Index

A B : signature sound of, 26; “Back Where You Belong” (38 Special), signed by John Kalodner, 102; “Walk 179 This Way,” 112 Baker, Ginger, 42–43 Allman Brothers Band, 36, 38, 66, 86, 152 Barnes, Don: collaborative song writing “All My Loving” (Beatles), 9 with, 115, 117–119; as forward- American Society of Composers, Authors, thinking, 112–113; leaves 38 Special, and Publishers (ASCAP), 163 161–162, 166; new band role taken by, A&M Records, 46, 65–66, 67, 83, 102, 184 106, 109, 113; “Rockin’ into the Night” Appice, Carmine, 37, 200 sung by, 102, 103, 106, 109; as Sweet Assessing: constructively in order to Rooster member, 36 avoid breakups, 158–162; individual “The Battle of New Orleans” (Horton), 5 team member strengths, 53; need for Battle of the Corporate Bands, 200 collaboration, 127; value of your own Beard, Frank, 94 activities, 142–143; your business The Beatles: Ed Sullivan Show throughCOPYRIGHTED eyes of competition, 70; your appearance MATERIAL of, 9, 11; fi nancial and hidden talents, 110; your individual managerial problems of, 132–133; “I role and skill set, 53; your own Saw Her Standing There,” 9, 114; “I collaboration skills, 128 Want to Hold Your Hand,” 9; Atlanta Braves, 100 “Memphis, Tennessee,” 64; “Money Atlanta Journal-Constitution, 201 (That’s What I Want),” 64; Pete Best Atlanta music scene, 30–31 cut loose from, 13; Sergeant Pepper’s Atlanta Rhythm Section, 30, 91 Lonely Hearts Club Band, 12; “Twist Atlanta Symphony Orchestra, 174 and Shout,” 85 Attitude and talent, 58–61 Best, Pete, 13

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Betts, Dickey, 38 103–104; shifting role of, 104–105; Big Blue (road vehicle), 49 trusting your, 147–148 Big People, 199–200, 208 Business teams: assessing your role and Black Crowes, 129–130 skill set in, 53; commonalities Blockbuster, 29 between rock bands and, 1–2; Blues (“blue notes”), 20–21 conducting periodic self- Blues Project, 31 examinations, 97; creating bonding Bone Against Steel (38 Special), 190 within, 51–52, 215–217; importance Bon Jovi, 130, 140, 185, 218 of common goals, 52; looking out for Bon Jovi, Jon, 130, 218 each other’s best interests, 34; moving Bono, 25, 40 aside for the good of the, 109–110; Boston, 165 negotiating buy-in by, 103–104; Breakups: constructive criticism to avoid, preparing for change, 193–194; 158–162; pain of, 157–158; power and recognizing shifting roles in, 104–105; control issues leading to, 166–169; self-assessing your, 127; value of understanding that they happen, brainstorming to prevent problems, 170–171; why some bands don’t go 84; working harder and smarter than through, 169–170. See also Business the competition, 69. See also teams; Confl ict; Rock bands Breakups; Collaboration Brookins, Steven, 36, 57–58 Byrd, Ricky, 106, 152 Brown, James, 91, 179 Bruce, Jack, 42–43 C Business: allowing infl uences to develop Camp Jam crash course: Everything I your, 29–30; building scalable Need to Know, I Learned from My partnerships, 76–77; creating a First Rock Band, 225–229; 5 Rs of rock signature style for your, 27–28; 5 Rs of and business, 232–234; growing into rock and, 232–234; fi ve senses used your role, 222–225; learning from in, 22–23; learn everything about your kids, 226–229; listening to new songs own, 28; looking for possible every day, 229–231 roadblocks, 29; making the tough Camp Jam gatherings: building bonds decisions, 75–76; preparing for activities of, 52; communication/ downturns, 84; questions to ask social hour during, 211–213; learning about new endeavors, 32–33; using to communicate like a rock star at, specialists when needed, 76; success 213–215; watching individuals by switching gears, 97; transition blossom during, 148–149 from rock band to, 208–213. See also Camp Jam Inc.: collaboration tips and Career; Products promoted by, 119–122; description of Business team members: assessing mission of, 208–209; formation of, 2, individual strengths, 53; covering for 168, 201–202 your, 181; creating bonding Career: brainstorming possibilities, 203; opportunities for, 51–52, 215–217; identity linked to, 202–203; imagining importance of communication life without your, 203; taking steps among, 210–213; importance of toward higher level, 219. See also having common goals, 52; jealousy Business between, 47; learning to cope with Carlisi, Jeff: on best band names, 12–13; the limelight, 147–149; learning to Big People formed by, 199–200; as work together, 69; moving aside for Camp Jam Inc. founder, 2, 168, good of the team, 109–110; 201–202; on early life and negotiating buy-in by individual, introduction to music, 5–7; “Four

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Walls of Raiford” sung by, 80–81; on ownership issue of, 117; questions to his introduction to rock `n´ roll, consider for, 116–117; 38 Special’s use 9–10; learning to play the , of, 111–119. See also Business teams 10–11; leaves 38 Special, 190–191; Commitment, 43–44 playing for Albuquerque charity bash, Communication: Camp Jam gatherings’ 196–197; on rock band and business social hours for, 212–213; e-mail, 208, similarities, 1; “stay in school” advice 210, 214; the handoff e-mail strategy given to, 31. See also 38 Special for, 210, 214; importance of business Carl, Max, 162, 164, 165, 166, 177–179 team, 210–213; learning to Carlton, Larry, 10 communicate like a rock star, 213–215; : “,” 114; working to create effective, 219 musical infl uence of, 88, 113 Competition: keeping eye on customers Cartellone, Michael, 198 of your, 153; learning from the, 58–61, “” (38 Special), 119, 150, 98; self-assessing through eyes of the, 163, 179 70; there is always better, 93–97; Cell phone industry, 28 working harder and smarter Chandler, Chas, 64 than the, 69 Change: accepting that times/taste, 193; Concert stories. See Horror stories learning to adapt to, 194; preparing Confl ict: issues related to fi nances, for, 193–194 131–134; jealousy as source of, Band, 66 140–141; power and control issues Chorus: allowing hidden talents of team leading to, 166–169; pros/cons when members to fl ourish, 110; assessing pursuing goals, 104–109; recognizing team member’s strengths, 53; shifting roles in context of, 104–105. brainstorming career possibilities, See also Breakups; Creativity; Group 203; conducting periodic team Contacts, 44 examinations, 97; considering lost Cool, 96 value of departing member, 171; Corchran, Robert, 20 covering for your team member, 181; Cosgrove, Terry, 11 creating effective communication, Counterpoints, 40 219; examining your role in the group, County fair circuit, 187 16; importance of songwriting credit Cream: creation/decline of, 42–43; agreements, 142; information “Crossroads,” 21; infl uence of, 20 included in, 3; learn to function as a Creativity: energy of, 47–48; inspiration team, 69; looking out for each other’s and, 41–42, 88, 89–90, 111–113; tips best interests, 34; preparing for on developing, 230–231. See also change, 193; rehearsal and Confl ict preparation importance, 155; self- Criticism: cautions regarding, 158–159; assessing your team, 127; value of value of constructive, 159–161 team brainstorming to prevent Crossing genre lines, 28–29 problems, 84. See also Solo; Verse “Crossroads” (Cream), 21 Clapton, Eric, 3, 42–43, 94 Crow, Sheryl, 3, 48, 94, 174, 198 CNN, 201 Customers: accepting that tastes change, Cobain, Kurt, 29, 189 191; keeping an eye on your Collaboration: assessing your own skills competition’s, 153 for, 128; Camp Jam promotion and tips on, 119–122; creative process of, D 114–116; inspiration from, 41–42, Daltrey, Roger, 3, 152 111–113; as means to success, 127; Davis, Arista, 65

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Davis, Clive, 65 Frampton, Peter: Frampton Comes Alive!, Decca Records, 64 67; 38 Special opening for, 67–69 Demos, 186 Frey, Glenn, 162 Devitto, Liberty, 39, 62, 189, 198 Front man role, 103, 226–227 Disney, 1 Fulghum, Robert, 225 The Doobie Brothers, 125 Doomsday Refreshment Committee, 13, G 16, 20 Georgia Tech, 24, 35 Downward spiral: grunge music Getting lost story, 177 signaling, 183–186; red fl ags Gibbons, Billy, 94, 95–96 indicating, 186–190 Goals: drifting away from your mission Dylan, Bob, 30–31, 230 and, 167–168; importance of common, 52; pros/cons of confl ict when E pursuing, 104–109. See also Mission The Eagles, 3, 41, 100–101, 162, 226 Gordon, Jeff, 197 The Edge, 40, 229 Grondin, Jack, 36, 95 Ed Sullivan Show (TV show), 9, 11 Group dynamics: creating bonding E-mail, 208, 210 opportunities, 51–52, 215–217; E-mail handoff, 210, 214 examining rock band, 13–17. See also E-mail trees, 214 Confl ict Epstein, Brian, 64 Grunge music, 184–186, 191 E Street Band, 56 Guitar Hero (video game), 112, 205 Everything I Need to Know, I Learned in Guns ’n’ Roses, 230 Kindergarten (Fulghum), 235–236 Exile on Main Street (Rolling Stones), 132 H Exit strategy, 192–193 Hagar, Sammy, 164 Expertise/experts, 76 The handoff e-mail strategy, 210 “Eye of the Tiger” (Survivor), 102 Harrison, George, 10, 25, 133 Headliner-opener dynamic, 60 F Hendrix, Jimi, 5, 20, 29, 64, 125 Family relationships, 75–76 Henley, Don, 3, 41, 226 “Fantasy Girl” (38 Special), 119, 150, 178 Hidden talents: allowing team members Felder, Don, 24, 91 to develop, 110; assessing your Financial issues: importance of own, 110 addressing, 137–140; importance of Hill, Dusty, 94, 95–96 written agreements for, 142; jealousy “” (38 Special), 115, element of, 140–141; songwriting 118–119, 122, 126, 135, 150, 163, 218 royalties, 131–137, 140–141; tax The Hold Steady, 230 issues, 139 Hornsby, Bruce, 163 First impressions, 154 Horror stories: fl ying harness accident, 5 Rs of rock and business: realize, 232; 176–177; losing the stage, 177; the recap, 233–234; record, 233; rehearse, shoe fl y, 175; the stage dive, 174–175; 232–233; rock!, 234 the worse story of all, 177–180 Five senses, 22–23 Horton, Johnny, 5 Flaming red guitar lesson, 8–9 Hurt feelings, 105 Fleetwood Mac, 125 Flying harness accident, 176–177 I Foreigner, 102, 183, 185 Identity, 202–203 “Four Walls of Raiford” (Van Zant), 80–81 Image building, 63

240

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Inspiration: collaboration as producing, on, 8–9; from other group members, 41–42, 111–113; sources of, 88; 15–16; about possible roadblocks, 29; uncommon moments of, 89–90 veering off the beaten path for, 7 Internet: cultural landscape exposure on Leavell, Chuck, 42, 211 the, 191–192; illegal downloading of , 131–132, 157 songs from, 207; public access to Lee, Geddy, 41, 124 music through the, 207–208; reviews Lee, Will, 200 posted on the, 153 Leiber and Stoller, 112 In the Heat of the Night (TV show), 174 Lennon, John, 10, 47, 114, 133 Iron Butterfl y, 125 Lennon and McCartney team, 112 “I Saw Her Standing There” (Beatles), 9, Letterman, David, 200 114 Lewis, Huey, 60 “I Wanna Thank You” (ZZ Top), 95 Lifeson, Alex, 124 “I Want to Hold Your Hand” (Beatles), 9 “Like a Rolling Stone” (Dylan), 31 Lipson, Dan: as Camp Jam Inc. founder, J 2, 168, 201–202, 217; NASCAR Jack Mack & The Heart Attack, 162 collectibles business of, 168, 197–198 Jackson, Michael, 133 Lizard Creek Ballroom (North Carolina Jacksonville music scene, 37 club), 57 Jagger, Mick, 15, 40, 41, 55, 226 Los Angeles Times, 201 Jealousy problem, 47 Losing the stage story, 177 Jefferson Starship, 124–125 “Louis Louie” (Kingsmen), 85 Joel, Billy, 3, 39, 62, 75, 189, 198 “Love in Vain” (Rolling Stones), 21 John, Elton, 112 : connection between 38 Johnson, Robert, 21 Special and, 65, 77–78; inspiration of, Jones, Mose, 30 88; plane crash killing members of, Journey, 165, 183, 185, 206 79–81; played by, Judas Priest, 165 30–31; spirit of, 152; success of, 38; “Just What I Needed” (Cars), 114 “Sweet Home Alabama,” 44, 86, 91 Lyons, Ken, 13, 36 K Kalodner, John, 102, 115 M Kantner, Paul, 124 Mandrell, Barbara, 25 King, Albert, 21 Marshall Tucker Band, 66 King, B. B., 21 Marshmallow Steamshovel, 12 Kooper, Al, 30–31 May, Brian, 112 MCA’s Sounds of the South, 31 L McCartney, Paul, 47–48, 114, 133 Laugh it off, 181 “Memphis, Tennessee” (Beatles), 64 Leadership: Camp Jam lessons on Microsoft, 1 developing, 227–228; front man role Mills, Rodney, 91, 104 of, 103, 226–227; tips on developing, Mission: Camp Jam Inc., 209; drifting 230–231 from, 167–168. See also Goals Leading Edge Promotions, 201 Mistakes: concert horror stories, 174–180; Lead singers, 39–40 constructively handling, 180–181 Learning: from the competition, 58–61, Money, learning to handle your, 73–75 98; crossing genre lines for, 28–29; “Money (That’s What I Want)” (Beatles), everything about your own business 64 industry, 28; fl aming red guitar lesson Moss, Jerry, 83

241

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Mozart, Wolfgang, 5, 16 Products: collaboration and ownership of Muddy Waters, 21 the, 117; confl ict pros/cons when : developing a signature sound, pursuing new, 104–109; questions to 25–27; fi ve senses used by, 22–23; ask about new business, 32–33; group dynamics among, 13–17; recognizing shifting roles in context learning the lifestyle of, 13–14; self- of new, 104–105. See also Business examination necessary for, 14. See also Public speaking practice, 155 Rock bands; Publishing rights, 132 Music industry: current state of the, “Purple Haze” (Hendrix), 230 207–208; legacy of the 1970s and 1980s, 206–207; public access through Q the Internet, 207–208 Queen, 112 Music Mart, 25 R N Realize, 232 NASCAR collectibles, 168, 197–198 Recap, 233–234 NBC Nightly News, 201 Red fl ags, 186–190 Negotiating buy-in, 103–104 Rehearsing, 155, 232–233. See also NetFlix, 29 Preparation Newcomerms, 192 REO Speedwagon, 59 Nirvana: “Nevermind,” 184; “Smells Like Reputation building, 56–58 Teen Spirit,” 184, 230 Resolution (38 Special), 190 Northern Songs, 132–133 Rhythm section, 41 Nugent, Ted, 198 Richards, Keith, 3, 15, 25, 26, 40, 41, 89, 229 Roadblocks, 29 O “Robin Hood” (38 Special), 124 Oakley, Berry, 38 Rock!, 234 Oasis, 129–130 Rock & Roll Strategy (38 Special), 162 Orr, Benjamin, 198 Rock bands: best names for, 12–13; Osbourne, Ozzy, 3, 37, 200 commonalities between business The Outlaws, 66 teams and, 1–2; dealing with internal confl icts, 100–101; different roles and P skill sets in, 53, 103; examining the Package tours, 188 key development moments in, 3; Pearl Jam, 185 feuds within, 42–43; fi nancial Peart, Neil, 124 confl icts of, 131–134; front man role People (magazine), 201 in, 103, 226–227; group dynamics Perry, Joe, 112 among members of, 13–17, 215–216; Peterick, Jim, 115, 117–119, 125 jealousy and infi ghting of, 47; legacy Philadelphia Spectrum, 175 of the 1970s and 1980s, 206; package The Police, 100–101, 157 tours by, 188; process for forming Powell, Bill, 79 your own, 38–42; singer transplant Praise: danger of constant, 159; don’t be and, 161–166; transition to business afraid to, 160 from, 208–213. See also Breakups; Preparation: for change, 193–194; exist Musicians; Songwriting royalties strategy, 192–193; practice makes “Rockin’ into the Night”: 38 Special perfect, 155; for the worst, 191–194. recording of, 106–107, 113, 126, 150, See also Rehearsing 217; written by Survivor’s Jim Presley, Elvis, 112, 186 Peterick, 102, 103, 115, 117

242

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Rockin’ into the Night (38 Special), 92–93, Singer transplant: 38 Special’s experience 126 with, 161–164; tips on creating a Rock ‘n’ roll: blues infl uence on, 21; both successful, 164–166 “feel” and “woodshedding” required Slick, Grace, 124–125 for, 10–11; introduction to, 9–10 “Smells Like Teen Spirit” (Nirvana), Rock ‘n’ roll lifestyle, 151–154 184, 230 Rock & Roll Hall of Fame, Smell the Glove (Spinal Tap), 122–123 199–200, 208 Smythe, Patty, 200 Rodgers and Hammerstein, 112 Solo: assessing value your own activities, Rogers, Kenny, 114 142–143; assessing your own hidden Rolling Stone (magazine), 77–78 talents, 110; assessing your role and Rolling Stones: continued career of, 170; skill set, 53; examining your own Exile on Main Street, 132; infl uence of career elements, 17; fi guring out your the, 1, 20, 230; Jagger/Richards own signature sound, 34; imagining songwriting credit of, 131; “Love in life without your career, 203; Vain,” 21; “Satisfaction,” 89; “You Got information included in, 3; laugh it the Silver,” 41 off, 181; learn from the competition, Ross, Diana, 114 98; learning to adapt to change, 194; Roth, David Lee, 163–164 make a list of all key roles needed, 84; Royalties. See Songwriting royalties practicing public speaking, 155; self- Rudge, Peter, 65–66, 72–74, 81 assessing through eyes of a Run-DMC, 112 competitor, 70; taking steps toward Rush, 41, 124 taking career to higher level, 219; Ryder, Mitch, 200 understanding when and when not to compromise, 171; what are your S collaborator skills, 128. See also Sam the Sham and the Pharaohs, 12 Chorus; Verse “Satisfaction” (Rolling Stones), 89 Songwriters: band roles of creative minds Saturday Night Fever (BeeGees), 108 and, 40; division between different, Scalable partnerships, 76–77 134–136; division between Schuerholz, John, 100 nonsongwriters and, 134; importance “Second Chance” (38 Special), 162–163, of credit agreements for, 142; 38 217 Special’s collaborative process for, Second Coming, 37–38 111–119. See also Musicians Self-evaluations: constructive approach Songwriting royalties: addressing to, 158–162; of your hidden talents, potential problems of, 136–137; 110; of your individual role and skill fi nancial arrangements based on, set, 53; of your own collaborative 131–132; illegal downloading impact skills, 128 on, 207; jealousy element of, 140–141; Sergeant Pepper’s Lonely Hearts Club publishing rights and, 133–134. See Band (Beatles), 12 also Rock bands Shaffer, Paul, 200 Sony, 133 The shoe fl y story, 175 Special Delivery (38 Special), 81–82 “Shop Talk” (ESPN show), 197 Special Forces (38 Special), 125 Signature business style, 27–28 Specialists, 76 Signature sound: description and Spector, Mark, 83, 102 development of, 25–27; fi guring out Spector, Ronnie, 200 your own, 34 Spinal Tap (fi lm), 122–123, 177 Silver Dollar Saloon (Michigan), 59 Springsteen, Bruce, 56, 229, 230

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The stage dive story, 174–175 Rush tours of, 125–126; starting again Stage fright: experiencing, 146–147; from ground up, 81–83; story behind learning to cope with, 147–149 formation of, 35; success of, 1. See also Starbucks, 1 Carlisi, Jeff Starr, Ringo, 133 38 Special albums: Bone Against Steel, 190; State fair circuit, 187 Resolution, 190; Rock & Roll Strategy, Stewart, Rod, 37, 163, 200 162; Rockin’ into the Night, 92–93, 125; St. Holmes, Derek, 198, 199 Special Delivery, 81–82; Special Forces, Sting, 75 125; 38 Special, 77–78; Wild-Eyed Stroud, Peter, 48, 94, 174, 198 Southern Boys, 122–123, 125 Styx, 199 38 Special songs: “Back Where You The Summer Sons, 12 Belong,” 179; “Caught Up in You,” 119, Super Bowl, 112 150, 163, 179; “Fantasy Girl,” 119, 150, Support team: brainstorming kinds of 178; “Hold On Loosely,” 115, assistance needed from, 84; lining up 118–119, 122, 126, 135, 150, 163, 218; your, 84; preparing for downturn by “Robin Hood,” 124; “Rockin’ into the lining up, 84 Night,” 106–107, 113, 126, 150, 217; Survivor: “Eye of the Tiger,” 102; “Rockin’ “Second Chance,” 162–163, 217 into the Night,” 102, 103 Thomas, Dennis, 79 “Sweet Home Alabama” (Lynyrd Time Magazine, 201 Skynyrd), 44, 86, 91 The Today Show (TV show), 201 Sweet Rooster, 13, 23, 31, 36 Torres, Tico, 130 Travers, Pat, 198 T “Twist and Shout” (Beatles), 85 Tate, Eric Quincy, 30 Tyler, Steven, 112, 226 Taupin, Bernie, 112 Tax issues, 139 U 38 Special: attitude backed by talent, U2, 1, 56, 170 58–61; building a reputation, 56–58; Unser, Al, Jr., 196–197 calling it a day with, 190–191; Utility player, 41 changing music scene/downward spiral of, 186–190; collaboration V process used by, 111–119; connection Van Halen, 163–164 between Lynyrd Skynyrd and, 65, Van Halen, Eddie, 25, 26 77–78; current state and members of, Van Zant, Donnie: brother of Ronnie, 44; 206; dealing with internal confl icts, fl ying harness accident by, 176–177; 102–103; deciding to switch gears, front man role of, 103; loss of brother, 86–93; leaves, 161–162, 79–80; media mention of family 166; fake origin story of, 45–46; going connection, 77–78; resistance to new out and bonding on the road, 48–52, song by, 103–104, 106; Southern song 61–63; image building, 62–63; writing roots of, 113; stage dive by, learning to handle money, 73–75; 174; Sweet Rooster membership living a responsible rock ‘n’ roll of, 13, 23, 36 lifestyle, 151–154; joins, 162; Van Zant, Jim, 176 opening for Peter Frampton, 67–69; Van Zant, Ronnie: death of, 79–80; “Four playing concerts, 149–150; on the Walls of Raiford” by, 80–81; media radio, 71–72; reaching fi nancial mention of family connection, 77–78; success, 126–127; singer transplant as personal contact, 44, 48; “stay in experience of, 161–164; Starship and school” advice by, 31

244

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Velvet Underground, 113 W Verse: accepting that times and taste “Walk This Way” (Aerosmith), 112 change, 193; be aware of Wallace, Rusty, 197 opportunities, 33; collaboration as Wal-Mart, 28 means to success, 127; fi nding “Wanted: Dead or Alive” (Bon Jovi), 185 success by switching gears, 97; West Palm Beach Coliseum, 68 identifying and working toward your The White Stripes, 230 calling, 16; importance of fi nancial The Who, 38, 56, 152 written agreements, 142; importance Wild-Eyed Southern Boys (38 Special), of team goals, 52; information 122–123, 125 included in, 3; making a good fi rst “Woodshedding,” 10 impression, 154; preparing for “Woolly Bully” (Sam the Sham and the downturns, 84; preparing for the Pharaohs), 12 worse, 180; shattering the corporate Work hard. Rock harder mantra, 3 stereotype, 219; team member moving aside for good of the team, Y 109–110; understanding that “You Got the Silver” (Rolling Stones), 41 partnerships breakup, 170–171; work equals identity, 202–203; working Z harder and smarter than the other ZZ Top: amazing career of, 170; “I Wanna guy, 69. See also Chorus; Solo Thank You,” 95; touring with, 94–96

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