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

Category: The Vinyl Dialogues Book Page 13 of 16

Daryl Hall bursts into new year with online concert, deep album cuts

This is a file shot of Daryl Hall during a 2014 Hall & Oates performance at the Borgata Hotel and Casino in Atlantic City. Photo by Mike Morsch

This is a file shot of Daryl Hall during a 2014 Hall & Oates performance at the Borgata Hotel and Casino in Atlantic City.
Photo by Mike Morsch

We know what we’re going to get at a Hall & Oates concert. All those classic and timeless hits, the ones that sound as good today as they did in the 1970s and 1980s.

There are no complaints with that. What we don’t usually hear from Hall & Oates, though, are lesser hits or deep album cuts from the vast catalog of their careers.

For that, one has to attend a solo show by either of the Rock and Roll Hall of Famers.

John Oates will tell his audiences up front that if you want to hear the greatest hits of Hall & Oates, then you should go to a Hall & Oates show.

The thing is, if you go to a solo Oates show, you appreciate the stuff that’s strictly Oates because you don’t get to hear it as much in concert. The real treats are the deep album cuts, or in Oates’ case, the new solo stuff. Inevitably though, you can’t help but miss Hall’s presence on a song or two.

It was the same thing on the final day of 2014 when “Live From Daryl’s House” presented “Daryl’s Rock ’n’ Soul New Year’s Eve,” live-streamed exclusively online at Stageit.

For $5 – and when was the last time a concert ticket was that price – one could buy an online ticket, log into Stageit, and see Daryl Hall and his band perform at the new and recently opened “Daryl’s House” in Pawling, New York.

That’s the next best thing to actually being at the concert. One can grab a cocktail in the comfort of one’s own family room, slap on the headphones, turn it up, and rock some Hall & Oates.

Mostly Hall, this time. And why not? It’s his house.

Hall didn’t disappoint, but he rarely does. It wasn’t a stretch to want to hear Oates on a couple of the numbers, but the real treat was the handful of deep cuts Hall performed.

“Dreamtime,” from Hall’s 1986 second solo album “Three Hearts in the Happy Ending Machine,” was outstanding. Hall also pulled out two cuts from his first solo album in 1980, “Sacred Songs” – “Don’t Leave Me Alone With Her” and “Babs and Babs” – the latter of which was a unique but refreshing choice for his first encore.

Hall & Oates fans will recall that the “Sacred Songs” album was deemed not commercial enough by RCA Records in 1977 because it was so different than what Hall & Oates had produced to that point. That and the fact that record officials didn’t believe the album contained a hit single and feared that the record might alienate mainstream fans kept the album on the shelf for three years. It was eventually released in 1980.

Hall said goodbye to 2014 with “I Can’t Go For That” and opened 2015 with “Auld Lang Syne.” His final two encores were “Kiss on My List” and “Private Eyes.”

For the first time that I can recall, Hall didn’t perform “She’s Gone” at a live show. Off the 1973 “Abandoned Luncheonette” album, it’s been a staple at every Hall & Oates show, every solo Oates show and every solo Hall show that I’ve seen.

But Hall said before the livestreamed show that he was going to do something different for this New Year’s Eve bash, and he did. No complaints from where I sit. I have the “Abandoned Luncheonette” album and I can play it at any time. It’s one of my favorite records and interviews with Daryl and John about the making of that album are included in “The Vinyl Dialogues.”

As if opening the curtain on a new year with Daryl Hall from the comfort of one’s own home wasn’t enough, the online show delivered even more than that.

Philly native Mutlu, a frequent opener for Hall & Oates for several years now and the current generation of Philly soul, did a killer 12-song set to kick things off. He’s got a sweet voice and stage presence. While his original songs are outstanding, he’s just as good on covers, especially Van Morrison’s “Crazy Love.” If you’re a Hall & Oates fan, you can’t help but like him. Check his stuff out at www.mutlusounds.com.

In addition, after Daryl had packed it in for the evening, his band hung around and played well into the night, offering great versions of some Philly soul classics, among them “TSOP” (The Sound of Philadelphia), which you know as the theme song of the television show “Soul Train”; and “Backstabbers” by The O’Jay’s, another of the early hitmaking groups for Philadelphia International Records in the 1970s. Nice finishing touches on a great show, especially for those of us who live in Philly and have a special place in our hearts for the Sound of Philadelphia.

The online format had a few glitches throughout the evening. At one point, some users – me included – lost the feed and were given the message “This stream is currently unavailable at the broadcaster’s request.” It may as well have said, “Commence screaming curse words at your computer now.”

All one had to do though was hit refresh or log out and log back in and the problem seemed to correct itself. It was annoying, and it happened to me three or four times, but I was only offline for a few moments and missed only a portion of a few songs.

The event had the added appeal of being for a good cause. Fifty percent of the proceeds from the online ticket sales were donated to City of Hope, a leading research and treatment center for cancer, diabetes and other life-threatening diseases.

All of that for only $5. On the final day of 2014, Daryl Hall won the Internet.

One night in Havana with The Empty Hearts: Just what I needed

The Empty Hearts performed Dec. 3 at the Havana in New Hope, PA. From left, Clem Burke on drums, Wally Palmar on guitar and Andy Babiuk on bass. (Photo by Mike Morsch)

The Empty Hearts performed Dec. 3 at the Havana in New Hope, PA. From left, Clem Burke on drums, Wally Palmar on guitar and Andy Babiuk on bass.
(Photo by Mike Morsch)

The Havana – a restaurant, bar and music venue – is a hip place. In addition to sporting some top-notch pool tables – the kind of tables that attract players that bring their own customized cue sticks in custom made cases – it exudes a cool vibe.

It could be the orange couches. They may be leather, they may be naugahyde. Two of them face the stage, the other faces the the pool tables, which sit in front of big windows that offer a view of Main Street in New Hope, PA.

New Hope is a community of eclectic shops, restaurants and venues in a town that for decades has generally been regarded as the halfway point between Philly and New York City for the “in” crowd.

Havana has an outside bar and seating area that during the warm weather months is perfect for people-watching. But on a recent early December evening, all the action was inside.

Elliot Easton, formerly of The Cars, plays lead guitar for The Empty Hearts Dec. 3 in New Hope, PA. (Photo by Mike Morsch)

Elliot Easton, formerly of The Cars, plays lead guitar for The Empty Hearts Dec. 3 in New Hope, PA.
(Photo by Mike Morsch)

One might expect to walk into the Havana, look over and see a white-jacketed Humphrey Bogart, drink in hand, leaning on the bar welcoming you while “As Time Goes By” plays on the sound system.

The venue has hosted to some pretty big names, but enhancing its coolness on Wednesday, Dec. 3, 2014, was The Empty Hearts. A supergroup that includes Elliot Easton of The Cars, Clem Burke of Blondie, Wally Palmar of The Romantics and Andy Babiuk of The Chesterfield Kings, the band has been together for only about six months, but has already produced a self-titled album of kick-ass tunes and has toured both coasts and Japan.

The set Wednesday was 75 minutes of pure high-decibel rock music. You know the kind: The intimate venue where one can sit 15 feet from the stage, feel the drums and bass guitar thumping in your chest and sense the unruly eyebrow hairs that you forgot to groom properly before venturing out in public flapping from the big sound coming out of the speakers.

There isn’t a lot of in-between song banter by The Empty Hearts. The closest we got to that at this show was when Babiuk shouted across the stage to a momentarily perplexed Easton, “You’ve got the wrong set list!” And Easton replied, “Are you (bleepin’) kidding me!”

Otherwise, The Empty Hearts banged out song after song after song with an up-tempo high energy. These guys are seasoned professionals who are happy to spend time interacting and talking with fans after the performance. But while they’re on stage, it’s all in-your-face rock and roll.

The thing I liked about this show – and maybe this isn’t all that unusual for a supergroup whose members have already-established catalogues of hits – was that the new songs complemented the more familiar hits of their previous bands that were interspersed throughout the set. We got to hear all the songs on the new Empty Hearts album, which are really good. And in-between, we were treated to classics like “Good Times Roll” and “Just What I Needed” by The Cars, “What I Like About You” and “Talking in Your Sleep” by The Romantics and “One Way or Another” by Blondie.

For the price of a ticket and a CD, The Empty Hearts is one of the best values out there. Add to that the professional stage presence of the band members and the personable interaction they displayed after the show with fans, and I’m hard pressed to find a more reasonable and entertaining music experience. Check out the band and its upcoming concert dates at www.theemptyhearts.com.

Yes, this show . . . it was just what I needed.

Completing a musical experience with folk legend Peter Yarrow

Peter Yarrow of Peter, Paul and Mary was at the Doylestown Bookshop on Nov. 10, 2014, to promote his new book, "Peter Paul and Mary: Fifty Years in Music and Life." (Photo by Mike Morsch)

Peter Yarrow of Peter, Paul and Mary was at the Doylestown Bookshop on Nov. 10, 2014, to promote his new book, “Peter Paul and Mary: Fifty Years in Music and Life.”
(Photo by Mike Morsch)

As much as I like listening to my favorite artists on vinyl, I’ve got this thing about hearing and seeing them sing their signature songs live. It completes the musical experience for me and oftentimes touches me emotionally.

That’s part what music is about for me: to elicit that emotion.

I want to experience Brian Wilson and the Beach Boys singing “Surfer Girl” in person. And I have.

I want to experience Hall and Oates singing “She’s Gone.” And I have.

I want to experience Elton John singing “Rocket Man.” And I have.

I’d like to witness Bob Dylan singing “Blowin’ In The Wind.” The same goes for Bruce Springsteen singing “Born To Run.” I hope to experience both of those some day.

There’s a whole list of artists whose songs I enjoy. I’ve got the records. But I haven’t seen them all live.

Fortunately, I was able to cross another off the bucket list this week. I got to see and hear Peter Yarrow, of Peter, Paul and Mary, sing “Puff the Magic Dragon” and “Leaving on a Jet Plane.”

Yarrow was at the Doylestown Bookshop in Doylestown, PA, to promote his new book, “Peter Paul and Mary: Fifty Years in Music and Life.” He told stories, sang a handful of songs, signed books and spent time chatting with those in attendance.

Yarrow, along with Noel Paul Stookey and the late Mary Travers are folk music legends. They’ve always been about peace, love and social consciousness.

That hasn’t changed for Peter Yarrow. He’s still about all those things. And about community. That was evident in his Doylestown appearance. Those in attendance knew the words and sang along to “Puff, the Magic Dragon,” “Leaving on a Jet Plane” and “If I Had A Hammer.” We all shared in the Peter, Paul and Mary experience that has unfolded over the past 50 years.

Actually, “Leaving on a Jet Plane” – written by John Denver – is my favorite Peter, Paul and Mary song. That song resonates differently for people. For me, it reminds me that my baby girl is away at college in Iowa – 16 hours by car from Philadelphia – and that I only get to see her once a year. Mary Travers sang lead on that Peter, Paul and Mary song and she owned it. The song was the group’s biggest single and only No. 1 hit on the Billboard Hot 100 chart in the United States.

I was too young to see a Peter, Paul and Mary concert in the 1960s. But to hear Peter sing “Leaving on a Jet Plane” solo now was just as powerful for me as I sat there and listened to it.

It’s part of the musical experience. It’s personal. And it means a lot.

So after I got home from Peter’s book store appearance, I picked up the phone and called Iowa. Just to hear my daughter’s voice. And to complete a musical experience with Peter Yarrow.

 

A musical journey from Springsteen to ‘Springhouse Revival’

The debut album from Springhouse Revival is called "Return to Nothing." (Photo by Mike Morsch)

The debut album from Springhouse Revival is called “Return to Nothing.”
(Photo by Mike Morsch)

One of the first guys I met when I started college in the fall of 1977 at Iowa State University in Ames, Iowa, was an upperclassman by the name of Duane Morrison. A bespectacled  Iowa farm boy, he was at an agriculture school to study . . . agriculture. Go figure.

Duane and his roommate, another upperclassman named Al Steinbach, lived right next door to me and my roommate Billy, in the dorms. A native New Yorker, Al apparently had decided to go to college in the heartland to study – best I could tell as a young, impressionable freshman – hillbillies. Since I lived right next door and appeared early on to be one of the new subjects of his study, he was in the right place.

The thing about Duane was that he had an advanced appreciation of music in 1977, especially vinyl. Duane and Al had the best record collection on our dorm floor, and whenever I happened by their room and the door was open, they’d invite me in to listen to records.

And nearly every time I went in there, Duane had a particular  artist on the turntable that he was absolutely enamored with. I had never heard of the guy, some dude from the East Coast. I’d listen to the record, but it really didn’t do much for me. I’d shrug my shoulders and politely shuffle my hick behind toward the door as Duane would encourage me to listen more closely and appreciate the music.

“You wait, this guy is going to be a big deal,” Duane would say.

The artist was Bruce Springsteen. The album was “Born to Run” from 1975.

I didn’t pay any attention then to Duane, and for many years after, on the topic of Bruce Springsteen.

Moving east in 2000 and a renewed interest in music over the past 15 years brought me to the Springsteen party quite late. And with the encouragement of a few close friends who happen to be Springsteen diehards, I’m now all in for The Boss. In fact, Steven Van Zandt of Springsteen’s E Street Band was interviewed for The Vinyl Dialogues.

One of those Springsteen devotees is my friend Gordon Glantz. He and I have been colleagues in the media business for years. Gordon is a brilliant writer so I am not unbiased when it comes to his work.

And now Gordon is in the music business himself. He and his song-writing partner, Terri Camilari, call themselves SpringHouse Revival and have just released their first album “Return to Nothing.” Gordon penned the lyrics, as well as arranged and co-produced with Glenn Barratt of Morningstar Studios in East Norriton, PA. Meanwhile, Terri composed the music and handled the vocals on this record.

If you’re in the suburban Philadelphia area, there is a “listening party” to debut the album on Sunday, Nov. 9, from 6 to 9 p.m. at Greco Roman Restaurant on West Main Street in West Norriton, PA. The public is invited.

I’ve come to appreciate the Philadelphia music scene over the years. There are a lot of great local artists putting out some pretty good stuff. They don’t get the recognition of the big-name artists, but they’re inspired people who are working hard, living their dreams and putting their creative efforts out there for people to see and hear. And I try to support their efforts by buying their CDs and attending their concerts.

I’m not a record reviewer, but I know what I like. And I like “Return to Nothing.” The release, which is available on iTunes and numerous other sites (CD Baby, Amazon.com. Google Play, Spotify, etc.), features 14 original songs. Gordon’s lyrics are mature and sophisticated and Terri’s compositions and vocals perfectly complement the material. And they’ve hired some ridiculously talented musicians – such as guitarist Tom Hampton (another friend of mine), drummer Grant MacAvoy, cellist Michael G. Ronstadt, viola player Larry Zelson and Barratt on keyboards and bass – to help them make their dream come alive.

Gordon helped me see the light when it came to Springsteen, and that gives him musical credibility with me. So I’m happy to be in on the ground floor of support for his project.

Check it out when you get a chance. The SpringHouse Revival  website is www.springhousesongs.com. There is a Facebook page was well that you can “like” for updates.

Hall & Oates frighteningly good at opening of new ‘Daryl’s House’

Daryl Hall opened his new "Daryl's House" - a music venue and restaurant in Pawling, N.Y. - on Halloween night. He was joined by longtime bandmate John Oates for a concert that was streamed online. (Photo by Mike Morsch)

Daryl Hall opened his new “Daryl’s House” – a music venue and restaurant in Pawling, N.Y. – on Halloween night. He was joined by longtime bandmate John Oates for a concert that was streamed online.
(Photo by Mike Morsch)

It was billed as “Hall-oween and Oates,” but thankfully, there was no soul version of “Monster Mash.”

That was never going to happen anyway. Daryl Hall and John Oates would never have a conversation about covering that song in one of their shows, even on Halloween. To do so would severely compromise the integrity of their H&OHQ – Hall & Oates Hipness Quotient.

No, this fright night performance on Oct. 31, 2014, was about something completely different. It christened the new “Daryl’s House” – a renovated music venue and restaurant – that used to be known as the Town Crier in Pawling, N.Y.

It’s the next step in the evolution of “Live From Daryl’s House,” an internet and cable show that Hall has hosted since 2007. Episodes for the show, which airs on the cable channel Palladia, will be filmed there without an audience, but at all other times, the venue’s bar, restaurant and stage will be open for business.

And true to innovative form, this show had something for everyone, even for those of us who couldn’t be there. Because actually, we could be there, right from the comfort of our own family rooms. Yahoo streamed the concert live – and free – online. It was a “Daryl’s House” show that came right to one’s house.

It was the first and only time that I’ve listened and watched an entire live concert from my recliner. Of course, I had the headphones on, and of course, I had the volume cranked.

Hall & Oates shows are tight and relatively predictable. There’s not as much between-song banter or storytelling like we get at a John Oates solo show. At a Hall & Oates show, we know we’re going to get the hits: “She’s Gone,” “Sara Smile,” “Rich Girl, “Maneater,” “Private Eyes,” “Kiss on My List.” We all love those songs. We all listen to those songs every time they’re on the radio. We all have those songs in our collections.

But we did get a few deeper album cuts in this 16-song set, most notably “Adult Education,” from the 1983 album “Rock ’n Soul Part I”; and “Back Together Again,” an Oates song, and “Do What You Want, Be What You Are,” both from the 1977 album “Bigger Than Both of Us.”

And even though we usually hear “She’s Gone” and “Las Vegas Turnaround” in an H&O show, I always want more from the 1973 album “Abandoned Luncheonette,” particularly Hall’s “When The Morning Comes” and Oates’ “Had I Known You Better Then.” I’m partial to that album because the making of it and the songs on it were discussed in length by both Daryl and John for “The Vinyl Dialogues.”

Everybody seemed happy – I know I was – with the show, but nobody more than Daryl.

“This is the way I hoped it would be,” he said toward the end of the performance. “This is a fantastic beginning to a real cool club. We got ourselves a clubhouse. That wouldn’t have happened without fan support, and that’s no joke.
If you haven’t watched it, check Yahoo for the replay. Put the headphones on, turn it up and enjoy the unique Halloween night gig at Daryl’s new house.

There’s no “Monster Mash,” which is a good thing, but this Hall & Oates show is guaranteed to be a “thriller” for you. (Insert appropriate groans here.)

David Knopfler: On his own ship of dreams for 30 years

DK-PosterBanner2014-MINI_02Even though he co-founded the band, David Knopfler doesn’t listen to Dire Straits. He doesn’t think about Dire Straits. He’s not a fan of Dire Straits.

“I wasn’t even a fan at the time,” said Knopfler.

Though his name will likely forever be linked with the band – which formed in 1977 and included his brother Mark Knopfler, John Illsley and Pick Withers – David points out that his time with the group was only about three years out of his life.

And that’s left him a lot of life in the interim to make the kind of music that he wants to make.

It’s the three decades since he left Dire Straits – in 1980 after its third album – as a solo artist that he chooses to celebrate. And he’s doing so with “30th Anniversary Tour” that includes nine shows in eight cities throughout the U.S. Northeast.

The tour kicked off Oct. 23 in Londonderry, NH, and includes shows on Oct. 26 in Fairfield, CT; Oct. 27 in New York City; Oct. 30 in Bearsville, NY; Nov. 1 at World Cafe Live in Wilmington, DE; Nov. 2 at the Sellersville Theatre 1894 in Sellersville, PA; Nov. 5 in Buffalo, NY; and two shows Nov. 6 and Nov. 7 in Cleveland, OH. For details and ticket information, go to www.knopfler.com.

That’s not to say that he isn’t proud of his musical roots. But as a songwriter, he’s used the past 30 years to transform himself – from basic Straits records to a more sophisticated solo style in the 1980s and then back around to an even more basic four-chord acoustic style that he has now.

“I’m really not interested anymore in big drums or making a lot of noise.” said Knopfler, now 61. “I sometimes go out with a band, but I’m getting more and more impressed by how simple I can make something. Maybe it’s a sign of senility or maybe it’s just a maturity. I don’t see the point in putting 20 chords in now.”

Knopler’s longtime collaborator Harry Bogdanovs – who’s been with him since Knopfler left Straits in 1980 – won’t be with him on this tour. Knopfler said it didn’t make sense to bring Bogdanovs over from England for just nine shows. In Bogdanovs’ place will be guitarist Mike Brown.

“Mike will do a few songs here and there, but it’s basically going to be a solo performance for the most part,” said Knopfler. “It’s kind of liberating to play on your own. It’s more challenging in a way. You can do more if you want to improvise or experiment. You’re not going to throw anyone else off the trail.”

His days of playing stadium rock shows are over, Knopfler said, which leaves him with the opportunity to play smaller venues like he is on this tour, where he can more effectively communicate with the audience.

“There is a huge divide between the small theaters and the art clubs, where you can do singer-songwriter material, and the stadium rock stuff, which is show business,” said Knopfler. “You start missing that person that’s sitting in the front row talking to you.

“I think what happens is your ego. You become less and less concerned with demonstrating something. I think when you’re young and in your 20s, you want to show that you got a few chops,” he said. “Actually, what you eventually want to do is effectively communicate the songs to the audience.”

Knopfler admits to living a frenetic life. He’s married to an American woman and for the past six years has split his time between England and upstate New York. He has, however, just purchased a house in England in which he plans to build a recording studio.

And although he says his promised next studio album is long overdue, he might wait until the studio in his new home is complete and make the new record there.

He still enjoys recording and writing songs, as well as the 90 minutes of the day he spends on stage, “but the other 22-and-a-half hours of the day are a pain in the ass,” mostly because of the travel.

“I’m getting a little bit long in the tooth for the physical demands of the road, I suppose. That’s what it really comes down to,” he said.

But he still loves the music.

“I would make records whether I was paid or not,” said Knopfler. “Frankly, I have paid for making a couple of my albums. You eventually recoup, though. The days when you got a three-album deal and they handed you $300,000 euros to put into your bank account, those kinds of deals where you could cruise on them for two or three years without worry, that was sweet. In those days, you were ahead before you even made the record.”

He said that people are always asking him for advice about the music business, and his response is simple: Get very good at what you do.

“Being really, really good helps and awful lot. If you get good, people will actually start to go out of their way to tell their friends and come to your shows,” said Knopfler. “Keep it interesting and try to be unique. And don’t use more words than you need to tell the story.”

Two guys who knew how to set the stage for World Series memories

An original ticket stub from Game 1 of the 1959 World Series. This isn't the exact ticket my Dad used to attend that game, but one that I purchased years later at a collectibles show. (Photo by Mike Morsch)

An original ticket stub from Game 1 of the 1959 World Series. This isn’t the exact ticket my Dad used to attend that game, but one that I purchased years later at a collectibles show.
(Photo by Mike Morsch)

This is the stage at Rankin Grade School at it appears today. Leo's TV sat in the middle of that stage in 1968 so students could watch World Series games between the St. Louis Cardinals and Detroit Tigers. (Photo by Carole Delahunt)

This is the stage at Rankin Grade School as it appears today. Leo’s TV sat in the middle of that stage in 1968 so students could watch World Series games between the Cardinals and the Tigers.
(Photo by Carole Delahunt)

 

 

 

 

 

 

 

 

 

 

 

Leo Woith was a running buddy of my dad’s back in the 1950s and 1960s. And the two of them provided me with a couple of my favorite World Series memories, even though one of those memories wasn’t actually a memory at all but a story because it happened before I was born and it’s part of family lore.

My dad was the superintendent of Rankin Grade School, a small rural school just south of Pekin, Illinois. The nameplate on his desk read a very official “E.E. Morsch,” but his close friends called him “Eddie.”

Leo was a local businessman who owned and operated Leo’s TV and Appliances in downtown Pekin. Leo’s kids attended Rankin – that’s how he and Dad knew each other – and as they became friends, they discovered that each shared a love of baseball. I recall going with Dad to Leo’s TV on Saturday mornings so he and Leo could shoot the breeze. I loved those trips because in addition to TVs and appliances, Leo also had “Heartland” baseball statues in the store and I was fascinated with those things.

Heartland figurines were hard plastic statues about eight or nine inches tall of the baseball stars of the past as well as of the early 1960s – Babe Ruth, Mickey Mantle, Ted Williams, Hank Aaron, Willie Mays, Stan Musial, Roger Maris, Warren Spahn, Nellie Fox, Luis Aparicio, Rocky Colavito, Yogi Berra. They originally were sold at the ballparks and at specialty stores for $1.98 and were marketed as toys and not the collectibles that they have become today.

I’m not sure sure how a TV and appliance store qualified as a “specialty” store for baseball figurines in those days, but Leo loved baseball and through his graciousness, I would often come home with one of those Heartland figurines.

This would have been around 1963 or 1964. But by then, the two friends had already established themselves as diehard baseball fans.

In 1959, the Chicago White Sox met the Los Angeles Dodgers in the World Series. Having grown up in central Illinois about three hours south of Chicago, our area boasted a lot of Cubs and White Sox fans, with Dad and Leo among their legions.

Leo had secured tickets to Games 1 and 2 of the 1959 World Series, which were to be played in Old Comiskey Park in Chicago, and he had invited Dad to go along. It was a big deal to have tickets to that World Series because it would be the first post-season appearance for the White Sox in 40 years, the team’s last one being in 1919, the same series that featured what became known as the infamous Black Sox Scandal.

The plan, according to Leo’s son Rick – who I recently had the pleasure of talking to so that we could compare notes on this story – was for the two friends to take the Rock Island Rocket train from Peoria to Chicago’s LaSalle Street Station. From there, they would head to the Palmer House Hotel where they were staying and get a cab to Comiskey Park.

But there was one catch threatening to upset the plan – my mom was pregnant and the original due date of the baby – me – was the last week of September. In those days, there weren’t any divisional playoffs, so the World Series started right after the end of the regular season, usually the first week in October. And all World Series games were day games then.

Dad was faced with a dilemma: Go to the first two games of the World Series with Leo, which would require the overnight stay in Chicago, or stay close to home for the impending birth of his son.

So this was a big decision. Despite his gruff exterior as a school superintendent, Dad was a sensitive guy underneath it all. He certainly was aware of the seriousness of the decision, but he also wanted to gather all the facts that he could ahead of time before making a final decision.

He and Mom consulted with Dr. Robert Gildersleeve Rhodes (that really was his name), the family doctor in charge of delivering the baby. Since Mom had already surpassed the late September due date, Dad wanted to know from Dr. Rhodes if my birth was imminent that first week in October.

The good doctor examined Mom and determined that, to the best of his medical expertise, nothing immediate seemed to be happening on the baby front. So he gave Dad the green light to head to Chicago with the instruction to call home every three hours to see if the situation had changed.

That was all Dad needed to hear. He called Leo and they headed to the south side of Chicago for the first two games of the World Series, on Oct. 1 and 2, with Dad calling home every three hours, at times from a pay phone at Comiskey Park.

The home team got off to a great start hammering the visitors 11-0 in the opener, but the Dodgers came back to take Game 2 by a score of 4-3, evening the series and sending it to Los Angeles for Games 3, 4 and 5.

As Dad and Leo left Comiskey Park after Game 2, they noticed a big billboard outside the stadium that caught their attention. It read, “Tickets to Games 3, 4 and 5 plus air fare to Los Angeles, all for $125.”

“What do you think Eddie, you want to go to Los Angeles for the next three games?” Leo said to Dad.

“Leo, my wife is pregnant and is due to give birth anytime, I can’t go to Los Angeles now,” said Dad.

It was the evening of Oct. 2.

I was born 17 days later on Oct. 19. In subsequent years of telling that story, Dad never let me forget that by coming along so late, I had beaten him out of going to those three World Series games in Los Angeles.

Nine years later, during the 1968 World Series, Dad and Leo got in cahoots once again for a post-season baseball scheme.

This time, it was the St. Louis Cardinals against the Detroit Tigers. Neither of the friends had a favorite team in the series, but that didn’t mean they still weren’t diehard baseball fans.

Dad had arranged with Leo to have a television brought to Rankin Grade School for the series. This was not a new thing for Leo to do, according to son Rick. Leo oftentimes provided TVs, not only for Dad’s school but also for the high school during the World Series.

It wasn’t just any TV out of Leo’s store that was going to be on loan, but one of those big console televisions that many of us had in our homes in the 1960s. It was a big piece of furniture. Only the best and most modern color TV was going to be provided because Leo was a guy who knew how to take care of his pals.

The TV was placed on the stage at the school, which was at one end of the gymnasium. This was before the advent of cable television, so along with the TV came a set of “rabbit ears,” a big antennae contraption that sat on top of the TV. The reception one got on the TV depended on which way the antennae arms were pointed to pick up the signal.

Dad had made the announcement to the students that anyone who wanted to stay indoors after lunch instead of going outside for recess could occupy one of the metal chairs he had set up on the gym floor and watch the World Series on Leo’s console TV.

Which of course was where the 9-year-old me was parked for every post-lunchtime recess for the duration of the 1968 World Series. I didn’t really care who won – I was a Pittsburgh Pirates fan at the time – but it was a ballgame on TV during the school day and that’s where I wanted to be, right in front of Leo’s TV. Plus, the sight of Dad constantly fiddling with those antenna arms trying to get the best reception was entertaining because he approached every task with a certain panache that I found amusing and endearing, even at 9 years old.

The funny thing about that series – and something I good-naturedly teased Dad about in subsequent years – was that after recess was over and the students had returned to their classrooms, Dad didn’t turn off the TV. It was left on the remainder of the school day for as long as the game lasted, and anyone who passed through the gymnasium for any reason could stop and catch a few moments of the game.

I know I took several breaks during those October afternoons in 1968, lollygagging from my third-grade classroom just off the gymnasium and across the tile floor to the boys restroom on the other side of the gym. And I’m pretty certain that Dad took several breaks away from his desk to patrol the building on official school business, always making sure to go through the gym on his rounds.

That’s the way things were in the much simpler times of the late 1960s. Something like that wouldn’t happen in schools these days.

It goes a long way toward explaining why I still watch the World Series now, even if my team isn’t playing for the title. It’s October baseball, and it’s a lifelong bond that I still share with my dad.

But he’s not around anymore. Neither is Leo. My sense, though, is if they were, they’d be finagling some way to watch the 2014 World Series unfold between the Royals and the Giants.

I can almost hear Leo now: “Hey Eddie, want to go to San Francisco for Games 3, 4 and 5?”

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