BURDON REVISITS ANIMALS,WAR

By STEVE SEYMOUR

Eric Burdon wailed, cajoled and pleaded his way through 14 songs Friday night, Oct. 26 at the Island Resort and Casino in Harris singing material by the Animals and War.

He performed a dozen hits and a couple near misses, backed by a crack six-piece band consisting of guitar, keyboards, bass, drums and a two-man horn section.

Burdon launched the evening with a spirited take on singer-songwriter Randy Newman's "Mama Told Me (Not To Come)," a chart-topper by Three Dog Night in 1970. Burdon first recognized the song's potential in 1967 when he recorded the tune for his "Eric Is Here" long-player. The song wasn't a hit.

Dressed in black with his trademark sunglasses, Burdon roared through "Don't Let Me Be Misunderstood" and "When I Was Young" No. 15 smashes from 1965 and 1967, respectively. The lyrics to the latter contain the line, "She was brown and I was pretty green," which always made me chuckle.

Burdon followed with enthusiastic takes on "Inside-Looking Out" and the ballad "Anything," two more mid-Sixties gems.

An entertaining sax solo highlighted "Spill The Wine," which Burdon had recorded with War, his funky back-up band in early 1970.

While Burdon spoke mostly to introduce his songs, he chided security at this point saying, "Leave my people alone" to guards who were stopping people from taking pictures in the aisles.

Burdon dug deep into his catalog for the next two numbers. "The Fool" was the closing track on the Animals' 1977 reunion album, "Before We Were So Rudely Interrupted." The bluesy "Mother Earth" was another War track, from the LP "Eric Burdon Declares War."

The 77-year-old blues singer returned to his glory years, showcasing his hit versions of Goffin-King's "Don't Bring Me Down" and Sam Cooke's "Bring It On Home To Me."

"The House Of The Rising Sun," a traditional song arranged by Alan Price, received the treatment it deserved as an all-time monster, with Burdon's emotional vocals up front. The band, born post-Rising Sun, obviously delighted in playing the cut, one of 1964's top sellers.

"We Gotta Get Out Of This Place," featuring some tasty keyboards, closed the show.

A two-song encore followed. "It's My Life," from the album "Animal Tracks," was joined by "Hold On! I'm Comin'," a cover by the R&B duo Sam Moore and Dave Prater.

Like the rest of the audience, I was thrilled with the show. You could argue Burdon was even better than when he recorded all his classic tracks.

This was actually the third time my wife Sue and I had seen Burdon, sort of.

Back in the day we travelled to Oshkosh to see our idol perform at the annual WaterFest summer concert series. Unfortunately, the show was rained out, although we did get to meet Burdon backstage.

The next time we saw him was at the opening concert for the Rock 'n' Roll Hall of Fame in Cleveland in 1995. From our vantage point in the stadium, Burdon was about one-inch tall and was allowed just two songs, paired with New Jersey rocker Bon Jovi.

So the third time really was a charm, you see. ###

LP COVERS EVOLVE WITH TIMES

As the Sixties evolved so did album cover art, reflecting the rapidly-changing culture of the times.

That's the contention of Doug Sjoquist whose collection, "The Golden Age of Album Covers 1967-1983," graces the gallery at Escanaba's Bonifas Arts Center.

For most of the decade, albums usually featured artist portraits and conventional lettering, producing lackluster appeal. Sjoquist, retired humanities professor at Lansing Community College, described the product as "boring."

Then came 1967. Innovative album sleeves by the likes of The Beatles, Jimi Hendrix, Rolling Stones, Cream, Velvet Underground, Grateful Dead and King Crimson ushered in an era of extraordinary creativity that increasingly reflected the revolutionary music in the grooves of the records inside.

The use of portraiture declined and original artwork bloomed until the introduction of the compact disc when cover art shrunk to CD size.

A former instructor at Bay College, Sjoquist was a teenage drummer when he purchased "Disraeli Gears" and "Axis: Bold as Love." The stunning cover to "In the Court of the Crimson King" in 1969 prompted him into a lifetime of collecting album art.

"Sgt. Pepper's Lonely Hearts Club Band'' is also featured prominently in the display for its gatefold sleeve, printed lyrics and Hindu imagery.

Music fans will recognize many of the exhibit's covers including Santana's "Abraxas," another gatefold sleeve.

As his collection grew through the years, Sjoquist used it in teaching world civilization and history of rock music courses. He also said it was a good way to "illustrate the relationship between art history and popular culture." He made presentations of album cover art at national conventions in Traverse City, Las Vegas and Portland, Or.

The 80-cover exhibit is organized into sections emphasizing Africa, Asia, Europe and the Americas. There are two main themes, world cultures and art history.

A handful of the albums illustrate the period before 1967, including the Beach Boys, Rolling Stones, Sonny and Cher, Dave Clark Five and Beatles' "VI," an American compilation record. Several other Fab Four covers, not shown in the display, may have under-recognized significance. "Rubber Soul" and "Revolver" strayed from the standard format.

The former album, issued in 1965, presented a distorted photograph of the group with bubble-shaped letters, designed by Charles Front, forming the title. The group's name did not appear on the cover.

Artwork designed by bassist and mop-top friend Klaus Voormann fronted the following year's release. His cover collage was a combination of photos and drawings quite unlike any cover of the period. Intentionally black and white, the band's moniker was absent again.

"I'm convinced anyone interested in art history, world civilizations, world religions, and pop culture would find this exhibit aesthetically pleasing and educational," Sjoquist said in a rationale and brief history of his exhibit.

We agree.

OLD POSTERS STIR MEMORIES

By STEVE SEYMOUR

Promoter Gene Smiltnick designed posters for dozens of acts signed to his Bands Unlimited booking agency, based in Escanaba.

These eye-catching broadsheets usually contained pictures of the group, taken in studio or at local sites, and information about their latest show, or dance.

Generating word-of-mouth advertising, posters were a main format to publicize appearances by local rock outfits.

They used to decorate store windows and school bulletin boards. Common back in the day, these posters are hard to find collector items now.

Outdated ones quickly hit the refuse bin, although a few survived, posted proudly on teenage bedroom walls.

Take the Riot Squad, for example. Active from 1965-1973, they were featured on a number of placards, including the one shown here.

Measuring 17 by 22 inches, this early poster promoted the young quintet's gig at the Gladstone Legion Hall on Sunday, March 10, 1968. It urged "casual dress" and noted a $1 admission charge to the 2-5 p. m. event.

Peninsula Records, printed prominently on the poster, released a Riot Squad 45 rpm record "Come On, Let's Go"/ "Ferry 'Cross the Mersey."

This collection displays the various graphics and textual messages used in Smiltneck's posters, circa 1969-1970.

They now serve as a storehouse of memories.

RIOT SQUAD

Pictured are Bob Anzalone, bass; Greg Curran, lead vocals; Jim Joque, rhythm guitar; Dan Curran, percussion; Brendan Williams, lead guitar. With numerous personnel changes through the years, the group played a reunion show for Escanaba's sesquicentennial in 2013.

INFINITE BLUE

Pictured from left are John Smith, guitar; Steve Toohill, bass; Jim Bardowski, drums; Sam Steffke, keyboards. All members of the Menominee group also sang. They released a single "Black Train"/"Lies" on the Tevar imprint and held a reunion show in 2013.

THEM THREE & US TU

Pictured from left are Loreene Zeno, Jane Brkopac, Larry Willette, Bob Derouin, Greg Swank. This group lasted just a short time as members were recruited by other bands, including Riot Squad.

UPSTAIRS TO THE LEFT

Pictured clockwise from top: Kim Erickson, Dennis Combs, Dick Peterson, Dave Berndt. An earlier version included Mick Van Effen. The location of the bathroom in a band member's home inspired the moniker.

FLOOD

Pictured clockwise from top: Tom Vardigan, Terry Steede, John Adams, Mark Olivares. Also known as Johnstown Flood after an 1889 tragedy claiming 2,000 lives. Flood won an "amateur" Battle of the Bands contest at the U. P. State Fair organized by John Chown. An "all aged" 14 version of the band included Joel Coplan.

THE PORRIDGE

Pictured from top: Brendan Williams, Mitch Jensen, Dan Curran, Tom McGovern, Dale Stannard. Also pictured in the oval photo is roadie Gary Buckley, referred to by the group as "our slave." Another incarnation of the band comprised Jensen, Williams, Loreene Zeno and Bob Derouin.

LECTRIK MUDD

Pictured from left are Tim Brostrom, Ron Faccio, Marc Maga, Dave Cass. Late bluesman Jim "Smiley" Lewis was also a member at one time.

CHOCKOLIT ASHKAN

Pictured are Mike Buckley, Jim Shomin, Duane Slagstad, Dan McDonald. Escanaba's Greg Tolman was also a one time member of the band with the uniquely spelled name.

PROPHETS OF DOOM

Pictured are Dave Watchorn, Larry Olivares, Jay Olivares, and Larry Williams. Mike Steede was not in the group at this time. Jim Nelson was another founding member. The original 45 record "Baba-Do-Wah"/ "I Told You" is credited to the group. Sadly, Jay Olivares, Steede and Watchorn have passed away.

INSANITY'S HORSE

Pictured are Doug Sjoquist, drums; Matt Gadnis, keyboards; Mitch Jensen, bass; Brendan Williams, lead guitar; Phyllis Sexton, vocals. The poster features hand drawn artwork. The group's name is included in the lyrics of the song "I Can't See Your Face" by the Doors. ###

WHAT I'VE BEEN UP TO LATELY

By STEVE SEYMOUR

The last column I wrote for this blog was published June 8, 2011. Yes, that's more than seven years ago.

In that installment, I summarized what I learned from writing over 300 weekly columns for Rock n Roll Graffiti and, while moving on, promised occasional updates.

Well, that occasion has finally arrived.

Don't ask me if I've been too busy to write, but my wife Sue and I did retire from the Record Rack.

We closed the shop on July 25, 2015, exactly 30 years from the date we opened. We invited several hundred of our friends to a bash featuring local musical favorites Tohubohu. Band leader John Beck honored us with an clever original song he composed.

That final get-together included the premiere of a film about the Record Rack compiled by videographer Nick Jensen of Iron Mountain, to say nothing of free pizza and soda.

While we downplayed it at the time, we had planned our retirement for about a year. We sold most of our memorabilia, including the much-envied Kiss bicentennial mirror and Metallica's "Master of Puppets" album cover signed by the late bassist Cliff Burton, as well as hundreds of autographed photos and other mementoes.

Closing meant emptying a 2,500-square foot building of merchandise, fixtures and equipment. It was exhausting. We donated the remaining unsold stock to the Escanaba Public Library, Bay College Library and Goodwill.

In the midst of closing we added to the chaos by moving our personal residence from Escanaba's southside neighborhood to a vintage Victorian home on Ogden Ave.

Moving included transporting my very large collection of LP records. Long-players are very heavy and it took months to alphabetize several thousand titles, collected over the last half century. Did I mention, it was exhausting?

Later we sold the commercial property at 1212 Ludington St. to Peggy O'Connell who runs her "Positively" store from that location.

We still see our "old" friends and customers when we're out and about and we do miss seeing folks on a regular basis. We also miss the excitement of opening shipping boxes full of much-anticipated new releases.

Just this month saw the release of 19-CD Grateful Dead box set, a new album from Paul McCartney called "Egypt Station" and a collection of early singles from Bob Seger on the Cameo-Parkway label.

All three of these releases are getting extended time on my compact disc player.

CD's, however, are rapidly declining in popularity, while records are enjoying a slight resurgence.

Which brings us to Alexa. If you don't know Alexa is a voice-activated music delivery system, among other things. We got one back in 2015 when we were busy closing the shop and moving.

We debuted her during an Independence Day party and before long, many of our friends and relatives had ordered one. You just name the song and Alexa plays it for you. That makes playing music almost effortless.

While records and CD's are now dispensable, I still play them virtually every day. I'm that busy.

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