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Who Is Jennifer Juniper and Where Did She Go?

Who Is Jennifer Juniper and Where Did She Go?

WHO IS JENNIFER JUNIPER AND WHERE DID SHE GO?

THE MUSIC COLLECTOR’S MAGAZINE WWW.GOLDMINEMAG.COM JUNE 2020 More MONKEES MUSIC

The Monkees’ live record- ing, The Mike & Micky Show, spotlights and Michael Ne- smith on the road in 2019 promoting a new and celebrating hits from ’s heyday. Find out more inside!

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GM 918 Cover.indd 1 4/8/20 1:54 PM ENTERTAINMENT AND MUSIC July 11 | | Live & Online ACCEPTING CONSIGNMENTS

Michael Jackson Abbey Road Original UK Marilyn Monroe Signed Jr. Rolling Stones Nirvana/Screaming Swarovski Triumph Tour Street Sign Black and White Vintage Toy Promo Autographed Program Trees/Tad Pine Street Helmet (1981) Sold for $10,625 Photograph (1950s) by Mastro from 2nd-Ever American Theatre Concert Sold for $35,000 Sold for $9,687 (NEMS, 1964) Concert Date (June 1964) Poster (1990) Sold for $8,125 Sold for $5,250 Sold for $2,250

Bob Dylan “Blowin’ in ’s Circa 1961/1962 Gibson SG, Cherry, Solid Body The Beatles Introducing ... the Wind” Vintage 10” Electric Guitar, Serial #15263 Owned and Played by Graham Nash Mono Sealed LP Metal Acetate Sold for $591,000 Sold for $11,250 Sold for $2,750

Bob Dylan Signed Highway Steppenwolf “Born to Be The Beatles 1966 Wild” White Matte RIAA Grateful Dead 1966 61 Revisited Reissue Genuine, Original / /Janis Gold Sales Award and “Skeleton & Roses” Stereo Vinyl LP (Legacy/ NYC Nirvana/ Joplin/The Who - Columbia, CL 2389) Photo Album of Concert Poster FD-26 Concert Poster Graded Near-Perfect 9.8 Salem Armory Concert LARGE Monterey Sold for $7,231 Rare Photos Sold for $125,000 Sold for $5,375 Sold for $118,750 Poster (1992) Pop Festival Poster Sold for $3,750 (1967) Sold for $18,750

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Bob Dylan Berkeley/ Circular Poster Very Early, Pre- Pete Howard San Francisco/San Jose from the Kaleidoscope First-Album Concert +1.214.409.1756 | [email protected] Concert Poster (1965) Club (1967) Poster (1973) Sold for $25,000 Sold for $11,875 Sold for $9,687

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GM0620.indd 2 4/8/20 1:33 PM The Music Collector’s Magazine June 2020

38 | Tommy LiPuma’s Life A book excerpt that reveals a real EXTRA CONTENT wheeler-dealer in the GOLDMINE MAGAZINE PODCAST Listen to our podcasts, several 40 | Premiere Project times a month, as musicians Alan Parsons reissues more music and industry insiders discuss from the Project interesting topics. Go to www.goldminemag.com/page/ 44 | Elton’s Russia podcasts for more information. Ray Cooper relives a Russian tour Podcasts are also available on with via live album release iTunes, Pandora and Spotify. A list of recent Goldmine podcasts: 48 | America Still Great Episode 87: Go-Go Kathy Dewey Bunnell describes the unique Valentine discusses her memoir. 52 longevity of the band America Episode 86: Record Store Recon 52 | Monkee Man reports on how record stores are In a Goldmine exclusive, Micky Dolenz acclimating to the pandemic. 7 | Vintage Shot expresses his feelings about more Episode 85: Music historian John Joey Ramone hanging out in 1981 Monkees music to come Lynskey details the early music of Duane and . 10 | GROOVES BUY & SELL MARKETPLACE Episode 84: Record Store Recon Why Boomtown vinyl is still tops, a reviews ’s Easy Street Buzzcock’s 10 and more 26 | Store Directory Records — only the second record 14 | Tower of Power’s 50th 30 | Collector to Collector store to be given a perfect rating The veteran horn band led power- by the anonymous Dr. Disc. 35 | Classifi ed Ads The Wall fully by founder Episode 83: 35 | Advertisers’ Index artist Gerald Scarfe on selling off 20 | Now We’re 64 more collections. Jennifer Juniper was a supermuse for gifted musicians 48 CONNECT 25 | In Memoriam WITH US Music industry farewells @goldminemag 31 | Reviews Grateful Dead captured in 1976, GoldmineMagVideo Pearl Jam’s new style, a wonder- fully Brit soundtrack, a Quick Picks #goldminemagazine of music books, Indie Spotlight and more @Goldmine_mag

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7_918_Vintage_Shot.indd 7 4/8/20 11:26 AM GGETET THETHE FANTASTICFANTASTIC MUSICMUSIC ANDAND STORYSTORY TOGETHER,TOGETHER, SOLDSOLD tell a story, so Travis has now published a novel...and, in addition, a new album featuring updated versions of the original and a few brand new tracks. I will say these recordings are probably more of an indication of how the soundtrack could sound, rather than a ¿ nished product, simply because these are songs that deserve a huge production, but regardless, this album has some really great music and plenty to keep you thinking. The mood and atmosphere recalls albums like ’s , with esoteric themes and, at times, an almost baroque tone. The album works best in conjunction with the novel, but many of the songs stand alone in their own right. Similarly the lyrics reveal plenty of ideas that are valid even aside from the novel . . . It’s intriguing and adventurous, mixing rock, Travis Pike has recently received retrospective psychedelia, folk and prog at different points. It may acclaim for the music he made in the Sixties, with not be initially accessible, but give this album a chance great reissues appearing on both State Records and it will win you over. There are plenty of good songs, and Mousetrap Music. But he continued to develop intriguing lyrics and an intent that can’t be faulted. It and write music for a long time after that original might not be the kind of thing you usually listen to, but period. One such project was Changeling, originally check it out because there’s a lot of it you may well envisioned as a rock opera, but later transformed into appreciate. a screenplay...but a screenplay isn’t the best way to Andy Pearson, (fearandloathingfanzine.com)

GM0620.indd 8 4/8/20 1:48 PM IINN CCD,D, PaperbackPaperback & DigitalDigital EDITIONSEDITIONS onon amazon!amazon! Travis Pike has been making music since the early Sixties and interest has been recently revived by the release of “Watch Out Woman” (and its Á ipside), “The Way That I Need You” (from the soundtrack of the movie Feelin’ Good) on State Records, plus a reissue of “If I Didn’t Love You Girl” on Mousetrap Music. Later in his career, he became more involved in the À lm industry and began working on Changeling... Travis has now adapted the tale into a novel, which elaborates many of the themes and ideas from the screenplay and gives much more depth to the different characters. The novel tells the story of Morgen, a talented young rock singer whose career is on the verge of international success. However, a car accident leads to a mystical experience and he À nds himself in the village of “Morningstone” where he becomes acquainted with esoteric folklore and symbolism before returning to the “real” world, where he is inspired to create a new album reÁ ecting the awakening that he experienced. The novel goes on to tell how he perseveres to fulÀ ll his destiny, despite objections from his record company bosses and I have a feeling that Travis, whose those that are unwilling to accept his vision. background is more as a screenwriter rather It’s a great story and it includes a lot of than a novelist, wrote this with stage-directions almost-paganistic values relating to man’s in mind, but it’s not a terrible fault and certainly relationship with nature and the need for a doesn’t distract from the story itself. balance to be reached before mankinds’ greed I will say that the CD gives a good indication and supposed “progress” damages the world of the musical ideas that are an integral part beyond repair. In so many ways, it’s a message of the novel. If you can hear the album in that is even more important now than when conjunction with reading the novel, it certainly Travis initially began work on this project. adds further depth. I’m more than happy to Morgen is an intriguing character, not recommend this book, both for the fact that it’s without his Á aws but strong enough to be more a great read that delivers plenty to think about, than believable. I’m sure that, if this story ever but also for Travis’ exuberant enthusiasm which, makes it to À lm, Morgen could certainly inspire if you follow his work, is nothing less than a great performance! The only criticism I have to infectious. I’m so glad that this guy is still out mention is that the text is sometimes overloaded there and sharing his creative energy! with too many technicalities and details, which can disrupt the Á ow of the story . . . Andy Pearson, (fearandloathingfanzine.com)

GM0620.indd 9 4/8/20 1:48 PM THE LATEST ON MUSIC COLLECTING, MEMORABILIA & NEWS

SPIN CYCLE he’s been there for a while. Welcome back, Rats! BOOMTOWN VINYL! And a welcome back, too, to Sparks. There are 23 Sparks albums sitting BY DAVE THOMPSON on the shelf right now, enough to keep you listening to the brothers Maels (keyboardist Ron and vocalist Russell) for months, and almost every single one here’s a new Boomtown Rats album out. of them has shaken up whatever expectations the last few might have delivered. T (BMG) arrives with an explicit lyrics So naturally, their 24th is going to follow in those footsteps and, if the title warning… and opens with the fabulous declamation, “Oh no! of the first single maybe left you wondering whether they’d finally sacrificed Another sh*t Saturday night.” Indeed, if the offending number, “Trash smart observation for crude rage… listen on. “Please Don’t F*ck Up My Glam Baby,” sounds like something Suede might have dropped onto their World” may have one of the most radio-unfriendly titles in the entire catalog, second or third LP, all that really does but as ecological anthems go, it’s less is remind us how all-pervading the a rerun of “Tits” than it is a return early Rats’ influence was, years after to the pastures of “Never Turn Your they’d been forgotten. Back on Mother Earth.” Because they were forgotten. Be- There is definitely an edge to this tween 1977-1983, the Rats were one of album that recent Sparks albums the most reliable hit makers in Europe. have been prone to bury beneath “” and “I Don’t Like Mondays” technique and the warm glow of their were both U.K. number ones; “Looking supporters’ admiration —“I’m Toast” After Number One,” “,” has a crashing guitar that will bring “Mary of the 4th Form”… the smashes back memories of the mid-’70s hit just piled up; “Someone’s Looking trilogy (Propaganda feels especially At You” remains the finest anthem apropos); “Lawnmower” is a goofy paranoia has ever enjoyed; “House tour-de-force that a lot of people are on Fire” was a reggae-fied tour de going to hate (“it’s just so stupid”) force. And then… two further albums until they realize it’s been stuck in might as well not have existed for all their head for days; and while “Saint- the impact they had, and by the time hood Is Not In Your Future” feels like the band broke up (and became both a saint and a sir), the Rats the sort of title that Morrissey might have come up with, remember who he was were barely even a footnote. listening to when he first started writing songs. They started stirring again in 2013, less a couple of key original mem- The last few Sparks albums, spread out over maybe a decade of releases, bers (Gerry Cott and the pajama clad ), and seven years on, have seen the Maels elevated to the status of venerated elders, with critics their first new album since 1984 comes tearing out of the traps with more falling over one another to proclaim every latest album their most exciting/ swagger than anything since their first. Yeah, it’s that good. adventurous/audacious yet. By those standards, A Steady Drip, Drip, Drip may “Trash Glam Baby” was the perfect scene-setter, a timeless teenaged disappoint — there’s no “Rhythm Thief” shock to shatter preconceptions; no ennui anthem that would have graced any of the band’s key LPs. “Sweet “Life with the MacBeths” to leave you lost in thought for hours after it’s fin- Thing” pretends to be a wired “Wild Thing,” “Monster Monkeys” dances ished. Or, trekking further back in time, no “#1 in Heaven,” no “Goofing gleefully on the ghost of The Beatles’ “Come Together,” with added percus- Off,” no “Equator.” sive frenzy and “She Said No” is a ’60s garage rocker that feels like some- But there is a mini-opera struggling to escape “Stravinsky’s Only Hit”; thing they might have encored with back in the earliest days. Wrap up side another glimpse back to Propaganda in “Self Effacing”...”Something for the one with the gentle “Passing Through,” and already the Rats have exceeded Girl With Everything” revisited; a dreadful pun in “Onamata Pia”... and it all all possible expectations. wraps up with “Please Don’t F*ck Up My World,” which just gets lovelier every We’re back in the garage for “Here’s a Postcard,” with a glimmer of “Glo- time you hear it. ria” peeping through, plus a lyrical flashback to “Rat Trap,” and a verse about ’s 1996 album Miracle of Science never made ice cream. “K.I.S.S.” is a fun punker, “Rock’n’Roll Yé Yé” is a mindless chant it onto vinyl back in the day, so all hail Shiny-Tone for a beautifully pressed rooted around the title, and so delightfully brainless that it works perfectly. and neatly repackaged vinyl reissue, replacing the artwork that never really “Get a Grip” feels like it should have been on the band’s second album; matched the original album; adding the bonus track “Seven Miles an Hour”; a little quirky, a little clever-clever, but delicious fun. And then there’s a and for reminding us what a great version of “The ‘In’ Crowd” Crenshaw and title track which takes us back into shouty-shouty territory, as the band dobro player Greg Leisz pulled together back then. Think chant their name with hooligan delight, while Geldof essentially restates inventing Nashville soul, and you’ll be there. everything we ever loved about this band, and why we’re going to love At the other end of the scale, of course, there’s the MC5, and it’s good to them again. He’s going back to Boomtown, he says, but on this evidence, see that the original analog tapes for Kick Out the Jams were deployed for its

10 JUNE 2020 goldminemag.com

10_918_Grooves.indd 10 4/8/20 12:03 PM latest appearance on fabulous red, white and blue spattered vinyl.  MARKET WATCH So let’s pause for a moment and give thanks to the minds behind These were the top-selling records on eBay during the month this album in the first place, in 1969. Live albums were scarcely of March 2020. commonplace even among rock’s royalty back then — were the ’5 BY FRANK DANIELSELS the first band ever to make their major label debut with a concert 1 Robert Johnsonson historicalhistor — captur- recording? They probably were. “Me and inging a moment in They were certainly the first to take full advantage of the situa- the Devil historyh when Sun tion, which is why Kick Out the Jams is still routinely rated among ”/“Little Records was the greatest live records ever released. Not many people saw the Queen of an important MC5 live at this particular juncture in their career... not as many Spades” Memphis label. as would catch them later, anyway. But Kick Out the Jams ensured Vocalion 04108 Both songs that nobody’s had an excuse not to hear them live. Condition: VG+ infl uenced Talking of late ’60s live recordings, though, let’s think about Sold for: several note- Cream, and the fact that, no matter $5,600.00 worthy artists, includingin Elvis how much you’d love to love them, there’s Recorded in June A clear vinyl PresleyPre and The always something to hold you back. For 1937 and releasedd reissue of Beatles.Beatle some, it’s the continued absence of any around the time of Uncle Tupelo’s Johnson’s death in 1938, the Toad Removal software to save us from The Beatles Anodyne should A-side tells the story of Johnson Please Please Me certainly take endless recitations of ’s selling his soul to the devil (i.e., the edge off drum solo. For others, it’s the knowledge choosing to play secular music). Parlophone (U.K.) PCS-3042 a voracious that there aren’t too many super-high A copy sold in October 2018 for Black-and-Gold label with “Dick quality recordings of the band in its slightly more money, but this copy James” credits collectors Condition: onstage pomp; and for others still, it’s has some damage at the spindle VG/about VG market. Sold for: the belief that the band should not have hole — making it a bargain. $4,413.24 Someone grabbed a bargain copy been allowed anywhere near a stage to Carl Schuricht and the of The Beatles’ fi rst album this begin with, and should have been locked into the studio to keep on Vienna Philharmonicmonic monthmonth.. ReceRecently, there have writing songs the caliber of “Badge,” “Tales of Brave Ulysses” and Mozart: Symphonyony bbeeneen a ffew high-grade “Anyone for Tennis.” No. 35 in D Major/jor/ copicopiese online, but None of which bodes swell for the 4-CD Goodbye Tour - Live Schubert: thosetho certainly 1968 box set (Polydor) that has just swollen the discography. Three Symphony No. wouldn’tw “Toad”’s clutter the vista; four live shows that might have been giv- 8 in B Major be labeled en a majestic cleaning, but still have that muffled bootleg feel that Decca (U.K.) “affordable” we know from previous outings; and 36 tracks that serve up just 21 SXL-2143 – for most different songs... and include none of those mentioned above. Test Pressing collectors. For a Beatles fan But, and it’s a big but, still there is something utterly magiste- Condition: who wanted a rial about the sound of Cream unleashed, and this is the cat’s M-/M- Sold for: fi rst pressing pajamas. Recorded across three nights on the band’s October 1968 $5,000.00 bubut who didn’t U.S. tour (Oakland, and ), and climaxing This album is a wanwantt to pay $10,000 with the farewell the following month, Goodbye well-known part of for it, thisth listing was like Tour scarcely captures Cream in the best of places in emotional the Decca classical catalog, having a wish granted. terms, as a fabulous hardback book makes clear. being one of the albums that was Fred Williams Ginger hated Eric hated Jack hated Ginger, and all three hated recorded for stereo but released “Tell Her”/“The Dance Got Old” the relentless treadmill into which they had stumbled. But still in mono only. This stereo test they turned in virtuoso performances that few, if any, mere “rock” pressing — one of ononlyly a SolSoloo no numbernumb Condition:Conditi handful out there—re— is VG(+) bands could replicate, and even through the mud and distortion, SoldSold for: the only way to get $4,477.00 there’s no mistaking their playing for anything less than heartfelt. SmSmart’s Palace, In truth, it’s probably not a box that you will pull down to listen this LP in stereo.o. ham- ooperated by to as often as, say, the live half of Wheels of Fire. But the book is a mer price is tthe Smart treasure in its own right, and the discs are as good as they can be, well earned. brothers, was given the nature of the tapes. Besides, let’s be honest. Sometimes a major part your ears simply cry out to be bulldozed by sound. This is their Carl of Wichita’s opportunity. Perkins soul scene in Finally, let’s calm things down a little... a clear vinyl reissue of “Blue Suede the late 1960s. Uncle Tupelo’s Anodyne should certainly take the edge off a Shoes”/ ThisT record was recordedre in 1969 voracious collectors market for the album’s last waxen appear- “Honey Don’t”” and was pressed ance, back in 2010 (it only ever appeared on CD and cassette back Sun 234 Condition: for SoloSolo by Monarch in 1993); and if you’ve been searching fruitlessly for a clean copy G Sold for: $4,900.00 RecordR d Mfg.Mf Co. in Los of 1990’s Europe-only Twin Peaks soundtrack, then your search All of the value is in the auto- Angeles. If there is such a label as for that, too, is now over. Green vinyl, too, to get you into an ap- graphs, which appear to be from Midwest Soul, then that description propriately forest-y mood. the 1950s, but that value is truly fi ts this record.

goldminemag.com JUNE 2020 11

10_918_Grooves.indd 11 4/8/20 12:03 PM GROOVES RECORD STORE RECON BY DR. DISC ASK THE EXPERT ERNEST TUBB SUN ELVIS? RECORD SHOP NASHVILLE, TN

Is this a true Sun recording (pictured) or a combination with Orion? (Elvis is vocalist on both sides of record?!) Q Please explain. Thank you — Lin Sutton via mail

Sun Records, bought out by Shelby Singleton in 1969, is the for that single. Orion was a masked singer whose real name was Jimmy AEllis. Orion/Ellis had a string of 10 hits in the late ‘70s and early ‘80s. Ellis’ voice was often confused with that of , but he was younger than Elvis (born in 1945). That similarity with Presley prompted the Sun label to intimate that Orion might secretly be Elvis; after all, there were rumors that Elvis had faked his death. Jimmy Ellis retired from music Address: 417 Broadway, Nashville TN Hours: M-Thu: 10am-10pm; Fri-Sat: 10am- and opened Jimmy’s Pawn Shop in Alabama. Midnight; Sun: 10am-10pm Phone: 615-255-7503 Sadly, that was where he was murdered in late Web Site: www.etrecordshop.com 1998. His killer is still on death row. — Frank Daniels, STOCK 9 country music, that’s SELECTION 7 Goldmine Contributor Ernest Tubb Record for sure. This store has two Shop has everything kinds of music: STORE 10 and anything that Country and Western. promotes the store... One of the cleanest They also carry some I was reading about Cassette Store and all country music stores that I have crossover bands/ Day and naturally wondered... well, if can be bought here. ever been in. Bright artists; for instance, you’re promoting listening to cassettes There are books, lights and country singers like Steve Q (of which I have thousands), where on stickers, pens, CDs, music welcomes you Earle and Taylor Swift. Earth can you get a new Walkman? records, T-shirts, shot when you fi rst walk You won’t fi nd any Yes, I said Walkman. My Walkman served me glasses and so much in. Everything is other style of music at well for years and years. Now it has broken down, more. They even displayed in a manner Ernest Tubb though. like some of my cassettes. But when I sit out in the have some Nashville that makes it easy to sun, I want those headphones around my ears. Any souvenir items. see. The store also has SPECIAL MENTION ideas? a display in the back They still broadcast — Jane Fieberts via email STAFF 9 of classic Grand Ole the Midnite Jamboree Opry and the Midnite Sony made the Walkman cassette from The staff at Ernest every Saturday night Jamboree (a radio 1979 to 2003, with the most recent Tubb Records Shop at midnight on WSM program launched in model being the WM-GX788. You might have always been nice and you can hear it May 1947 by country fi nd unused items (still sealed), but and helpful. On one on the web as well. of the days that I was musician Ernest Tubb). [Note: During the Athey won’t be NEW items. New cassette players The store has been are still being made, but not by Sony. As you there, the staff gave pandemic, live Midnite at this location since probably already know, Sony now uses the name me a great history Jamboree shows 1947, also founded by Walkman for digital audio players. lesson on the store. have been suspended Tubb. — Frank Daniels They know their indefi nitely.]

12 JUNE 2020 goldminemag.com

10_918_Grooves.indd 12 4/8/20 12:03 PM The Beatles, Revolver ALBUMS Early psychedelic ground-breaking album. THAT CHANGED MY LIFE , Goats Head Soup Stones in their ’70s period; great sound and feel. An album that sometimes gets overlooked in their catalog. Originally the bassist in Buzzcocks, Diggle switched to guitar when left the band in 1977. Among Bob Dylan, Bringing It All Back Home Diggle’s compositions for Buzzcocks are “Autonomy,” “Mad Mad Judy” and his When Bob went electric and took popular music to new signature song, “.” In possibilities. addition to his work with Buzzcocks, Diggle has recorded four solo albums. Diggle and his Buzzcocks bandmates, bassist Chris Remington and drummer , Diamond Dogs Danny Farrant, decided to continue with An album that saw Bowie moving on with the underlying the band after the December 2018 death theme of George Orwell’s’ 1984 book. of singer, guitarist and . Regarding the decision, Diggle said, “I am going to raise the mast and set the sails for the next voyage of the good Sister Rosetta Tharpe, Down By The River- ship Buzzcocks.” Buzzcocks released a double-A-side side: A Collection of Swingin’ Spirituals single on February 14, the fi rst recording The godmother of rock and roll, and a big infl uence of the since Shelley’s death. It includes “Gotta godfather, Chuck Berry. Also, she plays amazing guitar. Get Better,” a cover of a Diggle solo song, as well as “Destination Zero.” Both songs are short, sharp in the classic , Live in Buzzcocks mode. This album gives a great feel of The Boss’ live shows and Buzzcocks tour dates on the West Coast of the USA that had been scheduled covers a lot of ground. for May were postponed due to the coronavirus pandemic. —John Curley The Who, Who’s Next Great songs and an album where Roger Daltrey really fi nds his voice.

The Stooges, Raw Power A big infl uence on punk and amazing guitar from James Williamson.

Buzzcocks, All the Buzzcocks’ albums are great, and still more to come.

Steve Diggle, Wheels of Time Four of my solo albums (in a box set) that go on a different journey with each album. CHRIS METZLER.

goldminemag.com JUNE 2020 13

10_918_Grooves.indd 13 4/8/20 12:03 PM TOWER OF POWER 50 YEARS ON…

TOWER OF POWER 2020 (L-R): Jerry Cortez, Adolfo Acosta, Emilio Castilo, Roger Smith, Dave Garibaldi, Stephen ‘Doc’ Kupka, Sal Cracchiolo, Tom Politzer, Marcus Scott (blue coat) and Marc Van Wageningen.

BY MIKE GREENBLATT with original members Castillo and alto about it, there’s a billion guitar players, a ower of Power boasts one saxophonist-composer Doc Kupka, plus billion drummers, a billion bass players, of America’s greatest all-time drummer David Garibaldi, keyboard- but you can count the horn sections on Thorn sections. From their humble ist Roger Smith, tenor saxophonist your hand. We lucked out in that respect. beginnings in the Bay Area of Califor- Tom E. Politzer, trumpeter-flugelhorn nia way, way back in the 1960s, to their man Adolfo Acosta, lead guitarist Jerry GM: It’s more than luck. Look at this list new and totally invigorating Step Up Cortez, trumpeter Sal Cracchiolo, lead of artists you’ve backed: John Lee Hooker, (Concord Records), the band put together vocalist Marcus Scott and bassist Marc Aerosmith, , Lyle Lovett, by Emilio Castillo has weathered the van Wageningen, they’re a well-oiled Aaron Neville… peaks and valleys of extended fame but, machine that consistently cranks total EC: Aaron, yeah! We did the Grammy through it all, at their highest highs and and complete joyousness. Award-winning duet he did with Linda lowest lows, they’ve also packed a punch. Goldmine spoke with tenor saxo- Ronstadt, “When Something Is Wrong Fans in America and Canada had phonist, singer-songwriter, bandleader, With My Baby.” witnessed that knock-out kind of show producer, arranger Emilio Castillo. this year (before the pandemic closed GM: Even ! venues). Artists as wide-ranging as The GOLDMINE: You guys were THE horn EC: Later in their career. Monkees and Grateful Dead have used section for everybody! Why was that? this horn section. Now a 10-man army EMILIO CASTILLO: If you think GM: Grateful Dead!

14 JUNE 2020 goldminemag.com

14_918 TOWEROFPOWER.indd 14 4/8/20 12:07 PM EC: Plus drummer Mickey Hart’s solo song came out. He had a really hip show. sion to kill ourselves. I didn’t get sober record. And we played live with the Dead Such a great showman! He was one of the until the late ’80s. Doc got sober a year backing Etta James on New Year’s Eve. first black people I ever saw imitate Elvis later. We started to turn our lives around Presley. He nailed Elvis! He used to wear to live a spiritual life. Pretty soon, we GM: So how did a kid from get these chartreuse sharkskin suits cut at were praying together. Shortly thereafter, to end up in a hotbed of San Francisco weird angles. And he had on these great, the whole band was praying together. musical activity? big, glass cuff-links that looked like big We all have a real connection with God. EC: My dad lost his bartending job when jewels, and he’d take ’em, throw ’em to We’re there for each other. That, right I was 11. His mentor, Jack McCarthy, had the women, and they’d go nuts. He was there, is what really keeps us together. showed him the ropes. Jack had moved a great entertainer. I would go see him at The other thing is, of course, the out west a few years before that and was the roller rink. He changed my life. music itself. We don’t try to be like any- always reaching out saying, “You should body else. We realized years ago that no come to the Bay Area. You’d do well out GM: Jackie Wilson had Elvis down perfect- matter what we do, we sound like Tower here.” My dad figured he could be just as ly, too. There’s a great moment on the Sun of Power. For awhile there, the record broke there as he was in Detroit, so we Sessions where Elvis tells Jerry Lee and Carl company was trying to get us to sound drove across the country and wound up Perkins he saw Wilson’s first band, Billy like all the other groups on the radio. in Frisco. Ward and his Dominoes, when Wilson sang They told us, “If you can do that, we can “Don’t Be Cruel.” And Elvis loved it so much get you more .” And I’ll be hon- GM: That’s where Sly and the Family he went back five nights in a row. Elvis then est, we tried to do exactly that, because Stone were from and I understand you imitates Jackie Wilson imitating him! they were giving us a lot of money. But were a huge fan. EC: You know what other black guy had it always came back to us sounding like EC: Oh yeah. Before Sly even had his Elvis down perfectly? Philippé Wynne, Tower of Power. For awhile, we thought it first record out, he had a year-long lead singer of The Spinners, back in the was a curse. Pretty soon, things dried up, residency at Frenchy’s in Hayward. That ’70s. He used to imitate Elvis to the T. so we said to each other, “Let’s just make was the one club we always went to, even Philippé Wynne is one of my favorite the music the way we’ve always made it.” as kids, when we used to have to climb singers of all time. We all got happier. The music got better. over the fence in the back by the pool The career got longer. It’s not a curse, it’s and sneak in on weekends. Man, we’d GM: What is “The Oakland Zone”? a blessing. We have our own signature. stay there until the sun came up! Sly EC: That’s a phrase we use for the feeling Our own style. We own it. would play before- and after-hours, and that we have when the audience is really after-hours in the Bay Area, you couldn’t excited enough to give all the energy back GM: You’re talking about when Colum- dance and you couldn’t drink, so the to us and we’re firing on all cylinders, bia Records forced you to go disco. band had to really put on a show. Sly and it becomes effortless. That’s when we EC: Yes, exactly. But hey, you can’t and those guys would come down on the say we’re in the Oakland zone. We’re hit- blame them for that. That’s what was floor and have hambone contests and ev- ting the mark. Even going beyond. happening then. But even our disco erything. They’d all switch instruments, attempts sounded like a bastardized ver- too, until they got all the way around GM: So you’ll be in the Oakland zone sion of Tower of Power. to their original instrument. It sounds when you, say, play Philly. corny today, but it was really great. So, EC: Oh yeah, Philly’s very special to us. GM: What’s the difference between your yeah, we were all huge Sly fans. When I was making albums and your stage show? (1974), I was studying a Spinners record EC: I would say the energy. Try as we GM: I also understand you loved a song produced by Thom Bell, because I’ve might, it’s hard to bring the live energy called “She’s Looking Good” by Rodger always loved his productions. I used to to vinyl. There’s something about a Collins. I know it by . just listen to his records over and over. live show. The missing ingredient is EC: Wilson did it after Rodger, and it I’d check out how he used strings, how the audience. When you’re performing was a rather bastardized version. Rodger he used backgrounds, drums, vocals. I’d music before an audience, the audience is Collins, man, he was a slick one, alright. pick his records out for days and days, getting excited, it’s heaping that energy It was a big Bay Area hit. I went to see him man. He really influenced how I produce. back towards you. That makes the music live, because my dad had already seen excel. It’s an experience that cannot be him at an after-hours joint when he was GM: To what do you attribute your duplicated in the studio. You can make finished bartending; and when he came longevity? really great records with a certain excite- home, he said, “You have to see this guy.” EC: I’ll be 70 in September. I attribute ment but not like live. In fact, it was my dad who turned me on my longevity to God. For the first 20 to , too. Rodger Collins was a hot years of our career, we made every mis- GM: I’ve always loved your Urban ticket in the Bay Area even before that take known to man. We were on a mis- Renewal album best of all. It was the

goldminemag.com JUNE 2020 15

14_918 TOWEROFPOWER.indd 15 4/8/20 11:26 AM TOP '70s: (L-R) Greg Adams (trumpet), (trumpet), Stephen "Doc" Kupka (sax), Emilio Castillo (sax), David Bartlett (drums), (sax), (bass), (vocals), (guitar) and Chester Thompson (keyboards) performing on Soul Train, Episode 126, aired Feb. 1, 1975. PHOTO BY SOUL TRAIN VIA GETTY IMAGES

mid-’70s, I was in my 20s, and I wore that mento and I remember thinking, “Man, singer. I contacted each one. We then nar- record out. if I could ever get to Sacramento.” So, to rowed it down to a few finalists by reach- EC: That’s my favorite out of all our answer your question, no, 50 years was ing out to people whose opinion I trust in albums. never in the program. certain cities known for great , like Chicago, New York, and GM: Even before that, your self-titled GM: The new album, Step Up, is solid. . Word got out. People started album rocked my world. EC: I’m equally proud of Soul Side of calling. In Marcus Scott’s case, my man EC: Yeah, Tower of Power was my very Town (2018) and Step Up, as we recorded TC (Coleman) called me. He drummed for first production. I learned from Steve it all at the same time. We went into the B.B. King for years, and he told me about Cropper who produced an even earlier studio in 2017 and recorded 28 tracks. Marcus. “He’s like a little Lenny Williams record called (1972). It was our plan the whole time to record (TOP lead singer from ’72 to ’75). You our next two albums. The goal was the gotta hear him!” So I did. We had three GM: You also have a string of fabulous make the best records of our career. One finalists, and we were doing a gig in Vegas live albums second-to-none. of our managers at the time told me, and had them all sing. That’s a cheap EC: We do really well with those live al- “This isn’t the time to record 12 songs ticket to come out, because we can’t pay bums. We’re very proud of them. They all the same way and put out a record. It for their flights. So the three came out and came out really good. Some acts, when has to be special. You have to do the we decided to give Marcus the shot with they put out a live recording, they just Michael Jackson method and record way us. We’re glad we did. flip a switch with no forethought. We’re more material than you’ll need.” So we known for making sure each one sounds recorded 28 and they all came out great! GM: You co-founded the band with Doc really great. We’re actually working on We took ’em to Mack Avenue, our new Kupka, right? a live DVD right now for our 50th An- record label, and they wanted to put it all EC: I’m the leader of this band. I hired niversary. That one is really coming out out at the same time. We refused. So we Doc. It was always my band. But we are great. I’ve been in the studio the last two put out Soul Side of Town and it did re- the two originals left, yeah. Actually, weeks mixing. Just phenomenal. I can’t ally well for us. Step Up is also fabulous. David Garibaldi is an original, too, but wait until it’s released. We’re super proud of it. We pushed the he’s been out of the band four times; the envelope technically, lyrically, horn last time for 18 years before he came back. GM: Fifty years, wow. Did you ever think -wise and vocally. We didn’t And (album-only) bassist Rocco Prestia back in the Urban Renewal days that you’d have singer Ray Greene anymore, who’s played with me before it was even called be mixing a 50th Anniversary live DVD? now with Santana, but our new lead Tower of Power. He was in my very first EC: (laughs) This was the scope of my singer, Marcus Scott, is just fantastic. It’s band, The Extension 5. He was in The Go- thinking: my favorite band at the time a burning record. tham City Crimefighters with me. He was was a local band called The Spiders; I in the bands called Motown and Black just wanted to be as good as they were. GM: Did he audition? Orpheus with me. Rocco goes back even They would play a nightclub in Sacra- EC: I searched all over the internet for a further than Doc. Rocco left the band

16 JUNE 2020 goldminemag.com

14_918 TOWEROFPOWER.indd 16 4/8/20 11:26 AM NOW AVAILABLE AT MVDSHOP.COM

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PHIL OCHS THE : RARE DISCOVERING AMERICA AND UNRELEASED RECORDINGS Early recordings from Gerry Beckley Phil Ochs is known primarily as a (America) released on 10" vinyl + CD. songwriter; but his talents extend far beyond 10" VINYL + CD that: short stories, poetry and satire. CD

GM0620.indd 17 4/8/20 1:48 PM for eight years in the ’80s. He’s probably word. Then he slowly started. “Well, the most famous member of the band. I boys, I know, I know. You’re young and had to take him off the road last year for you made a mistake. I understand that. health reasons. Those are the founding I went through a similar situation with members. But I started the band and have Carlos (Santana). But I didn’t have a always been its leader. I run a tight ship. management contract with him. And he screwed me!” Then he started screaming GM: Tell me about Bill Graham. at us at the top of his lungs. He’s standing EC: He’s the guy who gave us our career. up. He’s pointing his finger at us. The TOWER OF POWER We wouldn’t be here if it wasn’t for him. spit is flying out of his mouth. We were STEP UP He signed us to our first record deal. At in an office with all-glass windows and Artistry Music (CD) the same time, he signed us to a song- just outside his office are 13 girls at desks ★★★★ writing deal, a publishing deal, a booking and they’re all looking at us. He finally Tower of Power’s 20th studio album, agency deal and a management deal. sat down and said, “Ok, boys, I’ll see you Step Up, could be subtitled Soul Side of next Monday.” Town, Pt. 2, as these songs were recorded GM: He must have liked you. We walked out like the walk of shame during the sessions for that 2018 album. EC: (laughs) I’ll say! We were with him with them all looking at us, and the The lineup’s changed over the years, but about a year when we totally embarrassed following Monday when we walked back those soulful goodtime vibrations are still present and accounted for. ourselves by getting into a big fight with in, they’re still looking at us. We did him. We were on our first road trip. We this about seven Mondays in a row and The album opens with a brief introductory noticed our record wasn’t in the stores. finally our old manager comes back from track, “East Bay! All The Way,” a refer- ence to the band’s hometown region of We came back all frustrated and, in our the mountains, goes and sees Bill, asks Oakland, California, before moving on to youthful frustration, we had this meet- him what he wants to make things right, the funky grooves of the title track. “Step ing with him. We had this really good and Bill starts screaming for about 40 up, don’t give up, no matter what” is the manager at the time, but he wasn’t at the minutes and tells him, “I want $40,000 chorus, repeated like a mantra, and newly meeting, because he was gone meditating and two points on the album.” Warner relevant in this day and age. It’s one of with the Maharishi somewhere in India at Brothers had already made it clear that a number of songs that aim to get your the time, so we had to go it alone. We were they wanted us. Our manager says, mind moving as much as your body. “Any Excuse Will Do,” for example, pokes fun at so filled with ourselves that Rick Stevens, “Done.” Warners paid Bill out of their our tendency to blame whatever’s handy our singer at the time, told us he knew a end just to get us. Bill was happy and we for what’s wrong with the world (“Blame it guy who managed Sly Stone and Buddy became his favorite band. He would use on religion/You can blame it on the press/ Miles; plus he always had a lot of cocaine. us every time he had a Christmas party Blame it on the bureaucrats/Or chalk it up So we fired Bill Graham at that meeting. or a private affair. to stress”), instead of working together to [Singer Rick Stevens was convicted for Years later, when we weren’t doing so resolve our problems. murdering three men in a coke-fueled well, we’re playing one of his nightclubs But there’s no shortage of relationship haze and served 36 years in prison for the around Christmas towards the end of the songs either, songs of happy-ever-aft er, crime.] Bill was so upset, he was ready to ’70s. It was just after soundcheck. The and not so happy endings. “Who Would fight us. Bill’s lawyer had to physically band had left. I was alone. He came in. Have Thought?” falls into the latter camp, a slower number, with singer Marcus Scott restrain him. It was a horrible scene. I’ll “Hey, Emilio,” he shouts in my direc- sounding full of regret as he details a rela- never forget walking out of that meet- tion, “you’re just the man I want to see. tionship’s unraveling, while “The Story of ing and telling the band, “I think we just Sit down. I want to say something and I You and I” takes a cheekier look at a failed made a huge mistake. That was the wrong don’t want you to say anything back.” aff air. Not to worry; things work out better way to handle it.” I’m thinking, “Oh my God, here we go.” in “Addicted to You,” “Beyond My Wildest After that, Doc and I, went to visit Bill “I know you guys have been strug- Dreams,” and “Let’s Celebrate Our Love.” and apologize. We also needed to put gling lately,” he says. “Let’s just say I had Scott’s a newer member of the band, hav- out a new record and he still controlled a good roll of the dice this year. I’m going ing joined in 2016, and founding members our record deal. I mean, he still liked to give you this envelope. There’s $10,000 Emilio Castillo (tenor sax), Stephen “Doc” us. It was business. He didn’t hold it in it. This is for you. You can split it with Kupka (baritone sax), and David Garibaldi (drums) are still on hand, helping to keep against me and Doc. So we go to Bill’s the band if you want. You can take half the alive. This is a positive, upbeat office, as we would every Monday. He of it and split the rest with the band. You album, that’ll get your foot tapping, and was gracious, we said we were so sorry, could keep all of it. Do whatever you soothe your soul. — Gillian G. Gaar we handled it all wrong. We were trying want. Merry Christmas.” to explain our case. Then we told him we And he got up and walked out. really needed to make a new record. We The band came back for the show. I on the pool table, and I said, “Merry were hot as a pistol! was still there. There was a pool table Christmas from Bill Graham.” He looked long and hard at us from in the dressing room. I called every- And he still paid us for the gig as behind his big desk before he said a body around and I threw the 10 grand well.

18 JUNE 2020 goldminemag.com

14_918 TOWEROFPOWER.indd 18 4/8/20 11:26 AM RARITIES ON COMPACT DISC (CD) AC/DC - ARBC - Nashville TN 8/3/78 - excellent FM broadcast Manassas (with Stephan Stills) - Bananafish - Bananafish Garden NY 4/16/73 - AC/DC - Problem Child - Columbus, OH 9/10/78 - excellent FM broadcast excellent FM broadcast Aerosmith - 1978 - Cal Jam II 3/18/78 - excellent soundboard Paul McCartney - The Alternate Ram - rare and alternative versions Aerosmith - Doin’ F.I.N.E. In Belgium - , Belgium 10/31/93 - excellent FM broadcast Ted Nugent - Hey Texas! (2CD) - , TX 1/22/77 - excellent FM broadcast Allman Brothers - Greek Theatre 2009 (2CD) - Los Angeles 5/19/09 with Tom Ted Nugent - LoopFest 2001 - Chicago 2/6/01 - excellent audience recording Petty - excellent soundboard Pink Floyd - The Dark Side Demos - outtakes 1971-72 Allman Brothers - Missouri Blues - Columbia MO 2/28/71 with Duane - excellent Pink Floyd - Dark Side UK Original 1st Pressing LP (2CD) - rare hi-fi alternate versions soundboard Pink Floyd - Demos & Alternate Versions - Dark Side, Wish & Wall outtakes Allman Brothers - Nevada Blue Sky (2CD) - Reno, NV 8/25/96 - excellent audience recording Prince - Paris Affair - Palais Omniport, Paris, France 6/17/87 - excellent soundboard Company - Live Albuquerque (2CD) out-of-print CD of 3/10/76 performance - Prince - Purple Rain Rehearsals - 1985 rehearsal session plus Sign O excellent soundboard rehearsals 1987 - excellent soundboards - Movin’ On To Maryland - Landover MD 6/29/79 - excellent FM Rolling Stones - Club Show (2CD) - Orpheum Theatre, 9/8/02 - very good broadcast audience recording Bad Company - Ready For Newcastle - first live show at Newcastle UK 3/8/74 - excellent soundboard Rolling Stones - Complete Woodstock Rehearsal Tapes (4CD) - Bearsville Beatles - The Complete Rooftop Concert - last public performance 1/30/69 - very Studios May 1978 - excellent soundboards good soundboard Rolling Stones - Crossfire Hurricane (2CD) - Kansas City 12/14/81 with Mick Beatles - In Case You Don’t Know - Shindig 10/3/64, Drop In 10/30/63, and Taylor - excellent soundboard Coliseum 2/11/64 - excellent soundboards Slipknot - The Clown Academy - UK 2/24/00 - excellent soundboard Beatles - The White Album Sessions (2CD) - acoustic demos early 1968 Dave Clark Five - Weekend in London / Having A Wild Weekend - two out-of- Slipknot - Live In Paris - Paris, France 5/29/01 - excellent soundboard print 1965 LP’s on one CD Slipknot - Requiem 2000 - San Francisco 4/30/00 plus bonus - excellent audience (DC5) Mike Smith And His Rock Engine (2CD) - B.B. King’s club, NYC 3/16/03 - recordings very good audience recording Traffic - Woodstock 1994 - Saugerties, NY 8/14/94 - excellent soundboard (DC5) Mike Smith And His Rock Engine (2CD) - Farmingdale, NY 3/12/03 - excel- UFO - Will You Please Welcome From England . . . (2CD) - Vienna, Austria lent audience recording Derek & The Dominos - Stormy Monday (3CD) - Santa Monica, CA 11/20/70 both 1/29/98 - excellent soundboard shows - excellent audience recording Uncle Tupelo - Cover Story - live covers 1989-93 - excellent audience and sound- Bob Dylan - Genuine Basement Tapes, Volumes 1 - 5 (5CD) - Saugerties, NY board recordings 1967 - studio outtakes - may be ordered separately Uncle Tupelo - Halls Of Shame - Lounge Ax, Chicago 2/5/93 - excellent FM broadcast Bob Dylan - The Genuine Never Ending Tour Covers Collection 1988-2000 - Urge Overkill - Urge Over Canada - 10/25/95 - excellent soundboard Volumes One to Nine - good to excellent audience recordings and soundboards - nine CD’s for only $100.00 - Across The Bay - Oakland CA 10/9/80 - excellent audience recording Fish - There’s A Guy . . . - live 1992 - excellent audience recording Van Halen - Complete Zero (2CD) - the legendary demos including - Frenzy - 10/16/95 - excellent soundboard follow-up sessions and final mix - excellent studio recordings Peter Gabriel - 1994 (2CD) - Pilton UK 6/26/94 - excellent Van Halen - Creating 5150 - 5150 demos plus Wild Life instrumentals - excellent soundboard soundboards Garbage - Beautiful Chicago - 10/16/01 - excellent FM broadcast Grateful Dead - Dead In Cornell (3CD) - Ithaca NY 5/8/77 - excellent soundboard Stevie Ray Vaughan - Live In Japan (2CD) - 1/24/85 - excellent soundboard Grateful Dead - Soundcheck ‘73 - Watkins Glen NY 7/27/73 - excellent soundboard Stevie Ray Vaughan - Peace In The Valley - Alpine Valley,WI 8/25/90 (penultimate - The Alternate Wonderwall - alternate and unreleased versions show) - excellent soundboard George Harrison - Living In The Alternate World - LITMW outtakes - transfer from Stevie Ray Vaughan & Buddy Guy - See You Later - Chicago 7/30/89 - excellent acetate soundboard Jimi Hendrix - Rainbow Bridge 2 (2CD) - Hawaii 7/30/70 - excellent soundboard Velvet Underground - April Sounds - NYC 4/67 (excellent soundboard) plus Jimi Hendrix - Rescued From Randall’s Island - Randall’s Island, NY 7/17/70 - very good to excellent soundboard Sceptre Studios 4/25/66 acetate - Brave New World In Chicago (2CD) - UIC Pavilion 8/25/00 - very Velvet Underground - The Great Banana - Dallas, TX 10/18-19/69 - excellent soundboard good audience recording Tom Waits - Downtown Blues - 10/8/74 plus 2/19/75 - excellent FM Iron Maiden - Dynamo In The Rain (2CD) - Holland 6/3/00 - excellent soundboard broadcast - Brutal Artistry (3CD) - unreleased and alternative versions from Wings Over America Vol 1 (2CD) - unreleased and alternate versions American leg 1975-76 Physical Graffiti Led Zeppelin - Budokan Hall 1972 (2CD) - Tokyo 10/3/72 - excellent audience recording Wings Over America Vol 2 (2CD) - unreleased and alternate versions American leg 1975-76 Led Zeppelin - Put Led In Your Pencil - London 6/15/69 + 6/24/69 - excellent FM - Live In 1987 (2CD) - Sportspaleis Ahoy, Rotterdam, broadcasts Holland 5/27/87 - excellent audience recording RARITIES ON DVD - Dehumanizer Tour - , Brazil 6/30/92 - pro-shot Queen - Brazil 1981 - Sao Paulo 3/20/81 - pro-shot TV broadcast - complete show Blind Faith - Hyde Park 1969 - London 6/7/69 debut - pro-shot Rolling Stones - Aux Abattoirs (2DVD) - Paris, France 6/6/76 unaired complete (DC5) Mike Smith’s Rock Engine - Grand Opera House - Dubuque, IA 3/27/03 - recording very good audience recording Rolling Stones - Seattle Supersonic (2DVD) - Seattle Kingdome 10/15/81 - pro-shot Genesis - The Silent Sun - Charisma promo film 10/73 + Belgium TV 1972 - very Rolling Stones - TV Collection 2 - GHS Sessions, Some Girls Sessions, plus good pro-shot VHS transfer promos and US TV Kinks - All Aboard (The Great Lost Kinks DVD) - rarities 1964-73 - TV & film clips Linda Ronstadt - London 1976 - New Victoria Theatre 11/13/76 - pro-shot Ricky Nelson - Rock & Roll (2DVD) - early years anthology including rarities - TV clips - Live In Stockholm - Sweden 1/27/76 - TV clips Rick Nelson - Stage 67 - US TV episode entitled “On The Flip Side” - 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all pro-shot - Carnegie Hall 1980 - NYC 6/25/80 - pro-shot - full concert Elvis Presley - Chain Reaction - live in Vegas 1970-71 - pro-shot multi-cam Siouxsie & The Banshees - Go Back To College - Coventry, England 3/9/81 - pro-shot Elvis Presley - Live Collection - excellent TV clips from his early years Spinners - Live In Chicago 1976 - Soundstage plus Soul Train 1974-75 - pro-shot Elvis Presley - On Tour Outtakes - OOP concert film unused clips - pro-shot TV clips Pretenders - Rockpalast 1981 - Koln, Germany 7/7/81 - TV broadcast Stray Cats - The Rockabilly Years - Friday Night 10/16/81, Hollywood Palace Prince & NPG - Arsenio Hall Shows 91-93 - TV broadcasts 1983, US Festival 5/28/83, The Savoy, NYC - all pro-shot Prince - Paisley Park Concerts - The Ryde Dyvine 12/19/92 + Love 4 One Another The Who - Rocks Toronto - 12/17/82 - pro-shot 10/28/95 - pro-shot One Hit Wonders - pro-shot TV & film clips ORDERING INFORMATION: These CD & DVD rarities cost $15.00 for singles, $25.00 for doubles (or DUAL layer DVD’s), $35.00 for triples, $45.00 for quads, and $50.00 for five-disc sets. Orders over $100.00 receive free shipping to the US and Canada. Please provide us with your full name, address and phone number. We accept checks and money orders (made payable to “ALEX STRONG”), VISA, Mastercard, American Express & Discover. Our new processor requires the 3 digit security code (cvv) on the back of the card. Get our 59-page CD & 13-page DVD catalogs for $5.00 postpaid or FREE with any order. All items always available from this and previous ads. SHIPPING CHARGES: $5.00 for all packages to U.S. and Canadian addresses call for shipping charges to other destinations THE CD & DVD COLLECTION 2364 Essington Road #315, Joliet, IL 60435 ORDER LINE: 847-912-2005

GM0620.indd 19 4/8/20 1:48 PM NOW WE’RE 64 as Jennifer Juniper

BY JOHN “JAY JAY” FRENCH

ne of the best parts brother-in-law, not some kind of writing for Goldmine of narcissistic superstar. In Ois that I get a chance to other words, he is a person write about an era that I not only (albeit important) in Jenny’s grew up in but whose music, life. George’s searching and and the people involved in its spirituality had a great effect creation, remain indelibly etched on all those around him. into my DNA. Jenny’s sister Pattie comes The sudden upheaval of the across as that important older coronavirus pandemic prevented sister who always had Jenny’s an in-person interview with Jenny back. There is a younger sister, Boyd about her new book, Jen- Paula, who comes in and out at nifer Juniper, and whose personal various times. appearance was to coincide with I was also struck by the fact that the March 2020 Beatlefest in New the book was, in my mind, essen- Jersey. tially three different stories. Story I was sent the book and my first one was about Jenny’s life in swinging inclination was to skim through London in the ’60s and her travels just the Beatle parts which I and associations with The Beatles. thought would take up most of Story two was her life and marriage(s) the book. I do write a Beatles with Mick Fleetwood, among oth- column after all, and I would ers, and the insanity (and I do mean have assumed that that would insanity) of the years have been the focus. and, most importantly, story three, I was wrong and happily which was Jenny’s journey to repair so. I read the entire book her broken life and ultimately to and was awed by its scope find redemption by reconciling with and specificity. I really her father while confronting and loved the fact that George ultimately successfully dealing with Harrison is just referred all the mental health issues that went

to as a great friend and along with it. 1966 DELROY, RODERICK

20 JUNE 2020 goldminemag.com

20_918_NowWere64.indd 20 4/8/20 12:23 PM Jenny is five years older about it? than me, and there were JB: No. No. It is my book, episodes in the book that my memoir including stuff I mirrored my own in London saved. I had my own story. (I first went there in 1971) as well as incredible shows that GM: How did you feel about we both saw, months apart in George Harrison when you first the ’60s; Jenny in London, me met him? in NYC, with the same artists. JB: I first met him at Pat- I also want to add that Jenny’s tie’s apartment and then later first flat in London was on at my mother’s house when Kensington Church Street, and Pattie brought him ’round. He the very first flat I stayed in in may have been a very famous London, in 1971, was also on person, but he seemed to be a Kensington Church Street. very normal guy. Meeting him Other strange coincidences didn’t blow me away because between my life and Jenny’s: he was a Beatle. He just seemed In the book Jenny tells a like a nice guy, in general. story about going to a gig with Paula during the spring GM: At the time were you of 1969, at a London night- aware of the incredible world club called the Speakeasy that surrounded them and you? to see perform JB: The Beatles times for with Delaney & Bonnie. The me had me on the same level Speakeasy was a small club in with them and all their other London where many famous friends. We went to the same musicians hung out between clubs, we were all together tours and played. on the train to Wales to be Two months later in July 1969, I also love. George’s song “Something” was with Maharishi, and at the ashram in saw Eric perform with Delaney & Bonnie written for Pattie. Eric, who also not only Rishikesh. in a small nightclub called Ungano’s in loved Pattie but eventually married her, These were the people that we all hung . wrote “Layla” about her, and around with. I saw Fleetwood Mac in February 1971 (known over here as the Bob Dylan of at the Fillmore East. Peter Green had England) wrote "Jennifer Juniper" for GM: Magic Alex comes up prominently already left the group, but at this show, Jenny but as much as he wanted it, could in the book. You knew him well, you it was announced that Peter was playing not develop a romantic relationship with rented a room in his apartment. He guitar as a replacement for the recently his muse. seemed to have a crush on you—although departed Jeremy Spencer, who had joined I got to interview Jenny by phone you felt that he was always insincere. the “Children of God” cult in San Fran- recently. Were you aware of his close relationship cisco days earlier. with John and the jealousy he had about Many of my friends have doubted my GOLDMINE: Was there any pressure the Maharishi and John? memory of this event, telling me that no from the publisher to “Beatle-ize” your JB: Yes, but it wasn’t just Alex who felt way did Peter return. Well, in the book book? the Maharishi was a fraud. After being Jenny tells the story of that tour and JENNY BOYD: No. I knew what I was at the ashram for over two months, John Spencer’s departure and that Peter Green going to write about (from the begin- also did and in the end we all felt be- did in fact return to help the band finish ning) and they accepted that. trayed by the Maharishi. After we all left the dates! I went with George and Pattie to South The title of the book, Jennifer Juniper, GM: How did you remember with such India, where we met up with their very immediately had me singing the song specificity situations that occurred so close friend, Ravi Shankar. by Donovan. I still have the 45 in my many years ago? collection. One of the major commonali- JB: I wrote and I wrote and I wrote, GM: As you were with Pattie and George ties among the Boyd sisters was that they and it all came back over time. so much, were you aware of the tensions were muses for incredible songs by great that led to the end of The Beatles? . They were also songs about GM: Did you talk to Pattie and Mick JB: Yes, while I was visiting with Pattie

goldminemag.com JUNE 2020 21

20_918_NowWere64.indd 21 4/8/20 12:23 PM NOW WE’RE 64

and George at that time I could sense that George was upset, but at that time I didn’t know why.

GM: How would you quickly describe The Beatles separately? JB: George: Lovely and spiritual. John: Sensitive, gentle but also quite intimidating. Paul: Clever and quick-witted. Ringo: Wasn’t around as much, as he and Maureen were in England most of the time.

GM: How did Mick Fleetwood as a bandleader keep it together while doing so much drugs and heavy drinking? JB: Mick wanted the band to continue. It was very important to him and I really don’t know how he kept it together, but he did have a lot of help from tour man- agers and lawyers.

GM: How and why did you keep coming back, time after time and forgiving all of Mick’s transgressions? JB: Marriage was very important to me.

GM: And your constant quest to reunite with your dad... JB: It was something I felt I had to do. I had to reconnect with him. I didn’t real- ize at the time how hurt and angry I was with him.

GM: In the book you fall in love The muse as an older woman. A portrait and with Mick Fleetwood when you publicity photo of the author, Jenny Boyd, in 2020.

were 14 and that becomes an PHOTOS PUBLICITY unrelenting tale of togetherness and separation...over and over. You mar- abandonment until I attended college. More importantly, it may also serve as ried and divorced Mick twice and had two It was a long process beginning with a road map to some of you who are look- daughters with him. You watched him as writing one in-depth paper after another ing to get your lives back on track. The Fleetwood Mac exploded in the ’70s. The about my childhood, the way I’d lived story of Jennifer Juniper is real, it’s raw drug and alcohol abuse you describe is my life, going into therapy, plus hours of and most importantly, it is honest. massive and unrelenting as is all the in- introspection. Jenny eventually went back to college ner workings of the love lives of the band *** and earned a masters in Counseling members in Fleetwood Mac. All this time, This book is not just another rock and Psychology and a Ph.D. in Humanities however, the subtext of your deep unhap- roll chronicle. Yes it’s got great stories and for 20 years ran (both in the U.S. piness and sense of abandonment by about The Beatles, Fleetwood Mac, and U.K.) a successful business offering your birth father continues to eat at you. legendary songs and their creations, and workshops facilitated by therapists for Were you always aware that this sense all the associated characters and loca- people in need of help with recovery, of abandonment was the driving force of tions that make up the period of time (of relationship issues and support, as well your unhappiness? the ’60s and ’70s) that the readers of this as working for an addictions treatment JB: I wasn’t aware of that sense of magazine hold most dear. center in Arizona.

22 JUNE 2020 goldminemag.com

20_918_NowWere64.indd 22 4/8/20 12:23 PM Jennifer Juniper is an amazing story of sex, drugs, rock and roll... and survival. This is the legacy that I believe Jenny Boyd would want you to take away from it. I did!

Jay Jay French is the founding member, guitarist and manager of . French is also a motivational speaker and writes a business column forf Inc. com.

Author Jenny Boyd and Fleetwood Mac

bandleader Mick Fleetwood at a recent book KELLS JESSE signing.

The Beatles times for me had" me on the same level with them and all their other friends. We went to the same clubs, we were all together on the train to Wales to be with Maharishi, and at the ashram in Rishikesh. These were the people that we all hung around with. " — JENNY BOYD JOHN COLE JOHN

goldminemag.comgoldminemag.com JUNE 2020 23

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Thirty-five more Top 100 country singles followed for Kenny including Status Quo Perfect Remedy (3CD) Deluxe Edition of 1989 release $33 “Make No Mistake She’s Mine” with Ronnie Milsap in 1987, his version of the Status Quo Rock ‘Til You Drop 3CD) Deluxe Edition of 1991 release $33 Status Quo Thirtsy Work (2CD) Deluxe Edition of 1994 release $27 Christmas song “Mary, Did You Know,” with Wynonna Judd in late 1996 through Tangerine DreamRecurring Dreams 2019 release, now domestic $17 early 1997, “Buy Me a Rose,” with Alison Krauss and Billy Dean, crossing the cen- James Taylor American Standard 2020 release $15 tury mark in late 1999 through early 2000, and his final charting single, “You Can’t James Taylor American Standard + 2 Japan, SHM $43 Tesla Five Man London Jam $14 Make Old Friends” with Dolly in 2013, after his induction in The Country Music Testament Titans Of Creation 2020 thrash/power metal release $12 Hall of Fame. Kenny was 81 when he passed away peacefully in his Georgia home. Richard Thompson Live At Rock City Nottingham 1986 radio broadcast $14 Tool In Texas 1993 radio broadcast $14 Toto Old Is New was in All In Box set, now available alone $12 When You Were Mine 1997 release remastered $14 Jerry Slick John Waite 1984 release, remastered $14 John Waite Mask Of Smiles 1985 release, remastered $14 Grace Slick and her husband Jerry saw Jefferson Airplane perform in San Francisco Warlocks Chain 2020 psych album $14 in 1965 and were inspired to form a band. They enlisted Jerry’s brother Darby and Muddy Waters Muddy Mississippi Waters Live 1979 blues release, rem. $14 formed the nucleus of The Great Society with Jerry on drums, Darby on guitar and Muddy Waters Day Boston 1976 $14 Darryl Way Destinations 2020 prog release $18 Grace on vocals and guitar. Darby wrote the song “Someone to Love” and Grace The Who Philadelphia Live 1973 (2CD) radio broadcast $18 wrote “White Rabbit,” and they recorded songs with Sly Stone as their producer but The Who Who 2019 studio album $14 Wishbone Ash Coat Of Arms 2020 studio release $16 achieved little success with the release of “Someone to Love” as a single. Wishbone Ash Coat Of Arms + 1 Japan, LP sleeve, SHM $47 In the summer of 1966, Signe Anderson left Jefferson Airplane to start a family Wishbone Ash Live At Rockpalast 1976 (2CD/DVD) $24 and Grace immediately quit The Great Society and joined Jefferson Airplane, tak- Frank Wyatt & Friends Zeitgeist 2020 prog release $14 Yes Open Your Eyes 1997 release $17 ing “Someone to Love,” which became “Somebody to Love,” and “White Rabbit” Yes Ladder 1999 release $17 with her, both reaching the Top 10 in 1967. The Great Society dissolved with Darby Yes Fly From Here: Return Trip now w/ Trevor Horne vocals & a new track $18 Yes Live At Glastonbury Festival 2003 (2CD) w/ the classic line-up $12 leaving for India and Jerry ultimately returning to filmmaking, as he did before Frank Zappa Carnegie Hall 1971 (3CD) $39 the band. Jerry passed away on March 20 at the age of 80. Zon Astral Projector + 4 1978 prog release, remastered $18

Vinyl (LP & 7 inch) - Available Blue Oyster Cult Agents Of Fortune Live 2016 $27 Keith Olsen David Bowie Alabama Song (40th) 7 inch picture disc $17 Down the mountain from David Coverdale’s Lake Tahoe home, in the peacefully Def Leppard On Through The Night 180 gm $20 Def Leppard High N Dry 180 gm $20 quaint town of Genoa, Nevada, lived the music producer and sound engineer Pull Me Under 12 inch yellow vinyl, limited $17 Keith Olsen, who worked on the self-titled breakthrough album for , Bryan Ferry Avonmore with CD $26 Fleetwood Mac Kiln House $26 which included the singles “Still of the Night,” “Is This Love” and their biggest hit, Rory Gallagher Check Shirt Wizard Live In 77 3-LPs $65 “.” Keith was also the producer and engineer for another self-titled King Crimson Cat Food (50th) 10 inch $16 breakthrough album, Fleetwood Mac, in the mid-1970s and its preceding album Tangerine DreamSorcerer (Original Soundtrack) 180 gm, Deluxe, remastered $44 Yes Fly From Here: Return Trip 180 gm, gatefold $29 for their two new members at the time, Buckingham Nicks. Please call for many more new vinyl titles available. In the 1980s, Keith helped bring Rick Springfield a comeback No. 1 gold single DVD & Blu-Ray - Available with “Jessie’s Girl.” He was responsible for Sammy Hagar’s first and highest chart- Alan Parsons Project Ammonia Avenue Blu-Ray Audio $19 ing solo single “You’re Love is Driving Me Crazy,” and Eddie Money’s final Top 40 Bad Company Official Authorized 40th Ann.Documentary DVD Documentary $18 Bad Company Official Authorized 40th Ann.DocumentaryBlu-Ray Documentary $22 hit in the early 1990s “I’ll Get By.” Keith produced The Grateful Dead’s Terrapin Camel Royal Albert Hall 2018 DVD $27 Station, Foreigner’s Double Vision, and many more albums. Camel Royal Albert Hall 2018 Blu-Ray $32 Keith began his musical career as the bassist for the Los Angeles band The Rolling Stones Days Of Rage: Road To Altamont DVD $13 Tesla Five Man London Jam Blu-ray $20 Music Machine, which had a mid-1960s hit with “Talk Talk,” which ZZ Top That Little Ol’ Band From Texas DVD/Blu-Ray $29 reached No. 15. Keith passed away on March 9 at the age of 74 in Genoa. Movies also available on DVD, Blu-Ray & 4K Ultra HD. JUNE 2020 25

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We stock vinyl Orlando, FL 32804 Dearborn Music - since 1956 records...new & used in every category you 407-896-1952 • FAX: 407-896-2130 22501 Michigan Ave. can think of and probably a few more. Our [email protected] Dearborn, MI 48124 aim is to be a great www.rock-n-rollheaven.com 313-561-1000 destination. Central Florida’s oldest and largest source www.Dearbornmusic.com for every format and every category including Hours: Monday-Saturday 9:30 am - 9:00 pm; CALIFORNIA books, mags, t-shirts, posters, 12s, 45s, Sunday 11:00 am - 6:00 pm LPs, CDs, new-used, everything! Hundreds of We buy and sell new and used: Bluerays - Record Surplus thousands of vinyl available. CDs - LPs - 45s. We also sell a large variety 12436 Santa Monica Blvd. (at the corner of of T-Shirts, Mugs, Posters & More! Santa Monica Blvd. & Centinela Ave.) GEORGIA Los Angeles, CA 90025 Fantasyland Records MINNESOTA 310-979-4577 360 Pharr Rd. NE, Suite B Mill City Sound [email protected] , GA 30305 812 Main Street www.recordsurplusla.com 404-237-3193 Hopkins, MN, 55343 facebook.com/recordsurplus [email protected] www.facebook.com/fantasylandrecords 952-456-6547 instagram.com/record_surplus Since 1976, Atlanta’s premiere used record [email protected] twitter.com/record_surplus store. Buy-Sell-Trade. We carry the city’s www.millcitysound.com Open 7 days: Mon.-Sat. 11am - 10pm fi nest selection of used records (LPs & 45s), New record store in downtown Hopkins, Sun. 11am - 7pm CDs & tapes. All genres, from the 1950’s offering the best in new and used records & Visit Record Surplus, one of the largest through current day. Over 50,000 titles in CD’s and a complete line of analog stereo record stores in Los Angeles! Founded in stock. Classic rock, Indie/Alternative, pop, 1985 and known as “the last record store,” jazz, blues, soul, R&B, country, lounge, equipment. We buy record collections. Record Surplus is an old school record shop vocalist, 12” singles...and our favorite NEVADA popular with local music lovers and visitors section, “Strange & Bizarre”!! Huge selection Wax Trax Records, Inc. from around the world. We buy and sell Vinyl of golden oldies and collectible 45s. Now carrying a great selection of NEW VINYL. All 2909 S. Decatur Records and CDs, and we offer a huge selec- the classic 1960’s-1980’s pop/rock and jazz Las Vegas, NV 89102 tion, fair prices and a laid back vibe. Our reissues, plus many new releases on vinyl extensive inventory includes new and used 702-362-4300 (most on beautiful 180 gram vinyl!). We also FAX: 702-362-4340 Vinyl LPs, 45s, 12 inch singles and box sets carry an amazing selection of music DVDs, [email protected] plus used CDs and DVDs. You will fi nd music super-cool posters and rock n roll collectibles. for every budget at Record Surplus, from Come by and see why the likes of Robert Plant, Over 1,000,000 LP’s, 45’s, 78’s, CD’s & all $1 records in our sizable bargain section to Eric Clapton, Elvis Costello, Chris Robinson & kinds of music memorabilia. A must for the amazing vintage vinyl and rare collectibles. make it a point of always stopping true collector. Just purchased 50,000 45’s, Music of all types is available: rock, jazz, by our store when they’re in town, to feed their Rockabilly, instrumentals, Doo-Wop, R&B soul, , blues, classical, international, vinyl collecting habits (or in the case of Mr. Plant, his 8 track collecting habits). and Soul. All mint. When in Vegas, stop in. latin, reggae, oldies, country, soundtracks, Mail order also. comedy, vocals and more. You will love our ILLINOIS customer listening stations where you can Blue Jay Way Records NEW JERSEY preview Vinyl and CDs. 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To see our full inventory, including a great includes 50% off on all LP’s as prices listed in New titles added everyday! Fair prices and Goldmine’s Album Price Guide. Special Orders selection of used Vinyl, CDs & Blu-Rays/ honest grading. Located 2 miles south of are welcomed. Hard to fi nd items are our DVDs, visit our retail store now open 6 days Interstate 80, Exit 56 (Princeton) and you a week: Sun. 11am - 7pm, Mon. 1pm - 6pm, can’t miss it! Easy to fi nd, friendly staff. Open specialty. FREE live concerts every month by Tues. CLOSED, Wed. 1pm - 6pm, Thurs. 1pm Tuesday thru Friday 10-5, Saturday 10-4, local and national recording artists. M-F 9 am - 6pm, Fri. 11am - 7pm, Sat. 11am - 7pm closed Sunday & Monday. Buy, Sell, Trade. - 12 pm, 1 pm - 5 pm, Sat. 1 pm - 6 pm. 26 June 2020 goldminemag.com

GM0620.indd 26 4/8/20 1:48 PM IN MEMORIAM STORE DIRECTORY NEW YORK Mike Somerville Infi nity Records In 1975, when FM rock stations would play St. Louis area’s 510 Park Blvd. Advertise Head East on the radio without announcing the song or Massapequa Park, NY 11762 new artist, listeners would go to record stores, searching in vain, unless there was a very knowledgeable clerk, for 516-221-0634 “Save My Life I’m Going Down for the Last Time,” a song [email protected] your store featuring a Rush-like vocal and Styx-like . By www.infi nityrecordsusa.com the time fans of the song learned that it was really called We Buy Sell & Trade. amongst “Never Been Any Reason,” taken from a line near the Jazz, Soul, Disco, Classical, Rock, Doo-Wop, end of the verses, the single had been pulled and A&M Country, Comedy, Folk, Psych, Ethnic, LP’s, released the next single “Love Me Tonight,” a catchy, anything on vinyl... 12’s, 45’s, guitars as well your steady-tempo song, featuring acoustic guitar from Mike as all music memorabilia T-Shirts, Record Somerville, the song’s composer and the writer of its Awards, Vintage Posters etc. The Best New predecessor. While both singles peaked below No. 50 in competitors! the Top 100, Head East’s debut album Flat as a Pancake, Vinyl LP selection in New York. Voted 3 times which included those two songs, would ultimately go gold the Best Independent Record Store in the in 1978. Mike passed away on February 28 at the age of 67. Long Island, New York area. Foreign Dealer Collectors always welcome. Volume dis- counts given. Visa/Mastercard/ Amex gladly Want to Barbara Martin accepted. Visit us once and you will always In the summer of 1962, Motown’s Supremes quartet come back. 25th Anniversary. debuted in the Top 100 with a compo- reach more sition “Your Heart Belongs to Me.” Its flip side, “(He’s) OHIO Seventeen,” featured two of The Supremes on lead vocals, Omega Music Diana Ross in the upper range and Barbara Martin in a 318 E. 5th Street customers? lower range. By the time the single entered the Top 100, Dayton, Ohio 45402 Barbara, a new mother, had left the group to raise her 937-275-9949 family. Due to her departure, the group’s debut album, [email protected] Meet the Supremes, had a cover photo of only the three www.omegamusicdayton.com remaining members, Diana Ross, Mary Wilson and Flor- ence Ballard, who continued as a trio with several No. 1 Buy-Sell-Trade. We offer the largest selection List your hit singles throughout the 1960s. Barbara passed away on of new and used records in the Miami Valley March 4 at the age of 76. area, with well over 13,000 items in stock. New items go out daily! We also specialize record store in CD’s, movies, audio equipment and more! Eric Weissberg Open 7 days a week. in the Store It is rare for an instrumental featuring a banjo to be a Top Parkers Records & Comics 10 hit single. In 1963 this happened with “Washington Online Sales or In-Person Sales on Square” by The Village Stompers, which reached No. 2. Wednesdays Only By Appointment Directory Ten years later, in 1973, also reaching No. 2, was “Dueling 513-248-0039 Banjos,” from the film Deliverance, performed by studio musicians Eric Weissberg on banjo Steve Mandell on www.parkersrc.com guitar. Eric played on multiple albums by John Denver Over 41,000 sound clips on the Website. listings for and Judy Collins and performed at many folk festivals. Specializing in 50s & 60s. Over 250,000 45s. He passed away on March 22 at the age of 80. Send want lists. Accepting MasterCard/VISA & NOVUS cards. Bill Riefl in PENNSYLVANIA (12 issues) for only In 2008, R.E.M. achieved their 23rd and final Top 100 Flipside Records & Collectibles single “Supernatural Superserious,” from their album 940 Hermitage Road Accelerate, with Bill Rieflin on drums. Bill played with Hermitage, PA 16148 $295.00 R.E.M. from 2003 through 2011 on their final four 724-342-0824 albums. In 2013, he joined King Crimson, playing on five FAX: 724-981-2857 live albums, and continued with them until his death on E-Mail your want lists: fl ipside@fl ipmall.com March 24 at the age of 59. www.fl ipmall.com Over 2,000,000 selections/All types of music/ Call or email: Want lists welcome! Alan Merrill April Krueger In 1975, as The Runaways (which included ) were forming in the U.S., The Arrows released the song “I Love Direct No.: 715-318-0996 Rock ‘N Roll” in the U.K., co-written by the group’s Alan Merrill, who passed away March 29 at the age of 69 of [email protected] coronavirus. Joan Jett and The Blackhearts’ www.goldminemag.com spent seven weeks at No. 1 in 1982. In Memoriam compiled and written by Warren Kurtz.

goldminemag.com JUNE 2020 27

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drums, adding a distinct percus- sive clarity to Bill Kreutzmann’s talents. Also the Godchauxs deliver their best work period in these recordings. Former Muscle Shoals singer Donna loses the vo- cal shrill that is sometimes evident on studio cuts, and Keith’s piano work is insightful and crisp. He might actually be at his peak here in terms of total musicianship (he would die unexpectedly only four years later in a fatal crash). Th e band would learn a lot from this tour and would decide to balance their locations moving forward, mixing large venues with more intimate settings — some- times within the same market. Th eir business savvy improved, and the performing standard that these shows set would become the GRATEFUL DEADEADD system.system A 7878,000000 personperson listlist wwasas centcent revisitrevisit toto thethe infamousinfamous CCornellornel band’s new baseline. Th at would JUNE 1976 assembled and sorted alphabeti- ’77 show. Th e sound is remark- later prompt lineup changes that cally and by Zip code. Fans were to able with a clarity that is studio brought Bob Weir bandmate Greateful Dead Records be notifi ed by mail that they quali- fresh. Th e package is beautifully Brent Mydland forward on keys. (15-CD Box Set) fi ed for tickets. Th is automated constructed with original artwork Th is truly was a pivotal moment +++++ approach to selling tickets and by exciting newcomer to album art for the Grateful Dead and one Th e year 1976 was one of the most the smaller venues were sold to Justin Helton, a fantastic historical that was largely all good — for important moments in the storied fans as a way to keep prices down, read by Pitchfork contributor Jesse both the band and their fans. For- history of the Grateful Dead. and ensure that the experience Jarnow, and photos from the tour tunately Betty Cantor was there to Almost two years prior, they had was more intimate and “hassle by famed camera man Grant Goul- capture it all on tape! Th is package announced that they would end free.” Th e smaller venues proved don. It’s a limited edition (12,000 presents her eff orts with a little bit touring, as playing arenas and to be all that they were billed. Th e copies) individually numbered col- of magic and a whole lot of fun. stadiums proved to be a money- shows delivered an energy that was lector’s set that’s been very carefully —Ray Chelstowski losing pursuit. Transporting the undeniable, and the reviews were assembled and curated. In short, sound systems needed to fi ll these arguably the best the band had ever it’s stunning. vast spaces was cost prohibi- received. Th e ticket-selling process Th e package has 15 CDs, three tive and logistically fraught with didn’t go as well. In fairness it was for each of concerts included. Th ere problems. During their time away brand new and groundbreaking. It are two shows from the Boston from the road they performed was also clunky. Procedural errors Music Hall (6/10-11, 1976), two with their own bands, sometimes prompted scores of angry letters from the Beacon Th eatre in New with each other, and these solo from fans who had felt like the York City (6/14-15, 1976), and one projects seemed to be just enough band had let them down. Oft en the show from the Capitol Th eater in to occupy their varied interests. fans had almost no time at all to Passaic, NJ (6/19/76). While set Th at was until the debt they had respond and mail back the form. lists varied from show to show, the accrued became something they Th at might have been the only miss songs they performed were largely could no longer ignore. in the entire 18-engagement tour, the same night to night. “Cassidy” VARIOUS ARTISTS Enter 25-year-old John Scher, but it was a loud message to a band made a long overdue return to the THE who was quickly becoming the that had always put its fans fi rst. live repertoire, and regulars like SONGBOOK VOLUME biggest concert promoter on the Now the two-track live record- “St. Stephen” never disappoint. 1: ROCKIN' CHAIR East Coast. His idea was to have ings that Grateful Dead engineer Funked-up versions of “Brown- the band walk away from stadiums Betty Cantor-Jackson captured Eyed Women” are arresting every MONEY and arenas and focus on theaters from these June shows are offi cially night as is the addition of covers Atomicat Records (CD) and concert halls. With the help being released to the public. Th ey like ’s “Mama Tried.” +++ of a Bay Area computer fi rm, they have been remastered by Jeff rey More importantly the band sounds Hank Williams only lived to 29, married this new approach to the Norman, who has done great work tighter than ever. Th is tour marked but “Th e Hillbilly Shakespeare” road with the fi rst mail order ticket for the band, especially with his re- the return of Mickey Hart on wrote the book on pain, faith and

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31_918_Reviews.indd 31 4/8/20 2:11 PM Germany’s largest mail order for Second-Hand CDs and records. MAIL ORDER Over 250,000 items from 1960 AT ITS BEST! until now available. http://www.funrecords.de All items listed in our online database. VAL SHIVELY Worldwide shipping. R&B Records Get, also, our printed catalogue Box B with over 250 pages. Havertown, PA 19083 PH: 610.352.2320 Send $4 cash or 2 IRCs to: Fun Records - Liebermannstrasse 87 email your want list to: [email protected] 13088 Berlin, Germany OVER 4 MILLION 45s IN STOCK 49 Garrett Road, Upper Darby, PA 19082 IN BUSINESS Open Mon.-Sat. 12pm-6pm SINCE 1966 Closed Sunday • Doo Wop • Rock & Roll • Soul NO AUCTIONS! • Funk • Jazz • Latin • Pop NO GAMES! • Rockabilly • Garage • Punk WE GET RECORDS • Reggae • Instrumentals • Surf EVERY DAY! • Blues • Comedy • Break-Ins To see videos of the store, go to • Country • Gospel & More! .com and type in val shively. WE HAVE THE LARGEST SELECTION OF 45s IN THE UNITED STATES! Specializing in vocal group harmony but stock all types of music: Original pressings & reissues. We Also Carry: LPs, 12” Singles, Cassettes, CDs, 7” Picture Sleeves, Company Sleeves, White Sleeves, 8x10 Artist Photos. website: www.valshively.com e-mail: [email protected]

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GM0620.indd 32 4/8/20 1:48 PM grit and grime of almost any ’60s the band that also pays tribute to good times. Th e 27 interpreta- Carly Simon at the time, in Los Animals track. the late Pete Shelley. tions of his songs plus one closing Angeles, the band had drummer Th is Oklahoma-born/Brooklyn- While Buzzcocks are best tribute — “Hank Williams Will , bassist Klaus Voor- raised artist has a body of work known for their early classic mate- Live Forever (In People’s Hearts)” mann, pianist Al Kooper and that’s as diverse as his background. rial from the late 1970s and early by Johnny & Jack and Th e Ten- sax man Bobby Keys on material As a collective listening experi- 1980s, this set has a great deal to nessee Mountain Boys — have by George Harrison (“What Is ence all three EPs just don’t hold off er. Th e real gem in the set is been dusted off , cleaned up and Life” and “Sour Milk Sea”) and together. But on their own they are 1999’s Modern. It was a bit of a de- sound so vivid that you just might Cole Porter (“In the Still of the each an interesting expression of parture for Buzzcocks, and it has want to do the two-step in your Night”). who Sledge is trying to become. echoes of the electronica work that living room. Hatfi eld’s high tenor and As for Notes, there’s a swagger to Shelley did in his 1980’s solo years. Bill Monroe goes the religioso falsetto didn’t exactly jibe with new songs like “Drift er,” and they “Soul on a Rock,” the lead track on route with “Build Me a Cabin in covers of previous hits like “Stay sidle nicely with the album opener, the album, is an outstanding piece Glory.” Curley Williams & His With Me” (Lorraine Ellison, the rickety rocker “Ain’t Dead Yet.” of music and, quite arguably, the Georgia Peach Pickers do up 1966), “Run To My Lovin’ Arms” Songs are built around guitars that best song that Buzzcocks released “Leave Me Alone With the Blues” (Jay & Th e Americans, 1965) and clang, and everything is loosely in the post-reunion years. Th e just right. Ditto for Opry star Roy “Baby Don’t You Do It” (Marvin joined together through sparse sharp, punchy “Rendezvous” is a Acuff and his Smoky Mountain Gaye, 1964). Interestingly enough, . When they arrive song in classic Buzzcocks mode Boys on “Freight Train Blues.” Th e Hatfi eld also cut Eric Clapton’s at the chorus, big, broad vocals with a snarky Shelley vocal and highlight may be Johnny Horton’s “Bell Bottom Blues” and Buddy quickly sprout and give the music great guitar work. Steve Diggle’s rockin’ “Cherokee Boogie,” but Holly’s “Th at’ll Be Th e Day” but an interesting dimension. “Stranger in Your Town” is a ter- when Porter Wagoner starts they couldn’t be found. —Mike Greenblatt For those hearing Jack Sledge rifi c bit of electronica that would “Settin’ the Woods on Fire” and for the fi rst time, this is a compel- be at home on a Gary Numan al- warbles Hank Wil- ling off ering. Just get ready for bum. And the excellent “Choices” liams’ funny “Roly Poly” about what comes next. What his next is a perfect close to the album. Th e a fat boy, a smile is sure to ensue EP off ers up is anybody’s guess. bonus tracks on the CD are also and a toe or two will be a-tappin’. Let’s it’s more of this. both terrifi c, a cover of Th e Small —Mike Greenblatt —Ray Chelstowski Faces’ “Here Come Th e Nice,” which features good vocal work BUZZCOCKS from both Diggle and Shelley, and Diggle’s bluesy “Autumn Stone — SELL YOU EVERY- Steve’s Buzz.” THING: 1991-2014 Additional highlights of the box Cherry Red Records set include: 1993’s New Wave- JACK SLEDGE (8-CD Box Set) sounding “TTT,” which has a dis- NOTES OF A DRIFTER ++++ aff ected Shelley vocal, and “Last to Know,” a power-pop tune with an Self-Released (CD) Th is eight-CD collection includes all of the albums that Manches- off -kilter Shelley vocal; “Point of +++ ter legends Buzzcocks recorded No Return,” a quieter song with a EPs can be eff ective in launching aft er their reunion in 1989, from classic Buzzcocks vibe and Diggle’s new artists. You get to sample 1993’s Trade Test Transmissions to great “What Am I Supposed To BOBBY HATFIELD songs without making much of 2014’s Th e Way. Also included is Do,” both from 1996’s ; the a commitment and avoid a rush STAY WITH ME: THE a CD of demos that was recorded ferocious, frenetic and fantastic to judgment on just one single. If in 1991 and 2011’s A Diff erent “Jerk,” the outstanding power pop the music connects it just might Compilation, on which the band of “Sick City Sometimes” and the SESSIONS make fans cry for more. On the re-recorded many of the classic rocker “Stars” that was co-written Omnivore Recordings (CD, LP) other hand, using EPs to market songs from their 1976 to 1981 by Shelley and original Buzzcock +++ test an artist and search for what heyday. Each CD has bonus Howard Devoto from 2003’s self- In the 1960s, soul singer Bobby sound sticks is an entirely diff er- tracks with B-sides, additional titled album; the terrifi c pop-rock Hatfi eld, with duet partner Bill ent thing. Th at’s what seems to be demos and live tracks. In addi- of “Sell You Everything” and the Medley, as produced by Phil happening with Gulf Coast rocker tion, the set has a 56-page book straight-ahead rock of the title Spector, sold millions of records Jack Sledge. Flat-Pack Phi- about the post-reunion years for track from 2006’s as Th e Righteous Brothers. By ’68, Last year’s Hardly Ruined losophy; and the classic Buzzcocks though, Hatfi eld had had enough diff ered from his singer-song- bite of the title track from of the both of them. Th ree years writer debut, Alabama Snow, and 2014’s Th e Way. of solo failures ensued when he introduced us to a Neil Young Th e re-recordings of the teamed up with producer Richard & Crazy Horse-infused Jack earlier Buzzcocks material Perry, who, at the time, was one of Sledge. Th is April he releases his that appear on A Diff erent the hottest producers in the world, third EP in three years, Notes of Compilation range from having master-minded Streisand, a Drift er, and with it he debuts faithful reproductions to Fanny and Nilsson. But the pair- another seismic sonic shift . interesting re-workings. ing was never released. Today’s version of Sledge But it won’t replace the Until now. arrives with a sound reminiscent classic Buzzcocks compila- Recorded at Apple Corps, of early Willie Nile, with the tion Singles Going Steady the famous London studio that punkish delivery of early Joe in the hearts and minds of Th e Beatles co-founded, and, Jackson, the pop rockabilly sense most fans. since Perry was also producing of Marshall Crenshaw and the —John Curley

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31_918_Reviews.indd 33 4/8/20 2:11 PM fast-paced rocker “Take the Long amid Song”; the bluesy crunch rockers. But it’s on those rockers Way” gives something of a retro of Black Sabbath’s “Th e Wizard”; where he has a terrifi c Browne fl avor to the song. “Buckle Up” is a Anna Calvi’s quirky and off -kilter quality to his writing. Songs like soft er song with somewhat bouncy “Papi Pacify”; the intense and “Outcasts of Love” and especially instrumentation. Th e mellow “Ret- direct “I’m Th e Man” by Jehnny the brilliant “Last Train to Babylon” rograde” is highlighted by a strong Beth; and Richard Hawley’s ter- have just the right amount of vocal eff ort from Vedder. And the rifi c take on Bob Dylan’s “Ballad of political heat to give them a lyrical easygoing “River Cross” serves as a a Th in Man.” Th e original scores weight that balances the high fl ying wonderful close to the album. for seasons 1 to 5 of the show are choruses. Both songs are reminis- Th is album shows that Pearl also included. Th e CD version of cent of the music from early ’80s Jam is a band that refuses to rest the soundtrack includes a 32-page Browne albums like Lawyers In PEARL JAM on its considerable laurels and booklet. Love and Hold On and sound much wants to continue to create and It’s a terrifi c collection of songs, more like the output of a studio in surely one of the best TV or fi lm Los Angeles than his home studio GIGATON innovate. —John Curley Monkeywrench Records/ soundtracks released in recent in Sea Cliff , New York. Republic Records (CD, 2-LP) years. It’s well worth your time. He gets a bit of help here on —John Curley the writing front from some big ++++ names in Nashville like Mike Grey, Gigaton, Pearl Jam's fi rst studio ROGER STREET Steve Lester, Michael August, album since 2013's Lightning Matt Willis, Mark Baxter, Hunter Bolt, is the band's 11th release of FRIEDMAN Tynan Davis, Elliot Bronson, Alice original material. It is an eclectic RISE Lankford and Jimbo Martin. Th is collection of songs that seems to Rock Ridge Music (CD) really has helped Friedman’s music be constructed for live perfor- evolve in meaningful ways. mance. And since Pearl Jam is a ++++ Upon entering his 50s, Roger Th roughout maybe the most band that is most at home on the Street Friedman took a gamble impressive element of this collec- concert stage, that is a very good that most people only dream of. tion is the real tasty electric guitar thing indeed. VARIOUS ARTISTS He decided to shake up the life he work, particularly on the title Produced by Josh Evans, PEAKY BLINDERS: had been leading designing and track. In the end, it’s that contribu- Gigaton’s 12 tracks are a mix marketing displays to retail stores. tion from Campbell along with of rockers and soft er songs. THE ORIGINAL Th e death of his parents and the the entire production that gives Keyboardist Boom Gaspar is the SOUNDTRACK birth of his daughter forced him this record an impressive amount only additional musician on the UMe (2-CD, 3-LP) to reevaluate his life and led him of body and texture. recording. Th e band — drummer ++++ to pursue music full time. His —Ray Chelstowski Matt Cameron, bassist , Th is outstanding collection of 2014 debut, Th e Waiting Sky, was a guitarists and Mike songs, the soundtrack to the BBC- well-received piece of Americana McCready and lead vocalist Eddie TV series Peaky Blinders (which cast in the likeness of James Taylor, Vedder — have put together a can be streamed on Netfl ix in the Jackson Browne and even closer to vital piece of work that crackles USA) is an excellent combination his Tri-state area neighboring band with energy. Some of the tracks of bits of dialogue from the show as Chris Berado and the DesBerados. can stand with their fi nest work. well as terrifi c songs by top-notch Now he releases his third In particular, the tracks “Dance artists. Th e collection’s songs kick eff ort, the album Rise. Produced of the Clairvoyants” and “Comes off with Nick Cave and the Bad again by longtime Levon Helm/ Th en Goes” stand out. Th e former Seeds’ atmospheric and quirky Bob Dylan sideman/collaborator is a bass-heavy dance-style track, “Red Right Hand,” the theme tune Larry Campbell, the record is a something of a change of direction to the show. (A new piano-and- tight aff air again leaning deeply on for the band but one that works vocal version of the song by PJ folk-rock and progressive Ameri- STOLL VAUGHAN quite well. And the latter is a quiet, Harvey is also included.) cana. Th roughout Friedman’s but eff ective acoustic song that DESIRES SHAPE Other highlights of the music has a real Marc Cohn vibe. highlights Vedder’s lead vocal. Commonwealth (CD) soundtrack include: Dan Au- Th e arrangements are loose, the Th e album kicks off with the erbach’s funky and bluesy “Th e storytelling is tight, and the topics +++++ outstanding rocker “Who Ever Prowl”; PJ Harvey’s intense “To seem well-rooted in middle-aged Singer-songwriter Stoll Vaughan Said” that features the band fi ring Bring You My Love” and strident struggles and angst. It’s sophisticat- has an interesting background. He on all cylinders. Th at is followed by rocker “Th is Is Love”; Black Rebel ed without being showy or overt. is a formally trained musician who the strident and terrifi c “Super- Motorcycle Club’s rocking “River Th e tempo lags a bit at times as began his professional career in a blood Wolfmoon.” Th e instru- Styx”; the rollicking “Burn Th e there are more ballads than upbeat punk band called Chamberlain. mental bit near the end of “Quick Witch” by Queens of the Stone He joined them while working for Escape” has some stellar guitar Age; David Bowie’s atmospheric John Mellencamp guitarist Mike work. Th at contrasts with the and chilled-out “Lazarus”; the Wanchic’s — the chilled-out sounds of “Alright” with subdued but rocking “Adore” by location where he cut his last eff ort, its measured vocal from Vedder. Savages; Nick Cave and the Bad Th e Conversation. He has been a Th e psychedelic instrumentation Seeds’ magnifi cent “Th e Mercy collaborator and Svengali to Duane during parts of “Seven O’Clock” Seat”; the outstanding rocker Betts and Devon Allman during is quite tasty. A solid eff ort from “Devil Inside Me” by Frank Carter the recording of their debut record. the band led by loud and harsh & Th e Rattlesnakes; the gripping Both Allman and Betts credit him guitars underpins Vedder’s frenetic “Snake Oil” by Foals; ’s with guiding the creative process vocal on “Never Destination.” Th e meandering and psychedelic “Pyr- and for helping them “keep it all New Wave-style guitar work in the

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GM0620.indd 35 4/8/20 1:52 PM together” on the road. He has “like the weather in Kentucky” and released three solo records and could “change on a dime.” As sad that music has made its way into as this song may be, it’s hard not QUICK PICKS the soundtracks of television series to smile at Vaughan’s wry lyrical like True Blood and Friday Night approach. BY LEE ZIMMERMAN Lights. And if all of that wasn’t Th is is a brilliant record that (Paperback) enough he guest lectures at Th e won’t likely get the attention it Genre: Novel University of Montana on artist properly deserves. Th ere’s not It’s the ultimate rock development and heads up A&R at much of a market or outlet for and roll dream. David CUT records. Simply put, he’s got a music this personal and stories Willis’ new novel lot on his plate for someone you’ve this gripping. But the music he begins with his imagi- likely never heard of before. has been making really has taken nary hero Garland Th e fi rst play through his fourth a “Shape” that is impossible to Summers picking up studio record, Desires Shape, was ignore. Like the weather in Ken- his fi rst guitar and immediately followed by four tucky, things just may shift quickly then from there, more. Th e music is acoustic, and for Vaughan. Th is record should eventually achieving he is occasionally joined by a see- rightly do just that. stardom while surviv- sawed harmonica or a gentle piano. —Ray Chelstowski ing all the surprises But for the most part it’s just Stoll and pitfalls that greet Vaughan and his guitar. Th e music him along the way. is a bit hypnotic as it seems to qui- Yet, Willis also re- etly shut out almost everything else fl ects the reality that around you. His voice is earnest often accompanies but never overplayed. Maybe that’s that journey, noting what makes the entire package so that desire and deter- stunning. Th e songs aren’t upbeat mination often isn’t or bright. Instead they are largely enough. Summers songs about characters that have al- KEN MCNAB learns that lesson when fate ready given up and, if they haven’t, intervenes and threatens are pretty sure their end is near. AND IN THE END: to shatter all he’s accom- In that sense it reminds me quite THE LAST DAYS OF plished. Set in the ‘60s, it’s a bit of Bruce Springsteen’s album THE BEATLES ultimate fantasy most read- Nebraska — especially on the song THE FAB 4TH Thomas Dunne Publishing ers can only imagine. “So Righteous.” But it’s more me- (Paperback) HoLoGram (CD) lodic in an almost Drew Holcomb Genre: History STEPHEN TOW way. Th e pitch of his voice is fairly +++++ Given that this year marks similar to Drew Holcomb's as well, Th e guitarist that Pete Townsh- the 50th anniversary of LONDON, REIGN particularly on the track “Rosie.” end calls “a master,” returns for a the release of Let It Be, OVER ME Comparisons can be made to fourth round of Beatle songs for The Beatles' fi nal collec- Rowman & Littlefi eld Bob Dylan and that can be heard solo guitar. Th is one’s the best of tive effort, Ken McNab’s (Paperback) on some tracks like “Entertained,” the four because while the fi rst look at the Fab Four in the Genre: History where his vocal range tightens and three had the more popular songs, fi nal throes of dissolution is For those obsessed with his tone moves nasal. Th at’s where this one delves a little deeper to both timely and touching. British rock — and let’s face the likeness to Dylan ends. Instead any Beatlemaniac’s delight. Th e While it alludes to the music it, who isn’t? — London, better parallels can be drawn to 16 beloved melodies — adorned they made under unsettling Reign Over Me ought to Mellencamp. Th ere the structure with his spectacular runs — wend circumstance — that is, the be considered an essen- of the storytelling and the cadence themselves right to the heart and songs that ultimately gelled tial read. Subtitled “How of the chord progression is more brain, thus it is highly recom- as Abbey Road and then England’s Capital Built akin to everything from commer- mended you do not know upfront patched together for the Classic Rock,” Stephen Tow’s cial outings like American Fool to what songs are coming. album that was originally thorough sweep through Plain Spoken. Th e early Wanchic Highlights include such beloved to be titled Get Back — the the events that culminated infl uence seems pretty evident and fare as “Every Little Th ing” (a book mostly deals with the in the U.K. becoming the has developed nicely over time. song so good it lends itself to inner confl icts and fi nancial center of the musical uni- To no surprise the song that is interpretation: check out the 1969 squabbles that eventually verse is both intriguing and hard to forget is “Weather in Ken- Yes version), “I’ll Be Back,” “Don’t tore them apart. Covering enticing. To his credit, Tow tucky” — the fi rst single. It kind Bother Me,” “I Need You,” “She’s a much the same ground as doesn’t stop simply with of pulls everything together that Woman” and “Julia.” the equally incisive Solid rock, but rather follows the Stoll Vaughan does so well. Th e Juber served as lead guitarist in State by Kenneth Womack, it music’s inevitable progres- writing is razor sharp, the playing Wings. A renowned photographer recounts in painful detail one sion, from blues and R&B is steady, and the arrangement is and studio session man for every- of the saddest sagas in all of as it was transported and full without being fl ashy. In a slight one from Harry Styles to Dan Hicks rock history. transitioned from America, ode to his home state, Stoll builds & Th e Hot Licks, LJ (as he’s known) to its morphing into prog, a story about a love that’s been lost, is the consummate acoustic fi nger- DAVID WILLIS folk and inevitably back to was never meant to really be, and picker, able to leap tall buildings at a blues. A great guide book, is a regular target of some of his single bound. Yeah, he’s that good, a TOUCH it’s a thorough compendium Archway Publishing spoken ire. As fi rm as his charac- Superman of guitar. of maximum importance. ter’s conviction may seem it’s a lot –Mike Greenblatt

36 JUNE 2020 goldminemag.com

31_918_Reviews.indd 36 4/8/20 2:11 PM INDIE SPOTLIGHT

BY LEE ZIMMERMAN

Produced, recorded and mixed in the studio of hushed harmonies and a sound that borrows from Grammy-nominated producer Bill Reynolds, , Eric Carmen, America’s Beckley and former bass player for Band of Horses, Western Bunnell, early , and others adept at Centuries’ , Call The Captain, is a studio fueling a formula made for the masses. Consider in easily accessible Americana. Unlike many of this a welcome return. their contemporaries, they don’t take themselves After establishing initial credence within country so seriously, they mute the sheer enjoyment they realms, Crystal Shawanda made a smooth refl ect in the way they make their music. While transition to the blues and has since proven herself Western Centuries, to be one of the most credible and commanding their driven delivery remain intact, there’s a Call The Captain decided sense of satire in their rebuttal to Donald vocalist within those realms. Her remarkably Trump’s call for a legion of space commandos in resilient vocals and ability to convey sheer the song “Space Force” and even a tongue-in-cheek emotion and utter intensity is a thing to behold, reference in the album title itself, given the fact mesmerizing in the same way that they eschew any designated commander in their made magic when she stunned a star-studded everyday operation. Guess Jim Lauderdale adds his audience at Monterey Pop Festival in 1967. With her high lonesome vocals to two of the songs included dynamic new album Church House Blues, Shawanda herein, but even so there’s no mistaking the fact makes much the same impression, whether she’s that the new album is an achievement the band can wailing a beautiful ballad like “When It Comes To claim as its own. It’s recommended that Call The Love,” commanding a supple shuffl e with “Hey Captain immediately be placed on direct dial. The Haden Triplets, Love” or creating an equally emphatic impact The Family Songbook Being the offspring of an iconic artist carries with the dramatic dialog of “Church House Blues” with it a heavy burden. Just ask Sean Lennon, and “Rather Be Alone.” She’ s a formidable talent, Rufus Wainwright or Teddy Thompson about the a singer who’s ascending the path to stardom, a expectations thrust on them as a result of the stature she so decidedly deserves. Church House parents who preceded them. The Haden Triplets, Blues is indeed a place where worship is revered. daughters of the late jazz great Charlie Haden, Anyone who’s ever followed an otherwise have most certainly faced the same scenario, but unknown artist over the course of their career in their case, they’ve managed to avoid comparison understands that it often takes time for a musician by working in an entirely different different to gain traction. That doesn’t diminish their efforts, genre than their dad. With its hushed harmonies, but rather it simply affi rms the fact that the public isn’t always aware of their early efforts even after stripped down sound and candlelit glow, the Twins’ Matt Wilson & His Orchestra, sophomore set, aptly titled The Family Songbook When I Was a Writer several years worth of undertakings. Kyle Davis digs deep into a traditional template, one burnished falls into that category; he’s produced any number with a folkish noir and homespun homilies. Many of outstanding albums over the course of his of the songs are written by their grandfather career, but sadly he’s yet to attract the attention Carl Haden Jr., but the set list also includes which he so decidedly deserves. Hopefully his compositions from their brother Josh, Emmylou new album, appropriately titled Make It Count, will Harris and surprisingly enough, . Purists change that trajectory and allow that appreciation ought not be alarmed by these latter; the Triplets’ to fi nally come his way. Indeed, these alluring and take on his “Say You Will” doesn’t deviate from the appealing melodies suggest that there’s no reason serendipitous sound whatsoever. Nevertheless, a to suspect otherwise. Davis’ songs are subtle and seductive in a singular way, each offering an take on the classic spiritual “I’ll Fly Away” ensures Crystal Shawanda continued consistency. Church House Blues inherent emotional connection that confi rms his Trip Shakespeare was a band that could have songwriting skills and an ability to convey the music been, should have been bigger than they were, so sweetly and distinctly. Make It Count certainly especially given the fact that they came of age counts, especially as far as creativity and credibility in the prime of MTV, when the ‘80s produced a are concerned. new breed of pop stars that achieved recognition, Texas-bred Saints Eleven are a rough hewn however short-lived it might have been. Matt alt-country combo — tough, tenacious and Wilson and his brother Dan were two of the prime prone to say it like it is. Their new EP This Town movers in that band, but sadly Matt opted for a proves that point with a rugged and riveting set hiatus from songwriting and was tossed into the of songs that refl ect insurgency and intensity back burner as far as any continuing possibility of in equal measure. The only exception comes in Kyle Davis, fame and fortune. Yet despite that lengthy hiatus, Make It Count the form of the fi nal track, “Song For Smiley,” Wilson’s returned with a new project, Matt Wilson a song that singer-songwriter Jeff Grossman & His Orchestra, one that ought to allow him to wrote after one of his contemporaries was killed receive the belated recognition that’s clearly his in a car accident. Although it moves at a slower due. His new album, forlornly dubbed When I Was pace than the revved-up rockers that occupy the a Writer, provides a welcome return, courtesy album overall, it’s equally contentious in the way of a series of pop perfect melodies that are so Grossman expresses his disdain for the negative exceedingly accessible, it’s as if he never really media blitz that followed. That no-nonsense left. Indeed, it’s a record that clearly seems made approach typifi es Saints’ Eleven’s approach and for the mainstream, fi lled with alluring melodies, sets them apart from the competition. Texans are tough and This Town proves the point. Saints Eleven, This Town goldminemag.com JUNE 2020 37

37_918_Indie_Spotlight.indd 37 4/8/20 11:51 AM The Legendary LiPuma

The Business of Vinyl, 1970 (L-R): Don Graham, Sal Iannucci, Bob Krasnow and Tommy LiPuma have a meeting about the fi rst Dave Mason album on , which was manufactured by a special process that made each copy physically ommy LiPuma produced unique with multi-colored swirls in the the radio stations were located: WJW, recordings for several major vinyl. where Casey Kasem worked, was across Tlabels for five decades, working the street, WERE was not far away on with artists such as Barbra Streisand, Ballad of Tommy LiPuma, written by Ben Thirteenth, WGAR was on Twelfth, and , Dave Mason, Diana Krall, Sidran. WHK was on Forty-sixth. And the Palace Al Jarreau, Dr. John, George Benson and *** Theater was right there too — a fantastic dozens more. His work earned him five ommy was still working as a bar- old venue where Lew Wasserman, who Grammy Awards and eventually sold Tber at the shop on Fleet Avenue would one day run the giant MCA media over 75 million copies. and hating it. One day, a friend of empire, started as an usher. Playhouse Back in the late 1950s, Tommy LiPuma his told him, “I think there’s a barber- Square was where all the action was; was a young barber in Cleveland, Ohio, shop for sale in the Keith Building.” The even Bob Feller, the famous fastball but his main love was shop was only open by appointment and pitcher for the Cleveland Indians, had an music; he played tenor saxophone and they were closed on Saturdays, perfect office in the Keith Building and became was looking for a way out of his situation for a guy who was playing gigs at night one of Tommy’s customers. cutting hair and into the music industry. and didn’t want to come in early to cut The record business was still young It’s a fascinating story of how he got his hair. Tommy asked his father for another and it was attracting a lot of miscel- start and how he learned the basic truth loan to purchase the shop and the money laneous guys, guys who were looking that every business starts with respect to refurbish it. “He went with me to take for the main chance and often had a for the work. a look at the premises, and thank God he background of dubious repute. One The following is an excerpt from the liked it.” of them, Ernie Farrell, always wore a forthcoming biography of legendary re- The Keith Building was in Playhouse sharp, shiny suit, liked to hang out at a cord producer Tommy LiPuma titled The Square, a very hip area where many of small hoodlum club on the west side of

38 JUNE 2020 goldminemag.com

38_918 LiPuma.indd 38 4/8/20 11:51 AM town named Felice’s, and was definitely hair? Are you crazy?” But it turned out connected. When they first met, he told to be one of the greatest introductions to Tommy he was “in construction” and the record business Tommy could have described how he got in the business: He had, because working in the shipping had convinced some guy that he could room gave him a sense of how the whole crew a job when he didn’t even have a thing worked: The promotion men crew. When the guy said, “Well, I want went out and got the records played on to see what kind of equipment you have,” the radio, and then the orders would Ernie took him to a place where another start coming in, and then the boxes got construction company stored its vehicles packed and records got shipped out. Fol- and said, “Well, here it is. Here’s my low the money. stuff.” Ernie subsequently talked his way At MS, Tommy got to know some of into the record business and showed up the legendary men of the music industry, one afternoon at Tommy’s barbershop guys like George Goldner and Harry in Playhouse Square, looking for a trim Finfer. Goldner was one of the pioneers before he pitched the radio jocks. of payola (pay for play) who had actually A lot of Tommy’s clients at the Keith discovered Frankie Lymon and the Teen- Building were promotion men like Ernie; agers — they had a huge hit with “Why in fact, Ernie was the guy who first Do Fools Fall in Love?”— and George brought the famous deejay Casey Kasem the Redboy,” the most gutbucket thing made a lot of money, but he was a terrible into Tommy’s shop. Then another friend you ever heard — followed by Freed’s gambler and wound up trading all of his of Tommy’s from the old days, a guy trademark wolf call, and he knew he rights to the notorious gangster Morris named Johnny Musso, got a job as a pro- was in for three hours of the hippest Levy to erase a bad debt, and now he motion man at and he, too, groove music on the planet: Ruth Brown, was back on the streets hustling again. started coming into the shop. He brought Charles Brown, Big Maybelle, Nat King He and Finfer were traveling together; in deejays like Phil McLean and Big Cole. Freed might have named the music technically they were competitors but Wilson, two of Cleveland’s hottest radio “rock and roll,” but back then he was they were sharing expenses and were still personalities. And guys like Bob Skaff and playing nothing but straight-up, life- good friends. his brother Phil, who were working their changing rhythm and blues. And then one day, Tommy actually way up in the record distribution game, Tommy often thought about what met Milt Salstone himself. The man was became customers too. Soon the shop would have happened to him if his friend like a myth; few people had ever seen was a record biz hangout and Tommy was hadn’t told him about that barbershop in him. But that afternoon, while Tommy thinking, “This is where I belong!” He the Keith Building. He wouldn’t have dis- was packing records in the back room, was twenty-three and eager to expand his covered the record business or met all of a very suave guy with a dark Florida tan horizons, but every time he would bring the people whose hair he cut on their way walked in wearing a checked coat with a up the possibility of a job, they would to promote the latest “hit,” including the burgundy handkerchief and a burgundy say, “Man, you don’t want to get into the one guy who finally gave him a job: a guy tie. He looked around for a minute and record business. You have a nice business named Jack Bratel. Bratel called Tommy then walked up to Tommy and said, right here. You’re doing all right.” out of the blue just two weeks after he “How you doing?” But Tommy was a complete record quit cutting hair for the last time. People Tommy said “Okay.” Milt said, “You freak; he spent every loose dollar he had say “out of the blue,” but this was really got any change?” Tommy reached into on jazz records. He wasn’t crazy about out of the dead of night. Tommy was sit- his pocket and pulled out seventy-five most of the popular music of the day, ting at home with his head in his hands cents. Milt took the change, threw it but he did love the Moondog’s radio when the phone rang. against the wall, and said, “You like what program. The Moondog was Alan Freed, Jack managed MS Distributing. MS I did with your money?” Tommy said the man credited with naming this new stood for Milt Salstone, who owned the “No.” Milt said, “Well, I don’t like what music “rock and roll,” and his radio pro- company, based in Chicago, and he had you’re doing with my money.” And he gram would go on at ten o’clock on WJW. just opened a branch in Cleveland. Jack pointed to the cardboard that littered Tommy had been listening to Freed since told Tommy he didn’t have anything the floor, pieces of packing material that he was eighteen years old, cruising down big to offer but there was a job packing Tommy had wasted. “I never forgot it,” Chagrin Boulevard or sitting in his car at records in the backroom for $50 a week. Tommy remembers. “This is a nickel- Manner’s Big Boy drive-in. Like thou- Tommy was thrilled and ran to tell his and- dime business. And whatever job sands of other Cleveland kids, Tommy father the good news. you do in this business, whatever role would hear the Moondog’s theme His father said, “Fifty a week when you you have to play, you’re supposed to care song — a slow drag called “Blues for can make a hundred twenty-five cutting enough to do it right.”

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38_918 LiPuma.indd 39 4/8/20 11:51 AM 40_918 ALAN PARSONS.indd40

DANIEL KNIGHTON/GETTYIMAGES 40 Cajon, California. El in 2020, 5, Feb. on Magnolia The at onstage Alan Parsons performs

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OF REISSUES EXPANDED VERSION ALAN PARSONS BY BILL KOPP AMMONIA AVENUE

PROJECT goldminemag.com

ONE ONE 4/8/20 12:23 PM

lan Parsons is a unique figure in popular music; very few Apeople go from working as a record- ing engineer and producer to becoming an artist in their own right. After working behind the scenes with The Beatles and Pink Floyd, Parsons formed his own Project (not, he explains, a group). Between 1976 and 1987, released 10 albums of original music. Along the GOOD REASON way, Parsons was nominated 13 times for a Grammy; he won his first with Eye in the Sky (35th Anniversary Edition). The Alan Parsons Project released its seventh album, Ammonia Avenue, in 1984. That record charted worldwide, earning gold certification in the U.S., Canada and Germany. Ammonia Avenue spawned three popular singles: “Prime Time,” “You Don’t Believe” and the hit “Don’t’ Answer Me.” A new and expanded boxed-set reissue of the album features the original record’s nine tracks plus an additional 44 tracks of song- writer demos and working versions. In this recent conversation, Parsons looks back at Ammonia Avenue as well as the gen- esis and development of the Alan Parsons Project. He also provides a glimpse at future projects including a possible appearance in the upcoming documentary about The Beatles’ Let It Be.

GOLDMINE: Even though it was made during the height of the ’80s, Ammonia Avenue doesn’t sound as dated as some other records from that era. As a producer and a recording artist, do you make a conscious effort to avoid sounds and textures that are likely to end up being associated with a particular moment in time? ALAN PARSONS: I always try to avoid fads and fashions. But you know, like ev- erybody, I went through the “gated reverb” period. It was almost a necessary evil at the time. I’m well away from it again now, so it’s back to the natural drum sound. Interestingly, during the period that Ammonia Avenue comes from, there was a fashion for a drum sound called Simmons. A Simmons box was usually triggered by the snare drum, and it made it have a sort of sinking sound, which was fashionable. It’s an interesting thing to compare the drum sounds on some songs between the old mix

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40_918 ALAN PARSONS.indd 41 4/8/20 12:23 PM of Ammonia Avenue and the new mix. Road, Band on the Run, ’s reproduce everything. The Simmons sound is much more pres- and The Dark Side of the And had we done it, I firmly believe ent on the old mix. Moon, did you resist the digital approach? that we could have been a huge act. AP: No. I’m a digital convert; I’m happy I mean, we fitted into the prog rock GM: I have the original vinyl record; I’ll with the sound of digital. I embraced it category along with Yes, Genesis, Pete pull that out and compare it to the MP3 right from the start; Ammonia Avenue Gabriel, Pink Floyd. If we had put a download I was sent… was probably one of the first albums to live act together, I think we could have AP: Well, that’s not a format to make be mixed digitally. was become a stadium act. It was a mistake judgments on sound with. still probably analog multi-track with a not to, even though we weren’t inclined digital mix. Then the subsequent albums to do it that way. GM: Agreed. There’s often a concept – or were probably recorded digital multi- at least, a thematic underpinning – that track as well as being mixed digital; Ste- GM: Back in the ’70s and the early ’80s, holds Alan Parsons Project albums to- reotomy (1985) was almost all certainly did ever put pressure on gether. Did those unifying concepts always digital. And Gaudi (1987) was all digital, you to assemble a live band? come first, or was there ever a time when I think. AP: No, I don’t think so. They knew a song or songs came first and then you It was a real treat, actually, to get Am- my identity was in the studio, and that’s and your creative partner monia Avenue multi-track tapes in high- what I was. I was a producer and engi- said, “Let’s build a concept around that”? resolution digital files. The brief was just neer, and an occasional composer. Eric AP: I think that happened a lot. “Am- to do the 5.1 surround mix, but I got as was the songwriter. That wasn’t really an monia Avenue” was a song that became far as doing that and said, “It’s crazy not act. It was the people we surrounded our- the title track of the album. And I think to just mix it again in stereo,” because all selves with who gave us the opportunity Ammonia Avenue was one of the occa- the files were ready to go, as it were. So to sound the way we did. It was officially sions where there really wasn’t a concept. I did, much to the delight of the label... a duo, not a band. “Ammonia Avenue” had its own concept, who didn’t pay me any extra. But I started playing live when I did within the song itself. All the other songs my first solo effort as Alan Parsons are unrelated to it. Same on Vulture GM: Some things never change! The rather than the Alan Parsons Project. Culture. There’s no real link between the 1970s were an era in which most art- Around ’94-’95, that’s the first time we songs in any sort of conceptual form. ists toured in support of their albums. put a band together. By the ’90s, the tech- Although, we always tried to have a nice I can only think of two major acts that nology had improved hugely. MIDI (Mu- flow between songs. Sometimes we made managed to work outside that paradigm: sical Instrument Digital Interface) was one song meld into another. That was Steely Dan, who did do a very few shows, everywhere, there were pre-programmed just a production style thing. and your Project. From the very begin- keyboard and orchestral sounds, sam- ning, was the plan to keep it a studio-only plers were there. It was the right time for GM: The art and packag- endeavor? us to start playing live by then. And I’ve ing has long been a key part of the Alan AP: That was the way we wanted to do been doing it ever since. Parsons Project albums’ character. Were it. Eric in particular just wasn’t inter- you involved at all in the visuals, or did ested in the touring band vibe. Back in GM: Considering the run of albums from you give the artists a brief and then just the early years of the Project, I probably Tales of Mystery and Imagination in let them run with it? would not have been confident on a 1976 through Gaudi some 11 years later, AP: We were very involved with Storm stage, to be honest. Although I did play are you able to choose one that you’re (Thorgerson) in developing the artwork. the occasional bit of guitar and do the most proud of? I think the one exception was Eye in the occasional backing vocal, my role in the AP: The first album was really the one Sky, where he just came out of the blue Alan Parsons Project was as producer that I got the most satisfaction from. It with that Egyptian “eye” symbol. And we and engineer, not so much as a perform- was the first of a new breed, sort of like a just said, “Yeah, it’s great.” But on all the ing musician. first-born child. It was my first opportu- other occasions, having heard the music, It just didn’t really seem a sensible nity to put my production and engineer- Storm would normally come up with thing to do for this duo, Eric Woolfson ing to the fullest. But also composition: I seven or eight basic ideas as sketches. and myself, to gather up musicians and was really only getting into songwriting Then we would choose one of those ideas go out and play. If we had been brave for the first time; that was a big chal- and develop from there. enough to go out and hit the road, lenge. And I was proud; not only was I a substantial band would have been able to engineer and produce, but I was GM: Ammonia Avenue was released in necessary, given the primitive technol- also able to compose. the early days of digital recording and ogy available keyboard-wise at the time. And, of course, I had no idea that it mixing. Having previously worked on I think we would have had to have at was going to have my name on it. During completely analog albums like Abbey least 10 to 12 musicians on the stage to the making of the (first) album, I had no

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40_918 ALAN PARSONS.indd 42 4/8/20 12:23 PM ALAN PARSONS PROJECT idea that it was going to be known as the SELECTED DISCOGRAPHY Alan Parsons Project. When the album 12-Inch Singles was finished, we thought it was just go- ARISTA F ADP-9438 [DJ] (4:13) (7:15) 1985 10.00 ing to be “Tales of Mystery and Imagina- F ADP-9548 [DJ] Standing on Higher Ground (Album tion (Edgar Allan Poe), produced by Alan Version 5:02) (Edited Version 4:20) 1987 12.00 Parsons.” So the Alan Parsons Project 45s ARISTA was just a label creation. As far as I was F 0260 I Wouldn’t Want to Be Like You/Nucleus 1977 5.00 concerned, it was the name of a record, F 0288 I Robot/Don’t Let It Show 1977 5.00 F 0310 Day After Day/Breakdown 1978 5.00 not the name of an act. F 0352 What Goes Up/In the Lap of the Gods 1978 5.00 F 0454 Damned If I Do/If I Could Change Your Mind GM: A hallmark of the Project was using 1979 5.00 F 0491 You Won’t Be There/Secret Garden 1980 5.00 vocalists who were particularly well- F 0502 You Lie Down with Dogs/ Lucifer 1980 5.00 suited for a given track. One excellent F 0573 Games People Play/Ace of Swords 1980 5.00 F 0598 Time/The Gold Bug 1981 5.00 F AL 8204 Ammonia Avenue 1984 10.00 example is Clare Torry singing “Don’t F 0635 Snake Eyes/I Don’t Wanna Go F AL 8263 Vulture Culture 1985 8.00 Home 1981 5.00 F ALPD 8263 [DJ]Vulture Culture 1985 25.00 — Hold Back” on the 1979 album Eve. You F 0696 Eye in the Sky/Gemini 1982 5.00 Promo-only picture disc F 1029 Psychobabble/Children of the Moon 1982 5.00 F ALPD8263 [DJ]Vulture Culture 1985 25.00 — consistently featured fantastic singers F 1048 /You’re Gonna Get Your Fingers Promo-only picture disc like . But was there ever Burned 1983 5.00 F AL 8289 Ammonia Avenue 1985 8.00 —Reissue F 9108 You Don’t Believe/Lucifer 1983 5.00 F AL 8290 Eye in the Sky 1985 8.00 —Reissue anyone you would’ve liked to have had, AL 8315 The Turn of a Friendly Card 1985 8.00 20TH CENTURY F —Reissue F 2297 (The System of) Doctor Tarr and Professor but didn’t get? AL 8318 Eve 1985 8.00 —Reissue Fether/Dream Within a Dream 1976 5.00 F F AL 8320 Pyramid 1985 8.00 —Reissue AP: I think in the APP days, we pretty F 2308 The Raven/Prelude to Fall of the House of AL 8384 Stereotomy 1986 8.00 —With regular LP Usher 1976 5.00 F jacket much never got refused. In later years I F 2333 To One in Paradise/The Cas of Amontillado AL 8384 Stereotomy 1986 15.00 —First editions 1977 6.00 F did express interest in George Michael came in an oversize vinyl jacket and (Duran Duran vocalist) Simon Le F AL 8448 Gaudi 1987 8.00 Albums F AL 8486 The Best of the Alan Parsons Project, ARISTA Vol. 2 1987 8.00 Bon, who we were unable to secure. But SP-140 [(8)DJ] Complete Audio Guide to the Alan F F AL 8487 of the Alan we generally got a “yes” when we made Parsons Project 1982 100.00 —Contains fi rst six Parsons Project 1988 10.00 APP LPs plus a two-record set of other Parsons F AB 9504 Eve 1979 10.00 work an offer to people. F AL 9518 The Turn of a Friendly Card 1980 10.00 SP-68 [(6)DJ] Audio Guide to the Alan Parsons F F AL 9599 Eye in the Sky 1982 10.00 Project 1979 50.00 —Contains fi rst four APP LPs GM: Is there anything left in the vaults plus a two-record set of other Parsons work CASABLANCA F SP-68 [(6)DJ] Audio Guide to the Alan Parsons F 822784-1 Tales of Mystery and Imagination - Edgar from the Alan Parsons Project that we Project 1979 50.00 —Contains fi rst four APP LPs Allan Poe 1984 10.00 —Reissue of 20th Century LP plus a two-record set of other Parsons work MOBILE FIDELITY might hear in the future? Maybe more F SP-140 [(8)DJ] Complete Audio Guide to the Alan 1-084 I Robot 1982 60.00 —Audiophile vinyl Parsons Project 1982 80.00 —Contains fi rst six APP F MFQR 1-084 I Robot 1982 100.00 —Audiophile vinyl; unheard material from the 1977 I Robot LPs plus a two-record set of other Parsons work F Ultra High Quality pressing in box sessions? F AB 4180 Pyramid 1978 10.00 F AL 7002 I Robot 1977 10.00 20TH CENTURY AP: The only boxed sets so far are Tales F AL 8040 I Robot 1983 8.00 —Reissue F T-508 Tales of Mystery and Imagination – Edgar F AL 8193 The Best of the Alan Parsons Project 1983 Allan Poe 1978 15.00 of Mystery, Eye in the Sky and now Am- 8.00 monia Avenue. So there’s still another seven albums to go, and I’m sure we’ll unearth some stuff. I don’t think there (from Stereotomy). That was never really more of a fuss made about the anniver- will be much in the way of completely considered a hit song. “Psychobabble” sary of the rooftop session than there is unreleased songs, but there will be early (from 1982’s Eye in the Sky) is another about the anniversary of the release of mixes, demos and things like that for the one we’ve always done well. the album. remaining albums. Essentially, we play safe; we play the Every time I post online a picture of The next one I’m pushing for is most popular tracks off each album. myself on the roof of the Apple building (1980’s) The Turn of a Friendly Card, be- We try to represent every one of the 10 (3 Savile Row, London) for that concert, cause we are going to be playing that live albums. But it’s pretty easy. Each time we it gets thousands of hits. I am going to be this year. I’m pressuring (Eric Woolfson’s return somewhere — a particular city or doing an interview with Peter Jackson, daughter) Sally to get all the material to a particular venue — I try to look back at who is going to re-edit the film. I’m hop- put that out ASAP. that list and do something a bit different. ing to meet him; we’ll see. I’m rather hoping that the re-edit of GM: Speaking of the Live Project, is it a GM: You worked as Glyn Johns’ assistant the movie will actually show some foot- challenge to put together a balanced set engineer for The Beatles sessions in Janu- age of me. (At present) there are only a list that satisfies both those who know the ary 1969. Do you have any involvement at couple of still pictures that show me at hits and the hardcore fans? all in the upcoming reissue of Let It Be? all. But I was there! I know the camera AP: Yeah, there are favorite tunes that AP: I have been asked to do an interview was pointing at me, occasionally. And have always gone down well live. Perhaps or two about the (January 30) rooftop I’m hoping there’ll be a glimpse of me in one of the unusual ones is “Limelight” session. And I think there’s going to be the re-edit.

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PATTI OUDERKIRK/WIREIMAGES performing on stage. while sync in completely Cooper Ray and John Elton 44

JUNE 2020

goldminemag.com 4/8/20 12:23 PM

RAY&ELTON LIVE FROM MOSCOW BY GILLIAN G. GAAR

ay Cooper joined Elton John’s band as a percussionist in 1972. “It was a ticket to ride,” he says today, looking back at his decades of experience working with John, both onstage and in the Rstudio. “It was like joining the navy. I saw the world, and it was extraordinary.” But until recently, one of his most historic performances with Elton John was largely unavailable, at least officially. In May 1979, John became one of the first major Western rock acts to play behind the Iron Curtain, taking his music to the heart of the Union of Soviet Socialist Republics (USSR). Forty years later, Live From Moscow, a recording of the tour’s final concert in its entirety, was released for in 2019. Now comes a wider release, in LP, CD and digital formats. It’s an exciting document of what Cooper calls “an extraordinary experience, one that’s stayed with me all my life, and will to the end of it, I’m sure.”

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44_918 RAY COOPER.indd 45 4/8/20 12:23 PM Friend”) and favorite covers (“I They later learned that security at the Heard It Through the Grape- first shows was responsible for keeping vine”). “We spent quite a lot of people in their seats. “Gentlemen were time working out what would be sitting at the end of the rows, so if anybody the best for two people to play,” got overexcited they would make sure they Cooper says. “What songs would didn’t go anywhere,” says Cooper. “But be the most dramatic, and how then they disappeared, and they allowed to get the most out of them. Elton the concert to take its natural course. And wanted to push his vocal prowess of course, people did get very excited. They and his piano prowess as far as it listened fervently; they wanted to take could go. And his piano playing every moment of Elton’s music into their got better and better, and his soul. But they also eventually got up, and voice got stronger and stronger they clapped and they danced, and that Cooper first met John when both were over the course of that tour. I think this was wonderful. working in the British music industry two-man show was the beginning of how “And they knew the music; they’d been as session musicians; he knew John by he pushed the barriers.” listening to it illegally on American Forces his real name, Reginald Dwight. “People The Russian authorities had been radio. A lot of people in Russia, strangely forget that he was a ,” says thinking about inviting a Western artist enough, were speaking English because of Cooper. “And he was a wonderful working to appear in the USSR, and a Russian listening to pop records. Because of listen- musician; a backing vocalist sometimes, Cultural Envoy caught a performance of ing to The Beatles, to Elton John, to the a pianist sometimes. I would see Elton a the “Single Man” tour in Oxford, England, stuff that they could listen to from across lot, as a fellow worker. And then one day, I on April 17, 1979. “He liked it very, very the borders, where the American and Al- went into a session, and it was for an ‘Elton much,” says Cooper. “The Russians lied Forces radio managed to get through. John,’ and I didn’t know he was called Elton decided that was what they wanted. It was They would make illegal recordings of it, John at that time. And when I arrived for the early days of perestroika, the begin- and they would learn the language and the session, I was surprised to see it was nings of that movement. learn it well. Spoke fluent English purely by Dwight!” “People were so enthused by the fact listening to pop records; that’s the strength John’s concerts in the 1970s were known that we would actually come to Russia,” he of the human survival factor and human for their over-the-top production and continues. “It was very, very moving.” For nature. Isn’t that wonderful?” lavish costumes. But in 1979, he opted to his part, Cooper was also excited by the John also enjoyed giving a little tweak to shake things up by going in the opposite prospect, being a fan of Russian composers the authorities. It had been requested that direction. In the “A Single Man” tour, like Igor Stravinsky and Dmitri Shostakov- he not excite the crowds by playing The everything was scaled back to basics; the ich. Arrangements were made quickly, and Beatles’ “Back in the U.S.S.R.” — which of show featured John alone at the piano for just over a month after the Oxford show, course guaranteed its inclusion in the set the first half, with Cooper joining him on the “Single Man” tour arrived in Russia for list (albeit as part of a medley with “Croco- percussion during the second half. And eight performances; May 21 to 24 at the dile Rock” and “Get Back”). “If you tell him there were no flashy outfits in sight. Bolshoi Oktyabrsky Concert Hall in what not to do something, that’s the best way to “The show was not an extravaganza,” was then Leningrad (now St. Petersburg), get him to do it!” laughs Cooper. “That was Cooper explains. “It was about the music, and May 25 to 28 at the Rossiya Concert a red flag to the bull. And so he did it! And and the drama of Bernie Taupin’s lyrics and Hall in Moscow. the audience loved it, too. And then it was Elton’s wonderful melodies. It was a the- “Each concert revealed something differ- accepted. He did it at every concert.” atrical show. What I was there for, I think, ent about the Russians,” says Cooper. “The Cooper enjoyed the experience of getting was to add color to the drama. I think way they put concerts on for instance, the out and exploring the city when he could. that’s one of the reasons he asked me to go people you met, and the audiences. So it “I went everywhere in Leningrad, as it along with him. There’s something very kept us on our toes. There was nothing that was called then. And I went everywhere in wonderful, something very interesting in we could, in a sense, rely upon. Everything Moscow, markets and things. I found the two people making music together; there’s was fresh.” Russian people extraordinary. I fell in love a dialogue that’s happening. Initially, the audience response was sub- with everyone I met and everything I saw, “As a percussion player, you’re a colorist. dued. “It was a shock, but it was wonderful. and the conversation. People wanted to talk You’re not necessarily a rhythmist. Elton It woke us both up. Because Elton was very there; they wanted to talk, they wanted to didn’t need me to keep time. He’s one of the successful in America and England, and he drink with you, to laugh with you, to cry most perfect timekeepers in the world. His could just walk on the stage and stand still with you.” left hand on the piano is always, always, and people would love it. But this was a test But trips further afield ran into official always in time.” of our skills, our musicality. And beyond roadblocks. “We had a couple of days off, The show featured a mix of well-known that, our ability to communicate in this and I wanted to go to Kiev. What I didn’t numbers (“Daniel,” “Rocket Man”), wonderful language of music to an exotic realize was that it’s a three-day journey one instrumental showcases (“Funeral for a other language, i.e., Russian.” way by train, so that was impossible. And

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44_918 RAY COOPER.indd 46 4/8/20 12:23 PM “People were so ELTON JOHN enthused by the LIVE FROM MOSCOW fact that we would UMe (2-CD Set) actually come to ★★★★ Aft er a limited release Russia. It was very, on Record Store Day last year, Live From very moving.” Moscow is now widely — Ray Cooper available, document- ing Elton John’s land- mark tour of Russia in there were no internal flights; we were told there weren’t anyway. 1979. It’s such a vast country and I’m sure they used that as excuse, too. In a sense, it’s some- It seemed as if everything was available, except when you asked to thing of an “Elton do something, they would suddenly say, ‘Well, it’s a bit of a problem John Unplugged,” as today because this train is not working.’ In other words, they very the show is a back-to- gently made it quite difficult to do anything. Because everything basics performance was guarded, very much so. It was very difficult to get out of the with John on the piano and Ray Cooper providing additional region where you lived; you had to have permission to travel.” percussion (though John does play an electric Yamaha CP80 on some numbers). Although John rose to the top as a He did manage an outing one evening, with a local poet and his performer known for his fl amboyant style, Live From Moscow friends. “We were all invited back to his dacha (country house), serves as a reminder that John’s a consummate singer and just outside Moscow,” Cooper recalls. “Which was difficult to get musician as well. to because we weren’t supposed to travel outside of the various sec- The Russian audiences were diff erent from any that John tions. But we got there and we had the most incredible evening of had previously played to. People there were only able to storytelling, of poetry. It was magical, magical.” hear his music by stealth; picking up a radio broadcast from The final night of the tour was broadcast by the BBC, the source another country, perhaps, or listening to a recording that had of numerous subsequent bootlegs of the show. Footage also ap- been smuggled in. And the audience response is polite and peared in the 1979 documentary To Russia…With Elton. With restrained at fi rst. But by the show’s end, with John’s encour- the complete show now widely available, Live From Moscow is the agement, they’ve loosened up, whistling and clapping in time to the music. It’s clear John worked hard to get this audi- perfect souvenir of a moment that still has resonance for those who ence, unused to the atmosphere of a rock concert, to enjoy were lucky enough to witness it in person. themselves. “I still meet people who say that,” Cooper says. “And it shocks The show opens on a subdued note with “Daniel.” But even me. I can walk around in America, or London, or wherever, and as a one-man band, John soon starts generating plenty of it’s Russians that come up to me and say, ‘Sorry to disturb you, energy, and by the third number, “Take Me to the Pilot,” he’s but are you Ray Cooper?’ And I say, ‘Yeah, I am.’ ‘Oh, I was a little attacking his piano with gusto. He also stretches out, extend- boy and I saw that concert in Russia 1979.’ And I keep using the ing the songs. “Rocket Man” is 4:45 on the Honky Château word ‘moving,’ but it is. We live in a world where everything is put album; on Live From Moscow, it runs over seven and a half in front of us and we take things for granted. But when you come minutes. And once he sinks his teeth into “I Heard it Through across people that say you’ve changed their lives through music, the Grapevine,” he can’t let go; it’s a tour de force on the piano that runs for over 11 minutes. then yeah, you know you’ve done your job. And what a beautiful job to do. I’m very lucky.” And the excitement shoots up when Cooper joins in on per- Cooper’s made return visits to Russia in the years since his first cussion. When the cymbal crashes come in during “Funeral for a Friend,” it’s something of a shock to suddenly hear some visit. “I’ve been lucky to go back there quite a few times, and I’ve outside instrumentation. Cooper accents the music perfectly, loved it every time I’ve been there,” he says. “The people — it’s a providing a dramatic counterpoint to the melodies. By the very rich place, very rich, it’s full of all sorts of culture.” time they get to the closing numbers (two fi ery medleys), it’s And he’s pleased to have contributed to lessening the tensions obvious that these two have no need of a full band; they’re between Russia and the outside world. “Yeah, it was an extraordi- quite capable of kicking up a ruckus by themselves. nary event for both sides. It was a part of the process that all of us It’s not a completely unedited performance; there’s a fade were going through at that period, of trying to understand, trying out/fade in between the songs, making you wonder what to help this fledgling state of perestroika, and things that were to you’re missing out on. But there’s no mistaking the joyousness come. And I think, I hope, that perhaps we might’ve played a small at the show’s end, for both the performers and the audience. part in helping to bring some form of understanding between these When John throws in a couple lines of “Back in the U.S.S.R.” at the end of a medley of “Crocodile Rock” and “Get Back,” two major countries, America and Russia — Russia and the rest of it gets the biggest applause; the cherry on top of a superb the world actually. I hope so. performance. — Gillian G. Gaar “So thank you Elton, for taking me there.”

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44_918 RAY COOPER.indd 47 4/8/20 12:23 PM 48_918 AMERICA.indd 48 W approach all along. While their songs stand up as well today as they did early on, their pleasing melodies and sweet sense of sweetsense s and melodies pleasing on, their early did they as today well up as songs stand their While along. approach all lives. of somany soundtrack to the significantly 48 Peek. Dan and Bunnell Dewey Beckley, Gerry (L-R): 1975 24, Aug. on York, New Park, Central in onstage live perform America BY LEE ZIMMERMAN BECKLEY ANNIVERSARY, THEIR 50 YEAR NOW CELEBRATING AS GREAT AS EVER! BUNNELL If Gerry Beckley and Dewey Bunnell appear to keep a lower profile than some of their peers, it’s only because that’s been their that’s it’s been peers, because only some of their than alower to keep profile appear Bunnell Dewey and Beckley Gerry If

JUNE 2020 serting itself. And yet, America — the band — deserves recognition for a half century of making music that added so added music that of making century for ahalf recognition —deserves band —the America yet, And itself. serting no problem has ever as- certainly which nation, not the of course, band about the We’re shuffle. talking the got lostin ith all the 50-year anniversaries 50-year the all ith

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that have taken place lately, it’s easy to understand how America almost lately, place almost have how taken that America it’s to understand easy

MAKE

GREAT AGAIN? goldminemag.com eren- 4/8/20 12:04 PM

RICHARD E. AARON/REDFERNS dipity offer no cause for screaming to the for doing these songs you’ve done for so to someone else? rafters or adding undue embellishment. many years now. DB: We knew after Hat Trick that it America’s music can best be likened to DB: You’re up there trying to give was too much work and that we needed a kind of comfort food that their fans those songs justice. But it’s also about a producer. So we went through our could understand and appreciate. Their the people that have paid their money checklist and George Martin was right seemingly endless procession of hits — — even young people and first timers up there. That’s when Geffen said, “Ok, “,” Sandman,” that have never seen us before. Still the I’ll get George Martin in here.” And we “, “Tin Man,” “Ventura bulk of our audience are a certain age, were like, “Oh great!” Highway,” “You Can Do Magic” and all and they want to relive those memories. the many others — attest to the affabil- So it’s a nice, solid thing. But it didn’t GM: How did the initial meeting go? ity and accessibility they’ve shared so happen overnight. Our show has evolved DB: We were sitting with George Martin throughly throughout the years. They’ve over the last 25 years. The recordings fell and wondering what this meeting would remained remarkably consistent, and off and the sales slowed down for all the be like, but he was just so great and even when fellow Air Force brat and usual reasons. Everything changes, and we just hit it off. He was a down-home band co-founder left the fold we’ve changed, too. But that live show Brit and we had had a lot of experience early in 1977, Beckley and Bunnell had had to keep evolving. dealing with British people, having lived no problem picking up the slack and car- there as kids. So it wasn’t an awkward rying on as always. GM: What do you think accounts for meeting where we had to figure out what Following their appearance this past your continuing success? a word meant that might have been Brit- February on the ’70s Rock and Romance DB: That’s pure happenstance. Timing ish slang or something. So that was good. Cruise, the pair had planned a tour that is everything. Being in the right place at He said, “Well, let’s give it a go, lads.” But would help tout their half-century cele- the right moment. Radio hears the song that required us to go to England. We bration. Sadly, the coronavirus pandemic and then slides it into the playlist. I don’t had done our third album in L.A., but it forced them to temporarily suspend their know how hits become hits. I sometimes took a fair amount of time because we concert schedule. Nevertheless, Gold- marvel at how big some of our songs got. were indulging ourselves in the studio mine was given an opportunity to talk and he couldn’t be out of England that with Bunnell about the past five decades GM: You reached a high point when long. So we ended up recording at his and how their efforts still resonate with you began working with George Martin. studio, Air Studio in London, and we their many admirers. That relationship spawned four albums, became very diligent. We worked out all of which famously started with the every part of every song in a way that GOLDMINE: America has been out on letter ‘H’ — Holiday, Hearts, Hideaway, was similar to what we had done on our the road gigging continually for the past and Harbor. Was it intimidating at all earlier albums, and he was very im- 50 years, at least until very recently when to be working with such a high profile pressed. We basically knocked it out in the recent pandemic brought things to a producer? a couple of weeks, maybe 13 days. It was halt. Given that consistency, do you still DB: Yes, it was when we first met him. mixed and ready to go. enjoy getting to go out and perform? David Geffen was managing us at the DEWEY BUNNELL: I love getting time, and Geffen got in touch with GM: What was he like to work with? onstage and doing our thing. You can George while he was in town. We had DB: He was never intimidating, but really feel like you’re making somebody’s already made a decision that we needed a he did run a tight ship. But that’s what night, giving them some entertainment producer, because we produced the first we wanted. We were killing time in the when they go out for dinner and then three albums ourselves. The first one studio, just burning up the studio time — catch a show. Of course, now we’ve got was under the guidance of Ian Samwell, “Hey, can you make me a cassette of that?” that coronavirus thing to worry about. although essentially we had done all — but you still have to pay engineers, pay We got off the cruise ship and it was like, the arrangements, all the vocals, all the the players, keep the books, all the ad- “Coronavirus, what’s that?” guitar parts. We basically knew what ministrative parts of being a producer. So we wanted and sweetened it up a little he kept us in line in that way. He was un- GM: So you’re still committed to touring? bit, got the additional players to come in forgiving on the song selections, though. DB: I see so many other artists of our and do stuff. But then we did the whole We each came with 10 songs that had to age are forced off the road and then they second album and the whole third album be whittled down to 12. There would have regret it. So they come back. Even the ourselves, we had some of the Wreck- to be some cuts, so he made the choices biggest come back. Granted, they may ing Crew players and we were basically right away. “Oh, we’ve got one like that.” take a year or two off between tours, but thrown into the deep end. And then if we brought the song back for personally, I like the steady work. the next record, he’s say, “Wait, if it wasn’t GM: With all the experience you gained, good for the last album, why would it be GM: How do you find fresh enthusiasm why then give the production chores over good for this one?”

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48_918 AMERICA.indd 49 4/8/20 12:05 PM Dewey Bunnell off to another writer, I could songs that were demoed for a project focus on my voice and my and subsequently scrapped. We found guitar parts.” It just wasn’t that they sound kind of good all these as productive as the Warner years later. There may be a pretty good Bros. years. I thought we chorus or a pretty good verse... so we wrote some great songs, and might polish some of those off. I’m just I got a few of them on our speculating. There are some archival records, but it wasn’t like it anthologies that are filtering out as part was in the ’70s when Gerry of this 50th-anniversary year. Capitol and Dan and I were writing. is doing one and Warners did one. Plus It was disappointing when there are some live things and rarities. I they didn’t receive the atten- can’t rattle them all off at the moment, tion I would have liked. but there’s a British fellow who does a lot of box sets for British artists and he’s GM: Gerry has made got a pipeline to the packaging and the several solo albums, so why distribution and that kind of stuff. haven’t you? DB: I made a conscious de- GM: There have been the various cision not to do solo albums. anthologies and rarities collections, but it A lot of people have pushed seems that it’s been a while since your last me to do them, including all-new studio set. Is there anything on Gerry, but I just made the the horizon? decision I didn’t want to do DB: It’s never off the table. We’ve never them at the time and it just said no. It’s all just a matter of timing stuck with me in that way. and having the material. But we haven’t By the way, I’m not as pro- looked each other in the eye and said let’s lific as Gerry. He GM: After leaving Warner Bros., your still writes a dozen songs for Gerry Beckley home for over a decade, you moved to every one that I write. When . When the song “You we were signed to a multi-year Can Do Magic,” written by deal, I still had the heat under of Argent fame, hit the charts in 1982, it my feet to fulfill our obliga- seemed like an auspicious start to a new tions. However, as life goes on, phase in your career. suddenly you have families DB: After the Warners contract that add the usual distrac- expired, we changed management, and tions. So I don’t go into my our new management said we’d have little office and start strum- to shake things up. So that’s when we ming as much as I used to by made a decision to do some outside any means. But Gerry has to material. Thank goodness we had a get that stuff out. He has a relationship with Russ Ballard. It al- home studio, so he’s always lowed for a real comeback at that point, come up with hard drives full and it did put us back on the radar and of digital information and on the radio. And we started bringing songs. back audiences from ’82 on. The Capitol people told us, “We want other writers GM: Do you ever hear his and we want other producers,” and we solo songs and ask him to kind of handed it all off a little bit. I divvy them out for an America remember thinking I was kind of laying album instead? back a little bit, and that was my fault as DB: A little bit, but he usu- much as anybody’s. ally doesn’t say, “Let’s save this.” There’s one song right now that do it, let’s make one this year. Probably GM: Why do you say that? I put a vocal on, and we’re thinking it next year will be more realistic because DB: The ’70s were an intense time. So will be an America song for a potential this year we’re focused on everything

ALISA B. CHERRY it was almost like, “If we can hand this project. We’ve also found a bunch of about the 50th anniversary.

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DOLENZ MICKY MUSIC! MONKEES & MORE BY MIKE GREENBLATT goldminemag.com 4/8/20 11:52 AM

name because of The Monkees' fame, so he changed it to David Bowie. The Monkees' first single, “Last Train to Clarksville,” written by Tommy Boyce and Bobby Hart, recorded with the help of the finest studio cats in Hollywood at the time, went straight to No. 1. The show won two Emmy Awards. Dolenz wound up directing the last few episodes of the show. The four actors turned into real mu- sicians and toured with the Jimi Hendrix Experience as their opening act. A feature film, co-written by actor Jack Nicholson, called Head, was rather psychedelic. In 1977, Dolenz flew to London to appear in ’s production of The Point. Contracted for three months, he stayed for 12 years producing, writing and directing for the British Broadcasting Company. In 1986, MTV started broadcasting reruns of The Monkees and a whole new generation got turned on to their music and comedy. In 1987, the Billboard “Top 200” contained no less than seven Monkees albums catapulting four of them — The Monkees (1966), The Monkees circa 1970 (1967), Headquarters (1967) and Pisces, (L-R): Mike Nesmith, Aquarius, Capricorn & Jones Ltd. (1967) , Micky — to No. 1. Dolenz and . In 1993, Dolenz wrote his autobiogra- phy, I’m a Believer: My Life of Monkees, Music and Madness. In 2005, Dolenz became a “drive- time” on-air radio personality for WCBS-FM. In 2006, Dolenz was King Char- lemagne in the award-winning musical Pippin. In 2007, Dolenz played Derek Allen in Rob Zombie’s bloody Halloween remake. It’s safe to say that Micky Dolenz — singer, actor, producer, director, disc jockey, comedian and more — has icky Dolenz was born in front of the show’s producers to Chuck enjoyed the kind of fruitful and wildly Minto show business in Berry’s “Johnny B. Goode.”) Out of over successful career most men can only 1945. His father was The Count 400 applicants, singer Davy Jones (1945- dream of. He’s participated in numerous of Monte Cristo on TV. By 10 years old, 2012), guitarist/composer Mike Nesmith Monkees reunions and at 75 is still going Micky got a lead role in Circus Boy on TV. and bassist/keyboardist Peter Tork strong. In 1965, at 20, he auditioned for another (1942-2019) won the coveted roles as his I used to run home from school to TV show based on the comedic aspects bandmates. The show was a smash hit but watch The Monkees, and made my mom of The Beatles in the 1964 movie A Hard only ran for two seasons. Across the pond, buy me those first four albums, which Day's Night. The Monkees debuted on TV an upcoming British singer-songwriter I wore out. For some reason, our paths in 1966. (He won the part by rocking out named Davy Jones had to change his never crossed. Until now.

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52_918 Monkees.indd 53 4/8/20 11:52 AM GOLDMINE: I took my first LSD trip in Verona Park on the corner of Bloom- field Avenue and Pleasant Valley Way in West Orange. It took me 53 years to fi- nally ask you if “” was written about that particular New Jersey street. MICKY DOLENZ: Yes, it was. It was written by and . They both worked in Manhattan’s Brill Building for Don Kirshner, where so many great songs were written. He had a very good ear for hit songs. He was the one who lived there, right off Pleasant Valley Way in West Orange. Carole and Gerry — who were married at the time — were on the way to his house for a Micky Dolenz and Peter Tork of The MD: Monkees perform at Bell Auditorium on meeting, or so the story goes, and they Oh my God, I’ve turned down July 24, 2016 in Augusta, Georgia. were looking out the window and just many more things than I’ve accepted. started writing the song. I’d rather not name names. I mean, sure, sometimes the project is good, but GM: You’ve had a remarkable post- I’m just not available. Other times the enormous amount of money. No thanks. Monkees career. To what do you attribute concept sounded cheesy. A couple of years ago I was offered a your longevity? two-week Connecticut summer-stock MD: That’s a good question but you’d be GM: Come on, man, spill the beans. comedy production for not that much the one to answer that more than me. I MD: There were a few ’60s packages that money. After reading the script, I readily have no idea. I just keep doing what I do. I just didn’t want to be a part of. One of accepted. It was called Comedy Is Hard! Show business is the only thing I know them wanted me to do five shows a week. and it was at the beautiful Ivoryton how to do. There’s so many facets to the I can’t do that. It wasn’t the shows, it was Playhouse in Essex right on the banks entertainment industry. They say a mov- the inherent travel that forced my hand. of the Connecticut River and it was with ing target is harder to hit, so I keep on We have a saying in show biz that we get Joyce DeWitt from Three’s Company. Just moving. Yeah, I keep on keepin’ on, man. paid to travel, and we gladly sing for free. us two, written by Mike Reiss who wrote I can tell you this, though: I am very There’s a lot of truth in that. Or some- The Simpsons for years. His script was particular in what projects I choose to body will call my agent and say, “We hilarious. I read it, called my agent and do. People always ask me what I’d rather want Micky to do a cameo” on some TV said, “I want to do this.” I didn’t care how do since I’ve done it all. Would I rather show. One show just wanted me to walk much money it was. I knew it wouldn’t act, sing, tour, direct, write or produce? through a mall so their star could say, be a lot because it was summer-stock, My answer is always that I get attracted “Oh my God, it’s Micky Dolenz of The but there’s a good example of a project to a script or a song by the content of the Monkees. Can I have your autograph?” I readily accepted. Frankly, that’s kinda project itself. And that’s it. I’m not interested in that, always the way I’ve been. even if I’m offered a lot of money. It just GM: That tour you did last year had legs, doesn’t do me any good to do stuff like GM: I understand you have a Rhino Re- as they say. You toured with Todd Rund- that. Hey, making money is all well and cords release of The Mike & Micky Show, gren, Christopher Cross, Jason Scheff of good, but something like that in no way and you’re supposed to be supporting it Chicago and Joey Molland of Badfinger advances my career. I mean, I can’t even with a tour, although that seems doubtful honoring the 50th Anniversary of The put something like that on my reel to at the time of this writing. Beatles’ White Album. show other directors. It’s useless. MD: A couple of years ago, Mike MD: That’s a perfect example of a (Nesmith), Peter (Tork) and I went out. project — a tour, in this case — that I got GM: What show was that? Of course, Mike, Peter and Davy (Jones) asked to do and I readily accepted. I’ve MD: I’d rather not say. I will tell you one had gone out also prior to that. These turned down plenty of other theme tours, thing. I was asked to do a reality show reunions were always very successful. but that one just felt right. called I'm a Celebrity...Get Me Out of Davy passed in 2012 [at 66 from a heart Here! where they stick you out in a jungle attack]. Then Peter passed [last year at GM: What’s an example of a project you somewhere and it’s like one of those age 77 from cancer]. Mike and I kinda

turned down? Survivor things. They offered me an looked at each other and said, “What do CHRIS MCKAY/GETTY IMAGES

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52_918 Monkees.indd 54 4/8/20 11:52 AM we do now?” So we thought about it. We Come to think knew we wouldn’t call it The Monkees. of it, I sang the majority of GM: Half Monkees? album cuts, too. MD: Yeah, right (laughs). We wound up And Mike wrote with “The Monkees Present The Mike some great & Micky Show.” Mike and I had always songs. He’d sing joked in the old days about eventually some of ‘em for having our own show, because we really The Monkees. got along in so many ways, especially Truthfully, the when it came to comedy, where we had bottom line is a really good mix, a good dynamic that people who between us. We have similar tastes. would buy a Now, that’s not to say that Davy and I, ticket for “The or Peter and I, didn’t have a particular Mike & Micky chemistry — we did. That’s the way the Show” come to network originally cast the show when see me sing “I’m we originally auditioned. They saw that a Believer.” chemistry we shared with each other. GM: And “Last GM: That must have been really some- Train to Clarks- thing at the time. ville.” MD: Oh yeah! It was a constant stream MD: And “(I’m of interviews, screen tests and multiple Not Your) Step- auditions. And, you must remember it pin' Stone.” So was always weighted very heavily to- once they know wards comedy. But you had to be able to they’re gonna get sing. You had to be able to act. You even that, they come. had to be able to move around and dance And I know a little bit. My biggest hurdle was having that’s why they’re to be able to improvise. That improvisa- there, so I always tion was so tough! give it to ’em. Every single show I do. I made that deci- I certainly hope they do their biggest GM: You were used to following scripts sion to do that a long, long time ago. I’ll hits.” I mean, you know, sometimes ever since Circus Boy, the 1956 children’s never forget when I was living in England artists just don’t! Some artists hate it, in show where you played the titular charac- and working in London as a television fact. They go out of their way to avoid ter at a young age. producer/writer. I had stopped singing it. And they’re very disparaging about MD: Exactly. I was used to getting a completely. I wasn’t doing any performing it. I’ve been to those concerts, too. But script where you did not, under any whatsoever, be it comedy, recording or the Everlys, to their credit, did every circumstances, improvise on the set. I otherwise. In fact, people knew me by my one of ’em. (sings) Wake up, little Susie, was very careful to say the words exactly real name of George Michael Dolenz, Jr., wake up! I was up there standing up with as they were written. Improv was very the television producer. I lived there for everyone else, almost in tears, clapping difficult for me. It took me a long while. almost 15 years doing that. along, singing along, and I remember I mean, sure, I got better at it. Mike, thinking — and this is before the ’86 in contrast, right from the get-go, was GM: When was this? Monkees reunion — “If somebody ever absolutely brilliant at it. So Mike and I MD: The ’70s into the ’80s. I remember asked me to come back and sing all those were the two closest and we always joked The Everly Brothers were in the process old Monkees hits, I’m gonna make damn about one day having a show called “The of getting back together for like the first sure I do every single one of ’em in their Mike & Micky Show.” And we did! The time in 40 years or something with a entirety just as people remember them.” agents went on a fishing expedition. And reunion concert at London’s Royal Albert Because I would want to see what The guess what? The buyers — the promot- Hall. I have always been a HUGE Everly Everly Brothers must’ve seen: all of us ers — loved it! They were really happy Brothers fan. They were my earliest, standing up, crying, singing, dancing. with it. I think a lot of it, to be perfectly most powerful influence. So I got tickets And I do that. And I do that to this day. honest, had to do with the fact that I sang for my wife and I. Eighth row center. I

PUBLICITY PHOTO the majority of The Monkees’ big hits. remember thinking at the time, “Gee, GM: I’m sure you do it with your own

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52_918 Monkees.indd 55 4/8/20 11:52 AM solo band, who I believe you just finished a tour with, no? MD: Oh yeah, I’ve been doing that for years and years. My percussionist/vocal- ist sister is in the band. She sings lead on Mike’s “Different Drum,” which kick- started Linda Ronstadt’s career. Yeah, he wrote that, played it for the produc- ers of The Monkees and they said, “Oh that’s nice, but it’s not a Monkees song.” I remember when he told them, “Wait a minute. Every song I write is a Monkees song, because I’m a f*cking Monkee!” But then he gave it to Linda. And . I tell that story every night and end the intro by saying, “but I’m not a young-girl singer so I’m going to have my sister Coco do it.”

GM: I must ask you about Harry Nilsson (1941-1994). I know you and he were great friends. In the Harry biography, or it might have been the Hollywood documen- tary, Harry would knock on your door, I think it was you, and your wife would go, “Oh no, he’s going to drag Micky away partying for days on end!” What personal anecdotes can you spare? MD: That’s Harry for you! We lived close to him in Los Angeles. The stan- dard Harry joke is that he’d call you up to go of The Monkees performing at Mizner Park Amphitheatre in Boca Raton, to lunch on a Florida. Wednesday and wants to play a MD: I don’t know about that. If you three days later, couple of them know the whole story of his life, no, not you’d find yourself at a massage parlor for you.” So he did. One of them was at all, I would not make that his defining in Phoenix. Everyone who knew him “Cuddly Toy.” Davy Jones immediately adjective. Tragic? Sure, people do tend to has a similar story. Yes, we were very said, “I’ll do that one.” I remember it like sometimes harp on that. It’s like the old good friends. I’d even say he was my best it was yesterday. Harry was sitting at this news axiom, “if it bleeds it, it leads.” friend at the time. It’s not like we worked little piano in the recording studio. Years together all that often. He produced one later, when Harry would frequently come GM: Yeah, but he had the most beautiful song I did in the later years, but it was around, we got close. We both had kids voice in the history of pop music when just for fun. of the same age. I forget where we were he started. I blame John Lennon for when he said to me, “Hey, do you remem- getting Harry to ruin that voice during GM: The Monkees did his “Cuddly Toy.” ber that day when I came into the studio the recording of their album MD: Harry was working at a Security to play my songs for you?” I said, “Yeah, (1974). Lennon had undergone the primal Pacific bank in the check-clearance of course I do.” And he said, “Well, after therapy of Dr. Arthur Janov, who got him department. It was in Van Nuys where I I finished, that publisher took me out to scream his lungs out. Lennon put it in grew up. He was writing songs the whole into the hallway and told me I could quit his music (“Mother”) and, as producer, time, trying to sell them around Los An- my job at the bank right then and there.” forced Harry to scream at the top of his geles. It was 1967. We were in the middle Harry was great. lungs over and over. Harry’s voice was of recording the Headquarters album too sensitive. It ruined him forever. Am when our L.A. publisher brought him in. GM: But the story of Harry Nilsson is a I wrong?

“I got this kid and he writes songs. He tragic story. MD: Well, you’re half wrong. MARANO/GETTY IMAGESLARRY

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52_918 Monkees.indd 56 4/8/20 11:52 AM THE MIKE & MICKY SHOW Rhino (CD) ★★★★ Over the years, Monkees fans have been able to see members of the group in various permuta- tions: the original Micky, Davy, Mike and Peter GM: Which half? as well as Harry Nilsson. John Lennon lineup; Micky and Davy; Micky, Davy and Peter; MD: You don’t talk Harry into doing didn’t play. As a Brit, he didn’t know Micky, Mike and Peter; and Micky and Peter. anything. Even if you’re John Lennon. how to play softball. But he came to the Now the original group is down to two surviv- Harry and John did have a very powerful games. Alice’s manager, Shep Gordon, ing members, who are just as determined to carry on. Hence, The Mike & Micky Show, with and emotional relationship. I was there took pictures. Later, Alice became one of Mike Nesmith and Micky Dolenz having a fun at those sessions. They had a competitive my dearest friends. In fact, he wound up romp through their back catalog in this new live dynamic to their friendship. It was like moving next door to me just so we could release. a duel. Like “I can do anything better hang out. Alice Cooper used to baby- The expansive 25-song set naturally has room than you.” “No, you can’t.” “Yes, I can.” sit my daughter! I got a photo of them for the band’s best known numbers: “Last Train to Clarksville,” “I’m a Believer,” “Pleasant Val- It was always like that. “I can scream together. They’re poolside. She calls him ley Sunday,” and “” are all louder than you.” “No, you can’t.” “Yes, Uncle Alice to this day. present and accounted for. But there are also album cuts and fan favorites like “Mary, Mary,” I can.” That’s just the way it was with We were at The Troubadour one “You Told Me” and “Papa Gene’s Blues.” Not those two. And it spurred them on to do night. All of us. That’s when Shep took to mention numbers from the cult fi lm, Head, crazy things outside of the studio as well. that famous photo of us with singer “” being an expected choice, but “As We Go Along” less so. There are also numbers But make no mistake about it. John did Anne Murray. But she was never in the from the last new Monkees album, Good Times: not force Harry into anything if he didn’t Hollywood Vampires. History has since “Me & Magdelena” and “Birth of An Accidental want to do it. Nobody could. forgotten our humble softball beginnings Hipster.” and only remember the shenanigans that Both Nesmith and Dolenz are in good voice, GM: Tell me about the original Holly- took place at clubs in the area. though the passage of time is evident; Dolenz in particular strains when reaching for the high wood Vampires. notes. There’s a full band sound with the two MD: I started the Hollywood Vampires GM: Well, that’s because it took place performing with nine musicians and four backing vocalists. With the planned 2020 Mike & Micky with Alice Cooper. Nilsson and Len- during John Lennon’s 18-month lost tour postponed due to the current health crisis, non joined shortly thereafter. Alice had weekend, when Harry and him got in so The Mike & Micky Show should help keep the this idea of starting a softball team to much trouble, including getting kicked fans satisfi ed until the two are able to take to the road again. play on weekends for charity. We played out of a Smothers Brothers concert for — Gillian G. Gaar some serious softball locally against the heckling so loud.

fire department, department, MD: Yeah, we would hold court at the various boys’ clubs and record labels. It Rainbow until ungodly hours, true. the drummer! turned into an informal softball league There was a private area where we’d MD: I was always too busy. I went to the that raised a little money. We got good congregate, drink an ocean of booze and rehearsals, though, just to hang out. But press and everybody loved it. We had a raise holy hell. It was after the softball the original Vampires never performed great Hollywood Vampires softball shirt games. as a band. and cap with a big V on it. We played hard. It was Alice and myself with Peter GM: I loved the new Hollywood Vam- GM: You just drank and did a lot of Tork as our pitcher. He was very good. pires band with Alice Cooper, cocaine.

PUBLICITY PHOTO Actor Albert Brooks was on that team and . You should’ve been MD: I mainly stuck to the drink.

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52_918 Monkees.indd 57 4/8/20 11:52 AM CLASSICA selected MONKEES discography of The MUSIC Monkees

ABBREVIATIONS KEY: [M] = Mono record; [PS] = Picture sleeve; [PD] = Picture disc; and [S] = Stereo record

12-Inch Singles COLGEMS ARISTA F CGLP-101 Theme from The Monkees/IWanna Be F 9518 That Was Then, This Is Now/ (Theme from) The Free/Take a Giant Step/Last Train to Clarksville/ Monkees 1986 $8.00 Saturday’s Child/Tomorrow’s Gonna Be Another Day 1966 $150.00 —Jukebox mini-LP, small hole, plays 45s at 33 1/3 rpm F CGLP-101 [PS]The Monkees 1966 175.00 ARISTA F CGLP-102 I’m a Believer/Mary, Mary/ When Love F 0201 Daydream Believer/Monkee’s Theme 1976 Comes Knockin’ (At Your Door)//(I’m Not Your) 10.00 Steppin’ Stone/The Kind of Girl I Could Love/She F 9505 That Was Then, This Is Now/(Theme from) The 1966 150.00 —Jukebox issue; small hole, plays at 33 Monkees 1986 10.00 —First pressings list both sides’ 1/3 rpm artist as “The Monkees” F CGLP-102 [PS]More of the Monkees 1966 175.00 F 9505 [PS] That Was Then, This Is Now/(Theme from) The Monkees 1986 10.00 —Without “By Mickey Albums Dolenz and Peter Tork (of the Monkees)” on sleeve F 9532 Daydream Believer/ 1986 ARISTA 5.00 F AL 4089 The Monkees’ Greatest Hits 1976 12.00 — F 9532 [PS] Daydream Believer/Randy Scouse Git Reissue of Bell LP 1986 5.00 F AL8-8313 The Monkees’ Greatest Hits 198? 8.00 — Reissue of Arista 4089 COLGEMS F AL9-8432 Then & Now...The Best of the Monkees 66-1001 Last Train to Clarksville/Take a Giant Step F 1986 12.00 1966 15.00 F AL-8524 The Monkees 1988 12.00 F 66-1001 [PS] Last Train to Clarksville/Take a Giant F AL-8525 More of the Monkees 1988 12.00 Step 1966 25.00 —Version 3: Color photo, white strip at bottom of each side. Side 1 type reads “Ask BELL For The Monkees LP Album”; Side 2 has “Write To F 6081 Re-Focus 1972 30.00 Monkees.” Note: At least one source claims that COLGEMS there are seven (7) different variations of the “Last F COM-101 [M] The Monkees 1966 30.00 —Second Train to Clarksville” picture sleeve, but these are the pressing: Side 1, Song 5 listed as “Papa Gene’s Blues” ones we know about (RE after number on upper right back cover) F 66-1001 [PS] Last Train to Clarksville/Take a Giant F COM-101 [M] The Monkees 1966 40.00 —First Step 1966 25.00—Version 2: Black & white photo, pressing: Side 1, Song 5 listed as “Papa Jean’s Blues” red strip at bottom with “Ask For The Monkees LP F COS-101 [S] The Monkees 1966 20.00 —Second Album” in white pressing: Side 1, Song 5 listed as “Papa Gene’s Blue F 66-1001 [PS] Last Train to Clarksville/Take a Giant (RE after number on upper right back cover) Step 1966 30.00 —Version 1: Black & white photo, no F COS-101 [S] The Monkees 1966 25.00 —First pressing: red strip at bottom Side 1, Song 5 listed as “Papa Jean’s Blues” F 66-1002 I’m a Believer/(I’m Not Your) Steppin’ Stone F COM-102 [M] More of the Monkees 1966 30.00 1966 15.00 F COS-102 [S] More of the Monkees 1966 20.00 F 66-1002 [PS] I’m a Believer/(I’m Not Your) Steppin’ F COM-103 [M] The Monkees’ Headquarters 1967 Stone 1966 30.00 60.00 —First pressing: Back cover, center bottom F 66-1003 [PS] A Little Bit Me, A Little Bit You/ She photo is of two of the LP’s producers Hangs Out 1967 1000.—Though the record does F COM-103 [M] The Monkees’ Headquarters 1967 not exist, this picture sleeve does. It uses the same 30.00 —Second pressing: Back cover, center bottom photo that appears on the “Pleasant ValleySunday” photo is of producers plus the Monkees with beards; sleeve. “RE” on upper right back cover F 66-1004 A Little Bit Me, A Little Bit You/ The Girl I F COS-103 [S] The Monkees’ Headquarters 1967 20.00 Knew Somewhere 1967 15.00 —First pressing: Back cover, center bottom photo is F 66-1007 Pleasant Valley Sunday/Words 1967 15.00 of two of the LP’s producers F 66-1007 [PS] Pleasant Valley Sunday/Words 1967 F COS-103 [S] The Monkees’ Headquarters 1967 30.00 30.00—Second pressing: Back cover, center bottom F 66-1012 Daydream Believer/Goin’ Down 1967 15.00 photo is of producers plus the Monkees with beards; F 66-1012 [PS] Daydream Believer/Goin’ Down 1967 “RE” on upper right back cover 30.00 F COM-104 [M] Pisces, Aquarius, Capricorn & Jones F 66-1019 /Tapioca Tundra 1968 10.00 Ltd. 1967 100.00 F 66-1023 D.W. Washburn/It’s Nice to Be with You F COS-104 [S] Pisces, Aquarius, Capricorn & Jones Ltd. 1968 10.00 1967 20.00 F 66-1023 [PS] D.W. Washburn/It’s Nice to Be with You F COM-109 [M] The Birds, the Bees & the Monkees 1968 30.00 1968 150.00 F 66-1031 /As We Go Along 1968 10.00 F COS-109 [S] The Birds, the Bees & the Monkees 1968 F 66-1031 [PS] Porpoise Song/As We Go Along 1968 20.00 20.00 F COS-113 Instant Replay 1969 40.00 F 66-5000 Tear Drop City/A Man Without a Dream F COS-115 The Monkees Greatest Hits 1969 40.00 1969 10.00 F COS-117 The Monkees Present 1969 50.00 F 66-5000 [PS] Tear Drop City/A Man Without a F COS-119 Changes 1970 80.00 Dream 1969 25.00 F PRS-329 The Monkees’ Golden Hits 1971 100.00 — F 66-5004 Listen to the Band/Someday Man 1969 RCA Special Products edition 10.00 F SCOS-1001 [(2)]A Barrel Full of Monkees 1971 75.00 F 66-5004 [PS] Someday Man/Listen to the Band F COSO-5008 Head 1968 50.00 FSH 1969 20.00 —”Someday Man” listed fi rst F 71110 Live, 20th Anniversary Tour 1987 20.00 —Live F 66-5004 [PS] Listen to the Band/SomedayMan 1969 album sold at tour stops 25.00 —”Listen to the Band” listed fi rst LAURIE HOUSE F 66-5005 Good Clean Fun/Mommy and Daddy 1969 F LH-8009 The Monkees 1974 20.00 —TV mail-order 15.00 offer PAIR F 66-5005 [PS] Good Clean Fun/Mommy and Daddy F ARPDL2-1109 [(2)]Hit Factory 19 86 20.00 RCA F RNLP-70140 The Monkees 1986 12.00 1969 25.00 SPECIAL PRODUCTS F RNLP-70141 Pisces, Aquarius, Capricorn & Jones Ltd. F 66-5011 Oh My My/I Love You Better 1970 15.00 F DPL2-0188 [(2)]The Monkees 1976 25.00 —TV mail- 1986 12.00 F 66-5011 [PS] Oh My My/I Love You Better 1970 30.00 order offer F RNLP-70142 More of the Monkees 1986 12.00 F RNLP-70143 The Monkees’ Headquarters 1986 12.00 RHINO RHINO F RNLP-70148 Changes 1986 12.00 F 74408 Heart and Soul/M.G.B.G.T. 1987 10.00 —Pink RNLP-113 Monkee Flips 1984 12.00 F F RNLP-70150 Missing Links 1987 12.00 vinyl RNLP-144 The Birds, the Bees and the Monkees F F RNIN-70706 Pool It! 1987 10.00 F 74408 [PS] Heart and Soul/M.G.B.G.T. 1987 5.00 1985 12.00 F 74410 [PS] Every Step of the Way/(I’ll) Love You F RNLP-145 Head 1985 12.00 SILHOUETTE Forever 1987 5.00 F RNLP-146 Instant Replay 1985 12.00 F SM-10012 [PD]Tails of the Monkees 1983 15.00 F RNSI 74411 Every Step of the Way/(I’ll) Love You F RNLP-147 The Monkees Present 1985 12.00 SILVER EAGLE Forever 1987 10.00 —Picture disc in plastic sleeve F RNLP-701 [PD]Monkee Business 1982 15.00 F SE-1048 [(2)] The Best of the Monkees 1986 15.00 with small hole 7-Inch Extended Plays F RNLP-70139 Live 1967 1987 12.00 —TV mail-order offer

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52_918 Monkees.indd 58 4/8/20 11:52 AM GM0620.indd 59 4/8/20 1:47 PM hey are a Platinum selling iconic west coast Canadian band with over T a dozen radio hits in their home country. With an avid cult following, Chilliwack’s induction into the Canadian Music Hall of Fame on October 25th is being celebrated with the release of There and Back (Live Greatest Hits) on CD, Vinyl and Digital, previously only available at their live concerts. Recorded at concerts through 2000-2001, these are the band’s best-loved hits and gems from their exceptional live performances. The album includes “Fly at Night,” “Baby Blue”, “My Girl (Gone, Gone, Gone)” and “Lonesome Mary” -- songs that are woven through Canadian identity and stand the test of time as part of our national songbook. The 15-track album includes liner notes written by Bill Henderson of the backstories of each song, and a family tree of Chilliwack members past and present. There and Back Live – Available Now MYLES GOODWYN FRIENDS OF THE BLUES

AVAILABLE NOW

As the leader and principal songwriter for Platinum selling classic rock band April Wine, with over a dozen FM rock radio classics. Myles Goodwyn brings his follow-up album to Friends of the Blues, with guest appearances by Jack de Keyzer, Kenny “Blues Boss” Wayne, Matt Andersen & many more.

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