"That's News to Me" - Archive #11
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A Mix of Music Related Text and Photos That You May
Bobby Sowell to Judge in the Mid-South Fair
2, 2003 - NEWS UPDATE - (Memphis, TN) Bobby has gracefully excepted an Invitation by the Mid-South
Fair to be on this year's 2003 Youth Talent judge's panel. (Sept. 19th thru Sept. 26th) This Youth
Talent Contest is the largest amateur contest in the world and has been inviting youth talent for
the last 51 years. Bobby won it when he was 18 years old. The contestants are invited from many
preliminaries from a 7 state area during the calendar year. One of the Semi-Finalists last year is
now on American Juniors (the younger version of American Idol on Fox TV) and doing well. Her name is
Lucy Hale and she has made it to the Final 10 on that program. Bobby and the rest of the Judges will
see between 650-700 acts crossing the stage during this time frame before they decide which act will
progress to be the Grand Award Winner. The program's sole purpose is the discovery, development and
encouragement of young entertainers in a positive, family-oriented forum. Contestants are offered
the chance to compete for over $25,000 in cash and prizes as well as $10,000 in scholarships and
National Network TV appearances. Bobby says, "I appreciate the Invitation and consider it an honor
and my way of giving it back, It will help my career, pride and ego as well as my reputation knowing
I may have a small part in someone's future music endeavors and for that I am grateful." Who knows
where it may lead? Bobby could be the next "Simon"! Only not with such frankness but a much cooler
and gentler fellow. Come out and watch all the new and young talent, perhaps even the next 'American
International Songwriting Competition Now Accepting Entries
The International Songwriting Competition is accepting entries until September 15, 2003. ISC prizes
include $100,000 in cash and merchandise, a total of 13 categories, and 68 winners. ISC is an
excellent opportunity for amateur and professional songwriters to gain valuable exposure and win
great prizes. ISC's judges are the most prestigious and influential in any songwriting competition
Monte Lipman (President, Universal Records), Arif Mardin (VP/GM, Manhattan Records), Bruce Lundvall
(CEO/President, Capitol Records Jazz/Classics), Rob Thomas (Matchbox 20), B.B. King, Vanessa
Carlton, *NSYNC (Teen Category Only), BeBe Winans, Dan Haseltine (Jars Of Clay), Pat Metheny, Paul
Oakenfold, Raine Maida (Our Lady Peace), Phil Vassar, Guru (Gang Starr), Frank Callari (Sr. VP
A&R/Artist Development, Lost Highway Records), Tina Davis (Sr. VP A&R, Def Jam/Def Soul), Nile
Rodgers (Performer/Producer), Rose Noone (Sr. VP A&R, Epic Records), Jimmy Bralower (VP A&R,
Atlantic Records), Kim Stephens (VP A&R/Promotion, Lava Records), Tara Griggs-Magee (Sr. VP/GM,
Verity Records), Robert Beeson (President, Essential Records), Errol Kolosine (GM, Astralwerks
Records) and Michael Gudinski (Chairman, Mushroom Group of Companies).
The ISC categories are: Pop/Top 40, Rock, AAA/Roots/Americana, Country, R&B/Hip-Hop, Blues,
Folk/Singer-Songwriter, Jazz, Dance/Electronica, World Music, Gospel/Christian, Lyrics Only and
Winners will also benefit from a multilateral promotional campaign designed to give international
exposure and attention to their songwriting achievements; and will be included on the ISC
Compilation CD distributed to music industry professionals including publishers, A&R
representatives, and media.
For more information on the contest, an entry form, or to enter online, please visit http://www.songwritingcompetition.com.
Entries must be postmarked on or before September 15, 2003.
ISC is proudly sponsored by: Xytar Digital Systems, Epiphone Guitars, Berklee College Of Music,
Cakewalk, Sam Ash Music Stores, Disc Makers, Sonicbids, Primera Technology Inc., L.R. Baggs,
Berkleemusic.com, Mp3.com, Live365.com, FYE, The Orchard, Sennheiser, Alphabet Arm Design, Planetary
Group, iRiver, Ernie Ball, and M Works.
First Rock Song! What's Your Take?
is from the book: "WHAT WAS THE FIRST ROCK 'N' ROLL RECORD?" by Jim Dawson & Steve Propes, by Faber
& Faber, provides their following list of candidates:
1 Jazz at the Philharmonic: Blues,
Part 2 (1944)
2 Joe Liggins: The Honeydripper (1945)
3 Helen Humes: Be-Baba-Leba (1945)
4 Freddie Slack : House Of Blue Lights (1946)
5 Big Boy Crudup: That's All Right (1946)
Jack McVea: Open The Door, Richard (1946)
7 Lonnie Johnson: Tomorrow Night (1948)
Harris: Good Rockin' Tonight (1948)
9 Bill Monroe: We're Gonna Rock, We're Gonna Roll (1948)
10 Orioles: It's Too Soon To Know (1948)
11 John Lee Hooker: Boogie Chillen (1948)
Arthur Smith and the Crackerjacks: Guitar Boogie (1948)
13 Stick McGhee: Drinkin' Wine
14 Jimmy Preston: Rock The Joint (1949)
15 Louis Jordan: Saturday
Night Fish Fry (1949)
16 Professor Longhair: Mardi Gras In New Orleans (1949)
Domino: The Fat Man (1950)
18 Muddy Waters: Rollin' and Tumblin' (1950)
19 Hardrock Gunter:
Birmingham Bounce (1950)
20 Hank Snow: I'm Movin' On (1950)
21 Ruth Brown: Teardrops From My
22 Arkie Shibley: Hot Rod Race (1950)
23 Les Paul and Mary Ford: How High The
24 Jackie Brenston with His Delta Cats: Rocket 88 (1951)
25 Dominoes: Sixty
Minute Man (1951)
26 Johnnie Ray with the Four Lads: Cry (1951)
›››››› 27 Clovers: One Mint
28 Bill Haley and the Saddlemen: Rock The Joint (1952)
29 Dominoes: Have Mercy
30 Lloyd Price: Lawdy Miss Clawdy (1952)
31 Hank Williams: Kaw-Liga (1953)
32 Willie Mae "Big Mama" Thorton: Hound Dog (1953)
33 Big Joe Turner: Honey Hush (1953)
Clyde McPhatter and the Drifters: Money Honey (1953)
35 Crows: Gee (1953)
36 Big Joe
Turner: Shake, Rattle, and Roll (1954)
37 Royals/Midnighters: Work With Me, Annie (1954)
Chords: Sh-Boom (1954)
39 Bill Haley and His Comets: (Were Going To)Rock Around› The Clock)
40 Robins: Riot In Cell Block #9 (1954)
41 Elvis Presley, Scotty and Bill: That's
All Right (1954)
42 Penguins: Earth Angel (Will You Be Mine) (1954)
43 LaVern Baker and
the Gliders: Tweedle Dee (1954)
44 Johnny Ace: Pledging My Love (1954)
45 Ray Charles: I've
Got A Woman (1954)
46 Bo Diddley: Bo Diddley (1955)
47 Chuck Berry: Maybellene (1955)
Little Richard: Tutti Frutti (1955)
49 Carl Perkins: Blue Suede Shoes (1956)
Presley: Heartbreak Hotel (1956)
Report on Americana 2003
UK - Well another great weekend over,
this year's Americana was a virtual repeat of the '94 Americana, when we got lots of sunshine,
thousands of visitors and multiples of thousands of American, classic, custom automobiles &
motorcycles. Even the big-rigs turned out in force, what a sight for sore eyes they were, their show
area also featured the stunning display of Harley show bikes (not forgetting the excellent Gold
wings on show as well).
I recently received an email that was obviously from a trophy hunter, he was compaining about a
non-US pick up winning an award. As I have not seen the list of winners, yet, I can't comment on who
or what won any of the top awards. I will howver state that if all these kind of folks go to shows
for, they must be a little bit sad, I have probably owned more American vehicles than most people
have had hot dinners. Some of them have been real showstoppers, but I have never ever gone the route
of attending shows just to win a trophy, I find it all very sad indeed, especially when its my own
show that they are bleating about. As for trophys we spent over 1000 on them this year, courtesy of
our new sponsor THE HARD ROCK CAFE, as far as I'm concerned if the judges (which I have no
jurisdiction over) choose a certain model over another, that's their descision not mine, and I
respect their choice.
On another note having attended many car shows in the USA and Germany/Belgium and witnessed numerous
non-American vehicles on display.I honestly cannot see why some people here in the UK whinge about
other vehicles that are not built in the USA attending and are put on display. I love American
vehicles of all kinds but it doesn't stop me appreciating other makes of cars from different
countries if they are modified from standard, they are all interesting no matter where they are
manufactured. I actually prefer the customs and hot rods more than anything else as I can appreciate
the hardwork and dedication that most of the owners put into them, that makes each one an
individual. Sure its nice to win an award for the effort somebody puts into his/her vehicle, but
surely its not the be all and end all for everybody. Your views on this aggrevating problem are
Back to Americana, those who (and there were thousands of you) arrived on July 4th will know that
the weather was a bit iffy, but we all managed to have a great time (as we always do). The firework
display got off to a rather shaky start when the first ones to be lit, didn't come up with the
goods, this was two rockets that shot a thousand feet into the air, then were supposed to have
exploded and opened up into a big stars & stripes flag. Well thousands of us crained our knecks as
we waited for this to happen. But it didn't, the explosion apparently destroyed the flag, reducing
it to the size of a standard envelope, a hard thing to see at a thousand feet.
The indoor entertainment by TALON, ANGEL MONTGOMERY, THOMAS LAVELLE, TONI CATLIN and ALAN BECK & THE
CRICKHITS was superb and everybody eventually went to bed at around 1:30am Friday morning. Friday
dawned with the prospect of rain, by mid afternoon it was like a mini-monsoon so we had to abandon
the main stage for the confines of the huge Lady Eastwood Pavilion ... Country Cattin' then
restarted their set and continued to please the growing audience with a great set of
Hi Voltage then took the stage for a superb set and won many new fans as did the young Landons
(formerly Young Country) who can play just about any style of music, new, traditional etc, etc.
Closing the afternoon shows in fine style. Further reports of the event can be found soon on this
web site, or go to email@example.com for her interpretation on this year's show.
Many of you have asked about my Bev, well those who attended the show will no doubt know that she
was there, on the main exhibitors/trade gate as usual. Not working like she normally does, but
keeping her eye on our excellent staff, sorting out problems that her team leaders (Libby, Andrea,
Steve etc) couldn't sort out. Suffice to say she was totally worn out by the experience, high as a
kite on morphine she got through the ten days that we were on the showground without any problems.
Drugs are strange things and she can't remember a lot of things that happened, so if any of you
tried to talk to her and she seemed disinterested, she wasn't and she has asked me to 'thank you
all' for being so supportive to us over the years, especially the last six months or so when we
really needed our friends.
I am not going to go on about the artists who played the show, but will say that there were some
standout ones from the USA and the UK that will amost defintely be back in the near future. PAUL
OVERSTREET, BR549, LONNIE DONEGAN, MICHAEL BALLEW, GAIL DAVIES, JANIS MARTIN and T-REXTASY (not
forgetting the mighty QUILL) are on course to return to Americana, maybe not 2003 but certainly
2004. God knows how many thousands were in the main stage arena, we have never seen it like that
since '98 & '99.
The sun certainly brought out the day visitors looking out of my Silvereagle tour bus at the side of
the stage was a mindblowing experience to see thousands of likeminded people having a ball. This
shoots down the comments that have been made in a car club and a national car magazine that you
don't want to be entertained, you just want to sit in a field and look at cars all day long. I know
the people who are saying these things are definitely not on the same wavelength as we are. People
vote by their feet and by God did you vote for Americana this year.
Thanks to each and everyone of you we can run again next year, if it had not have turned out right
we were going to sell it and get out, with Bev being so ill it was a joint family decision. But you
saved us and the Americana and we genuinely love you for being there for us, and a big thank you to
all the car/bike/rv clubs and the numerous traders from the UK and Europe who attended. Our pledge
to you is that we will do our very best to keep on making the show exceptional value for money for
everybody. Apart from a slight increase on the 16-17 year olds entry fee we have kept next year's
pre-booked fees the same as this years. Please remember that it saves money if you pre-book
otherwise it will cost those who choose to pay on arrival ?5 more per person, so save money and book
in early. We got our first two 2003 exhibitors bookings on Saturday how's that for dedication, Kevin
& Stuart Bradley are on the ball even though the booking form had the non-exhibitors fees on it,
they both still booked in. If any of you exhibitors picked up next year's forms, don't be put off by
the larger entry fee, I made a mistake when we printed them off. The entry fees are ths same as
this year's ... if in doubt give me a call anytime before 8pm weekdays and between 9-3pm Saturdays
(no Sunday's thank you).
Hopefully we'll see some of you at some of the shows like Witton Castle for the Great North East C &
W festival at the end of this July, 2003, 'The Dukes 92' at Castlefields Manchester (city centre) on
August 11th an AACNW show. All American, rods and customs welcome. Sounds like a great day out with
lots goping on for everybody. Also another AACNW show 'Detropit Day' at Gawsworth Hall Macclesfield
Cheshire entry is ?4:50 per person and includes entry to the house, grounds and antique fair. Lazy
Saturday & camping at the Harrington Arms (next door to the hall) For more information on these two
new shows contact: Grahame Bedwell 0161 2371870 Jim Holland 01777 711587 Chris Bowden 0161 483 3420
they will fill you in on all the details. Incidentally if you want to join a really good friendly
and very active club, you could do worse than than join the AAC North West..It's our personal
favourite car club (we are in lots of them all of which are good in their own way, but none have the
warmth and friendliness as the AACNW does).
Don't forget the brilliant HEMSBY ROCK'n'ROLL WEEKENDER in October, be there or be square check out
their web site www.hemsbyrocknroll.co.uk and see who's on this great weekender. Whilst you are at it
have a good look round the excellent Rockabilly Hall Of Fame site at www.rockabillyhall.com they
also have a superb country web site as well.. On that note I'd like to thank the club especially
Grahame & Jim for hosting the auto club arena activities etc at this year's Americana, a big
improvement over past years by any milestone ... Jim Holland and his soon to be picked team will be
performing the judging at next year's Americana, anybody who knows him will know that his knowledge
of American cars is way out in front of moast people and can match my old pals Pete & Steve Tucker
(AACUK's regular commentator and auto judges) anyday.
One final word we want you to tell us
who you'd like to see as a headliner at next year's show, (no pop bands thank you) if we get enough
requests for the same act we'll do our best to book them ... So start racking your brains it must be
an act that has universal appeal, all the major acts booked for 2003 will be performing on the main
stage irrespective of what style of music they play.. Happy cruising and keep on rocking, -Chris
DJ Pioneer 'Buddy' Deane Dies at 78
PINE BLUFF, Ark. - Winston J. "Buddy" Deane, a pioneer in his appreciation of rock 'n' roll, has
died at the age of 78. Deane died Wednesday, July 16, 2003 of complications from a stroke that had
left him unable to speak.
A broadcaster for more than 50 years, was among the disc jockeys in the 1950s who recognized the
appeal of the emerging rock 'n' roll sound and began airing the music continuously, what was then a
new format for radio. Later, he hosted a popular television teen-dance show in Baltimore from 1957
to 1964 that was the basis for John Waters ' movie "Hairspray." Deane had a bit part in the 1988
Deane died at Jefferson Regional Medical Center, where he was hospitalized after a stroke July 6,
his son-in-law Craig Eastham said. "Arkansas has lost a true treasure," Gov. Mike Huckabee said.
"He was known nationally as one of the most innovative, successful disc jockeys of the 20th century,
but his greatest legacy will be his untiring community service and love for his family."
Deane started his career at Little Rock radio station KXLR, moved to Memphis, Tenn., then to
Baltimore, where he worked at WITH radio station and was one of the first disc jockeys in the area
to regularly feature rock 'n' roll. In the late 1950s, Deane hosted "The Buddy Deane Show" on WJZ-TV
in Baltimore that became the most popular local show in America. The show featured kids dancing to
live rock-and-roll bands, most of which became major recording groups. It had the city's teens in
its thrall for 2 1/2 hours a day, six days a week.
Bill Haley and The Comets made their premier performance of "Rock Around The Clock" on Deane's show,
and Deane was named the No. 1 DJ in 1962 by Billboard magazine.
Waters' story, about an overweight girl who wants to become a regular on the thinly fictionalized
"Corny Collins Show," makes one significant departure from the real TV show: Deane's show was not
successfully integrated after a stirring civil-rights struggle. In Waters' movie, Deane appeared
briefly as a reporter in a scene outside the governor's mansion as the chief executive is besieged
by protesters demanding immediate integration.
Unlike the hard-line segregationists depicted in the movie, WJZ-TV's managers wanted the show to
integrate. But white Baltimore wasn't ready.
"The management of the station did not realize that Baltimore was very much a Southern-oriented
city," Deane said in a 2002 interview with The Associated Press. "They asked each kid (on the show's
committee of regular dancers) what they thought about integration, and they said, 'Well, it's OK
with me, but my folks won't be happy.' That was the general consensus." The show was canceled.
Deane returned to his home state of Arkansas and acquired KOTN-FM and KOTN-AM radio stations in Pine
Bluff. His stations combined rock 'n' roll with an emphasis on local news and information. Deane
dubbed himself "the morning mayor," joking with listeners that he ran the town from 6 a.m. to 9 a.m.
until the city's real mayor took over. He expanded his radio ownership to other stations in Pine
Bluff and Dumas.
Deane was born Aug. 2, 1924, in St. Charles. He was partners with his daughter, Dawn Deane, and her
husband, Easthan, in Delta Radio Inc. He retired May 1, the day the business sold its remaining four
radio stations „ KOTN-AM, KCLA-AM, KZYP-FM and KPBQ-FM „ to M.R.S. Ventures of Tyler, Texas.
Legendary Rockers to Perform at Music Fest 2003 - Aug. 2nd
Two legendary wild men of rock & roll
will blast into Houston on August 2, to benefit The Fort Bend County Women's Center in Texas. Little
Richard and Jerry Lee Lewis will get a "whole lotta shakin' going on" when they arrive at H'town's
Arena Theatre. Combined, they have sold over 57 million records over the past 50 years, and neither
artist shows any sign of slowing down. Little Richard is considered by some of the industry's most
notable musicians as the originator of rock & roll. His songs "Tutti Frutti", "Long Tall Sally",
"Lucille" and "Good Golly Miss Molly" are smash hits that established the rules of early rock &
roll, and influenced such legends as Elvis Presley, John Lennon and Buddy Holly. According to People
Magazine, "There could not have been a Michael Jackson if there had not been a Little Richard."
Jerry Lee Lewis, the original bad boy of rock & roll, is a gifted musician who approaches each
performance with high energy and signature showmanship, delivering such hits as "Great Balls of
Fire", "Breathless", "Whole Lotta Shakin'" and "High School Confidential". Music great Elton John
has claimed that Jerry Lee Lewis is "the greatest piano player ever..."
Music Fest 2003 is presented by Bill Heard Chevrolet and supported by the additional
sponsorships of Enlink Geoenergy Services, Inc., Fluor Corporation, The Wynn and Mary Geiger
Foundation, Harris Construction Company, LTD, and Southern National Bank. Sponsors at the $5,000
level are invited to a special post party to meet and greet the legendary performers. Additional
sponsorships are still available at levels ranging from $1,500 to $10,000. For more information on
sponsoring Music Fest 2003, contact Anne Budill of the Fort Bend County Women's Center at
Tickets to Music Fest 2003 are available by calling 713-988-1020. Jerry Lee Lewis will get kick off
the night at 7:30 p.m., followed by Little Richard at 9:30 p.m. H'Town's Arena Theatre is located on
the Southwest Freeway at Fondren.
The Fort Bend County Women's Center provides free and confidential emergency shelter, counseling,
crisis intervention, supportive services, and educational outreach to survivors of domestic violence
and sexual assault and their children. For information about the Women's Center, contact their
administrative office in Sugar Land at 281-494-4545. To access free and confidential services, call
the 24-hour hotline at 281-342-HELP. Courtesy: Fort Bend / Southwest Sun 2003.
Classic Country Music is Still Alive and Well
At the Music
Mill Dance Hall
Contact: Gary Scott (270) 437-4283 (270) 753-1017 email: firstname.lastname@example.org - Just north
of Murray, Kentucky between Highways 641 and 1824, (Radio Road for the locals), sits a dance hall
that looks like it was plucked out of Dallas and plopped down in Dexter. It's big, rustic and down
home with plenty of parking out front. Inside, thereŪs a large, wooden dance floor, a big bandstand
and lots of seating. Over the chatter of the crowd, and the dancersŪ shuffling feet, you hear the
sounds of fiddle, guitar and piano, and lyrics from the golden age of country music.
The Music Mill is a family run and family oriented establishment with all the look and feel of a
Texas roadhouse. Inside, itŪs dimly lit with just enough smoke in the air to tell you that youŪre
entering a honky-tonk. The Music Mill is a place where friendly folks from all over the 4-Rivers
Region gather every Thursday, Friday and Saturday night to listen and dance to the classic
country/western sounds of Mudhole Slim and the Shuffle Kings.› According to many of the regulars,
the Shuffle Kings lay down a beat that you can really dance to. And, they play all of the songs
these country music fans love to hear.
Arliss Scott, a.k.a. "Mudhole Slim," is the band's lead guitar player. Scott is a 40-year country
music veteran with experience on the Opry, television, recording sessions and too many miles on the
road. He says all of the members of the Shuffle Kings are totally committed to performing nothing
but classic country and western swing music.
"You won't hear any Shania Twain or Kenny Chesney at the Music Mill. ThatŪs not country. I'm
really not sure what that is. What you will hear is plenty of Merle Haggard, Buck Owens, Ray Price,
Bob Wills, Hank Thompson, Patsy Cline, Loretta Lynn, Willie Nelson and many others - all of the good
Gary Scott, Mudhole Slim's son, is the band's drummer and one of the vocalists. He and his father
have worked in dozens of bands together over the past 20 years. "Our mission at the Music Mill is to
preserve and perform Classic Country music, and to hold in reverence those who started the
tradition. And, to provide a place where discerning adults and their families can come listen, dance
and downright have fun!"
In a world where music and entertainment is all too often determined by the marketplace and
demographic studies, the Shuffle Kings predict that the Music Mill will succeed largely because they
are sticking to their guns and doing what they love to do, and offering folks something they can't
find just anywhere. "Our goal is honesty, consistency, quality and dependability. We guarantee that
each and every time somebody walks through the front door theyŪll know exactly what they're going to
get and when they can get it. We're taking a simple and honest approach to something that we're all
just crazy about."
Mudhole Slim and the Shuffle Kings is not a show band. You won't find any of these guys dressed in
sequins, cowboy hats or over-sized belt buckles. Basically, the Shuffle Kings are a group of
average looking guys who do all of their talking with their music. And don't be fooled, this is not
a musical trip back in time for the band. Gary Scott says emphatically that playing classic country
music is no exercise in nostalgia for the Shuffle Kings. For him and the rest of the band, there's
no such thing as old country music - just good country music.
"There are still plenty of people, young and old alike, who are craving to hear classic country just
like we do. Despite the impression you might get from pop-culture, classic country music is still
alive and well; you just have to work a little harder to find it. WeŪre all very passionate about
playing classic country music. And, the people who come to listen and dance love it just as much as
we do. That's why the dance floor is packed during every song."
On any given dance night, folks start showing up a couple of hours before the band starts. The
regulars make the rounds, welcoming newcomers and catching up with the other dancers. When the band
takes a break, folks gather on the large wooden front porch to cool off and have a smoke. Scott
says the Music Mill is much more than a dance hall and place for him and the band to do what they
love. He sees it almost as a community service.
"The crowd here is just like family. Folks celebrate birthdays here. At least a half-dozen couples
have met here and gotten married. Some have already celebrated or are approaching their first
anniversary. They tell us all the time how truly grateful they are to have a place like the Music
Mill to come to. You honestly feel like youŪre a part of something bigger than the music and the
Mudhole Slim and the Shuffle Kings is a 6-piece classic country/western band consisting of fiddle,
guitar, piano, bass, rhythm guitar, drums and lots of vocals. The band includes: Arliss, Larry and
Gary Scott all of Murray, Speedy Wyatt of Benton, Roger Black of Goreville, IL and Danny Conger of
The Shuffle Kings can be heard every Thursday, Friday and Saturday night from 7:00 to 11:00 at the
Music Mill at 4311 Radio Road in Dexter, Kentucky. Admission is 5 dollars at the door.
Book on Avaiation Accidents and Artists
Dreamflyer Publications is pleased to
announce the 2003 release of its new book, "Music's Broken Wings: Fifty Years of Aviation Accidents
in the Music Industry," ISBN number 0-9660156-2-2. Covering the fifty-year period between 1935 and
1985, this 540-page book analyzes 34 aviation accidents, which affected the music in our world in
some way. From the most famous American artists, such as Buddy Holly, Patsy Cline, Rick Nelson and
Lynyrd Skynyrd, to the lesser-known international performers Carlos Gardel, Anna Jantar, Tamara and
Kyu Sakamoto, this text covers numerous types of music and the talents who were affected by adverse
Concentrating mainly on the aviation accident itself, the text also touches on some personal aspects
of the artists' lives. From chamber music, big band, opera and tango, to country, folk, gospel and
rock and roll, this book has something of interest for everyone. It also reveals some surprises for
many readers. J. P. Richardson, son of the "Big Bopper" (who was killed in the Holly accident) wrote
the Foreword for the book.
Written by professional airline pilot, William P. Heitman, the author successfully intertwines each
story to keep the pilot, and non-pilot alike, interested in the history of the event, while
providing as much factual documentation as possible to unravel the sequence of circumstances that
led to the resultant accident. Complete with illustrations, photographs, airplane statistics and
actual government accident reports.
The book retails for $34.95. Shipping & handling charges are $5 for delivery within the contiguous
United States. North Carolina residents should add $2.45 NC state sales tax. Alaska, Hawaii and
international sales inquiries are welcome. To order, or for more information, contact Dreamflyer
Publications, P.O. Box 11583, Durham, NC 27703-0583, or visit their website at -
The local paper the day after The COMETS' recent
concert in Falun, Sweden (2003).
Photo courtesy of Marshall
Thurs., July 17th, 2003 Green Bay Memorial & Summer
GREEN BAY, WI - Ken Paquette, the man who created the monument at the Clear
Lake, IA crash site, has created a similar memorial to Buddy, Ritchie, and the Big Bopper for the
Green Bay venue. It is to be a permanently displayed historical fixture in Green Bay, and will be
placed at the Riverside Ballroom, to dedicate the Riverside's historical significance as host to
many Rock and Roll bands, as well as the second to last performance for these Legends, whose Music
A 50's Era automobile Parade is planned to leave from the Titletown Brewing Co on 200 Dousman Street
at 6:00 PM, proceeding through the downtown area, and end at the Riverside. The Presentation and
Dedication of the Memorial will be held at the Riverside Ballroom on 115 Newhall Street, at 6:30
John Mueller and his Winter Dance Party Band will then perform their first ever Summer Show, at the
Riverside at 7:30 PM. Tickets are available by calling the Riverside at 920-432-5518 Information
Courtesy of Mark Steuer, Green Bay, and John Mueller's Website - www.yourbuddyjohn.com/news/news/.
By Malcolm Mayhew, Star-Telegram Staff
JOHNSON RONNIE DAWSON
YEP ROC RECORDS RONNIE DAWSON
Life may not give Dallas rockabilly musician Ronnie
Dawson the encore he deserves, but he's not changing his upbeat tune one bit.
On March 29, Dallas rockabilly legend
Ronnie Dawson performed at the Hot Rod & Kustom Kar Rally, a daylong concert and hot-rod show that
took place at the Fiesta Gardens in Austin. Music journalist Dan Forte was in the front row during
Dawson's performance, hanging onto every note.
"He prowled around the stage with his Stratocaster, he kicked his leg up in the air," Forte says.
"He musically and physically prodded his bandmates to dig in and play harder and deeper."
Forte, a close friend of Dawson, remembers that day being exceptionally cold and overcast.
Nonetheless, Forte donned a pair of sunglasses. "I didn't want Ronnie to look out and see me, and
everybody else, crying. It was a difficult, bittersweet occasion, because everyone knew that this
might be Ronnie's last performance." Ronnie Dawson, you see, is dying.
In rockabilly music circles, and even outside of them, Ronnie Dawson is a paradox. Doesn't drink.
Doesn't smoke (used to, when he was a kid, but he quit years ago). Used to run 10 miles a day. When
he was on tour, instead of filling his van with beer and liquor, he carried around a juicer to whip
up health drinks -- very un-rock 'n' roll. He ate well and never did drugs. All the rock-star
stigmas attached to being in the limelight, being onstage, being the object of affection for women
worldwide, Dawson simply wasn't interested in. His highs, he says, came from performing.
In a seemingly cruel twist of fate, doctors diagnosed throat cancer in Dawson in January. His voice,
one of the two things he depended on to make a living (the other was his guitar playing), would be
butchered during treatment. Last fall, after undergoing chemotherapy, he thought he'd beaten it. His
wife, doctors, and fans around the globe thought he had, too. But in January, it returned, spreading
to his lungs, and the prognosis wasn't good.
"It came back on me pretty quick," the 63-year-old musician says from his east Dallas home. "I was
told I wouldn't have much time, months." Dawson is hoping to turn those months into years. About two
months ago, he was accepted into a gene-therapy research program at Baylor University Medical
Center's Charles A. Sammons Cancer Center in Dallas, where he is undergoing an experimental
treatment. In an effort to shrink the tumor, doctors inject a virus into it.
The treatments are difficult. "It takes three or four days for him to begin to regain strength,"
says his wife, Christine Dawson. His fourth treatment will be later this month, when doctors will do
another CAT scan to see if the tumor has gotten smaller.
Although a cure isn't necessarily out of the question, a little bit more time is what Dawson's
hoping for. Time to be with his wife. Time to enjoy being home. Up until recently, he never had
either. "I was always traveling, always on the road," he says. "And I just married a few years ago.
I've spent my whole life single. So now I just want to enjoy a little more of it, enjoy being home,
not having to travel. I was lucky to be able to make my living being a musician, and I would never
trade those days for anything. But there's a time when the horse wants to go to the barn. It feels
good, feels good to have a wife, feels good to have a home."
Ask any of the numerous musicians or music-industry reps whom Dawson has crossed paths and stages
with since he picked up a guitar in the 1950s and they'll all tell you the same thing: He is an
incredibly nice, humble man. Unlike so many other rock 'n' roll singers, he is not, and was not, a
careerist or an egomaniac. He loves music, not the extras that go along with being good at playing
"He is a great man," says Tony Villanueva, guitarist and singer for the Austin-based country-rock
group the Derailers, which performed at a benefit for Dawson this year at Sons of Hermann Hall in
Dallas. "The first time we played in Dallas was opening for him. I learned something that night I
never forgot. He came out smiling and gave it all he's got. And he's got a lot. He had twice the
amount of energy as performers half his age. He pours out love for the music and love for the
Lisa Pankratz, a drummer who toured with Dawson for several years in the early to mid-'90s, says she
has not only been inspired by his playing but by his persona as well. "He was always very
inspirational to everyone in the band, now even more so," she says. "He made you want to follow him
anywhere. That's what he liked about us: We would go anywhere with him and push him. He likes that.
He likes you to spar with him onstage and just have fun. With him, it's all about having fun."
Dawson has been having a blast since the 1950s. Born in Waxahachie in 1939, he is the son of Pinkie
Dawson, a bassist who performed in the 1930s in Dallas' Deep Ellum, before it was Deep Ellum. An
only child who got expelled from Southwestern Bible School in Waxahachie for smoking cigarettes,
Dawson started playing guitar when he was in his teens, performing at sock hops.
He was so good that he landed a spot at the Big D Jamboree, a weekly music revue held at the
Sportatorium in Dallas. There, he won a talent show 10 weeks in a row. At the Jamboree, Dawson also
saw his share of up-and-coming performers, including Elvis Presley. For years, a rumor circulated
that Presley was so nervous about Dawson's kinetic, high-energy shows that he didn't want to follow
In his typically humble fashion, Dawson dismisses the rumor. "Elvis was the headliner. He wasn't
worried about me," Dawson says with a chuckle. "He was flying high back then." He will say, however,
that he was anything but awestruck that Elvis was in the same building as him.
"I wasn't interested, to tell you the truth," he says. "I was so caught up with [Elvis' guitarist]
Scotty [Moore], and how he was getting a particular sound. I found out that it was an amp that was
made for him. Elvis did invite everyone on the show back to his hotel for a party, but I didn't go.
People always ask me, 'Why didn't you go?' I tell them that I had already found out what I wanted to
In the late '50s, word had spread through the music industry about Ronnie Dawson's talents and his
frenetic live shows. In 1959, he signed to Dick Clark's New York-based label, Swan Records. His
career was grounded before it ever had a chance to take off. Swan dropped the ball on publicizing
Dawson after the payola scandal of the early '60s, in which broadcasters and DJs were accused of
accepting bribes to trumpet certain artists. Dawson appeared on Clark's American Bandstand show, but
Clark soon closed the label, leaving Dawson without a deal.
He did not give up. Under the name Commonwealth Jones, Dawson signed to Columbia Records and, in
1961, released the single Do Do Do. But the deal went sour and, after a brief stint performing with
local country-swing outfit the Light Crust Doughboys, he joined the Levee Singers, who had a regular
gig at the Levee Club in Dallas. Again, appearances on national TV shows made success seem imminent
for Dawson and the Levee Singers. Again, though, it never came. The band never landed a deal and
soon broke up.
Over the years, success teased repeatedly under different guises. Playing country music, he signed
with Columbia again. That went nowhere. He then formed a group called Steel Rail, but its music was
so eclectic, it never found an audience. Finally, he settled for doing commercial jingles for, among
other companies, Hungry Jack biscuits and Jax beer.
In 1986, he got what so many other seemingly-done musicians never receive: another chance. At that
time, rockabilly was becoming increasingly popular, thanks to groups such as the Stray Cats. In
England, it was all the rage, prompting an English producer to hunt down Dawson in hopes of
releasing some of his early songs; it didn't hurt that the Cramps, an underground punk group with a
rockabilly following, had just recorded a Dawson tune called Rockin' Bones.
Next thing Dawson knew, he was a star in England. While his hometown remained, for the most part,
oblivious, he was performing in England with the likes of Carl Perkins. He signed with a British
label and recorded a trio of discs, Monkey Beat, Rockinitis and Just Rockin' and Rollin'.
Eventually, his popularity leaked across to the United States, resulting in a performance at
Carnegie Hall, an appearance on Late Night With Conan O'Brien and a deal with hipster Chapel Hill,
N.C., label Yep Roc, which released his most recent disc, 1998's More Bad Habits. "To me, he wasn't
doing something that was a retro kind of thing, but something completely vibrant and fresh," says
Glenn Dicker, president of Yep Roc. "Going to see him live was an awakening experience. The way he
communicated, the way he works hard up there, the feeling that he gets into the audience -- it just
peels off layers of stress. It's something real special."
And something, Dawson says, real eclectic. He's actually a little uncomfortable being labeled a
straight-up rockabilly musician. "I've been exposed to so many different kinds of music," he says.
"I have a wide variety of musical friends. I know country musicians, people in the symphony and a
lot of rock 'n' roll cats. All of that has helped my music. You can't expand rockabilly much, but I
Dan Forte says he succeeded. "I take exception to applying the term 'rockabilly' to Ronnie, and I
know he doesn't view himself as a rockabilly performer," says Forte, who has been a music journalist
for 27 years and is an editorial consultant for Vintage Guitar magazine. "He sees what he does as
rock 'n' roll. Rockabilly isn't multidimensional enough to describe him.
"[And] there's never anything negative about a Ronnie Dawson show," Forte says. "He doesn't get
onstage and gripe about royalties he never received. There's no dark, sinister vibe. It's all
positive energy. I can't think of an experience that's more uplifting."
Ronnie Dawson has applied the same positive energy he injects into his music to his attitude about
having terminal cancer. "He's been incredibly brave dealing with this stuff," says Pankratz. "He's
gone into this the same way he went into shows -- he's not going to go down, not going to give up.
Whatever life he's got left, he's going to live it. Even before he was sick, he's always had that
What has kept his spirits up, Dawson says, is his wife, Christine. In another way, she has also,
perhaps, kept him alive. "I honestly don't know if I would have pursued the chemo if I hadn't been
with her," he says. "And I remember telling her, 'If I get cancer, don't ever ask me to do that.' I
just never thought I would want to take chemo. But here I am, second time around, third cycle.
"But I never got mad about it," he says. "I guess it's because I've never had this kind of thing
happen to me. I've been lucky. I'd never had to go to the hospital before. When this happened, a
peace came over me. It wouldn't do any good to get mad about it. I've just settled into it and
accepted it peacefully. I think I've done that well."
A Brief History of the "Valley Boys"
UNITED KINGDOM - "The Valley Boys consists of myself (vocal
- double bass - rhythm) and Richard Howard, (lead guitar - rhythm - drums) occasionally we are
joined by other musicians. Mark Throne (ex Fireball XL5 lead guitarist) has played rhythm guitar on
several Valley Boys recordings he also played lead guitar on: It Don't Take Too Much from our first
Vampirella release. (Have Myself A Ball). Others include: Nick Alexander, Andy from the
Small Town Giants and Tim from the Roswell Invaders.
Our second Vampirella CD: Hot Rod Honey
was released in Oct 2001, the sleeve artwork is by Simon Pritchard. He's a great rock 'n' roll
artist here in the UK.
We've never actually been in a recording studio or anything like that, we
write all our own material and record at home. We mix our recordings straight to CD and we have
full control over the finished sound, which is great!
Richard and I have been recording
together since 1988, we formed a few bands together from 1987 to 1990. Each of the bands fizzled
out, but we just kept on writing and recording. Richard has upgraded his recording equipment over
the years, which has greatly improved our sound.
In 1998 I gave Perry Williamson (owner
of Pink & Black records) the use of a 5 track Valley Boys demo, so far he has released five tracks
on his, Cat'n Around Vol. 1 & 2.
We have signed over 50 original songs to Vampirella and we are
currently putting together our third and final Vampirella CD, I'm hoping sometime in the future all
our unreleased material will become available."
8 Ashby Street
Norwich, Norfolk, Nr1 3PU UK
NOTE: Both CDs capture the early rockabilly sounds and are very enjoyable. Recommended!! -Bob
BMG/RCA Records to Release 'ELVIS 2ND TO NONE' on Oct.
"To Meet the Overwhelming Demand for All Things Elvis, Latest Release Features a Rare Combination
of Hits and Fan Favorites and a Paul Oakenfold" Remix of 'Rubberneckin'
Over nine million albums sold worldwide last year, No. 1 in 26 territories, a remixed No. 1 single,
and a national TV special all proved that Elvis Presley is still a driving force in the music
industry. The historic release of "ELV1S 30 #1 HITS" captured the nation's attention as only "The
King of Rock 'n Roll"(TM) can. Not only did the traditional Elvis enthusiasts respond to the
release, but millions of new fans were introduced to the music of Elvis for the first time.
As the natural follow-up to last year's overwhelming success, and in keeping with their history of
creating, preserving and celebrating great music, BMG/RCA will produce -- with the full
participation of Elvis Presley Enterprises, Inc. -- "ELVIS 2ND TO NONE," a compilation of additional
#1 singles, fan favorites, career milestones, and a few surprises including a remix of
"Rubberneckin'" produced by DJ Paul Oakenfold -- one of the most acclaimed remixers in music
Scheduled for release on October 7, this compilation will be distinctly different and a complement
to last year's compilation of No. 1 hits. "ELVIS 2ND TO NONE" will present a broader range of Elvis'
talents and incorporate a multiple of musical genres including R & B, rock 'n roll, pop, country,
dance and rockabilly.
"Last year's release proved that Elvis' popularity is on par with today's top artists," said Joe
DiMuro, Executive Vice President, BMG Strategic Marketing Group. "For some fans, "30 #1 HITS" was a
way to rekindle an old friendship and for millions of others it was the beginning of a new, great
relationship. We believe that "ELVIS 2ND TO NONE" will build on those relationships."
All 30 tracks on "ELVIS 2ND TO NONE" have been mixed and mastered from the original master tapes for
optimum sound quality. This is the same process that drew across-the-board raves from critics, music
aficionados and the original band members themselves for the "30 #1 HITS production. This year's
album will include such classics as "That's All Right," "Viva Las Vegas," "Blue Suede Shoes," "I
Want You, I Need You I Love You," "Always on My Mind," and "Don't Cry Daddy." Oakenfold's remix of
"Rubberneckin'" is sure to be well received among today's generation of music fans and further
demonstrates the legacy of Presley's music.
"We are thrilled with this latest chapter in the Elvis legacy. This release is the natural follow-up
to last year's production and we believe music fans of all generations will continue to embrace
Elvis' music," said Jack Soden, President & CEO of Elvis Presley Enterprises, Inc.
Certainly the success of the "30 #1 HITS" proved that Elvis is 2ND TO NONE as a music and
entertainment legend. The album reached No. 1 in 26 territories worldwide, including the U.S. where
it was a chart topper for three weeks. Over 9 million albums were sold worldwide with 3.5 million in
the U.S. Among the hits was the No. 1 remix of "A Little Less Conversation" produced by DJ JXL which
went to No. 1 in 26 countries including the US and Great Britain. That feat pushed Elvis past the
Beatles for most No. 1 hits in the UK. Following the album's release, a television special, "Elvis
Lives" aired on NBC Thanksgiving night and the special claimed the all important 18-34 demographic
for the hour. The retrospective on Elvis examined his legacy today and included covers performed by
Norah Jones, No Doubt, Dave Matthews and Chris Isaak with LeAnn Rimes. Furthermore, the "ELV1S 30 #1
HITS" DVD audio debuted at No. 1 in the sales charts upon its release.
Of course, Elvis's musical contributions are unsurpassed: He is the only artist to be inducted into
all three music Halls of Fame, including Rock n' Roll, Country and Gospel. He holds the record for
most top 10 pop singles (40), the most gold and platinum awards (140) and is the world's best
selling artist, having sold more records than any other artist in history. His popularity remains
intact to this day as there are more active Elvis Presley fan clubs around the world than for any
other artist -- dead or alive. "ELVIS 2ND TO NONE" will celebrate the music and the man that created
BMG is the global music division of Bertelsmann AG, one of the world's leading media companies. BMG
owns more than 200 record labels in 41 countries including Ariola, Arista Records, J Records, Jive
Records, RCA Records and RCA Label Group -- Nashville. In addition, BMG's music publishing
operations are the third largest in the world.