U. P. garage bands recognized

The Excels from Marquette are among
12 vintage Upper Peninsula bands included
in the newly-published book "Fuzz, Acid and
Flowers Revisited (Expanded Edition)" by
Vernon Joynson.

By STEVE SEYMOUR

It may have taken decades, but Upper Peninsula-based garage bands are finally getting some of the recognition they deserve.

A dozen of those regional groups have been included in the newly published book "Fuzz, Acid and Flowers Revisited (Expanded Edition)" by Vernon Joynson.

The 1,398 page tome, abbreviated here as FAF, is a detailed guide to U. S. psychedelic, garage and hippie-rock recordings of the 1963-1977 era.

Started by Baby Boomers in the wake of the Beatles-led British Invasion, countless garage bands from around the country went undocumented and unheralded, despite leaving records in their wake.

Published by Borderline Productions, Joynson's book goes a long way in correcting that oversight.

Newly included are the Excels (Marquette) Renaissance Fair (Sault Ste. Marie) and Prophets of Doom and Riot Squad (both from Escanaba).

The Escanaba bands each issued a single on the local Peninsula Records label, while the Excels released five 45s on Detroit's Carla imprint. Renaissance Fair had three 7-inch discs, including "In Wyrd," considered a garage band classic.

They join eight U. P. bands covered in previous editions of the book: the Fastells (Negaunee), French Church (Marquette), Joey Gee and the Blue Tones (Iron Mountain), Henchmen VI (Ontonagon), Kinetic Energy (Houghton), Rob Kirk and the Word (Sault Ste. Marie), Lexington Project (Kingsford) and the Ravelles (Iron Mountain).

I got a copy of Joynson's book not only because it covers a subject I enjoy, but also because I was asked to contribute to it.

Last January I was contacted by Max Waller, a long-time record collector and amateur researcher for FAF as well as a CD series called "Psychedelic States," issued by the Gear Fab label.

The U.K.- based Waller was familiar with my Rock 'n' Roll Graffiti website and book and sought my input concerning U. P. groups of the garage band era.

Waller told me he's involved in record research for the fun of it. "I do this purely because it's a fascinating and enjoyable hobby."

Actually, I was familiar with Weller because he contributed to a previous edition of FAF which I already owned.

"My mission has always been to 'spread the word' to others who enjoy the same sort of music. I've sought out and engaged many other regional experts to improve the quality and authority of data for this project so that we can try to do the bands' legacies justice," Waller told me.

"When I started collecting U. S. garage/psych, way back in the early-mid 70s, I knew absolutely no one else who did, so it was a steep and rocky learning curve with nothing to help guide me along the way."

Collecting relatively obscure 45s from across the Atlantic Ocean provided another challenge for Waller.

"I've always been more into U. S. 60s bands than U. K. My all-time fave band is The Electric Prunes."

Retired since 2005, Waller worked for British Airlines and made numerous trips stateside in the 80s and early 90s for record hunts and bowling tournaments. In fact, Waller nearly took a job with American Airlines in Kansas, but finally decided on London.

With emails and the internet, Waller no longer needs to travel to indulge his record collecting hobby.

Waller and I exchanged a number of emails early in the year to beef up the U. P.'s representation in his friend Vernon Joynson's book.

The 6th edition of FAF finally reached U. S. shores just a few weeks ago.

Weighing in at eight lbs., the book is an impressive compendium of discographies, personnel details and band histories representing thousands of U. S. groups.

I purchased my copy from the internet book seller Amazon for about $69.

While the volume's massive size dictates the price, the information it contains is indeed priceless.

"I hope you'll find it a useful and entertaining read, ideal for when you're snowed in," Waller stated.

The book "still tends to concentrate on bands who released LPs, because Vernon is an LP collector. I've tried over the last two decades to plug gaps by covering some of the countless and lesser-known but equally worthy local bands who only made it onto 45, although I'm well aware that I've barely scratched the surface," Waller stated.

"At least in this edition your neck of the woods is better represented," he added.

Author Joynson was kind enough to thank me in the book's credits for information on "Michigan's previously undocumented Upper Peninsula scene."

As long as can be bound at its size, FAF looks like a big city telephone directory.

Although a dozen U. P. garage bands are included in the new book, a number aren't.

While the Galaxies (Ironwood), Rhythm Rockers (Alston) and Vigilantes (Ontonagon) cut 45 rpm singles, they were omitted because they predate FAF's timeframe which concentrates on the 1964-1969 era for this style of music, Waller said.

He also chose not to include an entry for Mike "Cub" Koda, who cut a solo single while a student at Northern Michigan University in Marquette. The book does have a listing for Koda's early band, known as the Del-Tinos. The guitarist later founded Brownsville Station, famous for the hit "Smokin' in the Boys Room."

But for lack of space other U. P. combos would have made the grade, including Infinite Blue (Menominee) and Walrus (Marquette).

Of course such a giant book can never be perfect, considering the wealth of information it contains.

FAF is prolifically illustrated with albums covers, many in color, and sections concerning CD compilations and re-issue labels.

During its heyday, the garage band scene in the U. S. received very little official notice.

Today, record collectors scour the marketplace for vinyl remnants of a bygone era when largely local bands hoped to make it big on poorly financed and distributed independent labels with blasts of unpretentious home-grown rock 'n' roll.

Now FAF has gone a long way toward assembling the the minutiae of what became a second American Revolution, involving every area of the country, including the Upper Peninsula.
###

Mystery cloaks Archies show

Bay City-based booking agency Delta Promotions
represented this group of unknown musicians posing as
the "Archies."

By STEVE SEYMOUR

When word spread that "The Archies" were to perform in Escanaba four decades ago, excitement grew rapidly.

Afterall, the group was responsible for "Sugar, Sugar," the No. 1 hit for 1969, according to Billboard magazine.

A bubblegum classic, "Sugar, Sugar" was recorded by a group of studio musicians including Ron Dante (lead vocals) Toni Wine (vocals) Jeff Barry (keyboards) and Gary Chester (drums).

The song was composed by Barry and Canadian songwriter Andy Kim who had a hit with "Baby, It's You" in the spring of 1969.

"Sugar, Sugar" received wide exposure when it was featured on TV's popular Archies cartoon series, starring Archie, Betty, Jughead, Veronica and Reggie.

In each episode, the main characters performed a song and dance segment to the delight of a youthful audience.

"The Archies" had two hits the previous year with "Bang-Shang-A-Lang" and "Feelin' So Good."

A busy studio musician, Ron Dante was also the vocalist for the Cuff Links, famous for "Tracy." Earlier, he played on "Leader of the Laundromat" by the Detergents.

"The Archies" local performance took place at the Holy Name High School gym, although the show wasn't affiliated with the Catholic diocese.

Apparently sold as a family event, the concert was booked by Bands Unlimited.

Exact date of the show however isn't known.

Old copies of the Crusader student newspaper, Delta Reporter and Escanaba Daily Press didn't mention the concert. No flyer, poster, article, advertisement, ticket stub, photo or program has surfaced.

A number people remember the show, including Kim Erickson, Carol Nygaard, Nancy Gilbert and Jay Olivares.

Musician Kim Erickson, a member of the "Upstairs to the Left" rock band, went to the show as a joke. "Boy, were we surprised when they started out with 'Hush' by Deep Purple. They did not play the music that made them popular with the young teenagers," Erickson recalled.

Carol Nygaard of Sault Ste. Marie, who went to the show with her friend Nancy Gilbert of Escanaba, remembered differently. "They did sing all their popular hits, including 'Jingle Jangle," Nygaard said. Gilbert, meanwhile, recalled they had "really good seats on the floor." The band dressed in character and the audience sang along, Gilbert said.

An attorney in Dickinson County, Olivares was drummer for the opening act, rock band Prophets of Doom.

A junior in college at the time, Olivares dated the concert to 1969 or 1970.

The venue was "stacked to the rafters with kids and their parents who were fans of the Saturday morning program," Olivares recalled.

"The audience was expecting 'The Archies Show' just like the cartoon, where they dance around and smile. Well, these musicians just stood there and sang the songs as if they were bored to death. (They) were not dressed as they were in the cartoon and comic book."

Parents, thinking they were going to see "cute cartoon-types, instead got five or six 'hippies' who did not interact with the audience," Olivares observed.

"The highlight for me was when they played a seriously good blues tune with heavy B-3 Hammond organ parts towards the end of the performance. The audience was not amused.

"They were good musicians but were totally indifferent, did the show, and took the tour bus out. They didn't take a minute to meet us," Olivares said.

Were "The Archies" racing to their next engagement or flying under the radar?

"Rumor had it that they had an 'Archies' touring in the midwest, an 'Archies' in the south and one out west... who knows? There were definitely more than one 'Archies,' according to those we spoke to at the time," Olivares told me.

Apparently, demand to see "The Archies" led to the creation of faux groups.

In a 2004 interview, lead singer Ron Dante confirmed that he "never toured or made TV appearances as 'The Archies.' The comic book people owned the rights to 'The Archies' and wanted the group to stay as an animated group." (Although Dante provided Archie's vocals during songs on the cartoon series, he did not supply the character's speaking voice.)

In fact, Dante said the first time he performed "Sugar, Sugar" live with Toni Wine was on the Jerry Lewis MDA Telethon on Sept. 4, 2006. Dante produced many hits for Barry Manilow and his voice is heard in countless TV commercials.

So, just who were those enigmatic troubadours who played their one-off Upper Peninsula gig as "The Archies" and disappeared?

That question may never be answered, but earlier this year I discovered that a Bay City, Mich. booking agency did represent a quintet billed as The "Archies."

I purchased a cache of promotional photos distributed by Delta Promotions, then located at 352 Tuscola Road, including the "Archies."

One 8 x 10 shows three young men and two young women identified as the "Archies," (the photo includes the quote marks) indicating perhaps that this was a tribute band.

Their actual names unknown, the individuals in the picture are portraying characters in "The Archies" cartoon series. Depicted, from left, were Jughead Jones (drums), Betty Cooper (tambourine, percussion), Archie Andrews (lead guitar), Veronica Lodge (organ, keyboard) and Reggie Mantle (guitar, bass).

I emailed the photo to Olivares who said this was not the group which played in Escanaba, despite Bay City's proximity to the Upper Peninsula.

Seeking further information, I sent the picture to Gary Johnson, rock historian and founder of Michigan Rock and Roll Legends, who lives in the Bay City area.

According to Johnson, Delta Promotions booking agency existed from 1965 to 1970, operated by William Kehoe and James Atherton.

Besides "The Archies," the firm also represented Question Mark and the Mysterians ("96 Tears") and "The Zombies." A British rock band known for "She's Not There," "Tell Her No" and "Time of the Season," the Zombies broke up prior to their last song becoming a massive hit in 1969. Perhaps some Bay City musicians saw themselves as a "Zombies" tribute band, as well.

While specific details about "The Archies" performance may never be known for certain, perhaps the date can still be determined.

If you have documentation proving the date "The Archies" appeared in Escanaba, a shiny new "Absolutely the Best of the Archies" CD is waiting for you.

Can you solve the great "Archies" mystery?
###

U. P. video propels Kid Rock

Pop star Kid Rock, pictured here in a screen
capture, showed his Michigan pride by filming part
of his "Born Free" video at Pictured Rocks National
Lakeshore near Munising.

By STEVE SEYMOUR

Michigan-born pop star Kid Rock has been praised for his "Born Free" video, which includes scenes shot at Pictured Rocks National Lakeshore near Munising.

With hits like "Bawitdaba," "Cowboy" and "Forever," Rock is a music superstar with millions of fans.

The 39-year-old musician impressed Upper Peninsula locals when he showed up on Oct. 13 to film sequences for the promotional clip at Miners Beach and other nearby locations.

Rock arrived at Sawyer International Airport outside Marquette, traveled by limo to Munising, and flew home later the same day with filming completed. Before leaving, Rock posed with fans for photos and signed autographs.

In the video, Rock is shown singing and playing guitar along the Lake Superior shoreline. With fairly rough water, the footage was obviously taken on a windy day.

A helicopter was used to create sweeping aerial views of the surrounding area, including some impressive sandstone cliffs.

Those scenes were combined with footage taken near the musician's home in downstate Oakland County.

The video's freedom theme is re-enforced with film of Rock riding his motorcycle and driving a convertible in the Clarkston and Ortonville areas.

Those scenes were filmed on Oct. 8, and include Rock tooling around in his tricked-out 1964 Pontiac Bonneville, once owned by Audry Williams, mother of Hank Jr.

The video occasionally uses a split screen to dramatic effect.

Produced in just a few weeks, the "Born Free" video premiered Nov. 4 on MTV, VH1 and Country Music Television.

Composed by Rock and guitarist Marlon Young, "Born Free" is the title song from the album which debuted Nov. 16. The country rock song peaked at No. 31 on Billboard's "Rock Songs" list and also charted in Australia, Austria, Germany, Italy and Switzerland.

Released on Atlantic Records, "Born Free" opens the new full-length compact disc which was produced by the critically-acclaimed Rick Rubin.

The cover depicts Rock relaxing in the white Pontiac, his cowboy boots matching the car's western-style interior.

For the album, Rubin recruited an all-star band including drummer Chad Smith of the Red Hot Chili Peppers, keyboardist Benmont Tench from Tom Petty & the Heartbreakers, Los Lobos guitarist David Hidalgo and Matt Sweeney, guitar player for Chavez.

Guest musicians on the album include Martina McBride, Trace Adkins, Zac Brown, James Hetfield and T. I.

With the new album recorded at various California studios, Rock's Michigan-based Twisted Brown Trucker band stayed home this time around.

The 12-track CD has received mostly positive reviews and peaked at No. 5 on the Top 200 Albums chart and topped the Top Rock Albums list.

Rock had a hand in composing all the songs, with his share attributed to RJR Music Publishing at BMI.

A multi-instrumentalist, Rock is proficient on guitar, bass, banjo, dobro, drums, keyboards and harmonica. For the "Born Free" album, however, Rock concentrates on his lead vocals and leaves the playing to his crack back-up band.

Reviewer Stephen Thomas Erlewine noted a distinct similarity between Rock's new effort and classic Seger albums like "Against the Wind" and "The Distance." It's a accurate observation and Rock doesn't hide his admiration for Seger and what critics have dubbed "heartland rock."

In fact, Seger demonstrates his piano-playing skills on "Collide," a "Born Free" number which also features Sheryl Crow on vocals. Rock has collaborated with Seger previously, even modeling his "Live Trucker" album cover after the Hall of Famer's classic "Live Bullet."

The "Born Free" single received an early push when it was used during television coverage of the 2010 Major League Baseball playoffs.

Rock, once known exclusively as a rapper, performed at the Country Music Association awards on Nov. 10 and the American Music Awards on Nov. 21. In addition, he promoted "Born Free" with a halftime performance at Ford Field in Detroit on Thanksgiving Day when the Lions hosted the New England Patriots.

The singer will return to the stadium on Jan. 15 for the opening gig on his upcoming "Born Free" tour. Rock will turn 40 just two days later.

In a news release, Rock announced the Detroit concert will be a party for himself and "60,000 of his closed friends."

Rock's success with "Born Free" comes three years after he issued the single "All Summer Long" which mentions "northern Michigan" prominently in its lyrics.

Borrowing bits from Lynyrd Skynyrd's "Sweet Home Alabama" and Warren Zevon's "Werewolves of London," the song tells the nostalgic story of a 1979 trip the singer made to an unspecified area in the north of the state where he fell in love with a 17-year-old girl.

The infectious tune includes the line: "It was summertime in northern Michigan."

"All Summer Long" became another world-wide hit for Rock.

Born in Romeo, Mich. as Robert James Ritchie, Rock has released ten albums and been honored with five Grammy Award nominations.

Since his early days as a rapper, Rock has been a musical chameleon incorporating heavy metal and even country into his act.

Once married to actress Pamela Anderson, Rock could have deserted his home state.

Instead, he has shown his pride in Michigan, as the "Born Free" video demonstrates.

Millions of people have seen "Born Free" on television. At the video-sharing site YouTube alone, "Born Free" has been viewed 1.3 million times.

That massive exposure for the Upper Peninsula couldn't be matched with an expensive advertising campaign.

Potential tourists have been curious about where "Born Free" was filmed and some would doubtless like to visit such a picturesque place, ready to spend their tourist dollars.

With such global interest in the U. P., perhaps this story will one day be rewritten as "Kid Rock video propels U. P."

So, thanks Kid Rock for the "Born Free" publicity.
###

Beatles issued holiday records

"The Beatles' Christmas Album" was sent to
members of the official Fan Club and not sold
in stores.

By STEVE SEYMOUR

Thinking about the holiday season, I got out my copy of "The Beatles' Christmas Album" the other day.

Unless you're a die-hard fan you probably didn't know the group even had a holiday LP.

That's because the LP was sent to official Fan Club members only and never made available commercially.

The long-playing record collects seven exclusive "Christmas messages" the Beatles issued on flexi-discs from 1963-1969 and mailed directly to club members. (If you didn't know, flexi-discs were manufactured on paper thin pieces of plastic but perfectly compatible with conventional record players.)

After their 1970 break-up, all four solo Beatles added to that holiday legacy by issuing popular 45s like "Happy Xmas (War Is Over)" by John Lennon, "Ding Dong; Ding Dong" by George Harrison and "Wonderful Christmastime" by Paul McCartney. Ringo Starr even delivered an entire album of holiday songs.

Released in 1971, "Happy Xmas" is actually credited to John & Yoko and the Plastic Ono Band with the Harlem Community Choir. Composed by Lennon and wife Yoko Ono, the song reached No. 3 when first released and has since become a holiday classic.

Produced by John & Yoko with Phil Spector, "Happy Xmas" was originally written to protest the Vietnam War. It has been re-issued numerous times and most recently hit No. 32 on the adult contemporary chart during the holiday period in 1995.

"Happy Xmas" is included on Lennon's "Power to the People: The Hits," in both audio and video versions.

Former bandmate George Harrison entered the seasonal fray in 1974 with "Ding Dong; Ding Dong" adding New Year's Day to the mix. The original song topped off at No. 36 in early 1975.

In his autobiography, Harrison said he got the lyrics for "Ding Dong" from words engraved on the wall at his Friar Park estate, built years ago by Sir Frankie Crisp. In the song, Harrison asks listeners to "ring out the old, ring in the new" and "ring out the false, ring in the true."

Harrison had great expectations for "Ding Dong" even taping a video to accompany the song. Included on his "Dark Horse" album, the record may have missed some airplay since it was issued late in the holiday season.

Ex-bandmate Ringo Starr is credited as drummer on Harrison's festive single.

Paul McCartney, meanwhile, issued "Wonderful Christmastime"/"Rudolph the Red Nosed Reggae" in 1979. The single didn't chart at that time, but earned a Top Ten spot when it was reissued in 1984.

Of course, McCartney wrote and produced both tracks.

A promotional video was shot in England on Nov. 16, 1979. Depicting McCartney in a pub at the center of a sing-along, the "Wonderful Christmastime" clip is included in "The McCartney Years" DVD collection.

Starr, on the other hand, got into the festive spirit with his "I Wanna Be Santa Claus" compact disc. Although it didn't sell in massive quantities, Starr's Christmas offering was well-received by critics.

Issued during the drummer's tenure at Mercury Records, the disc contains "The Little Drummer Boy," and such original numbers as the title song, "Come On Christmas, Christmas Come On" and "Pax Um Biscum (Peace Be With You)."

Starr's Christmas album is just the latest title in a Beatles' tradition dating back to the dawn of their popularity in 1963.

At that time, the group issued "The Beatles Christmas Record" strictly for dues-paying fans. The recording was never sold in shops.

As the Beatles gained popularity, the Christmas platters continued. The recording for 1964 was "Another Beatles Christmas Record," the entry was 1965 was imaginitively called "The Beatles Third Christmas Record," while the group's 1966 message was entitled "Pantomime: Everywhere It's Christmas."

A yearly gift to fans, the Christmas messages were fast-paced pastiches of song bits, sketches, comedy and Beatle banter.

The Beatles booked time at EMI Studios in London on Tuesday, Nov. 28, 1967 to record their fifth flex-disc. The four musicians composed "Christmas Time Is Here Again" just for the occasion.

According to EMI log sheets, the Beatles completed the recording in 8 hours and 45 minutes. It was mixed the following day and sent to the Lyntone Records for manufacturing and shipment to fans around the world.

The Beatles continued to issue Christmas messages in 1968 and 1969, but taped their contributions separately rather than collectively as they had in the past.

With the Beatles officially split by Christmas, 1970 the seven recordings were collected on an vinyl LP, again only distributed to Fan Club members.

"The Beatles' Christmas Album" features an eye-catching cover created by Robert Bauman depicting the individual members as their look evolved over the period 1966 to 1970.

The cover's reverse side pictures six of the flexi-disc covers and carries the notice "not for sale." Album design was credited to Grok It.

The U. S. version of the LP was shipped from the Fan Club's mailing address at P. O. Box 505, Radio City Station, New York.

Because it wasn't available commercially and demand among fans was high, "The Beatles' Christmas Album" became an instant collectors' item. Consequently, counterfeit copies of the vinyl album filled the void.

Today, the tapes for "The Beatles Christmas Album" remain in the vaults at Apple Records and have not been issued on CD, with two exceptions.

Some bits were mixed into the "Love" mash-up CD, released in 2006.

More significantly, a re-edited version of "Christmas Time Is Here Again" was issued on the four-track "Free As a Bird" CD in 1995 as part of the Beatles' Anthology series of archival releases.

Not wanting to waste a good holiday time, Ringo Starr recorded a solo version of "Christmas Time Is Here Again" for his 12-track Christmas album, released in 1999.

Composed by all-four Beatles, the song's lyrics repeat the title four times, followed by the line: "It's been around since you know when" and "O-u-t spells out." Starr's version even includes a guitar solo by Aerosmith's Joe Perry.

Despite the sparse lyrics, many listeners consider "Christmas Time Is Here Again" to be a highlight of "The Beatles' Christmas Album" and the standout track on Starr's holiday CD.

Whether recorded by the group or Ringo Starr as a solo act, the song neatly ties together the Beatles years and their post-1970 period with memorable holiday spirit.

List of 'Escanaba' songs grows

The new CD by English act Jimmy Lee and
the Edge of Chaos Orchestra contains a song
titled "Escanaba."

By STEVE SEYMOUR

Place names sometimes become song titles as "New Orleans" by Gary (U. S.) Bonds, "Memphis" by Johnny Rivers and "Theme from New York," by Frank Sinatra illustrate.

Believe it or not, at least five songs use "Escanaba" in their titles, including a number released in England earlier this year.

Britisher Jimmy Lee composed the words and music to his "Escanaba" song after an extended stay here.

The song closes a nine-track compact disc called "The Ragamuffin" recorded by Lee and the Edge of Chaos Orchestra.

"I toured the USA with my band back in the 80s and played in Escanaba," Lee told me.

"We got snowed in and stayed for four weeks," Lee said about his inspiration behind the song, adding he had a great time.

In one verse Lee sings: "Winter wind you sure blow cold. And living here a man could grow old. Or free. Escanaba you'll do for me."

Lee sings and plays guitar on the selection which is augmented by his seven-piece band, combining musicians from folk and classical backgrounds.

The group comprises John Wigg (fiddle, mandolin and banjo), Iris Bishop (duet concertina and accordion), Melanie Row (cello), Gary Holder (double bass), Steve Cass (timpani and drums), Clare Juliet (piano accordion) and Steve Ball (electric and acoustic guitar).

The song's final verse compliments the city: "Escanaba you treated us good. Escanaba they said you would. Escanaba you'll do for me."

"Escanaba" is a folky guitar-based ballad, almost a love song to the city. You can listen to Lee's song on My Space

Lee produced the album which was recorded "live" at the Blue Coconut Club, Pulborough, West Sussex, England.

The singer/guitarist still plays dates in the United Kingdom, years after his 80s Escanaba visit.

Another "Escanaba" tune can also be traced to the 80s.

This one was committed to tape by a quartet named the Clyng-Onz, a reference to the Star Trek television series.

The Clyng-Onz hailed from Anchorage, Alaska and were part of the northern underground scene which also included the Psychedelic Skeletons.

In fact, the two bands shared sides on a long-playing album issued by independent Bullhead Records.

The Clyng-Onz' side of the record is titled "Lighten Up!" and contains 11 brief songs in the punk tradition.

"Escanaba" is the sixth entry on the disc and clocks in at one minute and 32 seconds.

The Clyng-Onz recorded their material at Alaska's Surreal Studios on Sept. 6, 1985.

Singer Frank Harlan served as producer for the project.

Their record includes an "official song book" complete with lyrics and a caricature of the band.

The song tells of story of the vocalist living a rural lifestyle and partying in the Upper Peninsula.

"Farm living is the life for me; Riding my tractor in the U. P.," Harlan sings. The opening phrase was taken from the theme song to the "Green Acres" television series.

Any similarity between the two songs ends there, however.

Harlan also designed the cover art which features a picture of the band in front of a U. S. flag along with a photo of the Anchorage skyline.

Besides the LP, the Clyng-Onz offered two custom-designed t-shirts for sale.

In their heyday the band also appeared in a number of primitive videos.

You can catch the Clyng-Onz perfoming "Escanaba" on YouTube, the video-sharing website.

A third song titled "Escanaba" was copyrighted in 1978.

The tune appeared on a 7-inch 45 rpm record attributed to the Dopes and later with credit going to Zoom. The song on both 45s is the identical recording.

This "Escanaba" was engineered by Ron Lagerlof who now lives in Los Angeles, Cal.

The number was recorded at Pepperland Ranch, near Madison, Wis.

Lagerlof remembers little of the sessions which produced the song, however.

I recall buying a copy of the record during a business trip to Wisconsin's capital where the band played in the early 80s.

The singer relates his experience in the lyrics: "Escanaba, where are you; how did we wind up here? Escanaba, let me go; I'll forget you in another year."

Meanwhile, the song "Escanaba Beat" was included on a jazz album by famed alto saxophonist Sonny Stitt.

Musician Eddie Russ composed the number and is featured on electric piano.

Found on Stitt's "Tornado" LP, the song was recorded at Cinema Sound for Grand Rapids' Jazz Masters label.

Like the Clyng-Onz LP, "Tornado" also shows a city skyline, this time a generic one.

Russ named his instrumental number for Escanaba because he was "fascinated by the city," according to producer Bob Crawford.

Finally, Jeff Daniels' comedy "Escanaba in da Moonlight" contains a selection titled "Escanaba Mama."

The rock number was written and performed by the impressive line-up of Alto Reed, Jimmy McCarthy, Jimmie Bones and Martin L. Gross.

Reed is Bob Seger's sax player, McCarthy was a guitarist in Mitch Ryder & the Detroit Wheels and Bones (born James Trombly) plays keyboards for Kid Rock.

The composers registered their work at Pure Harmonie Publishing.

Lyrics for "Escanaba Mama" include the line: "On a scale of one to ten in my book she's Miss Michigan."

The movie tells the story of Reuben Soady (Daniels) who must bag his first buck soon or risk being branded a jinx.

Soady's "Escanaba Mama" is his Native American wife Wolf Moon Dance, played by actress Kimberly Norris Guerrero.

When the song was released on the motion picture's original soundtrack compact disc, the folks at Purple Rose Music were horrified to discover that Escanaba was misspelled on the cover.

But, Daniels quickly remedied the problem.

He autographed each one, instantly turning the CD's and "Escanaba Mama" into collectors' items.
###

Bands Unlimited loomed large

Escanaba booking agency Show Biz Talent, formerly
Bands Unlimited, distributed this promotional photo
of the Riot Squad about 1973. From left, the group
was comprised of Mike Backlund, Greg Tolman, Greg
Curran and Bob Derouin.

By STEVE SEYMOUR

Although my wife and I have owned a retail record shop for more than 25 years, Sue traces her background in the music business to 1972 when she started working for a local booking agency.

Fresh out of high school, she got a job at Bands Unlimited (later known as Show Biz Talent), a prosperous Escanaba firm about to hit its peak.

Founded by promoter Gene Smiltneck in 1966, Bands Unlimited eventually handled over 100 acts, according to Billboard, the music trade magazine.

Before he moved to Escanaba, Smiltneck's experience even extended to being a member of the Vikings rock band based in Menominee.

Bands Unlimited was initially headquartered at Smiltneck's small house at 1616 11th Ave. So. where the Riot Squad held practice sessions in the basement.

Within a few years the agency was also representing local bands the Prophets of Doom, Spoken For, Rebels and Three Days and a Night.

With the addition of the Corrupters, a multi-racial soul collective from Flint, Bands Unlimited distributed a mail-out poster urging potential clients to "buy your music the professional way."

The promotional piece promised "the finest drawing power, quality, dependability, experience, versatility, professional management, 'Top 40' groups, (and) union affiliated groups."

Designed in a psychedelic-style, the poster pictured all six bands and was mailed from the company's office then located at 2214 26th Ave. So.

By insightful planning or good fortune, the firm was started just as thousands of garage bands launched hopeful careers in the wake of the so-called "British Invasion" led by the Beatles.

With no similar agency in the Upper Peninsula, Bands Unlimited quickly became a dominant entertainment promoter, booking acts throughout northern Michigan, the upper Midwest and Canada.

When Sue began work in the summer of 1972, the booking and management firm's talent roster was crowded.

"We booked bands at high schools, colleges, teen dances and night clubs," Sue recalled.

The large number of acts on their roster even earned the company a mention in the June 3, 1972 issue of Billboard.

Under the headline "Bands Unlimited has 70 bands," booking agent Tom Bauvis reported the company was adding one or two acts a week.

"We handle just about everything," Bauvis told the magazine in the story which carried a New York dateline.

Bauvis said the agency was expanding beyond a basic stable of rock bands to include soul acts, big bands and country groups.

The article cited the addition of Down Home, "a five-man aggregation of country rockers," which was attracting numerous bookings in Wisconsin and the Draytons, a group with a similar pedigree, playing to U. P. audiences.

Based in Stevens Point, Wis., Down Home included Escanaba's Greg Curran, a singer and multi-instrumentalist, for a period.

Just a month later, Bands Unlimited issued a press release announcing the signing of Jaramago, a oddly-named rock band from Green Bay.

Billboard mentioned the news in its Talent Signings column on July 8, 1972, adding that the band's first single, "It Ain't Been Easy" backed with "Ohio," had been issued on the Markus label. Mick Townley arranged the recordings which were produced by "Geek Productions," the report said.

While Jaramago signed "for exclusive representation on an international basis," their debut single did not became a hit.

During that busy summer, Sue remembers the office "signing and booking bands and doing public relations work for them."

Making sure new groups looked the part, Smiltneck's wife Lynn "would even give them a new 'shag' haircut if they desired," Sue noted.

Besides Sue, the crew at Bands Unlimited included Jennifer Lehmann, Bill Stein and Bob Strait.

After signing ? (Question Mark) & the Mysterians, Sue remembered the staff scrambling to get a copy of the group's "96 Tears" single, finally nailing down a copy from a radio swap program.

Although the early 1970s were exciting, booking agencies and music entertainment were undergoing changes.

To meet a wider demand, the Escanaba company expanded its roster to include college lecturers and exotic dancers as well as a name change to Show Biz Talent Corp.

The logo for Show Biz Talent included the words "Los Angeles - Chicago - New York." Although the Escanaba company didn't have offices in those cities, Smiltneck may have had such aspirations, or it may have simply been promotional bluster.

As boss at Show Biz Talent, Smiltneck demonstrated his public relations ability by getting Billboard's attention for a third time.

Writer Earl Paige penned a story in the Sept. 8, 1973 edition headlined "Agent needs to wear all hats in Michigan."

Smiltneck told Paige that the rural, geographically isolated U. P. required him to be "a record promoter, producer, teacher, business manager and much more."

The reporter visited Smiltneck at his office on Escanaba's south side.

Smiltneck told Billboard that after the founding of his business he built a light show, sold guitar strings and shot publicity photographs.

He even built a studio in his basement using a Sony 4-track tape machine. The $2,000 unit was used to make demo recordings for potential clients.

His agency represented 100 acts at one point, Smiltneck told Billboard, although most of the bookings went to the top 15.

True to his advertising, Smiltneck operated under an agreement with the American Federation of Musicians, the labor union representing professional musicians, known as AFM. Local band members paid dues to the Musicians' Protective Union Local 663, represented by secretary-treasurer John E. DeChantel.

By the summer of 1973, many of the acts on Smiltneck's roster grew tired of the travel and overnight stays required of a band. Instead, some got jobs, went to college, got married or entered the service. Some bands decided to do their own booking.

About this time, Sue moved on to other employment, replaced by Greg Curran, known for his stints in the Riot Squad and Rocking Chair.

In the next few years, Michigan's new 18-year-old drinking law dramatically reduced attendance at wildly-popular popular teen dances while the impending disco scene would also cut the number of profitable bookings. Smiltneck moved on to owning the Arcadia and Nite Hawk bars, then migrating into real estate sales in Green Bay.

Looking back at the first job she held after graduating from high school, Sue still fondly recalls the era.
###

Scouting, music are intertwined

Before Jim Morrison became a rock legend, he
was a mischievious Cub Scout in San Diego.

By STEVE SEYMOUR

Seeing Jim Morrison's Cub Scout shirt displayed at the Rock and Roll Hall of Fame reminded me how scouting and music have been linked in a number of ways.

Some critics have questioned why a collection of music artifacts would include the youthful uniform, but I knew right away.

The dark blue long-sleeved shirt illustrated that before Morrison became a rock icon, he was just a kid, doing the same things millions of other boys were doing.

Yes, years before Morrison formed the legendary Doors rock band, famous for hits like "Light My Fire" and "Hello I Love You," the singer and poet was an ordinary scout.

Inducted posthumously into the Hall of Fame in 1993, Morrison belonged to Pack 17 in San Diego, where his father was stationed in the Navy.

According to author Stephen Davis, the young Morrison was "asked to leave after he refused to follow directions and was unruly with the den mother."

While I didn't share Morrison's insolent attitude, I was in Cub Scouts during my elementary school years, too.

I continued with Boy Scouts in the early 1960s as a member of Troop 444, sponsored by St. Stephen's Episcopal Church, all the while listening to rock 'n' roll on the radio.

Just like the cliche says, pop songs of the day provided a soundtrack for my scouting activities.

When I made the requirements for the rank of Tenderfoot in June, 1963 an unusual foreign song was topping the chart in the United States.

Performed by Japanese singer Kyu Sakamoto, the track was called "Sukiyaki" and took the country by storm. Titled "Ue O Muite Aruko" (I Look Up When I Walk) in Japan, the song's name was changed to something easier to pronounce for U. S. disc jockeys.

When I earned my Second Class badge three months later, "My Boyfriend's Back" by the Angels held the No. 1 spot based on sales and airplay. Comprised of two New Jersey sisters and their friend, the Angels were the first white female group to have a No. 1, following in the footsteps of the Chiffons, Crystals and Marvelettes.

In Sept., 1964 when I was awarded First Class status, the so-called British Invasion was in full-force. The Animals were firmly enscounced at the top of the charts with their smash "House of the Rising Sun." Fronted by vocalist Eric Burdon, the Animals had 17 more hits over the next four years including "See See Rider" and "San Franciscan Nights."

Thirteen months later when I advanced to the Star rank, the Beatles advanced to the top spot in pop music with "Yesterday," one of their greatest hits. According to the Guinness Book of World Records, "Yesterday" is the most covered song in history, with over 2,500 versions. A notable take by soul singer Ray Charles make the Top 40 in 1967.

Actually, Paul McCartney is the only member of the Beatles to appear on their recording of the song. The tune's simple arrangement did not require the services of bandmates John Lennon, George Harrison or Ringo Starr.

I learned later that McCartney had been a Boy Scout, too. He was a member of the 16th Allerton Group Aiden Troop.

McCartney mentioned his scouting past when talking about a planned concert in Tel Aviv in 2008. "It's the same as always, I'm rehearsing. I was a Boy Scout. 'Be prepared,' that's the motto," the former Beatle told People Magazine.

In fact, scouting was founded on McCartney's home turf of Great Britain by Lord Baden-Powell back in 1907 and went international three years later.

Consequently, more than a few well-known musicians have scouting in their background.

Besides McCartney, Britain can brag about former scouts David Bowie and David Gilmour, who have both done very well for themselves in the rock 'n' roll realm.

As a member of Pink Floyd, Gilmour is featured prominently on their legendary albums, including "Dark Side of the Moon" and "The Wall."

Bowie, meanwhile, is known for his hit singles "Fame" and "Let's Dance," both No. 1 chart entries. In fact, Bowie composed "Fame" with John Lennon, Paul McCartney's former songwriting partner in the Beatles. Lennon is also credited with background vocals on Bowie's smash hit.

All three Britishers have been elected to the rock hall. Bowie and Gilmour were inducted in 1996 while McCartney received the honor as a member of the Beatles in 1988 and as a solo artist in 1999.

In addition, Mississippi-born Jimmy Buffett, who struck gold with "Margaritaville" in 1977 and continues to attract thousands of "Parrotheads" to his concerts, has scouting on his resume.

Country music stars George Strait and the late Eddie Rabbitt were also scouts when they were boys. A Texas native, Strait charted 35 No. 1 hits on the country chart between 1982 and 1999.

A keen weather observer, Rabbitt wrote "Kentucky Rain" for Elvis Presley and reached No. 1 in 1980 with his own recording of "I Love a Rainy Night." Born in Brooklyn, but raised in New Jersey, Rabbitt died of cancer in 1998 at age 56.

There's no word whether any of these famous scouts earned the music merit badge. I didn't try, lacking the gifts of melody and harmony.

Scouting slipped into the past as I moved through my teenage years, but I continued to enjoy listening to rock 'n' roll.

So, my wife Sue and I thought it was imperative we attend the official opening of the Rock and Roll Hall of Fame museum in Cleveland on Saturday, Sept. 2, 1995.

Once inside the pyramid-shaped facility, we were awed by the displays showcasing rock greats like the Beatles, Elvis Presley, the Animals and so many others.

The visit reminded me that a number of rock stars were scouts and that some pop songs recalled my own years in scouting.

Sue and I lingered at the exhibit featuring artifacts from the Doors and Jim Morrison, their charismatic leader. We saw some of Morrison's drawings and letters and his first poem, "The Pony Express." We looked at his baptism certificate, report cards and high school diploma.

We noticed Morrison's original lyrics for "Not to Touch the Earth," part of a 133-line poem called "The Celebration of the Lizard," recorded for their "Waiting for the Sun" album.

Despite the fascinating ephemera, a seemingly insignificant Cub Scout uniform captured the essence of the display for me.

It was a dark blue long- sleeved shirt, just like those belonging to millions of other boys, except this one was once worn by Jim Morrison, rock icon.
###

Rev. Raven throws blues bash

Big Al Groth, left, and Rev. Raven commune with
the audience during the annual Paw for the Blues show
at the Terrace Bay Inn.


By STEVE SEYMOUR

Rev. Raven knows how to get a party going, whether in person or by way of his recordings.

As evidence, the Milwaukee-based bluesman thrilled a packed house at the Terrace Bay Inn last Saturday during a charity event also billed as a CD release party.

Along with the Chain Smoking Altar Boys, Raven fired up the crowd with tracks from the new "Shake Your Boogie" album as well as concert favorites.

Proceeds from the show, sponsored by Wendy Pepin's Paws for the Blues, will benefit the Delta County Animal Shelter's spay, neuter and adoption fund.

The annual concert series was launched in 2006 in memory of well-known local musician Jim Lewis, who had a great love for animals and the blues.

"We're here for a good cause and have fun with the blues. That's right," Raven told the crowd.

Raven was backed by his crack band comprised of Big Al Groth (saxophone), P. T. Pedersen (bass) and Bobby Lee Sellers (drums and vocals).

They performed half a dozen songs from the new disc including "Looking for Love," a catchy Raven composition. The song is being "played on the radio all over the world," Raven kidded the audience.

To end the first set, Raven left the stage to wander through the crowd, playing his Gibson six-string up close and personal, as is his tradition.

The band entertained an enthusiastic audience through three sets, playing a mix of original tunes and cover songs.

Some of the evening's memorable songs came from Raven's first three albums, including "They Call Me the Reverend," "Bee Hive Baby," "Louise," "I'm Your Honeyboy," and "She's Movin' On."

With the clock nearing midnight, Raven and Groth performed from the audience while standing on chairs side by side, sending fans into a frenzy.

Fans showed they were out for a good time too, filling the dance floor from the start and never leaving it empty.

Wearing his trademark sunglasses, Raven urged the audience to purchase the band's compact discs, t-shirts and hats. "Help me fight my personal battle against poverty," the bluesman said.

Acording to his biography, Raven was born and raised in Chicago. He started playing the blues after he saw Texas-blues legend Freddy King play in 1971. Following a 15-year stint in the U. S. Navy, Raven decided to give the blues his full-time attention beginning in 1990.

Raven has met with a large measure of regional success and has been recognized with Wisconsin Music Industry awards many times, including this year when the band was honored as the best blues band and given the People's Choice Award.

Although Raven is stacking up annual awards, he has been a bit slower to get new product released.

Since his "Slow Burn" debut with the Chain Smokin' Altar Boys in 1998, Raven took his time to issue "Live at Blues on Grand" in 2004, while "Big Bee" arrived two years later.

Prior to the recent Terrace show, I spun "Shake Your Boogie" a few times to get a feel for Raven's latest CD.

The fresh disc features an hour-long program of well-honed original songs and a hot batch of lesser known covers.

Raven put the disc together from two live shows--performed years apart-- at Milwaukee's Miramar Theater.

The older recordings spotlight Madison Slim (harmonica and vocal), Andre Maritato (bass), Spencer "Kid" Panosh (drums) and the late Mickey Larson (keys) putting their all into four cover songs, including a terrific version of "She's Murder."

Current Chain Smokin' Altar Boys (Groth, Pedersen and Sellers) demonstrate their prowess on the originals, penned by Raven and Chicago-area songwriter and multi-instrumentalist Gerry Hundt.

Raven opens the disc with his own "Looking For Love," before tackling Hundt's "Stomping And Shouting."

The singer and guitarist follows with another original, "You Didn't Even Say Goodbye," with a lyrical surprise at the end.

With drummer Sellers taking lead vocals, the band puts an insistent groove on Little Milton Campbell's "Count the Days," augmented by keyboardist Danny Moore.

Madison Slim combines harmonica playing with singing on St. Louis Jimmy Oden's "She's Murder," also known as "Murder in the First Degree."

Sellers returns to sing Robert Nighthawk's gritty "Bricks In My Pillow."

Slim takes on Sonny Boy (Rice Miller) Williamson's "Like Wolf," delivering an awesome vocal along with tasty harp breaks.

Raven delivers the vocals for "The Woman I Love," apparently adapted from "She's Gone," the opening track on Hound Dog Taylor's first album.

The lead guitarist continues with the original, "I Can Do You Right," pleading: "Honey, you said some man done you wrong, well I can do you right."

Next, the band shines on the instrumental work-out "P.T.'s Home Cooking," credited to Pedersen.

Then, Madison Slim makes another appearance to lead the band through Slim Harpo's "Mail Box Blues."

Midwest bluesman Gerry Hundt also composed "Walking to Chicago," which Raven sings with conviction.

Raven's blues get-together concludes with an exhuberant rendition of the title song, "Shake Your Boogie," which starts with Slim's harmonica. The band cooks on this country blues song written and recorded by Big Joe Williams in 1965.

The CD runs seamlessly despite alternating between the two different line-ups and three different singers.

Raven's flawless guitar work ties the two shows together in fine fashion. Although Raven shares lead vocals on this album, he's a distinctive blues singer in his own right.

Long-time band cohort Bill Stace engineered the sessions for the new CD, which were done without an audience, and with minimal overdubs.

If you want a blues party, go to a live Rev. Raven and the Chain Smoking Altar Boys show like hundreds of fans did last weekend.

Or, pick-up up "Shake Your Boogie" or one of their other CDs.

You'll have fun either way.
###

Cheap Trick satisfies U. P. fans

Cheap Trick vocalist Robin Zander and guitarist
Rick Nielsen rock out during their show at the
Island Resort and Casino on Oct. 29.

By STEVE SEYMOUR

Rock band Cheap Trick, known for their legendary live shows, played to an appreciative audience on Oct. 29 and 30 at the Island Resort and Casino in Harris.

Touring almost constantly since its formation in 1974, Cheap Trick is known for such hits as "I Want You to Want Me," "Don't Be Cruel" and "The Flame."

The band features original members Rick Nielsen (lead guitar), Robin Zander (vocals and rhythm guitar ), Tom Petersson (bass) and Bun E. Carlos (drums). Nielsen's son Daxx has recently filled in for Carlos as the band's touring drummer, while Phil "Magic" Cristian added keyboards at the U. P. shows.

Originating in Rockford, Ill., Cheap Trick issued a self-titled album in 1977 and followed with "In Color."

The band enjoyed modest success in the U. S., but was lionized in Japan, leading Epic Records to release the "Live at Budokan" album in 1979.

As my wife Sue and I settled into our second row seats for Friday's show, the band opened with "Ain't That a Shame." The Fats Domino gem began side two of their break through live album, recorded at Budokan concert hall in Tokyo, where the Beatles played during their first world tour.

Zander tore into the Top 40 hit from center stage with Nielsen positioned to his right and Petersson on his left.

"California Man," from 1978's "Heaven Tonight" album followed. Although not a hit when originally released, the song has since become a concert staple.

Playing before a giant checkerboard backdrop, the band returned to their first live recording for "Clock Strikes Ten" and "I Want You to Want Me." The songs were paired as a single in 1979, with the former song reaching the top spot in Japan and the latter registering at No. 7 in the U. S. Both songs were written by Nielsen, the band's main composer.

"We're Cheap Trick. It's great to be here," Nielsen announced.

With the crowd suitably warmed up, the band performed "These Days," one of the stand-out tracks from their newest CD. Imaginably titled "The Latest," the disc was released on the Cheap Trick Unlimited label, the band's own record company.

Cheap Trick kept the energy level high with the trio of songs "Borderline," "Oh! Caroline" and "On Top of the World."

The veteran rock band paid tribute to the Beatles with their interpretation of "Day Tripper," first issued on 1980's "Found All the Parts."

Next up, the group saluted Elvis with "Don't Be Cruel," Nielsen telling the crowd that Cheap Trick was the only band to have a Top 5 hit with a Presley song.

A theme song called "In the Street" followed. From 1999, the tune may be better known as "That 70's Song" which opens "That 70's Show," a situation comedy which enjoyed an eight season run on broadcast television.

The band returned to "The Latest" for two selections, "Sick Man of Europe" and "Closer, The Ballad of Burt and Linda." Fans will know "Sick Man of Europe" as the name of a band which preceded the formation of Cheap Trick, which included Nielsen, Petersson and Carlos, then known as Brad Carlson.

To end the program Zander belted out "Surrender," Cheap Trick's first hit and another track featured on "Live at Budokan."

Knowing an encore was coming, many fans crowded the stage for the evening's final three songs.

The rockers delivered a riveting take on "The Flame," a chart-topping single from the "Lap of Luxury" LP, reminding some fans of Cheap Trick's appearance at the Upper Peninsula State Fair in 1988. Prior to booking that event, the band hadn't had a hit in nine years, but by the time of the Escanaba grandstand show "The Flame" was a smash.

British composers Nick Graham and Bob Mitchell wrote "The Flame," which turned out to be a perfect vehicle for Zander's voice. It became Cheap Trick's only No. 1 single.

Nearing the end of the casino show, Cheap Trick returned to 1979 for "Dream Police," the title song off the album of the same name.

One fan near the front held up a prosthetic leg, moving it in time to the music as the band performed.

To wild cheering from the crowd, the band said goodbye in German with a rousing version of "Auf Wiedersehen," the flipside to the "Surrender" single from 1978.

During the evening, Cheap Trick faithfully recreated material from the 70s, 80s and 90s while sounding completely contemporary on songs from their current disc.

The concert program was augmented by a creative light show, giving an added dimension to many songs.

Always a showman, Nielsen played a variety of guitars including a unique but odd-looking five-necked instrument.

The charismatic Zander, 58, and Nielsen, 63, moved about the stage with the energy of younger men while 60-year-old bassist Petersson anchored his position with a big bass beat.

Zander's vocals were uniformly strong and expressive, while Nielsen's lead guitar work continued to impress fans.

The band's arrangement's were tight without superfluous jamming and Daxx's exuberant drumming propelled the band's sound.

The audience showed its appreciation by standing and cheering through most of the show.

Following Saturday's casino date, Cheap Trick heads to Europe for a brief tour of the United Kingdom.

Among those following the band overseas will be Grace Loucks of Buffalo, N. Y., who just happened to be sitting next to me at Friday's show.

The young fan has seen Cheap Trick 75 times and plans her vacation each year to see as many concerts by her musical heroes as possible.

She told me a man from London was in the house, although he could have waited to see the band closer to home when they play Glasgow, Wolverhampton, Manchester and London in November.

Wanting to share her enthusiasm for the band, Loucks gave me a red guitar pick featuring a drawing of Nielsen on one side. I grabbed two different custom picks the guitarist tossed into the audience during the encore.

Together, they'll serve as mementos of when Sue and I saw Cheap Trick, one of rock 'n' roll's legendary live bands.

###

Songs hail Green Bay Packers

The Packers' "official music" CD opens with "G-Force"
as heard at Lambeau Field.

BY STEVE SEYMOUR

The Green Bay Packers' antics on the football field have inspired millions of fans and resulted in a growing number of novelty songs, including one from the Upper Peninsula.

Musical salutes to the three-time Super Bowl champions can be traced back to 1931 when the Packers' fight song emerged.

Milwaukee-based commercial jingle writer Eric Karll composed the song which he titled "Go! You Packers! Go!"

The fight song, the first for an American professional football team, debuted at a Packers game in 1931 with a performance by the marching Lumberjack Band.

A version of the song recorded in 1992 is played at Lambeau Field during the introduction of the team and when the Packers score an extra point.

If don't know the tune, the lyrics refer to the team as "fighting fools" and urge them to "bring the bacon home to old Green Bay."

Formed in 1921, the Lumberjack Band even traveled to away games, notably those against the Chicago Bears.

The group became known as the Green Bay Packer Band during the Vince Lombardi's time as head coach.

During that time the Packers were also saluted in "Skidoo," a 1968 movie directed by Otto Preminger.

The soundtrack included "The Green Bay Packers March," written and performed by Harry Nilsson, who would have his first hit a year later with "Everybody's Talkin'."

Starring Jackie Gleason and Carol Channing, the comedy flopped, so few people heard Nilsson's tune.

Most but not all novelty songs about the Packers have been issued since their last Super Bowl victory.

In 1993, football fan Edward J. Lemberger composed and recorded "I Love My Green Bay Packers! (The Packer Polka)."

The song was issued under Lemberger's stage name, Eddy J. He send the tape to various Wisconsin area radio and television stations.

Then, Lemberger found himself singing the tune at tailgate parties as the Packers began winning games on a regular basis with new quarterback Brett Favre.

That exposure lead to Lemberger joining Packer Fan Tours as an entertainer for a number of years.

Lemberger's song includes the memorable lines: "We take our opposition and crunch 'em like they're crackers. That's why I love my Green Bay Packers."

That song and other novelty songs are included on Lemberger's CD, "Eddy J.'s Greatest Packers Hits, Plus."

Madison-based band the Wizenhiemers, meanwhile, gained notoriety for their "Go You Packers Go." Although carrying the same title as the Packers fight song, this is a different number. The tune became popular in the months prior to the Packers' third Super Bowl win in 1996 and is reminiscent of the hard rock sound of the time.

One of the most prolific Packer-tribute bands was Cheeseheads With Attitude, also known as C W A. This Oshkosh, Wis.-based trio issued three 6-song compact discs in 1996, 1997 and 1998.

Emulating rappers of the time, CWA comprised Oshkosh's "St. Evie" and Milwaukee natives "Super J" and "Foolio."

All three discs, "Straight Out of Wisconsin," "Cheeseheads for Life" and "Say Cheese," appeared on the Cheezee Records label.

Their first disc opened with the original "Wedge of Allegiance," but also included their lyrics put to songs by the likes of Tone Loc and the Beastie Boys.

"Cheeseheads for Life," meanwhile featured the group's own tune, "The Tundra Cheer" as well as Packers-inspired adaptations of "YMCA" by the Village People, "Turning Japanese" by the Vapors and "Three Little Pigs" from Green Jello.

Their final disc boasted the original compositions "I Love Eating Cheese" and "Packer Bar Song" and parody lyrics for Joan Jett's "I Love Rock 'N Roll."

Even the Packers got into the musical action.

Wide receiver Robert Brooks perfected the Lambeau Leap, and turned it into a song.

The celebratory leap is immortalized in the song "Jump" which Brooks issued on his own label, Shoo In 4 Life Records, Inc.

Released in 1996, the song was written, arranged, produced and performed by the football star.

The song, which mentions then-current Packers LeRoy Butler, Reggie White and Brett Favre, as well as team legends Bart Starr and Don Hudson, explains how the "Lambeau Leap" created a bond between the team and fans.

Today, you can purchase "The Official Music of the Green Bay Packers" compact disc at the team's Pro Shop in Green Bay. The CD comprises "G-Force," "Lambeau's Where the Party's At," "Runnin' With the Big Dogs," "Packers Tailgate," "Get Down," "Packin' the Heat," "G-Force Has the Guts," "Lambeau Leap," "Let's Go Green Bay," "One for the Tundra" and "Bring on the Heroes." The opening track was a hit single, according to a sticker on the album cover.

In 1985, Marquette's Bill Etten and the Heritage Band scored a big regional hit with "We Go Green Bay." The polka's chorus was especially catchy: "We go see Packers; we watch them play. When they score touchdown; we shout hooray."

Clocking in at just under three minutes, the tune was issued as a 7-inch 45 rpm single on Jack Pine Records.

Written by Etten, J. R. Labby and Ed Wales, "We Go Green Bay" was produced by Labby and Michael McKelvy at Studio 8 in Ishpeming.

Etten estimated 20,000 copies were sold in Yooperland and Packerland.

Actually, the Packers have been tied to the U. P. from the beginning.
Not only do thousands of Packers fans live in northern Michigan, but the Green Bay squad played six games against U. P. teams during the 1919 and 1920 seasons. The Packers played Stambaugh three times, Menominee twice and Ishpeming once, grabbing a victory in every contest. During the game at Ishpeming, Packers' players suffered broken bones on their first three running plays. With only 17 players remaining, Curly Lambeau decided to finish the game with only passes and punts, winning 33-0.

Growing up during the 1960s, the Packers were on every Sunday during football season, at home or at camp.

During the Bart Starr era, I was even lucky enough to attend a home game in Green Bay.

Of course the game was exciting, but I've aways loved a good Packer novelty song too.
###

U. P. man's songs on 'Gunsmoke'

Manistique resident Fred D. Heltman composed
ragtime sheet music early in his career and had
several of his songs used in the "Gunsmoke" TV
program in 1960.

By STEVE SEYMOUR

When Fred D. Heltman died in Manistique in 1960, his music career had taken him from writing "rags" early in the century to having his compositions included in a hit television western.

"Gunsmoke" was just five years into its two-decade run when Heltman's songs were used on the CBS-network program.

Heltman passed away on Aug. 1, 1960, just a few months after his songs were used as "background music" on the series which starred James Arness, Amanda Blake, Milburn Stone and Dennis Weaver.

The television exposure brought the 73-year-old composer, who self-published "Carrie Belle Waltzes" as a teenager, into a new medium.

Although he resided at Schoolcraft County's Indian Lake when he died, Heltman was born in Ashland, Ohio on May 3, 1887, according to his obituary.

The young Heltman began taking music lessons at the age of six and had a small orchestra in high school, playing for local dances.

At 16, Heltman composed his first piece of piano music, selling the composition door-to-door in Ashland, before moving to Cleveland a few years later.

He was a student at the prestigious Oberlin Conservatory of Music, located near Cleveland.

Gaining early notoriety, he wrote the march "School Ma'am" for a convention of the National Education Association.

In 1908, Heltman wrote "Daisy Rag," "Wedding Ring Waltz" and "Won't You Love Me Honey." Each of these sold in the thousands as sheet music for piano.

He sold "Daisy Rag" to Sam Fox Publishing Co. and used the proceeds to publish additional songs.

One of his biggest successes came with "Chewin' the Rag," published in 1912.

His composition "Just Dreaming of You" is said to have sold nearly half a million copies.

The Edison record label recorded his song "Come to Me," while RCA Victor also recorded his songs.

With his reputation in the music business growing, Heltman was asked by composer Irving Berlin to be a founding member of the American Society of Composers and Publishers (ASCAP), but he declined.

During the 1920s, Heltman traveled the continental United States, playing his compositions and distributing his sheet music to department stores in all 48 states.

Heltman married his wife, the former Evelyn Learn, on June 26, 1911 and fathered three children, Fred, Harriet and Mary Jane.

Historians note that the ragtime musical genre was most popular from 1897 to 1918 when jazz captured the public's imagination.

Also known for two-steps and marches, some of Heltman's compositions sold into the millions of copies, according to sheet music aficionados.

The composer was most prolific between 1908 and 1927. He owned and operated Heltman Music Publishing Co. in Cleveland for 31 years.

Besides sheet music, Heltman also received royalties from the manufacture of rolls for player pianos.

The Great Depression proved a difficult period for music publishing. However, one of Heltman's numbers was used in the 1933 hit movie "State Fair," starring Will Rogers and Janet Gaynor.

Heltman exited the music publishing business in the early 1940s and "retired" to his summer home in Schoolcraft County's Hiawatha Township.

From 1940 until 1957, Heltman owned and operated Hovey Resort at Indian Lake.

In 1951, Heltman became executive secretary of the Top O' Lake Michigan Chamber of Commerce, a position he held until his death.

At the time Heltman's songs appeared on "Gunsmoke," the program was 30-minutes long and shot in black & white.

Fifty year later, it's not clear which of Heltman's compositions were used since the program's closing credits didn't include such information.

Viewers heard the Manistique resident's ragtime piano tunes alongside the familiar "Gunsmoke Theme Song."

Also known as "The Old Trail" and "Boot Hill," the musical theme was penned by Rex Koury.

Other composers whose works appeared on "Gunsmoke" include Elmer Bernstein, who scored "The Magnificent Seven" and Jerry Goldsmith, who wrote the music for "100 Rifles."

Growing up, I remember watching "Gunsmoke," just like millions of other western fans.

I was probably too young to have seen the earliest episodes when they first aired, but by the 1960s, "Gunsmoke" was a staple on Saturday nights at our house.

While my parents were out square-dancing, my Grandmother Garrett and I would put my brothers and sisters to bed and settle down in front of our Emerson television set waiting for Marshal Matt Dillion to win the gunfight sequence which opened "Gunsmoke."

I don't know if we ever saw the episode which featured Heltman's songs, but if we did I know my Grandmother would have been proud of the composer, since she was a former Manistique resident herself.

Of course, I never dreamed that "Gunsmoke" could have any connection to the Upper Peninsula.

When Heltman died suddenly in 1960, popular music had evolved from sheet music to enormous exposure thanks to radio, television and motion pictures.

Ragtime music, meanwhile, enjoyed a major revival in 1973 when the genre was used in the soundtrack to the movie "The Sting," starring Paul Newman and Robert Redford.

The film's soundtrack consisted entirely of early rag time composer Scott Joplin's songs.

Pianist Marvin Hamlisch, also a composer and conductor, recorded a version of Joplin's "The Entertainer."

Originally written in 1902, the song reached the Top Ten in the spring of 1974.

Had he lived, Heltman would certainly have smiled at the success of "The Entertainer," and the return of ragtime music to widespread popularity.
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