Rhythm Rockers hit right note

This promotional photo of the Rhythm Rockers
was taken at DeMott's Photo Studio in Hancock. Clockwise
from top are Dick Patana, Mike Kadletz, Jerry Tahatinen
and John Patana.


By STEVE SEYMOUR

The Upper Peninsula's Rhythm Rockers issued 45 rpm records and performed hundreds of shows during a career which lasted more than a quarter century.

Formed in 1958, the original Rhythm Rockers were Richard "Dick" Patana (sax, guitar, vocals), brother John Patana (bass, keyboard, accordion, vocals), Tom Hiltunen (guitar) and Jerry Tahatinen (drums).

The four musicians were teenage friends in the tiny Copper Country community of Alston, 13 miles west of Baraga.

One of their earliest performances took place at a dance at a roller rink in Ontonagon, and the band's reputation grew as they played throughout Michigan and neighboring Wisconsin.

Their recording activities culminated in the early 1960s, when both their singles were released on their own Copper label.

For their first foray into the studio, the Rhythm Rockers traveled to Lansing to tape "Count Down" and "Unchained Melody."

Written by Alex North and Hy Zaret, "Unchained Melody" was one of the most popular songs of the 20th century, spawning over 500 versions. Les Baxter took the song to the top of the pop singles chart in 1955, while the Righteous Brothers released their hit version in 1965.

"Unchained Melody" was chosen to record because it was the most popular slow song in the Rhythm Rockers' repertoire, John Patana told me.

Their take was paired with "Count Down," an original tune composed by Dick Patana. That song is a lively surf instrumental, recalling the Ventures.

The Rhythm Rockers ordered 5,000 copies of "Unchained Melody" which they sold to band patrons between sets for $1 each. John Patana said he worked hard to sell the single during band breaks because each member got to pocket the money from the copies he sold.

To publicize the record, the band had a promotional picture taken at DeMott's Photo Studio in Hancock. The photos were inscribed with the words: "Copper Records Recording Artists." Labels for their records were customized with the drawing of a copper ingot.

The band dispatched many copies of "Unchained Melody" during the summer of 1961 when they served as the house band at the Forest Inn in Munising.

During this period, teenager Mike Kadletz (guitar, vocals) joined the band as a replacement for Hiltunen, while Larry Sabourin assumed the drummer's position when Tahatinen took a job with United Parcel Service.

In December, 1962, the band traveled to Cuca Record Corp., located in Sauk City, Wisconsin, armed with two more songs written by Patana. "Bad News" was a rockin' number with vocals, which related the school and car troubles of a teenager anticipating a date on Saturday night with a "really sharp chick."

The flipside was sax-powered instrumental called "Twilight."

Both songs were taped by Cuca owner James E. Kirchstein, who also published the tunes. For the 45 rpm single, the pairing was given catalog number C-1006. The band ordered 2,500 copies to sell at gigs, John Patana recalled.

"Bad News," a catchy track reminiscent of Eddie Cochran's "Summertime Blues," was released on compact disc in 2006. The track appears on "Cuca Records Story, Vol. 3, Rockin' in Wisconsin," issued by England's Ace Records. The CD package includes an often- informative booklet by writer Rob Finnis, who admitted he knew little about the Rhythm Rockers, or even who was in the group.

The Rhythm Rockers also recorded "Lonely Lover" at the Cuca studio, but that song wasn't released.

Although they occasionally surface on eBay, the two Rhythm Rockers 7-inch singles are now hard to find.



The Rhythm Rockers were one of the most popular
bands in the Upper Peninsula for decades. From left are
Dick Patana, Mike Kadletz, Larry Sabourin and John Patana.

Early in their career the Rhythm Rockers were able to boast two 45s as the group booked engagements around the region. The band presumably played live versions of their recordings when they entertained at the Senior Ball at Escanaba Area High School on April 26, 1963.

The Rhythm Rockers played another memorable prom in 1963 at Rapid River High School where John Patana met Brenda Moser. They were married in 1964.

Group leader Dick Patana once estimated the Rhythm Rockers played at almost 400 different venues over the years. They appeared often on the March of Dimes telethon broadcast live by WLUC-TV6 in Marquette.

The band maintained a professional look, always appearing for engagements in custom jackets made in New York City, Brenda Patana recalled.

At their peak, the group commanded $1,500 per night, and were household names throughout the Upper Peninsula. At one point they were booked for a year and one half in advance.

In Escanaba, the Rhythm Rockers played teen dances at Teamsters Hall, and were often the featured entertainment at Skinny's Bar. They were also regularly booked into Bill's Bar and the Swallow Inn, competing bars in Rapid River.

Escanaba radio stations WDBC and WLST added the Rhythm Rockers' singles to their playlists due to strong local demand.

Playing whatever people wanted to hear, from polkas to pop, the Rhythm Rockers were a popular choice for wedding receptions throughout the Upper Peninsula.

Through the years, they were joined by Jack Rogers; Mark Pyykkonen; Tom Kemp; brothers Hank and Dale Mroczkowski; and Brenda Patana, who sang pop, rock and country songs.

During their career, the Rhythm Rockers played back-up for Conway Twitty, famous for "It's Only Make Believe," and shared the stage with Stonewall Jackson, who recorded the top country hit, "Waterloo."

The U. P. combo took the Rhythm Rockers name after they saw it in Hit Parader magazine. It was a catchy moniker, easier to say than write. Many people, including school superintendents, couldn't spell it, John Patana said.

At least ten other acts recorded under the same name, according to music historian Gary E. Myers.

Although the U. P.'s Rhythm Rockers disbanded in the mid-1980s, they staged several reunions, including one at the Swallow Inn in 1987 and another in L'Anse in 1996.

Dick Patana carried on with other musical groups including the Weekend Cowboy Band. He also performed as a solo artist for many years.

In 2001, Patana won an Elvis Presley sound-alike contest in Florida and was awarded a recording session at M & M Studios in Spring Hill, Florida. There, he recorded a full-length album with studio musicians called "Doin' My Thing, Vol. 1."

The 12-track compact disc included some of Patana's favorite songs: Freddy Fender's "Before the Next Teardrop Falls;" Louis Armstrong's "What a Wonderful World," and Roy Orbison's 1960 smash, "Only the Lonely." In "To All the Girls I've Loved Before," Patana imitated the voices of Julio Iglesias, Willie Nelson, Elvis, cartoon character Elmer Fudd and Mr. Ed, television's talking horse.

Tragically, Dick Patana died in a traffic accident just two years later at age 62. The fatal mishap occurred on Sept. 8, 2003 on Highway U.S. 41 near Alberta in Baraga County. Patana's wife, Sandra was seriously injured. The Patanas had spent their winters in Florida, but returned to Houghton for the summer months.

Two members of the Rhythm Rockers, John Patana and Mike Kadletz, both reside in the Rapid River area and remain close friends. Kadletz performed with the Full Circle Band last year, while Patana has appeared at Rapid River High School talent contests.

Today, the Rhythm Rockers still evoke powerful memories from many people, including Clark Sullivan, lead singer of the Excels, a Marquette-based rock band which released five 45 rpm singles in the 1960s and toured the midwest extensively.

"If there was any group in the Upper Peninsula that stood out, in my opinion, and affected me the most, it was the Rhythm Rockers," said Sullivan, who has also recorded as a solo artist.

"Dick and John (Patana) became good friends and I respect what they accomplished. When I started in music, this was the group I wanted to emulate," he added.

"I remember seeing them when I was in high school and being completely blown away. Where most groups had just a lead singer with no harmonies, the Rhythm Rockers had three and four-part harmony. They could play and sing just about anything."

Rhythm Rockers Photo Gallery

Club A-Go-Go was hub, briefly

A short-lived teen recreation center, Escanaba's
Club A-Go-Go hosted an appearance by Sam the Sham and
the Paraoahs in 1966.

By STEVE SEYMOUR

Like the national phenomenon it reflected, Escanaba's Club A-Go-Go was a short-lived teen hangout, lasting just a few months in 1966.

At the time, hundreds of teen dance clubs sprung up around the country, providing aspiring rock bands with a readily available audience to test their live performance skills.

The entrepreneurs behind the new enterprises figured to profit from the burgeoning youth market.

Club A-Go-Go, owned by Gene Smiltneck, was located at 2000 Ludington St. in a building previously occupied by Town and Country Motors Inc., a dealer for Oldsmobile and Cadillac products.

"I found the vacant garage on Ludington Street and decided to give it a go-go," Smiltneck told me.

In the weeks prior to opening, Smiltneck made various changes to the former garage to make the building (now Kobas Electric) more appealing to a teenage clientele.

After removing years of grease and oil, Smiltneck repainted the walls and ceiling. He also constructed a stage to offer the proper accommodations to the bands he arranged to play at the facility each weekend.

Besides dancing, teenagers were able to play cards, checkers or chess on a specially-built terrace. The hall also featured pinball games, a jukebox, and pop and candy vending machines.

Early on, plans were made to turn the front showroom of Club A-Go-Go into a soda fountain, cover the cement dance floor with tile and enhance the stage lighting system.

Although he would later move to Escanaba, during the early days of Club A-Go-Go Smiltneck drove to Escanaba from his home in Menominee on a daily basis.

It seems Smiltneck liked show business at an early age. He formed his first combo at age 11. His father Arnold was a well-known band leader in the 1940s and 1950s.

After attending college in lower Michigan, the younger Smiltneck returned to the Upper Peninsula and formed the Vikings.

The combo performed throughout the U. P. and northern Wisconsin. They appeared at the Escanaba Junior High School gym on Friday, April 27, 1962 to provide music for the Class of '62 Senior Ball. The four-piece group was "considered to be an excellent dance band," student Mike Fry said.

"I had promoted some dances at Teamsters Hall with my band, the Vikings from Menominee, which were very successful. This provided me with the confidence to consider finding a larger building for our promotions," Smiltneck said.

He named the facility as a take-off on Whisky A-Go-Go, the famous Los Angeles nightspot opened in 1964.

To launch Club A-Go-Go with a bang, Smiltneck signed nationally-known rock 'n' roll band, Sam the Sham and the Pharaohs. He also booked various local and regional acts.

Sam the Sham and the Pharaohs were still riding high on "Wooly Bully" when the Dallas- based group appeared at Club A-Go-Go on Monday, April 11, 1966. A poster advertising the show exists in the collection of Riot Squad bass player Bob Anzalone.

Beat Incorporated

As an opening act, Smiltneck hired Beat Incorporated, an early Escanaba rock band which consisted of Hank Mroczkowski (bass), brother Corky Mroczkowski (lead guitar), Bruce Douglas (keyboards) and Jim Lewis (drums).

Keyboard player Douglas said the headliners put on a great performance.

At the time of the Escanaba show the Pharaohs consisted of Tony "Butch" Gerace (bass), Frankie Carabetta (sax), Andy Kuha (guitar) and Billy Bennett (drums).

Group namesake Domingo "Sam" Samudio sang lead vocals and played the Farfisa organ belonging to Douglas. In fact, Samudio was one of the first rock artists to use Farfisa equipment, manufactured in Italy. After leaving Escanaba, Sam the Sham and the Pharaohs had another gigantic hit with "Lil' Red Riding Hood."

As entertainment for the following weekend at Club A-Go-Go, Smiltneck lined up five bands to donate their time to aid the coffers of a local charity.

The Trolls from Iron Mountain played from 8 p. m. to midnight on Friday, April 15, while a Battle of the Bands was scheduled for Saturday, April 16.

Four bands participated in the contest, including Beat Incorporated, Orphics, Minute Men and the Riot Squad.

The two events were sponsored by Holy Name School Key Club and Escanaba Area High School E Club with the cooperation of Club A-Go-Go management. To enter the building, teens had to observe school dress codes.

Near the end of the evening on Saturday, police were called due to a disturbance, but no arrests were made. The Cancer Crusade received a donation of $165 from the weekend.

It isn't clear who won the battle of the bands, but the Riot Squad had a lengthy relationship with Smiltneck. The Escanaba group was comprised of Jim Joque (rhythm guitar), Dan Curran (drums), Bob Anzalone (bass), Brendan Williams (lead guitar) and Greg Curran (keyboards and vocals).

Club A-Go-Go is where Smiltneck met members of the Riot Squad. "They were all in their early teens and needed a mentor and knowledgeable manager. I had managed bands of my own for ten years and had the experience needed to get the Riot Squad started on what became a very successful business," Smiltneck said.

The club owner also booked the Tremolons, an all-girl combo from Niles, Mich. When the Tremolons may have played at Club A-Go-Go is uncertain because existing evidence indicates the downstate band was scheduled to play on several different dates.

The Tremolons consisted of Char Vinnedge (vocals and lead guitar), sister Chris Vinnedge (bass), Mary Gallagher (rhythm guitar) and Faith Orem (drums). The estrogen-charged combo played at Escanaba Area High on Aug. 10, 1966, having changed their name to the Luv'd Ones.

Teenagers were attracted to the alcohol-free atmosphere at Club A-Go-Go and parents likely appreciated its focus as a "teen recreation center."

"Club A-Go-Go provided many fond experiences and memories for me and for the Riot Squad during our teenage years. It was a great location for teens to interact, hear a variety of music, and for us in the Riot Squad to express our music," rhythm guitarist Jim Joque said.

But, like similar clubs around the country, the local facility didn't generate sufficient income to remain open and closed within a few months.

Still, Smiltneck got some valuable experience working with young people. He saw potential in promoting entertainment in the new rock environment and launched a booking agency in Escanaba. Bands Unlimited was very successful in promoting young bands such as the Riot Squad and dozens of others, over the next decade.

"Gene (Smiltneck) brought to town some great music acts that normally we would not have heard. That alone was a valuable contribution to our community," Joque added.

Smiltneck later owned a recording studio, radio station and the Night Hawk and Arcadia nightclubs. He also arranged entertainment at the Upper Peninsula State Fair for a number of years.

Today, Smiltneck lives in Green Bay. He had emergency heart surgery in February. "It has made me appreciate my life in Escanaba even more at this time," he said.

Smiltneck's Club A-Go-Go, meanwhile, remains an erstwhile experiment, fondly recalled by many.

Walrus won fans, waxed vinyl

Walrus relaxed on a couch for this 1969 photo. From left are
founding members Don Kuhli, Kim French, Bill Etten and Mike
McKelvy.

By STEVE SEYMOUR

Marquette rock band Walrus tried to expand on local success by moving to Ann Arbor where they staged live shows and recorded an album of original songs.

Active from 1969 to 1974, Walrus opened for many of Michigan's finest rock bands and warmed-up the crowd for a Marquette appearance by Richie Havens, famous as the first act to play at Woodstock.

The original Walrus was comprised of lead vocalist Bill Etten, Mike McKelvy (guitar), Don Kuhli (drums) and Kim French (bass).

Etten's three musical cohorts all played with Cub Koda, the legendary rocker who would later write and perform "Smokin' in the Boys Room," a No. 3 hit for Brownsville Station.

While enrolled at Northern Michigan University, Koda recorded an obscure 45 rpm single for Princeton Records, and played local gigs as Mike Koda and the Blue Blades.

Etten had some experience of his own as the singer in a mid-60s high school combo called the Henchmen. Besides Etten, the Henchmen included Les Ross (drums), John Howe (lead guitar), Pete Stanick (bass) and Brendan Biolo (rhythm guitar). Another rock outfit with a similar name, the Henchmen VI, hailed from Ontonagon.

Marquette's Henchmen actually played some of the same venues as Koda's band, including the Roosevelt bar in Ishpeming, run by "Gigs" Gagliardi.

When the Roosevelt was alerted to an impending visit by the state liquor inspector, underage patrons were quickly ushered into the back alley, Etten recalled.

Although Koda was the leader of a rival band, Etten admired the musician. Etten remembered attending a party with Koda. Although Koda didn't drink due to diabetes, he was still the center of attention, even demonstrating some of the antics he'd employ years later in Brownsville Station.

The Henchmen played the senior ball at Escanaba High School on April 10, 1966 as a last minute replacement when the Rogues broke up.

Etten entered the Air Force in 1966, putting his musical aspirations on hold.

Sprung from military service in 1968 due to a stomach ulcer, Etten soon hooked up with Koda's ex-bandmates. They rehearsed cover songs from Steppenwolf and Cream and were hired to perform at the NMU University Center.

The band didn't yet have a name and chose "Walrus" after McKelvey saw the word on a poster from an accounting firm.

John Metz joined the aspiring rock outfit on guitar, while French left Walrus in 1970 to be replaced by Randy Tessier on bass.

Early on, Walrus excited fans with a liquid light show, used to great effect by many San Francisco bands. Operating overhead and slide projectors with color wheels, an entourage of eight or nine NMU students created constantly changing psychedelic visuals to add a multi-media effect to Walrus performances.

Walrus played Marquette County jobs but also ventured into Delta County to play teen dances at Escanaba's Teamsters Hall, organized by promoter Gene Smiltneck. Smiltneck, in turn, booked the band for engagements in Iron Mountain and Ironwood, Etten remembered.

Making a political statement, Walrus was among the groups to play at a Michigan Marijuana Initiative concert at Karas Memorial Band Shell in Escanaba's Ludington Park.

Managed by David Perkins, Walrus opened concerts at Northern's Hedgcock Field House when Detroit-area acts like the Bob Seger System, MC5, Brownsville Station, SRC and Savage Grace came to town.

Seger enjoyed a handful of regional hits, including "Ramblin' Gamblin' Man," before his national break-out and played north of the Mackinac Bridge many times.

The MC5, known for their incendiary live shows, made a name for themselves with "Kick Out the Jams," recorded live at Detroit's Grande Ballroom.

SRC, noted for an organ-heavy dirge called "Black Sheep," joined forces with Savage Grace and Walrus for a memorable gig on the NMU campus on May 23, 1970.

In fact, Etten and his bandmates became friends with Glenn Quackenbush who played Hammond organ for SRC.

Besides Quackenbush, SRC was comprised of brother Gary Quackenbush (lead guitar), Scott Richardson (vocals), Steve Lyman (guitar) and E.G. Clawson (drums). The band had a series of bass players, including Robin Dale, Al Wilmot and Richard Haddad.

The hard rockin' SRC was based in Ann Arbor, home to the University of Michigan and the center of a thriving counter-culture scene.

Feeling the group had accomplished everything it could in the Upper Peninsula, the members of Walrus decided in 1971 to move lock, stock and barrel to Ann Arbor.

Walrus enjoyed "moderate success" in lower Michigan, Etten noted. The band played numerous outdoor Sunday concerts at Gallup Park which featured the likes of Iggy Pop and the Stooges, the Up, Third Power and MC5. Walrus also performed at the famous Ann Arbor Blues and Jazz Festival, Etten said.

Then, in July, 1973 Glenn Quackenbush invited Walrus to record at Morgan Sound Studios in Ann Arbor, owned by SRC. With guidance from Quackenbush, Walrus taped two original songs for a 45 rpm single. The top side was "Rape and Plunder," penned by Randy Tessier, while the flipside contained "Delighted," a composition co-written by Etten and Mike McKelvy.

Produced and arranged by Walrus, the resulting seven-inch record was assigned catalog number 1008. Etten is unhappy with the record today and estimates that less than 1,000 were pressed.

Still, Walrus returned to Morgan Sound Studios in the fall for more recording. This time, Quackenbush produced the sessions. Although Tessier came up with a number of worthwhile originals, Etten said the band decided to divvy-up the record so each band member was able to contribute songs. Unfortunately, their long-playing record was never issued.

Walrus continued playing live shows. Between Jul 30, 1973 and March 10, 1974, Walrus was featured at Ann Arbor's Primo Showbar eight times. The venue at 217 S. Ashley was a stop for Bob Seger, Detroit and the Rockets.

But, as the year wore on, Walrus broke up. Etten and McKelvy returned to Marquette.

A band called Punch was Etten's next musical project. Formed in 1974, Punch consisted of Etten (lead vocals), McKelvy (guitar), Rick Leppanen (bass) and Mark Skubick (keyboard, trumpet, harp).

Punch became the house band at Marquette's Traffic Jam Bar, owned by boxer Joe Paduka. One of Paduka's bartenders was a NMU student athlete named Howard Schultz. Schultz moved on from serving liquor to serve as chairman, president and CEO of a little coffeehouse chain called Starbucks. "I tell people I once tipped a billionaire," Etten jokes.

Bar owner Paduka and Jay Jadorsky delved into the music business by forming The Brass Ring, a production company which booked such acts as Aerosmith and Wishbone Ash into the Marquette's Lakeview Arena. After their concerts the bands would often show up at the Traffic Jam to play with Punch, Etten remembered.

Punch disbanded in 1976 and was followed by Reentry, a band which appeared on a regular basis at Scarlet O'Hara's in downtown Marquette. The Core members of the group included Etten, Kim French and Mike Stadler.

When Reentry ended in the early 1980s, Etten took aim at the burgeoning demand for country music with Bill Etten and the Heritage Band. The group earned considerable recognition in the Upper Peninsula and Wisconsin with their novelty hit, "We Go Green Bay," composed by Etten, Rob Labby and Ed Wales.

The band was comprised of Etten (vocals), Dave Bradbury (bass, vocals), Steve "Amos" McCoy (guitar), Kevin Mussatto (guitar), Eddie Kangas (drums) and Jerry Kippola (steel guitar).

Released in 1985, "We Go Green Bay," was recorded at Studio B in Ishpeming and issued on Jack Pine Records. Etten's father, Herb, plays accordion on the session. The 45's flipside, "Northern Country Boy," had been released earlier as the group's first single.

"We Go Green Bay" received considerable airplay in the Upper Peninsula and on WGEE in Green Bay. Sold at many independent record stores, including the Record Rack in Escanaba, the single was picked-up by Shopko, and sold an estimated 20,000 copies.

Some people who heard the song, a clever mix of country and comedy, mistakenly thought it was done by the Joe Arkansas Band, later known as Da Yoopers. Etten's Heritage Band and Da Yoopers enjoyed a friendly rivalry during that period, Etten recalled.

One of the Heritage Band's high points was opening for Charlie Daniels at Lakeview Arena on June 17, 1988, Etten said.

The Heritage Band worked as the house band at The Shamrock through most of the 1980s. The band even worked up their own live version of "Delighted," originally done by Walrus.

Although Walrus broke up in 1974, the band has retained a group of hardcore fans over the intervening years. Walrus even got a mention in The Blues Brothers movie. Walrus drummer Kuhli was a childhood friend of comedian John Belushi, who played Jake in the 1980 film. In one scene, the word "Walrus" was shown prominently among some restroom graffiti announcing a Blues Brothers show at the palace Hotel Ballroom.

Members of Walrus remain active in music today.

Kim French continues to live in Ann Arbor and works as a free lance musician. Tessier teaches English at the University of Michigan and plays bass in George Bedard and the Kingpins.

Don Kuhli teaches music to elementary school students in San Diego and plays with the San Diego Symphony. Mike McKelvy is a free lance musician who spends most of the year in Florida.

Etten still plays gigs with McKelvy, when the guitarist returns to Marquette each summer from his southern digs.

Walrus has also staged a series of reunion concerts, the most recent in 2006.

Etten, meanwhile, also keeps himself occupied in a business he owns with his wife Carol, Mrs. Moose Jigsaw Puzzles.

He even produced custom Walrus puzzles to recognize those reunion shows, bringing past and present together.

Inmates recorded song in U. P.

The Marquette Prison Band recorded a 45 rpm single,
"The Lifer," behind bars in 1962. The inmate musicians
included, first row from left, Al Gliva and Roger Chase;
and second row, Jess White, Carl Gilkerson, Howard Moore,
Clyde Stanley and inmate #62054.

By STEVE SEYMOUR

A Texas record label saw enough potential in a song written by an inmate at Marquette Branch Prison that they sent a recording engineer to the Upper Peninsula to tape the song in the early 1960s.

Alexander "Al" Gliva, also known as prisoner # 62055, composed "The Lifer" and sought to generate interest in the tune by sending a demo tape to Dewey Groom, owner and president of Longhorn Records in Dallas. Gliva was serving a life sentence for second degree murder.

Groom listened to the recording, noted numerous biblical references, but failed to see any commercial value.

Yet, songwriter Clay Allen, who also signed to Longhorn, urged the record executive to pursue the project. Consequently, with Allen's advice, Gliva rewrote the song to Groom's liking.

After several attempts by Gliva to record a quality tape of "The Lifer" in prison, Groom decided to send technician George McCoy to Marquette. Certainly, Warden Raymond J. Buckhoe, a native of Bessemer in the western U. P., wasn't about to send an inmate to a Dallas recording studio.

Also known as the State House of Corrections, Marquette Branch Prison opened in 1889. The facility has housed many notorious criminals over the years and was added to the National Register of Historic Places for its Romanesque architecture.

Having Warden Buckhoe's permission and cooperation, Longhorn Records flew McCoy into Marquette to record Gliva's song on Sept. 10, 1962. A steel guitar player, McCoy set-up Longhorn's equipment and taped a satisfactory take of "The Lifer" the following day.

While Gliva recites his lyrics, Roger Chase sings the chorus, and Clyde Stanley plays a guitar he reportedly made in prison. Other convicts in the "Marquette Prison Band" were Carl Gilkerson, Howard Moore, Jess White and #62054, an unnamed inmate with a number just one digit removed from Gliva's.

The song opens and closes with the clanging of heavy iron cell doors.

In the song's lyrics, Gliva makes reference to Caryl Whittier Chessman, a California robber and rapist who was executed on May 2, 1960. During his lengthy stay on Death Row, Chessman came to the center of the debate over capital punishment.

"I'm a lifer in prison and here I'll remain," are the song's final words.

Gliva may have had more than one motivation to record "The Lifer." He was eligible to make profits from his song and certainly the parole board was bound to look favorably on the life changes Gliva had made since first being incarcerated.

He also composed a second tune, "How Many." That song and "The Lifer" were both published by Saran Music Co., of Cedar Creek, Texas. Saran was associated with Groom's Longhorn Records.

Label owner Groom issued his own recording of "Heartaches For Sale" backed with "Sometimes If I'm Lonely," as Longhorn 525, before assigning Gliva's single the catalog number 526.

"It is our sincere hope that by our efforts, this record of 'The Lifer' might keep some boy from turning to crime," said Longhorn's liner notes, contained on the picture sleeve which accompanied the 45 rpm single. The sleeve carried a photo of the inmate musicians on one side and "The Lifer" in red block letters on the reverse.

In addition to Clay Allen and George McCoy, Longhorn Records also issued material by Janet McBride, who enjoyed fame as a country & western singer during the period from 1960 to 1965.

Besides his record label and music publishing, Groom also owned Longhorn Ballroom, a legendary nightspot in Dallas, which he bought from Jack Ruby.

It isn't known how many copies of "The Lifer" were sold by Longhorn Records, but the single is hard to find.

Michael Nowlin of Marquette, who recently auctioned a copy of the single on eBay, said the record was sold at the prison gift shop and that many copies were destroyed when the store was closed.

Gliva wasn't the only Marquette inmate to have a measure of success in the music business.

During the tenure of Warden James P. Corgan, prisoner Wallace Wysocki composed the words and music to "There Must Be a Bright Tomorrow (For Each Yesterday of Tears)."

Known at the Marquette lock-up as inmate # 3223, Wysocki was serving 10-15 years for armed robbery when musical inspiration struck.

Wysocki's song was published as sheet music by Olman Music Corp.of New York City in 1931. The cover art, by Frederick S. Manning, is a stark depiction of the closed door to a prison cell.

I showed the sheet music to Mike Bastian of Escanaba, who told me the song was arranged for piano, ukulele or guitar. To give me an idea what the song sounded like, he sang some of the lyrics: "'Mid prison walls so dreary I dream, but always in vain. At times I grow so weary my heart cries out in pain."

"It's a fantastic song," Bastian said.

One version of "There Must Be a Bright Tomorrow" was recorded by the duo Mac & Bob, also known as Lester McFarland and Robert Gardner. Other acts also recorded Wysocki's lamentful tune, with arrangements copyrighted by Bob Haring, Paul Hill and Gerald K. Joseph.

Today, Marquette Branch Prison remains a fortress on the south shore of Lake Superior, holding more than 1,000 prisoners.

Inmates Alexander Gliva and Wallace Wysocki served their time securely behind bars, but their musical ambitions managed to escape the confines of prison.

Thorogood throws 'Rock Party'

George Thorogood entertained fans during
a shindig at the Island Resort and Casino last weekend.
[Photo by Wendy Pepin]

By STEVE SEYMOUR

George Thorogood hosted what he called a "jamboree and rock session" at the Island Resort & Casino in Harris last weekend.

He deftly mixed his early cover songs, mid-career hits and recent studio material into an evening of crowd-pleasing fun.

I took my nephew Garrett Germain to his first rock concert and we sat just a few rows away from center stage for the March 27 show.

With the exclamation, "How sweet it is," the veteran blues rocker launched his show with the driving "Rock Party," contained on "The Hard Stuff," his compact disc from 2006. "Everybody's gonna feel alright at the rock party tonight," Thorogood sang.

Sporting sunglasses and a headband, Thorogood was backed by the Destroyers, his crack band comprised of Jeff Simon (drums), Billy Blough (bass), Jim Suhler (rhythm guitar) and Buddy Leach (sax).

During the opening number, Thorogood tossed his sunglasses over his head. They were caught by Leach to cheers from the crowd.

Thorogood showed some of his early influence with a rousing rendition of Bo Diddley's "Who Do You Love." The classic rock number was issued by Rounder Records in 1978 as the second single by George Thorogood & The Destroyers when the group was based in Boston.

"Who do you love?" Thorogood sang. "I hope it's me!"

Firing-up the crowd, Thorogood announced, "I'm going to do everything in my power to get arrested tonight." He then roared into "The Fixer," from his 2003 album, "Ride 'Til I Die."

The Delaware native and former semi-pro baseball player followed with "The Night Time," growling "I wanna be with you." The song showcased a powerful bass solo by Blough, emphasizing the song's compelling beat.

Thorogood offered the first of his own compositions with "I Drink Alone," a single from 1985. That was followed by "One Bourbon, One Scotch, One Beer," the John Lee Hooker song Thorogood has made his own.

The next selection was dedicated to Johnny Cash. Thorogood ripped through "Cocaine Blues," a number Cash played at a Folsum Prison concert. "I knew Johnny Cash. I knew June Cash. They thought I was a cool guy. So I have that going for me," Thorogood told the audience.

The band returned to their most-recent studio album for "I Got My Eyes On You," which offered Thorogood another chance to demonstrate his masterful slide guitar skill.

"Bad to the Bone," one of Thorogood's best songwriting efforts, continued the party atmosphere. The audience instantly recognized the 1982 hit, prominent in the movies Terminator 2 and Problem Child. The song also received massive exposure on FM radio and MTV.

"Ba-ba-ba-bad to the b-b-bone," Thorogood vocalized as the audience cheered him on with a standing ovation.

Declaring "We have not begun to rock," Thorogood blasted into another original, "Gear Jammer," which allowed the guitarist to indulge in another stunning guitar work-out.

Thorogood revisited his roots with "Move It On Over," a blues number written by country legend Hank Williams in 1947. Thorogood sang about coming home late and being forced to sleep in the doghouse.

The song was the title track to Thorogood's second album, released in 1978. "Pretty good, huh?" Thorogood asked at the song's conclusion as the audience rose in appreciation.

A rare ballad, "What a Price," was next on the set list. Suhler added some appropriately understated guitar licks. "Goodbye baby, I'm gone," Thorogood sang at the song's conclusion.

Thorogood kicked the program into high gear again with the 1988 original, "You Talk Too Much." The energetic number featured another tasty sax contribution by Leach.

"Love Doctor," another recent studio selection, kept the audience standing. "You people are crazy," Thorogood exclaimed.

The singer-songwriter-guitarist noted that his casino shows marked the band's second visit to Harris. "We hope to start a long and beautiful relationship," Thorogood told the crowd.

Thorogood ended his shindig with "Madison Blues." Written by bluesman Elmore James, "Madison Blues" was the debut single by George Thorogood and the Destroyers back in 1978.

"Do you feel it?" Thorogood asked. As the song built to a climax, Thorogood jumped up, landing on one knee. The 59-year-old musician bowed and in a bit of Hollywood schtick, seemingly collapsed from exhaustion.

Even after two encores, Thorogood returned to shake hands with audience members, demonstrating his considerable rapport with fans. He showed tireless energy despite entertaining concert-goers in Columbus, Ohio, nearly 500 miles away, the previous day.

"Don't rush me," Thorogood said at one point during the show. "It's taken me 35 years to get here and I'm enjoying every minute of it."

Indeed, Thorogood started his music career in 1974, following a stint playing second base on a minor league team. Long-time drummer Jeff Simon played center field on the same squad.

Thorogood wasn't long into his new profession when he discovered a boisterous blend of rock and blues which added legions of devotees to his fanbase.

He hasn't changed that formula in decades, which annoys some critics. His audience, on the other hand, has come to expect exactly what Thorogood delivered Friday night: a terrific 'rock party.'