Notable Sly Stone show recalled

Sly and the Family Stone performed at Woodstock
and were a top concert draw.

By STEVE SEYMOUR

Just before my cousin Paul Marenger's band, None of a Kind, started a recent gig, bassist Brian Seppala asked me who I saw at my first big rock concert.

He had to head for the stage before I could tell him about seeing Sly and the Family Stone, one of the era's biggest bands, at Michigan State University (MSU) circa 1970.

The show in East Lansing was memorable because Sly played much of his Woodstock setlist, but he arrived hours late, annoying the crowd.

Unusual for the time, Sly and the Family Stone was racially integrated and included men and women. The band was comprised of Greg Errico, drums; Larry Graham, bass; Jerry Martini, sax; Cynthia Robinson, trumpet; Freddie Stone, guitar, vocals; Rosie Stone, keyboards; and Sly Stone, vocals, keyboards, guitar.

Born Sylvester Stewart, Sly produced Bobby Freeman, the Mojo Men and Beau Brummels early in his career.

By late 1966, the singer/songwriter formed Sly and the Family Stone in San Francisco. The band's first hit was "Dance to the Music," a piece of psychedelic soul which climbed into the Top Ten in the spring of 1968. They returned the following year with "Everyday People," which took over the top spot on Feb. 15.

Next, the band sealed its counter-culture reputation with a double-sided hit: "Stand!"/"I Want to Take You Higher." The latter song would be one of the standout tracks during Sly and the Family Stone's performance at the legendary Woodstock Music Festival, held Aug. 15-18, 1969.

The subsequent Woodstock soundtrack album and movie were firmly on my mind when I decided to make the 400 mile trek downstate to catch Sly in person during his show at Jenison Field House, also home to the Spartans basketball team.


Jenison Field House

I attended the highly-anticipated concert with my then girlfriend, a student at MSU. We walked through Jenison's monumental entrance, where police were very evident, and took our seats along with about 10,000 other people.

The audience was ethnically diverse and I remember a heavy security presence inside the building as well.

Everyone was ready for the show which we expected to include some of the greatest songs in the funk/soul catalog. Sly, on the other hand, was making a habit of showing up late for his performances.

As the delay became apparent, sporadic announcements were made from the stage alerting us to Sly's whereabouts. First, the audience was told that Sly was in the building, but wasn't ready to go on stage. Later updates indicting that Sly's plane had yet to land, drew boos from the crowd.

I don't recall an opening act, but if there was one they must have had a tough time keeping the attention of this packed venue, eager to see the headliners.

Finally, after an interminable wait of two and one-half or three hours, Sly and the Family Stone took the stage before a restless and increasingly rowdy audience. The delay preceded the exchange of obscenities between the stage and audience, despite the fact Sly couldn't have been more popular on campus. He was a staple on radio playlists and turntables.

Sly was dressed in a resplendent costume and obviously stoned. But, so were many concert-goers, who were smoking marijuana openly.

Determining a setlist for this show nearly four decades later may be impossible. I didn't keep my ticket stub, so I don't know the date of this performance. I contacted several experts on Sly, including San Francisco music critic Joel Selvin and author Eddie Santiago, but they weren't able to help me pin down the date, either.

Sly's musical background and growing political agenda became well-known among the nation's young people when he was profiled in a cover story in Rolling Stone #54, dated March 19, 1970.

In November, 1970, Epic Records saw fit to release a 12-track "Greatest Hits" package to satisfy demand for product since Sly wasn't forthcoming with new material. The long-player contained a multitude of Sly originals, many of which the band performed that day.

I remember some concert highlights, including "Hot Fun in the Summertime," a perfect party song from the summer of 1969; "Thank You (Falettinme Be Mice Elf Agin)," a chart-topper from early 1970; and that 45's flip, "Everybody Is a Star." Those songs had fans up and dancing.

The audience also participated in "I Want to Take You Higher," which charted 1969 and again in 1970. "Boom shaka-laka-laka, higher," the crowd responded to the song's chorus. "Higher!"

While Sly and the Family Stone put on one of their greatest performances at Woodstock, their stage show had deteriorated significantly by the time they played at MSU, due at least in part to excessive drug use by their flamboyant leader.

With the late start, I believe the group probably presented an abbreviated program.

Upon leaving the venue, some fans were grumbling, while others had a more lenient view of the evening's events.

Despite Sly's flagging interest in performing live, he wasn't finished creatively. In late 1971, he released his final masterpiece, an album entitled "There's a Riot Goin' On," which featured "Family Affair," another No. 1 hit.

Following a dispute with Sly in 1972, Graham founded his own band, Graham Central Station. The bassist has been widely recognized with creating the "slap" bass technique, an important component in funk music.

As the 1970s progressed, Sly's career declined. He has been a reclusive figure for decades. Sly and the Family Stone were inducted into the Rock and Roll Hall of Fame in 1993.

I hadn't given a thought to my first big rock concert in years. As one of the greatest rock acts of the time, Sly and the Family Stone may not have lived up to my expectations as performers, but the circumstances surrounding this show certainly make it a noteworthy event.

CCR songs transcend band rift

John Tristao, Stu Cook and Steve Gunner

By STEVE SEYMOUR

A band known by fans as Creedence was one of my favorites as a young person. The name was short for Creedence Clearwater Revival, or CCR, and I eagerly purchased their remarkable string of hit singles from 1968 to 1972.

When the Island Resort and Casino in Harris announced that two original members of that band would perform on Feb. 13 and 14, as Creedence Clearwater Revisited, I didn't rush to buy tickets.

Yes, bassist Stu Cook and drummer Doug "Cosmo" Clifford were one-half of the quartet I so admired, but they were not performing with John Fogerty, the man who was nearly single-handedly responsible for their sound.

Fogerty wrote almost all the songs, labeled "swamp rock" at the time. He sang lead vocals and played lead guitar as well as arranging and producing their recordings. To me, Fogerty and Creedence were the same. (The fourth member, rhythm guitarist Tom Fogerty, died in 1990.)

But, as the show dates approached, my wife Sue and I decided to go. After all, the last time the band played together publicly was 1972, and the likelihood of a reunion of the three surviving members is remote due to long-standing animosity between the two camps.

We've seen John Fogerty as a solo act three times and figured we had nothing to lose going to see the "other band."

Besides Cook and Clifford, Creedence Clearwater Revisited is comprised of John Tristao, lead vocals and rhythm guitar; Steve Gunner, keyboards and acoustic guitar; and Tal Morris, lead guitar. (Morris replaced Elliot Easton of the Cars who was part of the band when it formed in 1995.)

I took my seat at Friday's show with a bit of an attitude, but shared the crowd's excitement upon hearing the beginning notes of "Born on the Bayou," the long-time opener for this band and the original CCR.

From the start, Clifford was powerful on his drum kit, enthusiastic frontman Tristao duplicated Fogerty's growl and Cook was all smiles on bass.

"Green River," my favorite Creedence song, came next, followed by "Lodi" and "Commotion," which included some appealing lead guitar work by Morris.

"Who'll Stop the Rain" was followed by an extended version of "Susie Q," the band's first hit, which nearly reached the Top Ten in 1968. With "Hey Tonight," from 1971, the concert program stuck to the running order of their live "Recollection" double CD.

Doug Clifford

At this point, Clifford left his drums for the front of the stage, telling the audience to "hang on to your dreams." He explained he met Cook 51 years ago and talked about forming CCR with John Fogerty and the late Tom Fogerty. Clifford then gave Cook a hug, calling him "my best friend." (The two musicians were actually born one day apart in April, 1945.)

The music continued with "Long As I Can See the Light," "Down on the Corner" and "Looking Out My Back Door." The band stretched out again with "I Heard It Through the Grapevine," featuring a funky bass solo from Cook. The song was also a big hit for both Gladys Knight and the Pips and Marvin Gaye.

The band continued through their setlist with the traditional folk song "Midnight Special" and "Bad Moon Rising," both crowd pleasers.

CCR's biggest hit, "Proud Mary," came next as Sue reminded me that the popular tune was the first song we ever danced to. With the politically-charged "Fortunate Son," the band left the stage to a standing ovation.

They returned with "Have You Ever See the Rain" and "Travelin' Band." A second encore started with "Good Golly Miss Molly," a Little Richard gem and the only song the band performed which wasn't on their 1998 live disc.

The 19-song concert concluded with fans crowding the stage, cheering to "Up Around the Bend."

In the end, Creedence Clearwater Revisited put an enjoyable show and concert-goers left satisfied with the experience.

It was clearly evident fans still wanted to hear the great rock 'n' roll songs the band presented in concert even if John Fogerty wasn't present to perform them.

Sue and I have seen Fogerty play Creedence songs and solo hits in 1995, 1997 and 2005, and I still prefer his show. Fogerty has continued his hit-making ways with songs such as "The Old Man Down the Road," "Centerfield" and "Walking in a Hurricane."

Clifford and Cook, meanwhile, have relied strictly on the original band's material in concert. Still, they provided the propulsive rhythm for Creedence and also deserve to earn a living from their musical efforts.

CCR was inducted into the Rock and Roll Hall of Fame in 1993. Interest in the band's music remains high. For decades, every bar band in America had to know Creedence songs because fans demanded it.

I used to think that I had to choose sides in the dispute between Fogerty and his old bandmates. I was loyal to Fogerty and continued to buy the sporadic albums he issued as a solo artist, beginning with 1973's "Blue Ridge Rangers." A sequel, "Return of the Blue Ridge Rangers," is scheduled for release at mid-year.

After witnessing Creedence Clearwater Revisited perform, I see both sides furthering CCR's reputation while fulfilling the public demand for their timeless music.

So now, play me another Creedence song, please.


Creedence Clearwater Revisited

(Photos by Sue Seymour)

Guitar Mass drew young crowd

St. Thomas Church in Escanaba hosted popular guitar
Masses, beginning in the late 1960s.


By STEVE SEYMOUR

For a brief time beginning in the late 1960s, the guitar replaced the traditional organ at some church services, sparking a debate about religious music.

The guitar Mass was instituted in the Catholic Church to appeal to young people who were drawn to the six-string sounds popular in the rock 'n' roll music of the era.

Escanaba's St. Thomas the Apostle Church, 1820 9th Ave. N., hosted a weekly guitar Mass which packed the pews. Although my family belonged to St. Anne Church, I attended a number of guitar masses at St. Thomas at the time.

This was the era of the Vietnam War, civil rights movement, feminism and youth rebellion. The Church was trying to show its relevancy during a period when attendance at Sunday services was slipping.

Drawing people to St. Thomas was a talented trio of guitar players which included a nun from the Sisters of St. Dominic and two members of the local rock band Riot Squad. Sister Vincent Denise was joined by bassist Bob Anzalone and Jim Joque on rhythm guitar. Sister Denise, then a third grade teacher at St. Thomas School, played acoustic guitar as well as leading the congregation in singing.

The songs which helped fill St. Thomas to capacity every Sunday included folk songs everyone knows, such as "Kumbaya" and "If I Had a Hammer." Written by Pete Seeger and Lee Hays in 1958, the tune also known as "The Hammer Song" was first recorded by the Weavers. It didn't become a hit until the folk trio Peter, Paul and Mary enjoyed a Top Ten entry with their version in 1962.


The Weavers

"Kumbaya" was also recorded by the Weavers, but Tommy Leonetti had a minor hit with the song in early 1969, as "Kum Ba Yah." Released on the Decca label, the song featured orchestration by Bill Justis, otherwise famous for the instrumental "Raunchy."

I can still hear "Kumbaya," based on a slave song, ring in my ears. "Kumbaya, my Lord, Kumbaya, Oh Lord, Kumbaya." At the time, we thought the song addressed social justice, but the lyrics are often ridiculed today.

At some churches,"The Lord's Prayer" also became a production number with the congregation singing along to strumming guitars. You might remember that Sister Janet Meade turned the prayer into a hit song in 1974. She was known by many for her cathedral rock masses and weekly radio program.

Speaking of musical sisters, don't forget the Singing Nun (Sister Luc-Gabrielle) who took "Dominique" to Number One over the 1963 Christmas holiday period.

While Sister Denise spent her week teaching elementary school children, Anzalone and Joque attended Holy Name High School as members of the class of 1968. When Sister Denise was away during the summer, she was replaced by Escanaba High School student Kathy Kolich. Kolich, a member of the Escanaba High School Class of 1972, would also join the Riot Squad.

Anzalone and Joque plugged in their guitars and amplifiers with the happy approval of Father Arnold Thompson who saw attendance and enthusiasm grow at his northside church. "Local people, and those from surrounding communities, line the aisles to participate," an article in Gladstone's Delta Reporter weekly newspaper stated.

Despite the introduction of guitars, church was still quite formal. Sister Denise was attired in a white habit and Anzalone and Joque wore suits and ties. The trio played at 11:30 a. m. Sunday masses, but I remember some Sunday evening services, too.

Assistant Pastor Leno Zadra was also involved in managing the increased interest in his church. At the invitation of some of my fellow journalism students at Escanaba High School who lived in "north town,"
I joined the St. Thomas Youth Group, guided by Father Zadra.

The youth organization met Sundays in a small building located near the church at 1812 9th Ave. N., now home to the Knights of Columbus Council 640.

As a fund raiser for the group, we raffled off a Bridgestone Motor Bike, valued at $325. The machine was donated by Dave's Auto Body, authorized Bridgestone dealer for this area. Although I invested 25 cents in lucky ticket number 1001, I didn't win when the motor bike was given away on Sunday, June 1, 1969.

Motor bike giveaways notwithstanding, St. Thomas may have had a head start in attracting young people because it was Escanaba's youngest Catholic parish. In 1948, Bishop Thomas L. Noa approved a petition for a parish to serve the city's north side, since all three other Catholic Churches were located on the opposite side of town. The first services at the new St. Thomas were held later that year.

When St. Thomas Church had outstanding success with guitar Masses, other parishes joined the movement, including St. Anne's where my family attended church.

While guitar Masses were popular into the 1970s, they were also widely criticized. Some thought such Masses were inappropriate or even irreverent. Some traditionalists wanted to hear Gregorian chants or more widely accepted sacred music instead.

Music, apparently, is a long-running debate in the Catholic Church.

Prior to getting married, Sue and I decided we wanted some songs important to us in the ceremony at St. Anne's Church. We asked Father Darryl Pepin, a high school classmate of mine, for permission to use two songs recorded by the Beatles. "Let It Be," released in 1970, had lyrics about "Mother Mary." Although many people think that line addresses the Virgin Mary, Paul McCartney said it actually refers to his mother, Mary.

"In My Life," on the other hand, was about John Lennon's childhood and contained the lyrics: "Some (friends) are dead and some are living. In my life, I've loved them all."

The church would not approve "In My Life, but Brenda Biancosino Seymour was allowed to sing "Let It Be" to organ accompaniment during our Jan. 9, 1982 wedding.

Of course, I vividly remember the marriage ceremony, but I also fondly recall those guitar Masses from my high school days.

Tales spring from rock star attire

By STEVE SEYMOUR

My wife Sue and I can't say that rock star Don McLean didn't do everything he could to please us as fans.

After all, he gave us the shirt off his back, literally.

McLean's gift to us came in May, 1989 after we sent a letter to his Garrison, N. Y. home asking for an autographed picture or other memorabilia to display in the rock 'n' roll museum inside our retail record store.

"This shirt has been used by me on many shows and elsewhere. Note the initials on the cuff. This letter warrants the above," McLean wrote in an accompanying note.

The label on the black cowboy-style shirt shows it came from Sheplers, a well-known chain of western stores.

Roses embroidered across the front of the shirt further personalize the garment.

Looking at the shirt, you can almost hear McLean sing "American Pie," his masterpiece from 1972. "I can't remember if I cried when I read about his widowed bride. But something touched me deep inside, the day the music died." McLean was singing about the day in February, 1959, when he delivered newspapers carrying the news about three early rock stars being killed in a plane crash.

One person who personally knows about that tragic day 50 years ago is Dion DiMucci, who also made a donation to our museum.

While fellow Winter Dance Party stars Buddy Holly, Ritchie Valens and J. P. "the Big Bopper" Richardson boarded a small plane after their Feb. 2 gig in Clear Lake, Iowa, Dion decided to take the tour bus to the next show. The plane crashed into a corn field a few minutes after midnight, killing all aboard.

Weeks later, Dion and the Belmonts (Angelo D'Aleo, Fred Milano and Carlo Mastrangelo) scored their first Top Ten hit with "A Teenager in Love."

Dion sent us one of his trademark caps, similar to the one he wore for the cover of his "Yo, Frankie" album, released on Arista Records in 1989. He wrote "God Bless You" on the underside of the brim. The Bronx-born singer even had a minor hit at the time with "And the Night Stood Still," which featured Dave Edmunds and Patty Smyth.

Inducted into the Rock And Roll Hall of Fame in 1989, Dion's other big hits included "Run Around Sue," "Ruby Baby" and "The Wanderer."


Rock star Lou Christie has been generous
with his fans over the years, even giving away the
shirt he was wearing in this photo.

An equally accommodating performer is Lou Christie, who sent us a flashy turquoise shirt he wore in concert as well as a photograph of him wearing it.

Fans will remember Christie for "Two Faces Have I," "Lightnin' Strikes" and "I'm Gonna Make You Mine."

Christie autographed the rayon/metallic garment made by "Lenny NYC."

Designer Lenny Prussack spent 15 years outfitting rock stars and other major entertainers from his Manhattan headquarters.

The 58-year-old Prussack now lives in Fairmont, Ind., where he operates a store called Rebel Rebel Collectibles. Trivia aficionados will recognize Fairmont as the home town of James Dean, the tragic Hollywood legend mentioned in "American Pie."

Christie last performed in this area on Oct. 3 & 4, 2008 at the Island Resort and Casino in Harris on a program with Frankie Avalon and Bobby Rydell. The three ex-teen idols were billed as Dick Fox's Golden Boys.

Other rock star accouterments we have acquired came from Ray Charles, Cher and the German hard rock band Scorpions.

Charles, who died June 10, 2004, was a classy performer and sharp dresser. He sent us a black bow tie, autographed in silver.

About the time we received the tie, Charles was enjoying his first hit in several years with "I'll Be Good to You." The Quincy Jones song, which featured vocals by Charles and Chaka Khan, reached No. 18 on the pop chart.

A hit maker from the 1950s through the 1980s, Charles' biggest songs were "I Can't Stop Loving You," "Hit the Road Jack" and "Georgia on My Mind," all reaching No. 1.

Charles was inducted into the Rock and Roll Hall of Fame in 1986, in the same class as Buddy Holly, the influential rocker McLean idolized in "American Pie."

Cher, meanwhile, also has a lengthy musical resume and a reputation for a provocative wardrobe. Born Cherilyn Sarkisian, her biggest songs include "Believe," "Gypsys, Tramps and Thieves" and "Half Breed." She also had hits as part of the Sonny & Cher singing duo. Remember "I Got You Babe?"

As a curio, Sue and I bought a camisole signed by Cher though a charity auction in California. If you're wondering, the garment is pink, features lace embellishments and can't be any more than size small. In any case, profit from the sale of the petite lingerie went to charity, so who can argue with that?

On the other hand, the Scorpions sent us a XXL white tee-shirt promoting their "Savage Amusement" album. A track from the disc, "Rhythm of Love," got some airplay, but many fans may know the group from "Wind of Change," their No. 4 hit from 1991.

The shirt, made in England, was signed in 1988 by all five members of the heavy metal outfit: Klaus Meine, Rudolf Schenker, Matthias Jabs, Francis Buchholz and Herman Rarebell.

So, there you have it, the story of two shirts, a cap, a bowtie, a tee-shirt and even some scanty women's apparel.

Personally, I don't know a thing about fashion, but I have learned rock star attire can be quite revealing, no pun intended.