Rock and roll naked in the backyard
We have a good friend, Susan, who at one time taught at Cascia Hall with my wife. Susan taught French, but always had the dream to make a living as a musician. In fact, at one point, Susan spent time in a French Buddhist monastery, devoting her time to mastering her guitar.
I would always describe Susan as a free spirit. In fact, the first time I heard of her, Ashley called me from work and told me there was a new teacher who looked like Aphrodite. This was Susan, who won a place in Ashley’s heart by asking her, in the hallway, “Where is a place to shit around here?”
Susan and Ash became fast friends. They both shared a love for the edgy and neither believed that there were any taboo topics of conversation.
Susan soon began to get gigs at local restaurants, as a solo musician and her guitar. She played a collection of folky covers, originals and even a few tunes sung in French. We followed her to a few of the places to eat, drink a little wine and listen to Susan play.
Susan was determined to get her music heard, and set up opportunities to play for crowds, including a couple of poetry-music shows at small local venues. Ashley acted as the feature poet at one such outing, even singing a duet with Susan on a poem Ash had written and Susan put to music. It was called “Saturn returns.” I thought it was pretty cool. Ash’s poetry was great and Susan sounded terrific. Susan evne wrote and performed an instrumental called “Grandma’s China” based on a set of China we all ate on at our house. It had belonged to Ash’s grandma and apparently translated into a beautiful musical for Susan. She even performed it at another friend’s wedding.
Susan released a CD of her music. It was pretty good. Her musical roots stretched even further as she did vocals for a jazz band, played an d sang with a rock group, and generally involved herself in a variety of projects. Susan decided to completely devote herself to her music and left teaching for the beautiful but unsteady world of music.
After Susan recorded her second CD, she needed a cover picture. She called Ash and they met at our house for a picture. Susan brought a waterproof camera with the intention of taking underwater photos for the wispy and ethereal effect of the water. The two of them shared a bottle of wine and had started on the second when Susan ditched her clothes and climbed into the pool naked for the photo shoot. Susan had never been one for the conventional, and at our house that was OK> We are pretty laid back, open to almost any situation.
The odd part of this story is this…. When they had finished the photos, as Susan climbed out of the pool naked, was the moment my dear Mom chose to pay a visit to the house. She walked into the backyard to catch full view of the naked Susan in our back yard. I’m in doubt that my Mom’s many years as the song leader at the small Kiefer Baptist church ever really prepared her form this musical experience.
Apparently she survived the shock as did the photos. The cover of Susan;’s CD looks great. Ash got her second credits on a CD cover and Susan continues to play across Oklahoma and Texas. She has a dedicated group of followers and today still continues to be the free spirit that you might expect any Aphrodite to be.
My wife still continues to be my favorite poet and a magician with words.
Me, I still paly air guitar and scream out the lyrics to AC/DC as I drive down the road. At the age of 54, other drivers stare, especially since with no air conditioning in my 20 year old Honda, the windows are down, allowing the rest of the world to be part of my performance too.
And who cares? After all, we all need to stand naked in front of others from time to time.
Friday, July 30, 2010
Wednesday, June 30, 2010
Near Misses and big hits
Near Misses and big hits
Two weeks ago, Ashley and I met our friends Larry and Claudia at Tulsa’s kind of upscale shopping area, Utica Square for their summer concert series. Utica Square has “Fifth Night” on which ach Thursday musicians play in a staged area in the streets crisscrossing the mall area. People load up their lawn chairs, ice cheats, dinners or sit at one of the nearby outdoor table restaurants and tune into whatever music is playing that week. People sit. People dance. Kids wander the area. We sat, having a beer and dinner that Claudia packed for us all.
That night, the musicians were a local band, Admiral Twin. They have been around for almost 20 years in one of two different incarnations. I first started listening to them in the early 90’s at a Tulsa club called “Eclipse.” At that time, the band was sort of managed by a guy, Don Holman, I had taught, shared music tastes with and also knew his mom from the school. The band also included two guys from Sapulpa High School.
Don had me listen to a cassette by the band, which I immediately bought. They were good, and multi-talented. They mixed in a variety of instruments not common to pop music and started to gather quite a local following. Ash and I made several trips to the Eclipse to see them and another band with some Sapulpa guys, Dragonfly. Dragonfly had their brief touch with possibility, one night opening at Cain’s Ballroom for Todd Rundgren and then fading into inactivity.
Around 1999, the Tulsa band Hanson hit it big with the pop song “Mmmm-bop.” They were pretty young but the tune was a bubblegum classic. I still have it on my IPOD because there is no denying, that whether you think pop is art or not, it is one of those songs that forces you to hum it, remember it and catch yourself singing along.
The song won national attention andHanson was offered a national tour. They selected the Melodramatic Wallflowers as their opening band. But, the band had been going through a few changes itself due to some conflict name-wise with the now nationally recognized “Wallflowers” fronted by Bob Dylan’s son, Jacob and a bit of turmoil that resulted in one of the band members, Steve Rankin, leaving the band. Steve’s parents live right down the street and I have run into him several times in the neighborhood.
The now named “Admiral Twin” went into the studio to record some new songs, along with some remixes of a few of their older tunes. The resulting CD was called “Mock Heroic.” That CD was a pretty great, slick pop work of art.
Touring with Hanson, a new CD for sale nationally, and a more streamlined, less esoteric sound made it appear that Admiral Twin was on the cusp on big things. There’s no doubt the band was better, both musically and artistically, than a lot of the bands raking in the cash. Unfortunately, the fates and airwaves are not always rewarding of good musicianship, but often of look, and plain luck. Just plain fickle.
After the tour, just when the band should be promoted and raised to a new level, the company they signed with folded. Hanson went on to score a few more songs, and still record today. As a matter of fact, they are planning a new national tour this fall. Admiral Twin, named after the local landmark, the Admiral Twin drive-in, struggled to gain a new contract and opportunity.
The band continued to play and record, appearing all over Tulsa, at any venue possible. I saw them at clubs, at Mayfest, etc. The chance kept evading them and finally, frustrated with the failure to get that chance again, the lead singer, guitarist left the band to take an accounting job in California.
That left the band as a 3 piece, still determined to carry on. Mark Carr, bass player and Sapulpa native, still continues on with the band. I usually talk to him each time I see them play. He has his day job, but the band continues to write new music and intersperse their show of covers with some of the original music.
At Fifth Night, I sat in my folding chair, enjoying the band. They played a set heavy with Beatles, Cars and some newer stuff and a few of the tunes off their newest CD effort. Next to the stage, a friend of the band manned a booth selling Admiral Twin T’s and CD’s.
Many times, I have heard local bands, guitarists, or singers that destroy some of the ones who end up on repetitive replay on the music channels and radio. In a cruel twist of fate, that put them in the right place at the right time, while these yeomen musicians battle the smoky bars and outdoor city festivals so people will hear their music. It is a heroic effort and I admire them for continuing to pursue the things they love, regardless of its profitability. I am eternally a fan in their Mock heroic effort to play in front of the big crowd again. Or maybe they are just “The Unlucky Ones.”
Two weeks ago, Ashley and I met our friends Larry and Claudia at Tulsa’s kind of upscale shopping area, Utica Square for their summer concert series. Utica Square has “Fifth Night” on which ach Thursday musicians play in a staged area in the streets crisscrossing the mall area. People load up their lawn chairs, ice cheats, dinners or sit at one of the nearby outdoor table restaurants and tune into whatever music is playing that week. People sit. People dance. Kids wander the area. We sat, having a beer and dinner that Claudia packed for us all.
That night, the musicians were a local band, Admiral Twin. They have been around for almost 20 years in one of two different incarnations. I first started listening to them in the early 90’s at a Tulsa club called “Eclipse.” At that time, the band was sort of managed by a guy, Don Holman, I had taught, shared music tastes with and also knew his mom from the school. The band also included two guys from Sapulpa High School.
Don had me listen to a cassette by the band, which I immediately bought. They were good, and multi-talented. They mixed in a variety of instruments not common to pop music and started to gather quite a local following. Ash and I made several trips to the Eclipse to see them and another band with some Sapulpa guys, Dragonfly. Dragonfly had their brief touch with possibility, one night opening at Cain’s Ballroom for Todd Rundgren and then fading into inactivity.
Around 1999, the Tulsa band Hanson hit it big with the pop song “Mmmm-bop.” They were pretty young but the tune was a bubblegum classic. I still have it on my IPOD because there is no denying, that whether you think pop is art or not, it is one of those songs that forces you to hum it, remember it and catch yourself singing along.
The song won national attention andHanson was offered a national tour. They selected the Melodramatic Wallflowers as their opening band. But, the band had been going through a few changes itself due to some conflict name-wise with the now nationally recognized “Wallflowers” fronted by Bob Dylan’s son, Jacob and a bit of turmoil that resulted in one of the band members, Steve Rankin, leaving the band. Steve’s parents live right down the street and I have run into him several times in the neighborhood.
The now named “Admiral Twin” went into the studio to record some new songs, along with some remixes of a few of their older tunes. The resulting CD was called “Mock Heroic.” That CD was a pretty great, slick pop work of art.
Touring with Hanson, a new CD for sale nationally, and a more streamlined, less esoteric sound made it appear that Admiral Twin was on the cusp on big things. There’s no doubt the band was better, both musically and artistically, than a lot of the bands raking in the cash. Unfortunately, the fates and airwaves are not always rewarding of good musicianship, but often of look, and plain luck. Just plain fickle.
After the tour, just when the band should be promoted and raised to a new level, the company they signed with folded. Hanson went on to score a few more songs, and still record today. As a matter of fact, they are planning a new national tour this fall. Admiral Twin, named after the local landmark, the Admiral Twin drive-in, struggled to gain a new contract and opportunity.
The band continued to play and record, appearing all over Tulsa, at any venue possible. I saw them at clubs, at Mayfest, etc. The chance kept evading them and finally, frustrated with the failure to get that chance again, the lead singer, guitarist left the band to take an accounting job in California.
That left the band as a 3 piece, still determined to carry on. Mark Carr, bass player and Sapulpa native, still continues on with the band. I usually talk to him each time I see them play. He has his day job, but the band continues to write new music and intersperse their show of covers with some of the original music.
At Fifth Night, I sat in my folding chair, enjoying the band. They played a set heavy with Beatles, Cars and some newer stuff and a few of the tunes off their newest CD effort. Next to the stage, a friend of the band manned a booth selling Admiral Twin T’s and CD’s.
Many times, I have heard local bands, guitarists, or singers that destroy some of the ones who end up on repetitive replay on the music channels and radio. In a cruel twist of fate, that put them in the right place at the right time, while these yeomen musicians battle the smoky bars and outdoor city festivals so people will hear their music. It is a heroic effort and I admire them for continuing to pursue the things they love, regardless of its profitability. I am eternally a fan in their Mock heroic effort to play in front of the big crowd again. Or maybe they are just “The Unlucky Ones.”
Thursday, June 24, 2010
Should have Been a Rock Star- Beatles and a hot Oklahoma summer night
Utica Square… Tulsa, June 24th
Ash and I just came home from the Fifth Night live concert series at Utica Square in Tulsa. Every Thursday night they have live music there. Two weeks ago I saw Admiral Twin, a band I have followed d for years and tonight we saw Bradio, once called The Brady Orchestra.
Bradio has set out on a monumentous task… to recreate the music of the Beatles! A couple years ago, they played Abbey Road and Sgt. Pepper in their entirety. It was pretty spectacular. From” Here Comes The Sun” to “Her majesty”… Brady Orchestra rocked out. They created a faithful rendition of probably history’s greatest side of any single album.
The fi4st time they did this at Utica Square, Fletch and I had made the pilgrimage to hear the Beatle tunes. Later, they played at a bike race function n and we went to hear “Rubber Soul” in its entirety.
I was talking with an old high school buddy today, Larry Lutts. One of the things we reminisced about was a band we used to go listen to in a couple of Tulsa bars in the late 70’s. The band was called “US Kids” and they did something in their show at the club ‘Whiskers’ that I had never heard. They played “Magical Mystery Tour” faithfully to the album cut. When the first couple chords rang out, Larry and I looked at each other, long neck beer in our clenched hands.. and mumbled in unison… “Holy Shit!”
So what is it? What is it about a band that disbanded 40 years ago and released their last LP (“Let IT Be”_) 40 years ago this past May? What is it about their music that draws a full house to the musical tribute of local musicians? What is it about their music that brings a tear to my eye even today when I sing along with “Here Comes the Sun” or “Strawberry Fields Forever?”
Just yesterday, Ash and I were sitting in the McDonalds drive through waiting on her burger and fries when “Strawberry Fields” came on the IPOD. I said then….” I will love this song to the day I die.” And that tune is already 43 years old. It is older than the average age of American citizens. More than half of all the citizens in this country weren’t even thought of when that famous video and song played on “American Bandstand” in 1967.
At one time, it may have sounded pretentious to say that the Beatles were timeless. When the memory was fresh and new and their foibles of youth were fresh on the front pages on magazine and newspaper, people would have scoffed. In an era where Lennon’s quote “We’re more popular than Jesus” raised more than eyebrows and inspired a few LP bonfires, they did not seem so immortal. At a time when their personal soap operas were as much a part of their mystique as was the music, there would have been doubts.
Today, far removed from the crisis over LSD revelations, from Yoko and the Maharishi, their music must stand alone. It is not solely a reprehensive of an era of Peace signs and drug use, but something that proved to be more enduring than a simple pop song.
Yes, the Beatles were a phenomena that may never be repeated. They were at the right place at the right time. They are as close to a Wild Stallion from “Bill and Ted’s Excellent Adventure” as any band may ever be. Not only did they reflect a time, but they helped mold it as well.
Yes… they were the first band to use feedback as a musical tool (“I Feel Fine”) and were the first to intentionally hide backwards sounds in songs (“rain”) in an attempt to stretch the studio beyond their limited capacities. The Beatles released “Sgt. Pepper” on June 1st, 1967, and it served as a fitting soundtrack for the psychedelic Summer of Love. Pop music took a quantum leap with its release.
They also legitimized the hippie look, with their new longer hair, beard and mustaches first previewed to the world through the two promo films of “Strawberry Fields” and “Penny Lane.” The watching dancers on “American Bandstand” were slightly traumatized, but I imagine it was not too long before they too were trying to decipher the words and meanings in Sgt. Pepper and its dazzling cover art.
In ’68, the Fab Four traveled to India to broaden their minds and spirits. A change took place there, influenced by Harrison’s spiritual pursuits into eastern philosophy which impacted the one time mop tops and made a lasting impression in their music and word play. Sitars rang out in western pop songs. References to Hindu chants and philosophy littered songs not only by Harrison but also Lennon. Eastern ideas on meditation and life made their first accepted forays into modern culture since the days of Jack Kerouac and his Dharma Bums from the fringe beatnik culture of the 50’s.
In a scant seven years on the international scene, they left a mark on society in indelible ink. They influenced generations of writers, singers and musicians. They left behind in their wake others who might never see the impact of their own music reach such proportions, regardless of talent, because the time and the place had changed.
But it was not all time and place. Yes.. Those things have importance, no doubt, but whether it is the simple “She Loves You” or the transcendental “I Am the Walrus”, the music itself touched our collective hearts. It had characteristics of the classical (“Eleanor Rigby”) and of metal (“helter Skelter”). IT was an English ballad (“Martha My Dear”) and a psychedelic anthem (“Lucy in the Sky With Diamonds”). It was about eastern mysticism (“Its All Too Much”) and it was a simple love song (“I Will”).
Joihn, Paul, George and Ringo can not be categorized. They can not be stuffed into a neat box of explanation. And, maybe it is because they stopped when they were on top of the world that they are still there, their 40 year old songs still echoing across the airwaves, Wii games and IPODs into a new century.
Tonight, on a hot and humid Oklahoma evening, as sweat trickled down my face, I sang along at the top of my lungs as Bradio played the chords to “Here Comes the Sun”, because of those four guys from the poor side of Liverpool, somehow I truly believe that “Here comes the sun and it’s alright.”
Ash and I just came home from the Fifth Night live concert series at Utica Square in Tulsa. Every Thursday night they have live music there. Two weeks ago I saw Admiral Twin, a band I have followed d for years and tonight we saw Bradio, once called The Brady Orchestra.
Bradio has set out on a monumentous task… to recreate the music of the Beatles! A couple years ago, they played Abbey Road and Sgt. Pepper in their entirety. It was pretty spectacular. From” Here Comes The Sun” to “Her majesty”… Brady Orchestra rocked out. They created a faithful rendition of probably history’s greatest side of any single album.
The fi4st time they did this at Utica Square, Fletch and I had made the pilgrimage to hear the Beatle tunes. Later, they played at a bike race function n and we went to hear “Rubber Soul” in its entirety.
I was talking with an old high school buddy today, Larry Lutts. One of the things we reminisced about was a band we used to go listen to in a couple of Tulsa bars in the late 70’s. The band was called “US Kids” and they did something in their show at the club ‘Whiskers’ that I had never heard. They played “Magical Mystery Tour” faithfully to the album cut. When the first couple chords rang out, Larry and I looked at each other, long neck beer in our clenched hands.. and mumbled in unison… “Holy Shit!”
So what is it? What is it about a band that disbanded 40 years ago and released their last LP (“Let IT Be”_) 40 years ago this past May? What is it about their music that draws a full house to the musical tribute of local musicians? What is it about their music that brings a tear to my eye even today when I sing along with “Here Comes the Sun” or “Strawberry Fields Forever?”
Just yesterday, Ash and I were sitting in the McDonalds drive through waiting on her burger and fries when “Strawberry Fields” came on the IPOD. I said then….” I will love this song to the day I die.” And that tune is already 43 years old. It is older than the average age of American citizens. More than half of all the citizens in this country weren’t even thought of when that famous video and song played on “American Bandstand” in 1967.
At one time, it may have sounded pretentious to say that the Beatles were timeless. When the memory was fresh and new and their foibles of youth were fresh on the front pages on magazine and newspaper, people would have scoffed. In an era where Lennon’s quote “We’re more popular than Jesus” raised more than eyebrows and inspired a few LP bonfires, they did not seem so immortal. At a time when their personal soap operas were as much a part of their mystique as was the music, there would have been doubts.
Today, far removed from the crisis over LSD revelations, from Yoko and the Maharishi, their music must stand alone. It is not solely a reprehensive of an era of Peace signs and drug use, but something that proved to be more enduring than a simple pop song.
Yes, the Beatles were a phenomena that may never be repeated. They were at the right place at the right time. They are as close to a Wild Stallion from “Bill and Ted’s Excellent Adventure” as any band may ever be. Not only did they reflect a time, but they helped mold it as well.
Yes… they were the first band to use feedback as a musical tool (“I Feel Fine”) and were the first to intentionally hide backwards sounds in songs (“rain”) in an attempt to stretch the studio beyond their limited capacities. The Beatles released “Sgt. Pepper” on June 1st, 1967, and it served as a fitting soundtrack for the psychedelic Summer of Love. Pop music took a quantum leap with its release.
They also legitimized the hippie look, with their new longer hair, beard and mustaches first previewed to the world through the two promo films of “Strawberry Fields” and “Penny Lane.” The watching dancers on “American Bandstand” were slightly traumatized, but I imagine it was not too long before they too were trying to decipher the words and meanings in Sgt. Pepper and its dazzling cover art.
In ’68, the Fab Four traveled to India to broaden their minds and spirits. A change took place there, influenced by Harrison’s spiritual pursuits into eastern philosophy which impacted the one time mop tops and made a lasting impression in their music and word play. Sitars rang out in western pop songs. References to Hindu chants and philosophy littered songs not only by Harrison but also Lennon. Eastern ideas on meditation and life made their first accepted forays into modern culture since the days of Jack Kerouac and his Dharma Bums from the fringe beatnik culture of the 50’s.
In a scant seven years on the international scene, they left a mark on society in indelible ink. They influenced generations of writers, singers and musicians. They left behind in their wake others who might never see the impact of their own music reach such proportions, regardless of talent, because the time and the place had changed.
But it was not all time and place. Yes.. Those things have importance, no doubt, but whether it is the simple “She Loves You” or the transcendental “I Am the Walrus”, the music itself touched our collective hearts. It had characteristics of the classical (“Eleanor Rigby”) and of metal (“helter Skelter”). IT was an English ballad (“Martha My Dear”) and a psychedelic anthem (“Lucy in the Sky With Diamonds”). It was about eastern mysticism (“Its All Too Much”) and it was a simple love song (“I Will”).
Joihn, Paul, George and Ringo can not be categorized. They can not be stuffed into a neat box of explanation. And, maybe it is because they stopped when they were on top of the world that they are still there, their 40 year old songs still echoing across the airwaves, Wii games and IPODs into a new century.
Tonight, on a hot and humid Oklahoma evening, as sweat trickled down my face, I sang along at the top of my lungs as Bradio played the chords to “Here Comes the Sun”, because of those four guys from the poor side of Liverpool, somehow I truly believe that “Here comes the sun and it’s alright.”
Sunday, June 6, 2010
Zen Music Moment- Opieland hotel
During November of 2008, Ashley traveled to Nashville for the national English teachers convention. I took the chance to go with her.... and stayed at the Eddie gaylord "Opieland".. a sprawling expanse of hotels, convention centers, shops, Bars and restaurants all under one protective dome. Gaylord had built a city of the future... like the domed cities of sci fi.
While Ash attended the convention, I wandered thew dome. It was intricate and each area was themed. I checked the maps often to make sure I wasn't lost when we were supposed to meet.
That evening, Ash and I decided to find a bar with live music and settle in for a couple beers. We checked out the Irish PUb for a while and then settled in a small club with a 3 piece guitar band on stage.
The guys were good. They played a great selection of tunes and the bar seemed to be getting into the music. I know we were.
Then.. THAT GUY showed up. The one who is drunk... who wants everyone to see and hear him. The obnoxious and irrepressible class clown who thinks he is funnier than he really is.... the village idiot.
He began by yelling song titles at the band. Then his southern rock brain cells, freed by copious amonts of alcohol, kicked into high gear.
"Freebird! Freebird!" he chanted over and over... at the end of each song, during the song.... and even offering money for the band to play tyhat clssic that radio has done so much to wear out.
At last, the singer stopped and addressed the moron.
"I knew you would be here tonight. I didn't know when or what you would look like, but... I knew you would be here."
Why is it there is always that idiot or his clone that shows up at a show? recently at a Cross Canadian ragweed show in OKC, some dumbass hits the lead singer with a Jack Daniels bottle? I was at a Todd Rundgren solo show in Tulsa where during a slow "Can We still be friends"... a beer bottle whizzes across the stage and over the piano. At another show at Cain's Ballroom, Rundgren stops the show because some dumbass... a clone to the pone in Nashville... is talking so loudly by the stage... that peoiple around him are having trouble hearing the concert. He was much more interested i trying to get into the pants of the woman there than the show he had apparently paid for.... and that we had paid for.
These guys.. always guys.. keep showing up. UGh... even as non-violent as I am, I fantasize choking them in guitar chords... dismembering g them with drum sticks...hanging hem from the stage lights ....
but it's only a fantasy.
While Ash attended the convention, I wandered thew dome. It was intricate and each area was themed. I checked the maps often to make sure I wasn't lost when we were supposed to meet.
That evening, Ash and I decided to find a bar with live music and settle in for a couple beers. We checked out the Irish PUb for a while and then settled in a small club with a 3 piece guitar band on stage.
The guys were good. They played a great selection of tunes and the bar seemed to be getting into the music. I know we were.
Then.. THAT GUY showed up. The one who is drunk... who wants everyone to see and hear him. The obnoxious and irrepressible class clown who thinks he is funnier than he really is.... the village idiot.
He began by yelling song titles at the band. Then his southern rock brain cells, freed by copious amonts of alcohol, kicked into high gear.
"Freebird! Freebird!" he chanted over and over... at the end of each song, during the song.... and even offering money for the band to play tyhat clssic that radio has done so much to wear out.
At last, the singer stopped and addressed the moron.
"I knew you would be here tonight. I didn't know when or what you would look like, but... I knew you would be here."
Why is it there is always that idiot or his clone that shows up at a show? recently at a Cross Canadian ragweed show in OKC, some dumbass hits the lead singer with a Jack Daniels bottle? I was at a Todd Rundgren solo show in Tulsa where during a slow "Can We still be friends"... a beer bottle whizzes across the stage and over the piano. At another show at Cain's Ballroom, Rundgren stops the show because some dumbass... a clone to the pone in Nashville... is talking so loudly by the stage... that peoiple around him are having trouble hearing the concert. He was much more interested i trying to get into the pants of the woman there than the show he had apparently paid for.... and that we had paid for.
These guys.. always guys.. keep showing up. UGh... even as non-violent as I am, I fantasize choking them in guitar chords... dismembering g them with drum sticks...hanging hem from the stage lights ....
but it's only a fantasy.
Zen Music Moment
A couple years ago, Ash and I made a trip to New Orleans. I am pretty sure it was late JUne.
We stayed in a hotel on the French Quarter so we could eb close to the action at Bourbon Street and the night life. We were looking forward to exploring the place, eating some benet for breakfast and listening to jazz or Cajun music in the evening bars.
We left late morning on foot, wandering through the area armed with our tourist map and sun screen. It was hot... damn hot! The humidity was incredible. We visited voodoo shops for the air conditioning! We chose a restaurant because it looked the coolest. Our walk along side the Mississippi left others wondering which was wetter... the river or the heavy sweating couple form Oklahoma.
Finally, exhausted and drenched, we stumbled upon the famous bar, J Patrick O'Malleys. We wobbled in... ordered the famous Hurricane drink... a tall, red concoction that we drank quickly to quench our parched bodies. The alcohol went straight to my head.
We ended up in one of the many rooms with music. In that particular room, two women played dueling pianos through a collection of pop songs.
Meanwhile, the sweat began to cool against our skin. The Hurricane drink settled blissfully in my brain. and we breathed a collective sigh of relief while we sat exhausted in the piano bar.
Suddenly the two women started the strangest version I have ever heard of a 70's rock classic. The first chords on the piano sounded strangely familiar. "I think they're playing 'FReebird'" I mumbled to Ashley across the table.
AS the two women traded vocals and piano on the Skynard classic, we could only look at each other, grin foolishly and stifle the giggles that seemed to want to spill forth.
For some reason, at that moment, sweaty and dehydrated, O'Malley's Hurricane coursing through my brain, that version of "Freebird" seemd to be the most surreal song I had evebr experienced.
Wail on Ladies... wail on.
We stayed in a hotel on the French Quarter so we could eb close to the action at Bourbon Street and the night life. We were looking forward to exploring the place, eating some benet for breakfast and listening to jazz or Cajun music in the evening bars.
We left late morning on foot, wandering through the area armed with our tourist map and sun screen. It was hot... damn hot! The humidity was incredible. We visited voodoo shops for the air conditioning! We chose a restaurant because it looked the coolest. Our walk along side the Mississippi left others wondering which was wetter... the river or the heavy sweating couple form Oklahoma.
Finally, exhausted and drenched, we stumbled upon the famous bar, J Patrick O'Malleys. We wobbled in... ordered the famous Hurricane drink... a tall, red concoction that we drank quickly to quench our parched bodies. The alcohol went straight to my head.
We ended up in one of the many rooms with music. In that particular room, two women played dueling pianos through a collection of pop songs.
Meanwhile, the sweat began to cool against our skin. The Hurricane drink settled blissfully in my brain. and we breathed a collective sigh of relief while we sat exhausted in the piano bar.
Suddenly the two women started the strangest version I have ever heard of a 70's rock classic. The first chords on the piano sounded strangely familiar. "I think they're playing 'FReebird'" I mumbled to Ashley across the table.
AS the two women traded vocals and piano on the Skynard classic, we could only look at each other, grin foolishly and stifle the giggles that seemed to want to spill forth.
For some reason, at that moment, sweaty and dehydrated, O'Malley's Hurricane coursing through my brain, that version of "Freebird" seemd to be the most surreal song I had evebr experienced.
Wail on Ladies... wail on.
Saturday, April 10, 2010
Should Have beena rock star... more on Jerry!- record collecting
Record Collecting
A few weeks ago I made contact with an old buddy, Jerry Reale. I had written about Jerry in an earlier blog. He was in the same grade as my high school girl friend and we met because of a similar taste and obsession with music collecting. In fact, it was at Jerry’s house where I first heard “Dark Side of t Moon” through his cushy headphones. I also first heard the whole “Close to the Edge” Lp the same way….buried in a bean bag chair, progressive rock organs and guitars weaving an epicurean feast for my ears.
Jerry and I reconnected on Facebook through his daughter. Tonya suggested us as friends. I had her as a student a couple years ago, and got some news of Jerry through her. Strange to see him now, clean cut and all respectable –like. I remember the young guy, chattering about his records, his Iron Butterfly, Yes and growing LP piles. Jerry sported glasses and a bushy head of hair reminiscent of Joey Ramone. .
One thing that has not changed about Jerry is his passion for collecting. His Facebook is filled with the pics of collectibles, including the Beatles Butcher cover, the music made with Tony Sheridan and various 45 rpm covers from across the Beatles era. The picture of the prodigious shelves of LP after Lp from ceiling to floor tells me that the vinyl disc is a thing Jerry never left. It is an impressive work of collection!
Jerry and I became LP hunters. We scoured the record stores for the pearls among the swine. In Tulsa, the record collecting was at first limited to the actual stores that sold new releases/ W hunted for best price and best selection. There were several GReers Record and Tape stores we frequented. The old hippie record store and head shop, Starship usually had one of the best selections of LPs and sometimes even a bootleg or two intersperses among the legit copies. A few of the other existing stores of the time catered mostly to a different crowd, such as Bill’s T records.
It was then a store from the heavens opened up to us. In a small cubby, a used record store, primarily vinyl, began to advertise. Jerry and I spent hours there, digging through the LPs. We were soon o a first name basis with Paul, who always knew we were good for a purchase or two. He soon had competition from a store run by a grey haired hipster, called Wizards. We bounced from store to store, locating boots, foreign discs, collector’s items and paraphernalia.
Jerry and I even traded among ourselves. He knew I was Badfinger fan and traded me a German copy of the then out of print Badfinger “Straight Up” Lp. At one time, I even traded to him my copy of the rare bootleg Beatles Christmas recordings. Funny, before jerry posted that Lp on facebook, he wrote me a note making sure I wasn’t mad that he ‘begged’ me out of that Lp years ago. I am not. Never was. I must admit, I do enjoy finding little gems and rarities, but as the years went on, Jerry became a much better collector than I.
My music became much more based on listening rather than the collection. This led to one of my great mistakes in collecting. Somehow in the late 70s I found a copy fo John and Yoko’s “Two Virgins” in a brown wrapper for only 42.98 at Starship. I kept it for a few years as an oddity. The music is useless and not worth much except for a Lennon collector. It was a collection of Lennon and Ono first love musical rambling ad experimental noise. So in June of 1980, I parted with the LP for what is aw as a good profit at $40.
Lennon was killed in December of the same year. Guess what the value of that Lp rose to??? Made me ill. Makes a guy want to hang on to everything, huh?
Over the years, I still searched out rarities and gems, especially in the form of rare Beatle music. I found live cuts unreleased, studio cuts, and unreleased SONGS LIKE THE ACOUSTIC VERSION OF “While My Guitar Gently Weeps” long before it was released as a part of the mid 1990’s Beatles Anthology. I fact, I still have a few songs that have never seen the light of day from the Beatles archives… legitimately. Now, those tunes play on my IPOD and rest in my CD collection.
Over the years, my obsession for the Lp died hard. I had several thousand vinyl LPs and continued to buy my music that way despite the market shift to, first, the cassette and then to the CD. I had a cassette player in my car and house, but usually it was found playing mixes made from my LPs or others. I rarely ever bought a pre-recorded cassette. If it was a musician I loved, I bought the LP, to have, to hold, to peruse over and over.
I won my first CD, “The Iron Giant “by Pete Townshend, which eventually was turned into the Iron Giant” animated movie. Then, Ash and Mom bought me a CD player for Christmas… eventually making CD’s of music became my mix obsession. It was only a small skip then from the CD to digital music and an IPOD. Meanwhile, my LPs sit, stored in Fletch’s now vacant room. A couple years ago, when I had the then, sometimes played LPs stored in a down stairs closet, I opened it one day6 to find we had a leak in the upstairs air conditioning unit that accused backed up water to cascade through the middle of my collection. It warped and glued together a collection of LPs from the alphabetically stored artists whose cruel order in that 26 letters placed them under the leak; Bowie, Cheap Trick and Cream on one George Harrison on another and through the letters on the lower shelves. Despite the fact they rarely saw the light of day; it was as if someone had just slashed my personal Picasso.
The LPs were moved first to the garage and then to the upstairs. Ash eventually bought a couple of frames so that I could rotate them for view like things a fine art. But, mostly, the hard won collection sits, like ancient gods waiting for someone to believe once again. Ash and I, at some time when money is a little more available, plan on having another turntable and freeing the discs from their inactivity.
As I look at the LP collection on his Facebook, I still long for that vinyl LP, the artwork, the foldout and anticipation of discovery inside the cardboard sleeve.
And a few funny things and ironic...on Facebook, after all these years of knowing Jerry, I found out a couple of new connections for us. I posted a question...
"your first concert" and found that before jerry and I were record hunting allies, we were both actually at our first concert the same night and venue. We both listed Grand Funk Railroad. And then, a couple years ago when what was left of GFR came to the Tulsa State Fair, I found that Jerry was also in that crowd again, unbeknownst to me.
45m 33, 78........Jerry is still spinning those discs!
A few weeks ago I made contact with an old buddy, Jerry Reale. I had written about Jerry in an earlier blog. He was in the same grade as my high school girl friend and we met because of a similar taste and obsession with music collecting. In fact, it was at Jerry’s house where I first heard “Dark Side of t Moon” through his cushy headphones. I also first heard the whole “Close to the Edge” Lp the same way….buried in a bean bag chair, progressive rock organs and guitars weaving an epicurean feast for my ears.
Jerry and I reconnected on Facebook through his daughter. Tonya suggested us as friends. I had her as a student a couple years ago, and got some news of Jerry through her. Strange to see him now, clean cut and all respectable –like. I remember the young guy, chattering about his records, his Iron Butterfly, Yes and growing LP piles. Jerry sported glasses and a bushy head of hair reminiscent of Joey Ramone. .
One thing that has not changed about Jerry is his passion for collecting. His Facebook is filled with the pics of collectibles, including the Beatles Butcher cover, the music made with Tony Sheridan and various 45 rpm covers from across the Beatles era. The picture of the prodigious shelves of LP after Lp from ceiling to floor tells me that the vinyl disc is a thing Jerry never left. It is an impressive work of collection!
Jerry and I became LP hunters. We scoured the record stores for the pearls among the swine. In Tulsa, the record collecting was at first limited to the actual stores that sold new releases/ W hunted for best price and best selection. There were several GReers Record and Tape stores we frequented. The old hippie record store and head shop, Starship usually had one of the best selections of LPs and sometimes even a bootleg or two intersperses among the legit copies. A few of the other existing stores of the time catered mostly to a different crowd, such as Bill’s T records.
It was then a store from the heavens opened up to us. In a small cubby, a used record store, primarily vinyl, began to advertise. Jerry and I spent hours there, digging through the LPs. We were soon o a first name basis with Paul, who always knew we were good for a purchase or two. He soon had competition from a store run by a grey haired hipster, called Wizards. We bounced from store to store, locating boots, foreign discs, collector’s items and paraphernalia.
Jerry and I even traded among ourselves. He knew I was Badfinger fan and traded me a German copy of the then out of print Badfinger “Straight Up” Lp. At one time, I even traded to him my copy of the rare bootleg Beatles Christmas recordings. Funny, before jerry posted that Lp on facebook, he wrote me a note making sure I wasn’t mad that he ‘begged’ me out of that Lp years ago. I am not. Never was. I must admit, I do enjoy finding little gems and rarities, but as the years went on, Jerry became a much better collector than I.
My music became much more based on listening rather than the collection. This led to one of my great mistakes in collecting. Somehow in the late 70s I found a copy fo John and Yoko’s “Two Virgins” in a brown wrapper for only 42.98 at Starship. I kept it for a few years as an oddity. The music is useless and not worth much except for a Lennon collector. It was a collection of Lennon and Ono first love musical rambling ad experimental noise. So in June of 1980, I parted with the LP for what is aw as a good profit at $40.
Lennon was killed in December of the same year. Guess what the value of that Lp rose to??? Made me ill. Makes a guy want to hang on to everything, huh?
Over the years, I still searched out rarities and gems, especially in the form of rare Beatle music. I found live cuts unreleased, studio cuts, and unreleased SONGS LIKE THE ACOUSTIC VERSION OF “While My Guitar Gently Weeps” long before it was released as a part of the mid 1990’s Beatles Anthology. I fact, I still have a few songs that have never seen the light of day from the Beatles archives… legitimately. Now, those tunes play on my IPOD and rest in my CD collection.
Over the years, my obsession for the Lp died hard. I had several thousand vinyl LPs and continued to buy my music that way despite the market shift to, first, the cassette and then to the CD. I had a cassette player in my car and house, but usually it was found playing mixes made from my LPs or others. I rarely ever bought a pre-recorded cassette. If it was a musician I loved, I bought the LP, to have, to hold, to peruse over and over.
I won my first CD, “The Iron Giant “by Pete Townshend, which eventually was turned into the Iron Giant” animated movie. Then, Ash and Mom bought me a CD player for Christmas… eventually making CD’s of music became my mix obsession. It was only a small skip then from the CD to digital music and an IPOD. Meanwhile, my LPs sit, stored in Fletch’s now vacant room. A couple years ago, when I had the then, sometimes played LPs stored in a down stairs closet, I opened it one day6 to find we had a leak in the upstairs air conditioning unit that accused backed up water to cascade through the middle of my collection. It warped and glued together a collection of LPs from the alphabetically stored artists whose cruel order in that 26 letters placed them under the leak; Bowie, Cheap Trick and Cream on one George Harrison on another and through the letters on the lower shelves. Despite the fact they rarely saw the light of day; it was as if someone had just slashed my personal Picasso.
The LPs were moved first to the garage and then to the upstairs. Ash eventually bought a couple of frames so that I could rotate them for view like things a fine art. But, mostly, the hard won collection sits, like ancient gods waiting for someone to believe once again. Ash and I, at some time when money is a little more available, plan on having another turntable and freeing the discs from their inactivity.
As I look at the LP collection on his Facebook, I still long for that vinyl LP, the artwork, the foldout and anticipation of discovery inside the cardboard sleeve.
And a few funny things and ironic...on Facebook, after all these years of knowing Jerry, I found out a couple of new connections for us. I posted a question...
"your first concert" and found that before jerry and I were record hunting allies, we were both actually at our first concert the same night and venue. We both listed Grand Funk Railroad. And then, a couple years ago when what was left of GFR came to the Tulsa State Fair, I found that Jerry was also in that crowd again, unbeknownst to me.
45m 33, 78........Jerry is still spinning those discs!
Tuesday, March 16, 2010
I shaould ahve been a rock star.....Tulsa Sound
Last week, my son Corwin and I went to see Eric Clapton play at the Tulsa BOK center. Roger Daltrey of the Who opened the show, on a solo tour before settling in to make a new Who album with Townshend this summer. Daltry was on fire. He wailed through a collection of solo and Who songs with Petes' brother Simon on lead guitar.
Originally, Ashley had bought the tickets for Fletch and I as a Christmas gift, not realizing that Fletch was headed back to China 2 weeks before the March 2nd concert. So, that left Ash to reluctantly go to the show with me. She is not a big concert fan, the press of the crowd, the thunderous noise, the chaos and confusion of thousands trying to get into the show, and sometimes becoming obnoxious after a couple of high priced beers or drinks. The day of the show, she enlisted Corwin to replace her as my concert buddy. He went gladly, but I was a little surprised since his music tastes are not so much inclined to the classic rock, but more to current rock and rap genres. Fletch worships Clapton and it's too bad he missed this one.
Cor and I loaded up, drove to Tulsa and frantically searched the streets for a parking spot that was not 10 or 20 dollars for the convenience of being close. We finally found something a good 7 or 8 blocks away on a street. Braving the cool March evening air, we pulled our coats close about us and trudged, among the other faithful, to the steps of the arena.
As we walked into the arena, and our tickets were scanned, not torn as I had been used to in concert days of yore, it made me think back to my previous musical episodes with Clapton, the man canonized in the 70's with the phrase, "Clapton is God."
I had seen Clapton live 3 other times before this night.The first dating as far back as 1975 in the old Tulsa Convention Center. My current college room mate, Terry Brady and I fought our way to the show to watch Freddy King open the show, and Clapton, along with his Tulsa based band, rip through the great hits he had already accumulated by that time. Backing him, were several musicians who had been a part of creating what was known as the "TULSA SOUND." Tulsans Keyboardist Dick Sims, Drummer Jamie Oldaker, and bassist Carl Radle were an essential part of Clapton's touring band in the 70's. They paired with Florida Guitarist George Terry and back ground vocalist Yvonne Elliman.
Now, Clapton's connection to Tulsa had started a few years before when in Los Angles he made friends with Tulsa transplant Leon Russell. Leon had moved to California in the late 60's to record, study music and produce several bands. Among the bands Leon produced was Gary Lewis and the Playboys. Leon played some piano on their cuts alongside another Tulsa musician Carl Radle. It was through Leon, that Clapton met and hired Radle as the bassiust for his first solo LP, "Eric Clapton." Leon played on it and helped co-write 2 songs. It was on this album that Clapton first covered another Tulsan's songs, "After Midnight" by J J Cale. in 1971 , Clapton asked Radle to be part of his super band "Derek and the Dominos." Thye were short lived due to the death of Duane Allman and Eric's continuing drug problem. Clapton would alos add Cale's song "Cocaine" to his discography and eventually make an album with J J Cale in 2006.
In 1973, after going cold turkey with heroin, Clapton was coaxed out of seclusion by Pete Townshend resulting in the "Rainbow Concert." Eric was supported in his all star effort by Townshend, Ron Wood, Steve Winwood and Jim Capaldi. This jump started Eric's music and within a year, teaming with his new Tulsa based band, they released the spectacular "461 Ocean Blvd."
Clapton was seen often in Tulsa then. He hung out at Leon Church Studio in Tulsa with eh other characters of the Tulsa sound... Cale, Triplehorn, Oldaker, Russell, etc. Clapton played and toured with his Tulsa band through out the remainder of the 70's before his legendary restlessness carried him in other directions. They also played with Bonnie and Delaney, joined by good friend George Harrison.
That first Clapton show in Tulsa was spectacular. He ended the show by jamming with Freddie King. I did not know at that time that Freddie's career had been given new life when Leon Russell produced a new LPs for him in '71, '72 and '73 on Leon's own Shelter Records. In '74 Freddy moved to Clapton's RSO label for his last 2 Lps. King would die the year following the Tulsa concert.
Many years passed before I was able to see Clapton live again. In the summer of 2004, with both sons and my wife, we traveled to Dallas Texas to see Clapton at the CRossroads Guitarfest. It was a 2 day guitar orgy that Clapton had put together to raise funds for his Drug and alcohol rehab venture called "Crossroads." It had been Fletch's idea to go. Ash and Cor, who was only 13 at the time, were not interested in standing out in the hot Dallas sun all day in the Cotton Bowl. So, they dropped us off and we elbowed our way to the front half of the floor of the stadium to stand just 20 yards away from the stages erected there. The show began early, rotating stages back and forth as guitar god after guitar god took the stage. Clapton presided over the event, playing with some of the musicians. He dueled with BB King, Buddy Guy, John mayer, Carlos santana and Jimmy Vaughn. Other acts, Neil Shon, Booker T, Larry Carleton, James Taylor and a huge castof musicians kept the festivities flowing all day long and late into the evening. As the last bands took the stage, the wind began to rise and as ZZ Top polished off the night, rain and wind whipped the crowd and stage sets. It had been a spectacular frenzy of guitar riffs and wailing Starts. We had witnessed one of the final performances of the legendary Bo Diddly at that concert.
Fletch and I followed that concert up with an indoor show in Oklahoma City just one month later and Clapton and band wowed the crowds. That show was opened by Robert Randolph and Family Band. Randolf had also played at the guitar fest and jammed with Eric to end the OKC show.
Finally, March of 2010 and a 64 year old Eric Clapton took the stage in Tulsa again. Everyone wondered... would eh be joined by some of his old Tulsa gang? Radle had passed away in 1980 as a result of a kidney infection due to drug abuse. OLdaker still plays in Tulsa. Other musicians such as David Teegarden and JJ Cale make their appearances now and then. Teegarden made a career as a drummer most notable for Bob Seger. Would Cale show up? Would old pal Leon appear?
I thought not. I had been to a Leon Russell and Joe Cocker concert a few years before in Tulsa. There ws great anticipation that perhaps they might reunite just as they had on "MadDogs and Englishmen" when Leon acted as tour musical director and written a few of Cocker's hits. They did not play together. They both played good sets separately and left me satisfied, even with out the reunion fever.
At the show, Clapton blazed through a set of songs, exhibiting guitar wizardry that left me as perplexed today as it did in 1978 while trying with my college guitar teacher to learn the opening solo to "Layala." I never did. As I have said before... I am not a good or even adequate guitarist. I am a great listener for those who are. And I was thrilled with what I saw of Clapton that night, whose hands showed no signs of aging as they sizzled on the fret board. As we left the show, even Corwin was impressed with what he had seen and heard. It was not his kind of music, but who can deny genius?
It took me back to the 70's and the Tulsa Sound. I talked to Corwin about that era as we trudged through the cold evening back to our small car.
The Tulsa Sound. It was here and Clapton was a big part in popularizing it beyond the borders of this state, as was Leon, JJ Cale and others.
This Christmas, another connected gift, even though Ashley probably did not consider it so, was the book about the history of Oklahoma Rock and Roll, "Another Hot Oklahoma Night." In that book it traces the characters who amde the Tulsa sound. It covers the famous record stores that I haunted for years in search of rock gems. It discusses the history of Oklahoma rock radio.. the same ones I spent hour after hour singing along with or listening to quietly in the late evening, undetected by my parents. . It covers Leon's recording studios and
even a studio owned by a man I teach with now at Sapulpa High, Bill Davis. Bill owned one of the early recording venues in Tulsa. He hung out with and played in garage bands with the likes of JJ Cale and Leon Russell. I took the book to show Bill he had been made a part of Oklahoma History. "oh, the book I could write," he said.
It is here.. the Tulsa sound. It touched the Maddogs and Englishmen. It drove Clapton's return. It wailed on the stage at the Concert for Bangladesh as Leon whipped his long gray mane through "Young Blood".. It throbbed as the bass on the "Layla" LP. It was Teegarden and Van Winkle. It was Gary Busey, who played on a couple of Russell albums, as BUddy Holly. The sound influened everyone who played a Leon song or covered one of JJ cale's many songs, ranging from Kansas to Lynyrd Skynyrd.
It is in a thousand musicians.. some of which were born here and moved on.. from David Gates of Bread, to the Flaming Lips. From Neil Shon of Journey to All American Rejects. To those who brushed against fame like Admiral Twin and Hanson to the icons like Leon and JJ Cale. It is still played in a collection of clubs across northwestern Oklahoma by anonymous musicians whose names will never see the headlines, but whose collective guitars put to shame the anemic musicians on music television.
There's no doubt.. you don't have to be on the coast to rock... Oklahoma rocks.
Originally, Ashley had bought the tickets for Fletch and I as a Christmas gift, not realizing that Fletch was headed back to China 2 weeks before the March 2nd concert. So, that left Ash to reluctantly go to the show with me. She is not a big concert fan, the press of the crowd, the thunderous noise, the chaos and confusion of thousands trying to get into the show, and sometimes becoming obnoxious after a couple of high priced beers or drinks. The day of the show, she enlisted Corwin to replace her as my concert buddy. He went gladly, but I was a little surprised since his music tastes are not so much inclined to the classic rock, but more to current rock and rap genres. Fletch worships Clapton and it's too bad he missed this one.
Cor and I loaded up, drove to Tulsa and frantically searched the streets for a parking spot that was not 10 or 20 dollars for the convenience of being close. We finally found something a good 7 or 8 blocks away on a street. Braving the cool March evening air, we pulled our coats close about us and trudged, among the other faithful, to the steps of the arena.
As we walked into the arena, and our tickets were scanned, not torn as I had been used to in concert days of yore, it made me think back to my previous musical episodes with Clapton, the man canonized in the 70's with the phrase, "Clapton is God."
I had seen Clapton live 3 other times before this night.The first dating as far back as 1975 in the old Tulsa Convention Center. My current college room mate, Terry Brady and I fought our way to the show to watch Freddy King open the show, and Clapton, along with his Tulsa based band, rip through the great hits he had already accumulated by that time. Backing him, were several musicians who had been a part of creating what was known as the "TULSA SOUND." Tulsans Keyboardist Dick Sims, Drummer Jamie Oldaker, and bassist Carl Radle were an essential part of Clapton's touring band in the 70's. They paired with Florida Guitarist George Terry and back ground vocalist Yvonne Elliman.
Now, Clapton's connection to Tulsa had started a few years before when in Los Angles he made friends with Tulsa transplant Leon Russell. Leon had moved to California in the late 60's to record, study music and produce several bands. Among the bands Leon produced was Gary Lewis and the Playboys. Leon played some piano on their cuts alongside another Tulsa musician Carl Radle. It was through Leon, that Clapton met and hired Radle as the bassiust for his first solo LP, "Eric Clapton." Leon played on it and helped co-write 2 songs. It was on this album that Clapton first covered another Tulsan's songs, "After Midnight" by J J Cale. in 1971 , Clapton asked Radle to be part of his super band "Derek and the Dominos." Thye were short lived due to the death of Duane Allman and Eric's continuing drug problem. Clapton would alos add Cale's song "Cocaine" to his discography and eventually make an album with J J Cale in 2006.
In 1973, after going cold turkey with heroin, Clapton was coaxed out of seclusion by Pete Townshend resulting in the "Rainbow Concert." Eric was supported in his all star effort by Townshend, Ron Wood, Steve Winwood and Jim Capaldi. This jump started Eric's music and within a year, teaming with his new Tulsa based band, they released the spectacular "461 Ocean Blvd."
Clapton was seen often in Tulsa then. He hung out at Leon Church Studio in Tulsa with eh other characters of the Tulsa sound... Cale, Triplehorn, Oldaker, Russell, etc. Clapton played and toured with his Tulsa band through out the remainder of the 70's before his legendary restlessness carried him in other directions. They also played with Bonnie and Delaney, joined by good friend George Harrison.
That first Clapton show in Tulsa was spectacular. He ended the show by jamming with Freddie King. I did not know at that time that Freddie's career had been given new life when Leon Russell produced a new LPs for him in '71, '72 and '73 on Leon's own Shelter Records. In '74 Freddy moved to Clapton's RSO label for his last 2 Lps. King would die the year following the Tulsa concert.
Many years passed before I was able to see Clapton live again. In the summer of 2004, with both sons and my wife, we traveled to Dallas Texas to see Clapton at the CRossroads Guitarfest. It was a 2 day guitar orgy that Clapton had put together to raise funds for his Drug and alcohol rehab venture called "Crossroads." It had been Fletch's idea to go. Ash and Cor, who was only 13 at the time, were not interested in standing out in the hot Dallas sun all day in the Cotton Bowl. So, they dropped us off and we elbowed our way to the front half of the floor of the stadium to stand just 20 yards away from the stages erected there. The show began early, rotating stages back and forth as guitar god after guitar god took the stage. Clapton presided over the event, playing with some of the musicians. He dueled with BB King, Buddy Guy, John mayer, Carlos santana and Jimmy Vaughn. Other acts, Neil Shon, Booker T, Larry Carleton, James Taylor and a huge castof musicians kept the festivities flowing all day long and late into the evening. As the last bands took the stage, the wind began to rise and as ZZ Top polished off the night, rain and wind whipped the crowd and stage sets. It had been a spectacular frenzy of guitar riffs and wailing Starts. We had witnessed one of the final performances of the legendary Bo Diddly at that concert.
Fletch and I followed that concert up with an indoor show in Oklahoma City just one month later and Clapton and band wowed the crowds. That show was opened by Robert Randolph and Family Band. Randolf had also played at the guitar fest and jammed with Eric to end the OKC show.
Finally, March of 2010 and a 64 year old Eric Clapton took the stage in Tulsa again. Everyone wondered... would eh be joined by some of his old Tulsa gang? Radle had passed away in 1980 as a result of a kidney infection due to drug abuse. OLdaker still plays in Tulsa. Other musicians such as David Teegarden and JJ Cale make their appearances now and then. Teegarden made a career as a drummer most notable for Bob Seger. Would Cale show up? Would old pal Leon appear?
I thought not. I had been to a Leon Russell and Joe Cocker concert a few years before in Tulsa. There ws great anticipation that perhaps they might reunite just as they had on "MadDogs and Englishmen" when Leon acted as tour musical director and written a few of Cocker's hits. They did not play together. They both played good sets separately and left me satisfied, even with out the reunion fever.
At the show, Clapton blazed through a set of songs, exhibiting guitar wizardry that left me as perplexed today as it did in 1978 while trying with my college guitar teacher to learn the opening solo to "Layala." I never did. As I have said before... I am not a good or even adequate guitarist. I am a great listener for those who are. And I was thrilled with what I saw of Clapton that night, whose hands showed no signs of aging as they sizzled on the fret board. As we left the show, even Corwin was impressed with what he had seen and heard. It was not his kind of music, but who can deny genius?
It took me back to the 70's and the Tulsa Sound. I talked to Corwin about that era as we trudged through the cold evening back to our small car.
The Tulsa Sound. It was here and Clapton was a big part in popularizing it beyond the borders of this state, as was Leon, JJ Cale and others.
This Christmas, another connected gift, even though Ashley probably did not consider it so, was the book about the history of Oklahoma Rock and Roll, "Another Hot Oklahoma Night." In that book it traces the characters who amde the Tulsa sound. It covers the famous record stores that I haunted for years in search of rock gems. It discusses the history of Oklahoma rock radio.. the same ones I spent hour after hour singing along with or listening to quietly in the late evening, undetected by my parents. . It covers Leon's recording studios and
even a studio owned by a man I teach with now at Sapulpa High, Bill Davis. Bill owned one of the early recording venues in Tulsa. He hung out with and played in garage bands with the likes of JJ Cale and Leon Russell. I took the book to show Bill he had been made a part of Oklahoma History. "oh, the book I could write," he said.
It is here.. the Tulsa sound. It touched the Maddogs and Englishmen. It drove Clapton's return. It wailed on the stage at the Concert for Bangladesh as Leon whipped his long gray mane through "Young Blood".. It throbbed as the bass on the "Layla" LP. It was Teegarden and Van Winkle. It was Gary Busey, who played on a couple of Russell albums, as BUddy Holly. The sound influened everyone who played a Leon song or covered one of JJ cale's many songs, ranging from Kansas to Lynyrd Skynyrd.
It is in a thousand musicians.. some of which were born here and moved on.. from David Gates of Bread, to the Flaming Lips. From Neil Shon of Journey to All American Rejects. To those who brushed against fame like Admiral Twin and Hanson to the icons like Leon and JJ Cale. It is still played in a collection of clubs across northwestern Oklahoma by anonymous musicians whose names will never see the headlines, but whose collective guitars put to shame the anemic musicians on music television.
There's no doubt.. you don't have to be on the coast to rock... Oklahoma rocks.
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