Wednesday, September 30, 2020




How very Petula Clark, Helen's first single was on Fontana, same label as The Troggs.

My review of CENTER STAGE by Helen AllMusic Review by Joe Viglione [-] Center Stage is a masterful album from Helen Reddy, combining, as she says in the liner notes, "two areas of my career: the recording studio and the theatrical stage." There are 14 selections, all from different shows, beginning with Cole Porter's "Blow, Gabriel, Blow" from Anything Goes to "The Party's Over" from Bells Are Ringing. The former, in particular, is culture shock for Reddy's radio fan base. It is like nothing the fans of her hits are used to, and for Cole Porter's legion of fans, it might be equally jolting. The voice so recognizable as an adult contemporary pop vehicle does what Reddy's friend Petula Clark did on the soundtrack to Goodbye, Mr. Chips, an album composed by Leslie Bricusse and conducted by John Williams: it makes a transition. "I Still Believe in Love" is more of what the fans know and love. After all, it's Marvin Hamlisch and Carole Bayer Sager penning the tune from They're Playing Our Song. It's followed by "A Boy Like You," a Weil/Hughes composition from Street Scene, and both tracks two and three are her hit "You and Me Against the World"revisited, her emotive voice plucking the heartstrings. "Surrender" changes the pace; a five-piece vocal ensemble consisting of Peyce Byron, Sabrina Cowans, Michele Mais, Wayne Moore, and Brenda Silas Moore push the artist to heights she hasn't sought on her hits. It's one of the highlights of the disc, and a career moment in her vast repertoire. Richard Hillman duets with the singer on "You're Just in Love" from Call Me Madam, and it is exquisite. Bruce Kimmel's production is seamless, and this collection becomes more special as the listener goes deeper into the disc. Joseph Baker arranges and conducts "Tell Me It's Not True," a special performance here, as Reddy states in the liner notes, she has "sung it so many times on Broadway and in the West End." "Tell Me It's Not True" and "Speak Low" give the singer a new arena to play in; to those not familiar with the works from where this material was culled, the album works simply as a new Helen Reddy disc, but with a twist. Sade should be so classy decades after her initial fame.Steven Orich's orchestrations are impeccable, as are the arrangements by Ron Abel. There was a hint of this when Reddy performed "The Fool on the Hill" for the 1976 soundtrack All This and World War II, but not on the scale she gives us 22 years later. Dusty Springfield tracked Where Am I Going, Olivia Newton-John gave us Warm and Tender, there's the Linda Ronstadt/Nelson Riddle trilogy, and Petula Clark's The Other Man's Grass Is Always Greener (the album, not the title track), but where those albums were conscious efforts by the singers to move into a new direction, this is Helen Reddy giving the world the scene she is into -- the theater. Dionne Warwick gave us hits from Bacharach & David's Promises Promises, but Reddy chooses "Knowing When to Leave" from that Broadway musical. The song selection is tremendous, and the performance is a milestone for a singer who has already conquered other formats.Center Stage is a delightful treat and will be a considered a classic years down the road, on that you can be sure.

AllMusic Review by Joe Viglione [-]
It is interesting how the pop divas of the '70s and '80s took some risks, Olivia Newton-John with "Soul Kiss"; Linda Ronstadt singing in Spanish or performing with Nelson Riddle; and Helen Reddy's 1983 project, Imagination. This is her longtime producer Joe Wissert taking Reddy where Kim Fowley attempted to go on Ear Candy, and doing an amazing job. "Handsome Dudes" is not the first time Barry Mann and Cynthia Weil are covered by Reddy, but it works better than "Songs" on Love Song for Jeffrey. The Dane Jeffries title track might as well be the Go Gos or Missing Persons; it's a really great new wave pop tune, served up on a vinyl 12" with an extended dance remix for good measure. Side two is more of this new-styled radio pop, and both "Looks Like Love" and "The Way I Feel" are among the best work Helen Reddy has ever created. Both songs should have been huge hits, and the entire album is more sophisticated in idea and execution than any that came before except, perhaps, Live in London. There is real drama throughout "Guess You Had to Be There" and serious depth in the vocal, the naïve sheen of hits like "Leave Me Alone (Ruby Red Dress)" and "Angie Baby" traded in for sweeping pathos. "Yesterday Can't Hurt Me" is Dennis Lambert and Brian Potter delivering a solid and driving composition more defined than their work with the Grass Roots. Wendy Waldman and Eric Kaz have already struck artistic gold with the aforementioned "The Way I Feel," and Reddy goes back to that well for the album's conclusion, "Heartbeat." It's another snappy, moving, modern-sounding delight. With superb songwriting, crisp production, and her best rock performance on record, Imagination is one of Helen Reddy's finest albums. Not as popular as those which contained her chart hits, Imagination is worth seeking out. It's a sleeper that deserves another shot at success. Each song works in its own way, Randy Goodrum's "A Winner in Your Eyes" just another of the great numbers on this move to MCA after a long run on Capitol. Very impressive.

AllMusic Review by Joe Viglione [-] Helen Reddy's second album contains two originals, as well as covers of material by John Lennon, Carole King and Toni Stern, Randy Newman, Donovan Leitch, Leon Russell, and Alex Harvey. Over the years Reddy would continue to cover material by Carole King, Leon Russell, and Harvey; both she and Bette Midler covering Harvey's "Delta Dawn," with Reddy getting the chart hit. Here her rendition of his "Tulsa Turnaround" is intriguing and gives a good indication of the direction her music would take. These are very personal readings of Paul Parrish's"Time" and Leon Russell's "I Don't Remember My Childhood"; the accompaniment is laid-back and subdued, unlike Reddy's Love Song for Jeffrey album. Producer Larry Marks has a haunting foundation for David Blue's "Come on John," and one wonders if like Mama Cass on "I Call Your Name" or Janis Joplin's "Happy Birthday John Lennon," Reddy isn't singing this to the Beatle? Her rendition of Lennon's solo tune, "How?," is a rarity for the singer -- and as sparse as the Plastic Ono Band, minus what backed her on the soundtrack to All This and World War II when she performed "Fool on the Hill." The album Helen Reddy has a cover photo of the vocalist wearing a red and blue dress in ankle-deep water, a resting point before her cluster of Top 40 recordings. Donovan's "New Year's Resolution" and Carole King/Toni Stern's "No Sad Songs" give the singer a platform to help craft her sound. It's a nice glimpse of the naïve side of Reddy and a pleasant listening experience, though it was the only one of her early albums not to find representation on her Greatest Hits. Because there was no big hit on the record, it is not as well known as her other recordings, but it definitely has charm and is an essential part of her collection of music.

Smooth are the performances and orchestration on this 1978 double-vinyl set. There is no date of this performance by Helen Reddy, recorded at the London Palladium. This expands her greatest-hits album and allows the entertainer to display her personality as well as some of her deeper album tracks. Of the 26 songs here, only Leon Russell and Harriet Schock share the distinction of having two compositions each covered by the songstress. Russell's "This Masquerade" and "Bluebird" follow Ralph Shuckett's "Rhythm Rhapsody" to start the concert off. Reddy sprinkles a hit or two per side until the medley, adding nuggets like Gale Garnett's timeless "We'll Sing in the Sunshine," which is a perfect selection for Reddy to sing and her audience to hear. Harriet Schock's "Mama" from the Music, Music album is one of the longest tracks at four minutes-plus, and gets a lengthy audience response. Cilla Black's 1964 hit "You're My World," like the aforementioned Gale Garnett hit from the same year, suits Reddy well. Live in London is a title used by scores of artists, from the Beach Boys to Petula Clark, Deep Purple, April Wine, Judy Garland, Glen Campbell, and so many others. This recording has lead guitarist Lenny Coltun conducting the Gordon Rose Orchestra with guitarist Ritchie Zito, keyboard player Tom Hensley, and others supplying the sound. Reddy gives renditions of Billy Joel's "The Entertainer," "Poor Little Fool" by Jeff Lynne, who shows up on the All This and World War II soundtrack with Reddy and who wrote this dramatic number for her, as well as Adam Miller's "The West End Circus." There's Alan O'Day's unconventional "Angie Baby" to open side two, and the song works better live, oozing with a thick and smooth sound. Producers John Palladino and Helen Reddy do a commendable job of capturing so many instruments and vocals and putting them into a wonderful mix. The album gets high marks for sound quality and performance, a classy snapshot of Helen Reddy's complete repertoire of hits from 1971-1977 with the exception of "Somewhere in the Night" and the flip of "I Can't Hear You No More," "Music Is My Life." For the fans of Helen Reddy this is a treat and a very necessary part of her collection.


This album has my song Mama on it. She does it so well! and my mother got to meet her and tell her she was the mama it was written about!

Monday, September 21, 2020

Hotline to the Underground 9-21-2020


 Hotline to the Underground

 Essays from Joe Viglione 9-21-2020

Artist: Born Yesterday

E.P.  Rattle the Cage

Our lead-off record this week is from the band that released Zero Caution awhile back. The five songs here are 3:49 and under making for short pop/rock/punk bursts of enthusiasm. The first single is “Flounder(Turn Around”) and it is classy and a groove.  At 3:41 “Flounder” begins with an engaging riff reminiscent of Leslie West and Mountain taking the curve into Bad Company territory. Yes, it is hard rock that Born Yesterday embraces, but Ben (Guitar/Vocals), Josh (Bass) and Stephen (Drums) have modern rock tendencies and are certainly rocking on the edge of garage and hard pop.


“Woah Oh Oh (It Takes Two to Go Around”) has the fun and urgency of the Buzzcocks while “Hysteria” at 2:42 starts off like the Yardbirds “Goodnight Sweet Josephine” (USA version, phased) but then quickly gets back to the blitz.   Perhaps “Black Blizzard” is a paean to Blizzard of Oz and Black Sabbath, it’s certainly heavy enough with Bill Ward style drumming and Ben’s voice touching on early Ozzy.  It’s my second fave track next to “Flounder.”   “Flip Out,” the former phone number of a Boston area drummer from the 1970s, blasts at you with good-time speed.  An entertaining second release from this vital trio.



Artist: Molly McNight


Song:  Lie To You 2020



Molly McKnight with Tony King and Nina Vox

Song: Blackbird (Lennon/McCartney)




Wow, this is a real find.  I met Molly in the offices of Music Connection Magazine in Los Angeles in 1986 and reviewed her Lost in the Mirrors album for This tune, co-written by Calvin James back then, found renewed released on 8-12-2020 and has a charming vocal over a reggae beat and a new guitar.  “If he’s going to lie to her, he’s going to lie to you” is an exquisite hook and this rendition has real staying power.



When Molly’s friend, former Mercury artist Jo Jo Laine, recorded this with the legendary Bernard Purdie on drums, the girl group extraordinaire singer played it close to the Beatles.  After all, she performed the tune at Beatles’ conventions.  Molly takes the three minutes and forty-two seconds into a marvelous bluesy/folk.  It is very attractive and draws the listener in. 








From the GOATS HEAD SOUP 2020 we get a new blast of Stones from their Golden Era. On target and sounding very Exile on Main Street, a definite cousin (or brother) to “Rocks Off” from the classic double record set.  With a solid Charlie Watts beat Mick Jagger has lots of fun with a smattering of words while Keith goes “Brown Sugar” riff – it’s something that the Stones don’t usually do, which is re-write the material with familiar riffs.  Sure, Keith reinvents his material (when he’s not turning The Temptations “Get Ready” into “Bitch”) and, yes, “Aladdin Song” is “Paint it Black” reinvented, but “Criss Cross” goes beyond all the musicology and is yet another very listenable Stones classic (or mix of classics) with staying power.



ABKCO just re-released “Dandelion” with their wonderful lyric/YouTube that they’ve been issuing along with the music prior to The Rolling Stones move to Atlantic Records.  This song continues the fun that “Criss Cross” contains and more.  It has a unique flavor with wonderfully descending guitar lines.  Great idea to add the lyrics to the YouTube and the Honky Tonk vibe mixes well with the band chugging along.  As one YouTube poster said “Some bands would kill for the songs the Stones left behind” (paraphrasing him, of course.) It’s so true. This stuff would have been a hit for bands on Top 40 back in the day.  Just amazing and highly repeatable.  Goats Head Soup is truly having an amazing resurrection.



Artist: Mike Morrissey

Album: Courage



“Calm and Collected” could be a track off of the Velvet Underground third album, high praise indeed. At two minutes and eleven seconds it is short and sweet. The Courage album was recorded, according to the essay on Bandcamp: “in Mike's apartment in Somerville in April and the first two weeks of May 2020 (Gifts is an exception and was recorded on 7/3/2019). Once the guitar and vocal performances were captured, Mike and Grant Bloom worked together remotely and Grant added additional instruments at his home studio in Boston. Mike recorded PJ Holaday on drums at their apartment in Somerville with Grant's remote assistance. Grant mixed it and Carter Sanders mastered it.   The second track, “On The Line,” which clocks in at 2:18, a second shorter than “Calm and Collected.”  It too could be an out-take from The Velvet Underground (third) and is magical, compelling and very special. Things get more hopping with “Mirror Man,” not Michael Jackson’s “Man in the Mirror,” more like a folk singer going rock a la Dylan’s “Like a Rolling Stone” period.  At 1:59 it is seven seconds longer than The Box Tops “The Letter.”   With “Perfect Light” Mike goes into Rusty Kershaw Cajun country. Pensive and eloquent, it takes a slow turn around the corner from the previous three tracks.  It’s the timing that delivers the smart composition.  Indeed, the songs here and the previous reviewed tunes would all make for a highly listenable radio show.


“Gifts” was recorded 7/3/2019, about nine or ten months before the other four tracks. The keyword is “courage,” the title of the E.P.   I’m very impressed and urge you to go to Bandcamp and check it out.



Artist: Fire in the Field

SONG:Shadow Way



"Shadow Way" is the video off Fire In The Field's new studio LP RESURRECT, and it is as hard rocking as Mike Morrissey’s above essayed music is light, the complete opposite, yet the music by both artists is so good they complement each other well if Top 40 from the 60’s and 70’s existed in this era. Kinda like putting Jonathan Edwards next to Deep Purple as was the way back in those glorious hit radio days.  The music here swirls and kicks with authority.  It clicks in a professional and inviting way.



SONG: Low Spark of the High Heeled Boys



Eleven minutes and thirty-eight seconds of one of my all-time favorite songs.  A latter-day Traffic at Woodstock August 14, 1994…the Woodstock that got away.  However, this song and performance didn’t.  It’s exactly like the studio recording, Traffic sometimes going the Pink Floyd route of re-creating the sound the listeners initially heard.  Simply amazing and stumbled upon tonight while reviewing the music listed above.  Pure magic.  Love it.


ARTIST: Linda Ronstadt



Oh my God, so much more lively than her 45 RPM version, this is truly beautiful.



A1 Tomorrow Composed By – Ed King (2), Mark Weitz 2:18 A2 The Look Of Love Composed By – Hal David, Burt Bacharach* 2:59 A3 The Other Man's Grass Is Always Greener Composed By – Jackie Trent, Tony Hatch 2:24 A4 Wait Until Dark Composed By – Henry Mancini, Jay Livingston, Ray Evans 2:16 A5 Green Tambourine Composed By – Paul Leka, Shelly Pinz* 2:15 A6 Sentimental Journey Composed By – Ben Homer, Bud Green, Les Brown 2:18 B1 Sunny Composed By – Bobby Hebb 2:32 B2 If You Ever Leave Me Composed By – Jackie Trent, Tony Hatch 2:40 B3 Pata Pata Composed By – Jerry Ragovoy, Miriam Makeba 2:25 B4 Live For Life = Vivre Pour Vivre Composed By – Francis Lai, Norman Gimbel 2:55 B5 When Will It End? (P.J.'s Theme) Composed By – Neal Hefti, Sammy Cahn 2:50

For more fun with the author go to 

Saturday, September 19, 2020


 they have arrived!

Boston Rock and Roll Anthology Chapter #21

Boston Rock and Roll History in the Making /

Hear the Anthology Chapter #21 on Mixcloud:

This will be our THIRTIETH COMPILATION of local music with many more to come. The CD comes with a booklet, the story of the anthology series and information on each track with the music in the back of the booklet. Produced and directed by Joe Viglione, Varulven Records P.O. Box 2392, Woburn MA 01888 Co-sequencing and assembling: Kenny Selcer. Mastered by Rob Fraboni


Suzanne Vega Takes a Walk on the Wild Side

Friday, September 18, 2020



Mysterious brain found wrapped in foil on Lake Michigan beach, police say


Senda stopped and picked it up.

“Curiosity got to me, so I popped it open and it looked like a chicken breast — kind of. It took a little bit for it to really (register) what was going on,” he told WITI.

Senda said the object appeared to be a brain, according to the outlet.

Warning: the photos below are graphic.

Wednesday, September 16, 2020


297519 all-time page views

907 views 8 pm 9-6 to 8 pm 9/17




Club Bohemia: Dug, you are quite active on the scene, what are you doing with all the clubs coming to a grinding halt during Covid 19?

DM: Well, I have been working since this all started and began recording a collection of songs/pieces at home and having some friends collaborate on them with me. It started as a fleshing out songs for Square Ape, we finished our first EP in February, had our first show, and released it 3/30/20,  
 and then as the current situation intensified, I started focusing on ideas that had been shelved, or sitting around way too long. That process ended up with lots of playing and creating new songs and things of that nature. I am in the final stages of mixing now and hope to release it before the end of 2020.  I have also been doing LIVE ART every Thursday night at 6pm on my Dug McCormack Art facebook page. ( )
The artistic side of my brain has not been functioning as well the last 6 months, so I have been using the LIVE ART nights to try and shake things loose, and also "perform" a bit for folks. People can make donations and suggest things for me to create while they watch. I split donations 4 ways, 25% - the Black Lives Matter Movement, I usually choose a different city based on that weeks news, 25% to the Greater Boston Food Bank, 25 % to a Local Club and Their Staff, and 25% for art supplies.

 I also use this LIVE platform to get others to support clubs by donating to GoFundMe campaigns and buying any merch they may have. Lots of places have Tshirts for sale, O'Briens, ONCE, Charlies Kitchen, Great Scott, Midway Cafe, all have merch for sale to help the clubs and the staff. Another big way to help is to support promoters like Greyskull Booking and TinyOak Booking have merch for sale to help them get through these ODD times.  JUST FIND THE PEOPLE YOU MISS THE MOST FROM THE MUSIC SCENE AND SUPPORT THEM.

CB:The last post on the Psychic Dog site is Dec 24 2018, what's going on with Kevin and Dug and Psyhchic Dog?

DM:   Psychic Dog had our last show at ONCE Sept of 2018.
I formed an MK III version with Kevin on drums and my brother Mike on bass and we recorded a 9 minute "prog" song for a compilation for our friends in Lazertuth, that should see the light of day in 2021.

CB:You still have MySpace up on your Facebook page.  How is MySpace for musicians these days>

DM: That link is up there from when I started on fecebook back in 2010, I'm sure it's good for a laugh!

CB:   Guitar / Tall Person at Pony Snot and Guitarmouthkeys at Baluchitherium or on your Facebook page.  How many bands are you
in and can you tell us about these groups ?

DM:  At the moment none...... HAR HAR HAR.  I am in 3-1/2 bands at the moment. 
Pony Snot
 is a Rock band with my friend Britta, who sings and writes all the words, and I write the music and play guitar. We have been together for 2 years. Britta just turned 8, and we are currently in talks on releasing our first recordings with a major label.  HAPPY BIRTHDAY WEASELPUSS!!!!!
Baluchitherium is a country rock and blues band that Iplay keys, guitar, and sing in with some stellar musicians and pals, 2 of which happen to be my brothers.
It's good time music about themes as old as time, drinking, heartache, and cheese.
We released our first record last year at Club Bohemia
Square Ape is a dumb rock band with some extra wank added in. I wanted to play loud and fast dumb stuff with more guitar, so I asked Kevin from Psychic Dog to join in and got the magical John from BlissfullWizard, Death Is The Dream, Band Without Hands, and countless other bands to hop on bass.
We recorded an EP last November at Chillhouse Studio, played our first show in February and a week later the country was shut down. Never got that second show, but released our EP on 3/30/20   
I sometimes play bass in the garage rock band SHAKE, great people making great sounds, and always a good time thrashing about.
And of course I have my "solo" stuff that goes all over the place

CB:  When did you first get into playing music?

DM: We had an old piano that I would clunk around on growing up and then borrowed a neighbors guitar, THANKS LINDA, but really became focused on music around 15. I started as a bass player in a 90s cover band and started writing my own music around 1998. I love the blues and moved onto playing in blues rock bands and then just started "making it up" as I went along, which is what I still enjoy about music to this day.

CB: What was the first record you ever bought and do you still like it today?

DM:  First tape I bought - "The Real Thing" - Faith No More 
        First CD I bought - "The Downward Spiral" - Nine Inch Nails
        First Record I bought - "Further Adventures of Jimmy and Wes" - Jimmy Smith and Wes Montgomery
All of these albums are still in heavy rotation.

CB:  Many clubs are on the verge of closing, Bull Run and Thunder Road, across from each other in Somerville, C Note in Hull, will this make it
harder for your bands to perform AND, just as important, will bands survive COVID if the club scene doesn't?

DM: Music will always find a way.
I just hope that those club owners being smashed in the face with debt and destruction right now can find a way to make it through with their health and hopefully their business.  The music community is one of the most supportive communities you could hope to be a part of, and a lot of people outside the scene take it for granted, most folks LIVE IN the music scene, these are the ones hit the hardest. These are the folks that open the club EVERY NIGHT, Book the bands, Serve the drinks, clean up the bathroom, make sure you are safe, Close down the club and DO IT AGAIN TOMORROW.  Most of your friends work at 3 different clubs, busting their ass for your enjoyment. 
I feel that the government local and national/ international has done a great disservice by leaving the clubs, staff, sound engineers, promoters, servers, bar backs, coat checkers, just left holding the bag.
Clubs are being closed, dreams are being shuttered, and there seems to be no plan for these folks whose livelihoods have been squashed and put on indefinite hold.

Most folks take the arts for granted and just assume they will always be there, that is definitely not the case.  

ALL MUSIC LOVERS should head here and show your support

CB: Will the way music is performed and marketed change with the pandemic, and maybe just as essential, with musicians performing live on Facebook and other internet sites, is it already reshaping?

DM: The arts always have to be evolving. 
If it isn't fast and free, folks aren't interested. 
With technology in just the last 10 years, music has had to roll with the punches with the artists being taken advantage of at each turn. Major streaming platforms pay fractions of pennies on the play, and most sites to sell your music take a cut as well.
Live streaming will stay popular and whatever comes next will be good until someone figures out a way to better monetize it and milk the fuck out of it

CB: How many records have you released?'

DM:  maybe 10 ?

CB: How many tracks have you appeared on?

DM: 69

CB: Anything else you'd like to say to Club Bohemia?

Thank You for always being kind and supportive of whatever we brought down to Club Bohemia. You opened your space to us and we treated it like our own home. You played our records before bands when we weren't even playing. You always had a bit of musical knowledge to share and I always loved loading in early to shoot the shit or hear you play guitar, and of course  just hanging out in the back.  You are a genuine music lover and that is something that can never be beat, thanks for giving so many of us a place to start out, and a place where we could be ourselves.  Love ya dude.

Thanks for the opportunity Joe, Be Well my friend.

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Thursday, September 10, 2020

In Memory of Ogo...a doggy I never met...from 1984

 In memory of Ogo this was the doggy of my best friend and his friend Jack. They are both gone but I found the doggy photo tonight, dated December 1984. They lived in Greece before I met my friend in 1995. Ogo had a good life I was told. Of course Ogo did. We would phone Jack in Thailand and say hello before his passing. 

 Here is to Ogo - 

probably the doggy's first time ever on the internet.

I don't talk much about my personal life...but finding this photo while organizing, I felt compelled to publish a doggy that meant so much to two gentlemen, too wonderful guys.

Wednesday, September 9, 2020






Interview conducted by Joe Viglione

A little Q & A for the Sunny page! 

Q:David, how many years has the book Beatles in Cleveland been out?  

A)It came out in April 2007. I was writing two books at the same time, the other being “Comedy FAQs And Answers.” I’d say I’m better known as a “behind the scenes guy” in the comedy industry because of my work in New York and Los Angeles.

    The comedy book deal was through my literary agent with a NYC publisher so was on a deadline for that one. The pressure was on – ha!

    “The Beatles In Cleveland” was mainly for myself – as a Beatles fan – and I could take my time and have fun with it.  So, the comedian interviews I did for the “FAQs” book were researched and pre-scheduled. The “Cleveland” book was more relaxed for me to do. I’d do one interview and it seemed that person would lead me to another. I’ve often said, that book pretty much wrote itself.

Q:Each year that goes by, is there renewed interest as more of the younger crowed find Beatles' history intriguing? 

A – Definitely and I see it for myself quite often. Since the book came out, I’ve put together a presentation that I’ve done for schools, libraries, LifeLong Learners and festivals. Now, not so much with the LifeLong Learners who are mostly first generation Beatles fans, I’ve been very pleasantly surprised at how many really young – and I’m talking maybe nine or ten years old through high school and college – fans show up at my programs. Quite a few are wearing Beatles t-shirts and come over for a signed book when I’m finished. I always tell them their mom and dad were even too young to be around when the Beatles were together!!!

    Also, some of the first generation fans will attend my programs and bring their grandkids with them. They want them to understand the excitement of Beatlemania and what was going on in the 1960s. I’ve always tried to deliver that feeling to my programs.

    Of course, it helps that my “day job” is a as a comedy coach – working with standup comedians and humorous speakers – so I’ve had plenty of experience on stage and know the value of humor in presentations. And in case some fans aren’t aware of this, another attraction of the Beatles other than their music and hair, was humor. They were the gap between “The Goon Show” and “Monty Python” in England. If you don’t believe me, watch “A Hard Day’s Night” and “Help!” These are both comedy movies with a great pop music soundtrack.

Q:Have people written you new information on Cleveland's Beatles show or have you found more information to possibly update the book?

A. - Yes, yes and YES! Again, I’ve done a lot of live presentations – and now quite a few online as webinars (also for my book “The Beatles At Shea Stadium”) and fans have sent me rare photos and their stories about the Cleveland shows.

    In the years since the book was released I’ve also continued to interview people that were with them, such as Art Schreiber, the famed journalist who reported on their 1964 North American tour, and Bill Briggs who was a member of The Remains and opened all the shows for the Beatles on their final 1966 tour. The Remains also backed up Bobby Hebb on stage at all the shows. Again, as a Beatles fan if someone has a story about the Cleveland or Shea Stadium shows, I excited to hear it.

    Since my most recent book, “Something To Laugh About” was released on August 31 this year, I’ve turned my attention to an “Author’s Edit” updated version of “The Beatles In Cleveland.”

   It will keep all the interviews from the original release (including Bobby Hebb) but will go deeper with the new interviews and lots of new photos. Okay, the photos aren’t exactly “new” since the camera work was done at the 1964 and 1966 “riotous” concerts (remember – the police stopped both shows!) but for fans they will seem new. I don’t think they’ve been previously published anywhere else before.

Q:We know you spoke with Bobby Hebb for your book, any other artists or people involved talk to you for The Beatles in Cleveland?

A. – I mentioned two important additions above. The new interviews include promoters, fans and others that aren’t household pop music names. But their stories are fab!

Q:Did you get to talk to Trini Lopez about opening for the Beatles in Paris when you researched the 1966 book and the Shea Stadium book?

A – No, I didn’t have a hammer… Okay – sorry! I’m a comedy coach and I can’t help myself. Sometimes the humor works and other times… well, you are now a witness to the “other times.”

Q:Do both books complement each other or are they two separate stories?

A. – “The Beatles At Shea Stadium” is a very separate story.

    A lot of people don’t know the seeds for that famous concert were being planted in 1962. Ringo had just taken over from Pete Best and… well, you’d have to read it to learn more.

    But in one way they were connected. The Shea Stadium concert was the true beginning of “stadium rock” as we know it today. Elvis did a few before going into the army, but nothing like The Beatles in 1965. Because they drew 55,600 fans to Shea – with no advertising – it was expected they would do the same at every venue during the 1966 North American tour.

    The only reason Cleveland got a show in 1966 was because the original site – Louisville, Kentucky – didn’t have any place to put that many fans. Cleveland had a stadium that sat over 80,000 – so a change was made. That was a direct result of what happened at Shea. But because of John Lennon’s comments about Christianity and a few other factors, they didn’t need that many seats.

Q:With Barry Tashian's Ticket to Ride and your Beatles in Cleveland we have documented information on the 1966 tour...any other books that you recommend on that final Beatles tour?  

A – I know there are some out there and I wouldn’t want to miss anyone by not mentioning them. I’ve met some very cool Beatles authors over the years, and all have a lot to say about the subjects they’ve focused on. For me it’s the two books I’ve written – but I’d lose in Beatles trivial pursuit on topics other than those two books.

    I would say Ivor Davis and Chuck Gunderson have put together fab books about the Beatles North American tours. I relied a lot on Barry’s book and made sure I had a copy and it was in front of me when I interviewed him.

    Bobby Hebb had mentioned this story to me earlier, but Barry’s book was the proof I needed about The Beatles stopping in my hometown in Vermilion, Ohio on Saturday, August 13, 1966 while driving from Detroit to Cleveland. Haven’t heard that one? It’s in my book… ha!

Q:Anything You would like to add? Thanks, David

A. Here’s a story – experience – with Bobby Hebb that I’ve never forgotten and talk about when someone asks me about writing “The Beatles In Cleveland.” In fact, I was also a newspaper entertainment journalist for years and I can’t image too many other celebrities doing this…

  Bobby and I did his interview for the book over the phone. I’ve done it that way for most of my books – and recorded the conversations. Then I can transcribe and edit for the book or my newspaper column.

  Bobby and I had a great conversation. He was super nice, informative and a lot of fun to talk with. Plus, it was Bobby Hebb!! Yeah, I consider myself to be a “classic rocker,” “Sunny” is a classic song – and I had seen Bobby perform at the 1966 Beatles concert. If someone had told me then that I would someday actually talk with Bobby Hebb… well, I would have never imagined it.

  Anyway, when we finished our conversation I couldn’t wait to listen back. But there was NOTHING on the tape! It was blank!!

  In my excitement about talking to Bobby, I had forgotten to hit “record.”

  I was pretty sick about this and couldn’t believe I had lost the opportunity for Bobby Hebb to be in my book. But instead of letting it get me down – I reacted immediately. It had only been a couple minutes since we hung up, so I called him back.

  Now – again, I’ve interviewed quite a few celebrities. There are some that act like they’re doing you a big favor giving you a short amount of their “precious” time and others that are fun about it. I thought Bobby would be fun – or at least okay with my dilemma – and I was right.

  He answered his phone, I explained what happened (my “duh” moment of not hitting record) and we did the entire interview again! In fact, I’m sure I thought this one was even better because I was already familiar with what he told me before and we could go a little deeper.

  I’ve never forgotten that. I was a Bobby Hebb fan from 1966 – and even more so forty years later.

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