Robert Allen Jr. Band awes fans

Guitarist Robert Allen Jr. strolls through the crowd
during a Jan. 22 concert at the Terrace Bay Inn
sponsored by Blues for a Cause.

By STEVE SEYMOUR

Milwaukee's acclaimed Robert Allen Jr. Band commanded the attention of blues fans during an appearance at the Terrace Bay Inn in Gladstone on Jan. 22.

The show was part of the Winter Blues series sponsored by Wendy Pepin's Blues for a Cause.

All profits from the event go to the spay/neuter/adoption fund for pets at the Delta County Animal Shelter, Pepin said.

Hundreds of fans from around the Upper Peninsula packed the venue.

The combo comprised Robert Allen Jr. (vocals, lead guitar), Dave Braun (drums), Guy Fiorentino (electric bass) and special guest "Cadillac Pete" Rahn (harmonica, vocals).

Keeping the dance floor filled most of the evening, the bluesmen tore through three dozen songs.

With his Gibson Epiphone ES-335 guitar named "Blondie," Allen captured the audience from the beginning, with Rahn's harmonica work adding an authentic blues feeling to the band's repertoire.

Braun and Fiorentino's propulsive rhythm provided a supportive background for the songs which included mostly blues standards, a few originals and a number of rock classics.

The program opened with "Sweet Home Chicago," composed and first performed by Robert Johnson. Countless bands have performed the early bluesman's masterpiece.

Making a strong presence with his black hat and sunglasses, Allen and his cohorts put their own mark on the song, serving notice they were going to boogie all night.

Rahn took over vocal duties for "Baby Scratch My Back," another blues gem, written by the late Slim Harpo. Harpo, a talented singer, harmonica player and guitarist, clearly influenced Rahn's style.

The band added some rhythm and blues to the mix with Wilson Pickett's "Mustang Sally" and "Hound Dog." Although Elvis Presley had a gigantic pop hit with "Hound Dog" in 1956, the song was actually a No. 1 R&B smash for Big Mama Thornton three years before. Composed by the songwriting team of Leiber & Stoller, "Hound Dog" ended the band's first set.

During the second set, Allen paired "Shake Your Money Maker" with "Who Do You Love" to great effect.

Rahn demonstrated his considerable harmonica skills on the first number, an uptempo song recorded by Elmore James in one of his last recording sessions.

A sharp burst of drums from Braun started Bo Diddley's "Who Do You Love."

"Shake Your Money Maker" has been recorded by Fleetwood Mac, George Thorogood and the Black Crowes, among other blues and rock acts. "Who Do You Love" made the lower reaches of the pop chart when released by the Lansing-area garage band the Woolies in 1967.

Both blues standards were included on "Three of a Kind Beats Everything" a compact disc the Allen trio released in 2007. That album was recorded live at Mustang Shelly's Roadhouse on March 3 of that year.

The blues shuffle "Baby What You Want Me to Do," also slotted well into the band's program. Both Allen's guitar and Rahn's mouth organ reflected the passion the players felt for the original, composed and recorded by Jimmy Reed in 1959.

Rahn paid tribute to the Paul Butterfield Blues Band by singing and playing harmonica on "Born in Chicago."

Allen took up the torch with some fierce guitar work on Stevie Ray Vaughan's "Pride and Joy" to the delight of the audience. Vaughan, lead guitarist with Double Trouble, died in a helicopter crash after a concert at Wisconsin's Alpine Valley on Aug. 27, 1990.

Allen followed with a dynamite take on Willie Dixon's "She's Dangerous," about the troubles a shapely girlfriend can bring. Louis Jordan's "Let The Good Times Roll" followed.

"Big Boss Man," another number recorded by Jimmy Reed, featuring some committed vocals from Allen, ended the second set.

Third set highlights included a wild version of the Jerry Lee Lewis classic "Whole Lot Of Shakin' Going On," and an intriguing version of "Roadhouse Blues" in which Allen seemed to channel the spirit of Jim Morrison, lead singer for the Doors.

The two rock selections were followed by Johnny "Guitar" Watson's "Gangster of Love" and "So Long," the closing track on Allen's "Burn It Up" CD from 2001.

That Allen is a striking virtuoso on the electric six-string impressed the crowd, but shouldn't have come as a surprise.

Born into a family of musicians, Allen was attracted to the guitar at young age. He got his first guitar at 14 and has been playing ever since. By his late teens, Allen was touring nationally with blues bands. He traveled with iconic Chicago bluesman Sam Lay in 1997 and discovered Jimmy Rogers. Allen also traveled to Mississippi and met blues legends like James Cotton, Buddy Guy and Robert Jr. Lockwood.

Allen has played many notable shows, but one of the most memorable was opening for Bruce Springsteen and the E Street Band during an event in 2008 which topped off Harley Davidson's 105th anniversary celebration in Milwaukee.

Rahn, meanwhile, has been playing professionally for more than 20 years. He earned his nickname from fellow musicians who recognized his harmonica playing as top of the line, just like the Cadillac automobile. The bluesman has recorded with Reverend Raven and the Chain Smoking Altar Boys and played a number of northern Michigan gigs with Raven.

Rahn's resume also includes touring and recording with Bryan Lee, a Wisconsin native and fixture on the blues scene in New Orleans.

Rahn has twice been honored by the Wisconsin Area Music Industry with a WAMI for best harmonica instrumentalist.

Drummer Dave Braun has toured Europe with Scott Finch & the Blues-O-Delics and recorded five compact discs with the Mosleys. Braun has a Grammy Award nomination to his credit.

Local blues fans may remember Braun's 2006 appearance at a tribute concert held in memory of Jim "Smiley" Lewis. Braun and Lewis were friends.

Band member Guy Fiorentini was given a WAMI in 2010 as Bassist of the Year. He has also played bass with Alex Wilson and Little Jimmy.

Allen's old group, known as the Zoot Suit Boogie Band, earned a WAMI in 2001 as Wisconsin's Best Blues Band.

While all those accolades are deserved, it's great shows like the one they gave last weekend that earn the Robert Allen Jr. Band their enviable reputation.
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Newscaster taped patriotic hit

Grand Rapids newscaster Victor Lundberg
registered a Top Ten hit with his recording of
"An Open Letter to My Teenage Son" in 1967.

By STEVE SEYMOUR

Radio personality Victor Lundberg had a meteoric ride when his "An Open Letter to My Teenage Son" became an unexpected hit in 1967.

A newscaster on popular Top 40 radio station WMAX 1480 AM in Grand Rapids, Lundberg made his living with his commanding baritone voice.

His spoken word single rocketed into the Top Ten before it vanished almost overnight.

The recording earned Lundberg a Grammy Award nomination, an appearance on the Ed Sullivan show and a contract with Liberty Records for a long-playing album.

Born in Grand Rapids, Lundberg recorded and released "An Open Letter" in September, 1967 just after he turned 44 years old.

A strong seller in Michigan, the 45 rpm single backed with "My Buddy Carl" debuted on the Billboard chart on Nov. 11, 1967, Armistice Day.

Both sides were written by Robert R. Thompson and published by ASA Music.

In the face of growing opposition to the Vietnam War, the record elicited a strong reaction from radio audiences when Lundberg stated he would disown his son if the teen refused the draft.

"If you decide to burn your draft card, then burn your birth certificate at the same time. From that moment on, I have no son," Lundberg recited over an orchestral backing of "Battle Hymn of the Republic."

Released as Liberty 55996, the single sold 250,000 copies in two days, according to a full-page advertisement the record company placed in Billboard Magazine.

Some radio stations may have been reluctant to play the record, not because of its content, but because at 4:24, it was twice as long as many of the singles at the time.

"Overwhelming airplay and sales of Victor Lundberg's dramatic record reflects the concern of a nation in conflict and expresses every American's right to reply," the print advertisement stated.

Quick to recognize a new talent, Ed Sullivan had Lundberg on his nationally-televised Sunday evening program on Nov. 12, 1967.

Lundberg was listed as a monologist on the program which was broadcast from CBS Studio 50 in New York City.

Also appearing on the show was Los Angles-based rock band the Turtles who performed their latest hit "She's My Girl" which debuted on Billboard the same week as Lundberg's single.

Lundberg's disc even generated a response in the form of "A Letter to Dad," by Every Father's Teenage Son on Buddah Records. The single charted for four weeks, reaching as high as No. 93.

Recited by Bill Dean, Billboard called the rebuttal a "well thought out answer."

Other responses came from Robert Tamlin with "A Teenager's Open Letter to His Father" and "A Teenager's Answer" by Keith Gordon.

By Dec. 2, the music trade magazine listed Lundberg's "An Open Letter" in the No. 10 slot.

With a hit single in the marketplace, Liberty was quick to up the ante with a full-length album.

Titled "An Open Letter," the disc's ten tracks comprised "Dear Neighbor," "On Censorship," "Frogs and Freedom," "To The Flower Power," "An Open Letter to My Teenage Son," "Dear Parents," "A Man's Hands," "In the Slime of Vietnam," "My Buddy Carl" (the single's B side) and "To The Destroyers."

Billboard included the album in its "Chart Spotlight" column on Dec. 30. "Victor Lundberg created quite a stir in the pop market with 'An Open Letter to My Teenage Son,' and this album, which includes that controversial yet successful single, will go far, too. The other cuts, centering on Vietnam, censorship, freedom and the 'flower children' are in the same vein and the appropriate music backing serves to heighten his opinions," the magazine noted.

When the "An Open Letter" LP was released, between albums by Julie London and Vikki Carr, it was one of Liberty's first long-players to be issued in stereo only.

Despite Liberty's promotional efforts and Billboard's endorsement. Lundberg's LP did not chart.

Falling from the Top Ten to No. 22 on Dec. 16, the record disappeared the following week. Reaching the Top Ten while spending just four weeks in the Top 40, "An Open Letter" holds a record for shortest time on the chart.

Still, Lundberg's single was nominated for a Grammy Award in the Best Spoken Word category for records released in 1967.

It's not known if Lundberg attended the 10th annual Grammy Awards ceremony held on Feb. 29, 1968 at the Beverly Hilton Hotel in Los Angeles.

Lundberg may have been hoping to win, but the Grammy went to U. S. Sen. Everett McKinley Dirksen for his recording of "Gallant Men."

At the time, the 71-year-old Dirksen was the oldest person to make the Hot 100 chart, when "Gallant Men" reached the No. 29 position.

Although Lundberg didn't win a Grammy, his success with "An Open Letter to My Teenage Son" prompted a flood of letter-themed records including "An Open Letter to the Older Generation" narrated by Dick Clark. Clark was famous for hosting TV's American Bandstand and became known as the perennial teenager.

"An Open Letter" is said to have sold a million copies, but Liberty Records-- successful with records by Gary Lewis & the Playboys and the Ventures-- did not issue a follow-up single. "An Open Letter" became a one-hit wonder.

After it fell from the charts after just six weeks, Lundberg's hit single was almost never heard on radio, even when "oldies" became a popular format.

Several lines of Lundberg's dialogue were used to open the song "All My Best Friends are Metalheads" by the band Less Than Jake which appeared in "Digimon: The Movie" released in 2000.

With his conservative views, some claim Lundberg was a spokesman for the Libertarian Party, although that group wasn't formed until 1972, years after "An Open Letter" had been forgotten by most people.

Did Lundberg have a teenage son in real life? A daughter named Terri Lundberg confirms that her father had three sons and two daughters.

"He was estranged from all of his children and never provided financial or emotional support to any of them," she is quoted as saying.

"He died a drunken man on state aid in Michigan alone in a run down apartment."

"The man behind the image was an empty soul devoid of love and caring," she added. "From those who knew him he is paid no honor."

Victor Lundberg, 66, died on Feb. 14, 1990, Valentine's Day.
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Clapton scored with box set

Eric Clapton's "Crossroads" was a blockbuster
when it hit store shelves in 1988 as one of the first
compact disc box sets.

By STEVE SEYMOUR

There have been scores of successful CD box sets over the years, but one of the first to achieve the fete was Eric Clapton.

Clapton's "Crossroads" was packed with solo goodies as well as material from the guitarist's days with the Yardbirds, Bluesbreakers, Cream, Blind Faith and Derek & the Dominoes. The four disc set, released by Polygram Records in 1988, followed Bob Dylan's "Biograph," issued three years before.

Where "Biograph" collected 53 Dylan recordings in seemingly random order, "Crossroads" took aim at both fan appeal and commercial success. Certified three times platinum in 2005, it's safe to say Clapton's set achieved both goals.

Keen to hear Clapton's best work of the previous 25 years gathered into a single chronological collection, I was quick to pick-up my own copy of "Crossroads." I wasn't disappointed.

All the hits were there along with a number of previously unreleased recordings, including "Roll It Over" by Derek & the Dominoes, featuring George Harrison.

The box contains 73 tracks, including "For Your Love," by the Yardbirds; "Sunshine of Your Love" and "White Room" by Cream; "Can't Find My Way Home" by Blind Faith and "Layla" by Derek & the Dominoes. Solo hits like "I Shot the Sheriff," "Lay Down Sally" and "Promises" account for more than two dozen songs included in the set.

Originally issued in a 12 x 12 box with a 30-page booklet, consumers saw value in the $60 box set, compared to obtaining the tracks separately.

When "Crossroads" took-off commercially, Clapton's career, which had been in the doldrums for a few years, also took-off.

Noting the success of the Clapton set, record companies used it as a blueprint for future retrospective boxes.

Like fans across the country, I began paying attention to box sets, especially those which included both hit songs and rarities.

Counting "Crossroads," here are the Top Ten CD box sets I found to my liking:

THE BYRDS- (Columbia Legacy, 1990)- Not without reason, the Byrds were America's Beatles. Superbly talented players and songwriters, the original group consisted of Jim McGuinn (guitar), David Crosby (guitar), Gene Clark (percussion), Chris Hillman (bass) and Michael Clarke (drums). You remember them for "Mr. Tambourine Man," "Turn, Turn, Turn" and other hits. This marvelous four CD box contains 90 tracks including four numbers McGuinn, Crosby and Hillman recorded in Nashville in 1990, re-establishing the group's legacy. Now out-of-print, this box has been replaced by "There Is A Season," although it has a different track listing.

THE YARDBIRDS- Train Kept A-Rollin' (Charly Records, 1993)- Including the virtuoso guitars of Eric Clapton, Jeff Beck and Jimmy Page at one time or another, the massive influence of the Yardbirds cannot be denied. This 90-cut set includes all the recordings made between the group's inception and mid-1966. After the group and producer Giorgio Gomelsky parted ways they became the new Yardbirds and evolved into Led Zeppelin.

THE WHO- Thirty Years of Maximum R & B (MCA Records, 1994)- Comprised of Roger Daltry (vocals), Pete Townshend (guitar), John Entwistle (bass) and Keith Moon (drums), the Who made some fierce rock 'n' roll during the 60s and 70s. The best of it is gathered in this four-disc collection which includes stunningly well-recorded material from an early version of the group called the High Numbers. With 95 tracks, this four disc set finds the perfect balance between hits and previously unreleased material.

BOB DYLAN- The Bootleg Series Volumes 1-3 (Columbia Records, 1999)- With 58 tracks, this three-CD set begins with Dylan's self-titled debut album and continues to "Oh Mercy," issued in 1989. Much of Dylan's material has been bootlegged and this release was meant to satisfy demand from fans for such material. Most of the songs are outtakes from recording sessions. The set opens with "Hard Times in New York Town," recorded in a Minnesota hotel room on Dec. 12, 1961.

THE DOORS- Complete Studio Recordings (Elektra Records, 1999)- This box contains all six studio albums the group recorded before the untimely demise of lead singer Jim Morrison. A 7th disc showcases live cuts and demos from the 1965-70 period, including the bonus cut, "Woman Is a Devil" from 1969. The Doors seem to be rediscovered by every generation and one listen to this timeless set will demonstrate the group's enduring popularity.

THE JIMI HENDRIX EXPERIENCE- (MCA Records, 2000)- What can be said about the immortal Jimi Hendrix which hasn't already been said? This four-CD, 56-song box lets the music do the talking. The set opens with "Purple Haze," not the hit from 1967, but an alternate take from Jimi's first official recording session with the Experience. As the discs play, we hear the extraordinary progression of a musical genius in a recording career which was remarkably short and remarkably fruitful.

GRATEFUL DEAD- The Golden Road (Warner Brothers, 2001)- America's greatest live band for three decades before founder Jerry Garcia died in 1995, this 12-disc box set contains nine albums the Dead recorded from 1965-1973. The Dead's output during this period is remarkable in both quality and quantity. In addition, early studio sides and live cuts are collected on the two-disc "Birth of the Dead." Most of the albums also contain bonus material. Other Dead recordings are compiled on a second box set entitled "So Many Roads" on Arista Records.

CREEDENCE CLEARWATER REVIVAL- (Fantasy, 2001)- CCR's finely-crafted studio and live albums are collected here in all their glory, each one illustrating the multi-talented John Fogerty. That's not exaggeration considering Fogerty composed, arranged, produced, sang and played guitar on nearly all these tracks. The box set also features a disc of pre-Creedence recordings by Tommy Fogerty & the Blue Velvets and the Golliwogs.

THE BEATLES- In Mono (Apple Records, 2009)- Of course, The Beatles Stereo Box is essential, but "In Mono" is revelatory. That's because the the Fab Four put considerable effort into the monaural mixing of their recordings until stereo finally dominated in 1969. Consequently, a powerful sound emanates from the speakers compared to primitive stereo on the early albums. When the "White Album" was released in 1968, only the stereo version was released in the U. S. Many Americans have never heard the distinctly different mono mixes contained on this set. If you know every Beatles song in stereo by heart, you'll be in for a surprise.

Of the myriad CD box sets released since the 1980s, these are the ten I consider to be the most worthwhile. I could easily have named twice as many by including the likes of John Lennon, Led Zeppelin, Janis Joplin, Buffalo Springfield, the Zombies, Pink Floyd, Rolling Stones, etc., but that's what's so challenging about about compiling a Top Ten list.

Now, if you'll excuse me, I'm going to listen to an Eric Clapton compact disc or two.
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U. P. tragedy sparked Guthrie

Folk singer Woody Guthrie memorialized
Calumet's Italian Hall disaster in
his song "1913 Massacre."

By STEVE SEYMOUR

Folk singer Woody Guthrie, famous for "This Land Is Your Land," sang about the Upper Peninsula in one of his compositions.

Titled "1913 Massacre," the song is about a Christmas Eve tragedy in Calumet on the Keweenaw Peninsula.

Written about 1941, Guthrie's number memorializes the Italian Hall disaster in which 73 people, including 59 children, died when someone yelled "fire" at a holiday party held for striking copper miners and their families.

Guthrie read about the catastrophe in "We Are Many," the autobiography of Ella Reeve "Mother" Bloor, who witnessed the horrendous scene.

An East Coast-based labor organizer and socialist, Bloor was in Calumet to work with the Ladies Auxiliary of the Western Federation of Miners.

The ill-fated Christmas party was held on the second floor of the building, accessed by a steep staircase. An estimated 500 people were in attendance when someone shouted "fire."

The casualties occurred when people rushed the stairs and were crushed in the stampede.

Compounding the tragedy was the fact there was no fire. One theory blames the Citizens Alliance, funded by Calumet and Hecla Mining Co. management, for the disaster.

The subject matter of "1913 Massacre" fit squarely into Guthrie's songbook.

Born in Oklahoma in 1912, Guthrie used folk songs as social commentary and to protest injustice. His guitar carried the slogan "This Machine Kills Fascists."

A prolific songwriter, Guthrie's repertoire contained hundreds of political, union and anti-fascism songs.

Known as the "Dust Bowl Troubadour," Guthrie also wrote about western subjects like outlaws and cowboys and sang frontier and country ballads.

In "1913 Massacre," Guthrie claimed that the doors to the Italian Hall were held shut by "copper-boss thug-men."

"The gun-thugs they laughed at their murderous joke; while the children were smothered on the stair by the door," Guthrie sang in the mournful lyrics.

Guthrie's studio recording of "1913 Massacre" was made for Moses Asch, founder of Folkways Records. The folk singer didn't have an exclusive contract, however, and also recorded for the Victor label.

Guthrie sang "1913 Massacre" during a 1949 concert captured on a wire recording.

An audience of about 25 people heard the Guthrie performance at Fuld Hall in Newark, N. J.

He talked about Mother Bloor and sang "1913 Massacre" as part of the evening's program.

Engineers restored the rare recording which was released in 2007 as "The Live Wire: Woody Guthrie in Performance 1949."

The folk singer's only known live recording, the compact disc was awarded a Grammy for Best Historical Recording.

"1913 Massacre" did not become a folk music standard, but it has proven to have considerable staying power.

Guthrie proteges Bob Dylan, known as a folk-rock innovator, and Ramblin' Jack Elliott both performed the song.

An iconic singer and songwriter, Dylan included "1913 Massacre" in his program when he played at New York's Carnegie Hall on Nov. 4, 1961.

Just weeks later, when he recorded his first album, Dylan used the melody from Guthrie's tune for his own composition, "Song For Woody."

Guthrie was one of Dylan's major influences at this time and is said to have imitated his mentor's voice on some songs.

Born in 1931, Elliott travelled around the western U. S. with Guthrie before the elder folk singer became ill.

Elliott released his version of "1913 Massacre" on his "Jack Elliott" LP released on the Vanguard label in 1964. Guthrie's composition opened side two of the long-player.

Among the record's guest musicians was Dylan, who performed on harmonica under the name Tedham Porterhouse for contractual reasons.

By the time Elliott's version of "1913 Massacre" was released, Guthrie was in the final years of his life. He died of Huntington's disease in 1967 after spending years in hospitals.

On Jan 20, 1968, Elliott performed "1913 Massacre" at a Carnegie Hall tribute concert for Guthrie. Also performing were Pete Seeger, Dylan and Arlo Guthrie, Woody's son.

At age 19 in 1966, Arlo made the decision to follow in his father's musical footsteps.

The young musician learned his craft from Elliott, since his father was too sick with the neurological disorder to teach him.

Arlo may be best-known for his masterpiece "Alice's Restaurant Massacree," released on Reprise Records in 1967.

Paying tribute to his father and the victims of the Italian Hall disaster, the young Guthrie recorded his take on "1913 Massacre" in 1972.

The song is contained on "Hobo's Lullaby," produced by Lenny Waronker and John Pilla.

Woody Guthrie never visited the Upper Peninsula site of his "1913 Massacre" song, but his son Arlo has.

In fact, Arlo has played quite often at the historic Calumet Theater, which first opened in 1900 when Calumet was a thriving copper mining community.

Located at 340 Sixth St., the theater is just a few blocks from where the Italian Hall once stood.

During his visit on Sept. 23 and 24, 2004, Guthrie played two shows and taped an interview for a film being made about the tragedy.

Guthrie played another local concert during his "Solo Reunion Tour-Together At Last" stop on Oct. 16, 2007.

His most recent appearance came during his "Journey On" Tour on Oct. 29, 2010. At that time, Guthrie performed what one audience member described as an "almost spooky" version of "1913 Massacre."

Despite much local opposition, the Italian Hall was demolished in 1984. The 401 Seventh St. location is now a park with only an archway left standing.

Although the building is gone, Woody Guthrie's lyrics for "1913 Massacre" continue to echo through the years.

"The piano played a slow funeral tune, And the town was lit up by a cold Christmas moon. The parents they cried and the miners they moaned, 'See what your greed for money has done.'"
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