"That's News to Me" - Archive #9
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ELVIS, THE NEW RAGE;
A Radio History From 1945 to 1955 (Book)
Aaron Webster - Copyright 2002 - ISBN 1-55622-943-7 - 264 pages
$19.95 US, $29.95 Canada - Republic of Texas Press -
This fully-illustrated non-fiction work focuses on a young, energetic singer
who had one foot in poverty and one foot in fame. And both feet never stood
still. This time period was truly the Adventures of Elvis, in every sense of
the word. His southern ascension. Taking place across twelve states, a
grassroots phenomenon of hysteria was in its very genesis. In fact, it was a
long-gone time and place he admittedly felt nostalgic for during the final
years of his life. "...go back...do it all over again." Elvis Presley missed
the Fifties...his lean and hungry early days in a regional music
scene...when he was a rising star on a syndicated weekend radio show...when
he was cutting sides for an independent label called Sun...when his manager
was a deejay named Bob...when his mother Gladys was still there for advice
Within these pages, discover a self-styled guitar-pickin' cool cat who
immersed himself in Rhythm & Blues, Southern Gospel, Pop and Country.
Distinguish how the in-dash AM radio in a pink Cadillac inspired Presley's
repertoire in the studio and on stage. Identify all the notable Elvis
wanna-be's who grabbed guitars when his debut record hit stores and
airwaves. Some of these guys went on to make their mark on the music
business...alas, some didn't. Be there at an annual music memorial event
Elvis participated in once...and stole the show. But learn why he failed his
first New York TV audition.
Presley, destined to become a music legend, was crossing paths with future
Legends of Rock and Country music. Some he admired and befriended ...but
some become an upstaged casualty from the driven force that is The Memphis
Flash! The Rock-em Sock-em Singer. A hard act to follow.
The important role of the Disc Jockey is ascertained at the same time. Many
of Elvis' life-changing opportunities quite often stem from the daily and
nightly efforts of the common wax-spinning jock at the turntables and the
mike. From the Deejay who gave a certain Tupelo boy acoustic guitar lessons
. . . to the Deejay who provided office space for the original Elvis Presley
Enterprises . . .
ABOUT THE AUTHOR:
AARON WEBSTER, an artist, musician, and collector of vintage records, is a
Southern Illinois disc jockey with programming/production experience in AOR
Rock, Oldies and Country & Western formats. His very first concert was a
birthday present which happened to be Elvis Presley's final appearance in
St. Louis on March 22, 1976. Six weeks after Aaron's first trip to Memphis
to see the famed Graceland music gates, he and his father were back on Elvis
Presley Boulevard - this time to eyewitness the funeral motorcade for the
entertainer on August 18, 1977. As a life-long fan, Aaron has been able to
express that on the airwaves. He produced "Elvis: Southern Roots" (a
two-hour 2001 Elvis Birthday Special) for Great Gold on WDDD 107.3. As host
and producer of "The King on the Q" on WQRL 106.3, a thirty-hour serialized
radio documentary sponsored in-part by Elvis Presley's Graceland, Aaron's
on-air work received the 1999-2000 National Finalist for Best Audio Program
in the 16th Annual Silver Microphone Awards.
PREFACE BY JACQUELINE OWENS, a 1950s teenage disc jockey at WEIC in
Charleston, Illinois who met Elvis in his Atlanta suite in 1973. She
nervously presented him with a poem she penned entitled "I Was The One."
Elvis read that poem aloud to a gathering of his friends, family and
entourage, then gave Jacqueline a jeweled ring off his own finger as a gift
and gesture of appreciation.
"Having met Elvis at the very beginning of Presleymania - 1954 - and having
watched closely his dealings with the press, radio and television over the
years - I can truly say this book provides an incredibly accurate,
compelling, informative and entertaining overview of Presley's dealings with
the media. I give this volume Four Stars!"
WINK MARTINDALE, WHBQ 560 (1952-1959)
"The Elvis Presley Story" (Watermark Radio 1975)
"Different from the others, by a lot. Excellent." -
ROBERT RITTER, WTUP 1340 Tupelo, MS
As he walked down to the hotel, loud acoustic strumming, electric guitar
licks and a caterwauling voice could be heard, near and distant, blasting
from the in-dash radios of cars cruising through town. The song was coming
from open windows in nearby apartments. It seemed like the entire city was
listening to this new voice in the night.
- from the chapter "A Voice in the Night"
"Sam Phillips brought Elvis to my house and tried to get me to manage him.
. . My wife thought he needed a haircut, and she thought he needed his neck
washed. But he was a good kid and we became close friends, but at the time,
I didn't think it was the thing to do. That shows you how clever I was."
- from the chapter "Cradle of the Stars"
Marlo Lewis, producer of The Ed Sullivan Show, was on the Godfrey set at
Randle's request that he take a gander at the singer in hopes it might lead
to a Sullivan booking. Lewis, having no interest in what he saw, reluctantly
divulged to Randle the real reason why Elvis failed the audition.
- from the chapter "Northern Aspirations"
Elvis was bruised, barefoot, bare from the waist up, and he was pale as a
ghost. As he gathered his composure, and sought a comb to run through his
hair, he said, "Damn, chief, them little girls are strong."
- from the chapter "Pink and Black"
Included in Elvis The New Rage is a definitive Broadcast Concordance
highlighting every live radio broadcast involving Elvis Presley from, as the
title states, 1945 to 1955 (his pre-RCA Era). A decade worth of on-air
moments (over 100) ranging from a grade school boy singing in a talent
show...to the legendary late-night interview he mumbled and shrugged his way
through...to the broadcast premiere of a new blues tune Elvis and his
four-piece band were trying out on the road before recording...a song that
would eventually earn the singer his first gold record.
Also included is a Broadcast Map showing the geographic location of every
radio station in America which carried Elvis live either as a performer or
subject of a personal interview during the time period covered in Elvis The
Classic Tracks Set For Sun Records Compilation
Recordings from Elvis Presley,
Carl Perkins, Johnny Cash, Jerry Lee Lewis, and
Roy Orbison will be among those featured on a 44-song, two-disc set chronicling
the history of Sun Records. Due Aug. 6 from BMG Heritage, "Sun Records 50th
Anniversary," which will retail for $21.98, will contain such legendary tracks
as Presley's "Mystery Train," Perkins' "Blue Suede Shoes," and Sonny Burgess'
"Red Headed Woman."
The Memphis label, launched by
producer Sam Phillips after he recorded such
artists as B.B. King, Howlin' Wolf, and Jakie Brenston for blues label Chess
Records, melded R&B and country to pave the way for rock'n'roll's mainstream
acceptance. While a full tracklist was not available at deadline, the set begins
with Sun' first release, "Driving Slow" from sax player Johnny London, and highlights
some early '50s recordings such as Junior Parker's "Feelin' Good," the Prisonaires'
"Just Walking in the Rain," and Jimmy & Walter's "Easy." A lesser-known take
on "Mystery Train" from Parker, who wrote the song, is also featured.
"Anniversary" will come
with a booklet that contains track-by-track commentary
and a label history penned by Colin Escott. Additional artists featured on the
album include James Cotton, Jack Earl, Ray Harris and Tommy Blake. Warren Smith's
"Red Cadillac and a Black Mustache" and an alternate take of Little Milton's
"Looking for My Baby" are also represented.
Birth of the Cool
When Bill Haley and the Comets came on the scene, nothing would ever be the same.
Because rock-and-roll was here to stay ...
By Michael Satchell - usnews.com - He had the teenage attitude‚surly lite, with a veneer of indifference.
We had the threads‚Edwardian-style draped jackets, drainpipe pants, and crepe-soled "brothel
creeper" suede shoes. What we didn't have yet, on my side of the Atlantic nor in the States,
was the music.
in the early 1950s was a nation of rigid convention and white-bread culture, enveloped
in the lingering depression of the post-World War II era. I lived in the drab and dreary industrial
Midlands, and entertainment was mostly whatever mischief you could scare up. High school was
Latin verbs and English Lit boring. Food was fish and chips and mushy peas boring.
The weather was leaden skies and eternal drizzle boring.
Television, still in its flickering
infancy, was black and white and talking heads boring. There was no commercial radio, and the BBC
wireless diet of news from Whitehall and weather that never changed was boring to the point of
stupefaction. As for music, Auntie Beeb offered either classical chestnuts or innocuous American
pop‚Rosemary Clooney, Doris Day, Kay Starr, Perry Como, Mario Lanza, Nat King Cole‚a schmaltzfest
guaranteed to induce crashing ennui.
And then, outta nowhere, came
Bill Haley. It was on the jukebox in a coffee bar called the Casa de Bolero that I first heard it in late
1953 or early 1954: "Crazy Man, Crazy," an exuberant, pulsating blend of guitars, sax, and piano,
riding the beat of a slap-back bass and a whip-crack snare. It was utterly different from any
music we had ever heard. Unlike teens in America, we had no opportunities to twirl the radio
dial and listen to gospel, country, swing, rhythm and blues, boogie, rockabilly, or the other
styles that birthed rock-and-roll. We had yawned through "Once I Had a Secret Love" and "How
Much Is That Doggie in the Window?" for the last time. Now, we had music you could dance to.
It was exciting. It was cool. It was ours.
Cowboy poet. But who was this
chubby chap with a spit-curl who looked like he should be wearing a straw boater and a butcher's
apron instead of a tartan tux and a rhythm guitar? We didn't know Bill Haley had been the leader of a
Pennsylvania cowboy band who had tired of country, yodeling, and Western swing; who added
drums and sax to his lineup, changed the band's name from the Saddlemen to the Comets,
and was about to became the first‚and one of the most successful‚of the early blue-eyed
rockers. Like others who soon followed‚Jerry Lee Lewis, Elvis, the Everly Brothers, even
Pat Boone‚Haley borrowed (or stole) styles and beats and licks and tunes from black
artists who had a tough time getting airplay and gigs, and then sold millions more records than
the "race music" versions.
After "Crazy Man, Crazy,"
for example, Haley's next big hit was "Shake, Rattle and Roll," a cover of Big Joe Turner's R&B
classic. In what was to become a familiar pattern, the earthy lyrics were rewritten to skirt the
American censors‚and the BBC bluenoses. In 1954, with "Shake, Rattle and Roll" on its way to
becoming the first million-selling rock platter, we bounced in front of the Casa de Bolero
jukebox, singing: "Wearing those dresses, your hair's done up so nice; you look so warm,
but your heart is cold as ice." We had no idea that Haley had bowdlerized the lyrics from: "When
you wear your dresses, the sun comes shining through; I can't believe my eyes that all of
this belongs to you."
In 1955 came one of those
seminal events that captured the first fusion of rock music and teenage rebellion and dramatized
the birth of an era when youth culture found its identity and expression through its own music.
The American movie Blackboard Jungle, a switchblade drama of violent high school kids and their
passion for rock-and-roll, featured Haley's recording of "Rock Around the Clock," a reworking of a
blues number entitled "My Daddy Rocks Me With a Steady Roll." The film was a hit, and the song
became history's most successful rock single, selling more than 25 million copies.
Death threats. It helped make
Haley a megastar in his homeland, where he toured with black artists like the Platters, the
Drifters, and Bo Diddley, drawing big teenage crowds but triggering riots, vandalism, and death
threats in the segregated South. Kids everywhere loved the raw, primitive music that parents,
politicians, and clergy saw as harmful, perhaps even a Communist plot to undermine teen morals.
J. Edgar Hoover put his FBI gumshoes on Haley to dig for dirt, and Frank Sinatra
declared: "Rock-and-roll is phony and false, and sung, written, and played for the most
part by cretinous goons." A Jersey City ordinance banned Haley and the Comets from
performing: "Rock-and-roll music encouraged juvenile delinquency and inspired young females
in lewd bathing suits to perform obscene dances on the city's beaches." Said Haley, who took
to carrying a gun for protection: "Everybody hates us . . . except the kids."
He also inspired fear and loathing
in England. When Haley's first movie, the biographical Rock Around the Clock, opened in the summer of
1956, we caught the bus to the Trocadero cinema‚me resplendent in a hand-me-down, powder-blue
Edwardian suit‚and bopped in the aisles while gangs of authentic Teddy Boys, with their street
punk attitude and straight-razor weapons, tossed light bulbs from the balcony, slashed theater
seats, and scared everyone half to death. The same thing happened across the country, and the
movie was banned in many cities.
Soon after, Fleet Street tabloids
were apoplectic when it was announced that the pied piper of rock-and-roll havoc would tour England in
February 1957. "Bill Haley, music's Attila the Hun with guitar and drums, plans another path of
destruction across Great Britain," thundered one editorial. "Theater owners and police officials
quiver as he readies to lead his legions of Teddy Boys on to greater heights of wanton mayhem
and civil disorder."
Street-fightin' men. Haley
was actually horrified by the violence, and it was to bedevil him the following year with serious riots in
France and Germany that cost him a small fortune in damages and canceled dates. In what was dubbed
the "Second Battle of Berlin," the Comets were forced from the stage as rival gangs fought each
other and the police in a massive and bloody battle. Once again, the former singing cowboy with
the world's most famous cowlick was blamed‚this time in a Communist propaganda broadside.
"Rock-and-roll gangster Haley produces an orgy of American uncivilization [turning] the youth
of the land of Bach and Beethoven into raging beasts," charged a newspaper in East Berlin.
Still, his 1957 sellout British concerts were peaceful‚although huge throngs of fans besieged
hotels and train stations in scenes that weren't to be repeated until Beatlemania erupted some
six years later. (John Lennon, then 16, and his pal Paul McCartney were in the audience at the
Biographers have anointed
Haley as the Father of Rock and the genre's first international superstar, but his pre-eminence
lasted just four years. After 1958, despite several successful overseas tours, his career spiraled
slowly downward in a welter of financial woes, divorce, tax problems, alcohol, self-imposed Mexican
exile, and his lonely 1981 death in Harlingen, Texas, at the age of 55.
But all that was in the future.
For an English kid who loved his music and could sing the lyrics of every Haley hit, I knew his days
were numbered when my cousin Suzanne took me to a youth club in 1957 where the kids were
spinning singles on the record player. It was the zenith of Haley's popularity in Britain,
but nobody was jiving to "See You Later, Alligator," "Rudy's Rock," or "Rip It Up." They
were sitting around mooning over a guy singing about heartbreak in some hotel down at the
end of some lonely street someplace.
FOR COMPLETE BILL HALEY INFO, VISIT:
EXTRA: Bill Haley& The Comets
Bill Woods: "Live At The Blackboard" CD
Now available, please make checks payable to Glenn J. Pogatchnik,
1675 Los Osos Valley Rd., Space 130, Los Osos, Ca 93402.
Total cost in the U.S. is $15.00 (includes S&H); Europe $18.00.
Part of the profits will be donated to the Rockabilly Hall Of Fame to preserve
traditional roots music.
Singer Rosemary Clooney Dies At 74
Rosemary Clooney died shortly after 6 p.m. Saturday, June 29th at her Beverly Hills home surrounded by her
family, her publicist said. She had been hospitalized earlier this month after suffering a recurrence of
lung cancer. Clooney soared to fame with her 1951 record of "Come on-a My House," and became a star
in television and films. Her career was sidelined by her marriage to Oscar-winning actor Jose Ferrer and
the births of their five children. The pair divorced, and her attempts to return to performing were
sabotaged by her erratic behavior.
Born in Maysville, Ky., on May 23,
1928, Rosemary Clooney started singing with her younger sister, Betty, on WLW radio in Cincinnati in
1945. Their salary: $20 each. Bandleader Tony Pastor heard the girls when he was touring Ohio and
hired them. "The Clooney Sisters" made their debut with the band at the Steel Pier in Atlantic City in 1947.
Two years later, Betty tired of barnstorming with the Pastor band and returned to Cincinnati.
Rosemary also decided it was time for a change. She headed for New York.
Clooney played a few dates on radio and early television shows and recorded for Columbia.
One day in 1951, Mitch Miller, the mentor of Columbia Records, offered her "Come on-a My House,"
by Armenian-American author William Saroyan.
When she refused to record the song, Miller threatened to fire her. She agreed, using an Italian
accent instead of Armenian "because it was the only kind of accent I knew."
The song became a huge hit, and her first royalty check amounted to $130,000. She catapulted to
stardom. In 1952 she signed a contract with Paramount Pictures. (AP)
RCA Unearths 100 "Lost" Elvis Recordings,
Just in Time to Celebrate His Death Date
By Robert Wilonsky - Twenty-five years after he died, Elvis Presley is once again at the top of the pops.
He's dead, right? Dead 25 years come August 16, Elvis Presley is, once more, the hottest corpse
in the ground. Just a few days ago, he topped the pops in the United Kingdom for the first time since
he died on the dumper - with a song, no less, that was relatively unknown to all but the hardcore
till its use in Ocean's Eleven last year and a new Nike ad tied to the World Cup. Now, the Mac Davis-Billy
Strange-penned "A Little Less Conversation" is about to become the ubiquitous single of the summer
of 2002, thanks to a groovy redo by Junkie XL that polishes an already sparkling song, the funkiest
thing Elvis cut in the 1960s. Released first as a single in 1968, when the song appeared in
Live a Little Love a Little, the remix hits U.S. outlets this week, only days after Presley bumped the
Beatles from the history books. Where both were tied at the top, with 17 U.K. number ones, now
Elvis walks alone.
The Elvis-JXL single, which marks
the first time Elvis Presley Enterprises has allowed such a remix, is but the beginning of an Elvis
onslaught. In coming weeks, majors and minors will begin revving up the money machine to capitalize
on - pardon, celebrate- - the anniversary of the King's dethroning. Tomato Records, which has been
plundering Townes Van Zandt's tomb in recent weeks, has slated for release Elvis' recordings from
the Louisiana Hayride in the mid-'50s, which have been circulating in legit and illegit forms for years.
And RCA's got two monster releases forthcoming, chief among them September 24's ELV1S 30 #1
Hits, which parent company BMG insists is the "first ever collection of 30 Presley number-one singles
on one CD."
But the most significant release
tied to the anniversary of Presley's death is Today, Tomorrow & Forever, a four-disc boxed set
containing 100 previously unreleased Elvis tracks, a fairly astonishing claim given that Elvis allowed
the release of alternate tracks during the '70s, when he needed to fill space on albums to which
he'd committed. (At one point, he was under contract to RCA for three albums a year, a burden
he'd become too weary to bear.) And only five years ago, RCA released Platinum: A Life in Music,
which proffered Presley's chronological history in the studio using 77 outtakes among its 100 tracks.
Besides, it's not as though even the casual fan is unfamiliar with the bulk of what appears in this
collection; here, for the 432nd time, are "Heartbreak Hotel" and "Hound Dog" and "In the Ghetto"
and "Are You Lonesome Tonight?" and on and on. There's even some real crap here, an
admission made plain in Colin Escott's track-by-track liner notes: "Elvis had good reason to
sleepwalk through 'The Love Machine.' It was, by any yardstick, a ghastly song."
Yet Today, Tomorrow & Yesterday
is one of those compelling listens, a best-of-and-rest-of that offers an alternate history, a what-if?
time line. It begins with a July 1954 recording of "Harbor Lights" (a hit for Bing Crosby only four
years earlier), cut during Elvis' very first days in the Sun studios, and it ends with a February 1976
rendition of "Hurt," which had been a concert staple and, Elvis used to insist, one of his favorite songs.
In between are legendary live recordings from shows seen on old footage but never heard (specifically,
the May 16, 1956, performance at the Robinson Memorial Auditorium in Little Rock),
outtakes from movie soundtracks (including the collection's title song, a long-lost duet with
Ann-Margret originally recorded for Viva Las Vegas) and copious alternate takes from sessions
made at home and in the studio. Throughout, Elvis can be heard cracking jokes (including one about
the Vietcong at the height of the Vietnam War), making small talk with the band and trying to
figure out just how the hell to give depth to the fluff he was stuck with throughout the latter part
of his career.
"This is an intimate way of
getting to know Elvis," says Ernst Jorgensen, calling from his garden in Denmark. Jorgensen has
been handling RCA's Elvis reissues for years, and the Great Dane has become a beloved figure amongst
Elvis devotees, second only to biographer Peter Guralnick. "I am a foreigner, so I look at Elvis
with an element of surprise. In America, Elvis was ridiculed, a victim of the way he died and
looked, the abuse of medicine, all that. In a small country like this, we would have been much kinder
to him. When we started in the early '90s, it was like nothing of Elvis' music was left. I was trying to get
people back to where he came from. The music is where the real greatness is, and we wanted to tell
Alex Miller, head of BMG's reissue
department, says the 100 tracks were collected from myriad disparate sources--from collectors (the
label gets at least one call a day from someone claiming to have a long-lost tape), from the label's
estimable vaults, from engineers who worked on sessions, from radio stations that broadcast Elvis
concerts in the '50s. Jorgensen and Roger Semon began compiling the box five years ago - around the
time the 300,000-selling Platinum was released - in preparation for the 25th anniversary of his death.
Theirs would be a revisionist history of sorts: They wanted the world to hear "In the Ghetto," for instance,
stripped of its garish ornamentation; they wanted to show the playful Elvis, the thoughtful Elvis,
the goofy Elvis, the disinterested Elvis.
It would be a chronological story,
much as Platinum, but without the reverence that collection showed. Today, Tomorrow & Yesterday is
almost a blasphemous box; it's like a fÍte to which the guest of honor shows up a little out of it
and makes one hell of a mess. But since Elvis often had little regard for his own legacy - some 12 years
after Elvis stepped into the Sun, he wound up recording "Yoga Is as Yoga Does" - why shouldn't the men
charged with maintaining it muck with the myth? The icon is resilient enough to withstand reevaluation,
indestructible enough to stand up to the skeletons falling out of the closet. But here, too, is Elvis ripping
the guts out of Ray Charles' "I Got a Woman." And, yeah, here's another version of "Snowbird"
(already a hit for Anne Murray when Elvis got to it); but here, too, is a "Pieces of My Heart" done in
1975 that may be the most revelatory and heartbreaking thing the man ever recorded ("Now I'm
holding on to nothing/Trying to forget the rest").
"He's not here to protest what
we're doing," Jorgensen says. "But since outtakes and even the songs Elvis hated were released when
he was alive, I don't think we overstepped any borders. And being such a major influence on the past
century - and this one, as well - I think you get to the point where you're writing history. You wouldn't
discard early sketches of Picasso because you think that's not what
he should be known for. At some point, history takes over. We always keep Elvis' official masters
available so people can hear the real thing.
James Wayne Boyer Had Rockabilly on His Blood
Dearborn, MO - June 25, 2002 (by email@example.com) - Rockabilly artist James Wayne Boyer died Friday
from complications of cancer at Oakwood Hospital in Dearborn. He was 60 and lived in Woodhaven.
In 2000, he was inducted into the
Rockabilly Hall of Fame, based in Burns, Tenn., and his lastest CD is called "Rockabilly Hall of Fame Artist
James Wayne Boyer's Favorite Collection."
Mr. Boyer was born in Ste. Geneviene, MO. with
music in his blood. His mother played the bass, his father the guitar. By the time their son was three,
he had won a singing contest. Before he was a teen, he was singing with small bands. At 15,
he started playing drums and singing with the Red John Band. At 19, he teamed up with Billy Swan.
"He came to Michigan in 1962." his
wife Joan said. "He came up there for two weeks and ended up staying." In the '60s, James played
with the Newports, recording songs including "Little Miss Heartbreak" and "Summertime."
In the 1970s, he recorded with the band Marshall, Newell and Boyer, and then joined the Billy Swan
Band, touring the United States and overseas.
Time away from music was often spent on
the golf course. In addition to his wife, survivors include two daughters, Bonnie Boyer-Shaw and
Suzette Frazho; a son, Brian, a stepson, Rick Bizon, and six grandchildren.
Dick Dale Rocks
"The show was at the Majic Stick in Detroit, standing room only.
Dick, even though feeling sick, played a wide variety of music ... some of
the most tasteful sounds ever heard. He was extremely kind to all fans, including myself
and Nick pictured below. Thanks again, Majic Stick, for always putting on
great shows." - Rachel. [Photos: Rachel Malinowski]
LILO AND STITCH: GRACELAND.
Walt Disney Pictures' Memphis Red Carpet Screening of "Lilo and Stitch" with a post party
held at Graceland. James Barton of Elvis Presley's band plays to Lilo at the after party held at
Announcement for Rockabilly & Traditional Country Artists and Fans
New Texas Venue Opening Spring, 2003
FORT WORTH, TEXAS - Joy2UEntertainment is a privately held minority woman-owned company
based in Texas. Joy2UEntertainment strives to be a leader in
family-oriented entertainment. Our goal is to be a step ahead of the
competition. We want our customers and their families to have more fun
during their leisure time.
We promote family-oriented entertainment. The universal appeal of good
values and spending time with family has never been higher. A high
growth area such as Granbury has an annual influx of new residents from
many other parts of the country. This trend is true in the Southwest in
general. Many new residents and many existing ones are potential
customers. Granbury's lake, antique shops, and bed and breakfasts'
offer a big influx of potential customers. The close proximity to the
seven million residents of the DFW Metroplex allows for an extremely
large customer base.
Joy2UEntertainment was founded by
Yamillie Hurst and Ronnie Hurst to
capitalize on the ever growing market demand for family and Christian
themed entertainment. Joy2UEntertainment is looking to promote itself
through the operation of a successful theater and entertainment complex
in Granbury, Texas.
Yamillie Hurst is the principal owner. Ronnie Hurst is the manager and
Mrs. Hurst varied
background includes experience in fashion design,
theater, singing and makeup artistry, and restaurant.
Ronnie Hurst has an entertainment background that spans over twenty five
years. He has performed at country music and gospel venues throughout
the Midwest. He has worked as a personal manager to various artists for
the past ten years. He has booked talent in venue locations from Atlanta
to Hollywood, including Nashville, Branson, and Las Vegas. He has
produced many live music shows throughout the Midwest as well.
Joy2UEntertainment plans to bring in entertainers from Branson,
Nashville and host the American Kids Talent competition. We plan on
having open mic nights to help promote our local talent.
plans to be an active member in community events and
will work with local business to increase local tourism. We also will
assist the city/county in luring more revenue producing establishments
to help lock an entertainment stronghold similar to Branson Missouri,
Pigeon Forge, Tennessee etc.
Contact: Joy2u Entertainment
3832 Lawndale Ave
Fort Worth, TX 76133
Elvis Re-release Might Top Chart
June 11, 2002 - Nearly 25 years after his death, the re-release of a little-known Elvis Presley track is poised to climb to the top
of the chart and possibly change chart history in the U.K. A remix version of "A Little Less Conversation" was
released in the U.K. on Monday (June 10). For decades, Elvis Presley and the Beatles have been tied with 17
U.K. Number One singles, but if this new release makes it to Number One, Presley will become the sole artist with
18 chart toppers.
"A Little Less Conversation" first appeared in a '60s Presley film, and was the B-side
to the 1968 single "Almost In Love." A previously unreleased version of the song showed up late last year
on the soundtrack to the remake of the "Rat Pack" comedy Ocean's Eleven. Sports giant Nike chose to use "A
Little Less Conversation" in its massive advertising campaign for the World Cup and hired progressive Dutch
DJ Tom Holkenborg - also known as DJ JXL - to remix the song after securing permission from the Presley estate.
Early radio support for the single is strong - Radio 1, one of England's biggest stations, placed the song on
their top playlist weeks ago. "A Little Less Conversation" will be released in the U.S. on June 25.
Lewis the Killer Still So Good, It Hurts
REVIEW By Donnie Snow - firstname.lastname@example.org - June 8, 2002.
Take the Killer off your dead pools, people, ol' Jerry Lee is gonna
outlive us all. Strolling confidently onto the stage - 10 minutes late - Jerry Lee
Lewis dropped a bomb on the pittance of an audience wise enough to
catch his show Friday night, June 8th at Sam's Town, opening his nearly 90-
minute set with fellow hall-of-famer Chuck Berry's Roll Over
Watching Lewis, who is recently divorced, there was good news and bad
news for rock and roll fans.
The good news is that Jerry Lee is singing, and playing, just fine.
(How fine? Elton John should pray his skills hold up this well.)
The bad news, you can't understand any two words the man says.
However, the crowd had no trouble making out the words when he was
delivering renditions of Georgia, Blue Suede Shoes, Somewhere Over
the Rainbow and Drinkin' Wine Spo Dee O Dee.
They couldn't get enough of any of them, considering the long line of
fans in front of the stage waiting to take a picture of the living
But music has never been The Killer's only strong suit.
Humor is every bit as important to his mystique as his driving left
hand and speed-demon right.
And Lewis hasn't lost it either.
"Take it off?" he asked, responding to a woman after he started to
loosen his tie.
"That's what got me in trouble the first time . . . and the next
time, and the next time, and the next time.
"This time, I'm going to be more choosy."
Great Balls of Fire brought the gray hairs and surgically altered to
their feet, clapping and singing, dazzled by the sheer virtuosity
still very much alive in the still very virile Golden Wild Child of
Rock and Roll's fingers.
Whole Lotta Shakin' got them all onto their chairs.
Lewis is more than rock royalty, and not just because he can still
kick his leg up on the ivories like a spoiled teenager, but because
he knows who he is and if you don't, just listen to any of his
records - he'll tell you all about himself.
Lewis finished the show, clad in a dazzling navy pinstripe, kicking
out the piano bench and slamming down the cover.
The Killer hitched his pants indignantly, and exited stage left.
Johnny Cash Churns Out More Vintage Albums
(Reuters) - Country icon Johnny Cash may have turned 70 recently, but it's his fans
who are receiving the spoils. Some three months after Columbia Records' Legacy imprint
issued five vintage Cash albums on CD for the first time in the United States, the label said
on Sunday, June 2nd it would follow up with another five-pack on September 3.
The albums are: "Songs Of Our Soil" (1959), "Johnny Cash Sings Ballads Of The True West" (1965),
"Live At Madison Square Garden" (1969), "The Johnny Cash Show" (1970) and "Silver" (1979).
Cash, who turned 70 on Feb. 26,
and producer Rick Rubin are also finalizing the track listing for their fourth collaboration,
"American 4: The Man Comes Around," which is scheduled for a fall release as well. Cash recorded
about 26 songs for the set, half of which will make the final cut, said Cash's manager Lou Robin.
Columbia offered vague details on only one of the vintage albums, the previously unreleased "Live
at Madison Square Garden." It was recorded during his Dec. 5, 1969 stand at the New York arena
before a record 21,000 people. According to a full-page Variety ad at the time, the show grossed
$110,326, a new benchmark for a single performance at the venue.
Cash's band included his Tennessee
Three -- guitarist Bob Wootten, bass player Marshall Grant and drummer W.S. Holland -- as well
as Sun Records alumnus Carl Perkins on guitar, fiddler Doug Kershaw, the Statler Brothers
and the Carter Family (sans his pregnant wife June Carter Cash, who was expecting their
child, John.) A track listing was not provided, nor were details of the other albums.
The Rolling Stone Album Guide gives "True West" two stars (out of five) and "Silver" three
stars, describing the latter as boasting "strong tunes revelatory of Cash's inner feelings,
promoting no cause save that of unburdening his soul."
Ervin's Gene Vincent Tribute CD from France
The frantic, french Gene Vincent tribute from Ervin Travis & his Virginians is now available!
Dedicated to Gene "From TIDEWATER to DALLAS." Here's the track list of Ervin Travis album:
Dance to the Bop
Yes I Love You Baby
Beautiful Brown Eyes
Over the Rainbow
Dance in the Street
I've Got to Get to You Yet
You Are the One for Me
Should I Ever Love Again
Somebody Help Me
And an original: Rock'n'Roll Heaven
An amazing record. Probably the best tribute ever made. The voice and the backing are incredible ...
"If Gene was here, he would have been honoured to hear they did such a good job.
Very good sound close to Gene and the Blue Caps. Close your eyes and you will think
you are hearing Gene sing." -Dickie Harrell
If you interested in
purchasing this frantic and fantastic "Tribute," write to:
Philippe Fessard - 109 rue St Martin - 91150 Etampes - FRANCE Tel :01 64 94 52 36
e.mail: email@example.com -
Price with postage: 20 Euros for Europe - 22 Euros for others country.
Fans to Mark Last Elvis Show
(AP) The last building that Elvis left may be gone, but some fans are doing their part to make sure it's not forgotten.
When Elvis Presley took the stage at Market Square Arena during the summer of 1977, no one knew it would be his last show.
On June 26, the 25th anniversary of that concert, a group of Presley fans will dedicate a historical marker at the site
where the arena stood until it was demolished last year.
The marker will bear an inscription in bronze reading "Ladies and Gentlemen, Elvis has left the building" atop a granite column.
The marker will be erected on a street corner overlooking the gravel parking lot where the arena once stood. A time capsule
encased within it will hold Presley memorabilia.
Al Dvorin, whose trademark announcement, "Elvis has left the building, thank you and good night,"
closed each of Presley's shows, will be on hand for the marker's dedication.
"Rock It to the Moon" - The Bop Kings
(El Toro ETCD-3030) - The Bop Kings are a three piece traditional rockabilly outfit hailing
from San Antonio, Texas. They are striving to keep real rock 'n' roll
alive and well. Casey Miller's vocals are in a style all his own, he
can belt out a deep bluesy number and switch over to a lazier
hillbilly tune quicker than you'd kiss a duck. Casey also plays the
acoustic guitar and has played with several rockabilly bands in the
past such as The Texas Thundertones, K.C. Miller and the Kozmik
Kowboys and the Hectic Hepcats. He finally formed The Bop Kings in
order to play true rock 'n' roll "the way it oughta be played."
Tomcat Miller plays the doghouse bass. He gets all riled up and
really slaps the bass like a wild man. Tomcat also used to play with
The Texas Thundertones, The Hectic Hepcats and The Kozmik Kowboyz.
Mike Nesloney plays the electric guitar and is very traditional in
his style. He really throws a gone solo and keeps his own brand of
juices flowin'. Mike has been on the scene for a while, playing in
various holes-in-the-wall around south Texas.
In just one year, The Bop Kings have released this record, played the
Rockabilly Hall of Fame stage in Las Vegas, were voted "The Best New
Rockabilly Band" at Viva Las Vegas and have a deal to record their
next album at Rollin' Rock records in September and as if these boys
aren't busy enough, they are planning a national tour starting in
mid-September. "Rock It To The Moon" was engineered and mixed by
Billy Horton at Fort Horton Studios in Austin, Texas, and released on
the Spanish El Toro label. The album consists of 13 original songs,
all written by Casey Miller and arranged by The Bop Kings. Some tunes
are available in MP3 format from The Bop Kings' website, check 'em
True rock 'n' roll "the way it oughta be played". That's quite a
statement, because I'm pretty sure many people have as many different
opinions on the subject. What is "rockabilly" really? Originally it
was a raw mix of hillbilly and rhythm & blues music, revved up with a
slapping bass and recorded with a lot of feeling in a small studio or
even a garage or living room. That's not what what The Bop Kings are
playing. Apart from a single track, there's not much blues to be
found, but there's a lot of hillbilly and a magnificent slapping
bass. Is it rockabilly? Oh yeah! In fact, it sounds awesomely!
Tomcat's upright bass is overwhelming (a little too much sometimes)
and Casey's voice has a true hillbilly sound. Like dubbing Hank
Williams' songs with Dorsey Burnette's upright bass. What's missing,
in my humble opinion, is a bit of frenzyness, especially on the lead
guitar. Just a little touch of Paul Burlison, Cliff Gallop or Scotty
Moore maybe ...
All tracks are selfpenned, and that's a big plus. Not one cover on
this album, and although the band has an authentic fifties sound,
they also have managed to put in a lot of their own style. All this,
and the fact that the overall sound is just perfect, makes this
platter a welcome addition to any rockabilly collection. I really
look forward to their forthcoming Rollin' Rock recordings. A little
bit of Ronnie Weiser's influence will most likely result in another
great rockabilly album!
Fool With The Blues / Snake Eyed Baby / Seein' Double / Blue Moon Bop
/ Devil On My Shoulder / Hepcat Jive / Toobin' Boogie / Cold Lonesome
Memories / Brylecream Boogie / Hepgal / Hoppin' Mad Daddy / Duck Duck
Goose / Snake Eyed Baby (Alternate) / El Rancho Grande
The Bop Kings are:
Casey Miller - Vocals, Guitar;
Tomcat Miller - Slap Bass, Backing Vocals;
Mike Nesloney - Electric Guitar, Backing Vocals
Contact information: Casey Miller,
c/o The Bop Kings, 6348 W. Prue Rd. Lot #9, San Antonio, Texas 78240 (USA) Tel: +1 (210) 859-2643.
http://www.bopkings.com - firstname.lastname@example.org - Reviewed by The BlackCat, 2002.
Additional information by The Bop Kings
"MAD" Magazine Cartoonist Dies
(AP) - Dave Berg, who affectionately spoofed what he called "the human condition" in the pages
of Mad magazine for more than 40 years, has died of cancer at the age of 81. Berg, who
created the satirical magazine's enduring "The Lighter Side of" comic strip, died May
16 at his home in Marina del Rey.
He began working for Mad as a free-lancer in 1956, introducing "The Lighter Side of" in
1961. "They were satirizing commercials, movies and TV programs," he once told Contemporary
Authors. "I added something new - people. That's when 'The Lighter Side' was born. It
was more than just gags, it was a psychological and sociological study of the human
condition, and truth in humor."
He often put friends, family members and colleagues into his cartoons, among them
Mad's late publisher William M. Gaines, whose head appeared mounted, like a deer's,
on the side of a wall. He also drew himself into the strip regularly, as Roger
Kaputnik, an everyman with an always-present pipe. "Dave was a visual critic,
but a warm-spirited critic, not a hard-nosed critic," said Nick Meglin, co-editor
of Mad. "He saw the American scene as a wonderful example of our culture, our society
and our life, and did comments on that."
Born in New York City, Berg attended Cooper Union Art School in New York, landing a job
inking backgrounds for the newspaper comic strip "The Spirit" when he was 20. Later,
he worked under Stan Lee at Timely Comics (now Marvel Comics), before moving on to Mad,
which he described as "the main attraction, the big event, the grand opening." During World
War II, he was a member of the Army Air Corps and served as a war correspondent in Iwo Jima,
Guam, Saipan and Japan.
In addition to his magazine work, he wrote and illustrated 17 books for Mad, including "Mad's
Dave Berg Looks at Living," "Mad's Dave Berg Looks at Things," and "Mad's Dave Berg Looks
at the USA." He also produced two humorous books on religion, "My Friend God" and "Roger
Kaputnik and God." His final "Lighter Side" panels are scheduled for the September
issue of Mad, marking the magazine's 50th anniversary.
"The Best Of Doo Wop"
All the Original Greatest Hits From 'Only You' to 'Little Darlin',' 'Book of Love' to 'Sea
of Love,' From the Platters, Diamonds, Moonglows and More.
The doo wop of the '50s was the first pop music movement created for and by teenagers, and
the first do-it-yourself music -- just friends getting together to sing on the street
corner. Today, in its second half-century, doo wop is still flourishing, whether under its
own name or called "R&B harmony" or even in the guise of "boy band." Now 12 "greatest hits
of doo wop," nine of them Top 10 pop charters from the original golden age of the vocal
group, have been compiled for "The Best Of Doo Wop" edition of "20th Century Masters/The
Millennium Collection" (Hip-O Records), released July 2, 2002.
Three of the acts on "The Best Of Doo Wop" need no further introduction; each has
been inducted into the Rock and Roll Hall Of Fame for its achievements and influence on
the music that followed: The Platters, represented by "Only You (And You Alone)" (#1 R&B/#5
pop, the first rock 'n' roll record to out-chart its white cover record); The Moonglows
(with the #9 R&B/#22 pop "The Ten Commandments Of Love"); and The Flamingos (#5 R&B "I'll
Other groups heard on the collection are distinguished in other ways. The Dell-Vikings
(#2 R&B/#4 pop "Come Go With Me") were one of the few racially integrated doo wop groups,
while The Diamonds were a white group from Canada that was perhaps the most
consistently successful to cover the records of black groups, with its rendition of
"Little Darlin'" (#2 R&B and pop), its biggest hit.
In the competitive singles world of the '50s, even many of the most renowned
doo wop ensembles hung their fame on just one hit -- but oh what a hit it could be.
"The Best Of Doo Wop" includes such all-time classics as "Book Of Love" (#3 R&B/#5 pop
for The Monotones), "Sea Of Love" (#1 R&B/#2 pop for Phil Phillips & The Twilights),
"One Summer Night" (#4 R&B/#7 pop for The Danleers), "Little Star" (#1 pop and R&B for
The Elegants), "Let Me In" (#2 R&B/#4 pop for The Sensations), "Tear Drops" (#4 R&B/#20 pop
for Lee Andrews & TheHearts) and "You Cheated" (#2 pop/#11 R&B for The Shields).
When it first began to be heard, doo wop was a refreshing change from the heavily-orchestrated,
staid and adult pop of the post-war years. Today, the doo wop from back in the day
still sounds fresh and young and pure.
Library of Congress Puts American History On Line
Anyone who wants to hear Buffalo Bill's own voice at home or John
Philip Sousa's original band can tune in by computer now, courtesy of the Library of Congress.
[http://www.loc.gov/] Many new computers have the necessary soundboard.
The library announced Monday, May 20th it has put on line the 111th and 112th collections of
materials on its "American Memory" Web site. The site now includes more than 7.5 million items,
which the library says is the world's largest collection of online educational material.
"Emile Berliner and the Birth of the Recording Industry" includes more than 400 items from the
library's collection of Berliner's papers and 108 of his sound recordings beginning in 1894.
Berliner was an immigrant from Germany. He patented the flat disc gramophone records that
superseded the original cylindrical recordings.
Buffalo Bill - William F. Cody - rode for the Pony Express and fought in the Civil War.
Soon afterward he won his nickname hunting buffalo, or bison, to feed workers who built
the Kansas Pacific Railroad, His outdoor exhibition "Buffalo Bill's Wild West" remained
on the road for 30 years, with Annie Oakley and Sitting Bull among its performers.
On the Web site, he can be heard expressing his views on the situation in Cuba that led
to the Spanish-American War.
Sousa played in the U.S. Marine Band when he was only 13 and in later life became its leader
before forming his own group. The Sousa band toured the United States and abroad for decades,
playing some of his famous marches, including "The Stars and Stripes Forever."
The other new collection on the site is "The First American West: The Ohio River Valley,
1750-1820," which contains more than 15,000 pages of original material.
It covers the area west of the Appalachian mountains that fascinated the republic's
founding fathers. There are comments from Thomas Jefferson and James Madison, letters,
diaries, tales of migration, trade on the Ohio River, contacts with American Indians
and the lives of African Americans in slavery there. By Carl Hartman (AP)
Ray Doggett - Singer, Writer and Producer
Ray Doggett was born Elmer Ray Doggett in a little town called Big Spring, Texas, not far
from Houston. By playing guitar in several high school bands he acquired a taste for it and
in the mid 50s he tried his luck as a solo artist. In 1956 he had luck with a recording with
Spade Records in Houston, Texas. This record company was founded by country and rockabilly
singer Bennie Hess and had six releases in 1957; Bennie's own, Vern Pullens, Royce Porter
and Ray Doggett's.
He re-opened the label in the 70s when he released some of his old and some new records.
Ray Doggett's first record on Spade 1928 was the rockabilly song "Go Go Heart" b/w "Fallin'
Teardrops". Unfortunately none of the Spade releases were very successful, because the only
distribution company in the area would have been Pappy Daily with whom Bennie Hess didn't want
to cooperate at first. So he sold his records himself meeting only little response from the DJ's.
Then, when finally a contract with Pappy Daily was established it was already too late and Bennie
had to shut down the label.
After his first record on Spade, Ray Doggett started to play as a session musician, like in
Royce Porter's second record "A Woman Can Make You Blue" B/W "I End Up Crying" (Spade 1931) which
was recorded in the ACA studios in Houston. Ray and Bennie got along quite well, so they
released a second record of Ray on Spade 1932 "It Hurts The One Who Loves You" b/w "That's
The Way Love Is With Me". All the same this recording was appreciated with a little success,
so that Bennie was able to persuade the recording giant Decca to bring out the record in license.
Not even this major label could bring Ray to a success.
He had more luck with song writing that with records. Besides his own records, he also co-wrote "On
My Mind Again" and "Rakin' And Scrapin" under his pseudonym Elmer Ray. His partners in writing
these songs were Slim Willet (singer and owner of several Texas labels, such as Winston and
Edmorals) and Dean Beard, who was also the first to record these songs. He further wrote songs
for Bob Denton, Ace Ball, Johnny Guidry, Jan Moore, Darrell Rhodes and Bruce Channell.
Musically it went on for him in 1957 with the release of KIX 102 "Love Is Made Of This" b/w "Now
It's Over" and TNT 159 "High School Wedding Ring" b/w Whirlpool Of Love", but again he didn't
exceed local popularity. On his own label Ray issued Ken-Lee 101 "Beach Party" b/w "So Lonely
Tonight", but this didn't change things. So in 1958 he returned to Bennie Hess and his new Pearl
label. The first record, Pearl 716 "No Doubt About It" b/w I'm Afraid" was soon followed by the
second one "We'll Always Have Each Other" which was coupled with the already twice releases "That's
The Way Love Is With Me". After this, the increasing popularity of Ray Doggett caused Top Rank
to record his last record on Top Rank 2025, ""Can I Be The One" b/w "Restless Heart".
Being sick of traveling around Ray took to producing other artists. His first attempt a year
earlier showed that he had the talent for this. In 1958 he produced his first record for
country superstar Kenny Rogers (then Kenneth Rogers) on Carlton 454 "We'll Always Have Each
Other", which he had also recorded himself. Ray kept on producing during the 60s, when he
produced artists as Tommy Clay, The Counts, Huey Meaux and Lelan Rogers. In the early 80s Ray
ran "Big H. Sound Distributors" in Houston, Texas. A publishing company which was resident in the Goldstar Studios.
Willi Gutt, 1989 (Source: Doggone It Doggett, Hydra Records BLK7709)>
Mr. Ray Doggett passed away Saturday March 16, 2002, he was 67. He died of a massive heart attack
in Nashville at his bedside. -Courtesy: Paul Allsup (CEO - The Independent Music Association)
1957 ... Elvis Plays Canada
Courtesy email@example.com. Elvis' only concert performances outside the
United States were five shows in three Canadian cities during 1957. The dates and the three
cities were: April 2 at Maple Leaf Gardens, Toronto; April 3 at Ottawa Auditorium,
Ottawa; and August 31 at Empire Stadium Vancouver.
A fourth city, Montreal, that was slated for April 1957 had to be canceled due to both
civic concerns as well as pressure from devout Catholic
officials. Elvis was still very controversial then and his movements and dress were considered
vulgar by many. Teenaged girls often worked themselves into a frenzied state while watching
Elvis perform. Some students in Canada were told they would be expelled if they were
caught attending his shows. Indeed, eight girls from
Notre Dame Convent School who attended the Ottawa show were expelled.
The shows were booked through an Australian promoter who had hopes that Elvis' manager Colonel
Tom Parker would agree to a booking in Australia as well. The Colonel never did agree
to an Australian show, [because the Colonel was not an official US citizen and couldn't
obtain a passport to travel with Elvis] but he covered all bases in Canada by selling
both "I Love Elvis"
buttons as well as buttons that said "I Hate Elvis".
Elvis ended his shows in those days with the song "Hound Dog". The show in Vancouver
had to be ended abruptly as the crowd kept rushing the stage. The cordon of police officers
surrounding the stage managed to hold hands and stop them several times. Colonel Parker
had to pull Elvis off stage twice and threatened the crowd that the show would stop if they
didn't stay in their
seats. Elvis performed only about thirty minutes and overzealous fans overturned the
stage and instruments as he was departing the stadium.
Elvis did not get to tour in more foreign cities [Colonel Tom wouldn't let him],
something he always wanted to do. However, a modern-day production called "Elvis The Concert"
(Elvis via video starring, accompanied by a live orchestra and a group of his own original
band-mates live on stage) has toured all over the world to rave reviews since 1998. The show also
garnered a Guinness World Record for being the first live tour headlined by a performer who is
no longer living.
Generations Meet in Rockabilly Tour
By Steve Morse, Boston Globe Staff -
Scotty Moore was there at the dawn of rockabilly, playing lead guitar for Elvis Presley.
Lee Rocker helped revive rockabilly in the '80s and '90s, first as the bassist for the Stray Cats,
then with his own groups. Today, the two artists are touring together, and to hear them describe
it, they're having as much fun as is legally possible.
"Scotty always says this is 'feel-good' music," Rocker says. "And that's just what it is.
It feels good to play and to listen to."
This year brings the 25th anniversary of Presley's death (on Aug. 16), but Moore and Rocker,
who team up at Cambridge's House of Blues May 19, are not touring to mark any milestone.
They're touring because they love to, period.
"There's a whole new crop of fans for rockabilly," says Moore. "I'm seeing that by working
with Lee. I see some older people in the crowd, but I see a lot of younger people, too."
Rockabilly, a jumped-up strain of roots rock, was defined by Moore, a Rock and Roll Hall
of Famer whose classic fingerpicking riffs on Presley tracks such as "Mystery Train" and
"That's All Right" are being reprised with Rocker's band. Each night, Rocker does about 30
minutes of his own material (including some Stray Cats tunes), then is joined by Moore,
who to this day carries his own guitar and amp and won't let any roadies touch them.
The two met in the mid-'90s in Memphis, where Rocker helped lure Moore out of semiretirement.
They became fast friends, and Rocker played on the Moore tribute CD, "All the King's Men"
(1997), which also featured Keith Richards, Jeff Beck, Joe Ely, and Steve Earle.
They've been touring the country, and New England is the last region they've gotten to. To
his knowledge, Moore has never played in Boston.
The Long Island-born Rocker says he discovered rockabilly by hearing the Beatles do some
songs by Carl Perkins. "Obviously, rockabilly exploded when Scotty played with Elvis in
the '50s, but then it went underground again," Rocker says. "It came back to the forefront
in the '80s when the Stray Cats started doing it.
"It's often been ignored by the mainstream music business. But there isn't a city
in the country today without a rockabilly scene."
The music is often viewed as a souped-up type of rock, but Moore says that can be
misleading. "I do have to pull the boys back in intensity once in a while, kind of
ease them back a notch," Moore says of his gigs with Rocker's group.
Rocker admits, "With Scotty, I play more traditionally than I'm used to, but there's a
certain power in pulling the tempos back a little bit. There can be more swing that way."
LOOKING BACK - 1988-1991
Ireland's Biggest Rockabilly Band: BREAKAWAY.
In three short years, this trio from the south of Ireland, captured the spirt of the fifties
with an infectious sound that brought them widespread acclaim. Fronted by 17 year old Darren
Holden, a cross between James Dean and Brian Setzer, the group immediately hit with the females,
who in turn told their folks about this new sensation on the Irish scene, who played music from
their heyday. The band was special in that it featured a female bassist and vocalist Jacqui
Long, who was a ringer for Suzi Quatro, Her cousin, Richard Foley on drums.
They hit big on Radio in 1989 and 1990 with a cover of the old Matchbox hit "One More Saturday
Night", and the follow up EP was a big seller in the Emerald Isle.
However, after three years of flatops and "Stray Cats" style quiffs, Holden decided it was time
to move on and disbanded the group in 1991.
Long and Foley all but dissapeared from the music scene, while Holden had a string of top
thirty hits in the late nineties. Courtey: firstname.lastname@example.org
DAVE CRIMMEN'S NEW CD - "BIG DADDY" - REVIEWED
Slamming, Jamming, Revving, Sizzling ...
Crimmen's new CD lifts you up and takes you away on sweeping surge of rocking magic that
literally leaves you breathless! But, with enough strength left to cry, "ONE MORE TIME!"
I had to hit the replay button 5 times on "Let's Get Gone"-- a hot number that just plain
takes over and makes you rock , ready or not! "Revved Up" is hot with a rockabilly edge.
Believe me, there is "nothing not to like" on this new CD. Plus, the "shocker" is Crimmen's
inclusion of 2 very traditional C&W tunes - sang in the "traditional style" to the max!!
"Somewhere In My Mind" is unforgettable (takes you back to Hank Williams days). Also,
the clean, crisp, top production quality of this CD complements the powerful song selection
and seasoned musicians. This is an absolutely must have CD - it rocks, it sizzles, it takes
you away! Get it on your CD player NOW! It will make you smile!
--By Kay Wheeler,
"Rock Baby Rock It", 1957 Rockabilly Classic
Acclaimed Guitarist Gene Moles Dies
Courtesy: The Bakersfield Californian -
Gene Moles, widely regarded as one of the best guitarists to come out of the Bakersfield
Sound era of country music, died Sunday, April 28th at his home in east Bakersfield. He was 73.
Moles suffered from pulmonary fibrosis, a progressive lung disease.
The "doctor of guitars," as he called himself, played with Merle Haggard, Buck Owens, Red
Simpson, Tex Ritter and many others. He also wrote surf-rock instrumentals for The Ventures.
He was the quality control man for Bakersfield-based Mosrite, which manufactured guitars for
several country music stars of the late 1960s, and over the last 30 years he operated a guitar
repair shop that traded on his nickname. "He was the most highly thought-of musician in
Bakersfield," said Sandy Holly, a Bakersfield singer who fronted bands that often featured
Moles. "People loved him."
Denver Eugene Moles Sr., the sixth of seven children, was born in June 1928 in
Wetumka, Okla., 16 miles from Henryetta. His family moved to Selma, just south of
Fresno, in 1936. He got his first guitar seven years later at age 15.
Moles got his first nightclub job in 1946 at Paris Gardens in Selma, where he made
$3 a night working for a matronly boss he knew only as Texas Mom. He moved to Bakersfield
in September 1949 to play in Tex Butler's band at the Blackboard, alongside pianist George
French, for $10 a night.
"The Jimmy Thomason Show" made him a regional TV celebrity in 1953, and also
earned him a solid reputation as a musician. In 1959 that reputation got him into
Capitol Records' Hollywood studios, where he helped Owens cut "Sweet Thing" and other tracks.
In 1961 he met Nokie Edwards of The Ventures, and the two co-wrote three songs eventually
recorded by the surf-sound legends: "Sunny River," "Night Run" and "Scratch." He and Edwards,
performing as the Marksmen, cranked out "Scratch" one Saturday on "American Bandstand."
The Ventures were one of several prominent acts using Mosrites, which were built
in a small plant near where Centennial Garden stands today. Moles worked the assembly
line as chief inspector, plucking the first notes on guitars that ended up in the hands of
people like Barbara Mandrell, Little Jimmy Dickens and Joe Maphis.
After Mosrite went out of business in 1969, Moles opened a guitar-repair shop known as Gene
Moles/Doctor of Guitars. The store settled on Niles Street in 1991.
Moles is survived by his wife of 46 years, Joan Moles, and four children: daughters Cathy
Sheer and Marisa Blomberg, and sons Eugene Jr. and Jody. Both sons are guitarists: Eugene,
who has played at the Grand Ole Opry and on "Hee Haw," lives in Tennessee and Kansas; Jody
will continue to run the Doctor of Guitars repair shop.
Killer's Anniversary Present: Divorce Papers
By William C. Bayne - April 24, 2002 - After 18 years of marriage, Jerry Lee Lewis's wife wants
a divorce. The couple was wed on this date - April 24, 1984. Kerrie Lewis, 39, filed a
divorce complaint in 1998 against the entertainer known worldwide as "The Killer," but she
didn't push for the case to be heard, and Lewis was never served with papers. That changed
Monday. H. R. 'Randy' Garner, Kerrie Lewis's attorney, said she simply tired of waiting for
negotiations to end. He predicted the formal breakup of the marriage will be amicable,
however. "This is not going to be some wild mud-slinging divorce trial," he said.
The couple still live in the same house on Malone Road in DeSoto County, he said. When
Kerrie Lewis filed the initial complaint June 19, 1998, she cited irreconcilable differences.
She said they hadn't lived together as man and wife since that date. In the amended complaint
filed Monday, she reiterated the irreconcilable differences but added "habitual cruel
and inhuman treatment." Garner said the language wasn't important. "That's just a
standard statement in a divorce case. It'll probably be settled on the irreconcilable
differences issue." The couple created a stir when they married at her parents' home
in southeast Memphis.
It was her first marriage and his sixth. Kerrie's father, Bob McCarver, was a Shelby County
deputy sheriff. Jerry Lee Lewis, 66, a cousin of televangelist Jimmy Swaggart and country
singer Mickey Gilley, has earned his reputation as an entertainment bad boy. Worldwide outrage
followed his marriage to his 13-year-old second cousin, Myra Brown, in 1957. That was
his third marriage. But Jerry Lee and Kerrie Lewis's marriage - which lasted longer
than any of his others - was less controversial. They had a unit at the old Claridge
Apartments on North Main in Memphis and the house on Malone Road. Their son, Jerry
Lee Lewis III, was born Jan. 28, 1987. Kerrie Lewis asked for unspecified alimony,
custody of their son, child support, and the house at 1595 Malone Road, a tourist
attraction since 1994. Lewis has until May 22 to answer the divorce petition.
Garner said he doesn't expect a formal trial.
Rockabilly Review (www.rabreview.com)
The Rockabilly Review is made up by 2 of us (The Psycho Avenger and DFJ). We hope to cover every
aspect of the Rockabilly Genre and it's offshoots. Everything from Rockabilly to Psychobilly and
beyond. We don't care about pompous attitudes, Elitism, or snobbery what so ever. What we do
care about is the music, the bands that make the music, and the labels that bring that music to
us the people. We are far more interested in the music than any 'dress code' or fashion
crazed nonsense. So relax, enjoy the site and remember, when all the grease washes out it's
the music that keeps us coming back!
BANDS/LABELS/DISTROS:What do we review? We review Rockabilly, Psychobilly, Cow Punk, Rock N Roll,
everything that has to do with rock n roll! We also have an internet radio station!
ALL PROMO CAN BE SENT TO: The Rockabilly Review, PO BOX 39, San Gabriel, CA 91778.
When sending promo if possible, please include 2 copies per release. One for our reviewer and
the other for our archive (which will later be used to supply our Radio Show). For those of
you that send in 2 copies per release, you will also receive 2 different reviews on
The Rockabilly Review. We also ask that you DO NOT send CDR'S UNLESS it's a band demo
or your release is officially on a CDR. Labels/Bands that submit CDR's from now on (that do not
meet the cdr review criteria) will not have their material reviewed, and it will be thrown away
and not returned to the label/band. Remember folks, when we sit down to do a
review, everything presented to us is a part of the review, presentation/production/packaging all
play a part in our review as well as the music.
'State of the art' Neo-Rockabilly
If you like neo rockabilly ‚ Stray Cats, Blue Cats, Polecats etc. ‚ you've gotta check
out the Danish trio The Jime. Here's a few words about their latest CD "Mean Side Of Town":
"State of the art' Neo-Rockabilly. This is how production should be! Imagine how it was
when you heard the First Stray Cats stuff - that great Rockabilly sound with today's 'BIG'
production. This is truly superb stuff. The sound is just HUGE, and the playing has that
Rockabilly 'verve' and 'sass' that tells you that this guy KNOWS he's cool." Roy Williams,
Managing Director, Nervous Records. --
"The opening track of this CD 'Gotto Be' blew me right away. It has a great sound and is
such a catchy song. The last time a song hit me like that was probably the first time
I heard 'Runaway Boys' by the Stray Cats. This band appear to be Danish and they're
fantastic."' Alan, Deathrow Magazine, UK -- "Modern Rockabilly with a production you'd
normally only expect from the Stray Cats... authentic fifties rockabilly, rough neo rockers
and cool ballads. Very well done, superb quality with good vocals and great guitar-art by
Vince Gordon. Gotta have it!" Marijn Raaijmakers, The BlackCat Website.
Check out the rest of the reviews, mp3s, CDs, bio and loads of other rockabilly stuff
http://www.the-jime.dk/ - "Mean Side Of Town" is available here:
http://www.nervous.co.uk/ (Nervous Records) - U.S.A.: Hepcat Records -Ý Holland:
http://www.cdexpress.com/ (Rockhouse Records) - Finland: http://www.junglerecords.fi/
(Jungle Records) -Ý Switzerland: http://www.bronxnroll.com/ (Bronx'n'Roll).
The Jime homepage is http://www.the-jime.dk/
Little Richard Ponders Retiring
(Courtesy: the Washington Post) -
Little Richard is still a shiny-curled, spangly-outfitted pop-culture icon.
But 69-year-old Richard Penniman, as Little Richard is less well known, claims
that this is his last year of performing. So tomorrow night's appearance at
the Marriott Wardman Park Hotel for the Best Friends Foundation, a group that
urges teens to abstain from sex, drugs and alcohol, might be a last chance to
see the self-described "Emancipator, Originator and Architect of Rock-and-Roll"
in full cry.
"While I still feel good and look decent, I think this is when you're supposed
to do it," Little Richard told us about his retirement plans. "You're not supposed
to wait until you fall off the wagon. I'll be 70 years old at the end of this
year and I've had quite a run."
That's for sure. A lot has happened since he first sang "Wop bop a loo bop a
lop bam boom!" in his 1956 hit "Tutti Frutti." Little Richard said: "I've seen
a big change in it from what it used to be. They call a lifestyle 'rock-and-roll'
because they drink a lot and do drugs. But you can stand flat-footed and sing
it and play, and that's rock-and-roll. Wop bop a loo bop - that's rock-and-roll.
You don't have to regurgitate on anybody. You just have to sing with your God-given
A sometime minister who used to preach the evils of rock-and-roll, Little Richard
added: "I sing rock-and-roll, but I always believe in God." He gave us an appropriately
spiritual take on the Arab-Israeli conflict: "Some of that stuff has been going
on for years, hasn't it? Many, many centuries. I think we have to pray and put
it in God's hands. We have to remember that God is omnipotent and He is omnipresent.
We have to remember those things. We have to let both sides learn to be guided
by God, guided by the Word. I just love all people and hope the violence stops."
Catch him while you can ...
03.08.02 - Easton, PA - State Theatre
04.08.02 - Westbury, NY - Westbury Music Fair
28.09.02 - Galveston, TX - Grand Opera House
19.10.02 - Mahnomen, MN - Shooting Star Casino
The Best of Johnny Cash's Mercury Recordings Features
'The Night Hank Williams Came To Town' and Re-Recordings
of the Classics 'I Walk The Line,' 'Folsom Prison Blues' and 'Wanted Man'
The first person ever inducted into both the Country Music Hall of Fame and the Rock and Roll
Hall of Fame (in 1998, Elvis became only the second), Johnny Cash is the quintessential
American artist. After beginning at Sun Records and then nearly 30 years on Columbia,
Cash signed to Mercury in the mid-'80s. Though his stay would not be long, the best of
his recordings for the label, many of them reprises of his greatest hits, are classic Cash.
THE BEST OF JOHNNY CASH: THE MERCURY RECORDINGS EDITION OF 20TH CENTURY MASTERS/THE MILLENNIUM
COLLECTION (Mercury Nashville/UME), released May 21, 2002, brings together the highlights
of his late '80s tenure with esteemed producer Jack Clement. Each of the dozen selections
has been digitally remastered.
John R. Cash joined Mercury in 1986 and his debut album for the label, JOHNNY CASH
IS COMING TO TOWN, appeared the following year. From that album, THE BEST OF JOHNNY CASH
features the country hit "The Night Hank Williams Came To Town," with its guest vocal
by Waylon Jennings, co-penned by country rebel Bobby Braddock and Charlie Williams.
The follow-up later that same year was the aptly-titled CLASSIC CASH, for which The Man
In Black re-recorded many of his best-loved vintage tracks. Included on THE BEST OF JOHNNY
CASH are new versions of his signature Sun hits "Cry! Cry! Cry!," "Folsom Prison Blues"
and "I Walk The Line" as well as his Sun-era "Home Of The Blues." Also culled from
CLASSIC CASH are fresh takes on Columbia favorites "Tennessee Flat Top Box," "Get Rhythm,"
"I Still Miss Someone," "Long Black Veil" and "Blue Train." On 1990's BOOM CHICKA BOOM,
Cash put his stamp on Harry Chapin's pop-folk hit "Cat's In The Cradle." "Wanted Man"
(co-written with friend and influence Bob Dylan) is taken from yet another disc
of re-recordings, 1990's THE MYSTERY OF LIFE.
Cash would exit Mercury but he was far from done. His American Recordings albums
have gained him further acclaim from yet another generation of fans. In 1999,
he received a much-belated Grammy Lifetime Achievement Award. On February 26, 2002,
he celebrated his 70th birthday. The next day he won his 11th Grammy as one of the
performers on Best Country Album TIMELESS, an all-star tribute to, who else, Hank Williams.
Abbie Neal & Her Ranch Girls - CD"
A wonderful, have-must CD by "America's Favorite All Girl Western Band".
Lou Christie, pop/rock singer for the past 30 years has fulfilled one
of his life-long dreams by producing a CD on one of his childhood idols,
Abbie Neal. Miss Neal was one of the first women of country music
to have her own legion if fans who followed her career from coast to coast.
Abbie is now in her 80's, retired and living in Reno, Nebada. This CD
has brought her story to a new generation of traditional country music fans,
as well as reacquainting her former fans with the music they grew up with.
If you would like further information about Abbie Neal, please visit
and click on the picture of Abby. You may e-mail from Lou's website or contact:
Lightning Strikes Music, P.O. Box 2172, Hillside Manor, NY 11040, 516-741-0102.
Lee Rocker with "Special Guest"
February 9, 2002 - Live at the Magic Stick, The Missing Links with Jack Earls and Lee
Rocker with Scotty Moore! What a show! This action packed show was so crowded you
could hardly move. One of the best performances I've seen in a very long time. "The Missing
Links" are fantastic, check them out of you get a change. Their special guest turned
out to be Jack Earls. Wow, what a performer.
Lee Rocker was amazing as usual, sporting his new paint job on his upright bass. He told
me later that an auto painter from Nashville did the work - "16 coats on it!"
He was very proud. A new song, "Bullet Proof" really stood out to me, he wrote it
with Slim Jim. Look for it on his new CD coming out soon. Up on stage, he finally said,
"Well, I guess I'd better do a couple of 'Stray Cay' tunes." After "Stray Cat Strut",
he went into "Rock This Town." Right in the middle of it, the incomparable Scotty Moore just
walks out on stage and play along. They did a lot of Elvis tunes and it was al all out hot show.
I would like to thank Lee Rocker and Scotty Moore for their time and kindness ... and always,
the Magic Stick in Detroit for their wonderful cooperation with the Rockabilly Hall of
Fame. -Rachael Malinowksi
Barbara Bennett in Louisiana Hall of Fame
One of the French Quarter's most loved entertainers, Ms. Barbara Bennett,
who has sung and pounded the piano keys at Pat O'Briens for more than 40
years, will be inducted into the Louisiana Hall of Fame on Sunday April 21,
2002. The ceremonies honoring Louisiana's finest will take place in
Lafayette, Louisiana, according to Lou Gabus, President and Founder of the
Louisiana Hall of Fame. Barbara Bennett is one of the unsung heroes of contemporary music and for
her early influences of Jerry Lee Lewis, Mickey Gilley and Jimmy Lee
Swaggart, all with whom she grew up with in the Ferriday area. All piano
players. . . all were friends.
She recently recorded her first CD project, "Barbara Bennett ...
Finally!" which was produced by long time friend Frankie Ford and Ken Keene
and Travis Hatcher for Sea Cruise Productions, Inc. The CD was released on
Digi-Tek Records, a division of Chef John Folse Enterprises in Gonzales,
Louisiana. Barbara Bennett is represented exclusively by Sea Cruise Productions,
Inc., P. O. Box 1875, Gretna, Louisiana 70054-1975. Telephone (504)
392-4615. Contact Ken Keene@aol.com or at www.frankieford.com
Dick Hiorns Obituary
by Shane Hughes and Larry Lee Phillipson
Wisconsin based hillbilly warbler and one-time rocker,
Dick Hiorns, passed away on March 10 in California
from natural causes. Little seems to be known about
Dick. His obscurity contradicts his famed rendition of
Hank Snow's "I'm Movin' On". Released on James
Kirtchstein's Cuca label in 1961, it is probably one
of the most prized platters on the Wisconson label. He
was born in 1921 and, according to long-time Wisconsin
singer Larry Lee Phillipson, became active on the
Wisconsin country music scene during the early
fifties. However, a Dick Hiorns was active in
California during the immediate postwar years,
recording sides for the Aristocrat label and as
vocalist with Speed Coley (nee Coey) on Wrightman in
1947 and with Bob Martin on the Potter label. Whether
this is the same Dick Hiorns has not, as yet, been
substantiated. Larry recalls working with Dick in
Wisconsin from 1952 and has fond memories of his time
working with this talented singer.
Dick and I worked at the same time on The Hot Shot
Revue" on WTMJ-TV, Milwaukee, Wis. from 1952 until
1959, a show that was emceed by Milwaukee's popular
T-V and radio personality Gordon Hinkley. We would
appear with the Hot Shots on stage shows
in a perimeter around the Milwaukee area on certain
occasions. For awhile I worked for Dick alternating
singing, entertaining and tending bar when Dick
operated the "Club Western" on Center Street in Milw.
[in] 1955. Dick was a showman through and through. He
liked to set a shot glass of whisky on his forehead
with his head bent back while walking around behind
the bar and then flip the glass with a jerk of his
head and catch the glass with his mouth and swallow
the whisky. Sometimes Dick would put a chicken to
roast on the rotisserie, slowly turning during our
night of work and voila! At the end of the night when
the Club closed we enjoyed a delicious feast after we
scrubbed and mopped the floors in preparation for the
next day. Dick was a good hearted sort of a person. He
always treated people well that were connected with
him. Jimmy Sun visited me one time here in Amery and
when our conversation turned to Dick Hiorns he related
that, "When I used to play lead guitar for Dick I
sometimes almost felt guilty accepting my pay because
Dick emceed and told jokes so much that I didn't have
to work very hard". Jimmy Sun left Amery and went over
to Green Bay, Wis. for awhile and the last I heard he
was in the Twin Cities (Minneapolis, St. Paul). During
the last few years I lost track of Dick but through
the Îgrape vine' I heard that he would come back to
Milwaukee once a year to perform in someone's club. I
received the news of Dicks' passing with a call from
June Spaulding, who is sister to the hot guitarist on
my recording of "Bitter Feelings".
By the early sixties Dick was based in Wausau, in
central Wisconsin. He signed with Cuca in 1961,
cutting his first sides for that label during the same
year. Backed by guitarist Jimmy Sun and his band the
Radiants, Dick laid down a torrid version of "I'm
Movin' On", a tune that has since become a veritable
Îclassic', garnering US$60 and upwards price tags. A
second disc followed on Cuca's sister label, Sara, in
1965 and in 1968 Dick cut two more seven inchers for
Cuca. The nineteen seventies saw Dick recording in
Nashville and still very much active in country music.
Had it not been for Larry Lee Phillipson's foresight
in contacting me about this tragic event, Dick Hiorns'
death may have passed unnoticed. Regrettably, Dick's
achievements will remain almost anonymous, as very few
people know who Dick Hiorn's really was. Hopefully,
this brief obituary will renew interest in Dick's
valued Cuca recordings and his name and talent will
not be forgotten.