Stadium gone; memories linger

Singer and guitarist Ray Davies led the Kinks through
two songs at the Concert for the Rock And Roll Hall of
Fame in 1995, one of the last times the group played
together.

By STEVE SEYMOUR

They tore down Cleveland Municipal Stadium not long after the facility played host to one of its greatest events.

It wasn't a football or baseball game, but the Concert for the Rock and Roll Hall of Fame, featuring the biggest names in pop music.

My wife Sue and I were among the estimated 65,000 fans who witnessed the historic show at the aging structure.

Our $80 tickets got us seats in the upper deck for the show which started at 7:30 p. m. on Saturday, Sept. 2, 1995.

Artists had been rehearsing since midweek at sites around the city including Cleveland State University Convocation Center and Beechwood Studios.

Rumors circulated that artists would perform in unique combinations such as Bruce Springsteen with Jerry Lee Lewis, but a set list was not released prior to the concert.

Just as The Cleveland Plain Dealer newspaper reported in that day's final edition, Chuck Berry opened the program with his classic "Johnny B. Goode."

The start was entirely fitting since Berry was in the first class to be inducted in the rock hall back in 1986, years before the facility was built.

Besides Berry, other rock pioneers played including Jerry Lee Lewis, James Brown and Little Richard.

They were joined by such music legends as John Mellencamp, Johnny Cash, Aretha Franklin, John Fogerty, Bruce Springsteen, Bob Dylan and the Allman Brothers.

Although there were no Beatles or Rolling Stones on the bill, Eric Burdon and the Kinks represented their fellow Britishers.

All told, more than three dozen acts took to the stage during the proceedings which lasted until after 2 a. m.

For me, the show was filled with highlights.

John Mellencamp offered his anthem, R. O. C. K. In The U. S. A," a salute to 60's rock.

Eric Burdon and Bon Jovi stormed through "It's My Life" and "We Gotta Get Out Of This Place," classic numbers by the Animals from 1965.

Johnny Cash performed "Folsom Prison Blues" and was joined by Mellencamp for "Ring of Fire."

Aretha Franklin showed why she's known as the Queen of Soul, with dynamic versions of "I Can't Turn You Loose," "(You Make Me Feel Like) A Natural Woman" and "Freeway of Love."

John Fogerty delivered inspiring takes of the Creedence Clearwater Revival hits "Born On The Bayou" and "Fortunate Son"

Iggy Pop led alternative band Soul Asylum through "Back Door Man," while Lou Reed did the same with "Sweet Jane."

The Kinks impressed the crowd with "All Day And All Of The Night" and "Lola."

Bruce Springsteen and the E Street Band saluted early rock 'n' roll with "Shake, Rattle & Roll" and "Bo Diddley." They were joined by Jerry Lee Lewis for "Great Balls of Fire" and "Whole Lot Of Shakin' Going On."

Bruce Hornsby paid tribute to the late Jerry Garcia with the Grateful Dead gems "I Know You Rider" and "Scarlet Begonias."

Bob Dylan pulled "All Along the Watchtower," "Just Like A Woman," "Seeing the Real You At Last," "Highway 61" and "Forever Young" from his songbook.

The Allman Brothers, featuring Gregg Allman and Dickey Betts, played "Blue Sky," "Midnight Rider" and "One Way Out."

James Brown used a horn section, back-up singers and dancers for "Cold Sweat," "It's a Man's World" and "I Got You (I Feel Good)."

Little Richard played a white piano while singing "Good Golly Miss Molly" and "Tutti Frutti."

Chuck Berry brought the evening full circle with what appeared to be an impromptu version of his classic "Rock And Roll Music," ending the program after six hours and 40 minutes.

While those were my favorite moments, there were also noteworthy performances by Martha Reeves and the Vandellas, Melissa Etheridge, Dr. John, Al Green, the Pretenders, Jackson Browne, Gin Blossoms, Sheryl Crow, George Clinton, Heart, Natalie Merchant, Robbie Robertson, Sam Moore, Slash and Boz Scaggs. Booker T. and the M. G.'s were the house band for the evening.

As Berry's guitar fell silent, the crowd filed out of the building knowing they attended a once in a lifetime concert.

Opened in 1931, Cleveland Municipal Stadium served as home to professional sports teams the Browns and the Indians, but also hosted many red letter concerts.

The Beatles played there on Sept. 15, 1964 and again on Aug. 14, 1966, thrilling local teenagers.

On June 25, 1977, 83,199 people attended a concert by Pink Floyd, the British rock band which recorded the "Dark Side of the Moon" album.

A show by the Rolling Stones on July 1, 1978 drew 82,238 paid guests to what is claimed to be the first concert to gross over $1 million.

Aerosmith and the Beach Boys also drew big crowds to the stadium during the 1970s.

Bruce Springsteen brought a horde of fans when he performed on Aug. 7, 1985.

English band the Who followed suit with their engagement on July 19, 1989.

Still, the Rock And Roll Hall of Fame concert may have topped them all.

For Sue and I, the show was our chance to see both Johnny Cash and James Brown. Called the "Godfather of Soul," Brown died on Christmas Day, 2006 at the age of 73.

Cash, meanwhile, died on Sept. 12, 2003 after a career comprising country, rockabilly and rock music. The "Man in black" was 71.

The Cleveland show marked a number of milestones.

The Kinks' performance was one of the last times they appeared together. appearance.

Springsteen and the E Street band played together for the first time in a number of years.

Canadian rocker Robbie Robertson staged the Band's classic song "The Weight," one of the few times he's performed solo.

Judging from the evidence, it can't be denied that Cleveland Municipal Stadium had a rich history.

Yet, it was unceremoniously demolished just months after a momentous show, leaving only memories behind.
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Marilyn Monroe paid for trip

Although she was best known as an
actress, Marilyn Monroe also recorded at
least three dozen songs.

By STEVE SEYMOUR

Although she had been dead for years, iconic Hollywood movie star Marilyn Monroe paid for my wife Sue and me to vacation in New Orleans.

If that sounds hard to believe, let me explain.

Back in the late 1980s, Sue and I began collecting autographed photos of music celebrities to display in our record store.

We built a substantial collection by writing to stars, trading with other collectors, getting pieces through our distributors, and occasionally going backstage at shows.

One day, while looking through the classifieds in a music collectors magazine called "Goldmine," I noticed an ad offering an autographed Marilyn Monroe photo for sale.

An actress and model, Monroe starred in such movies as "Gentlemen Prefer Blondes," "Bus Stop" and "Some Like It Hot." As a singer she was known for "Diamonds Are A Girl's Best Friend," "That Old Black Magic" and "I Wanna Be Loved By You."

She recorded material by such well-known songwriters as Irving Berlin, Cole Porter and Hoagy Carmichael.

Her last musical appearance came in May, 1962 when she purred "Happy Birthday, Mr. President" at Madison Square Garden during a party for John F. Kennedy. She died of an overdose of barbiturates three months later at the age of 36.

A bit doubtful about the Monroe autograph, I contacted the seller and he let me authenticate the signature with an expert before we finalized the deal.

The 8x10 black & white photo was endorsed to a fan and signed in ink. The 1950s era picture, depicting Monroe in a swimsuit, was in good condition except for pin-holes in each corner where it had been displayed.

An autograph dealer confirmed that the signature was genuine and offered to buy it for a tidy profit over the $650 we paid.

Using the proceeds from the sale, we were enjoying the musical sites and attractions of the Big Easy just a few weeks later.

Our first order of business was to attend the New Orleans Jazz and Heritage Festival, also known as Jazz Fest. It's a popular annual event celebrating the "indigenous music and culture of New Orleans and Louisiana."

Held at the Fairgrounds, the festival featured a dozen tents each offering a different style of music.

Along with other fans, we crowded into the gospel tent where an all-black choir sang to the heavens accompanied only by hand-claps from the audience.

Other tents offered bands playing their take on zydeco or Cajun music. Yes, we heard an accordion or two.

There was music for everyone whether it was rhythm & blues, folk, Latin, country, bluegrass, contemporary or traditional jazz.

Outside we listened to the gruff singing of an elderly bluesman who sat under a tree as he played his well-worn guitar.

We heard New Orleans native Dr. John play the piano and sing his classic swamp-rock songs. He's famous for numbers like "Iko, Iko" and "Right Place Wrong Time," a Top Ten hit from 1973.

To complement the music the festival featured food vendors serving a variety of local treats.

At the festival and elsewhere in New Orleans we indulged in po' boys, beignets, crawfish etouffee, jambalaya, pralines and Gulf oysters on the half shell. Pass the Pepto, please.

Sue and I also took in Bourbon St. and the French Quarter, home to Preservation Hall. This historic building is closed during the day, but at night features bands playing New Orleans style jazz.

We stopped at Absinthe Bar, where Led Zeppelin's Jimmy Page met his wife, and where Bryan Lee and the Jump Street Five served as house band.

During the day, we were fascinated by musicians playing in Jackson Square.

One evening, we took in a concert headlined by blues master John Lee Hooker, revered for hits like "Boom Boom," "Boogie Chillen" and "I'm In The Mood." In the midst of a comeback, Hooker enchanted a crowd well aware they were in the presence of a living legend.

Also performing was up and coming bluesman Robert Cray. He was having early success with "Smoking Gun," "Right Next Door (Because of Me)" and "Don't Be Afraid of the Dark."

The warm-up act on that particular evening was the Radiators. Based in New Orleans, the Radiators combine local music styles with rock and R&B into what they call "fish-head music." Although they've had limited commercial success, the Radiators know how to throw a great party.

Fats Domino-- who gave us "Blueberry Hill," "I'm Walkin'," and "Blue Monday"-- played Jazz Fest many times but missed the year we went. To make up for it we took a trolley car ride past his house before we left New Orleans.

Back home, our experiences turned to memories until Hurricane Katrina struck, turning every one's attention to New Orleans.

Following the hurricane, Domino was reported missing by his long-time manager. However, his daughter later told authorities he was rescued from the second story balcony of his home.

Many of New Orleans' small clubs were destroyed, leaving hundreds of local musicians without jobs. Artists lost their homes, priceless instruments, master recordings and irreplaceable memorabilia.

The awful storm took some music treasurers, but spared the French Quarter and Bourbon St.

The New Orleans Jazz and Heritage Festival continues to he held each year as it has since 1970, although much of the city is still devastated and tens of thousands of people moved away.

Katrina reminded us how lucky we were to have witnessed the sites and sounds of New Orleans when we did.

Sue and I thoroughly enjoyed that musical adventure, but the most poignant moment occurred at a restaurant during our first evening in the city. Remarkably, the waiter seated us at a table under an imposing painting of Marilyn Monroe wearing a red dress.

The colorful image was a notable contrast to my favorite Monroe movie, a drama called "The Misfits," which was filmed in black & white and sadly became her final film.

Sitting beneath the painting, we ordered lobster and toasted the Hollywood legend who made our trip possible with a stroke of her pen.
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Motown unites Excels, Coffey

Berry Gordy housed his Motown Record Corp.
in this building at 2648 West Grand Boulevard in
Detroit until 1972.

By STEVE SEYMOUR

You might know Motown Record Corp. from gigantic hits by the Miracles, the Temptations or the Supremes, but the venerable Detroit label also has some small Upper Peninsula ties.

Music entrepreneur Berry Gordy incorporated the firm on April 14, 1960 combining Motown with the Tamla label he had founded in early 1959.

By 1961, the company struck gold with "Shop Around," a No. 1 rhythm and blues and No. 2 pop smash by the Miracles, featuring Bill "Smokey" Robinson.

Five girls from Inkster called the Marvelettes became the label's first act to reach No. 1 on the pop chart with "Please Mr. Postman" in the fall of 1961.

Gordy housed his fledgling label in a former photography studio which would become known as Hitsville USA.

With a growing roster of artists, producers, songwriters and session musicians, Motown had more than 100 Top Ten hits during the next decade.

The Miracles added to Motown's success with "You've Really Got A Hold On Me" and "Mickey's Monkey" in 1963, while the Supremes registered their first Top Ten with "Where Did Our Love Go" in 1964.

A trio from Detroit, the Supremes began their stint at Motown singing background vocals for other acts.

With successful acts like Stevie Wonder, Marvin Gaye and the Contours, Motown was making a name for itself around the country.

A rock group from Marquette called the Excels were paying attention to the sounds emanating from Detroit.

Comprised of Northern Michigan University students, the Excels decided to drive to the Motor City in search of a recording contract.

According to lead singer Clark Sullivan, the group made the trip to the lower peninsula in the fall of 1964.

Fresh from the U. P., the Excels pulled up to 2648 West Grand Boulevard, the headquarters of Motown.

What the black employees of Motown might have thought of five white boys from northern Michigan isn't known, but the Excels did meet the Supremes.

At that time Diana Ross, Mary Wilson and Florence Ballard had another chart-topper to their credit called "Baby Love."

While they were impressed meeting the Supremes, the Excels realized their sound, stressing Beach Boys-style harmony, would not fit with Motown, which had an all-black stable of artists.

Undaunted, the Excels next stopped at United Sound Studio where they met Ollie McLaughlin an influential black disc jockey on WHRV radio in Ann Arbor.

McLaughlin, who owned Carla Records, showed interest in the Excels and asked them to send him a demo tape.

The Excels responded with "Run Girl Run" and "It Isn't So." McLaughlin, who is credited with discovering Del Shannon, liked the songs and signed the group.

In the early summer of 1965, the Excels returned to United Sound Studio to properly record their demos, but the songs weren't released at that time.

Experienced with years of touring, the Excels recorded "Gonna Make You Mine" and "Goodbye Poor Boy" in the summer of 1966 and followed with "I Wanna Be Free" and "Too Much Too Soon" in the fall.

During the summer of 1967, they returned to the studio to tape "Little Innocent Girl" and "Some Kind of Fun." The A side was composed by the songwriting team of Richard Wylie and Tony Hester.

Adding to its professional sheen, the track was arranged by Mike Terry and Dennis Coffey. The single was a moderate success in markets such as Winnepeg, Detroit, Monroe, Muskegon and Traverse City.

Although he grew up in Detroit, Coffey had close ties to the U. P. As a teenager in the early 1950s, Coffey visited his musically-inclined relatives who lived in the tiny Keweenaw Peninsula community of Copper City.

Coffey's cousins, Jim and Marilyn Thompson, introduced him to the guitar, showed him some basic chords and taught him how to play "Under the Double Eagle," a bluegrass standard.

Returning home, Coffey learned songs by Hank Williams Sr., a favorite around his U. P. haunts. He expanded his interests to rockabilly, rock 'n' roll, blues, rhythm & blues and jazz.

With considerable expertise on the guitar, Coffey joined the Royaltones and worked as a session guitarist for independent labels around Detroit.

In 1962, Coffey met Del Shannon and added guitar to "Little Town Flirt," which just missed the Top Ten. Coffey joined his friend again in 1965 when Shannon recorded an entire album of songs by the iconic country star titled "Del Shannon Sings Hank Williams."

By 1968, Coffey found himself working for Motown as a session guitarist. His first recording was for "Cloud Nine," a Top Ten smash for the Temptations. Coffey used his Gibson Firebird guitar for the session.

"I ad-libbed a fast wah-wah effect in the introduction. On the last verse of the song, the groove we were playing was so hot that I just had to jump in and play a solo. I cranked my volume up a bit, closed my eyes and let 'er rip," Coffey said in his autobiography, "Guitars, Bars and Motown Superstars."

As a member of the Funk Brothers studio band, Coffey played on more tracks than he can remember, including numerous hits by the Temptations.

Coffey played guitar on "Someday We'll Be Together" by Diana Ross & the Supremes. Johnny Bristol produced the session, co-wrote the song and provided the male vocal. Although the song reached No. 1, Ross decided to leave the group for a solo career.

Coffey's guitar is also heard on Edwin Starr's "War," Freda Payne's "Band of Gold" and Junior Walker's "What Does It Take To Win Your Love."

Born in 1940, Coffey's career reached another high point in 1971 when his single "Scorpio," released on the Sussex label, reached No. 6 on the pop charts.

In the 40 years since then, Coffey has remained active in the music business. On April 26, he'll issue a self-titled album on the Strut label, his first new release in five years.

The Excels released five 45 rpm singles on Carla, their last disc containing the first two tracks they recorded for McLaughlin. Lead singer Clark Sullivan recorded as a solo artist when the Excels disbanded.

Looking to get involved in motion pictures, Gordy moved Motown Record Corporation to Hollywood in 1972.

Thus ended a vibrant chapter in Detroit's musical history which included some small ties to the Upper Peninsula thanks to the Excels and Dennis Coffey.
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Hastings St. spawned blues scene

Bluesman John Lee Hooker was photographed
on Detroit's Hastings St. for this album cover.

By STEVE SEYMOUR

Unless you're from Detroit, you might not know that Hastings St. gave birth to a thriving blues scene in the 1940s and 1950s.

In fact, the Hastings St. neighborhood gave rise to iconic bluesman John Lee Hooker and lesser luminaries like Johnnie Bassett and Alberta Adams.

Hooker, of course, is known for such influential blues numbers as as "Boogie Chillen," "I'm In The Mood" and "Boom Boom."

My wife Sue and I witnessed one of Hooker's concerts as well as performances by Bassett and Adams.

Hooker was born in Clarksdale, Miss. in either 1917 or 1920, depending on the source. His father was a minister and the young musician first played publicly at church, greatly pleasing his mother. After his father died, his stepfather Will Moore, who was friends with the likes of Blind Lemon Jefferson, Charlie Patton and Blind Blake, infused Hooker with a love for the blues.

He left home at about age 14 for Memphis, meeting both B. B. King and Bobby Bland, and working in a movie theater on Beale St.

After stints in Cincinnati and Knoxville, Hooker moved to Detroit during World War II.

The singer and guitarist was right at home performing in the clubs along Hastings St. on the city's east side. Hastings ran north-south through a predominately black neighborhood known as Black Bottom. Originally settled by Jews, the district was transformed by southern migrants looking for work in the burgeoning auto industry.

The Hastings St. neighborhood featured black-owned businesses, clubs and bars which drew acts like Duke Ellington, Billie Holliday and Ella Fitzgerald.

Famous gospel preacher Rev. Cecil L. Franklin, the father of Aretha Franklin, opened his New Bethel Baptist Church on Hastings St.

The area featured Joe's Record Shop, located at 3530 Hastings St. The store was owned by Joe "Von" Battles, who also produced discs for his JVB Records label.

Hooker often recorded in a studio located in the back of the store. A young Aretha Franklin taped some gospel sides there as well.

While working for Ford Motor Co. Hooker cut his first recordings, teaming up with producer Bernie Besman.

Los Angeles-based Modern Records issued Hooker's debut called "Boogie Chillen" which climbed to the top of the rhythm & blues charts in 1949. The bluesman was so taken by Hastings St. that he mentioned it in the song's lyrics.

"I'm In The Mood" became Hooker's second R&B chart-topper 1951.

During the next four years, Hooker recorded hundreds of tracks for various labels, finally signing with VeeJay in 1955. His hits during this period included "Dimples" in 1956 and "Boom Boom" in 1962.

British band the Animals cut their version of "Boom Boom" two years later, reaching No. 43 on the U. S. charts.

The singer and guitarist recorded the massively-popular LP "Hooker 'N Heat" with blues-rock band Canned Heat in 1970. The disc contained standout tracks like "Peavine" and "Burning Hell."

Most of the 70s were lean years for Hooker, but Led Zeppelin incorporated "Boogie Chillen" into their "Whole Lotta Love" medley, playing it at nearly every show from 1970-1973.

He made a welcome a cameo appearance in the 1980 movie "The Blues Brothers," starring John Belushi and Dan Aykroyd.

By 1989 Hooker won a Grammy Award for "The Healer" CD which he recorded with Carlos Santana, Bonnie Raitt and George Thorogood. The album was a major comeback.

Hooker was well into his fourth decade as a blues performer when Sue and I saw him in concert. The show took place during the New Orleans Jazz & Heritage Festival, circa 1990. The bill also included Robert Cray, famous for "Smoking Gun" and local favorites the Radiators. There was no doubt, however, that Hooker was the star of the show.

The veteran bluesman sat on a stool at center stage, performing his set in true solo fashion. Hooker needed nothing more than his growling voice, guitar work and foot stomps to propel his music.

We cheered as Hooker played many of his well-known songs.

He was inducted into the Rock and Roll Hall of Fame in 1991 and issued two more albums during the decade.

Both Alberta Adams and Johnnie Bassett, meanwhile, were connected to Hooker by way of Hastings St.

Born Roberta Louise Osborn in Indianapolis, Adams was raised by a relative in Detroit. Sources differ whether she was born in 1917 or 1925.

As early as 1942, Adams appeared at a Hastings St. club called B&C, as did Hooker.

She signed with Chicago's Chess Records in 1952 and toured with Duke Ellington, Louis Jordan, T-Bone Walker and others.

Sue and I saw Adams perform in Marquette on Sept. 2, 2006 during the annual Blues Fest. Known as the grand dame of Detroit blues, Adams commanded the stage with the seasoned experience of a singer who has performed for more than 60 years.

Ably recalling some of the classic blues divas of earlier decades, Adams became a sentimental favorite with the crowd for an endearing performance of her song, "Remember Me."

Johnnie Bassett appeared at Blues Fest two years later. Sue and I enjoyed his set on Sept. 7, 2008.

Born in 1935 in Florida, Bassett relocated to Detroit with his family in 1944. He won various talent contests and appeared on "Got a Job" the debut recording by Bill "Smokey" Robinson and the Miracles on the Chess Records imprint.

Bassett also played on stage with Alberta Adams, Hooker and other local blues performers.

During his Marquette show, Bassett opened with "The Cat," by renown film composer Lilo Schifrin and included an inspiring rendition of "Bassett Hound," his theme song.

Today, Adams and Bassett still call Detroit home, although the Hastings St. neighborhood is long gone.

In the early 1960s, the district was largely bull-dozed in an "urban renewal" program, replaced with Lafayette Park and the Chrysler Freeway portion of I-75.

Hooker lived another decade from the time we saw him in New Orleans, winning a Lifetime Achievement Grammy Award in 2000.

When he died on June 21, 2001 Sue and I realised we were fortunate to have seen Hooker before Hastings Street's greatest blues star slipped into history.
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