CHILD IS THE FATHER TO THE MAN/BS&T

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Al Kooper, BS&T, music

CHILD IS FATHER TO THE MAN

   Christmas 1966 my folks gave me the only gift I truly wanted, an AM-FM portable AC powered radio with a battery backup.They got me one of the best, a PANASONIC which lasted until 1976 when my friend, Bobby T. threw it against the wall after a NY Yankees loss. Not one of his best tantrums but close as his best was throwing an ashtray through the TV after losing at a game of “Spades”. But I digress. My portable radio had a pull out antenna and in the gift box was a strange looking wire. I asked my Dad if he ever saw this kind of wire as he was an electrician for the NYTA. He laughed, went to his workbench downstairs and came back with a small spool of the identical wire. He told me when the wire is attached to the pull out antenna the clarity of sound of distant stations would probably be clearer. Clearer I could not imagine as the sounds emulating from this radio was already amazing.  Pulling in distant stations was intriguing. So I got a ladder, climbed up the tree next to my upstairs bedroom window, shimmied up to the upper branches, as high as I could go (remember, I am afraid of heights) and attached the wire to the tree bark with a few heavy duty staples. The other end of the wire was attached to the side of my night table which when needed I would hook to my radio. WHEW…I could pick up all sorts of stations, especially at night when I could get the Canadian station CKLW (The Big 8). One night I heard ITCHYCOO PARK (Small Faces) on that station.

   My neighbor across the street, an older guy by 4 years, had an eclectic taste in music and occasionally would lend me albums like The Blues Project, Paul Butterfield Blues Band, and such. I nagged him about taking me to see The Lovin’ Spoonful to which he said he would but my Dad nixed it before it got any further. What’s this got to do with “Blood Sweat and Tears”? Well, one night (Spring of 68) while reading a book under the lamp in my bedroom with the radio playing softly in the background I heard something that caught my attention…”I Can’t Quit Her”, a nice little ditty, piano leading with horns. “WOW”, I thought, “This is good, who is it?” ROSKO, one of the Dj’s on the new WNEW-FM format announced it was “BLOOD, SWEAT and TEARS”. I thought, “That’s a weird name for a band”. A few weeks later while perusing the record department in TSS Stores I saw a strange looking album cover with an even stranger title ,“CHILD IS FATHER TO THE MAN” by BLOOD SWEAT & TEARS, needless to say I purchased it.

   As per my usual procedure I awaited until evening for the darkness and comfort of my bedroom before partaking of the sounds recorded on that 12 inch vinyl. I lit up my Marlboro Red, dropped the stylus down and …”The Overture” to which I thought, “What’s with that laughing?” … and then, “I Love You More Than You’ll Ever Know” an amazing song, all 5 minutes and 58 seconds of it. Then, the cacophony of horns as intro to “Morning Glory” (with what later in another incarnation of BS&T the organ/arrangement becomes “You Made Me So Very Happy”). I was mesmerized sitting there, then NILSON’s song “Without Her”, Side 2 with “I Can’t Quit Her”, “Something’s Goin’ On” and all the others.  This album is a keeper.

     As things turned out AL KOOPER the originator of the band was “fired” from his own band due to “creative differences” leaving BS&T to chart a different course, hit making pop music, as the second album BLOOD SWEAT and TEARS released at the end of 68 soared up the charts and included three (3) Top Ten singles. Critics hated the new version of the band but the record buying public loved it. Meanwhile, Alan Peter Kuperschmidt aka Al Kooper  Summer of 68) had a TOP TEN album on the charts with “Super Session” featuring MIKE BLOOMFIELD and STEPHEN STILLS.

DAYS AND NIGHTS OF MY MISSPENT YOUTH aka TICKETS TORN IN HALF: January 30, 1996: JOHN ENTWISTLE @ Tramps

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music

DAYS AND NIGHTS OF MY MISSPENT YOUTH aka TICKETS TORN IN HALF: January 30, 1996: JOHN ENTWISTLE @ Tramps

   One of the best part about having friends who are so into music is the ability to get them to join you on any musical journey at a moments notice. It’s even better when your phone rings and the other party ask, “Watcha doin’ ? How about seeing John Entwistle with me?” While we are/were both fans of THE WHO, my partner accumulated the entire recorded collection, including some “live bootlegs” of THE WHO and most of JOHN ENTWISTLE records. He also said the backing band would be “Rat Race Choir” a band we saw numerous times out on the Island years ago. I’m game for this and to go to TRAMPS on West 21s Street for this show made it even better.I loved that place. A LIRR train ride in, a short walk over from Penn, a few drinks at the bar next door, and in we go.

   Having seen THE WHO a few times since 1968, especially once in 1969 at FILLMORE EAST when they used 45 amplifiers,I learned that THE WHO could be loud but I was not too sure how loud ENTWISTLE as a solo act would be until I saw the set up. I knew this was not a “let’s get as close as we can” in this very narrow standing room only hall. Over to the left of the stage against the wall would just be perfect.

   LOUD as a word does not do justice to what I heard. Loud, yes but clear as a bell also. It was pretty amazing and very good. Four guys up on the small stage with enough equipment to be heard over in Jersey, they were a joy from the opening “Heaven and Hell” right through to the encores. Later, on West 21th heading back on Seventh Avenue to Penn, lighting up a Marlboro Red my friend, with a huge smile on his face said something which sounded like, “Coo shop ,huh” to which I responded, “Yes, and very loud”.

Set List:

HEAVEN AND HELL

HAD ENOUGH

SUCCESS STORY

TRICK OF THE LIGHT

BRIDGES UNDER WATER

THE REAL ME

LOVE DOESN’T LAST

BORIS THE SPIDER

LIFE AFTER LOVE

LOVE IS A HEART ATTACK

YOU

LAST SONG

MY WIFE

LONG LIVE ROCK

encore

SUMMERTIME BLUES

WON’T GET FOOLED AGAIN

 John Entwistle: Bass, Vocals; Steve Luongo,Vocals, Drums; Alan St.John, Keyboards; Godfrey Townshend: Vocals,Guitar

intuneandintime.wordpress.com

C’mon Over To 14th Street, Ya Dig…

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music

   SYLVAIN SYLVAIN once a member of the notorious NEW YORK DOLLS had a song “14th Street” recorded with his post-Dolls band THE CRIMINALS. If memory serves me that very tune was played by THE DOLLS during their last breaths of fame, along with the Gamble/Huff song “There’s Gonna Be A Showdown” which has a reference to 14th Street, maybe not our’s but maybe, yes. Fourteenth Street runs across the borough from the East Side to the West Side and is considered the demarcation point separating lower Manhattan from mid-town Manhattan.  This may not mean much to some but at one point most “hipsters” would never considering having any thing to do with things happening much further north of 14th.

   The area around 14th is a trip, a history lesson unto itself. I’ll start with the make up of the area: all streets north of 14th are in traditional “grid” formation, avenues running north/south, streets east/west while south of 14th, well, not so much. “Fourteenth” borders in some form or fashion the East Village, The West Village, Chelsea, Alphabet City, Gramercy and is a major hub for subways and PATH trains.

   Over the years I had many opportunities to enjoy the outdoor markets, hawkers, vendors, bars, restaurants and venues surrounding 14th Street, many times being over served by the bar staff. One of my all time favorite haunts was the original ENRICO and PAGLIERE’S at 64 West 11th Street off of Sixth Avenue, with its wrought iron  basement entrance connecting three beautiful brownstones.Compared to 14th, 11th was quiet and pristine, a residential area. By the time I attended “EandP’s” it was part of a Longchamp’s chain but I had to go after being told every night at about 11 PM by John ZACHERLE on WNEW-FM it was thee place for “good Italian food with all your can drink wine and beer”. What more does a young man need? All you can drink, I’m in. For those who care there is a sad story about the longtime hostess Mrs. Josephine Pagliere who died at age 95. Check it out at NYT:2/7/76.

   GLANCY’S, a corner pub on 14th, across from the Academy of Music/Palladium was another haunt that over served the under served masses. I learned early on “in a crowded bar, tip the bar keep immediately with a nice chunk of change” and you will never need to search for him or him for you. GLANCY’S was one such place. The EMERALD INN around the corner was usually not so crowded but was frequented by the “men in blue” while off duty, many times while still in uniform.

   There was TAD’S STEAK HOUSE, a cheap, cafeteria style (red trays) eating hall. Did I say cheap? Mushrooms and onions are additional charges, and dessert is yummy green jello. This was a wondrous spot where you stood in line while your steak is being either lightly touched to the huge flames in front of you or being burned beyond recognition, your choice. Not a place to impress a date.

   LUCHOW’S German Restaurant was at 110 East 14th. It was the place to go if you had a date you wanted to impress. This is not the place to go if you were heading to see THE ALLMAN BROTHERS BAND with a few guys. LUCHOW’S food was incredible. For the ALLMAN BROTHERS crowd, have some fun over at HORN and HARDART where you are entertained by watching stoned out hippies trying to get food/drink out of the vending machines.

   For pre-show/post show fun there was JULIAN’S POOL HALL’s staircase entrance to the left of the ACADEMY/PALLADIUM. Bring plenty of expendable cash to lose to all the hustlers awaiting fresh meat or to hawk some heavy drugs.

   UNION SQUARE has a long distinguished history but to us it was the standard meeting place, the place to gather, to meet up, to have a smoke before dinner and a show. Most subways and a PATH train stopped at the Union Square station so its locale was of great importance  Contrary to popular belief, even though UNION SQUARE was the site of the first LABOR DAY PARADE (1882), UNION SQUARE was not named for its ties to union activity but rather it was named as the “union of Bloomingdale Road (now Broadway) and Eastern Post Road (now extinct)”. Surrounding THE SQUARE was S. KLEIN’S DEPARTMENT STORE, to the north was ANDY WARHOL’S “The Factory” (The Decker Building) which later relocated to 860 Broadway at Union.

   IRVING (Washington Irving) PLAZA was around the corner, and directly across from Union Square on Park Avenue South was MAX’S KANSAS CITY where I would religiously stop by for a few cocktails and regularly for some entertainment, either in the bar  watching the weirdos or upstairs at the showcase to see my beloved HEARTBREAKERS.

   Lastly, there was the ACADEMY OF MUSIC, later THE PALLADIUM. We saw many bands there. It wasn’t FILLMORE EAST but it would do for major bands coming into town for a few years.

THERE’S GONNA BE A SHOWDOWN (Gamble/Huff)

Say man, they tell me you think you’re pretty good

Don’t you know you’re in my neighborhood

They tell me you’re pretty fast on your feet

You best be at the dance hall down on 14th street, you hear

Tickets Torn In Half: JOHNNY WINTER @ B.B. KING’S

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music

JOHNNY WINTER AND…

   Haven’t tried to comp tickets in quite some time but I gave it a shot by contacting JOHNNY WINTER’s management. I informed them that I was considering writing a piece about JOHNNY WINTER AND (The McCoys) being the head bill at FILLMORE EAST the weekend the ALLMAN BROTHERS BAND recorded their live album. The management bit and comped two tickets for JOHNNY WINTER at BB KINGS in NYC. I arrived early, leaving a tix at the will-call for my buddy (former student) and am escorted by my server “Al”  to my seat at a table for 6, while walking there I gave him my drink order, “a double Grey Goose on the rocks with some olives”. Before I sit down and attempt to say hello to the couple already seated there, the hippie looking head banded chick said to Al, “No way, this will not do, we specifically asked to be seated alone as I am a certified claustrophobic”. She proceeds to retrieve paper from her purse but Al the ever cautious server said, “No problem” and asks me to move to the far end of the table to which I do. Her date looks at me with sad eyes as if to say… “Please kill me”.

   My drink arrives and I toast to the sky hoping this night turns out well. A few moments later Al brings another double “courtesy of the house for your inconvenience”. Later, The JON PARIS BAND is hitting the stage and my buddy arrives ordering a round of “whatever Mike’s having”. I have a feeling that this might not end well for me but I solder on and toast my partner in good health. 

   JON PARIS did a nice set and the stage is set for JOHNNY WINTER. The couple at the far end of the table are in conversation about their lives which we could purposely overhear. She was extremely loud trying to impress whomever was listening. We found out that besides being claustrophobic is a “psychic”. Her date is actually melting in the chair trying to hide. Then, as they discussed JOHNNY WINTER whom they have never seen before, the hippie chick asks me, “Excuse me Sir, have you ever seen Johnny Winter before?. No sure if it was the three double Grey Goose on the rocks with another on the way but I responded as nicely as I could, “You’re the fucking psychic, why don’t you tell me?”. My partner almost hit the floor laughing hysterically. Her date nodded.

   PS: Johnny be good…me thinks.

   PPS: Everything was comped. Left Al a great tip.

IN THE BLINK OF AN EYE

Tags

music, PattiSmith

IN THE BLINK OF AN EYE: 1977,DECEMBER 30: THE PATTI SMITH GROUP with RICHARD HELL and THE VOID OIDS/THE ERASERS at the newly re-named “CBGB’s Theatre” on Second Avenue, the old Anderson Theatre. My brother and I, with a growing angry crowd, spent a very cold night outside waiting to get in. I had my usual pack of Marlboro Reds and we shared a bottle or two of wine. After an unusual delay the doors finally opened to find the theatre had limited if any heat, poor(no )plumbing and limited services, none. The usher led us to a nasty looking broken seat but it was close to the stage on the right. WE, my brother and I were primed and ready to go. The ERASERS a band we saw a few times at CBGB’s and MAX’s opened and did not disappoint. Funny note: you could see frost coming from the singers mouth, it was so cold in this freaking dirt hole. Then RICHARD HELL and The V.O’s hit the stage with “Blank Generation”. This is going great, but I’m still freezing. Then the PATTI SMITH GROUP ripped it up opening with The Velvet’s “We’Re Gonna Have A Real Good Time Together”, “Ask The Angels’,”Kimberly”(my bro’s fav), “We Three”. “Till Victory”, we are rocking now, this place is nuts. Then, a Ronette’s cover, “Be My Baby”,”Pumping My Heart”,Patti slows the pace with “Ghost Dance” and I’m getting so excited knowing this is going to be a blast as we get closer to the end except for all the NYPD officers and NYFD uniforms suddenly walking about the place. Patti addresses the crowd talking about a new song she recorded and then she introduces BRUCE SPRINGSTEEN who joins the band to perform “Because The Night”. This is followed by “25th Floor” and then the crowd, we, collectively sing HAPPY BIRTHDAY to our host, Patti Smith. But something is amiss as the NYPD and NYFD are now on the stage, not joining in the chorus. As we conclude the birthday song the NYFD closed the place down by announcing the numerous fire code violations. Patti, the diplomat, beseeched the courtesy of one more song, really two “Radio Ethiopia’ and “RnR N” if everyone promised to leave in an orderly fashion, which we did, slowly. She invited everyone to meet her over to CBGB’s to continue the party which was a mob scene so we headed home as my brother had a doctor’s appointment the next day.

December 31: We, my brother, his date, my wife, and I had tickets for NEW YEAR’s EVE at My Father’s Place in Roslyn featuring ROBERT GORDON. Earlier in the day my brother had a procedure in North Shore Hospital. At about 6pm he called me to tell me he had cancer and had to stay for testing.In the blink of an eye…everything changes…

THE GRAMMY’S 2018

Tags

BrunoMars, Grammy's, MSG, music

The Grammy’s

For what seemed like in ages I finally succumbed to my inner child instincts hoping to be musically entertained and watched that dreaded awards program known as THE GRAMMY’S. I do like James Corden who except for the fact of he being a budding star on the sponsoring network got the gig to host this year’s extravaganza and to top it off with me being a New Yorker I was pleased to hear that the awards would be given out on the stage of what is known as THE WORLD’S MOST FAMOUS ARENA. In this sacred hall I viewed many an event (The Doors, Blind Faith, Led Zeppelin, etc, etc.) and I am sure that being on the stage of this particular arena appealed to many of the performers, presenters, recipients and the spectators.

The hubbub which surrounds this particular genre of awards perplexes me,that is, Song, Record, Album, etc OF THE YEAR actually means nothing and is quite subjective. Aren’t these categories one in the same? Meaning, the “album” is a collection of tunes AKA “songs” which are sequenced on a collection known as an “album”. If you win “song of the year” I surmise one would also take home “record of the year” AND have a good shot but not necessarily winning “album of the year”. Here’s where it all gets muddy for me. Example, BRUNO MARS wins an armful of statuettes and probably rightfully so, however let me be honest to state I do not own the collection for which we speak but do enjoy Bruno Mars talents. Yet the critics of the show are complaining that JAY-Z was shut out, and so and so didn’t get that award, etc.etc.

Next up is the censorship of songs. If an artist performs his/her (mostly guys this year) tune live, as a recreation of the recorded song AND that song has profanity or racial slurs, or inappropriate in mixed company whatever, that tune should be broadcast as such and the network should not censored it. This morning I read an article proclaiming a mother’s indignation at all the “bleeps” and then Mom found out her 12 year old daughter knew (and uses) all the words when the youngster sings the tune in the privacy of her room.

And finally, to the performers,especially Sting, U-2, Sir Elton, Patti LaPone, come on folks, take a bow, a bow out. The audience, me especially, would have been better served listening to a newer artist, without the censorship. Unfortunetly, THE GRAMMY’S is run by aging white dudes about my age and as a result the show will lose their intended audience: the young consumers of the new music.

So as a result I say, “goodnight” to the GRAMMY’S and I’ll probably never return but unfortunately neither will the record buying public.

jazzbus@gmail.com

BOND THEMES

Tags

Chris Cornell, James Bond, music, RogerMoore, Shirley Bassey

It is such sad news that SIR ROGER MOORE passed away yesterday, May 23, 2017. While personally I find the original James Bond films with Sean Connery more to my liking and the James Bond of today more suspenseful than the Moore films, it appears that I am in the minority as Mr. Moore was voted “BEST BOND” in an Academy Awards poll, and in 2008 still had 62% of the votes.  My thanks to Sir Roger for keeping the franchise thriving.

Sir Roger, knighted by QUEEN ELIZABETH in 2003, played Bond seven times, starting with LIVE AND LET DIE in 1973 after Connery left the role. Sir Roger continued in the role with THE MAN WITH THE GOLDEN GUN (1974), THE SPY WHO LOVED ME (1977), MOONRAKER (1979), FOR YOUR EYES ONLY (1981), OCTOPUSSY (1983) and A VIEW TO A KILL (1985) when at 58 years of age Sir Roger announced his retirement from the role.

Now, what does this have to do with music one might ask? BOND has everything to do with music. After Shirley Bassey’s incredible version of GOLDFINGER which soared up the charts in 1964, most artists begged for a shot at “the title”. And here they are for better or worse, in chronological order as to see who was popular at the time. Interesting to note Shirley Bassey returned for a grand total of 3 and Chris Cornell passed away a few days before Sir Roger.

1962: DR.NO The James Bond Theme by The John Barry Orchestra

1963: FROM RUSSIA WITH LOVE: From Russia With Love by Matt Monro

1964: GOLDFINGER: Goldfinger by Shirley Bassey

1965: THUNDERBALL:Thunderball by Tom Jones

1967: YOU ONLY LIVE TWICE: You Only Live Twice-Nancy Sinatra

1967:CASINO ROYALE:Casino Royale-Herb Albert and The Tijuana Brass

1969:ON HER MAJESTY’S SECRET SERVICE: We Have All The Time IN The World-Louis Armstrong

1972: DIAMONDS ARE FOREVER:Diamonds Are Forever- Shirley Bassey

1973:LIVE AND LET DIE: Live And Let Die-Paul McCartney and Wings

1974:THE MAN WITH THE GOLDEN GUN: The Man With The Golden Gun:Lulu

1977:THE SPY WHO LOVED ME: Nobody Does It Better-Carly Simon

1979:MOONRAKER:Moonraker-Shirley Bassey

1981:FOR YOUR EYES ONLY-For Your Eyes Only-Sheena Easton

1983:OCTOPUSSY: All Time High-Rita Coolidge

1983:NEVER SAY NEVER AGAIN: Never Say Never Again-Lani Hall

1985:A VIEW TO A KILL: A View To A Kill-Duran Duran

1987:THE LIVING DAYLIGHTS: The Living Daylights-a-ha

1989:LICENSE TO KILL: License To Kill-Gladys Knight

1995:GOLDEN EYE: Golden Eye-Tina Turner

1997:TOMORROW NEVER DIES:Tomorrow Never Dies-Sheryl Crow

1999:THE WORLD IS NOT ENOUGH:The World Is Not Enough-Garbage

2002:DIE ANOTHER DAY:Die Another Day-Madonna

2006:CASINO ROYALE:You Know My Name-Chris Cornell

2008:QUANTUM OF SOLACE: Another Way To Die-Jack White & Alicia Keys

2012:SKYFALL:Skyfall-Adele

2015:SPECTRE:The Writing’s On The Wall-Sam Smith

JUST ELVIS

Tags

Elvis, music, trivia

In Tune And In Time…

The career of Elvis Presley is a well documented one. From humble beginnings as a child in Tupelo,Mississippi to the pinnacle of popular music, followed by a slow decent in the charts,to a very dramatic “come back” and ultimately his untimely death at an early age of 42, Elvis was and still is an iconic figure whom many considered THE KING. Yet, How well do you know or remember his career?

Here we go with what I call…. JUST ELVIS:

(1)The last ELVIS single,released a few days after his death, was: A)MY WAY   B)HIT THE ROAD JACK    C) GOD IS GOOD    D) THE SUNNY SIDE OF THE STREET.

(2) ELVIS had an amazing recording career with 38 TOP TENS, eighteen #1 hits. Yet Musicologists debate this number because one record, the a-side of which was HOUND DOG was #1 for 5 weeks, while it’s B-side was #1 for the next 6 weeks. The B-side was…A)BLUE MOON B) HEARTBREAK HOTEL C) BLUE SUEDE SHOES D) DON’T BE CRUEL

(3) Elvis had a few big hits on SUN RECORDS before RCA purchased his contract. THE KING’s first RCA hit was A) HOUND DOG B)HEARTBREAK HOTEL C)LOVE ME TENDER D)BLUE MOON .

(4) ELVIS recorded 24 songs during 1953-1955, some were self-financed demos. Of the 24, ten were released as 5 singles(a-sides,b-sides) on the SUN label. Today one of those 45’s or 78’s could fetch thousands of dollars for collectors (especially SUN209 released July 19,1954). The b-side was BLUE MOON OF KENTUCKY….The A-side was  A) Hound Dog B) THAT”S ALL RIGHT  C) LOVE ME TENDER  D)BLUE SUEDE SHOES .

(5) Sam Phillips sold ELVIS’s contract to RCA for a significant amount of money according to the time, plus $5000 which he owed ELVIS in royalties. That amount of sale was A)$ 1,000,000   B)$5,000,000  C) $100,000  D) $35,000

(6) ELVIS’s harmony group was known as  A)The Beale Street Boys B) The Jordanaires C) The Memphis Mafia D) The Chiffons

(7) ELVIS served in the military from 1958 thru 1960. He left with the rank of…..A)Colonel B) PRIVATE C)CORPORAL D) SGT.

(8) THE MILLION DOLLAR QUARTET ,of which ELVIS was affiliated, got together at SUN Studios on December 4,1956.This quartet consisted of Elvis Presley, Carl Perkins, Johnny Cash and…. A) CHUCK BERRY  B)JERRY LEE LEWIS  C)FATS DOMINO  D)WILLIE NELSON .

(9) and (10) and BONUS:

This TRAVELIN’MAN outsold everybody during the 1950’s except ELVIS and PAT BOONE. He usually performed at the end of the hit TV show, NAME THE SHOW …. NAME THE ARTIST… and NAME HIS BROTHER …..

The previous query: Finish this:

In his 1960 hit  Brian Hyland mentioned an ITSY BITSY TEENIE WEENIE……(Yellow Polka Dot Bikini). Ooh La La…..

Gary Lewis and the Playboys sung…..Everybody loves a clown…(but why don’t you).

FYI: This first TOP TEN hit for Gary Lewis and The Playboys was actually recorded by the legendary Wrecking Crew with heavily overdubbed vocals added to the very weak vocals by Gary Lewis; and of course  The Playboys were nowhere near the record(s). Actually arranged by Leon Russell, this hit was written by Bob Brass, Irwin Levine, and another famous musician who also provided the organ parts for Bob Dylan’s LIKE A ROLLING STONE, AL KOOPER.

To Jim Morrison….People are strange when you are lonely, faces look ugly (when you’re alone).

Sir Paul once stated…..She was just seventeen…(you know what I mean)

If you need a little lovin’, call on me, and  If you want a little hugging, call on me….Finish the phone number…..634-5……….(789).

In THUNDER ROAD Bruce Springsteen tells us…….Like a vision she dances across the porch as the radio plays Roy Orbison’s singing..(.For The Lonely).

The Easy Beats FRIDAY ON MY MIND………Monday morning feels so bad, everybody seems to nag me,Coming  Tuesday I feel better even…(my old man looks good.

Chuck Berry’s SWEET LITTLE SIXTEEN has us…..Really rockin’ on Bandstand, Philadelphia P.A,deep in the heart of Texas…(round Frisco Bay).

Hi everybody ,I’m Archie Bell and The Drells of Houston Texas, and we don’t only sing, we dance just…(as good as we walk)

The ROLLING STONES……Please allow me to introduce myself, I’m a man of……..(Wealth and taste).

BONUS ROUND: The Shangri La’s had a hit June of 64 with THE LEADER OF THE PACK. What was The Leader’s name? (JIMMY)………..

Who did the girls question about “really going out with him?”…(.Betty, Is That Jimmy’s ring you are wearing?)…..

and ” by the way where did she meet him?…(.at the candy store).

Hope all is well….”tomorrow is another day”.