Stuart calls Rich "the king of
twang," whose voice "gave even thesaddestsong a silver lining." The late Gram Parsons in 1972 referred to Rich'sguitar playing as
"perfect," and Hillman says, "Rich's lead guitar,fiddleplaying and soulful tenor made the Buckaroos the premier country musicbandin the
'60s." This first-time ever career overview also contains detailed linernotesby country music authority Rich Kienzle as well as many
unpublishedphotosfrom Buck Owens' personal archives.
Saturday evening, September 30,
the Killer took the stage at the HolidayInn Select in Memphis to perform for his fans and special guests duringthe annual Convention
Celebration. Just before that, Jerry's Lee wifeKerrie introduced the key members andvolunteers of the Fan Club and gave out special
awards, including one toSam Phillips, who along with his son Knox, were at the event. Jerry Leehit the stage around 10pm and proceeded
to put on one of his best showsin the past two decades. He performed forapproximately 2 hours and 30 minutes, taking requests form
theaudience. He tried to perform every tune the crowd asked for and didthem all with passion and fury. Yes, he even kicked over the
piano stoola few times. The only reason that Jerry Lee quit was that the hotel hadturned on the house lights and said he was running
over. The Killerdidn't think so, nor did the fans. But alas, he left the stage smilingand waving with a good 2 hours more leftin him,
vowing to give us a 6 hour set next year. This was an event thatwill not duplicated soon. -Bob Timmers
wanted to fill you in on Bobby - "when he left the session - all 50 people followed him out to the car that was taking him back to his
trailer. The crowd started to clap in unison which then evolved into a sustained round of applause as this old warrior (as he calls
himself) left all of us - probably for the last time". There were lots of tears on this throng of veteran musicians and bikers. -- and
it was OK. from: Mike "Pinky" Semrad
Orlando, Fla.- based company also is redesigning its Web site with the aim of making it a top music destination on the Web. It also
recently joined with eBay to sell rock memorabilia and Hard Rock collectibles over the Internet.
Changes also will be made to Hard
Rock's menu. No longer content with just burgers and chicken wings, Hard Rock chefs are adding 12 new higher-end items such as stuffed
veal chops for $26.95 and lobster tails for $19.95.
In 1988, there were only five restaurants worldwide. Now there are 103
restaurants in 38 nations, four Hard Rock Live concert venues and a weekly cable television program on VH-1. The company also operates
two Hard Rock hotels, with plans to open two more in two years. The company plans to open as many as eight new restaurants a year and
build as many as eight more hotels in five years.
Matt Lucas, who began as a drummer in the 50's, was
then known as the best drummer in the St. Louis strip joints and played with many of the greats including Bill Haley B.B. King, Bo
Diddley, Ronnie Hawkins, Norville Felts and Ike Turner and with every major group in Canada, staying at the now defunct Warwick Hotel
while playing in Toronto.Lucas helped record such world-wide hits as "My Babe", "Maybelline", "OO-bee Doo-Bee", "I'm Moving On", and
"Rocket 88" written and performed by Ike Turner, on Sun Records. Lucas also did recordings on Quality and Kanata records for various
artists. He was leaving the following day for Missouri to play with Billy Lee Riley.It's an honour to be entertained by one of the
original Blues greats and we look forward to his next visit to Toronto. Matt can be found at www.rockabillyhall.com/MattLucas.html and
at www.deltaboogie.com/mattlucas. BOB VEE (not Bobby Vee) was musically born in
1978. You may enjoy his songs in Vitaminic pages, where Bob has recently uploaded 12 MP3 files. The name of the site is:
http://www.vitaminic.it/country/rockabilly - Bob Vee Homepage (italian language): http://www.fortunecity.it/auditorium/folk/63 - He
sings, playing and recording by himself in the first Elvis style.
Van Morrison & Linda Gail Lewis
Empire, Liverpool, UK -
14th September 2000 - Last year's successful concert dates and CD with skiffle king, Lonnie Donegan, seemed just a pleasant break in
Van Morrison's schedule, but not a bit of it. Van remains in the 1950s for a tour to promote his new CD with Jerry Lee's much-married
sister, Linda Gail Lewis. The tour arrived at the Liverpool Empire on Thursday 14th September and although the booking was only
announced a couple of weeks before, it was a full house of 2,500 Van Morrison fans.
Although modernized, the Liverpool Empire
retains its charm as a wonderful, old-world theatre. I have seen so many famous acts there and my uncle used to say that no-one could
better Jimmy Durante! My favourite moment occurred with Chubby Checker in September 1962. The Lord Day's Observance Society had
decreed that there must be no dancing on stage in Liverpool on a Sunday. Chubby opened with "Hey Look Me Over" and "Georgia On My
Mind" and without a dance step in sight. Then his feelings got the better of him and he ripped into "Dancin' Party". The theatre
manager rushed out and stopped him mid-song. "Any more of that," he said like an angry schoolmaster, "and I'm bringing the curtain
down." Chubby had no choice: he stuck to the rules and I must be one of the few people who witnessed a non-twisting performance from
On another occasion in 1960, Eddie Cochran was drunk backstage and so his musicians propped him up with the microphone
stand and his guitar. The compere announced "Eddie Cochran", the curtains opened and the rush of adrenaline made Eddie sober again and
he was able to perform normally.
Jerry Lee Lewis and Gene Vincent played there in June 1963 on a package show with Freddie and the
Dreamers! It was the end of a long tour and both Jerry Lee and Gene were worn out. However, I recall Gene delivering a great "Chain
Gang" and Jerry Lee singing both parts of Ray Charles' "What'd I Say", when he had only recorded Part One.
Although I like Van
Morrison's music very much, I had never seen him before. I knew he was unpredictable and I didn't fancy one of his bad nights. Only
last year at Southport, he performed most of his set with his back to the audience and hadn't said a word. When he ventured into The
Beatles Shop in Liverpool, the manager Steve Bailey greeted him and was put in his place by a minder. "You don't talk to Van," he
said. "Well, he's the loser," said Steve, "I was only going to offer him a 10% discount."
The Red Hot Pokers opened the show with a
couple of well-played R&B standards. The two saxes sounded great and promised much for the evening ahead. Linda Gail Lewis then sat
down at an electric keyboard and she had the showbiz trappings that Van either lacks or hates. She smiled at the audience and was
having a great time as she performed. She slowed down for a sultry "Dark End Of The Street" and I prefer her like this as her voice
can be shrill on the rockers. After three songs, she announced Van Morrison, who was wearing a double-breasted grey suit, hat and
shades. If he had carried a machine-gun instead of an electric guitar, he could have had a role in the St Valentine's Day Massacre.
We never saw his hair or much of his face and his jacket was never unbuttoned. He did speak to us, although most of the time he was
mumbling over the applause. The Man may have had a charisma bypass but you still keep watching. Despite the fact that one of his key
lines is "I'm in heaven when you smile", he never smiled once in the two hour concert.
Van and Linda began with their forthcoming
single, an flawless revival of Jerry Lee Lewis' "Let's Talk About Us" with an excellent piano solo from Linda. They followed Jerry
Lee's arrangement of "You Win Again" and this set the pattern for the night. Time and again, they plundered the Jerry Lee Lewis
songbook and we had "Old Black Joe" ("Not politically correct but I don't mind," muttered Van), "Hello Josephine (My Girl Josephine)"
and "Whole Lotta Shakin' Goin' On".
Most of the time Linda Gail Lewis was singing harmony with Van and she sang very few lines on
her own. They did "I Can't Stop Loving You" and "A Shot Of Rhythm And Blues" as equal partners but most of the time it was Van's show.
He did two superb blues,"I'm Gonna Move To The Outskirts Of Town" and John Lee Hooker's "Feel So Good" and included some of his
trademark scat singing where "I'm so lonely" becomes "I'm so lonely, lonely, lonely, lonely, lonely, lonely."
Backed by Linda Gail
and the Red Hot Pokers, Van performed several of his successes including "These Dreams Of You", "Jackie Wilson Said", "Step Away" and
"Precious Time", which seems to be a close cousin of Fats Domino's "Be My Guest". (I prefer Fats Domino's lyric: the line, "She's so
beautiful but she's gonna die someday" may be correct but we don't need to be reminded.) His invigorating song about his daytime job
in Belfast, "Cleaning Windows", ended with a coda referring to "Be Bop A Lula", "Who Slapped John" and "What'd I Say". An R&B
instrumental glided into a solid version of Bob Dylan's "Rainy Day Women Nos 12 And 35".
The audience was with Van all the way and
when he took a break to leave Linda Gail with "1,2,3 I'm In Love Again,", there was a mini-stampede to the bar. Van returned, smoking
a cigarette, after just one song, which served those rude patrons right.
This was a great two hour show and I would urge you to
catch them if they come to your town. Van has often glared at his musicians on stage but here he asked us to applaud Linda Gail and
the Red Hot Pokers. The audience responded loudly and Van even said "Thank you".
Spencer Leigh is the author of
"Halfway To Paradise", which has been reprinted by Finbarr International, Folkestone, Kent, CT20 2QQ, UK and is the story of British
popular music before the Beatles. His latest book, "Brother, Can You Spare A Rhyme?", covers 100 years of hit songwriting and is in UK
bookshops from September 18th and available on the websites, amazon.co.uk and www.bandline.net. Spencer's webpage is at
spencerleigh.demon.co.uk and contains details of his programmes for BBC Radio Merseyside.
Rock Music Extravaganza, Non-Rockabilly - Move over
Woodstock, the world's greatest rock music event, "Rock in Rio for a Better World," is set to start Jan. 12 thru 21, 2001, in Rio de
Janeiro, it was announced by Brazilian impresario Roberto Medina. The event will feature some 40 international and Brazilian artists
and bands, performing on three massive stages in a festival area west of central Rio de Janeiro that is being designed to accommodate
over two million people, 50 stores, beer gardens, multiple restaurants, rock climbing and skate boarding rinks, a multi-media pavilion,
programming lectures, demonstrations and discussions on world peace, a world music pavilion featuring international dance troupes and
companies, heliports and an elaborate public transportation system. Sensational circus acts and DJs from around the world will also be
featured among the event's many performing venues. So big is the event that its promoters are creating 1.9 million t-shirts for
attendees and a single McDonald's location expects to flip upwards of 60,000 hamburgers a day. Other food vendors are bracing to sell
900,000 sandwiches and 500,000 slices of pizza. At the kick off of "Rock in Rio For A Better World" on Jan. 12, all of the television
stations in Brazil will simultaneously go silent for three minutes to draw attention to the event and the cause for which it was
created. In addition to broadcast coverage in Brazil, Medina plans to license coverage in over 50 countries, attracting a potential,
international audience of over 500 million people.
Set For Rio, Starting Jan. 12
Rockin' Billy and the Wild Coyotes
Chicago rockabilly band will perform at The Blue Grass Inn in Nashville on Friday, Sept. 22, 2000. The band will perform
songs from their latest CD release, "Betty's Blue Star Lounge" the third recording by noted Chicago guitarist Bill Harnden a.k.a.
Rockin' Billy. The CD is the result of songs written during the bands 1 á year stint as the house band at Betty's Blue Star Lounge
playing every Thursday until 4am in the morning. The diverse crowd at Betty's is reflected in the albums wide range of material.
Gospel, country, rockabilly, Latin, punk and blues are melded together into a seamless "coyote sound".But that's what rockabilly has
always been - one part country, one part blues, a little gospel, and an extra jolt of energy that defies description.This is real
rockabilly played for real Americans.Rockin' Billy born in Chicago has been a guitarist for 20 years and professionally for the last
15. Originally part of the 80's Chicago hardcore scene, he played with such luminaries as Big Black, Naked Raygun, the Effigies, and
Articles of Faith.By the early nineties Billy had stints playing blues and country in Memphis, Nashville, and Dallas, fusing the twang
of the south with the drive of the north.The blues has always been a big part of Rockin' Billy's music, at the age of 15 he was a
regular at the infamous Sunday morning jams on Maxwell Street on Chicago's south side playing the blues in the midday sun with 80 year
old bluesmen drinking Mad Dog.
In recent years Billy has been a respected member of the influential Chicago gospel music scene
accompanying some of the best choirs the city has to offer.But the music boils down to basic 50's style rock & roll with strains of
Gene Vincent, Carl Perkins, Chuck Berry, and of course, Elvis.A recent opening slot for B.B. King in King's hometown of Indianola,
Mississippi proved just what a wide range in appeal this powerful blend could be. And as Steve Earl was heard to say while listening to
a cut of Billy's First album, "damn that boy can play that guitar". For more information, contact: Mary Ryan at 312-455-9334 or
Line-Up for Hemsby 2001 Tony
Wilkinson reports: "This should set the blood running. The headline acts for Hemsby 2001 have been announced as: Janis Martin, Jack
Scott with his American band, Sanford Clark with Al Casey (that has to be worth going for in its own right). Mack Stevens (wonder
which poor British guitarist he will swing around by his feet whilst the poor blighter has to keep playing). The Calvanes (a vocal
group produced on record by Big Sandy - new one to myself. Anybody else out there know of them?) To quote the old saying, be there
or be square. Regards, Tony - Waxowilko@aol.com
Klop - "The Boppin' Dutchman"
Interview by Steve Kelemen
Since the mid-60's Cees Klop has been on a one man mission to preserve(what otherwise mighthave been lost forever) previously
unknown 1950's Rockabilly/Rock'n'Roll.There is one thingof which we can be assured (with his many record seeking trips across theNorth
Americancontinent each and every year) the best is yet to be discovered.
Steve: Cees, you have told me before (and I agree)
that there seems tobe no end in sightof finding unknown 1950's Rockabilly/Rock'n'Roll.
Cees: I have traveled the USA/Canada for
30 years now and every time (3 to4 times a year)I keep finding records and labels I have never seen before. I do not findthis stuff
just"On the road" but one must work for it REAL HARD in every possible way andlook everywhere,day and night.
Holland have a respectable R&R scene during the 1950's? Also,were there everany Dutch pressings of small American independent
recordings at that time?
Cees: No, Holland did not have a good R&R scene. There was one man thatmade a nice record(Peter
Koelewijn) and a few others made some records as well. However, mostrecords werecovers of American songs. Also, they were recorded very
badly with NOFEELING at aLL.
Steve: This brings me to another question about Pim Mass (The DutchElvis). Exactly howpopular
was he and what was your attitude towards him?
Cees: Pim Maas, yes the name comes back. However, back then I didn't hearanything
worthlistening too. I don't like anything he made.
Steve: Is it true that Collector Records is heading towards releasingless
Cees: Yes, because CDs are taking over more and more. The interest in vinylis still there and haseven been growing
lately; but in general, the interest is too small to keepgoing. Anotherproblem is that there are too many people (bootleggers) issuing
material,mainly taken fromolder reissues (like my own) and putting it out again. There are just toomany new releasesto keep up with and
the public doesn't know what to buy anymore.
Steve: Let me back up a little bit Cees. How did you first pursuefinding out
informationconcerning small obscure artists and labels prior to your first trip to theStates?
Cees: Before I started traveling
to the USA in 1967 I already had a nicecollection of materialfound on the markets in Holland and Belgium. The records originally
camefrom US troopsstationed here. My first trip was to Memphis and I found a lot of FANTASTICstuff.
Steve: One last question
Cees, what do you think causes so many othercollectors to be greedyand ruthless? I ask this because we have both been screwed good
Cees: I don't think that most collectors are greedy etc. They just want themusic andparticular records. My
worst experiences are mainly with dealers andNON-collectors that don'tknow much and act like they know "it all" and want to make as
much money asthey can. MostREAL collectors (like you Steve) like it when another collector has foundsomething thatwas unknown
Send 2 I.R.C.'s for a catalog to: Collector Records, P.O. Box 1200, 3260 AEOud Beyerland, Holland.
Memphis Museum Folds Sept. 8th - Are you in the market for
some extremely cool souvenirs, cheap? The MemphisMusic Hall of Fame and Museum has closed, after 10 years in operation. Thefacility
featured more than 10-thousand rare photos and recordings, costumesand vintage instruments. But the museum's proprietor says they lost
thelease because of other plans for the space, and it's too expensive to moveit all. The museum would also have to compete with the new
Memphis Rock andSoul Museum. The museum's last day was Wednesday, but the gift shop willremain open to sell souvenirs at, or below,
cost. The owner says he'salready sold off the Elvis stuff to an unnamed private collector, and he'stalking with the University of
Memphis and other organizations about otherparts of his collection. Barbara Pittman's husband, Willie, used to manage this museum,
located on 2nd Street, close to the Beale St. area.
House of Cash
AnnouncementAugust 28, 2000
We are proud to announce the latest JOHNNY CASH release. Vinyl will
be released first on September 26, due in stores by October 3. CD will be released next, in stores by October 17. There are several
special guests on this album. Artists such as June Carter Cash, Merle Haggard, Tom Petty and Sheryl Crow added their own
Track list is as follows:
I Won't Back Down
Lucky Ole Sun
I See A
The Mercy Seat
Would You Lay With Me
Field of Diamonds
Mary of the Wild Moor
I'm Leavin' Now
"Honky Tonk Addict"
Book by Mack Allen
Sister of Buddy Knox Passes Away Buddy's sister Verdi passed away on Tuesday last week. Verdi died of cancer. She sang backing vocals on many of Buddy's
recordings, including "Party Doll" and "Somebody Touched Me" among others. Verdi enjoyed the pages among the Rockabilly Hall Of Fame.
Dearly, she bought joy to many people. Buddy always spoke highly of his sister. They loved each other very much. She will be greatly
FRITCH, TX - Verdie Ann Brown, 65, died Tuesday, Aug. 22, 2000.Services were in First United Methodist
Churchwith the Rev. David Brasher officiating. Burial will be in WestlawnMemorial Park by Minton/Chatwell Funeral Directors. Mrs. Brown
was born in Hamlin. She moved to Fritch 33 years ago fromLos Angeles. She taught in the Sanford/Fritch Independent SchoolDistrict. She
was a member of First United Methodist Church. She had served ashonorary chair of "Hope." She was named Masonic Lodge Woman of theYear
and Outstanding Volunteer at Lake Meredith Aquatic and WildlifeMuseum. She also was involved with Reach for Recovery at the Don
andSybil B. Harrington Cancer Center in Amarillo.She married James "Don" Brown in 1958 at Canyon.Survivors include her husband; three
daughters, Cindy Sewell and KimLindley, both of Fritch, and Leslie Foster of Amarillo; and fivegrandchildren. -(Amarillo Daily News,
Aug. 25, 2000)
The "Murder" Song Just Will Not Go Away August 28, 2000, NASHVILLE - Larry Cordle's
"Murder on Music Row's" recent feat is being nominated by the CMA for Song of the Year. Congrats to Larry Cordle & Lonesome Standard
Time on IBMA nominations for Album Of The Year and Song Of The Year for "Murder On Music Row" and "Black Diamond Strings". See
November 15 Nashville, TN Station Inn*
November 29 Nashville, TN Station Inn*
December 13 Nashville, TN Station
December 27 Nashville, TN Station Inn*
* All Station Inn (12th Ave, Nashville) dates are for two (2) shows starting at
** 2001 dates are now posted on www.lonesomestandardtime.com
RUMOR MILL: Larry is working on songs for a
new album due out sometime next year. Sales of "Murder on Music Row" have placed it in the top 5 selling albums of the year for the
Americana Genre. Supposedly it may be nominated for a Grammy (Best Bluegrass Album, Package Design)>
PAUL BURLISON and THE DEMPSEYS were at the Rockabilly Hall of Fame office and Burns Station
Sound studios Monday, August 21. The guys recorded two tracks for upcoming CD projects that The RHOF has in the works. The Dempseys
(Brad, Ron & Joe) are fabulous musicians, entertainers and great people to work with. Yes, Paul can still pick that guitar, whew! He
brought along his new 1952 reissue Telly to use. Bob Timmers even got to borrow Paul's axe to overdub a solo, what an
Harmony Remains Key to by Daniel Gewertz - Saturday, August 19 - Boston Herald. The Everly Brothers never rehearse.
Though the duo has written some ofthe best-loved songs of rock's golden era, they never compose nowadays.The brothers haven't made an
album since the '80s and are not likely toenter a recording studio again. What Don and Phil Everly manage to do, though, is quite
enough: Theystill sing beautifully.
Performing for Everlys
"We still even sing in the same keys," said Phil Everly, 61, from hisTennessee home, his voice
sounding young, gentle and twangy. "We have aprideful attitude. If we weren't doing it well, we'd just stay home."When asked about
creating new Everly material, Phil said, flatly, "Wehave no interest in it."
But ask him about harmony singing and his voice lifts
with boyishenthusiasm. "I never get tired of singing the songs because if you stayin the second, in the micro-second of them, all the
variables that existmake it fresh," he said. "I only sing harmony, so I have to payattention. It's never the same. It may sound the
same to the layman, butit's always minutely different."Phil never thinks of perfect love when he sings, only the perfect note.Newly
married, his wife recently saw him wipe away a tear during aperformance of "Let It Be Me," and believed he was thinking of her."But I
was just trying to keep the sweat from my eye!" he said. "I wasjust thinking of pitch."
Phil and his brother Don, two years his
senior, play South Shore MusicCircus today and Cape Cod Melody Tent tomorrow. The Kingston Trio opens. Touring three months a year,
their longtime band includes one bona fidelegend, pedal-steel guitarist Buddy Emmons, and one famed ace, guitaristAlbert Lee. "The band
is like a Ferrari: It can run as fast as we want,it's as good as you can get, and also the most expensive band you canfind," Phil said.
In 1973, the year the Everlys split up, there were reports of smashedguitars and flying fists onstage. Phil left the stage in the
middle oftheir farewell show. During the act's 10-year hiatus, Phil and Donreportedly weren't speaking to each other. One industry
source contendsthat the brothers still say nothing but "hi" before a show. But Phildiffers."We get along fine now. After all the time
we spent quarrelling, I'vesimply learned that it's better to be with your family than away fromthem," he said.Placing 24 songs in the
Top 40 from 1957 to 1962, the Everlys' sublimeharmonies and rockabilly romanticism is thought of as the essence of alost, innocent
age."It's kind of lucky we had the run we did, were around the quality ofwriters we were, and that we lived in a period when songs told
stories,which suited harmony singing in a great way," Phil said.
Luck, in fact, looms large in Phil's vision of things."There's a
tremendous amount of talent on this earth that doesn't getnoticed," he said. "They just miss it. A door shut before they got toit, or
the door was open and they decided not to walk in. Donald and Imight've just as easily wound up in a factory. It was hundreds of
little,small, twisty, turny things that puts you in a position to deliverwhatever goods you have to deliver. Looking back on it, I'm
not gonna say'I sure did that swell.' I'm gonna say, 'Boy, I was lucky!'
LaBEEF, "Tomorrow Never Comes." Sleepy's latest, released August 8, 2000. Available at Tower Records. For a copy of Sleepy's music
and merchandise catalog please get in touch:MC Records, P.O. Box 1788, Huntington Station, NY 11746, phone 613-754-8725, fax
613-262-9274. Web: www.music-records.com, e-mail: email@example.com
RAY SMITH, "The Complete Sessions Wix Sessions of..." Ray at his absolute wildest as he takes
standard tunes and brings them to a new level. Tommie Wix is the pilot on this flight. engineering by James Lott. E-mail Steve Lester,
WixRecs@aol.com - Send check or money order payable to Steve Lester in the amount of $16 (shipping included) to ...
Wix Records, c/o Steve Lester, 815 Hill Avenue, Owensboro KY 42301
Big Sandy & Fly-Rite Boys By Del
Villarreal - Here's BIG SANDY & THE FLY-RITE BOYS first full length Hightone CD since1999's "Feelin' Kinda Lucky" and it's a dark disc
called "Night Tide."The new album's lyrically moody with themes of sin, murder and betrayal.However, on the positive side is the strong
and clear vocals provided byL.A. based roots-rock phenom Robert Williams (a.k.a. Big Sandy). The musicis superb as always, as Robert's
backed once again by the world classmusicianship of the Fly-Rite Boys: Bobby Trimble (drums), Ashley Kingman('take off' guitar), Lee
Jeffries (Bigsby steel) & Jeff West (stand-upbass).
"NIGHT TIDE" CD Review
The title track "Night Tide" is fairly darker in tone yet is
constantlynudged along by the hopeful rhythms of Ashley's bright picking. It remindsme of the classic "Endless Sleep" by Jody Reynolds,
with the dark seapromising a merciful end to one's misery and suffering. The listener'stempted to give in to the tempting sea and drift
away with the calmingcurrents.
Galloping and twangy like a rockin' Pete Anderson/Dwight Yoakum song is"Between Darkness And
Dawn" as the protagonaist tries to outrace hissinful past and avoid his impending and inevitable future.
"Tequila Calling" is a
latino-billy shuffle all about Robert's immortal(or is that "immoral"?) nemesis, that "golden spell" that will eventuallybe the ruin of
him! Very smart, sparse harmonies courtesy of newcomerbassist Jeff West (San Diego's THE SUN DEMONS) and rippling steel pulsesfrom
Fly-Rite journeyman, Lee Jeffries.
"When Sleep Won't Come" has a dreamy undercurrent of beats courtesy ofBobby Trimble's slick
sticks; they alternate between hypnotic, primalIndian drumming and plaintive steadfastness. A wicked tempo changeintroduces the
mournful refrain and then reawakens the listener as thosenicotine-stained nightmares continue on and on. This song tells a tale
ofremorse and regret as the singer tries to find inner peace but cannotdrive away the haunting memory of his lost love. Apparently this
tune is asemi-biographical commentary on the last days of western swing bandleaderSpade Cooley who did prison time for the murder of
"If You Only Knew" is one of the album's best uptempo dance numbers, ajiving, jazzy driver that benefits well from
Roberts emotive moanin',wailin' and of course, from the Kingman/Jeffries tag-team of propulsiverhythms and fills. It's ALL about a
Soft and sweet "Buddy Holly"-ish vocals (dueting on the chorus is thesong's author, Jeff West!) and a honkytonk
beat make "Give Your Loving ToMe" a real nice, easy-going rocking number. 'Pop'-ish, yet still heartilypleasing in a rock and roll
flavor. It's fast become a favorite of mine.
There's a true-blue honkytonk number from the boys on disc (finally!).They cover
Roger Miller's "A Man Like Me," doing a swell job of relayingthe late "King Of The Road"'s tale of painful wandering and self
regret.Hi-stepping harmonizing on this track between Big Sandy & Jeff West makeit a real satisfying weeper.
I've noticed a
refreshing vocal approach from Robert as of late. Hissinging has taken on a lilting (and sometimes more dramatic) jazzinflection on
many of his vocal deliveries, soaring and swooping with anaccomplished flourish. It's always different and exciting to experienceLIVE
and I'm happy to report that Robert is stretching out in thesedirections on his recordings more often now.
Ya gotta love the hot
rod story of "Low Down" with its revving rhythms andcooler than cool "Buck Owens"-styled harmonies on the refrain. Already acrowd
favorite, this jivin' jalopy cruises along at least 90 miles andhour with the occasional pedal-brake action from Lee to keep it from
goingstraight off the curves -you'll have to re-comb your hair after thisracing ride, folks!
"I Think Of You" showcases Ashley
in a country-billy pickin' fest withLee as it's relentless rhythm tirelessly swings and shines withmulti-stringed goodness! Both of
these boys get a chance to show off onself-penned instrumentals: Lee's lazy, yet beautiful, "In The Steel Of TheNight" and Ashley's
romp and roll number "South Bay Stomp."
"Nothing To Lose" is a tragic two-stepper detailing the plight of a womanwho's lived a
sad and sorrowful life; she's finally come to the darkrealization that taking the life of her wife-beating husband couldn'tleave her in
any worse a predicament than where her life has brought heralready. (...bummer!)
The album ends on a high note as Big Sandy
encourages the shy fellows outthere in the audience to finally step up to the plate and let all thoseoblivious dream girls in on that
unsaid infatuation. "Let Her Know" is aninspirational sermon for those males who've a hard time approaching thefairer sex. Robert
advises those meek men to "get out there and tell'emhow you feel!" Do it, man!
As serious as the subject matter may ever get on
"Night Tide," theFly-Rite Boy's buoyant musicianship always pulls the listener back intotranquil waters. Snappy snare action from
Bobby, lightnin' quick licksfrom Ashley, sparkin' steel from Lee and boppin' bass beats from Jeffnever let the mood get too serious or
overly morose. These five guysreally are all about having a ball and putting on a high-class show. 14solid tracks (2 covers) on this
Hightone release make it a must-have forus rabid rockabilly fans. The experimental "dark toned" concept shouldconvince the casual fan
to witness Big Sandy's very real growth as anartist; both as a songwriter and as a vocalist. Wade on in those indigo waters for a
little while, you'll like it!
- Del Villarreal
"Go Kat, GO! The Rock-A-Billy Show!"WCBN 88.3 FM, Ann Arbor,
firstname.lastname@example.org - http://www.wcbn.org/shows/gokatgo/ - http://wcbn.org/
Art Greenhaw from the Light Crust Doughboys To the uninitiated in Western Swing and Rockabilly Music and Texas history,a Light Crust Doughboy
just mightbe the latest radiation-altered super hero or an X-Men-type mutant. But forthe youngest member of the world'slongest-lived
country band - Art Greenhaw - the just-released X-Men motionpicture is confirmation of hisnew country-rock tribute to the man who
started it all, Stan lee. And don'tbe surprised if The Light CrustDoughboys do some day star in their own comic book
"Heroes Aren't So Hard To Find" (the Stan Lee Theme) was composed andrecorded by Grammy-Nominated recordingartist and
long-time comic book fan, Art Greenhaw, shortly after comic booklegend Stan lee liked some of Art's ideas concerning Christian and
spiritually-themed comic books. "It's hardto describe the excitement of a phonecall my dad fielded which began "Hi, this is Stan
Lee...is Art in?"Shortly after that call, a fax comessliding in through my personal fax machine with the image of Spider-Man atthe top.
It was enough to makeme want to try to leap tall buildings in a single bound!"
Art's song tribute to Stan has gotten select
airplay around the world sinceit was presented to Stan himself afew weeks back. Says Art, "I basically wanted to give Stan and his
newcompany, Stan Lee Media, a gift to beused (in the resulting sound recording) anyway his people see fit. I'vealways tried to give
Stan Lee and hisfantastic co-creators at Marvel, Jack Kirby, Steve Ditko and others, creditfor inspiring me so much at anearly age with
their all-American word and picture classics. Where the songwill go from here is anybody'sguess; I just know that listeners seem to
really relate to the message andmusic, Stan loves it, and that'sgood enough for me."
"Heroes Aren't So Hard To Find (The Stan
Lee Theme)" was recorded in Dallaswith Art performing all guitar andvocal leads and back-ups, and the song is available at
www.artgreenhaw.comon the world-wide web. Art andThe Light Crust Doughboys are 2-time Grammy Nominees for best albums of theyear in
their fields, and thegroup has recently been inducted into The Rockabilly Hall of Fame. Pressand other review copies of"Heroes....."
are available upon request.
105 Broad St., Mesquite, TX 75149 U.S.A.
Phone: (972) 285-5441 Fax: (972) 285-5442