Gypsys) on bass, Robert Tarrant on drums and Vinnedge on guitar and vocals.

The trio issued a self-titled album which listed Vinnedge on the cover as "The Electric Lady," a reference to the studio where Jimi Hendrix recorded.

By the time their album was completed, however, Hendrix had died, ending any possibility Vinnedge might record with the guitar legend. "Nitrofunction" is loaded with Vinnedge's powerful guitar work and she wrote or co-wrote all but two of the album's nine tracks.

Released in 1972 on Pye Records, one of the album's stand-out cuts is "42-70 (Peace)," a tribute to Hendrix. Also included is "Portrait," a composition Vinnedge originally wrote during the Luv'd Ones' period.

Vinnedge finally received some well-deserved recognition in 1996 when Sundazed Music released at extended play record of four Tremolons songs and followed with a compact disc containing 20 recordings by the Luv'd Ones, many previous unreleased. Sadly, Vinnedge died in 1998 shortly before the terrific CD compilation of her work,"Truth Gotta Stand," was released.

In the years since her death, Vinnedge has been increasingly recognized by critics for her early contributions to the proto-punk and proto- feminist movements.

Separate from any such pretentiousness, however, her music remains exceptional rock 'n' roll.


The Tremolons' Sundazed extended play 45 sleeve


The Luv'd Ones- "Truth Gotta Stand" CD


"Nitrofunction" LP by Billy Cox and Char Vinnedge

DJ tapped top bands for U. P.

Iron Mountain native Joe Giannunzio worked as a disc jockey, rock band vocalist and promoter of concerts in the eastern Upper Peninsula.

By STEVE SEYMOUR

Joe Giannunzio had a whirlwind career in the 1960s as a rock vocalist and disc jockey, culminating with the Dickinson County native booking top bands to play in the eastern Upper Peninsula.

Born in Iron Mountain, Giannunzio fronted the rock group Joey Gee and the Blue Tones which cut a 45 rpm single, "Little Searcher," in 1964. Giannunzio formed Joey Gee and the Come-Ons when he moved to Milwaukee to attend broadcasting school at Career Academy.

After graduation in 1966, Giannunzio moved to Rogers City, Michigan, bordering Lake Huron, where he nabbed a DJ job at radio station WHAK, using the professional name Joe Arthur. He also founded another group, the Heathens.

With Giannunzio on lead vocals, the Heathens performed live on WHAK a number of times on Saturday mornings.

The Heathens were short lived, however. The station owner and his wife, who were "religious fanatics," didn't like the band's name. Giannunzio was told he shouldn't be in radio and abruptly fired.

The unemployed DJ lived in his car until he drove to St. Ignace and found a job at WIDG.

Back in the U. P., Giannunzio put together another group, Gross National Product. "I got the name off the teletype wire when retrieving the news I had to read," Giannunzio told me.

The band consisted of Jim Fitzpatrick, lead guitar; Bill Becker, bass; David Pectah, rhythm guitar; Lynn Witmer, drums; and Joey Gee, vocals. (Giannunzio maintained separate personas for his radio and band roles.)


Gross National Product

Gross National Product played hits by many of the top acts of the period including the Doors, Jimi Hendrix, Cream and the Beatles.

"We played mostly near St. Ignace, Sault Ste.Marie and in northern lower Michigan, once in Norway in 1968," Giannunzio said.

In addition to his radio job and band gigs, Giannunzio started a teen club in St. Ignace. Called "The Scene," Giannunzio founded the facility in a bar which had gone out of business.

"I brought in a few acts so we could perform with them and I might make a little money doing it," Giannunzio said.

Seeing a larger teenage audience for live shows, Giannunzio also booked a pair of well-known Michigan acts for a dance at St. Ignace High School on Friday, July 14, 1967.

Called a "Psychedelic Summer Sock Hop," the event featured Terry Knight's "Fabulous Pack," and The Bossmen.

Both acts were based in Flint and recorded for the Lucky Eleven label.

The Pack included guitarist Mark Farner and drummer Don Brewer who later became Grand Fund Railroad with the addition of bassist Mel Schacher. Former leader Knight became the band's manager.

For their U. P. appearance, The Pack even boasted an album and a hit single in "I (Who Have Nothing)," which just missed the national Top 40 a few months before.

The Bossmen, meanwhile, featured ace guitarist Dick Wagner who went on to front The Frost, famous for "Rock and Roll Music." Wagner later worked with Lou Reed and Alice Cooper.

Giannunzio recalled signing both bands for $350 and charged teens a $2.50 admission fee.

The young promoter also rented the armory in Sault Ste. Marie to stage rock 'n' shows featuring the Detroit Wheels and the Blues Magoos.

The Blues Magoos

From the Bronx, the Blues Magoos were little known in the midwest when he booked them to perform in the Soo, Giannunzio said. The psychedelic rock quintet was composed of Emil "Peppy Castro" Thielhelm, vocals, rhythm guitar; Mike Esposito, lead guitar; Ralph Scala, keyboards; Ronnie Gilbert, bass; and Geoff Daking, drums.

In November, 1966, the Blues Magoos had released "Psychedelic Lollipop," one of the first albums to use "psychedelic" in the title. "Thousands of you who have seen them perform and who have made this album possible, know very well that the Blues Magoos are the foundation of the new music revolution," producer Bobby Wyld proclaimed in the record's liner notes.

The group started out at the Nite Owl Cafe in Greenwich Village where they won over "critics, poets, writers, artists, groupies, record executives, disc jockeys and even Madison Avenue."

During a 12- day period in 1966, the Blues Magoos drew 7,000 people to the Chessmate Club in Detroit, which had a capacity of just 300.

By the time the group came to the Upper Peninsula, however, they had registered a Top Five hit with "(We Ain't Got) Nothin' Yet," composed by group members Gilbert, Scala and Eposito.

"I'm not sure they even wanted to play a small city at that time, but I had a contract with them. Admission was $3.00, a lot of money at that time. I thought I would do really well," Giannunzio recalled.

Promoted as a "Psychedelic Show and Dance," the event was staged from 9 p. m. to midnight on Tuesday, Aug. 8, 1967.

Giannunzio's Gross National Product opened the show for the Blues Magoos. "When I went to get them to perform after our band did, the lead singer was laying on the floor. I was told he had taken some kind of drug. The manager of the band wasn't sure he would be able to sing that night. Lucky for me he finally did, although not very well," recalled Giannunzio.

The night also held some bad luck for Giannunzio. "Some one left the back door of the armory open and half the crowd got in free. There was only about ten feet in front of the stage that didn't have a person. Wouldn't you know, the cop I had hired and my concession people never showed up. I made about $100 when I should have made $5,000," Giannunzio exclaimed.

With the success of "(We Ain't Got) Nothin' Yet," in 1967, the Blues Magoos toured the United States on a triple bill in an unlikely combination with The Who and Herman's Hermits.

On Tuesday, Aug. 29, 1967, exactly three weeks after the Blues Magoos performed in the Soo, Giannunzio promoted an appearance by the Detroit Wheels, also at the armory.

Fronted by the dynamic Mitch Ryder, the group recorded such hits as "Jenny Take a Ride," "Devil With the Blue Dress On & Good Golly Miss Molly" and "Sock It to Me Baby."

Giannunzio's Gross National Product again served as opening act.

A poster advertising the dance promised the headliners would deliver "the driving sound of Detroit."

Giannunzio also rubbed shoulders with Bobby Helms, who showed up one day at the St. Ignace resident's teen club.

A native of Bloomington, Indiana, Helms was a country & western singer and guitarist known for "My Special Angel" and the perennial novelty hit, "Jingle Bell Rock."

"He showed up in St. Ignace and performed with us just before Christmas in 1967. I thought it kind of curious. He had a little car with his guitar in the back seat and his wife in the front. Our band backed him up," Giannunzio recalled.

While he was gaining expertise booking bands, Giannunzio continued as a disc jockey at WIDG, the radio station known locally as "widge by the bridge," due to its proximity to the span known as "Big Mac."

With his confidence renewed, Giannunzio soon moved back downstate to take a job at WJIM Radio in Lansing. This time he concentrated on radio and didn't start a new band.

He then did a morning show at WGRD in Grand Rapids as Gary Mitchell, before moving to WKNR in Detroit under the name Bobby Lane. By 1974, he had moved to the west coast. He worked in radio in Portland and Seattle as Joe Cooper, before ending his lengthy radio career.

Giannunzio now lives in Redmond, Washington, with his wife, the former Kathleen Sweeney, whom he met and married in St. Ignace.
###

1967 POSTER GALLERY

Cain's bands waxed prized 45s

Gerry Cain at 2008 Woodtick Festival

By STEVE SEYMOUR

Menominee, Michigan's Gerry Cain recorded 45s with two different bands which are highly sought after by collectors today.

In 1966, the Benders issued "Can't Tame Me," while the Why Four released "Hard Life" later in the year. Cain played lead guitar and was a co-writer on both songs which were largely ignored at the time but are now considered punk classics.

The Benders were formed at Stout State University in Menomonie, Wisconsin, by Cain, Paul Barry, drums and vocals; and Geno Jensen, bass. Tom Noffke was added as rhythm guitarist after a few months. "Gerry was already jamming with some guys when I met him and they needed a drummer. Well, I wasn't much of a drummer but I was the only thing available at the time so I got the job. I never played in an organized band and was totally green. But, there I was playing rock 'n' roll in college in the '60s," Barry recalled

At first, they played for fraternities and sororities on campus, practicing in the basement of their dormitory. They soon found themselves playing at clubs and bars.

As their popularity grew, the Benders got themselves a regular gig when they rented the basement bowling alley at an old hotel and founded their own nightclub. Called the "Pit," the place was very popular with young people but proved to be too much for the four band members to handle and closed within a year.

In March, 1966, the group decided it was time to record "Can't Tame Me," which had been wildly received at their live shows. They traveled to Big Sound studio, located at 529 3rd St. in Wausau, Wisconsin, for the session. Owned by Duke Wright, the label had released singles by Robin Lee, Starfires, Spacemen, Orbits, and Rejects.

The Benders taped "Can't Tame Me," at just 1:56, as the 45 rpm single's top side; and "Got Me Down," for the reverse. "Got Me Down" is a haunting ballad clocking in at two minutes and 46 seconds. Both songs were composed by Jansen, Cain and Barry.

"The A side, 'Can't Tame Me,' was very edgy stuff for that time with Gerry doing a great fuzz tone guitar solo," Barry stated.

Issued as Big Sound 3006, the 45 was accompanied by a picture sleeve, unusual for an independent release at the time. The front featured a black and white photograph of the Benders, while the back included biographical information about the group.

"Two years ago four guys got together in a college dormitory and decided to form a band. Today, three of the original members and one new player are still together pounding out what they like to call the "Bender Sound." The sound rocks and the guys do not like to play slow songs- in fact they only play them when requested. Although the personalities of the guys vary greatly, when they get on the stage they are molded into a unit that does nothing but wail. This is their first record and is typical of their style. They hope that you dig 'it' as much as they do."

The quote was attributed to manager "Jim Robinson." While the notes were undoubtedly true, the band made-up the manager to increase their professional credibility.

Although the 45s were delivered in May, 1966, the Benders broke up a month later.

Certainly, many of the Benders' fans appreciated "Can't Tame Me" for its snarling attitude.

"Over the years, it has became a sought after item by record collectors world wide. It has ended up on many garage band compilation albums here and over seas," said Barry, who drummed and sang lead on the track. The song is one of the stand-out cuts on "Back From the Grave, Vol. 8," released on Crypt Records, Frenchtown, N. J.

While casual fans can easily pick-up the song on compact disc, a few die-hard music fans still desire the 45 rpm single of "Can't Tame Me." A Texas collector paid over $2,000 for an original 7-inch vinyl copy earlier this year on eBay.

Back in 1966, meanwhile, Cain quit the Benders and college to join a hot band called Bobby Lee & The Showman, with the latter role being taken by Cain. The group's manager was Al Shultz, from Waukegan, Illinois, who also handled the Hollywood Argyles of "Alley- Oop" fame. (Cain was actually from the Chicago suburb of Elmhurst and was friends with the Shadows of Knight, one of the area's best known garage rock bands.)

With Bobby Lee & The Showman about to open in Vegas, Lee gets drafted," Cain told me. Suddenly, the young guitarist had "no band, no school, no cash, no car."

"My college roommate was from Marinette and I had gone home with him a few weekends and jammed with local bands and met musicians Kenny Stone and Drew Lund. Just as my world was crashing down, they contacted me about getting a band together. I had nothing to lose and a free place to live."


The Why Four

Thus, the Why Four began. At one point, they trespassed on railroad property to get a promotional photograph of the band on the back of a rail car. Another picture shows them standing on a monstrous pile of logs.

With an original composition called "Hard Life," the group traveled to Rampro Records in Janesville, Wisconsin, to commit the song to tape in September.

Issued as Rampro 118, the resulting single contained "Hard Life" as the B side and a rockin' version of Buddy Holly's "Not Fade Away" on the obverse side." "Hard Life" was credited to G. Cain, D. Lund and K. Stone and runs a brief, but furious, two minutes and two seconds. "Not Fade Away," meanwhile, had returned to the charts in mid-1964 in a version by the Rolling Stones which became their first hit in the United States.

Despite being another excellent song, "Hard Life," languished. As was often the case with 45s issued on small labels, the lack of distribution and promotion opportunities doomed any chance of success on a national level.

By 1998, however, both Why Four songs appeared on a compact disc compilation called "Essential Pebbles, Vol. 2," issued by AIP Records, in Burbank, California.

Like "Can't Tame Me," the 45 single of "Hard Life," draws big interest when it pops up on eBay occasionally. In June, seller Craig Moerer auctioned a copy in "very good condition" for $797.

Paul Barry, Cain's band-mate in the Benders, meanwhile, moved to Milwaukee after college and fronted Barry's Truckers, a seven-piece classic hits show band. The group opened for many acts over the years, including the Everly Brothers, Roy Orbison, Ricky Nelson and many others.


Paul Barry, left, and Gerry Cain

Barry also has fond memories of performing at the Waterfront Festival in Menominee on Aug. 7, 2003. Before heading to Michigan, Barry received a surprising email from someone asking if they were going to play "Can't Tame Me" and "Got Me Down" at the upcoming show. The emailer happened to be Gerry Cain and the two veteran musicians were reunited at the Menominee show. "We hadn't seen each other in 37 years. It was absolutely great to get together and catch up after all this time," Barry recalled.

Cain has continued playing professionally. His lengthy resume includes Supernatural Bandwagon, Raw Meat, Virgil Hill, Brix Band, Kingbee, Showboat and Thunderbird, Guaranteed Wholesome, Breakin EZ, Raisin Cain, Carlin & Cain, Son of Sammy and the Billy Shears Band.

Also a guitar teacher, Cain continues to inspire music fans as he has since the 60s.

The Why Four

U. P. native recalls 'Goose Lake'

Iron Mountain native Joe Giannunzio,
using the professional name Gary Mitchell,
attended the Goose Lake International Pop
Festival in 1970 while working as a disc
jockey at radio station WGRD.

By STEVE SEYMOUR

Looking for something to talk about on his WGRD radio program in Grand Rapids during the summer of 1970, Upper Peninsula native Joe Giannunzio approached the station's promotion department with a proposal.

Giannunzio, then working under the pseudonym Gary Mitchell, asked for and received permission to visit the Goose Lake International Pop Festival, scheduled for Aug. 7-9, at a specially-constructed site near Jackson.

So it was that Giannunzio, who was born in Iron Mountain, became one of an estimated 200,000 people who attended the event, described as Michigan's version of Woodstock.

Festival-goers were entertained with some great rock music, but alcohol and drug use were also prevalent, while some people expressed themselves with nudity. Despite the size of the crowd, there was no violence.

More than 38 years later, many spectators retain fond memories of Goose Lake, while deejay Giannunzio observed the proceedings from a reporter's unique perspective.

"I got in free and they let me go where ever I wanted, even backstage. I talked to a few of the artists, but most were concerned with the show. I saw a lot of the groups perform within 20 feet.

"The ones I remember the most were Rod Stewart, Chicago and John Sebastian. I think Chicago stole the show with their loud horn section," Giannunzio recalled.

"One thing that did feel odd and a little military was the tall barbed wire fence that surrounded the place. Many holes were cut in places so I'm sure a lot of folks didn't pay.

"What surprised me (guess I was still a U. P. country bumpkin) was the amount of girls and guys walking around nude. I kept my clothes on, but had a number of conversations with people who were totally naked. I strolled down to Goose Lake and saw many young people swimming, with no clothes on. I was tempted to go in myself, but I was there to get the story, so I didn't," Giannunzio said.

"I didn't notice anyone drugged out, but I'm sure there were some.

"A fun time seemed to be had by all and I never witnessed any altercations with police," Gianunnzio told me.

Since I first published a piece on Goose Lake on July 26, 2007, detailing the planning of the event, the entertainment, and subsequent political ramifications, more than 20 people have contacted me with their personal experiences at the festival.

Folks who shared their Goose Lake memories hailed from Michigan, Illinois, Ohio, Indiana and Colorado.

"This concert was better than Woodstock in many ways. I hitchhiked up from Chicago with my friend Marlene and lost her within an hour," said a blog reader named Cranzie. Cranzie met a Vietnam War vet who spent the day helping him look for her.

Indiana resident Mitch recalled his experience. "We left Evansville, three guys on a mission of discovery, and wow did we find it at Goose Lake. We brought nothing. For food I visited the Hare Krishna tent twice a day to listen to their message in exchange for a cup of peanuts and raisins."

Festival participant Peter Hanson hitched to southern Michigan from Boulder, Colorado. Hanson said he was "flat broke, but able to get through the razor wire in the back of an empty dump truck with a dozen others. The weekend left him "starved but spiritually sated."

Blog reader Muffy said, "They had a bus bringing people in for free if they were willing to work. My ex and I got on the bus and jumped out and took off into the crowd. Shame on us looking back on it, but we did it." After sleeping in a makeshift tent across the road from the festival grounds, the pair returned to the concert site through a hole in the fence. "The next day we went for that same hole in the fence and it was guarded by some motorcycle gang charging people to get in. We had no money, but they let us in anyway in exchange for a warm bottle of Sprite.

"That last day, people were taking showers and walking out through that whole crowd naked as jaybirds. I was flippin' out. It was so hot, I was tempted to do it myself, but knew too many people there from our hometown.

"I remember one guy walking through the people, wearing only tennis shoes, holding a small bag in one hand and a sign in the other hand that said 'Acid $1.'"

"We took peanut butter and jelly with us and that's what we ate all weekend," she recalled.

"Goose Lake rocked big time. It was something I'll never forget. I believe it was as big as Woodstock, just a change in band names is all. I'd go back if I could," Muffy concluded.

A Rockford, Illinois, resident remembered a "superslide that was always busy" and an entrepreneur with a "refrigerated truck full of Boone's Farm wine that he sold for $1 a bottle." Another thirsty participant recalled buying "watermelon to keep from fainting," while a 15-year-old spectator called Goose Lake "one of the highlights of my youth."

One person remembered having a great time camping with the Hells Angels Motorcycle Club.

A group of college sophomores, including Dale, Bill and Jim, enjoyed performances by Mountain, Joe Cocker, Ten Years After, Alice Cooper and James Gang.

Four recent high school graduates from Chagrin, Ohio, traveled to the festival site in a station wagon ."We carried in several cases of beer and found a spot close to the stage. I remember Iggy Pop of the Stooges jumping over the wall into the crowd," one of them recalled.

A Galesburg, Illinois, resident remembered going to Goose Lake with his buddy and their girl friends after hearing about the festival from a dee jay, possibly on WLS.

Blog reader Joan recollected, "everyone had a great time and listened to the best music. I hate that people dismiss this incredible event."

Dave, in Angola, Indiana, remembered driving up in a station wagon belonging to his best friend's parents and watching Ten Years After perform.

Another anonymous blog reader, just 13 at the time, recalled catching a ride to Goose Lake with a couple of "motor cycle gang guys in a black 1955 Plymouth who drank Boone's Farm all the way there."

"I was there at Goose Lake with a friend for one day of the madness," said a blog reader known as wildfirex15. "We were able to sneak in after another of our friends who worked putting the fence up around the place told us where we could get in. The first thing we saw was a couple of sheriff's officers and we thought we were in trouble but they did not seem to care about unpaid admissions. We were back aways from the speakers but I still remember the music being so loud. Great bands playing great music gave us great memories of our teenage years."

When the three-day festival ended there were a number arrests for drug possession, but most of the 200,000 participants went home happy, although Goose Lake was widely criticized by conservatives.

On Monday, Aug. 10, 1970 Giannunzio, the U. P. native and radio personality, was back on the air in Grand Rapids, telling listeners about his Goose Lake weekend. On Aug. 12, Giannunzio was pictured at Goose Lake on the station's weekly top 30 survey, under his professional name, Gary Mitchell.

Retired from a lengthy career in radio, Giannunzio also cut two 45's as a young man under the name Joey Gee.

"I have talked about Goose Lake to many of my friends and I have never met anyone else who was there, or even heard of it. It was big, but didn't get much publicity at the time," Giannunzio, now a resident of Redmond, Washington, observed.

"I'm glad I was there and have a picture to prove it," he added.

Performing sparks Danny Adler

Veteran rock, blues and jazz musician
Danny Adler performed an eclectic range of songs
on the piano and guitar during a recent show at
Escanaba's 8th Street Coffee House.

By STEVE SEYMOUR

Danny Adler, who performed at the 8th Street Coffee House on Oct. 19, has a resume any musician might envy.

Since picking-up the guitar in the early 1960s, he has played with a host of rock, blues and jazz luminaries. The list includes Memphis Slim, Chuck Berry, Slim Harpo, Charles Brown, Lowell Fulson, Arthur Crudup, Earl Hooker, and many others.

Add to that the 18 albums he's recorded and you might think Adler would have quite an ego. He doesn't.

Now a resident of Charlevoix, I first met Adler when he stopped by my store last summer, the day after an earlier appearance at 8th Street. I told him I regretted not attending his show and vowed not to miss the next one. We had a pleasant conversation and he related a few music stories in a matter-of-fact way.

Born in Cincinnati in 1949, Adler was playing with some of the city's greats while still in high school. The young guitarist gigged with such local favorites as Bootsy Collins and H-Bomb Ferguson, while making his professional debut with Amos Milburn's band.

He moved to San Francisco for a period, playing with John Lee Hooker, T-Bone Walker and Solomon Burke.

Adler served a brief stint in New York's Elephants Memory, a horn-driven outfit which later recorded with John Lennon and Yoko Ono, before going to England in 1971.

In London he played in Smooth Loser before founding the pub rock band Roogalator in 1972. They became one of the first acts to sign with newly-founded Stiff Records, which also launched the career of Elvis Costello. Roogalator's record, "Cincinnati Fatback"/"All Aboard," became the third single released by the innovative label and is still featured on various compilation discs.

Although Roogalator was very popular on the club circuit, by 1978 Adler felt the band had run its course and members went their separate ways.

His prolific songwriting soon led to the formation of the Danny Adler Band. The group was featured on European television's "Rock Palast" and recorded music for the series "World About Us."

By 1979, Adler became an original member of Rocket 88, a boogie-woogie band which included Charlie Watts, drummer for the Rolling Stones; Jack Bruce, bassist for Cream; bluesman Alex Korner; Ian Stewart, the Stones' keyboardist; and other stars. Rocket 88 recorded a live album, released in 1981.

While in Europe, Adler recorded demos with Graham Gouldman of 10cc fame, worked with Nick Lowe and Dave Edmunds, and studied jazz guitar in Paris. Punk legends the Clash and Sex Pistols opened shows for Adler along the way.

When Adler met Bob Brunning, bass player for Fleetwood Mac, they formed the Deluxe Blues Band and recorded four albums during the 1980s. Other band members were Bob Hall (Savoy Brown), Mickey Waller (Jeff Beck, Rod Stewart) and Dick Heckstall-Smith (Graham Bond Organisation).

Although they were together for 12 years, the Deluxe Blues Band broke-up when Adler returned to the United States.

He formed a new version of the Danny Adler Band and recorded six discs of original material during this period. Adler has also recorded an unreleased jazz album and is working on a tribute to the late Bo Diddley called "Boat Diddley."

In recent years, Adler has performed with his band and as a solo act.

Sometimes he makes his way to a show by train, like he did for the Escanaba gig. That's because Adler is also a railroad engineer and makes his living between his twin pursuits. He'll talk just as enthusiastically about music as about driving a new computer-controlled locomotive.

The amiable musician is quick to bond with his audience and just as quick to please them with his vast repertoire of cover tunes and clever originals.

Both attributes were evident during his recent local show.

Adler opened his program with Big Bill Broonzy's "Key to the Highway," a classic blues number. He followed with Count Basie's "Moon Nocturne" before adding "Baby Lemonade," from Syd Barrett, a founding member of Pink Floyd.

Next on the setlist came "Try Me," the first hit by James Brown on Cinncinati's Federal/King label. Adler added his version of "Straighten Up and Fly Right," a 1943 smash for the Andrews Sisters.

The live debut of "Autumn Road," came next, followed by "I'm the Cleaner." Both are Adler originals. The musician added more blues to the mix with "The Sky Is Crying," by Elmore James and "Baby, Please Don't Go," a Big Joe Williams composition from 1935, remade by Van Morrison's Them in 1964.

After he was complimented by an audience member on his Beatles T-shirt, Adler returned the favor by performing "I've Just Seen a Face," "Norwegian Wood," "Rain," and "Please Please Me."

Maintaining an eclectic song selection, Adler played "Opel," another Barrett tune; and tossed in Irving Berlin's "Blue Skies." Three more Adler originals completed the set: "Danny's Grand Central," "When They Shut the Diary Queen," and "Big Women in Memphis."

Following a break, Adler returned with some piano tunes. Showing his prowess on the ivories, he performed "Errol's Squirrel," Thelonious Monk's "Trinkle Tinkle," and "Oden Boogie," Adler's tribute to his father's family. Fats Waller's "Jitterbug Waltz" and a few other obscure (at least to me) numbers completed Adler's stay at the piano.

Adler returned to the guitar for the originals "Even Dirty Old Men Need Lovin'" and "Kickapoo Sand & Gravel and Feed & Grain," a song which evolved after Adler saw a sign in Indiana.

Asked during the break to play tunes by Chuck Berry and Bo Diddley as well as a "train" song, Adler responded with Berry's "Bye, Bye Johnny" and Diddley's "You Can't Judge a Book By The Cover." The railroad request was filled with "Ghost Train," another Adler original, which even included train whistle effects.

Adler ended his set with "Nagasaki," written in 1928 by Harry Warren and Mort Dixon. "Back in Nagasaki where the fellas chew tobaccy and the women wicky-wacky-woo," Adler sang, demonstrating his mastery of the jazz composition.

During his performance I had been keeping a setlist of the songs Adler played and he asked to copy it when the show was over. When he noticed he had performed 31 songs and that the number could be transposed to 13, he insisted on playing a Horace Silver piano song for my wife Sue and me. Then, as we were about to leave the building, Adler brought me back to the showroom to demonstrate a Jimmy Reed song after we discussed our mutual appreciation of the Mississippi bluesman.

Adler, who has hundreds of songs buzzing around in his head, clearly enjoys playing gigs. "I like performing solo, but I'm really a band guy," he said. Either way, the audience wins.

Merle Haggard show sets mark

Country superstar Merle Haggard performed
"Mama Tried," "Okie From Muskogee," and other hits
during two shows at the Island Resort and Casino.

By STEVE SEYMOUR

With a cache of classic songs, Merle Haggard has become one of the greats of country music.

Excited fans began talking to me about his show at the Island Resort & Casino in Harris not long after it was announced.

Of course, I was familiar with the Haggard classic "Mama Tried," but that was because I liked the version by the rock band Grateful Dead. The Dead also covered Haggard's "Sing Me Back Home."

You'd have to be completely oblivious to music not to have heard the tongue-in-cheek "Okie From Muskogee," which even made the pop charts when Haggard crooned: "We don't smoke marijuana in Muskogee; we don't take our trips on LSD."

With those facts in mind, I decided to go to the performance, but I have a confession to make. Although I've been to dozens of rock and blues shows, I've never attended a concert by a major country star.

As a country neophyte, I thought I'd better do some research prior to the concert. So, I listened to a "best of" Haggard compact disc and watched a few of his videos.

I learned a lot about him along the way.

The singer, songwriter and guitarist was born in Bakersfield, California in 1937. (The city would later lend its name to "Bakersfield Sound," a twangy style of country music Haggard defined along with Buck Owens.)

Haggard's life took a tragic turn when his father died when he was nine years old. As a teenager, the future superstar rebelled, committing petty crimes and spending time in juvenile detention.

Then he saw Lefty Frizzell at a concert in Bakersfield. Haggard sang a couple of songs for him and Frizzell brought the young musician with him on stage. When the audience received him enthusiastically, Haggard set his sights on a career in country music.

But, plagued by financial problems, Haggard soon ran afoul of the law again. He was convicted of burglary in 1957 and sentenced to three years at San Quentin Prison. Haggard was an inmate when Johnny Cash staged his first concert there in 1958. (In fact, Cash would play there many times, finally recording a classic live album at the prison in 1969.)

Cash's presence proved to be a pivotal point in Haggard's life. After being released from prison, Haggard rededicated himself to a career as a country singer and songwriter.

He played at a Wynn Stewart show in Las Vegas in 1962 and was taken with Stewart's composition, "Sing a Sad Song." Haggard asked permission to record the tune which became a national hit in 1964.

Haggard had his first No. 1 country record in 1966 with "I'm a Lonesome Fugitive." During the next two decades, he racked up 37 more country chart-toppers, many based on his personal experiences.

"Okie" is probably Haggard's biggest song, even drawing the attention of President Nixon. The record was hailed as an anthem for the "silent majority," and Nixon declared Haggard his favorite country singer.

In 1972, as Haggard's star continued to rise, California Gov. Ronald Reagan granted him a full pardon for his past crimes.

Haggard's highest charting pop hit came when "If We Make Through December," became a cross-over smash. The song, about the 1973 recession, peaked over the Christmas holiday period that year, cementing Haggard's reputation as a spokesman for the working class.

He released scores of successful singles and albums in the 1970s and 1980s. Since then he has continued to record and perform, remaining true to his hardcore country roots.

At Haggard's Oct. 18 show, it was clear the audience loved the California native when he walked on stage to a standing ovation.

Playing a Fender Telecaster guitar, he opened with "Swinging Doors," an early hit from 1966, and followed with "Silver Wings." Then came three No. 1 country smashes from the 1980s: "Big City," "I Think I'll Just Sit Here and Drink," and "A Place to Fall Apart."

Haggard showed his allegiance to folks slaving away at their jobs every day with "Working Man Blues," which topped the chart in 1969. Another No. 1 followed with "That's the Way Love Goes" while his tribute to the road, "White Line Fever," followed.

The 71-year-old Haggard delivered a heartfelt version of "Mama Tried," his No. 1 from 1968 which the Grateful Dead appropriated for their live shows.

Haggard was backed by the 11-piece Strangers which included his 15-year-old son Binion on lead guitar and his wife Theresa on backing vocals. (Son Noel performed a few songs to open the program.)

With dozens of hits to chose from, Haggard delivered "It Always Will Be" and "Rainbow Stew," a live recording from 1981. My sentimental favorite of the evening, "Mama's Prayer," followed.

He ended the show with three No. 1 country hits: "I'm a Lonesome Fugitive," from 1966; the obigatory "Okie From Muskogee," from 1969; and the patriotic "The Fightin' Side of Me," from 1970.

Along with the rest of the audience, my wife Sue and I saluted Haggard with another standing ovation as he walked off the stage.

After attending my first country concert, I have another "confession" to make. In that audience full of admirers, Haggard won a new fan or two.

'Famed autographs' draw interest

Rock 'n' roll pioneer Chuck Berry sang
about an autograph collector in "Sweet Little
Sixteen" and added a drawing of himself to this
signed picture.

By STEVE SEYMOUR

In "Sweet Little Sixteen," a No. 2 smash from early 1958, Chuck Berry sang about a girl who "had to have half a million famed autographs."

Nearly 20 years ago, my wife Sue and I took a cue from that song when we began to collect the signatures of rock 'n' roll's founders, including Chuck Berry, one of the genre's greatest artists. You'll recognize his hits: "Maybellene," "Johnny B. Goode," "Roll Over Beethoven," and so many more. He was voted into the Rock and Roll Hall of Fame in 1986 and was the subject of a concert film the following year.

Still, by 1989, many of rock's pioneers had faded from prominence, as the music and fans moved away from the sounds and personalities of the 1950s.

Thankfully, the Rock and Roll Hall of Fame was founded in the mid-1980s to preserve rock's early history, although the Cleveland museum was still years away.

Two decades ago was also before the Internet and eBay, so Sue and obtained autographs the old-fashioned way, by sending letters to our subjects in the mail.

We had purchased a book of celebrity addresses and dispatched our requests with a self-addressed stamped envelope. The enclosed letter requested an autographed picture which we promised to display on a "wall of fame" at our retail record store.

Less than a week later, we received a package from Paul Anka, who wrote and performed the 1957 chart-topping smash, "Diana." A long-time Las Vegas entertainer, with 50 pop hits to his name, Anka took the time to send us an autographed poster and 8 x 10 photograph. The picture was inscribed "My thanks always" and dated 3-89.

To our surprise, Sue and I found that dozens of our rock 'n' roll heroes were willing to send us signed photos to display.

Remember Johnny Tillotson? The Florida-based teen idol began recording in the 1950s and hit a career peak in 1960 with "Poetry in Motion." Tillotson sent a personally inscribed promo picture which he signed with the addition of "best wishes."

We were delighted to get Fats Domino's signature. His incredible string of hits includes "Ain't It a Shame," "Blueberry Hill" and "I'm Walkin'." The New Orleans-based musician was inducted into the Rock and Roll Hall of Fame in 1986. In his photo, Domino is leaning over a piano. He signed "Luck always, Fats Domino."

Neil Sedaka, who made "Oh! Carol" a smash in 1959, and continued making hits for three more decades, answered our inquiry with an autographed photo and added "Cheers" to the inscription.

Fargo, North Dakota's Bobby Vee responded with a color photo which he inscribed to "Sue, with thanks, Bobby Vee." The pop singer may be best known for "Devil or Angel," "Take Good Care of My Baby," and "Run To Him," among many other hits.

Other early rock stars sent material, too.

Bobby Rydell, who struck gold in 1960 with "Wild One" and "Volare," was another early contributor to our collection. He signed his photo in red marker, adding "Sincerely" before his name. Rydell appeared at the Island Resort and Casino in Harris recently as part of the Golden Boys show, with Frankie Avalon and Lou Christie.

Bobby Vinton, who also played at the local casino this year, has his autographed picture on display. "Roses Are Red (My Love)" and "Blue Velvet," are among Vinton's memorable early hits.

The man who took "The Twist" to the top of the charts two different times, Chubby Checker, has also been responsive to his fans. He signed a photograph for us in 1989.

Brenda Lee, who's biggest hit came in 1960 with "I'm Sorry," signed a color portrait which highlighted her red hair. The pop singer was voted into the Rock and Roll Hall of Fame in 2002 and enjoyed a hit-making career which lasted more than 25 years.

Some of the stars who sent us their autographs have since died.

Rockabilly star Carl Perkins, inducted into the Rock and Roll Hall of Fame in 1987, seemed especially thoughtful. The star who took "Blue Suede Shoes" to No. 2 in 1956, sent along a color photo and a light blue guitar pick. "God bless you. Your friend, Carl Perkins," wrote the Tipton, Tennessee native.

Sadly, Perkins died at the age of 65 on Jan. 19, 1998.

Bo Diddley was another early rock 'n' roll innovator who treated his fans well. Rhythm & blues fans should recognize Diddley's first hit. "Bo Diddley" backed with "I'm a Man" is one of rock's most important records, having influenced performers like Buddy Holly, Jimi Hendrix and Eric Clapton.

Voted into the Rock and Roll Hall of Fame in 1987, Diddley signed his name in gold marker. Unfortunately, he died on June 8, 2008 aged 79.

Coopersville, Michigan native Del Shannon, who made "Runaway" a No. 1 hit in 1961, sent a photo which he autographed in red marker. He wrote: "Love ya and rock & roll."

Tragically, Shannon died of a self-inflicted gunshot wound just a few weeks later, on Feb. 8, 1990. The 55-year-old Shannon was taking anti-depressant drugs at the time. He was added to the Rock and Roll Hall of Fame in 1999.

Some music celebrities were more cooperative than others in providing their "John Hancock."

We sent a letter to Jerry Lee Lewis, famous for "Whole Lotta Shakin' Going On," "Great Balls of Fire," and "Breathless," asking for his autograph, and enclosed a self-addressed stamped envelope.

Lewis was inducted into the Rock and Roll Hall of Fame in 1986 and was the subject of a 1989 movie, starring Dennis Quaid.

His wife responded to our request, telling us Lewis's signature would cost $15. We dispatched the money, but never got the autograph.

Although Sue and I started collecting autographs by mail, this method is no longer effective because some collectors began to take advantage of the celebrities by selling the items for profit on eBay.

But, we've still been able to add autographs by going to concerts, joining fan clubs, and trading with other collectors. We also pick-up pieces from autograph dealers and folks who promote records and concerts.

Over the years we've obtained autographs from rock, country and blues stars from all eras.

One of our prized "famed autographs" is from Chuck Berry, the man who wrote and sang so many important early rock standards. In the photo he autographed, he's depicted doing his famous "duck walk." Berry even added a small mustachioed drawing of himself. That's something he probably would have done for the signature-seeking fan in "Sweet Little Sixteen."

Ex-teen idols keep fans happy

Ex-teen idols Lou Christie, Frankie
Avalon and Bobby Rydell, left to right,
entertained at the Island Resort & Casino
during the first weekend of October.

By STEVE SEYMOUR

A trio of former teen idols kept the hits coming during a weekend show at the Island Resort and Casino in Harris.

Frankie Avalon, Bobby Rydell and Lou Christie performed hits from the 1950s and 60s backed by a ten-man band including guitar, keyboards, bass, drums and a six-piece horn section.

Dubbed Dick Fox's Golden Boys, the three venerable singers performed before a wildly enthusiastic, if older, audience which fondly recalled the trio's early rock 'n' roll hits. My wife Sue and I enjoyed the Saturday, Oct. 4 show from our seats in the third row.

The program started with a history lesson in the form of vintage black & white film clips from Dick Clark's influential American Bandstand television program showing the three stars performing as teenagers.

Avalon, Rydell and Christie followed the nostalgic visuals by opening the concert with "Bandstand Boogie." The familiar theme song was closely tied to the ABC show broadcast nationally from Philadelphia, also Avalon and Rydell's hometown. (Christie, meanwhile, was born in Glen Willard, Pa.)

The singers, all from an Italian-American heritage, followed-up with a spirited version of "Three of a Kind," boasting their common musical, geographical and cultural background.

Following a bit of friendly banter, including some age-related jokes, each performed separately, with 66-year-old Rydell up first. A regular on Paul Whiteman's amateur hour TV show from 1951-54, Rydell later appeared on national programs with Red Skelton, Pat Boone, Danny Thomas and Perry Como.

Although Rydell has 30 hits to his credit, he opened with "Goody Goody," a 1957 doowop hit for Frankie Lyman and the Teenagers.

Next, Rydell delivered a solid version of "Wild One," his No. 2 smash from early 1962 and his biggest hit. Born Robert Ridarelli, the singer was just 19 years old at the time.

As scenes from "Bye Bye Birdie" played in the background, Rydell sang material from the 1963 color motion picture he starred in along with Ann-Margret. Rydell reminisced about portraying Hugo Peabody, Ann-Margret's boyfriend in the film and getting to kiss the Swedish-born actress, who played Kim MacAfee.

Rydell ended his set with faithful renditions of two of his greatest hits: 1963's "Forget Him," and "Volare," from 1960. Both tunes were No. 4 hits, according to Billboard magazine.

Christie launched his portion of the show with a rockin' take on "I'm Gonna Make You Mine," his Top Ten from the summer of 1969. The singer delivered a stunning version of "Love is a Many-Splendored Thing," a song which hit for an amazing five different acts in 1955, including the Four Aces.

By age 15, Christie was already a professional in pop music, having won a statewide scholarship competition while at Moon Township High School, near Pittsburgh. As a young performer, Christie appeared on such TV shows as Hit or Miss, Shivaree, Hollywood a Go Go, and Shebang, as well as American Bandstand.

Now 65, Christie treated his Upper Peninsula audience to two of his earliest hits. Both "The Gypsy Cried" and "Two Faces Have I" featured plenty of "yi, yi, yi" falsetto wailing with the audience eagerly joining in. The latter tune became Christie's opportunity to demonstrate his baritone and falsetto vocal capabilities in the same song. Christie, born Lou Geno Sacco, composed both hits with songwriting partner Twyla Herbert.

"Rhapsody in the Rain," from 1966, and "Hold Me, Thrill Me, Kiss Me," a Mel Carter song from 1965, followed. Christie completed his set with "Lightnin' Strikes," complete with a ripping guitar solo. Another original composition, "Lightnin' Strikes" topped the charts in 1966. The singer received a standing ovation for his efforts.


Frankie Avalon

Avalon opened his part of the program with "Beach Blanket Bingo," a pleasant reminder of the "beach" movies produced by American International Pictures he starred in along with Annette Funicello during the early to mid 1960s. For movie buffs, those titillating titles also included "Beach Party," "Muscle Beach Party" and "Bikini Beach."

Born Francis Avallone, Avalon worked in bands as early as 1953 and was a childhood friend of Rydell's.

David Seville's novelty song, "Witch Doctor," which hit the top of the pop and rhythm & blues charts, came next during Avalon's performance. The singer told the audience the song represented the sound of the 1950s, when he first entered the music scene.

The 69-year-old singer returned to a summer theme for "California Sun," which featured a rousing drum solo by Avalon's son, Frank. The older Avalon recorded the track, originally by the Rivieras, for the 1987 film, "Back to the Beach." Avalon also starred in the movie as the "Big Kahuna," opposite Annette Funicello.

Avalon tackled another soundtrack entry with "Beauty School Drop-Out," his contribution to the motion picture "Grease." Fans will remember Avalon also appeared in the 1978 film as "Teen Angel."

Two 1958 Avalon hits, "DeDe Dinah" and "Ginger Bread," in abbreviated versions, came next. Avalon ramped up the excitement with "Bobby Sox to Stockings," a Top Ten from the following year.

The singer offered earnest versions of "Why" and "Venus," his two No. 1 hits from 1959, much to the delight of the sold-out audience. Avalon closed his segment with "Where or When," originally a hit for Dion and the Belmonts.

All three vocalists contributed to "Rock And Roll Heaven," the 1974 Righteous Brothers tune, which opened the final portion of the show and served as a tribute to four rock legends. Avalon saluted Rick Nelson with "Mary Lou," Christie paid respects to Elvis with "Can't Help Falling in Love," while Rydell reprised Bobby Darin's "Mack the Knife."

Bill Haley's "(We're Gonna) Rock Around the Clock" was given an energetic work-out with all three singers adding to the classic tune.

The stars then returned to "Rock And Roll Heaven," added "Old Time Rock & Roll" and said a humorous goodbye with the closing theme to the Mickey Mouse Club television program.

In an original incarnation including Fabian Forte, instead of Christie, the Golden Boys have been playing together since 1985.

The Avalon, Rydell and Christie package was put together by Dick Fox Entertainment, a New York City-based management firm.

Whether today's newly-minted teen idols will be remembered when they reach their "golden" years is anybody's guess.

As far as these ex-teen idols are concerned, Avalon, Rydell and Christie ably demonstrated their staying power as the "Golden Boys."

Chicago-style blues travel north

Jimmy Johnson brought his Chicago-style
blues to the Upper Peninsula in 1990.

By STEVE SEYMOUR

When guitarist and singer Jimmy Johnson left Chicago on Thursday, Sept. 27, 1990 the Upper Peninsula was on his mind.

His band was scheduled to play that evening in Escanaba, 310 miles down the road from the Windy City, where Johnson toiled for decades to became a premier blues star.

Johnson was understandably apprehensive about the trip.

Less than two years before, on Dec. 2, 1988 two members of Johnson's combo were killed when he swerved off the road in southern Indiana while driving the band's van. The group was decimated with the deaths of bass player Larry Exum and keyboardist St. James Bryant.

Johnson, then 60-years-old, was injured and soon after became dispirited about continuing his career.

By the fall of 1990, however, he agreed to accept the Escanaba gig which was sponsored by Bay de Noc Community College, Radio Station WGLQ, and the Record Rack.

Despite the fact that Chicago is relatively close to the Upper Peninsula, the city's blues stars seldom played in northern Michigan, or anywhere north of Milwaukee for that matter.

Excitement for Johnson's visit had been building among area blues aficionados with the appearance of posters boasting the performer's "funky rhythms and soulful blues." The posters, featuring a black and white photograph of Johnson, also repeated testimonials from the Village Voice, Milwaukee Sentinel and High Fidelity magazine.

"Johnson's guitar and high pitched voice both have the essential 'cry' that distinguish a stellar bluesman from a journeyman," the Sentinel stated. "Original compositions as thoughtful, and every bit as striking as Robert Cray's, sung in dramatic and highly effective fashion," stated Village Voice. "His gospel inflected tenor can growl seductively... warble longingly... and shout on the shuffles," High Fidelity testified.

Tickets for Johnson's performance at the Terrace Bay Inn were offered to Bay students for $3 and to the general public for $5 each. The ducats identified the guitarist and singer with the line: "He plays the blues Chicago style."

Enough tickets were sold to fill the Terrace ballroom, but by the 9 p. m. start time, Johnson had not arrived.

After a few tense minutes, a phone call was received from the traveling musicians, and they arrived not long after, apparently confused over differences in the eastern and central time zones.

Johnson brought along a crack four-piece band including keyboardist Jessie Lockridge, drummer David Russell, saxophonist Hank Ford and bass player James Boyd.

The band made up for their late appearance with a terrific show for their northern audience. I could easily imagine myself in a State Street bar on a sweaty Saturday night listening to one of the Windy City's greatest blues bands.

In fact, Johnson regularly packed his city's top blues clubs, like Blue Chicago, Kingston Mines, Wise Fools Pub and B. L. U. E. S.

Born Jimmy Thompson, Johnson moved to Chicago with his relatives in 1950 from Mississippi. The family thrived on music. Younger brother Syl is an acknowledged soul star, while sibling Mack Thompson made a name for himself as bass player for blues legend Magic Sam.

Johnson was an amateur guitar player until the 1960s when he entered the R&B world. He burst into the blues scene in 1974 when he hired on as Jimmy Dawkins' rhythm guitarist. He toured with Dawkins and Otis Rush, before fronting his own band.

His first full-length domestic album was issued when Johnson was 50-years-old. It was then Johnson signed a contract with Delmark Records, the oldest independent label in the United States.

At the time of the Escanaba show, Johnson's most recent disc was 1983's "Bar Room Preacher," recorded at Sysmo Studios in Paris for France's Blue Phoenix Records. It didn't take Alligator Records owner Bruce Iglauer long to decide to release this stunning five-star album in the United States.

During the Terrace concert, Johnson led his band through satisfying versions of many of the record's outstanding tracks including his original, "Heap See," the songwriter's observation on the human condition. Johnson's guitar attack and vibrant vocals, supplemented by his band's complementary support, grabbed the crowd's attention and kept it all night.

Johnson's energetic playing mixed well with Russell's powerful drumming and Lockridge's jazz and funk- flavored keyboard work.

Eighteen years later, I don't remember exactly which tunes were played that night. Some likely candidates are "When My First Wife Quit Me," written by John Lee Hooker; "You Don't Know What Love Is," by Fenton Robinson; and two other Johnson originals: "Missing Link" and "Happy Home."

At the conclusion of the show, my wife Sue and I were able to get autographs from all the band members, including Johnson. We drove the few miles home with smiles on our faces, having enjoyed an entertaining evening of Chicago-style blues performed by one of the masters.

I don't know if Johnson and his band stayed in the Upper Peninsula overnight or if they immediately headed back to Illinois. A few days later a rumor circulated around Escanaba that Johnson had suffered a heart attack, but that was never confirmed.

In any case, Johnson has continued to release compact discs of new material over the years and I've continued to add some of them to my collection.

Johnson's first trip to the recording studio following his Escanaba visit didn't come until 1995 when he issued the Handy-award winning "I'm a Jockey," featuring guest appearances from harmonica virtuoso Billy Branch and multi-instrumentalist Lucky Peterson. Johnson even returned to France to record "Every Road Ends Somewhere," his 1999 album which included guest star Luther Allison. In 2002, he collaborated with brother Syl on the slyly-titled "Two Johnsons Are Better Than One."

My favorite is still "Bar Room Preacher," an audio remainder of when one of Chicago's greatest blues stars delivered some northern converts to his flock right here in the Upper Peninsula.