Stories behind memorable albums of the 1970s as told by the artists

Month: October 2015

Ringo very good at being Ringo – and at getting by with a little help from his All-Starr friends

Ringo Starr admires the flowers given to him by a fan at his show Oct. 30, 2015, at the Tower Theater in suburban Philadelphia. (Photo by Mike Morsch)

Ringo Starr admires the flowers given to him by a fan at his show Oct. 30, 2015, at the Tower Theater in suburban Philadelphia.
(Photo by Mike Morsch)

Before the show Friday night at the Tower Theater in Philadelphia, people were gravitating toward the stage to take pictures of Ringo Starr’s drum set.

It was the day before Halloween, but the only sign of that was a jack-o-lantern that was sitting on the riser alongside the drum set. On the pumpkin was an image of Ringo. I recognized it right away. It was the way Ringo was drawn for the Beatles Saturday morning cartoon series that ran on ABC from 1965 through 1969. It was one of my favorite cartoons as a kid and I watched it every Saturday.

The image on the pumpkin immediately reminded me of my childhood and a much simpler time. And it reminded me that it’s pretty universally agreed upon now that Ringo was in a pretty good band in the 1960s, a band that was big enough to have its own Saturday morning cartoon show, which happened to be the first weekly television series to feature animated versions of real, living people.

I never saw the Beatles perform live. My folks, who would have been in their 30s when the Beatles first became popular in the U.S., had a few of their 45 rpm records in the house. I recall listening to “I Want to Hold Your Hand” on the record player when I was about 6 or 7 years old. (“I Want to Hold Your Hand” was released in November 1963. “I Saw Her Standing There” was on the B-side.)

A jack-o-lantern featuring Ringo's cartoon character sits next to his drum set.  (Photo by Mike Morsch)

A jack-o-lantern featuring Ringo’s cartoon character sits next to his drum set.
(Photo by Mike Morsch)

Friday night in suburban Philly would be the first time I had ever seen one of the Beatles perform live.

Since 1989, Ringo has been performing with his All-Starr Band, and the Oct. 30 Philly stop would be the next-to-last show on the current tour. The first All-Starr Band members included Joe Walsh from the Eagles; Clarence Clemons and Nils Lofgren of the E Street Band; Dr. John; Billy Preston; Levon Helm and Rick Danko from The Band; Jim Keltner; and several guest artists, including Ringo’s son, Zac Starkey.

This tour’s lineup of the All-Starr Band included Steve Lukather of Toto; Gregg Rolie of Santana and Journey; Philly’s own Todd Rundgren; Richard Page of Mr. Mister; Warren Ham; and Gregg Bissonette.

And man, was it a good show. Ringo was his charming, funny, peace-sign flashing self. Wearing a red jacket to start the show, he would change it midway through the set opting for a black jacket that had – what else – stars on it, he moved effortlessly across the stage as the frontman. Ringo is in his mid-70s, but he looks and has the energy of someone half his age.

He’s been doing this for a long time, so Ringo is very good at being Ringo.

All-Starr band members, including Todd Rundgren and his funky concert attire, second from right, acknowledge the cheers of an appreciative crowd after the show. (Photo by Mike Morsch)

All-Starr band members, including Todd Rundgren and his funky concert attire, second from right, acknowledge the cheers of an appreciative crowd after the show.
(Photo by Mike Morsch)

Many of the Ringo hits were on the set list, including “It Don’t Come Easy” (1971); “Photograph” (1973); and “You’re Sixteen” (1973), as were the Beatles hits featuring Ringo including “Yellow Submarine” (1966) and “With A Little Help From My Friends” (1967). Noticeably absent, at least for me, were some of my favorites, including “Octopus’s Garden” (1969); “Back Off Boogaloo” (1972); “Oh My My” (1974); and the “No No Song” (1975).

But he’s also comfortable in his more familiar role, that of stepping back behind the drum set, banging away and letting his all-stars steal the show. Which they did.

Rolie offered up Santana’s “Evil Ways” (1969) and “Black Magic Woman” (1970); Rundgren performed his song “Love is The Answer,” which reached No. 10 on the Billboard Hot 100 chart for England Dan and John Ford Coley in 1978, and “Bang The Drum All Day” (1983); and Page took the lead on Mr. Mister’s “Kyrie” and “Broken Wings,” both from 1985.

All great songs, all performed flawlessly and all a pleasure to experience live.

But the highlight of the evening for me was Lukather absolutely kicking ass on Toto’s two huge hits from 1982: “Rosanna,” which reached No. 2; and on a chill-inducing performance of the No. 1 hit “Africa.” Simply outstanding.

Some new headgear from the Ringo merchandise table. (Photo by Mike Morsch)

Some new headgear from the Ringo merchandise table.
(Photo by Mike Morsch)

These guys aren’t called all-stars for nothing. It was two hours of great music and entertainment.

The only oddity – and certainly this is a subjective opinion – was Rundgren’s wardrobe choice for the show. He was wearing an outfit that looked a lot like a test pattern, and it reminded me somewhat of The Riddler’s costume that actor Frank Gorshin wore on the 1960s television show “Batman.” It certainly was difficult not to notice it, which I assume is what Rundgren intended.

Everybody was feeling good on the way out of the show, and I wanted to grab something from the merchandise table to commemorate the evening. It’s not like Ringo needs my money, given the fact that he’s probably made a bazillion dollars in his career.

I settled for a $30 ballcap, on which the words “Peace & Love & Ringo” are stitched.

It’s a pretty cool hat and I like the message it conveys. I slapped it on my head as I walked to the car. It seemed like a perfect way to end the evening.

A minute and 10 seconds with Dionne Warwick . . . thanks to The Geator

Dionne Warwick shared some memories of working with The Spinners on the No. 1 song "Then Came You" from 1974. (Photo by Mike Morsch)

Dionne Warwick shared some memories of working with The Spinners on the No. 1 song “Then Came You” from 1974.
(Photo by Mike Morsch)

You gotta love Jerry Blavat, the iconic Philadelphia radio and television personality. The Geator with the Heater knows how to work a room. He has a great sense of style and a big smile that lasts a while.

Plus, he’s got a memory for faces. In particular, my face.

That’s how I got to meet Dionne Warwick. Jerry recognized my face and made the introduction.

The Boss With the Hot Sauce and Ms. Warwick were among the stars who attended the Philadelphia Music Alliance’s 2015 Walk of Fame gala Oct. 26 at the Fillmore Philadelphia, the city’s newest music venue.

The honorees this year included the late, great jazz singer Billie Holiday; The Roots, the band for The Tonight Show with Jimmy Fallon; The Trammps, of “Disco Inferno” fame; Ray Benson, founder of the Western swing band Asleep at the Wheel; Andrea McArdle, Broadway’s original “Annie”; 1980s glam metal and hard rock band Cinderella; and longtime Philly radio personality Harvey Holiday.

Dionne Warwick, Jerry Blavat and Bobby Rydell arrive at the Philadelphia Music Alliance Walk of Fame gala Oct. 26 at the recently opened Fillmore Philadelphia.  (Photo by Mike Morsch)

Dionne Warwick, Jerry Blavat and Bobby Rydell arrive at the Philadelphia Music Alliance Walk of Fame gala Oct. 26 at the recently opened Fillmore Philadelphia.
(Photo by Mike Morsch)

The event, hosted by Saturday Night Live alum and Jersey boy Joe Piscopo, attracted some of the big names from the Philly music scene, including Kenny Gamble, who along with Leon Huff founded Philadelphia International Records in 1971 and created what we now know as “Philly soul” and “Sound of Philadelphia”; and 1960s teen idol and past Walk of Fame inductee Bobby Rydell.
I was part of the media contingent credentialed for the VIP cocktail reception prior to the induction ceremony, which offered photo and interview opportunities.

Ms. Warwick and Mr. Gamble were the two that I hoped to interview. While both easily could have their own chapters in the The Vinyl Dialogues Volume III – targeted for release in the summer of 2016 – the circumstances dictated that if I could get close enough to them with my recorder, I’d only have time for one or two questions.

Having already interviewed Walter Williams of The O’Jays and Henry Fambrough of The Spinners, I knew I could add some details to those chapters. Mr. Gamble and Mr. Huff co-produced The O’Jays breakthrough album “Back Stabbers” in 1972 and co-wrote the group’s biggest hit, “Love Train”; and Ms. Warwick had the only No. 1 single of her career in a duet with The Spinners on the Grammy-nominated song “Then Came You” in 1974.

The Father of Philly Soul and co-founder of Philadelphia International Records, Kenny Gamble, co-produced The O'Jays breakthrough album "Back Stabbers" in 1972. (Photo by Mike Morsch)

The Father of Philly Soul and co-founder of Philadelphia International Records, Kenny Gamble, co-produced The O’Jays breakthrough album “Back Stabbers” in 1972.
(Photo by Mike Morsch)

And that’s where Jerry Blavat came in. He was Ms. Warwick’s escort for the Walk of Fame evening. She was there to induct Billie Holiday and he was there to help induct Harvey Holiday.

I’ve met Jerry several times over the years, but more importantly in the context of this event, I had interviewed Jerry for the first book in “The Vinyl Dialogues” series. That interview was an analysis of the music of the 1970s and served as the epilog of the book.

“My man!” exclaimed Jerry as we met and shook hands, Ms. Warwick on his arm as the two of them made their way to the back of The Foundry, the upstairs reception room of the Fillmore Philadelphia, where there is some semi-private VIP seating. The area includes a handful of high-backed leather couches, each with a table, and curtains that can be drawn if VIPs desire more privacy. A railing separates the VIPs from the hoi polloi.

I had spotted Bunny Sigler off to the side and he was also someone I wanted to talk to. Mr. Sigler was the co-producer on The O’Jays’ “Back Stabbers” album and was not only a performer, but also one of Gamble and Huff’s best songwriters in the 1970s. He has three songwriting credits on the “Back Stabbers” album.

After I finished my six-minute interview with Mr. Sigler, I turned back toward the VIP seating section and noticed that nobody – public or press – had crowded around Ms. Warwick and Mr. Blavat.

Walter "Bunny" Sigler was instrumental in the creation of the Philly Sound and wrote three of the songs that appeared on the "Back Stabbers" album by The O'Jays.  (Photo by Mike Morsch)

Walter “Bunny” Sigler was instrumental in the creation of the Philly Sound and wrote three of the songs that appeared on the “Back Stabbers” album by The O’Jays.
(Photo by Mike Morsch)

It was time to see if I could get an interview with Ms. Warwick. So I walked to the railing in front of the duo and leaned over.

“Jerry, can I get a few minutes?” I said.

“C’mon up,” said Jerry.

He introduced to me to Ms. Warwick and I asked if I could ask her some questions about working with The Spinners.

“Go ahead and ask your questions,” said Ms. Warwick.

And I did, despite some pre-interview nervousness that caused my hands to shake a little bit while trying to turn on my digital recorder.

Ms. Warwick answered my questions and I got some quotes that will add historical background and perspective to the chapter on The Spinners that will appear in volume three of The Vinyl Dialogues.

I thanked Ms. Warwick and shook Jerry’s hand. He hit me with another “My man!” as I took my leave from the VIP section.

Looking down at the recorder, the entire exchange with Ms. Warwick took one minute and 10 seconds. It might be the shortest interview I’ve ever conducted. But I got what I wanted and the chapter on The Spinners will include even more personal recollections and perspectives from the artists who made the music.

Although I got several good photos of Mr. Gamble, I didn’t get to talk with him. I’ve been trying to get an interview for several years – I think the Philly International years in the 1970s are a fascinating and historically rich part of that decade of music – and this was the closest I had ever gotten to him. It didn’t happen this time, but I’ll keep trying.

But it was a successful evening of interviews and photo-taking that will enhance a couple of chapters in the next volume of “The Vinyl Dialogues.”

And on this night, it was Jerry Blavat who was “My man!”

‘Sixties Spectacular’ show: Something tells me I’m into something good

The incomparable Peter Noone of Herman's Hermits closed the "Sixties Spectacular" show Oct. 10 at the State Theatre in New Brunswick, N.J. (Photo by Mike Morsch)

The incomparable Peter Noone of Herman’s Hermits closed the “Sixties Spectacular” show Oct. 10 at the State Theatre in New Brunswick, N.J.
(Photo by Mike Morsch)

A few songs into their set, “Yo” Vinny – the frontman and lead singer for The Bronx Wanderers – answered the question that many in the audience likely had been thinking: How do I get these kids to play songs from the 1960s?

On the surface, it seemed like a legitimate question. The Bronx Wanderers opened the “Sixties Spectacular” show Oct. 10 at the State Theatre in New Brunswick, N.J., that featured Gary Puckett and the Union Gap, Jay and The Americans and Peter Noone of Herman’s Hermits.

“Yo” Vinny – the elder statesman of the band – has surrounded himself with a group of twenty something musicians that includes his sons, Vin A. “The Kid” and Nicky “Stix,” and some of their friends. The group covers songs by Dion and Frankie Valli and the Four Seasons.

Jay and The Americans performed all their hits.  (Photo by Mike Morsch)

Jay and The Americans performed all their hits.
(Photo by Mike Morsch)

The way he got the “kids” to play the classic ’60s songs, he said, was that he suggested they learn to play a song from another generation that they could work into their set.

Then “Yo” Vinny stepped to the side, relegated himself to background vocals, and The Bronx Wanderers broke into their version of “Bohemian Rhapsody” by Queen.

And it absolutely kicked ass. It was as spot on as any band could cover any song. By the end of the tune, the crowd that was there to hear those great hits by those great bands from the 1960s was on its collective feet cheering the musicianship and showmanship of those “kids” doing a cover of a classic song from the 1970s.

When was the last time you’ve been to a concert and the opener got a standing ovation?

Gary Puckett, right, speaks with Sandy Deanne of Jay and The Americans before the show. (Photo by Mike Morsch)

Gary Puckett, right, speaks with Sandy Deanne of Jay and The Americans before the show.
(Photo by Mike Morsch)

The great thing about the overall performance of The Bronx Wanderers was that it was only the beginning. The show got even better from there.

Gary Puckett and The Union Gap was up next, and they provided the smooth sounds of the band’s hits “Woman, Woman,” “Young Girl” and “Lady Willpower”; Jay and The Americans followed with all of their hits – supported visually by some great red pants worn by all the members; and Peter Noone from Herman’s Hermits closed the show, with the 67-year-old Noone dancing and moving around the stage like his undershorts were on fire. Noone is a fabulous singer and entertainer. We all should have that much energy at 67 years old.

Kudos to my friend Jim Anderson, one of the promoters of the show who was instrumental in setting me up to interview Sandy Deanne of Jay and the Americans, Noone and Puckett. Jim and his colleagues put on a first-rate show. If you didn’t leave the State Theatre thoroughly entertained and satisfied with that show, then you should check your pulse . . . you may be dead.

Howie Kane, left, of Jay and The Americans, greets "Yo" Vinny from The Bronx Wanderers before the show. (Photo by Mike Morsch)

Howie Kane, left, of Jay and The Americans, greets “Yo” Vinny from The Bronx Wanderers before the show.
(Photo by Mike Morsch)

The other cool aspect of the evening was that the artists came out after their performances and spent time visiting and signing autographs for the fans. It was a scene right out of a Beatles news reel. There we were, those of us whose teen years are well in the rearview mirror, acting like teenagers and mobbing our musical heroes, the ones who provided the soundtracks of our lives, for pictures and autographs.

Lock up the giddy grandmothers, indeed. And the grandfathers, too.

The only band not to appear after its performance was The Bronx Wanderers. “Yo” Vinny had sent an apology through the event’s emcee that the band had to catch a plane for Chicago because it had a gig in the Windy City. (Editor’s note: Later word from “Yo” Vinny reveals that the band actually didn’t fly, but instead left as soon as their performance was over and drove through the night to Chicago, arriving Sunday afternoon.)

But after setting the table for the other artists on the bill, my sense is that The Bronx Wanderers would have been mobbed as much as the other artists.

With all due respect to Peter Noone and Herman’s Hermits, it was evident that with this “Sixties Spectacular” show, something told me I was into something good.

Hall & Oates christen new Philadelphia Fillmore in true Philly style

Philly's own Daryl Hall and John Oates played the first show at the new Philadelphia Fillmore on Oct. 1, 2015. (Photo by Mike Morsch)

Philly’s own Daryl Hall and John Oates played the first show at the new Philadelphia Fillmore on Oct. 1, 2015.
(Photo by Mike Morsch)

The reality of a Hall & Oates show for me is this: Daryl and John could come out on stage, stand on their heads and play polka music on accordions and I’d be happy with it.

For the record, there is no accordion in the H&O band. This is probably a good thing, although I have no doubt that Charlie DeChant could play one if asked. (But for a moment, just ponder what “Kiss on My List” might sound like on an accordion. Or . . . maybe not.)

So this will not be an unbiased report on the opening show of the new Philadelphia Fillmore concert venue, which starred Philly’s own Hall & Oates, on Thursday, Oct. 1.

The original Fillmore was an iconic venue in San Francisco in the late 1960s that became the focal point of the psychedelic music scene of that era. Back in the day, artists like The Grateful Dead, Led Zeppelin, The Doors, Jimi Hendrix and Santana performed at the Fillmore. Those concerts were staged by the legendary concert promoter, the late Bill Graham.

Bonnie MacLean signs copies of the poster she created to commemorate the opening of the Philadelphia Fillmore. With Bonnie is her son, David Graham. (Photo by Mike Morsch)

Bonnie MacLean signs copies of the poster she created to commemorate the opening of the Philadelphia Fillmore. With Bonnie is her son, David Graham.
(Photo by Mike Morsch)

The Philadelphia Fillmore is located in the former Ajax Metal Co. building – which itself dates back to the 1890s – off Frankfort Avenue in the Fishtown section of Philadelphia.

The building is big and roomy. It actually has two clubs – the ground floor main room which can hold around 2,500 standing on the floor and another 1,200 seated in the balcony; and a smaller club on the top floor of the building that holds around 450 people.

Philadelphia Mayor Michael Nutter was on hand to help Hall & Oates christen the venue. It was a big week for the mayor, hosting Pope Francis and then Hall & Oates in the same week. Nutter, who while in college in the 1970s was a DJ at Club Impulse in Philly, where he was known as “Mix Master Mike,” might be hard-pressed to admit which end of the week he enjoyed more. But my sense is that he might at least concede that Hall & Oates are probably more hip than the pope.

As for the concert itself, it’s a pretty simple review: H&O delivered, the Fillmore delivered and the crowd delivered. Even though the show was sold out and the house was packed, I was able to move around both levels of the club without much trouble to take photos.

Among those who didn’t deliver were Mother Nature – she can be a ratfink when it comes to the timing of rain – and my knees, which barked at me quite a bit after standing for about three hours during the show.

In addition to the poster created by Bonnie MacLean, this poster was also given to fans who attended the first show at the Fillmore. (Photo by Mike Morsch)

In addition to the poster created by Bonnie MacLean, this poster was also given to fans who attended the first show at the Fillmore.
(Photo by Mike Morsch)

The set list was vintage Hall & Oates, and included, in order:

“Maneater” (1982)
“Out of Touch” (1984)
“Did It In A Minute” (1982)
“Say It Isn’t So” (1983)
“You’ve Lost That Lovin’ Feeling” (1980)
“Las Vegas Turnaround” (1973)
“She’s Gone” (1973)
“Sara Smile” (1976)
“Do What You Want, Be What You Are” (1976)
“I Can’t Go for That” (1981)

First encore:
“Rich Girl” (1977)
“You Make My Dreams” (1981)

Second encore:
“Kiss on My List” (1981)
“Private Eyes” (1981)

Having seen H&O many times in concert, that’s pretty much the set list one gets. In fact, John has told me in an interview that he and Daryl believe it’s their professional obligation to play all those great hits in concert.

Daryl and John thank the enthusiastic Philly fans. (Photo by Mike Morsch)

Daryl and John thank the enthusiastic Philly fans.
(Photo by Mike Morsch)

If I had a complaint about the set list, it would be that given the time of year and the circumstances of the event, “Fall in Philadelphia” from H&O’s first album, “Whole Oats” in 1972, would have been an appropriate addition for this show.

Also on hand for the event was artist Bonnie MacLean, former wife of the aforementioned Bill Graham, who created some of those memorable and iconic psychedelic concert posters for the San Francisco Fillmore in the mid- to late-1960s. She was commissioned to create a Fillmore-style poster commemorating Hall & Oates and the inaugural show at the Philly Fillmore.

On the way out after the show, each fan was given a print of Bonnie’s artwork as well as another poster commemorating the event. Both are very cool collectibles.

Daryl. John. Fillmore. Philly. It was as close to perfect as it could get.

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