January 2010 Vol 10, No. 8 "privately-owned
motorhome and trailer rentals" Editor and Features Interviewer -
Dick
Stewart U.S. '60s Garage Band Interviewer -
Mike
Dugo Staff
Writers and Album Reviewers - Beverly Paterson, Chas Pike, Keith Hannaleck, Sonny West and Sandy
Strockhoff
The Lance Monthly
Archives: March 1999 to
present To license articles
from "The Lance Monthly" for your site, write to:
rvstewartproductions@yahoo.com and place "TLM
licensing" in your subject box.
©Lance Monthly Vol. 10, No. 8 January 2010
(word)
IN THIS
ISSUE
(Road manager for The Galaxies and Mark Five
during the Sixties) (West’s Spain venue –
article by Sonny West) Paterson’s Jump, Jive and
Harmonize
(Reviews of releases by Those
Guys; The Legendary Gentlemen; Jamie & Steve, Goliath; Various
Artists by Rolltop Music) MuzikMan’s Lance Monthly Album Pick of
the Month (“The Clock-1998-2008 Remastered, 3 CD
Set” – Mostly Autumn)

-
|
Road Manager for The Galaxies and Mark Five during the Sixties
(Mark Five - Circa early -'60s) (Interview
conducted by TLM Chief Staff Writer, Beverly Paterson) |
Hoss, John
Kando and I, and many others worked our buts off to show all of you 2 to 4 hours
of fun.
[TLM Interviewer, Beverly Paterson
Notes:
Perhaps the next best thing to playing
in a cool rock and roll band is being road manager for the group. No kidding,
such a job can be awfully difficult, but the perks certainly outweigh the
challenges. During the sixties, Bob Fisk was road manager for two very well
known Northwest bands, The Galaxies and The Mark Five, and later connected with
a number of other acts, one of which was soul-popping hit-makers Honey Cone. How
important it is for bands to have trusted reliable road managers, a role, which
Bob filled, and then some!
]
. . . . .
TLM Chief
Staff Writer, Beverly Paterson: Prior to working behind the scenes with bands,
did you have any musical aspirations yourself? Do you play any instruments and
have you ever performed with any bands?
Bob Fisk: Just the thought of being a star like everybody else did. Even all of you reading this had the same ambition!
Beverly: How did you hook up with The Galaxies? Did you approach them about a job or did they come to you?
Bob: The Galaxies, as they were to me, was Kathy Trudell and The Galaxies, and I first started working with them when my friend, Ben Gardner, who played lead guitar for The Mark Five, decided to start his own group. So he asked me to help him start a group, and that’s how Kathy Trudell and The Galaxies formed. The group included Kathy Trudell, Chuck Voltz, Bob Fosdick, Ben Gardner, Richard Peterson and Glen Blacksmith.
Beverly: The Pacific Northwest is, of course, legendary for its incredible music, and the sixties certainly produced the best of the bunch from the area. Aside from the usual suspects like The Sonics, The Wailers, The Galaxies, The Kingsmen and Paul Revere and The Raiders, what other bands were making the scene? Are there any particular groups that really stand out in your mind?
Bob: There Were The
Viceroys, Surprise Package, Grants Blue Boys, The Patriots, Paul Bearer And The
Hearsemen and Helen Love. These were the groups, just like The Mark Five, that
helped start the garage sound, which was a unique
sound.
Beverly: What were some of the top clubs around
the area?
Bob: Crystal Ballroom in
Portland, The Tork Club in Eugene, Salem Armory, TG's in Albany and Newport,
Saratoga Trunk in Seattle, Tooterville Trolley in Seattle, Cascade Club in
Eugene, and just too many more to mention. Many national groups played with us
during this era.
Beverly: As a road manager, what duties did your
job involve?
Bob: I was security, first,
for the entertainers, and did sound, lights and wardrobe. Sound was loading in
all the amps (they were SUNN amps), and setting them up. I hooked up all the
keyboards and stuff and adjusted the PA, which was also SUNN and the lights,
before the band even walked into the building for the afternoon sound check;
then running through and fixing anything that didn't work or was broken before
the doors opened. With wardrobe, I made sure they all got their stuff to the
laundromat to be cleaned before the show. The lights were usually personally
made or rented, if not supplied by the club.
Beverly: Did you travel much outside the Pacific Northwest? If so, how far and wide did you tour?
Bob: The Midwest was our
general area to travel to. We also traveled to California, Idaho, Montana,
Nevada and Utah.
I moved to Los Angeles in 1972
or so, and contracted out to groups. One of the groups was Honey Cone, who had
hits with “Want Ads“ and “One Monkey Don‘t Stop No Show.” After returning to the
Northwest, I teamed up with Ben Gardner, the former lead guitar player for The
Galaxies, and teamed up to do a tour with Loverboy, Adam and The Ants and a then
young Bryan Adams, which took place in Kamloops, British Columbia. Plus, there
was a stop over in Seattle with Jan and Dean and Kim Carnes.
Beverly: Did you sit in on any recording sessions for either The Galaxies or The Mark Five? What can you tell me about these sessions?
Bob: Yes, I sat in on most
of the sessions, and the guys were always very professional during the
recordings. During one recording,
in Seattle, we had to come back and do another track. The next day, we found out
the recording was lost, and it was said later that it came out in Canada as a
song from another group. Contracts are important!
Beverly: I can imagine you encountered a lot of crazy stuff while working for the bands - insanity tends to go with rock and roll! What incident really sticks out in your mind as far as being just outright wild?
Bob: Yeah, this is true! One of the craziest things I encountered happened here in Portland during a Paul Revere and The Raiders Show. The people in the crowd were allowed to come right up the stage, and Mark Lindsay would sing to the crazy girls till the ones in the back would cause the ones in the front to pass out. From so much pushing, Mark “Hoss“ (road manager for Paul Revere and The Raiders) and I would have to go on stage and pull the girls from the crowd and take them off stage so they could be given smelling salts to revive them. And then we would put the girls back in the crowd. This one girl, all of fifteen years old, had passed out and she was a major Mark Lindsay fan. As she came to, Mark Lindsay, who was not far away, walked up to her to see if she was ok - and she passed out again!
Beverly: Do you ever plan to write a book about
your experiences?
Bob: Not really, because that is
what my best friend Mark “Hoss” Amans is doing. He has some great stories to
tell, and that’s why you should all get his book, “Where The Action Was!,“ which
should be made into a movie. The lives that Hoss, myself and John Kando (road
manager for The Liverpool Five) and many other roadies lived, is a story in
itself!
Beverly: Are you still working with bands or
have you moved onto another line of work?
Bob: Yes, somewhat, but what I do now is professional sound and lighting, under the name of Bandstand2000. I also work with some members of the Howard Stern Show, doing shows with them too. Should I retire? Not!
Beverly: Have you remained in touch over the years with any members of The Galaxies or The Mark Five? How about other musicians from the era?
Bob: Yes, we are all good
friends and talk regularly. We would love to do a reunion show some day, but we
have been saying that for years. We are a family in a family, brothers bonded
by music. I try to see all my friends as much as possible, and the bigger
groups, I always try to go see them when they’re in the area.
Beverly: What’s the most appealing aspect of being a road manager and what is the most frustrating part of the job?
Bob: The most appealing part is,
aside from being able to be part of the music as we know it today, was being
there when there were no stage monitors, no 20 to 40 road crew members, and
knowing that your final word was what was done. And meeting the greatest
musicians in the world, and having some of them say, without the old music we
couldn't have done it, without the garage bands and the crews.
The most frustrating part
was realizing it was time to step down, and let the corporate sound crews take
over, with their large road crews and all that high tech stuff, but still
knowing that we where in the trenches doing it all by ear the old school
way. Hoss, John Kando and
I, and many others worked our buts off to show all of you 2 to 4 hours of fun.
Another hard part was it being hard on family life.
Beverly: What are some of your all time favorite Pacific Northwest “garage band rock” records?
Bob: “Louie Louie” by The
Kingsmen, “Determination” by The Mark Five, “Big Boy Pete“ by The Kingsmen and
“Rockin' Robin” by Rockin Robby Roberts. What’s the matter with this new era?
Why can’t they write new songs and leave ours alone?!
Beverly: Along with The Galaxies and The Mark Five, what other bands did you work with? And do you have any special stories to share about these groups?
Bob: The Wailers, Dick And
DeeDee, Them, The Electric Prunes, Joe Walsh and The James Gang, The Grass Roots
and many more, but oh yeah, those are other stories to tell and there‘s many of
them! Ask Paul Dean, the lead guitar player for Loverboy, about this one - he
was in our recording studio, playing with the mixer. When I saw him, I said,
“Don’t touch,” but I, of course, didn’t know who Paul was. I then proceeded to
show him the door in a most uncomfortable way until Ben Gardner stopped
me!
Beverly: Have you kept most of the mementos you accumulated over the years? What would you say is your most prized possession from those days?
Bob: Memories, some guitars and
keyboards I still have, plus a lot of pictures!
[If you would like to make a comment in reference to this interview, please send it to rvstewartproductions@yahoo.com and write “Fisk” in the subject box.]
|
“I’ve Always Been Lucky”
(By Sonny West
(composer of Holly’s “Oh Boy” and “Rave On”) |
The DJs played
records between the live acts creating a seamless music experience, while the
open bars served up liquid refreshment and the vendors offered collector
records, CDs, souvenirs and vintage clothing.
When I was a high school student (yes, I actually did go to high school) I learned a lot of things that are not written in the books. One of the important things that some of us learned and perfected right away was to inquire and ascertain the primary interests of the teacher and then draw them into a discussion of their favorite experiences. The idea was that if the teacher was relating things he or she enjoyed this would keep the class away from the boring books, plus a happy teacher usually would go easy on grading tests. This scheme seemed to work more easily with the male teachers. For example, my journalism teacher loved to talk about his summer vacations and if prompted, would spend many entire class periods on the subject:
Me: So, Mr. Suave, where are
you going this summer?
Mr. S: The same place I always
go.
Me: And where is that
again?
Mr. S: I've spent the last three summers in
Spain and just can't wait to go back.
Me (or one of the other students): Wow! That seems so far away. Why travel all that distance?

This would launch him into many long tales of his experiences with 'the beautiful people of Spain, especially the women. Of course, he was right about the people there. My trip to Spain in October 2009 just reinforced this fact to me when I was invited to appear at the fourth annual Ubangi Stomp Rock and Roll Festival. You may recall this show takes its name from the old Warren Smith song. Roc LaRue and I were headliners for this four-day event in the spectacular city of Benidorm on the Mediterranean. All activities took place in the Gran Bali Hotel, the tallest hotel in Europe.
This was four nights
of non-stop old time rock and roll with bits of blues and traditional country
thrown in. Each day, the music
started in the early afternoon and continued until the early morning hours. The event featured a total of about
fifteen bands and a dozen DJs. The
DJs played records between the live acts creating a seamless music experience,
while the open bars served up liquid refreshment and the vendors offered
collector records, CDs, souvenirs and vintage
clothing.
Roc LaRue was the
featured US artist on the third day of the fest. He released records in the ‘50s for Rama
Records (Baby Take Me Back) and Holland Records (If I Were in Your Shoes). He was backed at this event by
Spo-Dee-O-Dee, a band from Germany and was given a great reception as he
performed his rockers, as well as some of his country songs from the
1960s.
My show was on the
final day with backing by Uncle Charlie, a four-piece Spanish group. They were very good and really “pumped
up” for the show. The large crowd
loved it. Someone in the audience
recorded parts of my show and posted it on YouTube. For those that may be curious I have
posted the link below... or one can go to the YouTube site and type in Sweet
Rockin' Baby or my name.
http://www.youtube.com/watch?v=qc5I0dexCsE
The fans and musicians were
great as always. The organizers,
Hector and Ruth were extremely gracious.
Everything was perfect. I've
always been lucky.
[If you would like to make a comment in reference to this article, please send it to rvstewartproductions@yahoo.com and write “Ubangi” in the subject box.]
|
Reviews of releases by Those Guys; The
Legendary Gentlemen;
Jamie
& Steve; Goliath; Various Artists by Rolltop
Music
(By Chief TLM
Staff Writer, Beverly Paterson) |
| Those Guys
“Behind the Glasses” (60sgaragebands.com) |
Released in
1967, “Lookin’ At You Behind the Glasses” backed by “Stereopsis of a Floret” is
a certified psychedelic classic.
Something magical must have been floating around in the water in Texas in the sixties, as such a staggering number of fabulous bands emerged in the state during the decade. And that includes Those Guys, whose star illuminated brightly amid the Fort Worth-Dallas community. Sixties garage rock connoisseurs probably don’t need to be told this is the band Bob Barnes played in prior to linking up with The Yellow Payges. Or that future famed singer, songwriter, musician and producer T-Bone Burnett engineered a handful of Those Guys sessions.
Compiled by Lance
Monthly writer and 60sgaragebands.com commander in chief Mike Dugo, “Behind The
Glasses” is the first time Those Guys have been rewarded the anthology
treatment. And what a goodie it is! The band’s lead guitarist and keyboardist,
David Owens, submitted the sleeve notes to the disc, which are extensive and
informative. He also penned much of the band’s material, while his cousin, Jimmy
Owens, and Bob Barnes co-authored a couple of tunes. Not only were Those Guys
talented musicians, but their songwriting skills were exceptional as well.
Released in 1967,
“Lookin’ At You Behind the Glasses” backed by “Stereopsis of a Floret” is a
certified psychedelic classic. Assembled of dreamy harmonies, trippy melodies
and esoteric lyrics, both these cuts are rich with flowery impressions. Brooding
keyboard passages, otherworldly vocals and bouts of crunchy guitar breaks place
“Lookin’ At You Behind the Glasses” squarely in Doors or Iron Butterfly terrain,
where “Stereopsis of a Floret” deposits a more streamlined touch, but is
nonetheless just as enterprising and imaginative. Also issued in 1967 was the
bluesy Rolling Stones riggings of “Three Days Gone,” while on the opposite end
of the river, a cover of Jeff Barry and Ellie Greenwich’s “People Say” embodies
a giddy pop pose.
It’s too bad the recordings
engineered by T-Bone Burnett failed to make it to vinyl and have been
hibernating in the vaults year after year. Had these ventures received official
releases, Those Guys would have arguably acquired far wider attention. Peppered
with paisley seasonings and juicy hooks galore, “Sunshine Go Lightly” is
sonically stunning and “The Fix-It Man” continues to emphasize how confident and
direct the band was. Razor sharp chops, telepathic chemistry and boundless
enthusiasm clearly ran deep in the veins of Those Guys.
The Legendary Gentlemen “In Your Face!” (self-released)
The energy level is extremely high, the synergy is great and
the exuberance is contagious.
Better known as The
Gentlemen, whose 1966 single, “It’s a Cry’n Shame” is an eternal favorite among
garage rock aficionados from here to the moon, this Dallas, Texas band recently
reunited and are now billed The Legendary Gentlemen. Remaining thoroughly
committed to rambunctious type of music for which they’re recognized, the band
explodes with electricity on “In Your Face!,” which serves as their first
full-length album, because back in the day they did not have the opportunity to
record such a project.
Galvanized by a fiercely
loyal remake of “It’s a Cry’n Shame,” the disc proceeds to spit out one hot and
sassy song after another. The energy level is extremely high, the synergy is
great and the exuberance is contagious. It’s been forty odd years since these
guys have played together, but they could have fooled us, as they brandish the
force and fury of restless teenagers. Pledging allegiance to the frat rock
philosophy of The Strangeloves and The Swinging Medallions, the stomping gallop
of “Baby Get On Home” name drops noted tunes like “Mustang Sally,” “Mony Mony”
and “Twist And Shout,” and yes, “The Sub Prime Blues” is a blues number,
performed in the grizzled, growling white-boy fashion of The Moving Sidewalks or
Steppenwolf.
Raiding the “Nuggets”
archives, The Legendary Gentlemen cover corkers by The Litter (“Action Woman”),
The Golliwogs (“Fight Fire”), The Leaves (“Too Many People”) and The Third Bardo
(“I’m Five Years Ahead of My Time”) with strength and conviction. Their version
of “That’s The Way It’s Got To Be,” slaps an additional wow factor onto the
original recording by The Poets, as the volume is raised and intense jamming
lines the walls. A rendition of The Shadows of Knight’s “Shake” (re-titled
“Shake Shake Shake”) is also tackled with wild abandon.
Judging from “In Your Face!,” The Legendary Gentlemen have performed an astonishing resurrection. Utilizing all the proper garage rock elements, from pumping keyboards to tasty throbbing drum beats to smirking vocals oozing with mischief to bruising guitar licks to howling harmonicas, the band still has what it takes to lay down the smoking stuff. Not a speck of contemporary dust is spotted on “In Your Face!,” which is a very good thing. The Legendary Gentlemen have succeeded at revisiting the sound and style of sixties garage rock in a most earnest manner.
Jamie & Steve “English
Afterthoughts” (Loaded Goat Records)
Tugging hooks pinned tight against firm arrangements drive
each track on the disc.
When The Spongetones arrived on the scene thirty years ago, they were rightfully referred to as a modern day response to the British pop music of the sixties. Few bands at that time were not only not channeling the spirit of The Beatles, The Hollies, The Dave Clark Five, The Searchers and so forth, and if they were they seldom wrote their own material, especially material that matched the quality of the artists they emulated. So that alone made The Spongetones extra special. Decades on, the North Carolina band continues to produce amazingly catchy songs, that in turn, have deservedly awarded them a worldwide fan club.
To
tide us over until the next Spongetones album lands on the decks, lead singer
and multi-instrumentalist Jamie Hoover and guitarist, bassist and vocalist Steve
Stoeckel teamed up to conceive “English Afterthoughts,” which marks their debut
as a duo. Anglo Saxon roots intact, the fellows jangle their way through a dozen
tunes that are perfect in every sense. Tugging hooks pinned tight against firm
arrangements drive each track on the disc. Vibrant harmonies are delivered in
spades, supplying the songs with a cheery, playful touch. A swinging tempo
surrounds “Color Me Over Again,” impossibly bouncy rhythms fuel the rather
bubble gummy “Let’s Don’t Count This One” and “Emily’s Ghost” shimmers with echo
and light. “Feeling You Watching Me Watching You” and “In The Other Life And On
Another Day” are further treasures heard on “English Afterthoughts,” but the
whole package is truly priceless.
Jamie: jamie@jamiehoover.net -
Myspace/Hooverama
Steve: hofnerboy@earthlink.net
-Myspace/hofnerboy
Goliath “Goliath” (Gear Fab Records)
A nice blend of improvisational jamming and mellow musings
constitute “Goliath,” resulting in a real cool hippy artifact.
Evolving from a trio of bands that included The Sons of
Sounds, Kicks and The XL’s, Goliath was very much a product of the era in which
they existed. The material on this disc was recorded in 1970 at Allen Martin
Studios in Louisville, Kentucky, and keenly captures the mercurial mindset that
was then navigating the circuit. Observing and absorbing everything going on
around them, Goliath brazenly mixed such diversified influences into one lethal
cocktail.
Kind of country, kind of folk and kind of bluesy, “I Feel Like I’m Gonna
Die” owes a shake of the head to The Grateful Dead, where the chugging grooves
of “Taking Back Roads” pays homage to Cream, complete with haunting Jack Bruce
styled vocals. Shades of jazz, trailed by a burst of gospel choruses, are the
ingredients lodged behind “In The Summertime,” and both “Sunny Days” and “Words”
are sweet melodic ballads. Then there’s the straight and simple hard rock glare
of “Chessboard Kings” and “Kentucky Roads.” Punctuated with the swirling whirl
of a soulful Hammond organ and stirring guitar exercises, “Kwak” is interesting
and innovative, while the blossoming harmonies and taut layout of “It’s Your
Land” recalls the grand pop rock of The Guess Who. A nice blend of
improvisational jamming and mellow musings constitute “Goliath,” resulting in a
real cool hippy artifact.
Various Artists “Ka Hula O Na Niu (The Dance Of The
Palm Trees)”
(Rolltop Music)
Splashed with pastoral textures and swaying rhythms, the
disc flawlessly evokes the warmth and tranquility of the state’s climate and
personality.
Musically active since the sixties, Tim Coffman is a
jack-of-all-trades. Besides being a musician himself, who is not restricted to
one genre, he writes songs and produces records and commercials. The San Diego,
California based artist also operates his own studio and label. Tim’s most
recent effort, which he twiddled the knobs on and plays guitar on, “Ka Hula O Na
Niu (The Dance Of The Palm Trees)” features a choice cast of characters singing
and performing Hawaiian music. Splashed with pastoral textures and swaying
rhythms, the disc flawlessly evokes the warmth and tranquility of the state’s
climate and personality.
A
pair of instrumentals, “Big Island” and “Ka Hula O Na Niu (The Dance of The Palm
Trees)” were both nominated by The JPF International Music Awards for the 2009
song of the year, and it’s not difficult to hear why. Bathed in waves of color
and polish, these tracks are spellbindingly gorgeous. Herb Pillilaau joins Tim
on a toe-tapping rendition of “Island Style,” Tropical Green’s “Hanalei Moon” is
absolutely breathtaking, Sarah Maisel’s “Waikiki” glides gracefully to a gentle
pitch and Marchand Melcher’s “Kalua” gushes and swells to a soothing finish. Ah,
there’s nothing more relaxing than a chorus of Hawaiian steel guitars, strummy
ukuleles and silky smooth vocals. Radiating with beauty and class, “Ka Hula O Na
Niu (The Dance Of The Palm Trees)” is a ticket to paradise!
[If you would like to make a comment in reference to these
reviews, please send it to rvstewartproductions@yahoo.com and write “Reviews” in the subject
box.]
For
review consideration, send your CD to:
The
Lance Monthly
Beverly
Paterson – TLM Staff
Writer and Reviewer
P.O. Box 6474, San Mateo, CA 94403
| Just browsing and ran into your web site, I could not
believe it: An article about Kando. I never did know his real name. I had
seen The Liverpool Five several times. They were fantastic. But the guy
that ran around like a chicken with his head chopped off ALL the time was
this guy. I could not believe all the things he did. I helped him once in Idaho. They had to leave for Seattle, Washington right after a dance I went to. When Kando was taking down the equipment I offered to help. Just wait till I pack everything up and you can help me load the truck. I was amazed. Everything had a specific place to go. It was all down and packed in less than an hour. Some things I cannot imagine lifting myself. It all had an exact place to go in the truck. When I got done, Kando said thanks Larry for all your help. He then went to the cab of the truck and came out and handed me an album and an autographed picture of The Liverpool Five; I was only 15 at the time and will never forget the experience I had helping their road manager. What GREAT memories. Thanks. Larry Lewiston,
Idaho |
| Dick, Thanks for the
interview with Dan Hortter in The Lance Monthly. We opened for The Yellow
Payges twice in Winston Salem in 1969 and 1970. Our band Sacred Irony
opened the show with Bobby Sherman and backed up Bobby for his set. The Yellow Payges
were very powerful (and loud!) sounding much better than the LP. Thanks again for all you do. Chuck Dale
Smith |
|
Record Review in Latest Issue of New Gandy Dancer
(Issue 91)
The Knights’ Tiempos Malos (Lance Records 2014): Love
Hurts, Sleep Walk, Walk Right Back, My Way, Bulldog, Hard Times, Yellow
Bird, Walk Don’t Run, Too, Afterglow, Soul Searching
The last set that we had from The Knights was a mix of Satriani
guitar and sixties guitar and pretty rocking it was, too. This time the
boys go right back to the beginning of an altogether more gentle set of
excellent originals coupled with classic covers.
There’s Ventures and Fireballs sounds all over and the whole album
is a delightful revisit to early sixties guitars sounds by a band who were
there and know how to do it. Really good
album. Dave
Peckett Editor – New
Gandy Dancer (issue 91) “The
magazine for rock instrumental music”
10
Camberwell Close
Festival Park Gateshead NE11 9TZ |
|
Dick, Here are a few things wrong with this interview
[Superstar Refused to Anglicize His Surname!]: First, there was no midwestern blizzard on
Feb.3, 1959 in Clear Lake, Iowa. Trini Lopez and his band (The Trini Lopez combo) were playing at the NCO club on the Air Force base in Wichita Falls, Texas (not nightclub), and Buddy Holly's dad was doing some work there (tile work). [He] heard Trini and his group playing and told Trini about his son Buddy and the studio in Clovis and also told him Buddy would be in Wichita Falls in a few days.
The Trini Lopez Combo went to Clovis and met Norman Petty. Norman
had the group cut 8 demos to send to Mitch Miller at Columbia. Four were
instrumentals and four had Trini singing. Columbia came back to Norman and
told him we have a room full of singers, but we like them as an
instrumental group. Trini was not happy with that and left the group and
Norman named the group The Big Beats.
It was Columbia who turned down the records Trini was singing on
not Norman. The Crickets had just [gone] to California and were doing all
right, but always looking for a front man (there's been more Crickets then
fleas on a dog). Trini's getting to California was his own bad timing.
Maybe, like a lot of the people in the music business, Trini needs to tell
it like it was and not make a lot of this up—his last name had nothing to
do with Norman,
The drummer Trini had was named Zapata (I don't think he was from
Idaho) and Norman had him and JI working at the same time in Clovis. I
don't think you'll put this in your letters next month, but I wanted to
get it right anyway. Howard
“Nevada” Olson [Dick Stewart Notes: Hey Compadre, here are your thoughts for all to read and some of my comments on them: Aside from it being colder than a witch’s tit, it’s a known fact that there was a lot of blowing and drifting snow with limited visibility during that terrible airplane disaster, which took so many lives; and it was my statement, and not that of Trini (everything else was attributed to him). Also, keep in mind the key point in Lopez’s interview about how difficult it was for anyone with a Hispanic surname to break into the mainstream market during that period of time. You and I are about the same age and we know how it was. Ask yourself this: When was the first time you saw a T.V. anchor with a Hispanic surname report the news in a primetime market?] |
|
Hi, I enjoyed reading
your Trini Lopez interview very much. Just one correction I'd like to make,
though.
It probably was just a typo, but Trini's birthday is May 15, not
13.
Thanks! Sincerely, Barbara Marowski [Editor’s Note:
Thank you for the heads-up. We did make that change.] |
|
Beverly,
So nice of you to contact
us. I'm really glad you have enjoyed "Cry'n Shame" for all these years, as
I really like it too for just what it is, Garage Rock 101. It would be a
privilege to have you write an article about us, then and now. I have a
package that I will send you with photos and band history, and something
about our musical and personal reunion after 43 years. Whooow, what a
trip! Same guys, just a lot more miles on the odometer! I will send things
along tonight so that you can choose the material that you want to use,
then ask the remaining questions you need answers for. I will enjoy
working with you on the article, and please thank Dick for us. We are
still looking for a label to represent our new CD effort, so if you have
any ideas, please let us know. We are talking with a few labels but want
the right fit. Thanks and Merry
Christmas, Tim Justice |
| Beverly: Hi, thanks for the nice review, I forwarded them to
Eddie of the Lemon Drops and Mal of the MD. Michael Cicadelic
Records |
|
Hi, I just wanted to thank Beverly for the review on the
LEMON DROPS. YOU are in tune with the band, Thanks EDDIE WEISS
- GUITARIST AND SONGWRITER. |
|
Bev, The interview was FANTASTIC. Thank you all so very
much, IF you like I will call Steve and get him to contact you for a
future article on the Five. I hope all is well and everyone in good
health. Again
thanks for everything. I got some great e-mails on it. Will send you one
that I really liked. Take Care, John
Kandarian |
|
Hi
Beverly! Thank you for the nice words! Great interview! Dan has been
a long time friend of mine from the ‘60s! I just love The Yellow Payges! I
am also friends with Mike Dugo on the Internet! He is very nice and
helpful! Please stop by anytime and if you would like to exchange links,
just let me know! I will post your email on my News 2 page! Thanks again, Betty -
Hollywood a Go Go |
| Great
article about the Liverpool Five and their Roadie, John Kandarian. I'd love to
see an article with more good stuff about the Liverpool Five, my favorite
group of all time. They were/are the best! And I agree,
their music is almost as fresh today as it was in the 1960's. I can hardly
wait for their reunion performance in Sacramento—hope you'll provide
details for other fans who'd like to be there. Also wouldn't
hurt to plug their CD released by Sundazed Records--its
fabulous!!!!!
Again, thanks for the great
interview. Sharon
Reason |
|
Dick, I was just thinking about you as I read
a TAXI listing that is looking for surf-guitar music (ala Duane Eddy, Dick
Dale and the Ventures) for some retro project. I thought "I should tell
Dick Stewart about this." As soon as I went back to my messages, the new
Lance popped up! Haven't been to
Clovis in 3 years; won't be the same without the K-Bob's that burned down.
My friend is still upset over the deal with Tommy Allsup. She took the
photo of him that he used on his album and is selling prints of, but he
credited Liz for it! I went to the El Rey
Christmas show Saturday night with Cadillac Bob and the Rhinestones and
the Planets. The Rhinestones sang backup on a demo I did last year;
Freddie Chavez did the vocal. Do you ever go to
Encore Music on Menaul? A lot of people from the old Albuquerque bands
hang out there. Hope you have a good Holiday. Alan |
|
Hi Hoss: My name is Kevin
Conley.
I am a friend of Beverly Paterson and just read the interview she
did with you about your soon-to-be-published book. What a cool
interview and I'm sure your book is even better. I also am a
musician and songwriter that Beverly has reviewed. I am almost
53, so I was not old enough to go to the shows that you worked on. Although my
brother is 62 and my sister is 58, so I did live it, vicariously thru them
and TV.
I have very fond
memories of those years, when life was much simpler and adventurous. I look
forward to reading your new book when it is released and sure hope it
becomes a movie. I also look forward to my memory banks
being dusted off by your book. I wish you much success! Beverly is a
very sweet and knowledgeable person and I appreciate her sending me your
interview.
By the way, it was these bands among others that led me into
creating my own music. If I could thank them all, I surely
would! Your Fan Kevin
Conley |
|
The Lance Monthly Album Pick of the Month
|
Artist: Mostly Autumn
Title: Pass The Clock-1998-2008 Remastered (3 CD
Set)
Genre: Progressive Rock
Label: Mostly Autumn Records
Website: http://www.mostly-autumn.com
Source Link: http://www.muzikreviews.com/reviews.php?ID=888
Mostly Autumn has been one of the
most productive progressive rock bands over the last ten years. They also
quickly became one of the best even though flying slightly under the radar
initially did not position them ideally or fairly. Now it’s more than ten years
later and most deservingly we have Pass The Clock-1998-2008, a collection of 35
remastered tracks spanning that timeframe.
Bryan Josh (lead and
backing vocals, lead guitar, rhythm guitar, acoustic guitar, 12 string guitar,
keyboards, piano), Heather Findlay (lead and backing vocals, acoustic guitar, 12
string guitar, piano, recorders, percussion), Iain Jennings (keyboards, piano),
Anne-Marie Helder (flutes, keyboards, piano, acoustic guitars, backing
vocals), Liam Davison (rhythm guitar, acoustic guitar, 12 string
guitar, slide guitars, backing vocals), Andy Smith (bass guitars), Gavin
Griffiths (drums) and Olivia Sparnenn (backing vocals, percussion) make up the
current Mostly Autumn lineup.
Mostly Autumn’s sound is
very atmospheric with a combination of keyboards, guitars, bass, various forms
of percussion, flutes and dreamy vocals provided by Heather Findlay and David
Gilmour like vocalizations from Bryan Josh. Their overall sound has always
reminded me of Pink Floyd, but much of what they do is very original and
memorable. I discovered this band early in their career around 2000 or
thereabouts and was immediately captivated with what they had to offer. Since
then I have reviewed a lot of their work including lavishly presented DVD sets
and high-end CDs for optimal sound. You can always count on a great quality
presentation from this band.
Pass The Clock-1998-2008
seems like it could be overkill with 3 CDs and 35 tracks;
however, that should be the least of your worries. If you are a solid band like
Mostly Autumn it’s not hard to come up with viable tracks over a ten year
period; the difficulty lies in choosing which tracks to include in such a
comprehensive set. It seemed like an insurmountable task for the band to choose
the tracks, but it did come together and the final piece was remastering
everything. The results are jaw-dropping sounds that even the most astute
prog-rock enthusiast would find difficulty in criticizing. The packing is top
notch, featuring a high-quality cardboard, three-piece gatefold CD holder with
liner notes and the necessary thanks to all the important supporters of the
band.
I suppose packaging is the
least important in most cases; however, when you are talking about progressive
rock listeners, it happens to go hand in hand with the music. Mostly Autumn has
never been a band to feature futuristic or spacey designs on their album covers
like Yes or Uriah Heep for instance; they are lower key and their artwork
reflects a more subtle message while fitting the band’s approach and
name.
This is an outstanding
collection of tracks, not one dinger in the lot folks and a quintessential
snapshot of one of the most excellent perhaps underrated prog-rock bands in the
world.
Fans should know as well that two volumes of Live 2009 are now available from the band.
5/5 Stars
Keith “MuzikMan” Hannaleck
For Questions Or Comments About This review Send An Email
To: info@muzikreviews.com
|
Disc One: 01. Fading Colours 02. Ghost In Dreamland 03. Pure White Light 04. Distant Train 05. Answer The Question 06. Evergreen 07. The Second Hand 08. Storms Over Still Water 09. Paper Angels 10. Tearing At The Fairytale 11. Pass The Clock |
Disc Two: 01. Yellow Time 02.Prints In The Stone 03. The Eyes Of The Forest 04. Boundless Ocean 05. Shindig 06. Blakey Ridge/When Waters Meet 07. Winter Is King 08. Which Wood? 09. At Last To Rivendell 10. Simple Ways 11. On The Wings Of Gwaihir 12. Steal Away 13. Bitterness Burnt 14. Shrinking Violet 15. Goodbye Alone |
Disc Three: 01. The Night Sky 02. Silver Glass 03. Half The Mountain 04. Carpe Diem 05. Hollow 06. Passengers 07. The Gap Is Too Wide
08. Glass Shadows
09. Heroes Never Die |
[Please send your comments on this interview to rvstewartproductions@yahoo.com and write “TLM Pick” in the subject box.]
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NOTICE!
[Any use of the text or photos in this or any other issues of The Lance Monthly in whole or in part without proper TLM authorization is strictly prohibited.
Please contact Dick Stewart at rvstewartproductions@yahoo.com for questions about licensing.]
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Hasta La Próxima Vez
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