August /
September 2010 Vol 11, No.
3 "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
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Monthly Archives: March 1999 to
present To license articles
from "The Lance Monthly" for your site, write to:
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Monthly Vol. 11, No. 3 August / September 2010
(word)
IN
THIS ISSUE
Up Close with UK’s Patrick Campbell-Lyons
(Vocalist for UK’s Nirvana during the
‘60s) 18 Identical Buddy Holly J-45 Guitars
to Be Built for Presentation
(Each
will contain one original fret from Holly’s Original
J-45) An Interview with Bob
Polhemus (Vocalist for New
York’s Teemates during the ‘60s) Paterson’s
Jump, Jive and Harmonize (Reviews of releases by
Terry Knight and The Pack; Leslie’s Motel; The Jaybirds; John
Einarson) Buddy Holly Historian, Bill Griggs, Inducted in West
Texas Walk of Fame
Up Close with UK’s Patrick
Campbell-Lyons Vocalist for UK’s Nirvana during the ‘60s (Interview Conducted by Chief Staff
Writer, Beverly
Paterson) After Nirvana ceased to be, Patrick continued writing songs and making
music. His tunes have been recorded by a number of famous folks, including The
Everly Brothers, Herman’s Hermits and Jimmy Cliff. Patrick’s most recent venture
is “Psychedelic Days 1960-1969,” a book he authored about his own personal
experiences and perspectives of the lively
decade. [Beverly
Paterson Notes: Psychedelic
music was where it was at in the late sixties, and Patrick Campbell-Lyons was
one fellow deeply affected by the vibrant sights, impressions and images.
Already a working singer, musician and tunesmith, Patrick, who grew up in
Ireland, but moved to England in the early sixties when the beat boom was
blossoming, partnered with Alex Spyropoulos, and that’s when Nirvana was born.
Ambitious, experimental, spiritual and forward thinking, the band accomplished
and achieved quite a lot during the time they were active. Not only did their
music teem with magnificent moments, but they also wear the badge of being the
first rock band to feature an electric cello, the first rock band signed to the
now-legendary Island label, the first rock band to use phasing throughout a
song, and that song was their wonderful hit single, “Rainbow Chaser,” and the
first rock band to record a concept album, “The Story of Simon Simopath,” which
was released in 1967. And though it’s really pointless to say, but I’ll say it
anyway, they were the first rock band called Nirvana.
Basically a science
fiction pantomime, “The Story of Simon Simopath” accented Nirvana’s talent for
laying down smartly chiseled pop rock musings, fringed with kaleidoscopic
perceptions. The harmony-rich “Pentecost Hotel,” along with the
tranquil temperaments of “Never Found a Love Like This Before” and
“Lonely Boy” also appeared on the disc, as well as the instantly irresistible
“We Can Help You.” Flooded with fetching melodies and arrangements, “The Story
of Simon Simopath” was a fine introduction to the band’s striking originality.
Nirvana’s sophomore effort, “All of Us,” proved to be just as enthralling. “Girl
in the Park” and the title track of the album are heavily orchestrated pieces of
pop rock pizzazz. The positively ravishing “Tiny Goddess” and the heady “Rainbow
Chaser” are additional keepers contained on the disc, which like “The Story of
Simon Simopath” is rightfully regarded as a classic of its era.
After Nirvana ceased
to be, Patrick continued writing songs and making music. His tunes have been
recorded by a number of famous folks, including The Everly Brothers, Herman’s
Hermits and Jimmy Cliff. Patrick’s most recent venture is “Psychedelic Days
1960-1969,” a book he authored about his own personal experiences and
perspectives of the lively decade. A thrilling read from beginning to end, the
book is available at www.psychedelicdays.com and
www.amazon.com., and is a
must have for both Nirvana fans and sixties aficionados. Straddling the line
between accessible pop music and progressive psychedelic rock, Nirvana stretched
and exceeded boundaries. Recognized as the innovators they were, the band’s
recordings still sound fresh and relevant. Patrick remains as creative and loyal
to his art today as he did back then, and is presently engaged in a couple of
different endeavors that promise fun and excitement.]
. . . .
. Beverly: First
of all, I want to say congratulations on a great book! “Psychedelic Days
1960-1969” is one of those books that you just can’t put down. In fact, I read
the whole thing in almost one night! What exactly prompted you to write your
memoirs? How long would you say it took to complete “Psychedelic Days
1960-1969,” and did you find it to be a daunting task or did everything come
together pretty easily? Patrick:
Thanks for the words of congratulations—it sounds like you really did go on
“the trip!” Someone‘s journey written down to be read should always be
entertaining, and mine seems to be doing just that from the reviews it has
received in the USA and in London and in Dublin. You are one of a number of
people who have read it in one night. Sorry for keeping you awake from your
beauty sleep! Nothing as such
prompted me to write the book. I had no agenda. I am a songwriter and that is my
craft. Subliminally, though, I do remember younger members of my
family--daughters, nieces, which I have five of, cousins, children, that kind of
thing—asking me, “What were the sixties like?” “Did you do drugs?” “Was
there really free love?” In the last ten years, I was asked these questions when
we saw each other. So maybe there was something there! It really started with a
song I was writing called “Psychedelic Daze” about friends from that time who
were no longer around. And I kept writing more and more lyrics endlessly. I
could not stop and it became an essay, and then a story, and then I realized I
was trying to write a book. It took eight months to complete. I wrote it in
longhand, six hours every day and I was in the perfect place to do it, in a
small village in the mountains of Granada Andalusia, Spain. No distractions, no
TV, and no one in the place spoke English, which was great for my Spanish. So I
wrote a book and improved my Spanish—not bad! Beverly: You’ve been promoting the book by doing in-person
signings. Are you traveling all around the world to sell the book? And how are
these events going? Have you encountered anything interesting or unusual you’d
like to share with us? Patrick: Well, a company in San Francisco called GRA GROUP
published the book in March of this year, and this is the first promotional tour
here in the West Coast of the USA. When I return to my London base for the
moment, early June, I will start to promote it there. The readings and signings
have been exciting for me. Very different from promoting music, though I have
met many fans of our Nirvana music. Many had vinyl copies of our Island Records
albums for me to sign, and to my amazement the people were young. Guys in psych
bands with their girlfriends and university students. No old degenerates like
me! Ha, ha! I also played a small show with a guitarist and cellist at a private
party in Los Angeles for some dear friends who invited some influential press
and music people to the function. Patrick: I never have regrets about anything in my life.
You come into this world and you inhale, and when you exit this world you
exhale. What you do with your time between is your decision. And fate “plays its
own hand“ in the background. I wrote the book with no plan, no purpose, only
with the pleasure of seeing it appear before me day by day. Beverly: Any plans to write another biography? Or how about
another book on any other subject? Not only are you a fantastic songwriter, but
a fantastic writer all the way around! Patrick: Well, it’s not really a biography, as it covers
only 1961 to 1969, and is about a music journey that becomes a “trip” during
that most talked about decade of love, peace, flower power - what was that?
Drugs, psychedelics, travel to distant places and sex. Hedonism! I do agree. But
it is also an insight into what it was really like to be in a band—a proper rock
pop group, not like today, which is not about adventure anymore. Now it is about
isolationism and playing an instrument with one finger and learning to count
beats. Still, they might read my book and “live the life” in a safe and removed
kind of way. And hopefully, do a few beverages or joints while reading it. Now
on the other hand, as I said earlier, there are pockets of kids around and
about, in towns and cities in USA and Europe, who are writing some good songs
and are in bands playing live, listening to vinyl because they just don’t like
the digital world of recording. It has no life, no personality, no feeling. Back
to analog if you ever went away from it, I say. Be real. Regarding your
question…Yes, I do intend to try to write something new. It will be a novel
about a man with two brains. I have a great title and am waiting for his
permission to start. That’s all I can tell you for now. Beverly: Prior to Nirvana, you played in a band called The
Second Thoughts, which you write about extensively in your book. Like a lot of
bands back then, your repertoire consisted of rhythm and blues beat type music.
Of course, with Nirvana, you went in an entirely different direction, as
psychedelic music was then coming into vogue. Was it a challenge for you to
adopt a whole new consciousness or did it come naturally? Patrick: It came like sunshine after moonshine. Think about
that one and see where it takes you! Flower Power after Black Power; down that
bad road and over the Delta to chasing hippy girls. I don’t know where this is
going now, so yes, it came naturally. Beverly: One of the many things I like about your book is
how at the end of each chapter you list “Indulgent Recommendations for the iPOD
Generation” - what excellent choices they are! While we’re on the subject of
iPODS, what do you think about such a gadget? Do you feel iPODs and downloading
music in general has taken something away from the music itself or do you view
such practices in a positive light? Patrick: I answered that already - the idea of doing other
things while I listen to music…multi-tasking, is that what they say now? I find
it abominable, but to each their own. Beverly: Getting back to Nirvana, what was your original
vision? Did you and Alex have a clear-cut idea of what you wanted to achieve
when you formed the union? And were you purposely aiming to be different than
all the other artists and bands out there? Patrick: We had only two rules. We would work as hard as we
possibly could in writing the songs and recording them. First, as good as home
demos. We had two Revoxes - they were our “lovers.” And then in the studio
proper, with the vision we had of a soundscape and Chris Blackwell‘s help with
no limited recording budgets. We made music only for us, and if other people
liked it, that was fantastic. And they did! And they still do today! We are now
the world‘s greatest cult band. With a little help from another band who came
from Seattle two decades later! Patrick: If I knew that, I would never do it. Patrick: If I answer you on that one, then there is no
reason for anyone who reads your interview with me to go and purchase the book.
Wouldn’t you agree? Beverly: I do agree! Beverly: What do you feel sets your music apart from the
pack? What is unique about the music of Patrick Campbell-Lyons? I could answer
this question myself, but it’s much better to hear it straight from the one who
creates the music! Patrick: I really have to say that I do not know what it is
and I really mean that. Is it my personality, my Irish soul, my Anam Cara? I can
write alone and with Alex Spyropoulos, my partner in Nirvana, I like the
process and it sets me free . My spirit rises when I start to realize I might
have something going on in my head that I can give as a gift to the world. That
is how I feel it and hear it, and I always pray to God and say thanks. You
say you could answer this question yourself, and that‘s good. I‘m not sure I
really want to know!

-

Beverly: You‘ve certainly lived a full life and covered a
lot of your experiences in “Psychedelic Days 1960-1969,” but is there anything
in particular you regretted having to leave out of the book that you would like
to mention here?
Beverly: What can you tell me about your songwriting style?
What exactly motivates you to sit down and write songs?
Beverly: Throughout your travels, and boy, have you
traveled all around the world, you’ve met many people, and a good number of them
are documented in your book. For those who haven’t read “Psychedelic Days
1960-1969” though, would you mind giving us your impressions and remembrances on
some of the people you met and with whom you worked, such as The Rolling Stones,
Jimi Hendrix, and The Who? And let’s not forget Salvador Dali!
Beverly: Bands having the same names is nothing new, and
you dutifully took action against Nirvana, the band from Seattle, when you heard
of them.
Patrick: Yes, we did. We had to because we were Nirvana and
we still are Nirvana. Some people say we are Nirvana UK or sixties Nirvana - on
the internet, we are swimming together.
Beverly: What musical projects are
you currently involved in?
Patrick: I have just finished recording a project of new
songs and a couple of covers in the mix also. It is called “13 Dali’s” and will
be released in 3D by the GRA Recording Company of September this year.
[Send your comments on this interview to rvstewartproducions@yahoo.com and write Nirvana in the subject box.]
18 Identical Buddy Holly J-45 Guitars to Be Built
for Presentation Each Will Contain One Fret from Holly’s Original
J-45 (Article by Peter
Bradley; edited by Dick Stewart)

Legendary luthier Rick Turner, who
co-founded Alembic Guitars many years ago, restored Holly's original
Gibson J-45 for
Gary Busey, the
actor who played Buddy Holly in the 1978 highly acclaimed but controversial
film, The Buddy Holly Story. Rick was allowed to
keep the original frets, the very ones on which Buddy wrote many of his most
memorable songs. Recently, I purchased those frets from Rick and an incredible
journey began.
Rick and I decided that I would finance and he would build 18 identical guitars to Buddy's J-45 and insert into those instruments an original fret from Buddy's guitar.
Rick contacted his friend, Professor of Law and leading authority on WW11
Gibson guitars, John Thomas, John contacted Maria Elena Holly, who graciously agreed to head the board of Directors, and,
in April 2010 in Dallas, The Buddy Holly Guitar Foundation was born.
Other prominent folks from the music industry followed to join the board
of Directors including two of the most illustrious figures in American popular
music: Graham Nash and
Jackson Browne, thanks to Rick’s long time friendship with them.
Susie Temple from Custom Rawhide Leather also joined the board, and with
great artistry, is recreating identical covers to the one on Buddy's original
J-45.
We are delighted to say that the leading Buddy Holly and Crickets music
historian Bill Griggs is an
Honorary Director of TBHGF, too.
It's wonderful Bill’s dedication over many years has now at last been
acknowledged with a Star on TWTWF in Lubbock.
Each of the 18 guitars will have a song title from Buddy's catalogue of
recordings both on the guitar headstock and on the leather cover. Each
instrument is to be called an RT43-45.
Also each guitar will be loaned for a period of two years to celebrity
musicians around the world with two aims: One, to further the legacy of the
music of Buddy Holly and The Crickets for future generations; two, to raise funds for worthy
music charities, so those less fortunate can have access to musical instruments
and education.
Therefore we are delighted that the first two recipients are No 1 RT
43-45 “Rave On” Graham
Nash and No 2 RT 43-45 “Oh Boy”
Jackson Browne.
We also hope to have the co-writer and first artist in the world, who
recorded those songs, the great Sonny West,
present these guitars to Graham and Jackson.
I
have also acquired Buddy's original Gold Record for Peggy Sue from Peggy Sue
Gerron, and this unique item of rock-and-roll history is to be offered on loan
to The Rock and Roll Hall of Fame Museum in Cleveland, as we were advised would have been the
wishes of Buddy's parents, together with guitar No 3 RT 43-45 Peggy Sue and
other Buddy related items.
The board is now putting together a list for the other artists we would
like to receive the remaining RT 43-45 guitars, which will hopefully include
some great female musicians as well. On a purely personal level, I would like
Sonny Curtis to be
among the first wave of guitar recipients. Also TBHGF will endeavor to bring a
much higher profile to The Crickets, as we feel their talent and participation
alongside Buddy in helping establish those early days of rock and roll is too
often overlooked and undervalued.
Buddy is also to receive his Hollywood Star September 7, 2011, on what would have been his 75th birthday.
[Send your comments on this article to rvstewartproducions@yahoo.com and write J-45 in the subject box.]
Juggling the dual influences of Buddy Holly with the British Invasion combos of the day, marked
by occasional side trips into surf rock and teen pop, the band brandished
an immediately likeable sound.
Beverly Paterson: What wonderful
news it is that the long lost Teemates album is finally seeing the light of
day! Just how did this all come about? And what was your reaction when you
heard the record was finally going to be released?
Beverly: Are the songs on the
album mostly songs you performed when playing live? And how would you compare
the live shows of the Teemates to what is on the record?

Beverly: Your many fans can answer this
question, but it’s always best to hear it straight from the source, so I’ll ask
you what do you feel makes your music unique or different from the other singers
and musicians out there?
Beverly: What is
the most interesting or amusing comment you have ever received from someone
regarding your music?
Reviews of releases by Terry Knight and The Pack; Leslie’s Motel; The Jaybirds; John Einarson (By Beverly Paterson – TLM Chief Staff Writer) |
Terry Knight and The Pack “Terry Knight and The
Pack”/”Reflections” (Collectors Choice Music) |
Leslie’s
Motel “Still Alive And Dirty” (self-released) |
The Jaybirds
“Naked As Jaybirds” (Time For Action Records) |
“Forever
Changes – Arthur Lee and The Book of Love” by John Einarson (Jawbone
Press) |
For
review consideration, send your CD to:
The Lance Monthly
Attn:
Beverly Paterson – TLM
Chief Staff Writer and Reviewer
P.O.
Box 6474
San
Mateo, California 94403
|
Buddy Holly Historian, Bill Griggs, Inducted into West Texas Walk of Fame Considered Holly and Crickets’ Leading Historian
(Article
Written by Dick Stewart, TLM Editor) |
.jpg)
Bill Griggs, who many believe to be Buddy Holly and The Crickets’ leading historian, was inducted into the West Texas Walk of Fame at 6:30 P.M. on July 30, 2010 in Lubbock, Texas. Formerly known as The Buddy Holly Walk of Fame, the change occurred because Holly’s widow, Maria Elena, demanded a hefty licensing fee from the city of Lubbock for the use of her husband’s name, which it was not willing to pay.
tor of eligibility on a level of historic significance
similar to that of the West Texas Walk of Fame’s previous inductees.
om Austin, Texas, who co-wrote George Strait’s
hit, “Desperately”; Peggy Sue Gerron, who, when asked by this reporter how her
book, “What Ever Happened to Peggy Sue” was doing, replied, “It’s doing well now
that I separated myself from Al Olmernick”; and author, John Goldrosen from
Massachusetts, who wrote “Remembering Buddy,” which Griggs feels is the best
Holly biography on the market.
rry Allen, Dan Blocker, Glenna Maxey Goodacre, and Dirk
West, 1997; Butch Hancock and Jimmie Dale Gilmore, 1998; Eddie Dixon, 2000; The
Fireballs and Delbert McClinton, 2001; Helen Wagner (Willey) and Brad Maule
Rotan, 2002; Alvin G. Davis and Billy Walker, 2003; Clif Magness and Richie
McDonald, 2004; Agnes Torres and Angela Strehli, 2005; David Gaschen, Jennifer
Smith, and David Box, 2006. All these inductees are listed as being from
West Texas with the exception being The Fireballs, who are listed as Clovis, NM
residents, but, in fact, hail from Raton, New Mexico that borders Colorado.

From Our TML Readers |
Hi Dick...
Nice to see you at the Griggs’ induction, and great news about your
book!
I
haven't gotten around to it yet. I'm covered up for the next week, but my load
should lighten and then I'll try to start reading.
Just to let you know, if you will "pass the word" around, I'm going to be
a guest at the Albuquerque Record Collectors Convention at the Elegante Hotel on Menaul and
University, Sunday, August 29th,
9:00 am to 5:00 pm.
Maybe you can 'drop in' for a chat if you are able.
Take care,
George Tomsco
Fireballs’
Guitarist
. . . . .
Compadre,
Noticed a good pic of you and Ritch in Lubbock on the
Lubbock paper site.
Sonny West
Co writer “Oh Boy”
and “Rave On”
. . . . .
I
am SO happy that historical ground work, fact gathering, and archiving of the
info on Buddy Holly and other
Texas rock groups has been done, thanks to Bill Griggs and his supporters and protégés.
I'd much rather read up on
the facts and situations of ARTISTS' lives rather than empty-headed bimbos of
Hollywood and political crooks (with smooth voices, degrees in law and perfect
used car salesman hairdos). Hip hip hooray for genuine old time rock n roll, its
archivists, historians and supporters. In this [Davie Allan] forum, Dick
Stewart, Boobie, Unsteady Freddie, and Rod Ice are this little group’s
historians.
Kit Slitor
. . . . .
Dick,
I
got the “Precision” album [King Richard and The Knights]. I spun it on my radio
show last week on CD from the Collectables label. I would like to try to
convince you to write a book about Davie. Maybe a book about unsung instrumental
greats. Link, etc?
Did you know that Billy
Joel is in the R&R Hall of Scheiss, and LINK WRAY IS NOT? Sorry, something is wrong
here.
Davie has the abilities, and he has the feeling and the tone and all
that. So, just think about it. You have the chops and the passion to do it.
I loved that book of yours [Eleven Unsung Heroes
of Early Rock and Roll]. Some of the artists I didn't even know about, even
though I consider myself an “expert.” The stories were so good! It didn't
matter.
Listen to kxci.org Tuesday
nights from 6 pm till 8
pm. I am a DJ, and the best one on that Americana station. I'll send you
CDRs if you can’t listen.
Plus, you have a mailing address I am sure. Send it soon. I'll send you
some of my things on wonderful crappy digital compact disc. Better than nothin’. That
OK?
And, keep it up. Turn it over in your mind. The greatest instrumental rock guitarist of many
generations (besides Mr. Wray, of course). Write the book.
I
am so happy to be in touch with you. If I can help in any way, tell me how, and
it will be done.
Thank you
Al Perry
. . . . .
Hi Dick,
Quick question:
What instrument did you play in the Knights and your subsequent bands?
Thanks,
Dan Forte
[Dick Stewart Notes: A Fender Jazzmaster. It
has an unusual clean note quality about it that I’ve not heard in any of the
other guitars, and, aside from guitar mentors such as Davie Allan and George
Tomsco, who are also fans of the Jazzmaster, Nokie Edwards was a master at
enhancing its unique tone during the early ‘60s. My second choice is the Fender
Stratocaster; however, I believe it’s more suited for the lead-guitar shredders,
which I am not.]
. . . . .
Dick,
Back in the 70's at the Carowinds Theme Park on
the NC/SC borderline, I had the pleasure to see
Waylon Jennings and The Crickets.
I was absolutely stoked because that entourage was the bees’ knees!
Waylon of course was the T-R-O-U-B-L-E MAKER and got the crowd whipped up
in a ruckus as usual. He always had this knack of coming off really cowboy gruff
and knew how to get into the psyche of the rednecks and often fistfights and
scuffles would erupt and he'd even taunt them cats as he'd make fun of the
"YEE-HAs" he would hear the southern boys yelling, saying where he come from it
was "YIP YIP YIP" and get the liquored up ones rowdy on purpose. All this was
being done in the extreme outdoor sunlight and humidity with no shade and
everyone had smuggled in pints of "brown likker" and them rednecks git orn'ry
when they sweat booze out. He was the master.
But he knew when to pass the baton on and his buddy and guitar mentor
Sonny Curtis came out with the Crickets and I was as electrified as anytime in
my life standing there in the presence of musical royalty at it's supreme
existence. I marveled at the many times I read the records that that name had
appeared upon. All the songs were great.
But when I heard the version of "Don't Breathe a Word" on "Spotlight On
Rick" I was smitten by that tune far beyond all of Ricky's hits. I never
understood why that one never went to the chart top!
95% of those rednecks only knew Waylon from "Wanted! The Outlaws"
record that they had played only "Side Two" of so much they felt like they were
part of his life. They really were tickin' me off at the disrespect they were
doin' during the Crickets set, but they were not too awfully bad because Waylon
had controlled their mindsets enough, but not enough to disrupt the scene around
where I was because those rednecks were from my neck o' the woods and thought it
was all about them urban wannabes.
Still I had the time of my life despite them and Waylon put them in their
fashion-attired only place. He verbally whipped them boys with taunts the entire
time he had the stage.
Waylon once at Charlotte Motor Speedway went at the crowd, who in various
sections started fist fighting during a long delay before the race where
there was a boxing match right before his set.
The crowd had been in the sun too long and had drank too much and by the
time Waylon had taken stage, there had been many fist fights and he would see
them going on and taunt them saying, "Is that the best you can do?"
and laugh and make comments about how lame the fight was; how lame the
fighters' were; and when another one would break out he would start in on them
taunting them and letting 'em know that in Texas their
butt's would be stomped off their bodies in short time and he seemed to
love snickering at all the turmoil breaking out as if he needed that element to
fuel his energy for his set. Waylon would have made a great biker gang
leader in a AIP movie!
"Just a "good ol' boy"!"
Now the crowd who was not involved in all the little scuffles were
yelling and hooting and aggin' all this on and I'm telling you it was an
atmosphere that was both uneasy and sinister, but somehow surreal like some
scene from a western movie.
I've
never seen Willie Nelson live. No disrespect but I'm just the Waylon type.
But I went to see Waylon every time. I'm sure Waylon must have mellowed out
before he left us, but back in his "glory days" he was something. Because
he never recovered from guilt he suffered associated with
circumstances involved in the crash which took his friend Buddy Holly
and other musical artists, it was well known it jaded him the rest of his
life that left him set on edge like that even more.
It must have been grueling to finish that tour commitment without Buddy
and missing the funeral. He was forever haunted.
Times have changed and men were a “different breed of men” then and
Texas bred a generation that will never be like those guys again. I'm sure when
Waylon toured with the Crickets that he was a stark reminder to them that had
Buddy and The Crickets
remained the group at the time of The Surf Ballroom, things would have been different.
Dick Stewart did a great write up on Sonny Curtis in his book and he is a
friend of Sonny's visa versa.
Thanks,
Vibramutant
. . . . .
Hello
Dick
I
have to give you full
marks for your honesty in printing all comments regarding your book be they good or in the middle; a lot
of people would have just ignored my comments and would not have posted
them.
The second part of Bill Griggs’ article was excellent and stood the test of time. Keep up the good work.
Cheers
John Simmonds
Bristol, UK
. . . . .
Happy Birthday Dick!
I still want to get an autographed copy of your book. Please repost how I can do this?
Unsteady Freddie
For an autographed copy of Eleven
Unsung Heroes of Early Rock and Roll go to http://lancerecords.com/unsung%20heroes.htm ($25.00)
For a good read minus the numbered autograph at an excellent price of $11.44, go to:
. . . . .
Good Morning,
Dick,
I have an
opportunity to meet and greet you later this morning, sometime between 11 and 12
o'clock today. Would that work for you? My cell phone number is _______ and I get email on my cell phone; so if a
meeting this morning is good for you, just let me know via a reply to this email
or call me on my cell.
Don't forget
my/your book!!!!
Nancy Elson
For review consideration, send your CD to:
The
Lance Monthly
Attn: Beverly Paterson – TLM Chief Staff Writer and Reviewer
P.O. Box 6474
San Mateo, California 94403