DOCSLIB.ORG

THE VENTURES SUMMER TOUR of JAPAN, 2018 Report and Photos by Dave Towers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE VENTURES SUMMER TOUR of JAPAN, 2018 Report and Photos by Dave Towers THE VENTURES SUMMER TOUR OF JAPAN, 2018 report and photos by Dave Towers As I take my seat at walked on and waved my first show on a to the audience. Then Ventures Japan tour I the applause began as am wondering whether they started Walk Don't this show will be as Run to spectacular good as last year. This lighting effects that summer my trepidation enhanced the entire was increased further show. There was a lot because of the of movement around introduction of Luke the stage throughout by Griffin following the all band members, retirement of Gerry which was new to me, McGee, the last and much bowing in original group member. unison to the audience I had read all the which, again, I had not negative publicity: no original members, not the seen before and was good to see. real Ventures, a tribute band - all implying that it Luke Griffin surprised me when he played two can't be very good. Would the promoters buy it? numbers on lead guitar as did Ian Spalding, and Would the people turn out to watch it? Well, I there is no doubt that they are both superb needn't have worried. Perhaps it was because my musicians. Bob Spalding put in a faultless expectations were not particularly high, but I performance on lead guitar playing to his was stunned at the quality of this show. In a strengths. Everyone would be aware that Bob word: Class. Two hours flew by. From the was standing in the shoes of Nokie Edwards and photographs of the band I had seen on social Gerry McGee, which are big shoes to fill. I was media earlier in the year from the USA, I had impressed. been impressed by their smart new appearance – all black with a coloured tie. I had said before travelling to Japan that if the show was anywhere near as good as the presentation then all would be well. And it was. The band walked onto a darkened open stage, the safety curtain was raised and their shadows appeared on the grey back-curtain as they Leon Taylor Leon's performance was probably the best I have seen from him, the bass tattoo with Luke was extended and brilliantly executed. I had seen Ian Spalding Luke Griffin Bob Spalding Hallmark guitars at the Ventures Fanfest last The Ventures in Japan 2018 year and the year before and Unless otherwise stated I had dismissed them as yet Bob played lead on a Fender another Mosrite copy, but I Jazzmaster, Ian played liked them - particularly rhythm on a Fender with the look and sound of Jazzmaster, Luke played a Luke's pale blue bass with Fender Precision bass, Leon its single pick up and two played DW drums. knobs, just what I like - 1st set: WDR Medley simple, but effective. (Walk Don't Run - Perfidia - When Luke stepped Lullaby Of The Leaves) / forward to say a couple of Here We Go Again / Ame sentences in Japanese there No Midosuji / Mr Moto / was a big reaction from the Dark Eyes (Luke on lead, audience. But the biggest reaction by far was Ian on bass) / I Feel Fine (Luke on lead, Ian on when Bob and Ian disappeared from the bass) / introductions / Pipeline (Ian on lead, darkened stage at the end of Hawaii 5-0 and Luke on bass) / Tequila / Futari No Ginza / reappeared under spotlights from opposite sides Apache / Night In F Minor / Detour (Ian on lead, of the auditorium as Diamond Head began. It Luke on bass) / Wipe Out was electric. I didn't even know what was going on. They both did a walkabout among the 2nd set: (for much of this set Hallmark guitars audience - this was a very visual show. and bass were used) Nokie Medley (Surf Rider - A lot of work and planning went into this very Bulldog - Instant Guitars - Journey To The impressive show and it was no surprise to me Stars) this medley was played to a video that The Ventures had already been booked for featuring Nokie / Big Surf / Kyoto Bojo / Kyoto next year's tour. Despite all the negative No Koi (Bob on sitar) / Vladivostok (Bob on publicity you would have to go a long way sitar) / Yozora No hoshi / The Savage / Namida before you found an instrumental show of this No Guitar / Cruel Sea / Slaughter On 10th quality enhanced, as it was, by spectacular Avenue / Hawaii 5-0 / Diamond Head (during lighting effects and quality sound. So if it's near this number Bob and Ian went walkabout among you anytime, then go and see it. the audience) / Caravan .
Load more

Recommended publications
  • Midnight Special Songlist
    west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has.
    [Show full text]
  • Illustrations of Accounting for Joint Ventures
    University of Mississippi eGrove American Institute of Certified Public Accountants Newsletters (AICPA) Historical Collection 1980 Illustrations of accounting for joint ventures : a survey of the application of various methods of accounting for joint ventures in the financial statements of venturers; Financial report survey, 21 Hortense Goodman Leonard Lorensen Follow this and additional works at: https://egrove.olemiss.edu/aicpa_news Part of the Accounting Commons, and the Taxation Commons Recommended Citation Goodman, Hortense and Lorensen, Leonard, "Illustrations of accounting for joint ventures : a survey of the application of various methods of accounting for joint ventures in the financial statements of venturers; Financial report survey, 21" (1980). Newsletters. 181. https://egrove.olemiss.edu/aicpa_news/181 This Book is brought to you for free and open access by the American Institute of Certified Public Accountants (AICPA) Historical Collection at eGrove. It has been accepted for inclusion in Newsletters by an authorized administrator of eGrove. For more information, please contact [email protected]. FINANCIAL REPORT SURVEY 21 Illustrations of Accounting for Joint Ventures A survey of the application of various methods of accounting for joint ventures in the financial statements of venturers By Hortense Goodman, CPA a n d Leonard Lorensen, CPA FINANCIAL REPORT SURVEYS 1 Illustrations of Accounting Policy Disclosure (1972) A survey of applications of APB Opinion No. 22 2 Illustrations of Reporting Accounting Changes (1974) A survey of reporting under APB Opinion No. 20 3 Illustrations of Reporting the Results of Operations (1974) A survey of applications of APB Opinion No 30 4 Illustrations of Interperiod Tax Allocation (1974) A survey of applications of APB Opinion Nos.
    [Show full text]
  • Press Images Surf’S Up! Instrumental Rock ‘N’ Roll
    Press Images Surf’s Up! Instrumental Rock ‘n’ Roll Pantone 871 C Metallic = C-0 M-15 Y-78 K-36 + Black [left to right] [left to right] [left to right] Danelectro Guitarlin 1958 Fender Jazzmaster 1965 Mosrite Ventures Mk.V NAMM Custom 1966 played by Link Wray played by Bob Demmon of The Astronauts played by Don Wilson of The Ventures Danelectro Corporation | Red Bank, New Jersey Fender Electric Instrument Co. | Fullerton, California Mosrite of California | Bakersfield, California Courtesy of Deke Dickerson Courtesy of Chad and Sean Demmon Courtesy of Black Book Guitars L2020.1903.001a L2020.1915.001a,b L2020.1904.001a Howard Custom double-neck guitar 1960 Fender 6G14 Showman Amp 1961 Fender FR–1000 Solid State Reverb 1966 played by Duane Eddy used by Rich Fifield of The Astronauts used by Nokie Edwards of The Ventures Howtronics | Phoenix, Arizona Fender Electric Instrument Co. | Fullerton, California Fender Musical Instruments | Santa Ana, California Courtesy of Deke Dickerson Courtesy of Mel Bergman Courtesy of Black Book Guitars L2020.1903.002a L2020.1906.002a,b L2020.1904.002a [left to right] [clockwise from top left] [left to right] Mike Patterson and The Rhythm Rockers 1962 Come Surf With Me 1963 “DoubleJunk” Fender Jazzmaster/Jaguar 1992 Courtesy of John Blair Aki Aleong and the Nobles | Southern California constructed and played by Mel Bergman of The Phantom L2020.1907.006 Vee Jay Records | Chicago Surfers Courtesy of Johnny Bartlett various makers The Music Man Presents The Impacts 1962 L2020.1908.003 Courtesy of Mel Bergman Courtesy of Scott Beerwolf L2020.1906.006a L2020.1916.001 Surf Rider! 1963 The Lively Ones | Orange County, California Del-Fi Records | Hollywood, California Weather King bass drumhead 1989 Courtesy of Mickey McGowan, Unknown Museum Archives illustrated by Johnny Bartlett of The Phantom Surfers L2020.1905.018 Remo, Inc.
    [Show full text]
  • The Annals of Iowa
    The Annals of Volume 75, Number 4 Iowa Fall 2016 A QUARTERLY JOURNAL OF HISTORY SPECIAL ISSUE: WOMEN AND IOWA JOURNALISM In This Issue STEPHANIE GROSSNICKLE-BATTERTON, a doctoral candidate and graduate instructor in the Department of American Studies at the University of Iowa, shows how the Woman’s Standard, a monthly news- paper produced by the Iowa Woman Suffrage Association from 1886 to 1911, incorporated rural themes in its rhetoric, showed evidence of suf- frage work in rural areas, and to varying degrees became a counterpublic space for rural women where contributors explored issues relevant to Iowa farm women. JENNY BARKER-DEVINE, associate professor of history at Illinois College in Jacksonville, Illinois, explores the motivations of the women who produced the Emerald Goose, a humor magazine published at Iowa State College during World War I. She argues that they were not simply responding to an opening created by the war but were actively contesting for space in the student newsrooms and asserting their right to participate in curricular and extracurricular journalism. TRACY LUCHT, assistant professor in the Greenlee School of Journalism and Communication at Iowa State University, surveys the storied career of Dorothy Ashby Pownall from her days as a “sob sister” at the Des Moines Capital during World War I through her publications in Ladies’ Home Journal and the Saturday Evening Post and until her retirement from the Iowa City Press-Citizen in 1955. Pownall’s wide-ranging work, Lucht argues, reveals her methods of exercising agency within a patriarchal field and illustrates why historians must expand what they consider important journalism if they are to make their narratives more inclusive of women.
    [Show full text]
  • Senate Resolution 8632
    SENATE RESOLUTION 8632 By Senators Esser, Poulsen, Brown, Finkbeiner, Regala, Zarelli, Kastama, Benton, Rasmussen, Carrell, Franklin, Pridemore, Eide, Sheldon, Doumit and Benson WHEREAS, The Ventures were the first nationally known, popular recording group to come out of Tacoma, Washington; and WHEREAS, The Ventures have recorded over 3000 songs and released over 250 albums, including 14 top 100 singles in the 1960s; and WHEREAS, Having sold over 90 million albums world-wide, with such hits as "Walk Don't Run," "Perfidia," "Lullaby of the Leaves," "Diamond Head," "2,000 Pound Bee," and a version of the Hawaii Five-O theme song, the Ventures have become the world's all-time #1 rock instrumental group; and WHEREAS, The Ventures are America's ambassadors of Rock and Roll to the non-English speaking world, having sold over 40 million albums in Japan alone; and WHEREAS, While retaining their trademark sound, the Ventures' musical stylings have adapted to shifting trends in popular music, as they experimented with blues, calypso, Latin, twist, country, pop, funk, disco, reggae, swamp, garage, TV themes, and psychedelic music; and WHEREAS, They were willing to experiment with wildly innovative concepts, such as combining different dance crazes in one of their few vocal songs: "The Twomp." It ain't the Twist. It ain't the Stomp. It's the Twomp!; and WHEREAS, Generations of guitar players have been inspired by the Ventures to twiddle with the reverb and tremolo knobs on their amplifiers; and WHEREAS, The Ventures even had a distinctive "Ventures
    [Show full text]
  • The Ventures Let's Go Mp3, Flac, Wma
    The Ventures Let's Go mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Let's Go Country: US Released: 1965 Style: Surf MP3 version RAR size: 1670 mb FLAC version RAR size: 1742 mb WMA version RAR size: 1703 mb Rating: 4.4 Votes: 517 Other Formats: ASF WAV MOD MP3 MP1 XM AC3 Tracklist Hide Credits Memphis A1 2:26 Written-By – Chuck Berry Let's Go A2 2:23 Written-By – L. Duncan*, R. Duncan* More A3 1:51 Written-By – N. Oliviero*, R. Ortolani* El Watusi A4 2:42 Written-By – Ray Barretto Walk Right In A5 2:36 Written-By – G. Cannon*, H. Woods* Sukiyaki A6 2:14 Written-By – Ei*, Nakamura* New Orleans B1 2:32 Written-By – Guida*, Royster* So Fine B2 2:04 Written-By – Johnny Otis Wipe Out B3 3:00 Written-By – The Surfaris Hot Pastrami B4 1:53 Written-By – Doug Phillips Runaway B5 2:11 Written-By – Shannon*, Crook* Over The Mountain Across The Sea B6 2:30 Written-By – Rex Garvin Companies, etc. Record Company – Liberty Records, Inc. Pressed By – RCA Records Pressing Plant, Indianapolis Credits Arranged By – The Ventures Backing Vocals – The Moonstones*, The Ventures Design [Cover], Photography – Studio Five Engineer – Eddie Brackett Performer – Don Wilson, Mel Taylor, Nokie Edwards, Bob Bogle* Producer – Bob Reisdorff Notes Released on black labels with blue sector to the left, STEREO on top. and catalog # and Side to the right of the spindle hole. "Ⅰ" stamped in runouts denotes an RCA Records Pressing Plant, Indianapolis pressing. Barcode and Other Identifiers Matrix / Runout (Runout Side B, Stamped): BST-8024-1-SIDE 1 Ⅰ Matrix /
    [Show full text]
  • Album Tracks
    1968 ALBUM TRACKS January 1968 Live LP (Japan) Live, Again! Liberty LP 8250 Stereo 1 [68/1L] BLUE CHATEAU ||| 2 [68/2L] HOKKAIDO SKIES ||| 3 [68/3L] BLACK SAND BEACH ||| 4 [68/4L] A LITTLE BIT ME, A LITTLE BIT YOU ||| 5 [68/5L] WOOLY BULLY ||| 6 [68/6L] GINZA LIGHTS ||| 7 [68/7L] SENTIMENTAL GUITAR ||| {8 [67/1L] LA BAMBA} ||| {9 [67/4L] CALIFORNIA DREAMIN’} ||| 10 [68/8L] A TASTE OF HONEY ||| 11 [68/9L] SLOW SUNDOWN ||| 12 [68/10L] DIAMOND HEAD ’67 This collection was put together from summer 1967 concerts, with two exceptions: tracks 8 & 9 were taken over, whether by accident or design, from the On Stage Encore album of January 1967. It was the most determinedly Japan-orientated live set to date, homing in as it did on numbers that appeared originally on the June 1967 LP Pops In Japan (tracks 1–3, 7, 11). A LITTLE BIT ME … was on Super Psychedelics from the same period [67/30], whereas WOOLY BULLY dated back to September 1965 ( The Ventures À Go-Go , [65/39]). For comment on the residue, see entries [66/49L] (DIAMOND HEAD: on All About The Ventures ) and [66/7L] (GINZA LIGHTS a Ventures-penned ‘special’ for Japan) + [67/2L] (A TASTE OF HONEY: both on On Stage Encore! ). The incorporation of two numbers from the previous live release, and the participation of Ms Chiyo Okumura on track 2, mean that we are down to under 20 minutes of new Ventures. But the music is absorbing in the main. It has frequently been remarked, at times with an air of resignation or even disapproval, that the Japanese numbers put The Ventures’ way lacked the muscle so characteristic of the group’s usual output: they are mellow, laid back, do not have the same drive.
    [Show full text]
  • Great Instrumental
    I grew up during the heyday of pop instrumental music in the 1950s and the 1960s (there were 30 instrumental hits in the Top 40 in 1961), and I would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals (however the first 45’s I bought were vocals: Bimbo by Jim Reeves in 1954, The Ballad of Davy Crockett with the flip side Farewell by Fess Parker in 1955, and Sixteen Tons by Tennessee Ernie Ford in 1956). I also listened to my Dad’s 78s, and my favorite song of those was Raymond Scott’s Powerhouse from 1937 (which was often heard in Warner Bros. cartoons). and to records that my friends had, and that their parents had - artists such as: (This is not meant to be a complete or definitive list of the music of these artists, or a definitive list of instrumental artists – rather it is just a list of many of the instrumental songs I heard and loved when I was growing up - therefore this list just goes up to the early 1970s): Floyd Cramer (Last Date and On the Rebound and Let’s Go and Hot Pepper and Flip Flop & Bob and The First Hurt and Fancy Pants and Shrum and All Keyed Up and San Antonio Rose and [These Are] The Young Years and What’d I Say and Java and How High the Moon), The Ventures (Walk Don't Run and Walk Don’t Run ‘64 and Perfidia and Ram-Bunk-Shush and Diamond Head and The Cruel Sea and Hawaii Five-O and Oh Pretty Woman and Go and Pedal Pusher and Tall Cool One and Slaughter on Tenth Avenue), Booker T.
    [Show full text]
  • Popular Music Brochure
    Intro to Popular Music Course Syllabus for Teachers 2 Intro to Popular Music Course Syllabus for Teachers Intro to Popular Music Course Syllabus for Teachers In this course, students will explore the cultural, historical, and musical background of American Popular Music, as well as various cultural connections, how music refects social and cultural awareness, and technological developments that impacted the evolution of popular music. Each unit will focus on a diferent genre musical, or decade, and contain approximately four lessons based on the National Core Arts Standards of Creating, Presenting/ Performing/Producing, Responding, and Connecting with variable tasks. This course is intended for use in-class with students, for fipped-classroom activities, or as substitute plans. Intro to Popular Music Course Syllabus for Teachers 3 Before assigning lessons, tasks, and assessments: • Preview all content. If you fnd glitches or errors, please report them to [email protected]. • Many lessons contain links outside of MusicFirst. All links have been tested but cannot be guaranteed for functionality. • PLEASE customize the content for your students! Add, delete, or simplify as appropriate for your learners. • As with any popular music selected for classroom use, you should always preview the songs covered in these lessons in their entirety to ensure that you feel they are appropriate for your students. A link to each song is provided in each lesson plan. This is always a uniquely individual decision. Some of the songs contained in these episodes contain what some might consider slightly inappropriate language and topics, depending on the age of your students. • Change the content and activities easily by editing the text and uploading images of diferent examples tailored to student needs.
    [Show full text]
  • Playnetwork Business Mixes
    PlayNetwork Business Mixes 50s to Early 60s Marketing Strategy: Period themes, burgers and brews and pizza, bars, happy hour Era: Classic Compatible Music Styles: Fun-Time Oldies, Classic Description: All tempos and styles that had hits Rock, 70s Mix during the heyday of the 50s and into the early 60s, including some country as well Representative Artists: Elvis, Fats Domino, Steve 70s Mix Lawrence, Brenda Lee, Dinah Washington, Frankie Era: 70s Valli and the Four Seasons, Chubby Checker, The Impressions Description: An 8-track flashback of great music Appeal: People who can remember and appreciate from the 70s designed to inspire memories for the major musical moments from this era everyone. Featuring hits and historically significant album cuts from the “Far Out!,” Bob Newhart, Sanford Feel: All tempos and Son era Marketing Strategy: Hamburger/soda fountain– Representative Artists: The Eagles, Elton John, themed cafes, period-themed establishments, bars, Stevie Wonder, Jackson Brown, Gerry Rafferty, pizza establishments and clothing stores Chicago, Doobie Brothers, Brothers Johnson, Alan Parsons Project, Jim Croce, Joni Mitchell, Sugarloaf, Compatible Music Styles: Jukebox classics, Donut Steely Dan, Earth Wind & Fire, Paul Simon, Crosby, House Jukebox, Fun-Time Oldies, Innocent 40s, 50s, Stills, and Nash, Creedence Clearwater Revival, 60s Average White Band, Bachman-Turner Overdrive, Electric Light Orchestra, Fleetwood Mac, Guess Who, 60s to Early 70s Billy Joel, Jefferson Starship, Steve Miller Band, Carly Simon, KC & the Sunshine Band, Van Morrison Era: Classic Feel: A warm blanket of familiar music that helped Description: Good-time pop and rock legends from define the analog sound of the 70s—including the the mid-60s through the early-to-mid-70s that marked one-hit wonders and the best known singer- the end of an era.
    [Show full text]
  • P 100 Albums 101 to 14
    Basic Album Inventory A check list of best selling pop albums other than those appearing on the CASH BOX Top 100 Album chart. Feature is designed to call wholesalers' & retailers' attention to key catalog, top steady selling LP's, as well as recent chart hits still going strong in sales. Information is supplied by manufacturers. This is a weekly revolving list presented in alphabetical order. It is advised that this card be kept until the list returns to this alphabetical section. HOB Chet Atkins Play Guitar w/Chet Atkins VI 17506 Ventures Play Guitar w/Ventures VII 17507 Thompson Community Ventures The Horse 8057 Singers of Chicago Rise Up & Walk HOB 277 Ventures Underground Fire 8059 Shirley Caesar My Testimony HOB 278 ($5.98 Sugg. Institutional Choir List) More Golden Greats 8060 Of The Church Of Hawaii Five -O 8061 God In Christ Stretch Out HOB 279 Swamp Rock 8062 The Swan Silvertones Only Believe HOB 282 Shirley Caesar Jordan River HOB 283 IMPULSE Five Blind Boys Brown Chicken Fat AS 9152 Tell Mel Of Alabama Jeses HOB 284 Mel Brown The Wizard AS 9169 The Stars Of Faith We Shall Be Changed HOB 285 I'd Rather Suck My Thumb AS 9186 Albertina Walker & Mel Brown Ray Charles Genius + Soul = Jazz AS 2 The Caravans Jesus Will Fix It HOB 287 Brockington Ensemble Alice Coltrane A Monastric Trio AS 9156 Up Above My Head HOB 289 Alice Coltrane featuring Swan Silvertones Great Camp Meeting HOB 290 Pharoah Sanders Ptah The El Daoud AS 9196 Various Artists Gospels Greats Vol.
    [Show full text]
  • The Storm Also Rises by Tom Scheft
    The Storm Also Rises by Tom Scheft (published in the June 26, 1992 issue of Goldmine) * * * “You guys [the Rising Storm] really helped define the ’60s for me … much more than the super groups like the Beatles and the Stones.” Ron Fantasia, record collector “[We’re] like a dancing bear. It’s not how well it dances, but that it dances at all.” Bob Cohan, guitarist for the Rising Storm “I certainly can’t explain it. It’s curious and amazing - and obviously flattering - to think that something six high school seniors did for fun 25 years ago now is considered valuable to anyone other than those six people.” Todd Cohen, bassist for the Rising Storm * * * A while back, a friend showed me Goldmine’s 1989 article on the top 100 collectible record albums. I had been told the Rising Storm was a perennial pick, and there we were: The Rising Storm. Remnant 3571. A Calm Before The Rising Storm. 1968. $500. Mono. One of the collectible garage/frat records of the ’60s. Recorded by a group of college students in Massachusetts, this album features covers of Love’s “Message To Pretty,” the Remains’ “Don’t Look Back” and Wilson Pickett’s standby, “In The Midnight Hour.” The group got together a few years back for a reunion and recorded another album. Well . almost. First, the title was just Calm Before. Second, the year was 1967. Third, that 500- buck tag sounds reasonable, although an Italian collector recently paid $1,300 for an unopened copy. [Editor’s note: All prices in the article quoted were based on near mint quality, not mint -- i.e., unopened -- and were compiled from 1989 sales figures.] Fourth, the Storm did covers, but there were also five originals on the album.
    [Show full text]