Steel Notes Magazine October 2023

STYX DELIGHTS FANS AT THE ALLENTOWN FAIRGROUNDS REO Speedwagon The Goo Goo Dolls Rock Musikfest, Bethlehem PA Tony Bennett Memorial Strutter Kiss Tribute Rocks the Allentown Fair And much, much more!

Steel Notes Magazine October 2023 steelnotesmagazine.com

We Want to Hear from You! If you would like your to submit your CD for review consideration, please email: cdreviews@steelnotesmagazine.com

@SteelNotesMagazine

@SteelNotesMag

@SteelNotesMagazine

Steel Notes Magazine is a monthly magazine featuring what is happening in the art, music, entertainment, and fashion industry. Copyright is reserved. Re posting is whole or in part on other sites and publication without permission is prohibited. All right to photos belong to their respective owners.

IN THIS ISSUE

FEATURED

p4 Styx 2023 at the Allentown Fairgrounds p 16 Styx Crash of the Crown CD Review p 46 The Goo Goo Dolls at Musikfest p 115 Tony Bennett Pictorial Memorial p 136 Strutter Kiss Tribute Maingate at the Allentown Fair

MORE p28 p32 p38 p50

Summertime Fun in Atlantic City Whale Watching Peter Kasen’s Road Home Jurassic Quest Exhibit at the Allentown Fairgrounds p60 Jim Allford’s CD Reviews p76 Blue Mountain Tribe p80 Detroit Tubeworks p86 JR & Chris Peterson’s Colorado Adventure p110 The Blue Angels p 122 WWII Fighter Planes p126 Art in the Park Allentown

STAFF ADMINISTRATIVE

STAFF WRITERS

Alexxis Steele Publisher/Editor-in-Chief

Marlowe B West Josie Janci Monique Grimme Scott Aber Nikki Palomino Jennycat Rex Maurice Oppenheimer Christopher Annino Domenic Marinelli Jim Allford Sam Leighty Dex Shellhammer Rick Vanvliet

Josie Janci VP of Business Development Kristy Jamison Layout

PHOTOGRAPHERS Bob Klein Sheri Bayne Ron Shirey John Millington Gary Preis Mike Dorn Larry Dell Rhonda Jean VanBuskirk Dave Hummell

VIDEOGRAPHERS Lisa Koza Larry Dell

STYX at the

Allentown Fairgrounds

By Alexxis Steele Photos by Sheri Bayne

I was very excited for the Styx concert at The Allentown Fairgrounds on August 30th 2023 since I had recently had the pleasure of interviewing Keyboardist/vocalist for the band, Lawrence Gowan.

jeans. Tommy’s vocals were spot on,as he soared into his last sustained notes of the song, showing his great vocal chops. He added… Pennsylvania!..Allentown!,, as he ended with a kick in the air.

During my interview with Lawrence Gowan, one of the things that I asked him was, what he thought was the reason behind the bands success and longevity. He answered that besides their love of performing, people are still embracing their music with enthusiasm,and even new generations of fans have discovered their music as well. The other thing is seeing the smiles on thousands of their faces,as the crowd is on their feet with their hands in the air. This show proved why the fans love them!

Next up was stylish Lawrence Gowan,dressed in a pale yellow suit jacket with a black and white leopard print looking shirt, white pants and a white satin tie. The band kicked into one of their top hits- “The Grand Illusion” with all the fervor that earns them the right to be called one of the best classic rock bands of all time.

The band wasted no time as the stage went from dark to light with the first song of the night- “To Those”,from their latest release “Crash Of The Crown” This song has that very recognizable Styx sound with great harmonies,featuring JY,Tommy, and Lawrence all taking turns on the lead vocals. Following this was “Blue Collar Man”, performed by Tommy Shaw,who was dressed in a black leather jacket, black and white print shirt,and black

4

Lawrence acted as the emcee for the show, and introduced one of the founding fathers of Styx, bassist Chuck Panozzo,who was clad in a nice dark blue sparkle suit jacket and gray scarf. He stood next to Lawrence who then started playing one of my favorite Styx songs- “Lady”, with the fans in the audience singing along with him.

After “Miss America” James Young “JY”, started off the title track of their most recent album, “Crash Of The Crown”. This song featured not only JY, but also Tommy Shaw, and Lawrence Gowan on vocals,and was the

www.steelnotesmagazine.com

song most revered by Lawrence, as told by him in our interview. This song has all of the great elements of Classic Styx with harmonies and great keyboards.

Shortly after,once again playing emcee, Lawrence Gowan introduced the band,with some comedic banter. When Tommy Shaw introduced him, he looked at the crowd with arms wide and stated “ I love you Allentown,” Let’s turn this place into Paradise. Gowan transformed into the consummate entertainer with a Silver sequin jacket and black top hat, and came out from behind the keyboard to sing,sliding across the stage singing “Rocking The Paradise.”

Tommy Shaw switched to an acoustic guitar to perform “Fooling Yourself”. This song had all the great Styx elements of harmonies and great synth sounds, with Gowan showing his performance prowess by playing the keyboards facing the crowd , with his hands behind his back. Many times during the evening, he could be seen spinning his keyboard around, playing it in positions that only a pro like him could pull off.

Next up was another of my Styx favorite’s, “Too Much Time On My Hands”, which Tommy Shaw had the crowd singing on the chorus, with a digital clock like display in the background.

Switching things up, and giving the other band members a break, Lawrence Gowan did a fantastic classical piece, and came out at the end of it facing the crowd as they cheered, saying “That sped up the ferris wheel”. Thank you so much for that Allentown,that’s a piece of music called “Khedive” from The Styx concept album”The Mission”. That was the name of the capsule of the spaceship of the fantastic voyage.

Lawrence called Chuck Panozzo back to the stage for a duet called “Lost at Sea”,which he merged into mega hit “Come Sail Away” as the crowd started singing right along with him. During the song, he left the keyboard to walk up above the band on a platform, and pranced around on stage..At the end he said “We love you Pennsylvania, goodnight”.. The band left the stage in usual fashion, to get ready for the encore.

The stage turned black then a red spotlight focused on keyboardist/vocalist Lawrence Gowan playing the intro for classic hit, “Mr .Robato”. At the end of the first encore song,without skipping a beat,Tommy Shaw jumped right in with the acapella vocals for ”Renegade” with the crowd singing in unison. As the band ended the show, they raised their guitars in the air and moved to the front of the stage with their hands joined for their final bow. And what a show it was!

Styx,with the addition of Ricky Phillips, and William Evankovich put on a great performance! From Lawrence Gowan’s emcee skills, showmanship and talent, plus

Tommy Shaw’s vocal and guitar skills, to the awesome harmonies the whole band brings together,if you have not seen them live before, you are missing out! Check out all of their tour dates on Styxworld.com

THE BAND James “JY” Young Lead vocals, guitars Tommy Shaw Lead vocals, guitars Chuck Panozzo Bass, vocals Todd Sucherman Drums, percussion Lawrence Gowan Lead vocals, keyboards Ricky Phillips Bass, guitar, vocals

www.steelnotesmagazine.com

5

www.steelnotesmagazine.com

7

8

www.steelnotesmagazine.com

www.steelnotesmagazine.com

9

10

www.steelnotesmagazine.com

www.steelnotesmagazine.com

11

12

www.steelnotesmagazine.com

www.steelnotesmagazine.com

13

14

www.steelnotesmagazine.com

THE SETLIST To Those Blue Collar Man (Long Nights) The Grand Illusion Lady Miss America Crash of the Crown Lorelei Rockin’ the Paradise Fooling Yourself (The Angry Young Man) Too Much Time on My Hands Khedive Lost at Sea Come Sail Away

Encore: Mr. Roboto Renegade

www.steelnotesmagazine.com

15

CD REVIEW

Crash of the Crown

By Jim Allford

STYX still has their throwback 70’s sound with a dose of a modern feel. This being their 17th album still withstands the music for its time. The band had a lot of time to work on the making of this album since being in the Covid era and being locked up for quite a while. In this record, they are definitely sending a very powerful, inspirational message to everyone.

The album has 15 songs on it which has all the signature sound of the band. The intro to this CD is titled, Crash OF THE CROWN and straight from the start the band is getting in your face. The song is as strong as ever and you need to listen closely to the lyrics. The interlude between two of the members is quite interesting, as one sings the high notes while the other member sings the low notes. This song is A MUST TO HEAR. Hold onto your seats and get prepared for a ride.

FIGHT OF OUR LIVES says it all as Tommy Shaw states in the lyrics as you can hear the strong, amazing harmonies on this song.

REVERIES is truly a very good song as the lyrics are shown on their video. The lyrics and the melody are as strong as ever and the keyboards are truly a stand out on this song. SAVE US FROM OURSELVES is about the conflicts we are facing with all the protests and clashes going on in the world. When the lyrics state, “ same

16

prayers, we could all use a miracle now’ , no better words could be spoken. This song really hits home.

SOUND THE ALARM is about the end of Earth and the catastrophe that we caused by ourselves. We might be too late to change things now and we need to change things for the better, if possible. COMING OUT THE OTHER SIDE has a different feel for Styx on this song.

The beat is more laid back and it has a different feel and rhythm to the song. I must admit, I like it a lot.

TO THOSE has a great mix with their standard Styx sound with a Who feel to it. The lyrics suggest the young sending the old to war in hopes to stop the war and it even suggested to ‘eat the rich’. This is quite a song that needs attention.

STREAM brings this amazing album to an end with a Pink Floyd type of feel. The song tells you the future is bright and you should stand up and fight the power.

We still have the right to be free. This album shows the band has moved into the modern times with their same ‘70’s feel that made them famous. You can find STYX on their website: Styxworld.com, Pandora, Spotify, iHeart, Deezer, Apple Music, Facebook and Apple Music.

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

www.steelnotesmagazine.com

17

REO SPEEDWAGON at the Allentown Fairgrounds

By Alexxis Steele Photos by Sheri Bayne

Classic Rock is not dead. The evidence was with the thousands of fans that caused traffic to be at a standstill for an hour, and filled the parking spaces to see the double bill concert on the opening night of The Great Allentown Fair.

crowd by saying “C’Mon let’s sing together”. The crowd followed his lead with him on the chorus,and again after the solo, he did the first line,then with arms raised asked them to “Sing It” as the band dropped out with the crowd singing acapella.

Adoring fans poured into their seats,eager to see two of rock’s greatest bands, Reo Speedwagon and Styx.

REO has been their touring partners for the last 25 years,according to Styx keyboardist/vocalist Lawrence Gowan, whom I recently spoke with.

He said he discovered something he did not know about Allentown, and that right across the street from their hotel is a church that was built in 1787. Back in the revolutionary war Pennsylvanians were worried that the British were going to come into Philly and steal the Liberty Bell, so they hid it at a church right here in Allentown. “They knew it would be safe with you Guys”.

He jokingly said they snuck into the church late last night and it is in our tour bus now.

The fans were certainly not disappointed as they performed their greatest hits. Clad in a gray and white spiral striped tee shirt, gray jeans and ¾ length black leather coat, Lead vocalist/guitarist Kevin Cronin hit the stage running. First off was “Don’t Let Him Go”, followed by “Take It On The Run”, which he encouraged the

18

“We need Patriotism in this country, Don’t we?” We need people to come together and stop fighting with

www.steelnotesmagazine.com

each other and realize we are all americans. This is the greatest country in the world and we are lucky to be here. I like the fact that he was interested in knowing about the culture in our area,and was genuinely concerned about what is going on in our country and the world.

During the show, Kevin Cronin stated that the band’s original keyboard player, Neal Doughty had retired this year,so he enlisted the help of his buddy Rick Springfield to help find a suitable replacement for the band. Rick replied that he had the guy for him that checked all of the boxes, and then some, welcoming Mr. Derek Hilland who was playing a black Grand Piano.

That moment led into him starting their hit “I can’t Fight This Feeling”, joined by the thousands of fans in the audience singing in unison. Lead vocalist/guitarist Kevin Cronin talked about the power of people,and joining together amidst the ongoing differences in this country.

The crowd was in agreement.

Later in the evening the band members were introduced. It was good to see drummer Bryan Hitt do a nice extended drum solo..I think they always seem to be the least appreciated and noticed because they are not as visible as the front line musicians are.

He talked about the band going on a hiking trip in Boulder Colorado on a beautiful day that turned into rain and lightning and how they needed to get out of there as fast as they could.

The experience led the band to writing a song about that experience that he said was their trademark for the first 10 years called “ Ridin The Storm Out” Cronin said that normally this is the time in the show that they would go offstage,and come back for the encore,but he said “ I feel like hangin with you..” “I like it out here, so I am going to just keep on going.

Getting behind the grand piano,he said that this next song literally changed my life, then he started playing their #1 hit- “Keep On Loving You” At the end of the song he said :Keep on lovin Allentown”, then segued into “Roll With The Changes” ending with “Keep on Rollin Allentown, What do you say! Well,I say that Kevin Cronin and REO Speedwagon put on a fantastic show for their fans,and I hope they keep on Rockin and a Rollin for many more years to come!

www.steelnotesmagazine.com

19

20

www.steelnotesmagazine.com

www.steelnotesmagazine.com

21

22

www.steelnotesmagazine.com

www.steelnotesmagazine.com

23

24

www.steelnotesmagazine.com

www.steelnotesmagazine.com

25

THE SETLIST Don’t Let Him Go Take It on the Run Keep Pushin’ Live Every Moment Tough Guys Can’t Fight This Feeling Son of a Poor Man Golden Country Time for Me to Fly Back on the Road Again Ridin’ the Storm Out Encore: Keep On Loving You Roll With the Changes

26

www.steelnotesmagazine.com

www.steelnotesmagazine.com

27

Summertime fun in

ATLANTIC CITY

28

www.steelnotesmagazine.com

By Alexxis Steele

www.steelnotesmagazine.com

29

30

www.steelnotesmagazine.com

www.steelnotesmagazine.com

31

Whale

WATCHING

32

By Gary Preis

www.steelnotesmagazine.com

www.steelnotesmagazine.com

33

34

www.steelnotesmagazine.com

www.steelnotesmagazine.com

35

36

www.steelnotesmagazine.com

www.steelnotesmagazine.com

37

PETER KASEN’S Road Home

By Domenic Marinelli

Perhaps for many, ‘the road home’ would mean a journey to that one place…that one solitary abode that means familiarity and safety, a dwelling built out of pain and toil…. But for musician and artist, Peter Kasen, home is the road.

No. Sorry to disappoint and give you the answer right off the bat here, but I fear this is no online internet quiz to pass the time at work. No sunshine happy place perfect ending here; just toil and grit I’m afraid.

And despite that on that road, you’re exposed to the elements, especially in this society, exposed to what’s out there…the perils, ills and evils, poverty…and all for what, you ask?

Well, Peter Kasen isn’t like most of you out there; those that are content to work a day job or even have passion for another endeavor while chasing your own dreams.

Peter Kasen’s dreams of reaching millions of people with his exceptional music is his only passion, and he’s been at this for quite some time, dear readers. But is this climate ready to accept him or any other artist with open arms and open hearts?

38

In fact, it was this grit he showed that drew me to him.

Me, a writer and journalist from Montreal, Quebec, Canada; an artist on his own road to wherever the hell it is these words I scribble obsessively will take me. We met on social media. A former Twitter page dedicated to the legendary writer, Jack Kerouac, decided to share a post for Peter. Peter, who had suffered through the pandemic like everybody else was stranded, a fish out of water, during the whole ordeal, and for artists such as Peter and myself, the pandemic was hard, because both of us made our living on the art we were trying to deliver to the world…he with live gigs, me with public readings of my written work.

www.steelnotesmagazine.com

An affinity I saw when I liked that post by Daily Kerouac and shared it, an affinity between Peter, myself, the operators of that Twitter account, and the sainted Kerouac…we were and are a dying breed. Jack in his time and Peter and myself in our time, each of us on our respective sides of art and each of us on our respective roads.

But it wasn’t just the pandemic that halted any serious artists’ progress. It was that ignorance shown by the masses, for anyone doing what Peter is trying to do. I felt for Peter and it was in that common bond we shared that I found an admiration. ‘Finally,’ I said, ‘someone out there like me’ albeit with a few differences of course.

For fans of my writing, you know I’m part of the gonzo journalism school of media, a student of the form started by the late, great Hunter Thompson, and I always like to relate to my subject through my own experiences, and boy did Peter and his plight remind me of my own experiences in a few ways at least, but his story is indeed a special one and one that fascinated me for obvious reasons.

I had disclosed years ago on a podcast and in my writings that I had gone bankrupt not once but twice and all in order to go through with my dreams—to reach the world with my writings and ramblings. I mean it’s hard to explain, but when you’re dedicated to an art form it really is hard to waste time with any other endeavor. As Gregory Corso once opined, the writer and the work are not separate entities (paraphrased)… you can’t get a cushy job and expect to write “like a lion….” It simply won’t happen. The aforementioned Gregory Corso’s dear friend, Roger Richards, once stated just this in the documentary film, The Original Beats. I add it here because it applies to the way Peter sees this here life, or rather, as the artist’s life should be.

To follow Peter on social media is an experience in and of itself, despite his hatred for the platform(s) known as social media; his Tweets are far deeper than what you’re likely to see on social media these days.

“I am not the same person I was when I left Arizona in late April for Portland. Monumental changes have occurred. They are now forming and manifesting…”

-From Peter Kasen’s official Twitter account

Here was a guy that took to the road much in the same way that Kerouac did years and decades before.

Here was a man who would put it all on the line to get his message across, and it was as I saw his story unfold that admiration began to ignite within me…an admiration for one who understood the way it should be for an artist just as I did… All on the line, all in …

“My first encounter as a solo artist, was literally quitting my day job at a guitar store in the bay area, recording a 4 song EP, which became my first record, and then playing a headlining show as my first show in Berkeley, California at a venue now defunct, called Blake’s, right on the UC Berklee campus. I sold it out, and decided I should just book a tour to Seattle and back. That was my first tour, an experience with putting everything to the side for traveling with my music from stage to stage in the form of touring.”

Now talk about all on the line.

His bio is featured on his official website, and we’ll include a link here at the end of this piece, but you can read some of his story here, as per his official site: “(Peter Kasen) began his solo music career in 2005 in Berkeley, California under the moniker of “Propel“. Not wanting to be lumped in as just another man with a guitar, Peter chose this name for several reasons and remained using this name publicly until the tail end of 2008, when he was signed to UK Record Label, Smoking Frog Productions in Wales, UK. (…) Peter has toured the west coast of the USA 10 times, the Midwest, Southwest, and Northwest. He has also toured Europe on four separate tours across ten countries….”

-via Peter Kasen’s official website Work (the dreaded day job) is something that mostly got in the way for me, and for Peter it was very much the same. Yes, it was a means to an end and helped in paying the bills, but work was something I often found myself returning to unhappily as I was on my own quest, but a necessary evil it was, but an evil nonetheless for artists these days. For Peter it’s crucial, especially in getting him back to the place he needs to be at…

“The anger, aggression, and emphatic strumming you hear behind my guitar playing is truly my soul trying to cry out for help, in terms of never getting what I feel I deserved musically in this life. The singing and lyrics are a way of icing the cake I feel are tender actually. So it’s gritty musicality, and odd time, with odd tunings, and not mainstream approaches to folk music, which by nature is supposed to be easy to digest…

I do the polar opposite and make the listener think, feel, and emote in turn with my songwriting and dynamic approaches to song form, lyrics; every note is thought through, and honestly writing music is like walking for me, the melody vocally is the only thing that takes honest work from me. Lyrics and Music have always been very second nature to me as a musician.”

www.steelnotesmagazine.com

39

His issue with money was something he did not shy away from. Like Gregory Corso, he wasn’t at all shy to speak his mind on a lack of support out there and a lack of funds. This was refreshing to see, and the honesty sheds a light on a world that many lie about. He had the guts to tell the truth and speak his mind, no matter how hard it was for some to hear…. Most try to give off the impression that they’re rich out there on social media; that everything is okay, even when it’s not —that they are big stars. Peter chose to be honest about his aforementioned plight.

“Reciprocate support, definitely don’t buy records of mine, do not lift a finger to help. Some of these peers used to come to me about tour routes in Europe and the UK. I offered stages to many who opened for me internationally. It’s never ever been offered back once. It’s gross […] People will dance on your graves, before they ever lift a finger to help you succeed. They will sit watching you struggle for 10 months carless, yet show off what they have bought. Knowing my music career is on hold. I am extremely tired of selfish people. Please lose my number…. »

followers on my music business page. If I were not a professional musician with all this background and accolades, I would dump all of social media. I truly want to just have a tiny home on the coast, come out for yearly long tours, and new records. Otherwise, be left alone, much like Nick Drake.”

“Music is about inclusion, not exclusion. From festivals, to venues, to tour support nationally, to press, to labels. It’s in reality anything but inclusive. I have always been an outlier, and DIY in this industry. I honestly can do it all alone, it’s just exhausting. Most can’t.”

-Peter Kasen on Twitter

-From Peter Kasen’s official Twitter “I am one of the few people not just artists, who (are) able to truly look at themselves in the mirror and accept both the flaws and the imperfections readily. I can digest it all fast. I can also see the future sometimes in terms of what is coming to me in my life, based on movements. I was raised in a very affluent upper middle class Jewish family in Miami, where we really had no wants; my father took care of it all. In my adult life, I have struggled greatly financially due to this pact I made to stay the course with my music at all costs…

I feel fine with exposing this all to the public, and have stopped worrying or caring about how others may view it, when I am DIY (Do it yourself), (and) never received a $1 from my family for my music career, and have always had to do all this on my own. It has paved my independence and why I can do many things on my own that most musicians need labels for, or help with.”

“Portland has reinforced my knowledge that I am not built like the rest. What I can endure, and accomplish with little help is rare. I realize now that you can throw me into any situation, and I will beat it, outsmart it, and outwork it until it’s finished. My father is in me.”

-Peter Kasen on Twitter And what of that platform we met on, Peter and I? How much does it help in the long run? Today’s social media society has a limited range for focus; everything is rapidly changing and all the time…interests fade and shift…. When we spoke, the question came up as to how hard motivation is in this type of climate.

“Honestly, I hate social media, which is why you can only find me on Twitter. I deleted Facebook in 2012 at the height of a huge page on there over 10,000

40

When I look at Peter I see an old school mentality—an old soul—and I liken his journey to the musicians that came before, who traveled and performed their work and tried desperately to get noticed for it. He is doing much of the same thing, but in an altered society… one that has really changed and affected the artist and how he or she can produce and release art. One would think: Do the difficulties this new society has placed at the foot of the modern artist light a fire under Peter or depress him and shut him down at times?

“I strive to be a great lyricist; the written word and its use of metaphor and word play is what excites me still about the craft of writing songs. I have so many unreleased songs that I must get released somehow, and so much music left in me. If funding were not a problem or issue, I would have 12 records out by now.

It’s always and only a funding hold-up, never a materialready issue.”

How long can those keep it up, though? These artists that share their drive with nothing but their main focus?

For artists like Gregory Corso, it was until the end. No trial, no tribulation could deter him. Even before his passing, there he was at St. Marks in New York, reading his work, pushing it out to the world, a world

www.steelnotesmagazine.com

that often wouldn’t listen. Peter is very much the same.

I often struggled on my way to writing full-time, and it still doesn’t pay well, but I do it because there’s nothing else for me. This was all I wanted to do, like Peter, so no endeavor can ever distract that focus…through the shit pay days, through the eating of Raman noodles and overdue bills, bankruptcies…the focus had to remain…. and it did, and it was as I saw Peter’s story unfold before my eyes that I was reminded of my earlier years.

I mean for Peter, he was literally facing oblivion— stranded in a strange place, a strange desert of his own, and he like the biblical John The Baptist was crying into that wilderness, letting the four winds carry his message to hopefully far off lands, and it wasn’t of a messiah he spoke of, but of a truth he saw to be undeniable and special…and so much so that he would put it all on the line for that message to get across to the masses.

“Music is always and forever… It is why I wake up, and why I never married, never bought a house, never got a huge corporate job, never became like the rest of them.

I will do this to my grave, and I am sure I will die not rich, and not famous, but I am truly hoping my music will live on far past my human body does. It is an all or nothing approach, that many do not understand, but the day jobs are simply a means to get me back on tour, and back to recording full-time again. That is my calling and why I am here on this earth.”

And what about artists making money at their art? It is possible; I’ve seen it; I’m living it at the lower level and upper level in shifts that resemble those of a roller coaster ride, but a certain amount of understanding has to go along with the decision to stay the course and an acceptance of that roller coaster existence needs to be reached. You won’t be eating steak dinner every night and perhaps ever. Peter has theories about that as well…

“You must tour full-time and not take much time off, the real career is on the road, playing city to city, town to town, in front of people who may not ever use Twitter, or any social media platform, the key is touching their soul in person, live, transferring that energy, that love, from one to another through the form of my songs. As you know this is a tough subject for me to publicly speak on, but what I do feel comfortable stating here is that once my Mercedes died on me in Oakland at the end of September 2022, my entire life went black…

Since then I have lived in Tempe, and now Portland, and this past year has been the hardest I have faced in maybe a decade since I lost my Father. This is why I have not released a new record, or performed. The car was a huge piece and still is to my music career continuing...”

Starting over was not at all a new concept for Peter, and for him he has learned to adapt.

“From 2005 to 2010 I was in a way different place musically, did not have to work day jobs, and toured full-time. I had labels then, bookers, help! I rebounded well after my Dad’s death, and taking a year and a half off for a woman I was engaged (to), who talked me into becoming someone I was not. After that ended, I quickly returned with A Delicate Balance EP, and then went to Europe to tour again. Things were good for several years, almost all the way to the start of Covid. I would say this is the third major shift of restarting I have had to do since Album 1.”

He has spoken about his father and in a great light. I definitely understand how important great parents can be to a struggling and starving artist.

“My father was my family. In fact he was the only one who truly unconditionally loved me fully. I have not had a relationship with my brother really since College.

I tried hard after my dad’s death, back in Miami from Sweden, to put my animosity aside and have a talk with him on the phone for my mother’s sake and to get us all in the same room for once and talk this all out, and have a family post my dad’s death in 2012…

That went nowhere, and we have not spoken in 10 years now. As far as my mother, I pulled away a year ago, actually when my Mercedes died on a steep hill in Oakland, and I was on a door dash delivery, I called her in tears, stranded in the pouring rain on Labor Day, when every mechanic was closed. She hung up on

www.steelnotesmagazine.com

41

me, and that was the end of me even trying. I have no family, I am orphaned, I was left for dead, the Kasen name to me, is synonymous with pain, and I do not relate to any one of them…

As for aunts/uncles, once my Father died the whole outer family died with him. He was the glue, you come to realize you have nothing in common with these people but a last name, and you actually are embarrassed by their way of thinking, and life choices.

They are so materialistic and only see success in the guise of financial extremes, which I detest, so I will never fit in, and chose to cut myself off from all of them about a decade ago now. It is not easy, and it’s lonely, but I am among the strongest humans alive.”

The independent scene for art in general is a tricky platform, but he has navigated it over the years, taking the hits and moving on as he goes…

“I came up through MySpace, and it made sense then.

You earned your stripes, you toured way out of your comfort zone, in fact labels like a Sub Pop, or a Merge, would not come near you until you toured states – plural – from your home city. You needed press and much more to earn stages, press reviews, and attention.

You earned it, and the next songwriters made sense as you could see the work and touring routes and effort put in. Now, it’s polar opposites…

You don’t need to tour much, and really it became a fad concept, specifically in the indie scene where the top 25 indie labels all run to sign the next female acoustic songwriter who can barely play the instrument well, hire them a backing band to fill in the obvious glaring musical immaturity, and lack of technique, but they use pronouns, and stay in the political feminism push, so the labels not wanting to be seen as outdated, or not open, and accepting of all music and artists, line up to sign them. Most modern songwriters are honestly garbage, and if I were to watch that, as I used to care so much about that, I would go insane…

Who gets what festival, why, who gets to perform live on Tiny Desk, who gets played on KEXP in Seattle, who moves the needle and why. If you research the support all the artists getting exposure on the national level in the USA, are on one of 50 labels at best, and all use the same booking firms which the labels hire, the same press firms that the labels hire, so really it is still and always has been pay to play. It just went from the Major Label Los Angeles Sunset Strip concepts of the 90’s, to this image without substance (or) consciousness we see today. It’s honestly disgusting to watch and see.”

So he’s out there, working on his poetry, his message, his music…on the road, in beds that are not the bed of his own home, but a borrowed bed…borrowed time…a gamble he’s quite comfortable throwing the dice in for, time and time again, and on his own. But setting to work, recording, is something he applies himself to diligently.

“I do not record on a laptop like many of my peers, on a Macbook with garage band, it would save me a ton of money, and allow me to release multiple records a year, but I choose quality. I always go into a studio, and pay for an engineer, and for mastering also. As for as songwriting on the road, that is when my best work happens; not during stagnancy, but during the traveling part…

Many of my favorite songs were written on Amtraks as I toured to Omaha Nebraska from Los Angeles on my 2nd record with only an Amtrak. Once I get my used car, I will be traveling almost fulltime. Lyrically, it seems that the past, memories, and triggers come when you leave a city, or town for good and it is (then) that I become Peter.”

42

www.steelnotesmagazine.com

What about being misunderstood—his message being distorted by listeners that just don’t get it?

He went through a whole process to come up with that original style…

“Oh yes! Daily. I know what I do forces a listener to turn inward, examine themselves as the great literary writers also did, as well as the great philosophers. I have been told I am much like a modern Thoreau in how I see the world, and how my music is taken in as. I will flip this question back to the author, being you, and ask you, is my musical message and songwriting not clear in its output..?

“I think a combination of Beethoven, Smashing Pumpkins, Jane’s Addiction, and Sunny Day Real Estate, meeting Dylan, Leonard Cohen, Nick Drake, and Elliott Smith. Dynamics and power shifts in a song, always evoked me, and inspired me greatly as a musician, even before I ever was a singer and went solo. When I was in my main band at Berklee, North Drain Fading, the shifts and dynamics were almost Rush-like. The drummer was that good, so I am percussive by nature, and love to play with time signatures, bar lines, and slow to heavy, back to slow pieces in a song…

I will also counter and state, lyrically, and song title wise, I do not want them to know what these songs are about fully. I use a ton of metaphor, and ambiguity on purpose to make the listener find a meaning for themselves from my songs. For instance Collapse and Fade is an anti suicide song, that many thought was a suicide song, or love song, it is neither.”

On an Acoustic guitar that is very hard to pull off, and sing over, so my style is so left field from the major pop folk songwriters, that I am an outlier in the industry.

Coupling this question with the one about being misunderstood, I think this is the exact reason why I am misunderstood musically. My message is clear, but the delivery is not cookie cutter, and really has not been seen before on an acoustic guitar in my opinion.”

And what about hobbies? Does a man who thinks about one thing, can he content himself with playing video games or going to the club for a wee bit of racquetball and be content?

“I sort of married Music, and my music career many years ago, at the start of the journey really. I gave up Marriage, A condo in Miami, and I even drove an Audi A4, used to make a good salary, and be the perfect Jewish child. Music became my Wife, Kids, and Safe Space. Outside of working a day job, music takes up all else, and that is how I have crafted my life on purpose. I hope this makes sense.”

His vision is most definitely clear if you’re paying attention, and if you do a little bit of thinking on your own, you should be able to figure out the point, the message he’s trying to get across from song to song.

His musical approach is a different one. As his official website states: “Dynamic shifts and changes in a single piece of music, and the time signatures that accompanied those shifts, became a major obsession, to later take form in Peter’s songwriting still in use currently today. A style was born, one that leads more to a band or group of musicians playing, as opposed to just a single acoustic guitar speaking. It is a delivery that is far from standard and separates him from the legions of folk songwriters worldwide, and this remains a niche style of music within a greater independent alternative larger genre to this day.”

-via Peter Kasen official website

www.steelnotesmagazine.com

43

So keeping the faith is important at the end of the day but for Peter that comes from within and no other practice or deity…

their word? But isn’t that mad and crazy conviction enough to convince the entire world that what we have to say is worthy of attention and dare I say it, even praise?

“I do believe in Self, and I feel that faith in myself, my abilities, my journey, my pact I made, yes those are all sacred to me, and they will stay with me no matter what comes my way in this human form until my physical death.”

“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”

- Jack Kerouac, On the Road

The ultimate goal for Peter…

“This used to be major labels, stadiums, large radio play, and rock star status. Now I just want no day job, an album a year, tours full-time, and a tiny home on the coast. I want the enigma I have built to come to fruition.

You can enjoy my music, and not know the man behind it. I would appreciate that and some money to come from it all to sustain would be great. I will be heard worldwide no matter what it takes. That is my dying wish, for this to live past me.”

Sometimes it’s a mad dash. Frantic at best, working at a Starbucks one day, the next you’re performing in front of an audience and things look like they’re going to be okay, and your word will finally get out there to the masses, this faceless crowd you’ve been imagining since youth and then for months, maybe years, crickets… and your back to Starbucks or someplace else; it’s rough.

I lived it and until I decided to stay the course with my writing and journalism, I was playing the same game.

But the pandemic delivered a severe blow to those that could make money performing in clubs and coffee houses, and thus…. Well, I’m sure you know the rest, dear readers.

But he’s out there…that madman calling, hoping that someone, anyone will understand, pick up on that message and carry it for him a little. I understand that, long ignored and forsaken, but that fire is still alight inside; Peter has it, I have it, Kerouac, Thoreau, and even the aforementioned Gregory Corso had it, and instead of letting those that ignore his plight rule his life, Peter chooses to move forward with that same old plan, a plan that worked once; he was sidetracked by issues out of his control, but when the dust settled, the horizon became clear.

Peter dusted himself off, looked off into the horizon he’s been staring off to since forever and put one foot in front of the other…

And maybe it is there, that road that in the end is home for Peter Kasen… the going, the moving along to that distant hope on that horizon, which in this world is murky at best.

In the end, he’s mad. In the end, I’m mad…playing with fate and oblivion like that, you have to be. Corso, Kerouac, Thoreau, even Bob Dylan…in the end weren’t they all mad as well, to believe in

44

To speak to Peter Kasen is a special thing. For me, I saw a little bit of myself, and a friend I didn’t know I could find out there in the desert, and one that reminded me of the conviction that started me on my own path. I look to Peter and boy do I want to root for him, root for him and see him where he wants to be. Is it just me? When did rooting for someone else other than yourself die? What happened to us? When did looking at someone and saying: “Man, that guy has it; I hope he makes it.” When did that sentiment die?

In the days of the Beat writers, they helped each other, they knew there was a piece of the pie for everyone; in the days of the Seattle music scene of the early nineties, they wore each other’s T-shirts in support, but today, everyone wants to be the star of the big movie and no one wants to be the supporting actor…despite the fact that some of the most memorable Hollywood roles were that played by the supporting actor. One epic one in particular that has always impressed me was Robin Williams’ portrayal of Dr. Sean Maguire—a role that won the late, great legendary actor an Oscar.

“You’ll Have Bad Times, But That’ll Always Wake You Up To The Good Stuff You Weren’t Paying Attention To…” -an epic line of Williams’ character in Good Will Hunting, written by Matt Damon & Ben Affleck So if no one else will, I’ll be that caring, supporting actor to Peter’s starring role in this instance. So go, Peter…get in that car, pack it up with all you’ve got; get back home, to that road…that place where your magic happens…and when you finally do embark on the quest you’ve been so eager to return to, hit the clubs and play, Peter…play like you’ve never played before, brother….

How’s that for an ending line by a supporting actor in Peter Kasen’s big movie, The Road Home? I kind of like it, but like any good supporting actor, I leave the last line for the man with the starring role in this tall tale…”

“It’s been a long, exhausting journey. This path, now looking at Album 7. I am grateful and relish all of the beautiful souls I have met across 11 countries now, through the span my music has traveled. Gave up so much to do all this, but it’s my path. I will see you all soon. ” -Peter Kasen on Twitter

www.steelnotesmagazine.com

(All images via Peter Kasen)

Peter Kasen links: https://peterkasen.bandcamp.com/ https://www.amworldgroup.com/ https://www.paypal.com/paypalme/peterkasen https://peterkasen.com/ https://www.youtube.com/peterkasen https://twitter.com/PeterKasen

Peter Kasen’s Complete Discography A Year Worth Forgetting EP/2005 Antique Scars EP/2006 Dust, Doors, and Debt LP (UK Imprint)/2008/2009 Veer EP. 2009/2010 A Delicate Balance EP/2013 Co-Pilot SINGLE/2015 Vultures SINGLE/2017 Exit Wounds EP/1.1.2019 Second Skin SINGLE/2.25.2021 (Providence) Tied Knots SINGLE/6.23.2021 (Providence) Providence CD (2-Songs)/8.2021 (Providence) Brittle LP/12.2023 -via Peter Kasen’s official website

Domenic Marinelli is a writer and journalist based out of Montreal, Quebec, Canada. He is the author of multiple books which include Generic V, Beneath The White Darkness, Where It Lay Hidden, Across a Dark River in Palermo, His Old Tapes (stories & poetry), Ancient Credos In Sanskrit Moderna and so many others. Some of his work has appeared in Steel Notes Magazine, Guilty Eats, Dog O’ Day Magazine, Park Extension News (in Montreal), Slam Wrestling, Pro Wrestling News Hub, CFL News Hub, Lombardi Ave and in many other print and online publications.

www.steelnotesmagazine.com

45

THE GOO GOO DOLLS Musikfest 2023

By Alexxis Steele

Anticipation was in high gear for the packed crowd awaiting The Goo Goo Dolls to hit the stage at Musikfest on Wednesday August 9th 2023. Thunderous sounds and white flashing lights preceded their opening song Broadway as vocalist Johnny Rzeznik greeted the crowd with a Hello Bethlehem!

He proceeded to tell a story about a girl he met and found out she was an internet social media superstar and wrote a song about it last year called “Yeah I Like You” from their 2022 album Chaos In Bloom. Their latest single- “Run All Night” had some touching lyrics that made you think,with the crowd also joining in.

90’s alt-rock band The Goo Goo Dolls are no strangers to Musikfest. He explained they have performed there at least 20 times previously, and stated that “It is not summer unless you play here”. Rzeznik, now 57, was still recognizable, and has not changed his look much since the band first started, in great shape and maintaining his signature spiky/shaggy hairstyle.

Bassist Robby Takac gave Johnny Rzeznik a break a few times during the night, by singing a few songs from their early punk inspired days, with songs like ”Lucky Star” from their 1993 album, “Superstar Carwash”.

One thing that was noticeable was how he was sitting down on a stool, propping his right foot on a speaker to perform,and explained how he had hurt his foot.

Even though he had an injury, that did not stop him from putting on a great show, which was evident by the crowd’s cheers of appreciation..

Several times during the evening he encouraged the crowd to sing along with their hits like “Slide”, and Reznzik added, “Lets forget about all the B.S” and shortly after they started the song “Black Balloon” with several big black balloons were thrown into the air to engage the crowd to hit back and forth.

46

Poking fun at how far things have come with modern technology,they brought out a faux box with a reel to reel, representing what old time recording was like. Surprisingly they added two cover songs to the evening’s repertoire, which included Supertramp’s “Give A Little Bit”, with O.A.R ‘s Sax man included, then later toward the end of the night ,they added the opening act’s lead vocalist for a rendition of Tom Petty’s “ I won’t Back Down”.

Closing the night of course was the song everyone was waiting to hear, megahit “Iris”.

As great as the whole show was,this was the icing on the cake, and oh how sweet it was!, Ask any Goo Goo Doll fan!

www.steelnotesmagazine.com

www.steelnotesmagazine.com

47

48

www.steelnotesmagazine.com

www.steelnotesmagazine.com

49

JURASSIC QUEST

at the Allentown Fairgrounds

By Alexxis Steele 50

www.steelnotesmagazine.com

www.steelnotesmagazine.com

51

52

www.steelnotesmagazine.com

www.steelnotesmagazine.com

53

54

www.steelnotesmagazine.com

www.steelnotesmagazine.com

55

56

www.steelnotesmagazine.com

www.steelnotesmagazine.com

57

58

www.steelnotesmagazine.com

www.steelnotesmagazine.com

59

60

www.steelnotesmagazine.com

CD REVIEW

Somewhere in West Texas

By Jim Allford

AL STAEHELY hails from Austin, Texas and his name should be familiar to many. Al has played with the band Spirit, The Staehely Brothers, Nick Gravenites/ John Ciopollina Band. He, also, happens to be an entertainment lawyer since 1979.

The band members on this release are: AL STAEHELYVocals, Acoustic Guitar; SCRAPPY JUD NEWCOMBElectric and Acoustic Guitar; ANTHONY FARRELLFender Rhodes; CHRIS MARESH-Bass and FRAN CHRISTINA-Drums, Percussion.

This 12 song Cd was Produced by Scrappy Jud Newcomb; Bruce Quarto and Mike Carden and Engineered, Mixed and Mastered by Gory Smelley.

SOMETHING GOOD IS GONNA HAPPEN kicks off the CD and the video to this song is great, to say the least.

The country music favor is quite a treat as the chorus to the song gets in your head.

song is quite a treat. LONG LEGGED WOMAN reminds me a bit of The Steve Gibbons Band.The vocals are great and it’s a great rockin’ song. Turn it up and really enjoy it!

NIGHT IN A BOX is a rockin’ song that is in your face.

Put on your rock and roll shoes for this one and let it rip.

I must admit, do I hear a bit of Dire Straits in there?

BE STILL brings this CD to end. The song is very mellow and laid back with a slow strumming of a lone guitar.

I would like to give AL STAEHELY a big shout for being in touch with me. You can find AL STAEHELY at: You Tube, Pandora, Spotify, Instagram. www.alstaehely. com, Twitter, Facebook, Linkedin, Pandora, Apple Music, iHeart, Soundcloud, Amazon, Deezer and many other sites. Please check him out, you’ll be in for a real treat.

ROCK ON, JIM ALLFORD

Epic way to start off a CD. LOVE TRANCE is a slow, sweet song that should have slow dancing on the dance floor, hugging your sweetheart and holding her close and tight. The melody and lyrics are the best ever.

EMILY starts out with sweet guitar pickin’ and really has a great melody that is bound to get into your head. This

www.steelnotesmagazine.com

61

CD REVIEW

Caged Birds Think Flying is a Sicknesss

By Jim Allford

ANDREI RIKICHI was brought up in Switzerland and Belgium and now based out of London. He is a multiinstrumentalist. This is his first attempt at being a solo artist. This 14 song CD was Recorded and Produced by Andrei Rikichi and Recorded and Mixed at Bearsuit and Mastered by Ian Hawgood.

This whole song CD is made of twisted loops, twisted loops, bubbling electronics, glitchy beats. analogue extranea and all kinds of noise. This CD is fragmentary experimental fragments that could get into your head and bring flashbacks and images. Hold onto your seats and get ready for an uncontrolled journey and ride and make sure you’re strapped in.

THEME FROM THE BUTCHER’S PARADE kicks off the CD and try to count how many instruments you hear composed in this short intro.

PLAYER NAME: THE SYRACUSE APOSTLE has a weird, off beat sound with some eastern vibes and some plain old noise. So, where are we going from here? Makes me wonder!

THIS IS WHERE IT ENDS brings in the very last of the noise on this album. I find this music, if that is what you call it, to be intriguing at times and wonder how to put a category on it.I suppose it’s postmodern, avant garde as many other artists were when they made their first venture. There is no doubt, I could see Andrei Rikichi making many soundtracks in the near future.

You can find Andrei Rikchi at: Bearsuit Records, Apple Music, Deezer, You Tube, iHeart, Soundcloud, Bandcamp, Facebook and Spotify.

I think WHAT HAPPENED TO WHITEY WALLACE ? will really twist up your head, the hammering sound, the cement mixer churning and so much ‘white noise’, as it’s called.

62

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

CD REVIEW Small Blue Car

By Jim Allford

EAMON THE DESTROYER is far from your basic musician. He’s a painting graduate from Edinburgh College of Art.Eamon is a mystery to many and also, records as Bunny and The Invalid Singers. He is known for mumbling incoherently into the microphone about wigwams, tiny feet and avalanches at his live shows.

NOTHING LIKE ANYTHING brings you near the end of the journey that Eamon The Destroyer brought you on.

The song does have a nice motion to it and it feels as if you’re riding a wave for the end of this trip you were on.

Please feel free to whistle along for a while, because it won’t last long

This 10 song, Bearsuit Records release, was Recorded and Produced by Eamon The Destroyer and Mixed at Bearsuit and Mastered at All Real Sounds in Philadelphia.

Eamon The Destroyer plays guitar throughout the CD and various other toys.

I feel Eamon The Destroyer would make Captain Beefheart proud. I want to give a BIG THANK YOU to DAVE HILLARY for being in touch. You can find EAMON THE DESTROYER at: Bearsuit Records, You Tube, iHeart, Apple Music, Facebook, Soundcloud, Bandcamp, Spotify and Deezer.

SILVER SHADOW kicks off this CD with a nice mellow guitar and his voice sneaks in as a whisper. I must admit, his lyrics are amazing as they draw you in. HUMANITY IS COMING is like listening to a drama movie and trying to come to a conclusion of what the end might look like.

You should find this song quite interesting.

ROCK ON, JIM ALLFORD

THE CONJURING STOPS is an assortment of loops thrown at you over and over again. Welcome to the headshop. MY DRIVE is a very laid back song as he uses his mystery whisper throughout this CD. The guitar work is laid back with strange noises in the background to distract you in a way. You need to check this one out for yourself.

www.steelnotesmagazine.com

63

CD REVIEW Small Blue Car

By Jim Allford

EAMON THE DESTROYER is far from your basic musician. He’s a painting graduate from Edinburgh College of Art.Eamon is a mystery to many and also, records as Bunny and The Invalid Singers. He is known for mumbling incoherently into the microphone about wigwams, tiny feet and avalanches at his live shows.

NOTHING LIKE ANYTHING brings you near the end of the journey that Eamon The Destroyer brought you on.

The song does have a nice motion to it and it feels as if you’re riding a wave for the end of this trip you were on.

Please feel free to whistle along for a while, because it won’t last long

This 10 song, Bearsuit Records release, was Recorded and Produced by Eamon The Destroyer and Mixed at Bearsuit and Mastered at All Real Sounds in Philadelphia.

Eamon The Destroyer plays guitar throughout the CD and various other toys.

I feel Eamon The Destroyer would make Captain Beefheart proud. I want to give a BIG THANK YOU to DAVE HILLARY for being in touch. You can find EAMON THE DESTROYER at: Bearsuit Records, You Tube, iHeart, Apple Music, Facebook, Soundcloud, Bandcamp, Spotify and Deezer.

SILVER SHADOW kicks off this CD with a nice mellow guitar and his voice sneaks in as a whisper. I must admit, his lyrics are amazing as they draw you in. HUMANITY IS COMING is like listening to a drama movie and trying to come to a conclusion of what the end might look like.

You should find this song quite interesting.

THE CONJURING STOPS is an assortment of loops thrown at you over and over again. Welcome to the headshop. MY DRIVE is a very laid back song as he uses his mystery whisper throughout this CD. The guitar work is laid back with strange noises in the background to distract you in a way. You need to check this one out for yourself.

64

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

CD REVIEW Super 8

By Jim Allford

HONEYTALKS is a band that hails from Northeast Wales which is a high energy, punk pop rock band. The band members are: ADAM SCOTT-Guitar, vocals; DAVE GRIFFINS-Bass, vocals and LAUREN JAMES-Drums, vocals.

This 5 song E.P. was Produced by Phil Gornel, which is quite a well known producer. Mental health issues are close to the band’s heart which shines through their lyrics.

SUPER 8 starts out this E.P. and the band is in your face from the very first note.

The band has a lot of drive and they want to make sure they have your attention. Their lyrics are quite strong, too!

NEW HEIGHTS reminds me quite a bit of Sum 41. The way the band gets right into it really has flashbacks of Sum 41.

You have to listen to this one to judge for yourself.

PARACHUTE is a great change of pace for this band. The band, no doubt, is making a name for themselves and once you get a taste of them, you’ll be wanting more.

You can find the band at: Facebook, You tube, Instagram, Spotify, Apple Music and TikTok. Please check them out, you won’t be sorry!

ROCK ON, JIM ALLFORD

www.steelnotesmagazine.com

65

RELEASE NEW SINGLE ‘SUPER EIGHT’ 23/06/2023

PLAY SUPER EIGHT Punk/rock power pop band HONEYTALKS release the follow up to their debut EP ‘Over it’ which received a fantastic response across all streaming platforms in addition to support from BBC Introducing with their tracks ‘Parachute’ and ‘New Heights’ where Adam Walton stated “This takes me right back to the 90’s, what a band!” and Kerrang Radio where they placed runners up in ‘Kerrang Radio’s The Deal’ competition which lands the winning artist a slot on the main stage at Download Festival, and Music Networking 101 where Bowling for Soup artist Jaret Reddick stated “Guys that’s a fantastic track! The caliber of the band; like Jesus Christ we should go on tour, people would lose their God damn minds!”

In May of 2022 HONEYTALKS were approached by ‘multi award winning’ producer Phil Gornell of Steele City Studios in Sheffield to record a 2nd 5 track EP. Phil has produced tracks for numerous artists over the years and has gained a substantial reputation throughout his workings with All Time Low, You Me At Six, Bring Me The Horizon, Deaf Havana, Stand Atlantic and Busted to name a few.

Mental health is a subject close to HONEYTALKS hearts, and is commonly heard throughout their lyrics. They feel empowered to broadcast their own thoughts and feelings; as well as many others familiar struggles, in hopes that their songs may just help those in a similar situation of need.

The bands upcoming release ‘Super Eight,’ depicts a snap shot of the mundane aspects and routines of everyday life, which brings about a lack of fulfilment and momentum. We all strive for more in life and ‘Super Eight’ is about breaking out of that comfort zone and grasping what it is you desire!

‘Super Eight,’ fittingly named after the film reel, is about breaking the mold with pure drive, and determination. It is the second song to be released by HONEYTALKS this year.

66

www.steelnotesmagazine.com

The most pertinent line in the song, ‘I’m paralyzed in a perfect life’ describes how life isn’t always as it seems. Although we may value what we have, and feel privileged to have or be where we are, sometimes we still need help and support…and that’s ok.

The chorus then follows on with ‘Watch me fade away, film it on a Super 8’ which describes how life isn’t always as it appears, especially when analyzed through a snap shot in time; it’s often a coping mechanism to mask how we truly feel.

“We want people to know that life runs much deeper, and it’s something we all need to remember. Nothing is as it seems.”

Self-written at ROC2 Studios Wrexham, which also plays host to rehearsals, photo and video shoots; ‘FAMILIAR TIMES’ is the first single release of 2023 and will be followed by an EP entitled, “There’s Hope in Hopeless,” to be released in the early fall on Affiant Records.

HONEYTALKS have many shows scheduled in their itinerary this year, in addition to numerous summer festival appearances to be announced.

Please feel free to stream our current singles and social media profiles using the link tree and Spotify address’ below.

https://linktr.ee/Honeytalks https://open.spotify.com/track/5yNvdvB7nJ0TyObSJkwAzK?si=B0hlS6WHTj-O-z9zF_AL-Q

Contact – Honey_talks@outlook.com

www.steelnotesmagazine.com

67

CD REVIEW

Foregone Prophecy

By Jim Allford

JOHN PEACEFIRE is an indie folk/rock singer/songwriter that hails from the Gallitzin, Pa area. He performs solo acoustic songs about social-political and economic turmoil bringing public awareness to his audience.

POCKET brings this CD to an end. This song has some nice pickin’ and you must listen close to the lyrics. This song has a great rhythm and melody to it that is worth listening to.

Recently he incorporated various sound effects and loops into his live shows which I’ve seen him play and he’s quite impressive.He has played at several festivals in Pa over the past few years. John Peacefire plays: lead guitar, bass, harmonica and drums Cd’s. This 9 song CD was produced, mixed and mastered by John Peacefire.

Please check him out. I’d like to give John Peacefire a Big Thank You for being in touch. You can find him on: Facebook, www.johnpeacefire.com. Pandora, You tube, Deezer, Apple Music, iHeart, Soundcloud, Peacefire Productions and Instagram.

This CD started out with a song titled, PUSH OUT THE PUSHER [It’s You] which has a nice intro and John goes into a vocal rant which has a punkish feel to it. I must admit, it is quite interesting, to say the least!

90 DOGS has a nice feel to the song but you must listen close to the lyrics. The melody has a very different beat which could throw you off a bit. ON THE FENCE has a great harmonica intro and he vocals are loud and clear on the song.He’s questions what could be your next move? This is a song to think about for your future.

SHITTY reminds me a bit of The Replacements as the song. This song has a great melody and vibe to it. You could be swaying away to this song. GESTAPO IN MY

68

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

CD REVIEW

Undesirables & Anarchists

By Jim Allford

I’d like to introduce ROBERT ANDREW WAGNER to you, the real genius of The Little Wretches. He was raised in Pittsburgh, Pa and been through the grinder in his life.

He is quite an extraordinary storyteller and more. He will tell you down to earth stories that everyone could relate to at sometime in their life. He’ll make you laugh, smile and even cry at times, as his stories are told straight from the heart to you.

This 12 song CD was produced by Robert Anderw Wagner and Mixed by David Granati. The band is: ROBERT ANDREW WAGNER- Guitar, vocals; H.K HILNER-Piano; JOHN CARSON-Bass; ROSA COLUCCIPercussion, vocals and MIKE MADDEN-Drums.

SILENCE [HAS MADE A LIAR OUT OF ME] kicks off this CD with a great guitar riff. The song reminds me a bit of Graham Parker’s, Local Girls’, which is a great way to start off a CD. Check it out. GIVE THE KNIFE A TWIST is a great punk rock song that is bound to get into your head.I must admit, this song is bound to get into your head and stay for a while.

melody that will get in your head and has a be bop feel to it. You’ll love this song. WHO IS AMERICA asks you a very good question and the song itself stands out on its own. I suppose you can call it punk with a dose of rock and roll. Turn it up loud!

The Ballad of Johnny Blowtorch is pure greatness, to say the least. You have to give this song a listen for yourself. I can’t say enough about this amazing CD, which is one of a few CD’S he released.

I want to give ROBERT ANDREW WAGNER a BIG THANK YOU for being in touch. You can find the band at: You Tube, Facebook, Pandora, https://littlewretches. com, Deeze, iHeart, Apple Music, Soundcloud, Spotify, Medium, Audible and Linkedin.

ROCK ON, JIM ALLFORD

I RATHER WOULD GO is a great forward rock and roll song that is quite impressive and done really well. Put your rockin’ shoes on. MORNING has a quite sweet

www.steelnotesmagazine.com

69

CD REVIEW Grow, Apart.

By Jim Allford

I came by the band, SOUND OF A SMIRK, just by chance of luck. This four piece, high energy band, hails from Hudson Valley, New York. The band members are: JESSEVocals, Guitar; ALEX-Vocals, Guitar; MARK-Bass and NICKDrums. Their double album, on vinyl. contains 12 songs, plus 3 bonus acoustic tracks.The album was Recorded, Produced. Mixed and Mastered by John Naclerio.

TRAP is a short, but spacy song that breaks up the hard pounding you’ve been through. at least for a while.

This song is quite thrilling, considering it’s a short song.

BITTER BLUE seems to want to drag into a hypnotic state as they seem to spin circles in your head. The lyrics are quite interesting as you must listen close to them.

The album kicks off with a song titled, OLLY OLLY OXYMORON which reminds me a bit of Matchbox Twenty.

Once you have a taste of this song, you’ll want to hear more of what they have for you. IN MY POCKET seems to have a dose of a R.E.M.guitar riff in the intro and the drums are pounding you in the face. I must admit, I really like the ‘punkish’ feel to it. The lyrics are super, too

I see a very bright future for this band and being signed to a major label very soon. Also, the 3 acoustic songs are quite a treat on the album.You can find that band at: Bandcamp, Facebook, You tube, Spotify, Deezer, iHeart, Apple Music, Pandora. Twitter, Soundcloud, Amazon and http://soundofasmirk.com

NOT EVEN DAVINCI has a great raw sound to it , as Jesse vocals has you hanging onto every word he sings. This is another great song, as the ending mellows out a bit, as they build up once again, getting in your face. TASTE TEST is quite punkish as the band is on ‘speed zone’ throughout the song. You , definitely, will be drawn into this band as much as I have.

70

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

CD REVIEW

Who Do They Think They Are?

By Jim Allford

SWEAT is one very indifferent band hailing from Pittsburgh. Pa. Their musical taste ranges from the sounds of vintage rock to folk. I’d like to mention this is an American Swiss band which is quite unique in its own right. The band members are: SUE PEDRAZZI-Lead vocals, organ; RICHARD STANLEY-Guitar, vocals; DAN HERMANDER-Bass and KAYLA SCHUREMAN-Drums, vocals.

This 10 CD was Recorded by Nate Campisi and Mastered by Carl Saff. LAMENT is a great intro to the band as the song runs less than a minute and goes directly in the song titled, ERRORS. The song has a Deep Purple feel to it and the vocals remind me a bit of Patty Smyth. The lead guitar will blow you away.

RUNNING AROUND is a true blue rock and roll song that is tight as ever and with a great progressive break and a lead solo that is straight up rock and roll in your face. INTO THE LAKE ends this CD in a strange way.

You have to hear it yourself. Please check out this band and remember their name. If you like Heart, The Who, Deep Purple and The Moody Blues, you’ll love this band.

SWEAT! You can find them in Bandcamp, Facebook, You tube and Instagram.

ROCK ON, JIM ALLFORD

JANE is progressive rock song that has reflections of The Moody Blues and Heart combined. This song is in your face with the guitar riff loud and proud. This song is a must to hear. DARK HORSES [WHITE LIES] slows things down a bit as the main chorus will be in your head. Suddenly, they switch gears and you hear a Rolling Stone riff and many other riffs which you might recognize. The melody , definitely, sounds quite familiar

www.steelnotesmagazine.com

71

CD REVIEW

The Man I’d Rather Be

By Jim Allford

TAYLOR BRADSHAW is a New York City Indie Pop Folk singer. This 5 song E.P. is one of several recordings he had made. In the making of the 5 song E.P., he made a musical video titled, Escape Into The Evergreen celebrating the release of THE MAN I’D RATHER BE. This E.P. was Produced by Julian Giaimo in Bethel, N.Y.. home of the Woodstock Festival.

I feel he could easily become the next Ed Sheeran without even trying. Also, his guitar playing reminds me of Paul Simon which is a standout by itself.I want to give TAYLOR BRADSHAW a BIG THANK YOU for being in touch. You can find him at: https://taylorbradshawmusic.com, You tube, Facebook, Bandcamp, Soundcloud, Pandora, Spotify, Instagram, Apple Music, iHeart, Deezer, Apple, TikTok, Twitter and Amazon.

I must admit, Taylor has a very distinctive sound that you’ll want to hear more of. UNKIND kicks off this E.P. and the storyline is about a breakup during the pandemic and the emotions you have to go through during this ordeal. You’ll feel yourself being drawn into the song as he expresses himself to you.

THE FINAL NIGHT seems to have a dose of Mumford and Sons touch to it. The melody is great as you can’t help but to listen closely to the lyrics.I hope you’ll check this song out. THE MAN I’D RATHER BE brings this amazing E.P. to an end. This song is about miscommunications between people, the anger and hurt feelings can get so mixed up so easily, but it’s meant not to be that way.

72

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

CD REVIEW

The Devil, The Tower, The Star, The Moon

By Jim Allford

THE ANDERSON COUNCIL hails from New Brunswick, N.J. and has quite a history among them. This amazing four piece band is made up of: PETER HORVATHGuitars, vocals; MICHAEL POTENZA-Guitars, vocals; SIMON BURKE-Bass, vocals and SCOTT JONES-Drums, percussion.

different way. GIVE IT TIME is definitely a song about feeling good about yourself. The melody is strong once again and has a Beatlesque favor.

This 12 song CD was Recorded and Mixed by Kurt Reil and Produced by Kurt Keil and Peter Horvath and with assistance by Michael Temkin. This band is truly a psychpower pop band that is bound to catch your ears.

UNTRAINED EYES has quite an interesting intro with a country taste which is quite a surprise. This song is a cross between country and pop and far from the basic crossover. I must admit, I’m hooked on this song.

BUYING A HOUSE is a short sweet house that will get into your head fast. Listen close to the lyrics, they have something to tell you

TAROT TORONTO kicks off this CD with a great pop tune with a great melody that will get into your head.

You can’t miss the Beatle flavor in the middle of the song. Crank it up. MILLION MILES A DAY has a great intro to this song as the guitar work reminds me of CCR with a bit more high energy and lyrics that will stay in your head for days. Check this one out.

. I want to give MICHAEL TEMKIN a big shout out for being in touch after so many years. You can find the band at: www.the anderson council.org, Bandcamp, Deezer, You tube, Spotify, Pandora, iHeart, Apple Music, Twitter, Facebook, Reverbnation, Amazon and Soundcloud. Please check them out. you won’t be sorry!

POSITIVE brings a psychedelic dose to the band that has another strong melody that might even bring back a few flashbacks to you. This song is quite cool in its own

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

73

CD REVIEW Lip Service

THE JADED LIPS are a high energy trio from Altoona, Pa that plays indie, soul and garage rock that knows how to use all the hooks they need. This is a band to watch out for, because they are making waves everywhere with their original music.

The band members are: MICHAEL WERTZ- Vocals, guitars; HUNTER KARNS-Bass and DAVE APPLAS -Drums Their newly released 11 song CD was Recorded by Ben Roth and Jon Smith and Mixed and Mastered by Jon Smith.

They, also, had two guests appear on their CD which is Naiby Perez on vocals and Daniel Lawrence on keys.

SHALLOW WOMAN is making quite a few waves as their first release from their CD. This song is pure, in your face, rock and roll that will grab you by your throat and won’t let you go. Crank it up LOUD! TESTIFY is a pure, bluesy soul song that will have you singing along to the main chorus.

I must admit, it’s so sweet and you can tell it played from the heart within the whole band.

remind me of Brownsville Station that went metal on this song. JEALOUS EYES is a sweet love song with some great riffs in it. I must admit, I would have liked to hear this one played on an acoustic guitar. This would have been a great ‘unplugged’ song! The chorus is quite catchy and will have you singing along.

NEON NECK has some quite interesting lyrics as the guitar riff soars and the band is as tight as ever. I must admit, I love the main lyrics in this song, because they are so true.

PLEASE check out this band. I want to give a BIG THANK YOU to Hunter Karns for being in touch. You can find the band at: FACEBOOK, You Tube, Bandcamp, Amazon, Apple and Distrokid.

SAVE ME has a great intro as they turn it into a great three chord song with some nice riffs. I must admit, they

74

By Jim Allford

www.steelnotesmagazine.com

ROCK ON, JIM ALLFORD

www.steelnotesmagazine.com

75

INTRODUCING THE BAND

“It’s all about raising awareness, helping others, and making the world a better place”

Back in the mid-2000s in Tehachapi, California, father and son duo Robin and

www.steelnotesmagazine.com 76 Caleb Hairston set out to create an all-Native American blues and rock band—

INTRODUCING THE BAND

“It’s all about raising awareness, helping others, and making the world a better place”

Back in the mid-2000s in Tehachapi, California, father and son duo Robin and Caleb Hairston set out to create an all-Native American blues and rock band— and that’s exactly what they did.

As a “band of brothers,” the Blue Mountain Tribe began creating original songs focused on Native American experiences, and they instantly became a hit.

Since its formation, the band has received numerous accolades. The song “Pray for Our Planet” alone has earned significant global achievements. Written in the wake of COVID-19 after the highly-respected Chief Arvol Looking Horse asked Blue Mountain Tribe to pray for healing, the song has won Best Music Video at the INDO French International Film Festival, the Latino and Native American Film Festival, and the Las Vegas Film Festival.

Blue Mountain Tribe continues to produce award-winning music, but their mission isn’t about garnering wealth and fame. It’s all about raising awareness, helping others, and making the world a better place. Conveying themes of inspiration and love but also pain and rage, the band’s songs represent not just each member’s own Indigenous heritage but all 500+ original Nations.

Each Blue Mountain Tribe member has www.steelnotesmagazine.com their own talents and experiences but,

77

INTRODUCING THE BAND

“It’s all about raising awareness, helping others, and making the world a better place”

Back in the mid-2000s in Tehachapi, California, father and son duo Robin and Caleb Hairston set out to create an all-Native American blues and rock band— and that’s exactly what they did.

As a “band of brothers,” the Blue Mountain Tribe began creating original songs focused on Native American experiences, and they instantly became a hit.

Since its formation, the band has received numerous accolades. The song “Pray for Our Planet” alone has earned significant global achievements. Written in the wake of COVID-19 after the highly-respected Chief Arvol Looking Horse asked Blue Mountain Tribe to pray for healing, the song has won Best Music Video at the INDO French International Film Festival, the Latino and Native American Film Festival, and the Las Vegas Film Festival.

Blue Mountain Tribe continues to produce award-winning music, but their mission isn’t about garnering wealth and fame. It’s all about raising awareness, helping others, and making the world a better place. Conveying themes of inspiration and love but also pain and rage, the band’s songs represent not just each member’s own Indigenous heritage but all 500+ original Nations.

Each Blue Mountain Tribe member has their own talents and experiences but,

with a shared passion for protecting Indigenous peoples, always maintain a collaborative and communal spirit when creating music. The result?

Songs that channel justified anger and frustration into a message of hope.

78

www.steelnotesmagazine.com

www.steelnotesmagazine.com

79

Detroit

TUBEWORKS

The USA’s original Rock and Roll Video TV Network!

By Samantha Janette

I remember back years ago before The late sixties (basically that means something along the lines of previously to 1968-1974 about how important Detroit was to everything that got started in 1964. There was Motown,Mitch Ryder,hundreds and thousands of Garage Bands. Top 40 Radio all over America was full of singles by Detroit Bands and Singers. A freind of mine who grew up in Detroit told me about going to hear bands at The Hideout and The Grande Ballroom.

I saw the “Grand Funk Railroad” Railroad Trestle in Flint,Michigan in 1971. We were in Detroit that time for about a half an hour trying to find an exit to an adjoining road that would take us to Indiana. That was a family vacation where we stayed at motels and loafed in Michigan and Indiana. Detroit has a very impressive downtown. A Detroit Corporation which ran three progressive Heavy Rock FM stations in Detroit,St.Louis and Los Angeles gave us The first Rock and Roll Video Network. Tubeworks was unusual. For years in this country you usually had the “5 or 6 channels”. Those were The three Networks,a rerun station or two and sometimes a PBS station(NET). Some places only had 2 or 3 channels. Nowadays people don’t need to worry if their Motorola,Sylvania or Kenmore TV will pick up all the available local channels. For the past 25 years I’ve had very advanced cable TV settups with hundreds of channels. There’s also satellite dishes I don’t know about you guys and gals,but my Rock and Roll listening and media access started with our living room TV(Ed Sullivan,Shivaree,Hullabaloo,Hollywood A Go Go,Lloyd Thaxton,Shindig!,Upbeat,The Monkees,Action,Happening,Smothers Bros.,Mike Douglas) and an old westinghouse kitchen radio which got passed on to me and my brother and sister when Mom and Dad bought a new radio so they could hear “Mr. Five by Five” and “Mr.Sandman”. That was in 1964.

I bought vynil records(singles mainly). I started reading 16 and Hit Parader. In aproximately 1968,progressive pretense started to creep up here and there in the music business. By 1969-1970 it became really uncool to like Top 40 radio. Looking back,this all seems maybe more harmless and ridiculous than anything else. As for me,at that time I wasn’t old enough to be a registered hippie and I didn’t understand about things like that. I

80

continued to buy vynil records until about 1989. In 1986 I was given a present of a small video player and I started to collect VHS video tapes.

Nowadays the tapes are DVDs. The VHS Cassettes were very fragile and got snagged and unwound easily. So nowadays I collect Video. I don’t like MTV and VH1. You may be surprised to find out that they weren’t the first Rock and Roll Video Networks. But good people,I’ll leave it all up to hope and serendipity. Yes,that’s right. you got it. Let’s leave it up to Hope. Hope and Crosby.

The mass marketing of Cable Television didn’t start until 1975. And anyway,MTV and VH1 definately were not the first Rock and Roll Video Networks! If you lived in Detroit,Los Angeles or St.Louis in 1969-1973 you could get the single channel “Detroit Tubeworks” which was a show and a Network. I don’t remember exactly,I think it was free but you paid $3.00 or something for a special filter device. I can’t remember if it went out over the phone lines or if it was broadcast. Yet it wasn’t until 1975 that there was a shred of Cable TV anywhere and this was way back before that. A small midwestern corporation owned three Progressive Heavy Rock FM Stations in Detroit,LA and St.Louis. Those three radio stations carried a radio simulcast for the Tubeworks shows. I was 15 years old and I lived 25 miles from St.Louis. I came home from school one day to find my brother got Tubeworks hooked up to our living room TV. The MCs were various Detroit FM guys and local Detroit counterculture heroes. John Sinclair was in the studio from time to time. Detroit Tubeworks ran for a few hours out of the entire week. They were on for a

www.steelnotesmagazine.com

couple of afternoons on the weekdays and all night on Friday and Saturday. When the shows started they were on for a couple or 3 hours on a Friday or Saturday night but things eventually expanded There were ocaisional cartoons,TV show reruns and old movies the programmers thought would appeal to kind of a camp counterculture state of mind. Scifi,”Reefer Madness”,horror,etc. “Candy” “I am Curious Yellow” but Tubeworks had to play it cool so they could stay on the air. All the same,I haven’t seen TV like this before or after!The amount of time that Tubeworks was on the air was extended later on.

Legendary bands and singers played absolutely Live.

These included Lee Michaels,Rush,T.Rex,Black Oak Arkansas,The MC5,The Stooges,Mitch Ryder,Alice Cooper Band,Blue Cheer,Patti Smith,Cat Stevens,Neil Young,Judy Collins,David Bowie,King Crimson,The Byrds,Poco,Cactus,Elton John,Carly Simon,Black Sabbath,Dust,Uriah Heep,Spirit,Fleetwood Mac,Deep Purple,Stevie Wonder,Captain Beefheart,Frank Zappa and The Mothers of Invention,Joe Cocker,John Lee Hooker,Canned Heat,Eric Burdon and War.Sly and The Family Stone,Jeff Beck Group,Procal Harem,T Rex,Genya Ravan,Santana,Wishbone Ash,Chuck Berry,New Riders of The Purple Sage,Fanny,Jimi Hendrix,Pink Floyd, Johnny Winter,Mathews Southern Comfort,Status Quo,Mark-Almond,Buzzy Lindhart,Jethro Tull,The Fugs,The Troggs,Ten Years After,Mountain,Sun Ra,Roland Kirk,Pharoah Sanders,Commander Cody and The Lost Planet Airmen,Joni Mitchell,Steppenwolf,The Doors,Flo and Eddie,The Beach Boys,Lou Reed,Frigid Pink,Humble Pie,The Guess Who,The James Gang,Allen Ginsburg,Ted Nugent and The Amboy Dukes,Grand Funk Railroad,Isaac Hayes,Hawkwind,Suzi Quatro,Brownsville Station,Shocking Blue,Tommy James, The Flying Burrito Brothers,Quicksilver Messenger Service,Rod Stewart and The Faces.The Moodie Blues,Emerson,Lake and Palmer, plus a whole lot more. Performances were definately live and lasted anywhere from 5 or 6 songs to all night.

A typical Detroit Tubeworks show had several groups on the bill unless it was something very unusual like a whole set by The MC5.

Tubeworks belongs to The “late 60s and early 70s era” of Rock and Roll. At that time recorded music was sold on vynil records,cassette tapes and 8 track tapes. There were no VCRs or Cable TV until 1975. There were Video Cameras which were reel to reel and played back on a special TV unit. These Video Camera kits cost up to $1000! I saw these Video assemblies advertised in 1966 and 1967 magazines. Like I said,they cost $1000!

Persons who were rich or could spare the cash owned equipment like this.

This was very unusual for there to be a Television Network like this but you had to live in Detroit,LA,St. Louis and their nearby towns and suburbs to subscribe.

I think Tubeworks went off the air ‘circa 1973(?).

Fortunately for Rock and Roll Fans the USA Network brought back many of the clips in 1978 and broadcast

the clips of the shows for the “Nightflight” shows reasoning that these were “recent” if the shows were in the 70s and the rebroadcasts were also in the 70s even if the two were five years apart. It could be tongue in cheek presented as new.The songs and performers weren’t re-shown under the title name of “Detroit Tubeworks”but It was under the name of Nightflight. But The original Detroit Tubeworks shows were killers and they went on until the wee wee hours when they were first broadcast.. The quality of the color Video Tape is first rate and the sound quality is superb. It’s not digital and hell,if you ask me,I really don’t care if a recording is in Mono or Stereo. The technology employed in these shows is almost that good. Detroit Tubeworks clips have come to end up in European Rock and Roll Video Shows like Germany’s “Beat Club”(not the same as “Beat! Beat! Beat!”).

The MC5 perform full tilt with a “High Time” themed light show and they even do a seven minute “Kick Out The Jams” with The “Mother Fuckers” intro! On TV! It’s wicked! Wayne Kramer and Fred “Sonic” Smith drop to their knees for a killer double lead.Dennis Thompson is The Drummer and Steev Moorhouse is The new bass player.The MC5 play over a dozen or more long songs in this “Detroit Tubeworks” including some very slow and spacey instrumentals with Rob Tyner on woodwinds. It’s very trippy. It was in 1971 that I first heard of the expression “Punk Rock” and thereby giving something that is kind of hard to define a lexicon and definition. I’m a little bit confused because “Punk Rock” is credited to Lester Bangs in 1970 and also to Dave Marsh in 1971. Lester Bangs praised people like Sky Saxon,Lou Reed,Count Five,The Godz,The MC5,the Stooges. When that term was coined in 1970 or 1971 it was defining an aspect of Rock that ran counter to slavish devotion to The “Heavy Superstar” acts that were

www.steelnotesmagazine.com

81

emerging out of the Woodstock years(1969-1974). Or should I say Creem was talking about Rock and Roll and NOT “Rock Music”. I bought my first issue of Creem Magazine in May 1971. For a couple of months before I made that May 1971 purchase I haunted a couple of local newsstands near my house and thumbed through issues of Creem before I decided to make the plunge in May 1971.Punk Rock fits the bill for being Rock and Roll on all counts. Not all of the acts who played on Tubeworks fit the parameters of what you might call “Punk Rock”. But I can promise you these shows are very intense.

She was with Lenny Kaye on Guitar. I can’t remember if they had a Piano Player in the show or not. Anyway,this was back in Patti’s “Band without a Drummer” days.

She did extended versions of “Gloria” and “Land of 1000 Dances”. Patti is definately a Punk Rocker. That was years ago and actually,I first heard of her a few days earlier in a November 1971 Creem Magazine.

Patti is magnetic like Jim Morrison or Mick Jagger.

Cat Stevens was on Tubeworks. Cat’s real name is Jeff Stephanopolous and he got the name of “Cat Stevens” when he was a little kid. He came from Central London.

He learned how to play guitar and sing from listening to Offshore Pirate Radio after The Beatles and The Rolling Stones came along. He got discovered by Simon Napier-Bell and for about three years he was famous as a Bobby Sherman and Terry Jacks styled bubblegum balladeer in England and Europe. In fairness,Cat was not only a great songwriter,he understood that he was being used and he wanted out of the deal. He became ill in 1968 and he was bedridden for two years. When he could get out and he could play again,he started doing his famous folk rock songs and he was even produced for awhile by ex-Yardbird Paul SamwellSmith. He did a fine set on Detroit Tubeworks with an acoustic backup band. Years ago Cat Stevens converted to Islam. He is an Islamic Missionary in North Africa. Of course,he’s not a Punk Rocker. But his music is first rate.

youtube.com/watch?v=WXIMTUpkwus John Lee Hooker was alive and very active when The Detroit Tubeworks shows were in production. He headlined one show in 1970 or 1971. Hooker was from Northwestern Mississippi’s “Delta” flood plain . He was a contemporary of ,Muddy Waters,B.B.King,Elmore James,Howlin’ Wolf,Jimmy Reed,Sonny Boy Williamson.

The Yardbirds and The Animals had successful recordings with John Lee Hooker’s “Boom Boom” in England. John Lee Hooker reproduced his sound very nicely in this Tubeworks installment. “Motor City’s Burning”(covered by the MC5”)was originally a John Lee Hooker song. If I’m not mistaken,Hooker was in Detroit for years. He recorded hundreds of sides prolificly in several different cities . He was still alive and in good shape in 1992 when MTV and VH1 featured him in some “blues”videos and some gimmicky spots for Pepsi trinkets and souvenirs. These Tubeworks shots of John are real fine.

Frank Zappa and The Mothers of Invention starred in one of the shows. The Mothers were very talented players and along with Frank they had no stage act or visual gimmicks.Frank and the Mothers weren’t Punk Rock but they did occupy their own niche. Like I said,they were superb,talented players. Frank and those guys could play really intricate stuff and it’s actually quite entertaining to listen to and watch. Patti Smith was featured on a Tubeworks Show a long time ago in 1971.

82

Iggy and The Stooges were guests on a Detroit Tubeworks Show. They were progenitors of Punk Rock,as well as very high energy practitioners. They were rarely on TV except maybe in the UK and Europe.

The show featured Live footage. I don’t remember how many songs they played. I remember the songs lasted a long time. Ron Asheton was on Lead Guitar and he was a killer. They played some passages that were freeform,if I remember right. The Stooges played great and I always thought Iggy was a great singer. He sounded like Kenny Pickett,Roky Erikson,Jim Sohns,Jim Morrison,Eric Burdon,John Kay and Mick Jagger all in one. Alice Cooper has a very similar style as a singer and he was on one of those shows with his band. The Alice Cooper Band who were both very Garage Rock and very Punk Rock. Blue Cheer, and Steppenwolf were both on Tubeworks. Both bands span the time from the “Nuggets” era(1965-1968)onward into the 1969-1973 years. They played new songs. Johnny Winter isn’t Punk

www.steelnotesmagazine.com

Rock. He is an intense Blues Guitarist and Singer. He plays three long and stretched out songs with only a bass player and no drummer. Mountain were featured once. They showed extensive concert footage of them.

Johnny Ramone said in a TV interview Leslie West was one of his favorite guitarists. Mountain could always satisfy their audience. I saw them Live when I was 16.

Leslie West was a fucking killer. Captain Beefheart and The Magic Band were on Detroit Tubeworks. They played two long songs which were very live. Their performance was striking and a little bit strange. Captain Beefheart(Don Van Vliet)kept pulling out what looked like a folded up newspaper or comic book during the songs’ instrumental breaks.and he stood there reading it while his band kept playing. This was interesting and Captain Beefheart and his Magic Band were never on TV. Most of the Bands who appeared on Tubeworks were never on T

Jeff Beck was on a 1972 show in very fine color and sound. Rough and Ready was his most recent Album.

Clive Chaman,Max Middleton,Bob Tench and Cozy Powell were the latest lineup of The Jeff Beck Group on that album and they were Jeff’s featured band that night on the show. That night The Jeff Beck Group played all of the songs from their new album including new versions of a couple of older tunes of Jeff’s. Jeff’s Guitar that night was full of jazzy staccato notes with plenty of wah-wah,distortion,echoplex and feedback. The new guys in his band were up to his playing and they were very creative. It was very cool to get get such a long look and listen to Jeff and his new band. I’ve seen clips from this show many places in TV broadcasts. These guys were very celebrated and yes they were talented.

The Producers and Programmers of The Detroit Tubeworks shows took great care to feature artists who probably wouldn’t go over with The Tubeworks audience of “revved up Teenage Heads” of a 1969-1973 variety. Yet these performers really seemed to do just great wth the show’s rank and file followers. Performers like Alan Ginsburg and Roland Kirk. Alan Ginsburg was the “Beat” Poet familiar to The public since The 1955 publication of “Howl”. He recited some poetry and he did his “Om” chant while accompanying himself on a small harmonium. The show’s viewers were pleased.

There was freeform jazz from Roland Kirk,Pharoah

Sanders and Sun Ra in various installments of The shows. It proved to be popular with heads of all ages.

So the producers and programmers expiriment proved to be a success. These were acts who had good freak brother credentials but no “teen appeal” They went over with good success.

Tubeworks was a fine showcase for bands who were essential to the development of Punk Rock,Heavy Metal,Psychadelic and Garage Rock as a major style of music. The show paints an interesting picture of Rock and Roll in Detroit in 1969-1973,with legendary bands and singers from Detroit performing. Mitch Ryder!

Mitch appeared in a 1971 show with a killer band! They played several songs including a slow,sultry version of Bob Dylan’s “Like A Rolling Stone”. As Many of you people know that in 1967 Mitch(who’s real name is Billy Levise)sold the copyright name of “Mitch Ryder and The Detroit Wheels” to his producer,Bob Crewe.

This has presented problems from time to time for Mitch and The Wheels to regroup and to tour and gig extensively. They come out for a few gigs only to find they can’t use the “Mitch Ryder and The Detroit Wheels” name. Yet maybe it doesn’t matter. Mitch and The group’s reputation was firmly established for years to come with the string of blockbuster hit singles they released between 1965 and 1968 and by killer live performances. You can find many of the Tubeworks clips on You Tube. People sometimes annotate those wrong. So the date and the specifics about whether or not it’s a Tubeworks clip could be incorrect. But it’s cool. The Tubeworks Clips are out there if you look around. You can sometimes find the shows in lists of videos. Coaxial Cable TV was invented years and years ago. That’s sending a TV signal over a cable to a moniter or a TV set. Cable TV was used for many years for stuff like Video Cams and Moniters in Banks and Airports. Cable TV really got started big in 1975 when the Cable Channels found out that if their TV signal was sent to select receiving centers with satellites it could be distributed widely,then go out through the local phone lines to privately paying customer’s TV sets at home. The beauty of it is that the relatively uncensored Cable TV is for private customers who know what they’re getting,give their consent, and since it’s privately distributed over satellites and land lines anyway so unless somebody gets real pissed off at the cable companies and sues for whatever reason,the authority of people like the FCC isn’t that clearcut where Cable TV is concerned. And really,the standard Cable TV is already being made obsolete by Digital Cable and Satellite Dishes all the same.

The show featured bands who seem to have disappeared under the surf of time but if you think about it they were incredibly intense live bands and lots of people remember them. Fanny were killers. They were unusual because it was at about that time(19711972)that women were starting to come out really big playing things like Les Pauls and Stratocasters through Marshall Stacks or Hammond B-3 organs through Leslie Speakers. Patti Quatro Ericson was a member of Fanny.

www.steelnotesmagazine.com

83

She’s one of the best lead guitars out there. I should point out that if you go through any stack of 50 or 100 Girl Group singles from 1963-1966 you’ll find many of them were great players as well as singers.There was a show with The “Rod Stewart” version of The Small Faces or “The Faces”. The show was in front of a large auditorium kind of audience. The Faces could really work big crowds. They played many good songs including a couple of Stewart’s solo songs. Honestly,Rod Stewart and The Faces were never “Punk” or “Psych” or “Garage”.

They were very entertaining. Grand Funk Railroad are videotaped live in 1970 or 1971 performing in front of a festival type of crowd. It was their standard Live set.

Mark Farner was a great Guitarist. He was also a superb harmonica player. He could really play the piss outta the thing. They were all great players. Like I said before, Blue Cheer,The Amboy Dukes,Frigid Pink and Steppenwolf were all of them on Tubeworks. They performed live!

Who would’ve thought something like Detroit Tubeworks was ever in Production? You never know. I’m told that towns like New York and LA had some very unusual Local Rock and Roll Television and Radio programing from over the years. Some other cities,too. San Francisco and Chicago! And out of the country. Canada,The UK, Germany,France,Sweden. Tubeworks was very ambitious because it reached large audiences in three different Cities and their nearby suburban and small town areas.

And Tubeworks was almost three years before the marketing of basic cable TV. The Tubeworks give us a look at Punk Rock(and heavy rock,garage rock,heavy metal,psychadelic)in it’s formative years. And it gives us an up close and personal look at The “Heavy” and “Progressive” music scene of the late 60s and the early 70s. I think the heading of “Punk Rock” kills several birds with one stone who had been coming along for a couple of years,such as:kind of a greaser or hood image which has been prevalent as part of rock and roll before,a “punk” or flimsy and insubstantial image which actually states “we play as good as you if not better” and “we’re better than the corporation big shot bands and singers!

Wherever you live,if you have some information about very unusual Rock and Roll TV shows from the 50s 60s 70s(and they don’t have to be shows from way back in Caveman Days,it can be shows from the last 5 or 10 years)please don’t keep it a secret!). I collect video,DVDs

84

and VHS. I own hundreds of items on 300 DVDs and Cassettes. I am not an expert. Not at all. But I like to think I do know a thing or two. Well,Richard Mackay set me straight to the effect that he owned over 600 video tapes and DVDs Sorry,I don’t know where to buy complete Tubeworks shows. They show up in lists once in awhile. For better or worse lotsa Tubeworks clips are scattered all over many compilations. The highlights of the shows are all out there and some decent items are available. You’ll need to search around. I started collecting Video in 1986. I am very dissatisfied with MTV and VH1. Instead,go to You Tube and log onto The Creation’s reunion at The Mean Fiddler in London,or for leisurely relaxing,The Seeds half hour set on American Bandstand in 1967, How ‘bout The Nazz “Open My Eyes” -1968, Sandie Shaw on Beat! Beat! Beat!-1967. I’m NOT an oldies freak or a sixties person. My stuff has been printed in Steel Notes,Frock,Punk Globe and Perfect Sound Forever. I have a book in a blog on the web which I am in the process of updating called “Beat! Beat!

Beat!”. I like Garage Rock,British Invasion,Blues,Heavy Rock,Girl Groups,Punk Rock,Rockabilly,Soul Music, Country Music,Surf Music,Free Jazz and my interests in Rock and Roll begin with Top 40 Radio in 1964(KXOK in St.Louis). I was nuts about TV shows like Shindig, Shivaree,Ed Sullivan,The Monkees,Lloyd Thaxton, Upbeat,Hullabaloo,Action,Happening, Hollywood A GoGo,Smothers Bros,Hollywood Palace, St.Louis Hop,Mike Douglas. Some of my favorite bands include The Lunachicks,Guy Furrow and The Toilet Boys,Jayne County,AM Taylor,Tara Rez and The Duel,The Flamin’ Groovies,Donna Destri,Josie Cotton, The B-52s and The Chesterfield Kings. Large numbers of little kids in this country are being raised like in a baracks. Like

back in the 40s 50s 60s. I wish Top 40 Radio stations around the country would’ve taken the cue in 1978 and started playing The Ramones and The Flamin’Groovies brought to you by clearasil,dippity do and mountain dew. Yardley and Revlon Cosmetics,too. Pepsi and Chunky.and Anyway,those kids would be a receptive audience for a new Video Network and Radio Stations who play Garage Rock and The Yardbirds. Kick Out The Jams,Motherfuckers”-Rob Tyner,Tubeworks 1971. So that’s it in a nutshell,kids. Detroit Tubeworks was The first Rock and Roll Music Video Network! Period!

- Samantha Janette

www.steelnotesmagazine.com

(This following is an abreviated list of very cool rock and roll videos definately not of the MTV/VH1 variety!)

8.Saturday Club(Saturday Club was a very cool BBC Radio Show(NOT ON TV)and it featured Live performances by UK groups. Originally UK teenagers got their Top 40 Rock and Roll from several different Offshore Pirate Stations. The BBC featured less than an hour of Rock and Roll programming back when “Love Me Do” was a big record. Eventually,they made up for lost time. I don’t know if the music recorded at Saturday Club was in front of a live audience or not. There’s no applause track. The songs are very heavy duty alternates. I have a 90 minute audio cassette of The Yardbirds in 1965-1966 at Saturday Club with Jeff Beck. It’s spectacular) 9.Soul Train(proudly African American Soul Traim was around for years in the 60s 70s and the 80s)

1. Upbeat(Garage Rock and Bubblegum Music,Upbeat was on The air from 1966 to 1970) 2. Beat! Beat! Beat!(Legendary British Invasion,Garage Rock,American Soul Music,Folk Rock performed absolutely,incredibly live exactly like the record by our heroes- German TV 1966 and 1967,a small fraction of the shows date from 1968-69) 3. Swinging Time With Robin Seymour(This was on The air for at least five years in Detroit. It was a dancing and the hits styled teen show broadcast from a Canadian TV studio and MC’d by Detroit Disc Jockey Robin-Seymour.

The Bands were lip synched but the guests were killers,Mitch Ryder and The Detroit Wheels,etc.)

4. Beat Aus London(April or May of 1967,early 1967 footage of Spencer Davis Group with Hammond B3 on “I’m A Man”(Steve sings lead)plus”I Washed My Hands In Muddy Water”(Spencer sings lead) plus Sandie Shaw, The Shadows,German TV) 5.Whole Scene Going On(UK TV 1966,MC’d by Wendy Varnals and Barry Fantoni,The show revolved around the early days of The UK Counterculture and primarily it’s Live Rock and Roll Music. The Yardbirds!

6. The !!!!Beat(was on independant “rerun” stations all over the country in analog color live shows. It originated in the South and featured stone cold blues,R&B and Soul Music before the big hippie Blues Rediscovery ever happened.Bill “Hoss” Allen MC’d.)

7.Shivaree!(This was in 1964 and 1965 from out of LA. This show was comparable to Shindig or Hullabaloo and some say it was better than those. The Bands were all lip synched but the lighting,the camera angles and the sound quality of the pre-recorded music was first rate. The kids got first rate glimpses of The Supremes,The Yardbirds,The Ronettes,The Byrds,Otis Redding,The Animals,Sam The Sham and The Pharoahs.The Turtles,The Rolling Stones.(These were fine shows!)

10.TNN or “Nashville Network” was around for years in the early days of Cable TV. It featured vintage “cryin’ in your beer” LIVE country music by legendary Grand Ole Opry and Electric Country Music Radio Hit Parade and Live Rockabilly Music and Live Hillbilly String Band Music. TNN was immensely popular on early cable TV but fizzled out ‘circa 1990.

11.None other than American Bandstand featured a January 1967 show with at least a half hour of The Seeds LIVE! 12.” Whole Scene Going” on was a great UK TV show and it ran for something like 50 episodes throughout 1966. Those Halycon days of Barry Mguire. It celebrated The counterculture in it’s early pre-1968 incarnation. Before Sgt.Peppers,The Fillmores,Woodstock,etc.Barry Fantoni and Wendy Varnals MC’d. One groovey show featured The Yardbirds and Ravi Shankar.

The Yardbirds opened the show with a lip synched “Over,Under,Sideways,Down”. There were a few featured groups who had used The Sitar in their UK 45 rpm releases. You know what? It’s time.

Yep,it’s Dave Dee,Dozy,Beaky,Mick and Tich time again. So The Yardbirds are brought out onstage to sit around on the carpet and listen to a raga played by Ravi Shankar and his tabla and tamboura players. Afterward the guys conduct what the kids nowadays call an intellectual rap session.

Jeff,Chris,Jim,Keith,Paul each one take the mike for some cool downbeat double dome big beat yack.

Keith,Paul SamwellSmith and Jeff do most of the talking.

13. Cincinnatti RiverFront Coliseum Rock Festival 1971(Iggy and The Stooges,Grand Funk Railroad,Mountain,Poco,Alice Cooper Band), Yes! Just enough. Just enough 1971 preposterous silliness to make a whole bunch of us want to lie about our age and birthdate information 14. Shindig Goes To London!-1965-American ABCTV broadcast of The Richmond Jazz Festival,August

www.steelnotesmagazine.com

85

1965,England- (The Yardbirds,Manfred Mann,Graham Bond Organization, The Who, The Animals,The T-bones,Steam Packet,Georgie Fame, The Moodie- Blues,Simon & Garfunkel Somebody told me a long time back that someone took exception to something I had written about The Flamin’Groovies. I said in print that Bill Graham hated The Band. I thought he had said so in an article in Rolling Stone over 20 years ago. I was mistaken. Bill liked The Flamin’ Groovies’ music and booked them plenty of times. But he didn’t like The group’s name. I got that bodlerized in my head after seeing that article over time. It wasn’t intentional.

I apologize both to that person(she was a secretary to Bill Graham for years and she pointed out my mistake.)and to anyone else in connection with this bit of business. It was inconsiderate of me to get that wrong about Bill and The Flamin’ Groovies and I do apologize! OK,I honestly do not like Rolling Stone. I have about 5 old issues of Rolling Stone in my things and I can’t stand the suspense,the angst,the halycon days,the sensibilities. Rolling Stone is way too College.

I gave some people who call themselves “Style Me Quirky”a nice but not overdone or over the top plug in an article I wrote 10 years ago. The only reason why I did so was because there is a big shortage of people who sew custom made drag,transgender and crossdresser clothes. The post by itself was not schmaltzy or ostentatious. “Style Me Quirky” thought I was trying to get publicity off of them and additionally that I was trying to publicize myself as someone who was their “freind” and on the inside of their gigantic world shattering business of theirs. Talk about the most Paranoid,Coked up,runny nosed,ballsy,snotty bullshit. Oh well,Fuck’em.

Sincerly, Samantha Jane

86

www.steelnotesmagazine.com

www.steelnotesmagazine.com

87

JR & Chris Peterson’s

COLORADO ADVENTURE

88

www.steelnotesmagazine.com

www.steelnotesmagazine.com

89

90

www.steelnotesmagazine.com

www.steelnotesmagazine.com

91

92

www.steelnotesmagazine.com

www.steelnotesmagazine.com

93

94

www.steelnotesmagazine.com

www.steelnotesmagazine.com

95

96

www.steelnotesmagazine.com

www.steelnotesmagazine.com

97

98

www.steelnotesmagazine.com

www.steelnotesmagazine.com

99

100

www.steelnotesmagazine.com

www.steelnotesmagazine.com

101

102

www.steelnotesmagazine.com

www.steelnotesmagazine.com

103

104

www.steelnotesmagazine.com

www.steelnotesmagazine.com

105

106

www.steelnotesmagazine.com

www.steelnotesmagazine.com

107

108

www.steelnotesmagazine.com

www.steelnotesmagazine.com

109

110

www.steelnotesmagazine.com

www.steelnotesmagazine.com

111

The Blue

ANGELS

112

By Gary Preis

www.steelnotesmagazine.com

www.steelnotesmagazine.com

113

114

www.steelnotesmagazine.com

www.steelnotesmagazine.com

115

Tony Bennett

MEMORIAL 116

By Bob Klein

www.steelnotesmagazine.com

www.steelnotesmagazine.com

117

118

www.steelnotesmagazine.com

www.steelnotesmagazine.com

119

120

www.steelnotesmagazine.com

www.steelnotesmagazine.com

121

122

www.steelnotesmagazine.com

www.steelnotesmagazine.com

123

WWII

FIGHTER PLANES

By Gary Preis

124

www.steelnotesmagazine.com

www.steelnotesmagazine.com

125

126

www.steelnotesmagazine.com

www.steelnotesmagazine.com

127

Art in the Park

ALLENTOWN

By Gail Anderson Gilchrist

128

www.steelnotesmagazine.com

www.steelnotesmagazine.com

129

130

www.steelnotesmagazine.com

www.steelnotesmagazine.com

131

132

www.steelnotesmagazine.com

www.steelnotesmagazine.com

133

134

www.steelnotesmagazine.com

www.steelnotesmagazine.com

135

136

www.steelnotesmagazine.com

www.steelnotesmagazine.com

137

STRUTTER: KISS TRIBUTE

at the Allentown Fairgrounds

By Alexxis Steele

138

www.steelnotesmagazine.com

www.steelnotesmagazine.com

139

140

www.steelnotesmagazine.com

www.steelnotesmagazine.com

141

142

www.steelnotesmagazine.com

www.steelnotesmagazine.com

143

On a clear night when you look into the Northern sky, you’ll see Draco’s fiery red stars between the big and little dippers. He is always present for those who choose to believe in the magnificence of dragons.

Commission your next piece of artwork with Gail Gilchrist at: www.colordimensionsbygg.com