Re-Vue - Blue Lake Records

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Re-Vue Chicago
Celebrates Three Years...
Rumble Link Wray
Cadence
Record Label
Barbara
Pittman
Blommer
Chocolate
Company
The Newbeats Elvis Brothers
:
s
o
i
r
T
’
Rockin Johnny Burnette JohnnY Cash and Big
Mai-Tai one on…
One last Aloha at
Trader Vic’s
Trio
the
TenNessee Two
As always News, reviews, Event Notices,
Calendar And morE Inside this issue
Three
Trio
Re-Vue
Another milestone. Re-Vue has now been around
for three full years. January’s issue will start our fourth year.
We have a staff of wonderful, talented, dedicated, giving,
and bright individuals that continue to amaze me month after
month. Re-Vue has already published over 1000 pages in
our first three years. We hope to continue to provide
exciting and informative content for many, many months
(years??) to come. Re-Vue couldn’t exist without the
contributions from our staff members. Their words, photos,
insights and contributions have made Re-Vue what it is
today. And I can’t say enough to thank all of you for what
you’ve given us all in the past three years. Thanks for
making Re-Vue a continued success.
Hap
py
Holi
days
!
Now, onto this month’s content. This month, as noted
earlier, we are celebrating our third anniversary… and to
celebrate three years, we are celebrating some important
Trios. Get it? Three years? Three band members? I
challenged a few staffers to write on some of their favorite
acts that performed with three members.
remain. He was a legend and he will be
Rocko pipes in with a couple articles this time around. missed. As an aside, we also have an
First, we have his article on The Johnny Burnette Trio. Also, article profiling Cadence Records, the
he gives us a personal look back at the way Link Wray’s label that released Link Wray’s first record,
music played a role in his life.
Rumble.
James Ventrella pops in after a few months off to give a Another sad passing is covered in this
look at Johnny Cash AND the Tennessee Two. And for month’s issue, Barbara Pittman.
anyone that’s short on arithmetic, that makes three…
Ahhh, its time to fill the stocking with
The Mayor, Ken Mottet doesn’t fail to represent and this
sweet, sugary, intoxicatingly rich candy.
issue covers one of his favorite rockin’ trios, the Elvis
By now most of you are probably familiar
Brothers.
with my sick obsession with confectionary
goodness, since I’ve already written about
It is always such a treat when James Porter is able to find
several other Chicago candy-makers
the time to write for Re-Vue. He brings us a welcome
(Brachs, Fannie May, Ferrara Pan…).
addition the month with his coverage of the early 60s act,
This time around, we are covering the
the Newbeats.
Blommer Chocolate Company on
Did you think we could miss the Big Three Combo? David Chicago’s Near Northside (no Oompa
Loompas there. Recently in the news due
Leucinger covers what is most likely Chicago’s most to a complaint from a neighborhood
famous Trio.
resident to the Illinois Environmental
Most have already learned that Link Wray passed away in Protection Agency for Blommer “polluting”
November. We have THREE commentaries on his passing the air with the smell of sweet melted
from Deke Dickerson (thanks for letting us re-run it), chocolate and cocoa... How can the smell
of chocolate be considered pollution??
Rocko and Mr. Exotica, Tony Cambio. Each Read more and find out.
remembers Link Wray is his own way, but at least two truths
(Continued Next Page)
Re-Vue
Doug Freedman pops in with another fabulous
review.
Series.
This time he tackles the 1943 Batman
Faithfully carrying out her duties wrangling and
organizing all the dates for events, shows, etc…
Desiree Kiss again provides the-up-to-theminute-before-we-go-to-print scoop on all that’s fit
to be seen in Chicago for the coming month.
Laurie Koenigs uses her particularly witty
brand of humor, to play on the “3” theme by
delving deep into her past and bringing forth her
own commentary on what the number three means
to her.
Coming in at the very last second—with some
pressure from the editor (sorry to twist your
arm!)—James Teitelbaum brings us his
commentary on the history and passing of a
Chicago tiki haunt, Trader Vics.
Ken
Mottet
James
Ventrella
Tony
Cambio
Rocko
Deke
Dickerson
As always, if you have an idea for an article or
feature, drop me a line to let me know. We’re
always looking for new ideas.
No photos
available at
press time:
David
Leucinger, &
James Porter,
To celebrate the close of our third year right, I
thought I’d share some Fun Facts on Re-Vue.
Covering all the angles, all the time…
Susan E. Funk
Doug
Freedman
Laurie
Koenigs
James
Teitelbaum
… Just the facts, ma’am.
First published issue
Average number of pages per issue
Issues published to date
Contributors
Pages of content to date
CDs and records reviewed
Movie reviews
Event previews and reviews
Issues distributed
Dec 2002
30 pages
34 issues
over 30 different authors,
writers, photographers
over 1000 pages
over 80 releases
approx. 40 movies
over 40 articles & photo-spreads
approx. 9,000 issues
Susan E.
Funk
Desiree
Kiss
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Link Wray is dead. I don't know how best to put it
into words, but he was one of my biggest guitar heroes and influences. I am writing my thoughts
about his passing for no other reason than I just
want to get them off my chest and out of my system. Link Wray meant a lot to me.
One of the first albums I ever owned was the
"Rockabilly Stars" LP of the early '80s. On the
back it showed Link's classic 1958 pose, with
his two-tone black-and-white leather jacket
and matching two-tone black-and-white
shoes, holding a Danelectro Longhorn guitar.
The image burned a hole in my head, along with
Link's songs on the album. In my eighth-grade class we had an
assignment to write a letter to a famous or historical person. Most kids wrote
letters to the president. I wrote my letter to Link Wray. (Of course, he was living in Denmark by that time, so I could never find an address to send it to!)
After a nearly twenty-year absence from the
States, Link started touring again in the late
'90s. I caught him every chance I could. At that
time I thought to myself, I'll never get to see him
again, thinking he would go back to Denmark
and never come back. I tried repeatedly to get
his autograph, but his controlling wife would
never let fans into the dressing room or let him
sign autographs after the show. So at one particularly sweaty show at the Foothill Club in
Long Beach, I brought along the rarest Link
Wray album ("Link Sings and Plays Guitar" on
Vermillion -- worth probably in the neighborhood
of $250) and shoved it at Link through the
crowd as he was exiting the stage. Link took a
giant Sharpie and made a huge, sweeping, unreadable lightning bolt across the front cover! I
couldn't help but smile.
A couple years later my band was touring with
Southern Culture on the Skids, and it was announced that Link would be topping the bill at
the Minneapolis show. A few memorable things
about that night: I got up and played bass while
Link and Rick Miller of SCOTS played together.
SCOTS got together and bought Link a Danelectro reissue guitar, which they hoped he
would play (he never did). And yes, I brought
along my copy of "Link Sings and Plays Guitar"
Deke Dickerson
Link Wray, Rick Miller (Southern Culture on the Skids), & Deke
Dickerson, Minneapolis, 1998
AGAIN, which I presented to Link in the dressing room. I
tried to explain what had happened at the Foothill Club, and
while I was trying to ask him to personalize it to me, Link
turned the album over, pulled out his Sharpie, and made a
huge, sweeping, unreadable lightning bolt across the BACK
cover! Not content with having my album defaced twice, I
asked Link to personalize the "signature" to me. He wrote
"To Deke" UNDERNEATH his signature. I did learn a lesson
that night: Always get your autographs BEFORE the show
when dealing with a 70+ year old guitar legend!
(Continued Next Page)
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The next year, we were
booked for a five-day tour
of Spain as the opening
act for Link. I thought
this would be my
chance to hang around
and buddy with him,
but this was far from
the case, as Olive
would never let Link
.
hang
out
with
v
pre
m
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f
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.
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closest
we
got
were
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a few backstage chats and
snapshots. The oddest thing was how
friendly and nice Link always was, and how willing to
talk about old recording sessions and such, while
Olive was trying to pull him away and not let him talk
to anybody. I was immediately struck by how much of
a genuine HILLBILLY Link was. I mean this as
absolute praise and the highest compliment. He was
a country boy to the bone, which most people would
never guess by listening to his records.
Deke and Link on stage, Spain, 2000
Dec 200
5
Link Wray, Rick Miller (Southern Culture on the Skids), & Deke
Dickerson, Minneapolis, 1998
Link Wray, Cuzzin Crispy of SCOTS, Deke Dickerson, and Rick
Miller of SCOTS, Minneapolis, 1998
During this five-day tour, the other guitarists on the bill and I were invited up to play with Link for the encore.
As anybody who saw Link in recent years knows, his encore usually consisted of the entire set played again a
second time. For the kid who tried to write Link in eighth grade, I still consider those few nights to have been
magic, sharing the stage with my guitar hero. I'll never forget it. I mean, come on, I got to play "Rumble" with
Link Wray, live on stage in Spain! Oh, and I got a few nice autographs on my other Link records, this time
before the shows!!
(Continued Next Page)
Deke Dickerson
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Dec 200
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I didn't see Link for a few
years after that until his tour
this past spring, which was
both a blessing and a curse.
For some reason it
m
o
coincided with ours on at
r
.f
(Cont
least a dozen nights, with Link
playing down the street from us. The blessing
was that I got to see Link at least three or four more times
(though, musically, his tour was completely ragged, with a
number of different pickup bands backing him up along
the way). The curse was that we were competing with
Link Wray for an audience... But how could I complain
about that?
Deke and Link on stage, Spain, 2000
Deke and Link, Spain, 2000
My most vivid memory
of Link: We performed as the backing band at the
Ponderosa Stomp festival this year in New Orleans.
We were backing up Scotty Moore and D.J.
Fontana. Scotty, of course, is also one of my biggest
guitar idols. The house was packed beyond belief
with people hanging off the walls and swinging from
the rafters. I had Scotty on my immediate left, and I
didn't dare look anywhere else as I wanted to do the
best job backing him that I could. During a break
between songs, I looked to my right for a second,
and Link Wray was sitting on the steps of the stage
watching the show. I literally had a hot flash... There
I was, standing between two of my biggest heroes,
Scotty Moore on my left and Link Wray on my right. I
reached out to Link and he shook my hand. At that
moment I could have died happy. It doesn't get any
better than that!
I saw Link one more time, at the Hootenanny Festival on the July 4th weekend this year. Link was so weak that
he had to have two people literally carry him from the trailer to the stage. The Hootenanny is also one of the
few places you will ever see people like Lux Interior out in the bright afternoon sun. I had a bad feeling as Link
was carried to the stage. Although I had seen him several times in the preceding months, seeing him in such
bright light made me fear he wouldn't be with us much longer. As it turned out, that was his second-to-last show.
I’ve heard a lot of people complain about his recent shows being too loud, or too metal, or too sloppy. To me, it
doesn’t matter. That was still the guy who wore the two-tone leather jacket with the matching two-tone leather
shoes holding the Danelectro Longhorn guitar in the picture from 1958. It really was like being in the presence of
greatness, no matter how bad it got musically on stage. Besides, there was something perverse about a 75+
year old man swinging a guitar around while it howled feedback through a Marshall stack. I really liked that,
actually.
The man is now gone. May he rest in peace. When my grandchildren gather around my deathbed and ask me
what the proudest moment of my long life was, my answer will be: "I got to play 'Rumble' with Link Wray."
Enough said. RIP LINK...
Deke Dickerson
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Link Wray more than anyone else provided the soundtrack for my
teenaged delinquency. Gene Vincent's songs were frenetic and
crazy but they were mainly about making out or dancing. The Sex
Pistols packed a solid punch but the rhetoric made it a bit more
cerebral than the average bear. If I was pushing my Plymouth
Reliant well past the 80 MPH mark on a Kentucky country road, it
was Run Chicken Run blaring on my tape deck. If I was staring
down a meathead who made a crack about my sideburns, it was
"Rumble" playing in my head. I recited a
few
lyrics
from
"Hidden Charms" into the ear
of my first "serious"
girlfriend.
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Link was a
Christian, the
compelled him.
was no lower
Devil
Himself
Link to take that
holes in his amp,
distortion. I truly
the Devil who put
into Link's head
exorcism of that
cuts like "Buckshot."
Pentecostal
Holy
Ghost
But I believe it
authority than the
who compelled
pencil and poke
inventing
believe it was
Sinister Urges
and
the
Demon was
I first heard Link Wray
when I was 15. It
was
in
Robert
Rodriguez's cheesefest made
for Showtime movie "Roadracers." It had David Arquette
before he married a Friend as a troubled Greaser, it had Salma
Hyek before she was anybody as his Mexican girlfriend. It had a
dude with a mullet set at least 20 years before anybody had a
mullet as their archenemy. But the real star of the show was Link
Wray's "Rumble." it played as a face-off unfolded that could've
been a video for "Rumble" in and of itself. It involved switchblades,
shoes as weapons, and a ketchup bottle smashed over a dude's
head. It was in that 2 minutes and 23 seconds that I became a
bonafide Rock'n'Roller for Life. To this day it never fails to make my
eyes narrow into a squint and inspire an adrenaline surge that
makes me want to kick someone's ass. It's not a fight or flight
response, it's a I wanna kick someone's ass response. It inspires
some kind of bizarre chemical release in a person's brain.
So Link died last month after a lifetime of kicking ass. After he lost
a lung to TB while fighting in the Korean War (before that, he was a
vocalist; the instrumentals only happened because he was advised
to quit singing) the doctors gave him a year to five. Link Wray was
too tough to die. As long as his music is altering the brain chemistry
of teenagers - which is to say forever, he still lives. God Bless You,
Link.
Rocko
Dec 200
5
Last Tiki Bar
within Chicago
City Limits to
Close on Dec 31...
Reports are coming in from all over
Chicago and the waves are carrying
the news around the world to tiki-philes
everywhere.
The last remaining tiki bar in downtown
Chicago, Trader Vic’s in the Palmer
House, will close its door forever on
December 31, 2005. After almost 48
years in the same location, the new
owners of the Palmer House have
decided that Trader Vic’s does not fit
their new plans for the hotel.
For those of you that have never been
there, you have only 4 short weeks to
do so. The legendary South Seasthemed eatery is winding down and will
soon serve its last signature drink, the
Mai Tai.
Trader Vic opened Polynesian-styled
restaurants and bars nationwide in the
50s and 60s. The Chicago location of
the chain opened in 1957.
There are rumors that there will be a
sale for the décor and accoutrement
from the Chicago Trader Vic’s (which
Re-Vue could not confirm at presstime). Keep your eyes and ears open
to find out about that. Within Chicago
Tiki circles, there is talk about a final
soiree, which is tentatively scheduled
for December 10, 2005. May it be your
last chance to Mai-Tai one on.
Susan E. Funk
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Fredrick Lincoln “Link” Wray was born on 2nd May, 1929 in Dunn,
North Carolina, to semi-literate street preachers. His mother was
Shawnee Native American. Link once said “Elvis came from
welfare – I came from below welfare”.
He learned to play guitar at age 8. As the story goes, he was
sitting on his porch, trying to play his guitar. A black man by the
name of Hambone walked by & taught him how to play the blues.
When he was 15, Link paid $20 a night (a LOT of dough back
then!) to sit in with none other than Tex Ritter in order to further his
guitar playing.
Dec 200
5
Rumble
at the Big
Stage in the
Sky
Link’s first band was formed in the 40’s with his brothers Doug &
Vernon “Lucky” Wray, Brantley “Shorty” Horton (later to be a
Wrayman), and Dixie Neal. They played Western Swing- or as
Link put it – Rock & Roll before there was Rock & Roll. At first they
went by Lucky Wray and the Lazy Pine Wranglers, then Lucky
Wray and the Palomino Ranch Hands. As they gained local
popularity, they backed up some of the traveling Country &
Western acts of the day at local shows and on AM radio.
Link’s music career was put on hold while he served for Uncle Sam
in Korea. During this time, he contracted Tuberculosis, which went
undiscovered until the Wrays moved to Washington DC in ‘55 & it
eventually cost him a lung.
In DC, the long-time Country & Western band started finding their
Rock & Roll legs. Link made up for his one lung with his guitar
playing, and the band became regulars on the DC clubs. During
this time, Milt Grant, DC’s version of Dick Clark, took the fellas
under his wing & they played on “The Milt Grant Show” a record
hop show not unlike Mr. Clark’s show elsewhere. Vernon opened a
record studio in DC and Link took the lead of the band, they
became The Wraymen & also became the house band on Milt
Grant’s show.
The Wraymen knew they had
something good & went into the
studio to record a song they
now called “Oddball”. But Link
couldn’t get the ‘dirty’ sound he
had when they played it live. He
took a pencil & poked holes in
his amp’s tweeters. Fuzz was
born!
It was at a Milt Grant Record Hop in
Virginia that the most famous Rock &
Roll instrumental of all time was
played. The Wraymen were backing
up the Diamonds of The Stroll fame.
The band was asked to play the Stroll.
Link said “I don’t know no Stroll”.
Doug started playing a “Stroll beat”. It
was then that, as Link said his “Jesus
God zapped Rumble into his head”.
The crowd went wild. They played
what was to become Rumble four
times that night.
Mr. Grant took the demo to
Archie Bleyer of Cadence
records. Bleyer hated it. His
teenage daughter, on the other
hand, loved it. He re-named the
song Rumble, as it reminded
his daughter of West Side Story.
Rumble was banned in several
East Coast cities as ‘too
suggestive’. Neat trick of a song
with NO WORDS!
(Continued Next Page)
Tony “Mr. Exotica” Cambio
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Rumble at the Big Stage in the Sky
(cont. from previous page)
Link & the Wraymen recorded
many other instrumental hits,
including 1959’s Rawhide (aimed
at Duane Eddy’s sound), and Jack
the Ripper, first released in ’60 on
the Wrays’ own Rumble records, a
regional label, then nationally on
Swan records in ’63. They also
released other classics such as
Ace of Spades (different & long
before Motorhead’s classic), Run
Chicken Run (that one made the
crowds go wild), Jack the Ripper.
Link also could belt ‘em out with
his lone lung. “Ain’t That Lovin’
You Baby” is one of my all-time
favorites that was recently
covered by Milwaukee’s own
BLEED.
Then, in ’70, Link was “rediscovered” & signed to a 3record
deal
with Polydor.
He released a
“back to the
roots” type of
record, using
whatever was
available
for
percussion
from stomping
feet to a tin
can
full
of
nails.
This
album was the
self-titled Link
Wray on Polydor.
Link eventually moved to
California, where he released
more Polydor albums, including
the country rock-themed “Be
What You Want To” featuring
Jerry Garcia & Commander
Cody.
Later in the 70’s, Link teamed up
with Robert Gordon on a few
In the mid-60’s, Link retreated to
the family farm in Accokeek,
Maryland. The band still recorded
in a converted chicken shack,
called Wray’s Shack Three
Tracks.
Tony “Mr. Exotica” Cambio
Dec 200
5
rockabilly releases.
This is
when the Billy Lee Riley cover
“Red Hot” was done – another
one of my favorites.
Link eventually decided to strike
out on his own again, recording
the “Bullshot” album on Visa
records. This was to be his last
recording until ’97. It was in
support of “Bullshot” that he did
his first overseas tour of places
like Amsterdam & Denmark.
During the 80’s Link married
Olive Poulsen, and had a son,
Oliver. The new family moved
to an island off the coast of
Denmark & Link lived the life of
a recluse. Gigs during the ‘80’s
were few & far in between. One
of the few stateside
appearances was on MTV of all
places, for a special called
Guitar Greats.
By the 90’s, Link Wray started to
get the recognition he deserved
in the US as a Rock & Roll
legend.
His songs were
featured in Breathless,
Desperado, Independence Day,
12 Monkeys, Pulp Fiction (not
THAT song – that was Miserlou
by Dick Dale), and most
recently, Confessions of a
Dangerous Mind.
Link resumed touring again in
2000. In 2005, I had the chance
to see him play live.
I had
heard Link Wray’s shows could
be hit or miss. Link Wray’s
Greatest Hits is one of the CDs
(Continued Next Page)
Link Wray and the Ray Men
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that I never tire of hearing over &
over. So, when I heard he was
playing the Rockin’ 50’s Fest at
Green Bay, I had to see him play
live. I never saw Johnny Cash play
live. I never met Ed Roth (I know
he wasn’t a rock & roll legend, but
don’t forget I’ve got car grease
under my nails.) I’ve met Dick Dale
a few times (still very alive & very
much a dirty old man, but that’s
another story) & I’m honored to
display his autograph on the dash
of my ’56. I thought it was a bit
morbid, but I felt the need to see
Link Wray alive before he played at
the Big Stage in the Sky.
After a few days of incredible
traditional Rockabilly, I was ready
for Link Wray.
He walked on
stage, dressed in black jeans, a
black leather jacket, & a black
leather fanny pack. Not quite the
peak of fashion, but neither was
Rumble, back in ’58. It frightened a
lot of radio stations & I’m sure it
frightened even more parents. Did
punk rock start in 1958? Anyway,
he opened with a song I expected
him to close with – Rumble. There
was an appropriate snarl/smirk on
his face, his Marshall amp was
cranked to 11, feedback all over
the place, and distortion up the
wazoo. I was literally goosepimply!
I believe it was during the second
song, his amp took a dump. That
pissed him off because nobody at a
rockabilly fest had a Marshall amp.
He ranted & raved. An unsuitable
replacement was found. He belted
out a few more songs while his wife
played un-mic’ed tambourine,
periodically slapped his ass &
twirled his pony tail, & generally
made it difficult to take a good
photo.
Rumble at the
Big Stage in the Sky
(cont. from previous page)
In any case, as soon as he
finished, I ran out to the
autograph table to wait in vain to
meet him & get an autograph.
I walked away with an unsigned
replica poster, some mediocre
photos, & a grin on my face.
It was a shock to hear that
Fredrick Lincoln “Link” Wray died
on 5th November, 2005. He was
76. He left one hell of a legacy,
having influenced countless
musicians from metal, to grunge,
to garage, to good ol’ Rock and
Roll. Pete Townshend said “He’s
the king. If it wasn’t for Rumble,
I’d never have picked up the
guitar.”
Tony Cambio
Barbara
7
Pittman, 6
Portions of this article courtesy
Stephen D Price & Memphis
Commercial Appeal - Rockabilly
singer Barbara Pittman never
had a smash hit, but could occasionally find work performing.
The Sun Records and Phillips
International recording artist's
popularity in Europe remained
constant, and she last performed
in England in March.
Dec 200
5
"She made her living singing. I
never knew Barbara to do
anything else," said Pittman's
sister, Carlene Day of
Arlington.
Pittman died at her Memphis
home Oct. 29 of heart failure.
She was 67. Best known for
the classic "I Need a Man,"
Pittman was born in North
Memphis. Her mother was
friends with Gladys Presley and
Pittman and Elvis Presley knew
each other as children. Early in
their careers, the young singers
one night stayed up late taking
publicity photos of each other.
"They were up to 3 in the
morning," Day said. "She got in
trouble with Mama for that. She
said, 'But Mama, it's Elvis.'
Mama said, 'I don't care who it
is.'"
Pittman began thinking of a
singing career when she won a
high school talent contest, Day
said. As a child, Pittman spent
time at her uncle's pawn shop
on Beale Street, where she
listened to jam sessions with
B.B. King.
When she was 10 or 11, she
auditioned for Sun Records,
only to be told by Sam Phillips
to come back when she
learned how to sing. Later
Phillips would be impressed by
a demo she cut, "Playing for
Keeps," and recorded her first
session at Sun in 1956,
according to the Rockabilly Hall
of Fame Web site.
(Continued Next Page)
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Barbara
7
Pittmd fraomnP, re6
vious
(Continue
Barbara did several shows for the
Rockabilly Hall of Fame in
Memphis and one in Las Vegas
during the past 5 years. Sadly,
she was often overlooked when
the Memphis area Sun Tribute
Shows were put together. She
especially enjoyed joining Ace
Cannon's band on stage for a
song or two.
Day said her sister had a good
sense of humor and "could tap
dance. She could do anything."
After that trip to England in March
of 2005, Day said her sister's
health declined. A memorial
service was held Saturday,
November at Family Funeral Care
in Memphis.
Cadenc
e
Records
new
male
vocalist in 1953.
Page)
O t h e r
singles
followed,
including
" N o
Matter
Who's to
Blame,"
" T w o
Y o u n g
Fools in
Love" and
" I ' m
Getting Better all the Time." John
Singleton, president of Sun
Entertainment in Nashville, said
Phillips used mostly male singers
but liked Pittman.
Dec 200
5
Cadence
Records,
headquartered
out
of
Manhattan, was founded in
1952. It was another fairly shortlived label with a few notable
artists.
Archie Bleyer was an orchestra
leader and in the late 40s
became musical director of
“Arthur Godfrey and Friends”,
first on radio, and then later on
TV. Through his involvement on
the show, he gained access to
some of the talent appearing as
guests. Such was the case with
Julius LaRosa, a young singer.
Bleyer started the music label at
first as a recording vehicle for
LaRosa. LaRosa and Cadence’s
first release, Cadence 1230,
“Anywhere I Wander” (which
was numbered to correspond
with Bleyer’s birthday, 1/2/30)
shot up the national top 30 and
gave the label a solid
foundation.
LaRosa was the only signed
artist for almost the first full year
of the label. He had two hits, the
earlier mentioned “Anywhere I
Wander” and an Italian style
novelty number, “Eh, Cumpari”,
which helped LaRosa win best
Another act found in
association with the Godfrey
show, the Chordettes, signed
to Cadence and in 1954 scored
a major hit with their unique
four-part harmonies in “Mr.
Sandman”. The Chordettes
started out in the 40s in
Sheboygan, Wisconsin. They
remained a mainstay for the
label until 1961. One of the
Chordettes, Janet Ertel,
eventually married Bleyer.
Bleyer experimented in 1954
and recorded his own orchestra
playing a number “Hernando’s
Hideaway” from a hit Broadway
production, Pajama Game.
Cadence entered the LP
market in 1954 with “Pajama
Game/8 Top Hits” (Cadence LP
2054). For the next couple
years, Bleyer released singles
(45s) that were almost solely
pop and jazz was released
almost exclusively on albums
(LPs).
In 1955, Bleyer released
another #1 record, Bill Hayes’
“Ballad of Davy Crockett.” But
towards the end of the year,
LaRosa signed with RCA and
Bleyer signed Andy Williams to
try to replace him on the roster.
Throughout 1956, Bleyer’s
orchestra, Williams and the
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Chordettes kept the label on the
charts.
In 1957, an agreement was made
with Wesley Rose of Acuff Rose
Publishing to bring some country
acts to Cadence. This was an
extremely important move for
Cadence. Rose brought Phil and
Don Everly to Bleyer’s attention.
Rose indicated that if Bleyer
wasn’t interested, he would sign
them to the Hickory label instead
(Re-Vue covered the Hickory label
in May ‘05). Bleyer agreed to sign
them over the phone and then
flew out to Nashville to meet and
record them.
Since there was an Acuff-Rose
link, the Everlys and Cadence had
access to top songwriters - Felice
and Bordleaux Bryant, and even
Chet Atkins in the studio to
produce the sessions. As a result,
the Everlys had a string of hits
released on the Cadence label.
The very first Everly Brothers
session produced “Bye Bye
Love”, which ironically was
turned down by 30 artists
before they recorded it.
They had 16 other hits on
Cadence, but then signed the first
million dollar contract with Warner
Brothers in 1960.
Susan E. Funk
Dec 200
5
In all, the Everly Brothers cut 38
sides for Cadence, which were
released on 6 albums.
At some point, Phil Everly
married into the Cadence
family and became Bleyer’s
son-in-law.
In December of 1957, Bleyer
expanded Cadence into larger
facilities and threw a 5th
anniversary party for 500
Manhattan teenagers.
Now, for the part you’ve all been
waiting for… the tie-in with Link
Wray…
In 1958, Bleyer took a chance
on a wild rock act, Link Wray
and His Ray Men. Link only had
two songs released on
Cadence: the now legendary
“Rumble”, and b-side, “The
Swag”.
Bleyer didn’t even like the sound
on Rumble (which was named
such since it reminded Bleyer’s
daughter of a scene out of West
Side Story). One story goes that
she borrowed the original
recording and took it to a party.
She loved it and persuaded her
dad to release it. Due to the
name of the single, many radio
stations banned it.
And as
history of other banned and
hard to get records foretold, that
made the kids just want it more
and it shot up on the charts. But
the Link Wray and Cadence
relationship was not to last.
Wray released only the two
sides on the label.
Through 1959-1960, most of
the hits were brought in by the
Everly
Brothers,
the
Chordettes, and Andy Williams.
Some sources speculate that
there was additional Material
recorded by Wray, enough to
fill an LP, that was just
never released by Cadence.
What brought about the end of
Cadence? They never had an
extensive roster of talent. And
when these hit-charting acts
left for larger labels, there
wasn’t much effort expended to
replace them - Bleyer just didn’t
have anyone of the same
caliber to substitute. One by
one, the acts left the label for
“greener” deals. In 1960, The
Everly Brothers left for Warner
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Dec 200
5
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Cadenc
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Brothers. Next in 1961,
Andy Williams left for Columbia.
And the Chordettes popularity
waned after their record “Never on
Sunday”, which was in mid-1961.
During the pop lull, Bleyer started a
subsidiary called Candid Records
for jazz and blues recordings.
Sides were released on that label
by Lightnin’ Hopkins and Memphis
Slim amongst others.
A comedy record helped Cadence
pull through the early 60s. In 1962
a comedy/parody album was
released called, “The First Family”.
Vaughn Meader played John F.
Kennedy in a spoof of the Kennedy
family.
“The First Family” soared to
number 1 within two weeks and
stayed there for three
months… However after the
assassination, sales abruptly
stopped. It was the biggest
seller Cadence ever had.
Through the rest of the early 60s,
Bleyer re-released a lot of old
material, but all shipments ceased
in August of 1964 and the label
was officially closed in September
of 1964. Bleyer retired after that to
Wisconsin with his wife and passed
away in 1989.
Susan E. Funk
The Modern
Independents
I set off on a quest three years ago…
A quest to understand more about independent record labels
and the business side of rock n’ roll. Who were the people
setting the trends? Who were the guys picking and choosing the
talent to put on record? The innovators. The risk-takers. The
men and women in the early days of rock n’ roll that had the
foresight and the drive to bring us the acts that we revere.
I had a driving need to understand when I picked up a vintage
record at an estate sale, antique mall, garage sale, or vintage
record store where that label came from. (Really, it started
when records purchased on a whim ended up being complete
duds.) I wanted to know what labels were rockin’ and which
ones weren’t. I think some of it was pure economics. The more
I knew about the record labels, the better I could pick and chose
what I’d buy … But even more than that, the more I could
appreciate the music.
I find independent record companies, A&R men, closet-sized
recording studios, distribution, acetate and vinyl records, studio
politics, lost (and sometimes later, found) master recordings
fascinating for some reason…
My quest began with research about King Records out of
Cincinnati, Ohio (also covering the Federal, DeLuxe and Queen
labels which were subsidiaries). Over the course of the next few
years, I continued on that path of enlightenment to write articles
in Re-Vue about Chance Records (Chicago), Vee-Jay
(Chicago), Del-Fi (California), Hi-Q (Detroit), Atlantic (California),
Roulette (New York), End (New York), Gone (New York), Gee
(New York), Tico (New York), Rama (New York), Fortune
Records (Detroit), Liberty Records (Hollywood), Hickory Records
(Nashville) and many other labels. Often tied to the articles on
these labels were other articles about the artists recording on
the label and sometimes even the sound engineers responsible
for “signature” sounds. If you have an interest in any of these
labels, drop us a line at [email protected] and we can
get you a reprint of these articles or issues.
(Continued Next Page)
Re-Vue
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T h e M o der n
s
Independeveiousnt
Page)
(Continued from Pr
I also plan to cover - over the
course of the coming year (s) - as
many other labels and artists as I
can.
Don’t
Dec 200
5
Miss...
It is very important to note that there
are still many independent record
labels out there working to cover
forgotten and oft-times neglected
markets. I’m talking the authentic
sounds of doo-wop, rnb, jump blues,
swing, rockabilly, and western
swing.
There are labels out there that still
struggle with economics, politics,
finding talent, hitting the right
markets, distribution, costs of
promotions and tours... Some of
these modern independents include:
Bloodshot, Hi-Tone, Yep-Roc,
Goofin, Wild, Ace, Rhythm Bomb,
Blue Lake, and Ecco-Fonic… and
there are scores of others.
Researching and writing about
vintage labels has enabled me to
learn more about the struggles of
the modern ones.
I can’t drive this point home
enough… It is important to keep
these labels going. Support their
acts when they tour, buy their
records.
And, more than anything…put your
money where your heart is.
Susan E. Funk
Re-Vue
Re-Wind
Have an idea
for a column
or article?
Re-Vue is looking for
additional staff writers &
contributors. Join a crew
of dedicated staffers. In ReVue’s first three years, over
30 individuals contributed.
Write as often as you like…
every couple months, a
couple times a year… heck
if you’re ambitious, we’d
love to have you write
monthly.
Are you a Shutterbug?
We’d love to see your
photos...
Contact Susan Funk, Editor
@ [email protected]
Dec 200
5
J.R. Cash &
the Tennessee Two
Re-Vue has hit three years. Three years of spreading the
Rockin' Gospel to those out there trying, or looking, to be
"saved." I think J.R. Cash would approve. I, for one, have
learned a thing or two from these pages. So I'd just like to take a
moment to say thanks to all of you who have contributed and
enlightened us with your words. I knew you had something to
say, and I'm always impressed. Of course, a huge thanks goes
out to Ms. Funk, without whom none of us would be able to
press our pen to paper and be heard. It is a tremendous effort
that has not increased her pocketbook by one single dime. But,
it certainly has cost her many hours. But, that's what rockabilly
is all about, isn't it? For the love of it, and the spirit. Hell, any
information that gets out the about the bands, labels, shops or
old bars or soda pop manufactures that are out there, is good for
us all. So many thanks.
Now. The Tennessee Two plus John Cash makes Three, so
com'on and get with it. Of course most people I know hit the
movie theaters this past week or two to see "I Walk the
Line." Yeah, yeah, we all know who's in it. The critical acclaim
for it and etc. I have to give credit to Hollywood for its
reconstruction of 1956 era Union Street in Memphis. The
excellent costumes and attention to instruments and detail. Not
to mention, the detail of Sun Studio. But what I loved most
about this movie is that in 2005, the Hollywood version of what a
bunch of rockabillies, well, ahem, THE Rockabillies, would do
after a long hard drive to a nowheresville motel, is to all get out
of their cars and stand around glad-handing, drinking beer,
shooting the bull, and blowing things up. Which, suffice it to say
from my experience, is EXACTLY what a bunch of rockabillies
would do today., i.e. the Indy weekend. So much has changed
and nothing has changed at all. Hollywood gets it right.
Much has been said about Mr. Cash, but what of the Tennessee
Two; Luther Monroe Perkins on guitar and Marshall Grant on
bass fiddle. Two Memphis car mechanics. This was the group
that went in to Sun and recorded, "Hey Porter" and "Cry, Cry
Cry."
Three players together with an incredible original
sound. Original, because Luther Perkins, and Marshall Grant
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James N. Ventrella Re-Vue
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J.R. Cash
& the
Tennessee Two
Some Other
Trios⁄
We put the staffers to task
asking them to come up
with a short list of acts
with three members. Sorry
if we missed anyone’s favorite but this wasn’t
meant to be exhaustive!
Special thanks to the
Chrome Czars for their
help on this one too.
(Cont. from previous page)
were novice players with limited
technical ability. They played the
only way they could, with raw power,
determination, and for the love of
it. You can tell by listening to this
music that Marshall Grant is happier
then hell to be playing bass for his
buddy John Cash. Luther Perkins?
Well, let's hear what Mr. Cash had to
say about Luther, and his signature
sound:
"When I met him (Luther) in 1954, he
had a Fender Telecaster that had
lost the plate where the heel of your
hand rests and a little Fender
amplifier with an eight inch speaker,
the rig he used on my recordings at
Sun, laying his right hand on the
strings to mute them as he
played. That's where "boom-chickaboom" came from, Luther's right
hand. As I've said before, Luther
wasn't anything like an expert
musician and sometimes it would
take him quite some time to learn a
new song, but once he had it, it was
locked in. He'd never alter his part,
either to change it radically or
embellish is slightly; he always
played it straight down the line, and it
always, always sounded right. It was
unorthodox the way we worked it so
that his guitar line always matched
my vocal, but it was effective and
people liked it, and once the
recordings got around guitarists all
over the world copied the Luther
Perkins style. . ."
Dec 200
5
Original recording artists:
Elvis, Scotty & Bill
King Cole Trio
Les Paul Trio
The Coasters
Indeed.
Maxim Trio (Ray Charles
Trio)
On this Thanksgiving Eve, I won't talk
Johnny Otis Trio
about minute details of the
Original Crickets (minus
Tennessee Two's personal life, or
Buddy)
deaths. I'd rather just give thanks that
the guys put their wrenches down More recent acts:
long enough, and had the courage to
walk into Sun, lay it on the line, and High Noon
bust a few off. Just imagine the first Hot Club of Cowtown
three minutes of recording "Cry, Cry, Truly Lover Trio
Cry". . .what fear and joy they must Two Timin’ Three
have felt.
Three Blue Teardrops
Roy Kay Trio
Take a look and listen to Johnny The Moondogs
Cash and the Tennessee Two for Stray Cats
yourself.
Pole Cats
Restless
A listen. . .January 13, 1968 live from Rev. Horton Heat
Folsom Prison. A look. . .Ranch Big John Bates
Party 1956. Johnny Cash and the Hot Rod Lincoln
Tennessee Two's first television Three Bad Jacks
appearance playing "I walk the Hillbilly Hellcats
Line." Luther digs in to the first Rusty & the Dragstrip
notes, and the rest is legend.
Trio
James N. Ventrella
Re-Vue
Re-Wind
A fun follow-up to last month's
Thanksgiving article, I got food
poisoning! Yay! And I run a music
store and that's the big sales
weekend so I went to work anyway!
Yay! Here food has been my good
good friend all these years and it
turned on me. But there is
reconciliation in sight.
Anyway, 3 is the name of the game
and my game ain't lame so if it's all
the same and you can take the
blame, one of my favorite things in
the world ever is Johnny Burnette,
Dorsey Burnette, and Paul Burlison
performing in unison. Sometimes
known as the Johnny Burnette Trio,
other times known, I feel more fairly
since Paul's contribution especially
is not to be downplayed, as the
Rock'n'Roll Trio.
3 Warriors. Pugilists! Stories
abound of Johnny and Dorsey
knocking each other around. I like to
imagine that on the day that they
applied to Sun that they started
wrestling on the floor of Marion
Kessker's office over some offence
real or imagined and Sam Phillips
threw them out. These were
Memphis guys who rocked harder
than anyone ever before, and yet
Elvis
Johnny
Burnette Brothers
R o ck n ’
Roll Trio
Sun wasn't their label. Johnny and
Dorsey knew Elvis, they all worked
together for Royal Crown Trucking.
I like to imagine that they didn't
particularly like the "Hillbilly Cat,"
finding him fey, pampered, and
irreverent. Because frankly, if you
compare the Rock'n'Roll Trio to
Elvis at Sun, that's about how he
stacks up. Nobody can hang with
the Trio.
And no drums! That much Jungle
Boom and nobody is playing
drums. This stuff is crazy. It's like
you snorted a kilo of cocaine and
drank a fifth of Wild Turkey and
chained yourself to the front of a
locomotive going 180 MPH. And
you're head is on fire. Turn it up
louder. No matter how loud it is, it's
never loud enough.
What's also crazy is that a mere
couple years after "Train Kept A
Rollin" Johnny brought us "You're
Sixteen." Today certain people
would call that "selling out." I'd call
it "figuring out how to turn a profit."
The Trio rocked too hard for 1956.
They rocked just hard enough for
2006.
Merry Christmas, Happy New Year.
Rocko
Dec 200
5
Somewhere along the way
I
got
hi-jacked…
blindsided… shanghaied
by three guys with loud
clothes, big hair, cool
tunes and the best damn
stage show I had ever
seen this side of the Marx
Brothers. I truly didn't
know quite what to expect
the first time I saw them
play in about 1980 on a
Friday afternoon at a frat
boy bar called Maxwell's in
the heart of Iowa City. I
had read about them in
The
Prairie
Sun
newspaper (in a big
feature
article
that
included photos of them at
the end of a show---it truly
looked like a bomb had
been dropped). And yet I
was in no way prepared
for the hurricane that was
the ever legendary Elvis
Brothers.
Brad, Rob and Graham
Elvis came together as a
band because all their real
bands broke up and they
had time on their hands.
The trio gathered up their
tiny little drum kit, their tiny
little guitar amps and their
music stands and first
appeared
on
the
basement stage at Chico's
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s
i
v
l
E
s
r
e
h
t
o
r
B
in
(Cont
s
reviou
p
m
o
ued fr
broad with the six-inch scar on
the side of her face?).
page)
in Champaign. They didn't even have
a name. Their set list leaned heavily
on the works of E. A. Presley. So as
a big joke they said, "Let's call it the
Elvis Brothers, ha ha ha." Little did
they know they would ride that name
around the country and the world,
slap it on two major label albums and
use it while opening shows for Cyndi
Lauper, Billy Idol, Cheap Trick and
the Clash.
Obviously the first time I saw this
band I was very young, dumb and
impressionable. I didn't know any
better than to be taken in by their
razor sharp rockabilly/pop songs and
their never-say-die stage shows. Oh
yeah, and the drummer had a neon
red sharkskin suit and played not just
standing up but leaping up and down
like Pete Townsend in a boiler outfit.
Dec 200
5
They joked with the audience—
sometimes making an entire fortyfive minute set out of three songs
and endless jacking around. For the
life of me I once thought they were
really brothers who happened to
form a band.
Someone up there took a liking to
these musical idiots. Cheap Trick's
manager became their manager.
They signed with CBS Records
("They're dumpin' Michael Jackson,"
joked Rob Elvis. "He's dead
weight."). And they came back from
New York in the coolest two-tone
outer space stage threads a boy
from Iowa could imagine.
And above all they were the nicest
bunch of f#ckers you could ever
meet. My friends and I would stage
mammoth house parties whenever
the Elvis Brothers played in our
town. We would bring the bulk of the
crowd and the band back to our
house, crank up some pizzas, bust
off a few thousand beers and just
smile smile smile (and I still have
They played at breakneck speed on
the photos to prove it---and by the
their own songs and covers. They
grinned from ear to ear while playing. way, Brad, who was that goodlookin'
Ken “The Mayor” Mottet
Time passes as it always does.
The line-up changed. Members
were added and members left.
When the original line-up came
back together an independent
album of the highest quality
was made. More shows were
played. And then it came to an
end. The very last time they
played together during their
career was at my wedding
reception. I get mushy weepy
thinking about it. All of my
friends were at my wedding.
And I met most of them at Elvis
Brothers shows. I have a
picture of my mother sitting on
Graham's lap...and she's
smiling!!! And then the band
was only a glorious memory.
Several years back they did a
reunion show as part of the
International Pop Overthrow
festival in Chicago. Like the old
song says, "The front doors
were locked and the place was
packed." It was like an old time
family reunion. Three old
friends climbed on that stage
and unleashed some power
pop firepower that hasn't been
seen in way too long. The
audience hugged the band.
T he ba n d h ug ge d t he
audience. And we all reminded
each other that we used to be
really cool.
Everybody has a favorite band.
Everybody has a song that
changed their life. Everybody
has a few good friends. I got all
of that with the Elvis Brothers.
Re-Vue
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The
s
t
a
e
b
New
With apologies
to Hound Dog
Taylor & the
Houserockers,
one of my fave
trios
would
have to be the
Newbeats.
They had a
small run of
hits in 1964-65
(four singles in
the pop Top
20), but the one most people remember is, obviously,
"Bread & Butter," with that insane drag-queen falsetto (by
a male, Larry Henley). Two of the members, Dean &
Marc Mathis, played guitars, and Henley just sang. They
had been knocking around Shreveport, LA for years - the
Mathis brothers had been on the fringes of the rockabilly
scene for years, not only playing with Dale Hawkins (of
"Susie Q" fame), but as "Dean & Marc" they had a
regional hit in 1959 with a cool Everly Bros. knockoff
called "Tell Him No" (Travis & Bob had a bigger hit with
the same song). The story goes that the Mathises were
playing a gig one night when Henley sat in, and the three
instantly hooked up as the Newbeats. Being that they
were an American band at the height of the British
Invasion with a sound that bordered on being a total
novelty (Henley worked that exaggerated falsetto into
every song), it's amazing that they were in the spotlight
as long as they were, but they worked it to death while
they were here. They recorded in Nashville for the
Hickory label, with a sound that was midway between
garage-rock, blue-eyed soul and country music. After
they had that first hit, they knew what side their bread
was buttered on, so to speak; the follow-up, "Everything's
Alright" was a straight-up mirror image of their biggest
song, as was "Ain't That Lovin' You Baby" (remake of an
James porter
Dec 200
5
older Jimmy Reed hit) and "Find Ya
Somewhere Else To Eat Your Crackers" (get
the connection?). On top of that, the Ikettes
(Ike & Tina Turner's background singers)
had a hit with a "Bread & Butter" answer
record ("Peaches & Cream"). The Newbeats
had three albums in all - two of which were
named after their hits (Bread & Butter and
Run Baby Run) and had more filler than a
ballpark frank, but curiously their best album
was Big Beat Sounds, which had no hits but
did include the tuffest version of "Mother-InLaw" this side of Ernie K-Doe's original. The
group kept going in some form through the
early seventies, releasing a slew of singles
that no one bought, and Henley himself cut
a really good solo album in 1974, Piece ACake, another one of those uniquely
Southern creations that manages to be rock,
country and soul all at the same time. He
would later go on to be a successful
songwriter (he penned "Wind Beneath My
Wings," the Bette Midler hit, so he's
obviously not starving).
Visit us Online !
Re-Vue
Chicago
Is now available at:
www.re-vuechicago.50megs.com
Re-Vue
Re-Wind
Chicago’s post-World War II blues scene was shaped
by many individuals – from musicians such
as Howlin’ Wolf and Muddy
Waters to record company
executives Leonard and Phil
Chess. But one of the most
central figures in the development
of a “Chicago Blues” identity was
Willi e Di xon. As a bass
instrumentalist, composer, lyricist,
and occasional bandleader, his
contributions are difficult to
underestimate.
,
r
u
o
F i ve , F e :
T hr e
Dec 200
5
service. He then formed a quartet, the
Four Jumps of Jive, with guitarist
Bernardo Dennis. The Four Jumps
stayed together until 1946, when
Caston returned from his USO
service.
At that time, Caston, Dixon, and
Dennis teamed to form the Big
Three Trio. The group’s name
referenced the leaders of the
Allies in World War II:
Roosevelt, Churchill, and Stalin.
The Trio’s early recordings were
issued on the Bullet label before
Columbia (later CBS)
contracted with them. By that
time, Dennis’ brief tenure in the
group had ended; Ollie Crawford
reunited with Caston in this
new group. The Trio’s biggest
seller came in 1948 with “You
Sure Look Good To Me,” a
slow 12-bar blues featuring
rather powerful harmonies.
Also featured on these discs
were Caston’s bright righthand keyboard melodies,
counterbalanced with his lefthand syncopation and rhythm
from
Dixon’s
bass.
Representative of this is one
of the group’s trademark
numbers, “Big Three Boogie.”
Many of the group’s
recordings through 1950 were
composed by Caston, often with Dixon or Dixon
and Crawford listed as co-writers.
n
o
x
i
D
e
i
l
l
i
W
e Big
h
t
d
n
a
For Dixon, the Big Three Trio was
his proving ground – the band
ree Trio
h
where, between 1946 and 1952, he
T
developed the talents that made
him famous in the music world.
However, the charismatic Dixon was
not the band’s initial leader. That role
was in the hands of Leonard “Baby
Doo” Caston, composer of most of
the Trio’s early material. Caston
came to Chicago in 1939 from
Natchez, Mississippi, and sought to
join the city’s developing music
scene. As a guitarist, Caston formed
the Five Breezes with Dixon and
three others just before World War II.
Dixon, born in Vicksburg, Mississippi
in 1915, moved to Chicago in the
early 1930s. By 1937, he became the
novice Illinois Golden Gloves
champion in the Heavyweight class.
Caston guided Dixon away from the
boxing ring and according to one source even taught
him to play bass, and the Breezes enjoyed modest
success at clubs in the city before disbanding shortly
after Pearl Harbor.
Caston then joined with guitarist Ollie Crawford in a
new band, the Rhythm Rascals. That group became
part of the first black ensemble to tour overseas (in a
USO show backing Alberta Hunter). Dixon,
meanwhile, challenged military service as a
conscientious objector. After serving some time in jail,
David Leucinger
Crawford’s guitar style was more assertive than
Dennis’ on guitar solos. The group’s established
sound has Crawford’s featured runs showing the
influence of T-Bone Walker. Yet some other tracks
hint at jazzier influences: Charlie Christian and
even at times Les Paul and Django Reinhardt.
Dixon’s percussive bass runs could have eclipsed
(Continued Next Page)
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Re-Wind
the rest of the group – but
through the Big Three’s
career, you can discern a
progression to developing the
trio towards a cleaner ensemble
sound, with tidy 12-bar
instrumental solos for each
member. However, Dixon’s slap
and plunk in songs such as
“After While” demonstrate his
prowess on the big fiddle –
moving the instrument out front
with captivating emphasis.
r,
u
o
F
,
Five
:
Three
Dec 200
5
sessions for the upstart Chess label,
while also performing in clubs with
bluesmen such as Muddy Waters.
Waters recording of “Hoochie
Coochie Man” would establish
Dixon’s
songwriting
credentials.
n
Willie Dixo
g
and the Bi
io
Three Tvr
. page)
The Trio’s legacy may be
hidden from most music fans,
but it is nevertheless
noteworthy. Dixon’s role as a
songwriter of many blues
pre
standards was shaped by his
(Cont. from
Following the group’s recordings
tenure in the group. Certainly, a fair
across time emphasizes two key
areas of
share of the Trio’s material fits clearly in the
development. First, the group harmonies on early
blues category, especially ballads such as “It’s
Trio tracks were less polished than those of the
All Over Now.” Instrumental tracks such as “Big
Ravens, the Ink Spots, and other vocal groups of
Three Stomp” and “Hard Notch Boogie Beat” are
that era. But by 1949 their voices had
trademark rhythm and blues numbers. But many
demonstrably balanced more smoothly. Their 1952
critics rightfully focus on the group’s harmonic
recording of “Come Here Baby” demonstrates the
development – and how the Big Three Trio
pinnacle of their group harmony vocals. The
presaged the emergence of separate but related
second development was that of Dixon as a more
blues and vocal group performance scenes in
assertive member – certainly with little “inserts” of
mid-century Chicago on labels such as Vee Jay,
his bass runs, but more so with a greater share of
Chess, Checker, United, States, Blue Lake, and
songwriting credits. One 1952 recording session
Parrot.
captured a Dixon composition that was reworked
and recorded six years later by Otis Rush on the
Cobra label: “My Love Will Never Die.”
The Big Three Trio toured across the northern
United States with frequency, usually featured at
multiple-week engagements in clubs from Toronto
to Cheyenne. The played at many smaller cities
across Illinois, Indiana, and Minnesota, and had
regular gigs in St. Louis, Omaha, Minneapolis, and
Denver. Their last recordings were in 1952,
although one source notes the group worked
together, off and on, through 1956. But by the time
the group cut its last tracks, Dixon’s ambition was
already evident: he was producing records and
performing bass on recording
Willie Dixon
David Leucinger
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Re-Wind
I have always wanted to review a
serial. The right one has finally come
along. It is the Batman serial from
1943 starring Lewis Wilson as
Batman, and Douglas Croft as
Robin. Serials were the precursor to
the soap operas that are on T.V.
these days. Before there was
television, these serials were shown in
theatres with a different chapter
each week. Unlike soap operas
which last forever, the average
serial
lasted
for
12
episodes. Luckily for us, the
Batman serial is 15 chapters
long. Because Batman had to
set a good example for the rest
of society to follow, you won't find
any bedroom love scenes like
you would in the soap
operas. Serials were aimed at
children.
Adults weren't
expected to watch serials. Of
course if this was 1943, Ken
Mottet and I would be the tallest
people in the audience.
Batman
(1943)
Dec 200
5
politically correct. They just wanted
to be entertained, and for 15
chapters
you
will
be
entertained. Imagine the 1960's t.v.
show without the comedy or the
"POW","BAM" superimposed on the
screen during the fight scenes, and
this is what this 2 disc, 4 hour DVD set
is all about. The batcave is creepier
and is filled with live
bloodsucking vampire bats.
The story starts out where Linda
Page, Bruce Wayne's fiancé
played by Shirley Patterson and
the only female character in the
movie, is supposed to meet her
uncle Martin Warren in ,
One thing that we were
never taught in our grade
school math class was that
Batman + Robin =
Coolness. This 1943 serial
is extremely cool. It was
made during the height of
World War 2, so there are
many derogatory and racist
comments made about the
Japanese.
Much to the
credit of Columbia Pictures,
who put out this DVD, none
of these remarks are
deleted out. You get the
same movie that the
audience in 1943 saw. I
don't think the society dogooders
complained
whether or not this was
front of the prison where he has
been released from.
Warren
was an industrialist wrongly
convicted of something that the
movie does not specify. Before
Linda Page could get there
Warren is picked up by the
henchmen of the Japanese
prince, Dr. Tito Daka. One
of Hollywood's most
underrated actor J. Carrol
Naish plays Dr. Daka. A
Caucasian actor made up
to look Japanese. He gives
a great performance, and
since he is not doing it for
laughs, he is more
menacing than the villains
in
the
1960's
TV
series. Warren is taken to
Dr. Daka's hideout which is
hidden inside a Japanese
chamber of horrors exhibit,
which is suppose to show
how brutal the Japanese
solders
treat
there
prisoners.
(Continued Next Page)
Doug Freedman
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Re-Wind
Dec 200
5
Batman
(1943)
At
Dr.
Daka's
hideout, we find
Daka having a
meeting with other
industrialists
that
h
a
v
e
b
e
en
(Continue
d from
convicted
of
previous p
age)
crimes.
For a
minute I thought that
I was at a board
of directors meeting
for Enron. Warren refuses to go along with
Daka's plans for world domination. Daka turns
Warren into a zombie that obeys his every
command by placing a giant space helmut like
head piece over his head and frying his brain
out. Not only are the zombies submissive, but
they possess superhuman strength. Daka has
in his possession a raygun that disintegrates
any solid object. Since they atom bomb has not
been invented yet, it is the most powerful
weapon on the face of the earth. They only
thing that Dr Daka needs to make it work is
radium. Basically the whole serial is about
Daka's zombies and henchmen trying to get the
radium and Batman and Robin trying to stop
them.
The secret to watching a serial is not to watch
more than two chapters at one sitting. It will
become boring and repetitive if you watch too
many chapters at one time. Basically, each
chapter is about Daka's henchmen going to a
location where radium is located, trying to steal
the radium, and getting foiled by Batman and
Robin, with Batman and Robin being left to die
in some trap at the end of each chapter, and
seeing how they will escape at the beginning of
the next chapter.
Robin. Lewis Wilson and Douglas Croft give fine
performances as the dynamic duo spending as
much time being Bruce Wayne and Dick Grayson
as they are Batman and Robin. English actor
William Austin steals many of the scenes as Alfred the Butler, as he used for comic relief and
even helps Batman and Robin chase after the
bad guys.
This is highly recommended DVD for Batman
freaks, serial lovers, people who have never seen
serials, people who want to see a serious version
of the television show, or people who want to see
cool actors play Batman and Robin. Also, the
1949 serial called "Batman and Robin" has been
released on DVD starring Robert Lowery and
Johnny Duncan as Batman and Robin, and the
ultra-cool Ed Wood player Lyle Talbot as Commissioner Gordon. Even though it is not as good
as the original, it is still highly recommended.
For the person that loves cartoonish violence,
the fight scenes are great and there are at least
two in every chapter. The costumes are very
cool, even though most uncool movie critics
make fun of them. They just don't have the
rockabilly point of view. The coolest thing is
seeing the original actors that play Batman and
Doug Freedman
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Re-Vue
New Year’s
Resolutions?
Well, I asked the staff to write their “three”
articles, so I figured I better find a way to tie it in
too. Here goes.
Three resolutions or goals for
Re-Vue in 2006.
Advertising.
We accept ads. Did anyone even know that? I
guess we haven’t been very good at soliciting
advertising the first three years. It would help
companies that cater to our scene get the word
out about products and services they offer and
help Re-Vue generate some sort of an operating
budget. Do we have funds? <side splitting
laughter…> No. Re-Vue has always functioned
on a volunteer basis. We have been extremely
lucky to find ways to print the issues with limited
expense. However, as this may not always be
the case, we should have some funds to fall
back on in order to keep Re-Vue running from
year to year.
Where are all the girls?
If ya’ll haven’t noticed, there are only a couple
female writers and contributors month to month.
We need the gals to get it in gear and put the
pen to paper. We know you have a lot to say.
We know you’re every bit as happening as the
fellas. But we can’t hear you until you tell us
what you have on your minds. Interested in a
specific vintage clothing designer? We know
you’re as into the music, the dancing, the
collecting as the fellas… but why aren’t we
hearing from you? My goal is to find at least a
couple happening gals in the scene willing to
write on a more than intermittent basis.
Susan E. Funk
Dec 200
5
Coverage.
Re-Vue is starting to spread out to other areas. Last
month we launched a web site. Already we’re
improving it. No more hassle with multiple PDF files
to read through the whole thing. Courtesy of Blue
Lake Records (thanks Juan-ito!) who will be hosting
the PDF file for us each month, the Re-Vue Chicago
issue will be available for download or print with just
one click. And because now we can have a GLOBAL
presence, we’re looking to find writers in Europe,
California, the East Coast, the West Coast… you
name it. We want to hear from you no matter where
you are….The goal is to bring on at least 3-5 new
writers from outside Chicago in the coming year.
… while visions of
sugarplums danced
in their heads
‘Tis the season for sugary sweets — leaving cookies
for Santa, hanging candy canes on the tree and all
those confections shoved into Christmas Stockings…
As such, it is time for me to cover yet another fine
Chicago institution, the Blommer Chocolate Company.
As many of you may have gathered, I have a
sickeningly sweet obsession with candy. In three
years I’ve managed to cover the gamut of the candy
industry in Chicago – from the first bubble gum
manufacturer to Brach’s, to my all time favorite,
Ferrara Pan (if you’re old school, it is Cherry Changs
and Alexander the Grapes!!! If you’re ultra modern,
you’ll know their products by their less creative names
– Lemonheads, Cherryheads, and Grapeheads to
name a few of their wares.)
Situated on Chicago’s near north side, just barely
north of downtown, the Blommer Chocolate Factory
has been in business in Chicago since 1939 when
Henry Blommer, Sr. and his brothers Al and Bernard
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Dec 200
5
… while visions of
sugarplums danced in
their heads
(Continued from previous page)
first opened up shop. They later opened other
facilities on the east coast and west coast – in
California (Los Angeles, 1948 and San Francisco,
1952 – the facilities were both closed and a single
California Blommer Factory opened in Union City,
1970) and Pennsylvania, 1980. Per the Blommer
website, the Blommer brothers founded the
company with the following principles – quality,
consistency and concern for the customer.
What does Blommer have to offer?
If you have ever visited the factory in Chicago, you
will find yourself literally like a kid in a candy store.
In the street level candy outlet store, you can buy
everything from sugary gummy treats to bulk
chocolate covered peanuts, to yogurt covered
pretzels to what is touted by Blommer to be the
“World’s Largest Candy Bar” (over 10 pounds of
chocolaty goodness. I was reminded by a fellow
Blommer nut that I should mention that when you go
into the factory store, you can request SAMPLES.
They will allow you to sample anything they have for
sale. All types of chocolate, hard candies, pretzels
with and without chocolate, pecan patties, espresso
melt balls, carmel encased in chocolate, pretzels
and even chocolate covered gummi bears, this
place has it all.
If you want more detailed info on what Blommer
puts out, listen to what they have to say in their
corporate literature: “Blommer Chocolate is a fully
integrated chocolate and cocoa manufacturer
serving customers around the world.”
How come I never see Blommer Chocolate
bars in the super market?
Blommer supplies the milk or dark chocolate and
raw chocolate powder to the companies that make
out some of your favorite candies. So although they
don’t make their own retail candy, they supply
Ingredients to other candy manufacturers around
Susan E. Funk
the globe, including Fannie May and Nabisco. According
to their own claims, Blommer is currently the largest
chocolate manufacturer in the Unites States. Their three
plants produce 500 MILLION POUNDS of chocolate a
year.
Blommer recently made the headlines due to a complaint
received by the Illinois Environmental Protection Agency
(IEPA) regarding it’s air quality standards. Boiled down,
the IEPA has standards for air purity and “clarity”. The
standard for “opacity” means how much the factory emits
in dust and obscures the visibility by blocking light. Due to
emissions from Two early mornings in September, the
emissions surpassed the allowable limit. What about the
coal plants outside of Gary, Indiana that pour coal smoke
out of their stacks for hours a day? In a November 4,
2005 Chicago Tribune article, the IEPA declined to
comment on the coal emissions. Go figure.
What do their other Chicagoans think?
In a very informal poll, it seems as though the data nails
it… most people LIKE the fact that you can smell the
wafting odor of cocoa – some even referring to it as an
olfactory delight.
How does the scent waft around the Chicago
area?
It depends on shifting breezes and the temperature. So
essentially, the smell is dependent upon the weather
conditions. The plant works 27 hours a day, and the smell
is most common to the Loop and Near North Side.
If you have a hankering for the sweet smell of success
(Blommer is still family owned!!!), head over to their
Chicago location and stop in their outlet store at 600 W.
Kinzie St., Chicago, IL.
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Re-Vue
The Magical
Powers of
three
There are lots of things you can write about
regarding the number three—or its implications in
our society. I could have covered:
-Stooges (too obvious)
-Kings (too seasonal)
-Dog Night (the band—not my bag, and the
saying—means it’s cold outside)
-Dimensions (too boring)
-Blue Teardrops (that’s Dave’s territory)
-Wishes (I’m not a genie)
-Laws of Motion (too complicated)
-Mile Island (too sad)
-Toed sloths (too creepy)
-Floyds (mmmm, beer)
-Branches of the government (too political)
-Laws of robotics (too scientific)
-Strikes (Yea, White Sox! That’s my only baseball
comment in December)
-Musketeers (book, movie, candy bar)
-Little Pigs, Little Kittens, Bears (too cutesy)
-R’s (never understood why it wasn’t R, W, & A)
-Little words (I love you all!)
And celebrities always seem to die in threes. (too
hard to research—I tried)
But the first thing that came to my mind was a
song from my childhood that has been stuck in
my head ever since I was asked for material on
the number three:
Dec 200
5
Schoolhouse Rock Multiplication Rock
Three is a Magic Number
(Music & Lyrics: Bob Dorough)
Three is a magic number.
Yes it is, it's a magic number.
Somewhere in the ancient, mystic trinity
You get three as a magic number.
The past and the present and the future,
Faith and hope and charity,
The heart and the brain and the body
Give you three.
That's a magic number.
It takes three legs to make a tri-pod or to make a
table stand.
It takes three wheels to make a ve-hicle called a
tricycle.
Every triangle has three corners,
Every triangle has three sides,
No more, no less.
You don't have to guess.
When it's three you can see it's a magic number.
A man and a woman had a little baby.
Yes, they did.
They had three in the family.
That's a magic number.
Then it goes on into multiplying by three—you all
know how to do that so I’ll skip that part. There are
three in my family so I guess that’s why the song
stayed with me all these years. And I watched a lot
of Saturday morning television back then. A lot.
Congratulations to ReVue for bringing us three
years of entertainment, information, and reviews!
Laurie “Southside” koenigs
Re-Vue
Re-Vue
One last Aloha:
Trader vic’s
As it's fiftieth anniversary creeps up, Trader Vic's in
the Palmer House Hilton is Chicago's oldest - and
at the moment it's only - surviving vintage Tiki
landmark.
Opened in 1957, Trader Vic's has outlasted all of
the other vintage Tiki restaurants that have existed
in the Chicago Loop over the decades. Don the
Beachcomber, Kon Tiki Ports, Jimmy Wong's, and
at least a half dozen others have all come and
gone, leaving Trader Vic's as the sole survivor, and
the only one of the bunch to have persevered to
see the Tiki renaissance in full swing.
Unfortunately, Trader Vic's will not live to see that
golden fiftieth anniversary, nor will be allowed to
continue enjoying it's status as the last of Chicago's
authentic vintage Tiki bars.
Trader Vic's is slated to close after December 31 of
this year.
We all knew something fishy was going on when
the new management of the Palmer House Hilton who began running things early in 2005 - began
hassling the various members of the staff who were
Trader Vic's employees (as opposed to Palmer
House employees). Things became even more
grim after the same Palmer House managers
began going out of their way to make the
continuation of the monthly Tabu Tiki Nights event
an impossibility. Rumors of the restaurant's closing
were already circulating at that time, in July of
2005.
The final sign of doom came when the Palmer
House Hilton's new management made things so
difficult for the Trader Vic's General Manager,
that he quit his position. Trader Vic's central office
transferred him to the new Trader Vic's in San
Francisco (where he is doing just fine, thank you).
James Teitelbaum
Dec 200
5
They replaced him with a Palmer House-employed
GM who promptly sacked the beautiful classic
cocktail menu, and inserted in it's place a typoriddled monstrosity that had nothing to do with the
legacy that "Trader" Victor Bergeron began in 1934.
Anyone who refuses to notice the word "scorpion"
spelled wrong on a drink menu isn't fit to set foot in a
classic establishment such as Trader Vic's, let alone
run the place. And vodka in a Mai Tai? Blasphemy!
With the Tiki revival in full swing, and new Tiki
restaurants opening all over the place (such as Tiki
Terrace in Prospect Heights and Rendezvous in
Kenosha, WI), plus classic Tiki establishments still
doing well in the suburbs (such as Hala Kahiki in
River Grove, and Chef Shangri-La in North
Riverside), the idea that the Palmer House is closing
a potential gold mine is a testament to the ignorance
of a bunch of clueless suits without the slightest idea
how to identify emerging trends and future money
making opportunities. Their complete lack of respect
for history and for the preservation of a Chicago
dining landmark - one that still stands solidly even
outside of the context of Polynesian Pop culture - is
inexcusable.
Word has it that they are building a gym where Trader
Vic's currently resides.
The good news is that Trader Vic's are opening new
restaurants all over the place. In addition to the ones
in San Francisco, Emeryville, Beverly Hills, Palo Alto
(all in California), plus the one in Atlanta, Georgia,
there are at least fifteen more Trader Vic's all over the
world, in Spain, the UK, Germany, Japan, Thailand,
and even the Middle East. 2006 will see new Trader
Vic's in Bellevue,
Washington (Seattle), and
Scottsdale, Arizona. Also on the slate are Las Vegas,
and a possibility of Dallas. And the latest news is that
Trader Vic's would like to reopen Chicago as early as
2007 - the fiftieth anniversary of the opening of the
original Chicago Trader Vic's.
There is a big gang of Tiki people gathering at Trader
Vic's on Saturday, December 10. This is an unofficial
gathering - the management are not supporting or
participating in any sort of planned event. But, I am
sure they'll be happy to take your cash in exchange
for one last (RUM) Mai Tai. See you there!
Re-Vue
-Vue Chicago
Re
Be sure to check with venues before Shows. Schedule subject to change. Dates are compiled through
several Sources:
gunthermurphys.com, beatkitchen.com, abbeypub.com, fitzgeraldsnightclub.com, schubas.com, metromix.com, martyrslive.com, [email protected], chicagorockabillycom (Amy Ott), Desiree Kiss, and yeproc.com.
December 2005
Sun
Mon
Tue
Wed
Jan 19 Hotrod Hucksters in Twang-Off at Martyr’s
Jan 20 Robert Gordon and Riptones House of
Blues Backporch Stage
Jan 20 Big Sandy and the Fly Rite Boys @
Harmony Bar in Madison
Jan 21 Big Sandy and the Fly Rite Boys @
Fitzgerald’s
Jan 22 Big Sandy and the Fly Rite Boys at the
Old Town School of Folk Music
Sat
7 Every Wed.
The Rhythm
Rockets @
Frankie's Blue
Room
8
9 The Neverly
14
15
16 Hoyle Brothers
Country Christmas
Extravaganza and
Slink Moss
Three Blue Teardrops, Rosedales
@ Nite Cap
Lounge
17 Big Bad VooDoo Daddy @ House
of Blues
22 Waco Brothers @ Schubas
23 Waco Brothers
@ Schubas
24
29 Neverly
Brothers @ Ed
& Joe’s Pizza
Pub
30
31 BIG SANDY & HIS FLY RITE
BOYS 7:30pm - 8:30pm/FREE
THE HI-RISERS 9pm - 10:30pm/FREE
"The Grand Dames of Burlesque" THE
WORLD FAMOUS PONTANI SISTERS
11:30pm-1:30pm
LOS STRAITJACKETS 11:30pm-1:30pm
@ Oneida Casino, GreenBay
4 Matinee Los
Straitjackets Christmas Pageant w/
Pontani Sisters &
Kaiser George @
Fitzgerald’s (See
Ad)
Dale Watson @
Oneida Casino,
5
11 Every Sunday, Casey
McDonough @
MoJoe’s Hot
house
12
18 The Coctails
@ Abbey Pub
19
20
21
25
26
27
28 The
Neverly Brothers @ the
White Horse
Inn
13
Fri
3 Los Straitjackets, Pontani Sisters &
1 Big C Jambo- 2 Los Straitjackets Kaiser
George and the Riptones @
ree @ Martyrs Christmas Pageant Fitzgerald’s
Watson, Gin Palace Jesters @
Buck Stevens
w/Pontani Sisters & Dale
Martyrs
and the Buck- Kaiser George @
Horton Heat @ Metro
shots host
Fitzgerald’s (See Hot Rod Hucksters, Pscychobilly Kadillacs
TOYS FOR
@ Horseshoe
ad)
TOTS
DJ Del Villareal playing rockabilly, doocountry.! Jive lesson followed by
Neverly Brothers @ wop,
Jive-a-thon, raffles, & more @ 2pm
Ballydoyle Irish Pub MoJoes Hot House.
Coming in January…
6 Every
Tues:DJ Pete
spins rockabilly,
doo-wop, blues,
50's, R & B, &
Trash Rock @
Streetside Bar
& Grill
Devil In A
Woodpile (roots)
@Hideout
Thu
10 Chris & Heather’s Country Calendar
Show @ Fitzgeralds Kelly Hogan, Gin
Palace Jesters, Devil In A Woodpile,
Brothers @
Scott Ligon, Matt Miller, Robbie & Donna
Chamber’s Res- Fulks, Hardscrabble, Brigid Murphy,
Tonges, Whippoorwill, Jane Baxter
taurant & Lounge Vernon
& Kent Kessler, John Battles, Chris
Ligon & Heather McAdams, Western
(Niles)
Elstons plus Film Footage of Classic
Country Stars!
Brian Setzer Orchestra @ Paramount
Arts Center in AURORA
Every Saturday, Matt Schnieder, Joel
Paterson, Jimmy Sutton and James
Ventrella play noon –2 pm @ MoJoe’s
Hot House.