Rick Ruiner Kimmer Ron Perry and Nick Marocco
photo: Heather Harris

Just got off the phone with my friend film-maker Ron Perry. He was excited to tell me that he added some new sound bites from his new batch of interviews. For me I was most excited to see Michael Davis from the MC5 and of course my dear friend Deniz Tek of Radio Birdman and the Deniz Tek Group. I was also interviewed the same day Deniz did his spot. Such fun! Check out the newly updated trailer and I have included Ron's message below.... Check it out! Kimmer is on Ron's cool participant list! xoRK

“Detroit Rocks!” project update - November 2011

Watch Ron Perry's Updated Trailer Here

We continue to receive email inquiries about our progress on the film, and for those who are interested, here's the latest:

Work continues on a daily basis. Many hours each week are spent researching the players, history, photos, film clips, and obscure recordings that make the pieces of the Detroit Rock story fit together in a cohesive way. We have whittled down our "must have" interview list to around 30, but again, the logistics of scheduling and travel to get these interviews make it a slow process. We also find that with almost every interview we do, the story grows and takes unexpected twists that we feel must be followed up on. People are constantly asking me when the film will be done, and all I can say at this point is "when we have the complete story".

Scott Morgan and Deniz Tek

Our goal is to make this film the definitive story of Rock & Roll in Detroit, and this will take time. The history is so rich, and runs so deep, that I learn something new almost every day. I can say that we have begun assembling the elements that will be the basic framework of the film, but again, until we have nailed down all the interviews we feel are necessary, it will be incomplete. One segment that is really taking shape, however, is on the origins of Detroit rock.

So many great artists were there to build the foundation in the 1950's... Bill Haley, John Lee Hooker, Nolan Strong & The Diablos, Hank Ballard & The Midnighters, Andre Williams, Nathaniel Mayer, Jack Scott, The Larados, Johnny Powers, Don Rader... these were the architects of what became the greatest music scene in the world, well before Motown came along.

We are also trying to keep up with what's happening out on the scene now, which is quite a bit to take in. We continue to follow the career of the amazing young band that is taking Detroit by storm, "Shock Wave".

These unbelievably talented high school kids are the embodiment of the hopes and dreams of every kid who ever picked up a guitar or pounded on a drum kit in a garage in the Motor City. To see their energy, excitement, and passion as they follow in the footsteps of their heroes, makes for absolutely riveting film.

They have already accomplished more than most bands twice their age, and to see the journey through their eyes confirms that the legacy of Detroit rock is alive and well.


This song used to make me so sad whenever I could pick up on AM radio from Alabama... I was always so homesick for CKLW 800 AM when as an Army kid I lived down South. Late late at night I could pick up WLS from Chicago and CK from Detroit/Windsor.

I met a boy that summer and this song reminds me of him to this day... He and I are still friends and we just spoke on the phone yesterday. He has no idea about the song connection... Guess he will now! LOL

My Facebook friends really react whenever I post this video so I thought I'd share it with my readers around the globe.... Here is one of my favorites... "Ooh Child"

"O-o-h Child" is a 1970 single recorded and released by Chicago soul family group the Five Stairsteps, who released it on the Buddah label. Written by Stan Vincent and included on the band's The Stairsteps album from 1970, it has become the Stairsteps' signature song and has inspired more than twenty covers since its release.

The song featured various members including lone female member and eldest sister Alohe, brothers Keni, Dennis, James, and lead singer Clarence Burke, Jr. singing in various parts of the song.

The lyrics tell young children that "things are gonna get easier" in times of strife. The song's uplifting message helped the song to become popular among pop and rhythm and blues audiences when it was released.

This was the Stairsteps' only single to reach the top ten on the Billboard Hot 100 peaking at number eight on that chart while peaking at number fourteen on the R&B chart.

It would be their last R&B top 40 (they had several top 40 R&B hits in the 1960s) until 1976's "From Us to You". The song is ranked #392 on the Rolling Stone magazine's list of The 500 Greatest Songs of All Time.


Dick Wagner in the studio

Getting excited to meet the legendary Maestro of Rock, Dick Wagner this week! Dick is in the air today flying East to be in Detroit with his legion of fans! Myself one of his biggest fans...

Received an email from Suzy Michelson Dick Wagner's business partner asking me if I would create a video for Dick's cover of the song "Stagger Lee".

Everyone knows this tune... It was written in 1910 (they think) and has been covered well over 400 times. Scott Morgan told me last night that the song was originally "Stacker Lee".

"Stagger Lee", also known as "Stagolee", "Stackerlee", "Stack O'Lee", "Stack-a-Lee" and several other variants, is a popular folk song based on the murder of William "Billy" Lyons by Stagger Lee Shelton. Herb Wiedoeft and his band recorded the song in 1924. Read More on Wiki

A cover with different lyrics was a chart hit for Lloyd Price in 1959; Dick Clark felt that the original tale of murder was too morbid for his American Bandstand audience, and insisted that they be changed to eliminate the murder.

In this version, the subject was changed from gambling to fighting over a woman, and instead of a murder, the two yelled at each other, and made up the next day. However, it was the original version of Lloyd's performance that reached #1 on the Billboard Hot 100 and was ranked #456 on Rolling Stone's 500 Greatest Songs of All Time list.

The night was clear, and the moon was yellow
And the leaves came tumblin' down. . .

I was standin' on the corner
When I heard my bull dog bark.
He was barkin' at the two men
Who were gamblin' in the dark.

It was Stagger Lee and Billy,
Two men who gambled late.
Stagger Lee threw a seven,
Billy swore that he threw eight.

"Stagger Lee," told Billy,
"I can't let you go with that.
"You have won all my money,
"And my brand-new Stetson hat."

Stagger Lee went home
And he got his .44.
He said, "I'm goin' to the ballroom
"Just to pay that debt I owe."

Stagger Lee went to the ballroom
And he strolled across the ballroom floor.
He said "You did me wrong, Billy."
And he pulled his .44.

"Stagger Lee," said Billy,
"Oh, please don't take my life!
"I've got three hungry children,
"And a very sickly wife."

Stagger Lee shot Billy
Oh, he shot that poor boy so hard
That a bullet went through Billy
And broke the bartender's glass.



Russ Gibb GrandeBallroom.Com

Russ, of course, was the famous creator of The Grande Ballroom in Detroit, Michigan... The Grande featured local, national and international rock bands of the day... some of which were...MC5, Cream, Jeff Beck, SRC, Thyme, Prime Movers, The Chosen Few, The UP, and Iggy and The Stooges.

The "house" band at The Grande was The MC5 (Motor City 5). The 5 were famous for being rowdy and always getting in the faces of bands who didn't bring it... or "Kick Out The Jams".

"Uncle" Russ Gibb made a brilliant choice in having the MC5 as his guide to all that was cool during this time. According to many friends Russ and I have in common, it was the MC5 that picked such an eclectic group of bands that lifted The Grande Ballroom into Detroit Rock legend.

The combination of Uncle Russ, the MC5, the emcees Stanley T Madhatter, Dave Miller, famed poster artist Gary Grimshaw, and a very low ticket price helped create the most happening place to catch a rock show in Detroit, heck maybe even the world...

"Uncle" Russ Gibb (born 1931 died 2019) was a former concert promoter, and media personality from Dearborn, Michigan, probably most famous for his role in the Paul is Dead phenomenon, a story he broke as a DJ on WKNR-FM.

After a visit to the Fillmore West and a talk with promoter Bill Graham, he operated Detroit's Grande Ballroom and was a major player in the late sixties/early seventies Motor City music scene. He was instrumental in giving the MC5, Ted Nugent and Iggy Pop their start. The Grande Ballroom also was where the Who played their rock opera, "Tommy," for the first time in the United States.

Gibb also owned or leased other live music venues around the Mid-West including the Eastown Ballroom, Michigan Theater.  RIP Uncle Russ


Scott Morgan on Facebook

This is a well-known track from Bobby Taylor in 1968, and there's an interesting story about this group, Mary Wilson and Florence Ballard of The Supremes went to see the group at the Elegant Parlor in Vancouver, they were so impressed they told Berry Gordy and he signed them to Motown straight away, and the rest is history!

Not many times in rock and roll does a blue-eyed version of a Holland Dozier Holland outshine a soul version, but in this case I have to say it's awfully good.

Funk it definitely was, but it was also the beginnings of an era called Disco where a danceable beat trumped everything. The Detroit Emeralds consisted of three brothers originally from Little Rock, Arkansas who moved to Detroit to pursue a career in music. "Do Me Right" never made it into the Top 40 in 1971, but it was a stand-out recording for the Detroit Emeralds.

The Dramatics (formerly The Dynamics) were a American soul music vocal group, formed in Detroit, Michigan in 1967. They are best known for their 1970s million- selling hit songs, "In the Rain" and "Whatcha See is What You Get"

This Is A Great 70s Temptations Classic it sounds a little like Eddie Kendricks but the tenor on this song is Damon Harris,(Harris) was also on Papa Was A Rolling Stone and few other Temptation hits

I'll bet they didn't do this one last night...



Skip James sings "Crow Jane" in 1967. James never gets enough credit. This clip speaks for itself.

MC5 "Come Together" 1969 The incomparable MC5 deliver a megaton blast of Detroit mayhem to New York City.

Sugar Pie DeSanto (with Willy Dixon, Hubert Sumlin and Cliff James) "Rock Me Baby" 1964. Sugar Pie has to ask Sumlin what the next song is, then stomps right on into it. Apparently recorded live in Manchester, England, the locals must have been in heaven.



One of my very favorite soul singers of all time is the Godfather himself James Brown. James pulled off a legendary career that very few can match... He never lost his "coolness". He was cool from the beginning, at his very last breath, and beyond... Brown's legacy lives on in eternity...

I was chatting with an old friend and he brought up this song.... "Funk on Ah Roll". Perhaps the funkiest song of all time.... ck this out ...

Ever notice that no matter what mood you may be in... soul music will have a song that fits your mood perfectly... They don't write lyrics like this anymore...

James Joseph Brown (May 3, 1933 – December 25, 2006) was an American singer, songwriter, musician, and recording artist. He is the originator of Funk and is recognized as a major figure in the 20th century popular music for both his vocals and dancing. He has been referred to as "The Godfather of Soul," "The Hardest-Working Man in Show Business," and "Mr. Dynamite." These descriptions are still not enough to cover this fantastic singer...



Retrokimmer.com is about to turn 3 next week and I began thinking about the people that helped launch RK into the blogosphere! One of the biggest boosts for me was The Stooges Forum. This is a huge website that focuses on all that is Stooge related. We are talking about Iggy Pop, The Ashetons, and the other Stooges members not Larry, Moe and Curly.

Just this week I had a chat with the creator of The Stooges Forum. I already know Goran Polak who runs a section of TSF called Jesus Loves the Stooges. I assumed that Goran was the creator of the entire site. NOPE

My pal Heather Harris of Fast Film told me who the real person was behind the curtain.... After chatting for a couple of hours yesterday (via the internet) I have learned that our TSF admin is a very private person. I will say that this Admin is a young woman from another country. We respect the privacy of others as much as possible here on RK.

We talked about how she got started and TSF came about when she noticed that the "Official" Stooges Forum had tons of yucky porn sites on it. Someone sent her a link to setting up your own free forums and she took off. Completely self taught! I did the same thing with RK blog too. Had no idea how to blog as she never created a forum before either.

I asked the admin how she discovered the Stooges. Being from Ann Arbor, MI I had been exposed to them since the late 60's. Our admin friend is just 25 yrs old. Her answer was that she had of course known who Iggy was but not the Stooges. She saw someone posting about them in another forum.

Her first Stooge purchase was Raw Power. I told her my favorite is Funhouse. She feels that LP is the greatest rock lp of all time. Of course Funhouse has stood the test of time and continues to influence musicians and draw new fans to this day and well beyond.

RK has many related rock friends to the Stooges and we began posting on TSF to share some inside information on Detroit Rock n Roll and that began our three year friendship. It was so great meeting our Admin friend and we give her 3 snaps up for her accomplishment in building that fantastic site! xxooRK



A Note to Family, Friends & Fans from Dan Toler:

Hello Friends & Family, First of all I thank each and every one of you for being such good people and I want all of you to know I love you very much with all my heart and soul. Rhino is correct in stating that he and I happen to be in the same boat with illnesses trying to take us down.

We are both fighters and a couple of strong willed men that happen to love playing music for our family, friends and fans. We both have been dealt a tough way out of this life. Jesus Christ is going to take care of the both of us and just maybe a cure will come along. Rhino has the liver to deal with and I have been diagnosed with ALS (Lou Gehrig's disease).

Neither one of us know how much time we have left but then again this is true with each and every one of us. I know in my heart without God I am doomed. I thank my wife Debby Toler for taking care of me like no other person in this world could. She has been my rock for many many years and I love Debby with all my heart and soul. Thank you Lord for having Debby in my life.

I love doing benefits for people that need help and I never ever thought a benefit would have to be held for me. It definetly breaks my heart but I want to thank everyone helping out with this event. Without our Lord and Savior Jesus Christ there is no reason to exist and He is offering everlasting life to all who believe in Him. Trust in the Lord. May God bless you all and keep you forever, Amen.

Your Friend,
Dan Toler


Retro: Kimmer is getting bigger and bigger traffic everyday... In just under 3 years my traffic has soared to almost half a million visits now. My audience demographics are between college students and seniors... Retro is in style and not about to drop anytime soon....

Contact Kimmer to advertise your products, services, and businesses. Reasonable monthly or yearly rates...


Stellar Corpses Band Info

“We met in the drunk tank. I came to, and there they were! The acoustics were great, but it gets pretty boring when your only audience is the police.” – Dusty Grave, lead singer, Stellar Corpses.

Well, if that leaves you with your jaw on the floor, read on.

The band’s sense of humor is evident in the above quote. The four guys in Stellar Corpses (which literally means “dead stars”) not only rock, but are also intelligent, cool people and have kick ass personalities. Their album Dead Stars Drive-In (Santa Carla Records) drops on January 24, 2012. And they’re not bad to look at either, for all the females reading this.

Good looks aside, they can rock the hell out of any venue they play. They’re hard core rockers to the bone, and they prove it every time they hit the stage or whenever their music is played. Their new album, Dead Stars Drive-In (Santa Carla Records), will be released on January 24, 2012, and was produced by Joe McGrath (AFI, Tiger Army, Alkaline Trio and many more). “It was amazing to record in the same place that so many of my influences recorded,” Dusty exudes. “Black Flag, Descendents and Pennywise to name a few. And working with Joe McGrath was incredible. He helped us to make the best record of our lives. “We are excited to have some really special guests on the album like Hunter Burgan (AFI), Jade Puget (AFI) and Michale Graves (Misfits)!”

Stellar Corpses list their musical influences as Elvis, Black Flag, Social Distortion, Stray Cats, Bad Religion, Black Sabbath, AFI, The Misfits, Danzig, Rancid, Sepultura and Megadeth.

With a mix like that, it’s no wonder Stellar Corpses blended their musical tastes into something really special. Says the whole band, “We hope we can inspire some young kid who’s life is changing and needs some music to relate to. Morbid music saves lives…we don’t care what anyone says.”


WHO: Santa Cruz punk rockers Stellar Corpses

WHAT: Video premiere and party for single “Vampire Kiss”

WHEN: Sunday, October 30, 8:00pm

WHERE: The Viper Room, downstairs, 8852 W. Sunset Blvd. Hollywood, CA 90069


On October 30, Stellar Corpses will be debuting/screening their new video for “Vampire Kiss.” There will also be a raffle and a band meet-and-greet.

The video for “Vampire Kiss” is a wink and a nod to a certain cult classic movie that was shot in Santa Cruz. “Shooting a professional video was a new experience for us, so we didn't know what to expect,”

Dusty continues. “We knew director Justin Janowitz was good, but we didn't know he was THAT good! Watching him pour himself into his work was truly inspirational. He is a real artist, fully present in every aspect of the project from casting to location scouting to set design to making sure each shot was perfect.

He made it really easy for us to get into our roles as artists and entertainers. It being our first pro video, we were all pretty nervous, but Justin and his awesome crew helped us relax and deliver the best performance possible.”

The video also boasts cameos from producer Joe McGrath (Tiger Army, Offspring, Alkaline Trio, AFI, etc.), who produced Dead Stars Drive-In, and AFI’s Hunter Bergan, who sings backup vocals on the track. “Working with Hunter Burgan was amazing.

He took the video to a deeper, darker level, which was perfect... way more than we expected. When I heard he was going to do a cameo, we thought he would just walk by in the background and then bail, but he didn't. He fully embraced his role and brought some serious intensity to the set.”

Stellar Corpses release their full album Dead Stars Drive In (Santa Carla Records) on January 24, 2012, and release the “Vampire Kiss” single on iTunes on Halloween 2011, the day after the video premiere event.

Please RSVP (space is limited):

Lesley Zimmerman
Lesley Z Media

Lesley Zimmerman * Lesley Z Media
310-476-4414 * lesley@lesleyzmediapr.com


Deniz Tek became interested in art and music during his childhood in Ann Arbor, Michigan, where his mother was a painter and piano player.

He attended the University of Michigan and the University of New South Wales, where he graduated with a medical degree. His interests and pursuits have ranged from an active touring and recording career, with induction into the Australian Music Hall of Fame, to aviation, through specialty work in emergency medicine.

His last several years have featured a renewed focus on painting and visual arts. He is an avid fan of 19th century impressionism and mid 20th century abstract expressionism. His paintings have been exhibited in Sydney.




Prakash John (Alice Cooper, Lou Reed)

Music from Dick's career with Alice Cooper,
Lou Reed, The Frost, Ursa Major, and more....

Share on Facebook

Some songs you'll hear at THE DICK WAGNER SHOW:


Holland Dozier Holland

"Take Me in Your Arms (Rock Me a Little While)" is a song written by the premier Motown songwriting/production team of the 1960's Holland–Dozier–Holland: the song had its highest profile via a 1975 recording by the Doobie Brothers.

Eddie Holland of Holland-Dozier-Holland made the original recording of "Take Me in Your Arms" in 1964: the version was not released commercially until 2005.

Holland-Dozier-Holland had Kim Weston record the song in 1965 her version being released that September to reach #5 on the R&B chart in Billboard crossing-over to #50 on the Hot 100.

In 1967 Holland-Dozier-Holland had the Isley Brothers remake the song: their version released in March 1968 reached #22 R&B.

The Isley Brothers came to Motown in late 1965, their first hit was "This Old Heart Of Mine", In 1968 Holland-Dozier-Holland left Motown, and The Isley Brothers version of "Take Me in Your Arms" was the last H-D-H single for Motown Records The Doobie Brothers remade "Take Me in Your Arms" for their 1975 Stampede album: Tom Johnston who was then the Doobies frontman would later recall: "I had been a fan of that song since it came out somewhere in the '60s.

I just loved that song. So somewhere around '72 I started lobbying to get the band to do a cover of that. And I didn't get anywhere until '75. Then finally in 1975 we actually did it."

Doobies members Jeff Baxter said of the Doobies recording of "Take Me in Your Arms": "That song was like a dream come true for us. Every musician I've ever known has at some point wanted to achieve Motown's technically slick soul sound - it's so dynamic.

We sat down to try to duplicate it, and to see if our version could emerge as a successful single." According to Doobies member Patrick Simmons: "At first the band sounded like the Grateful Dead doing the Four Tops, but gradually it came together quite accurately." Motown veteran Paul Riser was enlisted to arrange the track.


Howling Diablos The Ruiners and Ray Gunn

Callahan Brothers present:
wsg The Ruiners and Ray Gunn
Sat, October 29, 2011
Doors: 6:30 pm / Show: 8:00 pm
$10.00 - $12.00
This event is 21 and over

Come out to the coolest Halloween party in Metro Detroit! See my good friends the Howling Diablos and The Ruiners play and enter the costume contest. Lots of prizes and surprises too....



That was a big night for the Hurley Brothers. Here's part of the story behind the story. Joe was usually the straw that stirred the drink. Were it not for him, Fred may not have played that night. Sonic Smith was the last hold out for the Rob Tyner Tribute at the State Theater.

Joe finally got him to commit by appealing to his grandiosity. "C'mon Fred! You don't want Wayne to get all the glory do you?" That was the deal-maker. True story. Joe had the gift of being able to talk anyone into doing almost anything...and make them feel good about doing it.

He set up the rehearsals at some studio in St. Clair Shores. Danny, Joey & I were all there when Fred came in 6 hours late, looking pretty rough. One of the musicians there (never one to mince words) said; "Damn Fred! You look like a zombie!" Fred smiled, looked me right in the eye and said; "Zombie". He always maintained a sardonic form of humor.

There's no intent at all to disparage the memory of Fred. We Hurley Brothers loved him. He's our all time favorite. Many loved him. He felt comfortable enough around HURLCO to be who he was. Given our collective track records...who the hell are we maniacs to judge anyone?

The four of them (Wayne Kramer, Dennis Thompson, Michael Davis & Fred Smith) finally had a rehearsal. They jammed for a tad, while reminding each other of the chords, changes and bridges. It was pretty awesome. We were to be seen and not heard. Joe was in complete control of (almost) everything. He kept "shushing Danny & I, shooting us The Look.

Fred Sonic Smith

Throughout that long day & night, Joe was a veritable tsunami, paying attention to every little detail. The band asked Joe if HURLCO could-man up at the State Theater to serve as security in the dressing room and especially, stage left. How long do you think it took for us to think about that request? It was a lot of fun.

At his request, we draped an American Flag over Michael's amp. In preparation for this historical gig, Danny & I took a white Stratocaster, painted it like a flag and took it the the theater. We placed it like the magic guitar pic of Tenacious D in the "D"on a stand next to Wayne's Amp. Though he did not play it, Wayne was cool enough to ride with it.

Joe Hurley and Scott Morgan

The crowd went berserk when we set that symbol from a period of innocence up on that stage. Dennis came in locked, cocked and ready to rock dressed cool metro. The only real downer was Fred's poor health. A reporter from the Detroit News was there in the wings, waiting for them to take the stage and asked what the hold-up was. I said Fred needs to be in a hospital, not onstage..."But don't print that".

I'd love to get the video clip of that night. It's floating around out there somewhere & very historic. Once the band made it onstage, the sold-out crowd went ballistic.Wayne's sharing about reclaiming lost brothers was especially poignant. "Black To Comm" was a real unexpected treat. Musically, it was OK. Nothing bombastic.

But I don't really think anyone expected a Resurrection of the Grande'. Every old hippie and retired White Panther came out of retirement for this one last gig. On that level, it was a rousing success. On the level of blood brothers in a stormy night with a vow to defend, it was transcendental.

By November of 1994, Fred would pass and I'd be locked up on the north side of Jackson State Prison, for committing just seven measly robberies. Oakland County certainly has no sense of humor about such shenanigans. Brother Dan sent a letter informing me of Fred's demise. I recall reading it in One Block on the 3rd tier, just over the showers.

My eyes welled with tears. It's hard for most to understand, though I'm sure Big Rich gets it. The music of the MC5 & Sonic's Rendezvous Band provided the Hurley family with the bulk of our life soundtrack while growing up. No wonder we ended up...aw' just kidding. Funny how all these years later, the music that really keeps this lamp is acoustic gospel, though I've been listening to the SRB set from Lamphere High School in 1977 that Joe recorded without any authorization.

In particular, Joey can be heard screaming "Awlrite Sonic! Empty Heart! RocknRoll!" during the cut, "Succeed". Whenever Joe got behind something, he really got behind it. That Lamphere gig was another conception of his and everyone knew it. All these years later, it's great to hear my little brother in the absolute prime of his life, out-shouting everyone in the auditorium.

While incarcerated, Dan sent a picture from the Tyner Tribute of Wayne wailing onstage with while I crouched in the corner next to his amp. Wayne signed it; "They can't stop the clock!" Truer words were never spoken. For reasons unknown to me, cats like Fred, Joe & others never make it. Grace is a funny thing.

All I know is to be grateful for every day of freedom from the cold, hard, external metal bars of the Jackson Cage & any self-constructed internal bars of active addiction. God and others know that I pulled more shit than Joey ever dreamed of. Consequently, that's why I really don't subscribe to the notion of karma. On that scale, Joe should still be here...not moi'.

Many thanks to (survivor/friend/brother) Rich Dorris for initially recording and then sending this clip almost 20 years after-the-fact. You were good to Joey. He really liked you. That was the essence of his nature. If you were in...you were in. He protected his friendship with a pit bull tenacity.

For better or worse, Joey always had your back and was in the zone that cold February night at the State Theater. He was in rare form...his element. I love how he appears at the 1:34 mark of this clip in his beret to say; "Rich...Dan....stay alive with the MC5". He was the only one to not drop the "F" bomb.

The way he immediately ducks out of camera range is so Joey. He was on a mission from God & a very busy little beaver that night. What a handsome, lovable man. O' how I wish what he proclaimed to the camera to be true...that he was still with us. Moments like that with Joe were so special. Coming up on the 5th anniversary of death, my heart was to share one of those blazing moments of intensity with Joey.... when all was right in the universe. We will once again jam in our Father's house my brother.

Shine on you crazy diamond.

All my love, Joseph Patrick


Bill Clinton and Bono

On Saturday, October 15th, 2011 Bono and Edge representing one half of U2, appeared at the Hollywood Bowl for the concert A Decade of Difference to celebrate Former President Bill Clinton’s 65th birthday and the 10th anniversary of the William J. Clinton Foundation along with other artist such as Stevie Wonder, Lady Gaga, Usher, Kenny Chesney, K'Naan and Juanes.

Bono.. Lady Gaga.. Kenny Chesney

U2’s relationship with former President Bill Clinton goes back to 1992 when U2 were in the midst of the ZOO TV tour supporting Achtung Baby. Every night on the tour, Bono, dressed as his alter ego, the devilish “MacPhisto” would call the White House from the stage and ask to speak to then President George H.W. Bush. AP PHOTOS


Bono’s conversation with the White House receptionist would be played over the sound system so the entire audience could hear and before too long the White House receptionist would come to expect a phone call from Bono, er MacPhisto.

After receiving his party’s nomination for the Presidency, a perceptive and politically brilliant Bill Clinton capitalized on Bush’s refusal to speak with Bono, to the ears of the 20,000-80,000 people who attended the ZOO TV shows, by calling in the radio show RockLine when U2 were hosting and a friendship was formed.

At one of Clinton’s Inauguration balls in January 1993 which was televised on MTV, the other half of U2, Larry Mullen, Jr. and Adam Clayton joined Michael Stipe and Mike Mills from R.E.M to form a band called “Automatic Baby” (at the time R.E.M had released “Automatic for the People” and U2 had “Achtung Baby”) where they played the U2 song “One”.

As an aside for real music fans, Michael Stipe also joined the 10,000 Maniacs for a rousing version of Lulu’s “To Sir With Love”.

Over the last 19 years Clinton has attended a number of U2 shows and visited with them when possible. In November 2004 Bono and Edge also played the opening of the William J. Clinton Presidential Center and Park in Little Rock, Arkansas so it came as no surprise when they again appeared to support former President Clinton for his 65th birthday.

Bono and Edge closed the show with a seven-song setlist: "Desire," "I Still Haven't Found What I'm Looking For," "A Man And A Woman," "Sunday Bloody Sunday," "Staring At The Sun," "One," and "Miss Sarajevo."

A string section was brought to the stage for the last three songs in the set. The set list was much to be expected of an acoustic set with one exception, the song “A Man and A Woman” off 2004’s “How to Dismantle an Atomic Bomb” was played for the first time live.

This was an interesting and daring choice considering that Bill Clinton, Hillary Clinton and their well publicized marital problems were sitting in the first row. The song is about how painful relationships are and how there is often hurt and pain, but that true love will endure with the chorus discussing “the mysterious distance between a Man and a Woman .”

And while all of this is good and nice and probably true, and they probably performed it in attempt to illustrate that despite their rocky relationship, Bill and Hillary’s true love has endured, I thought it was a strange selection and instead put a spotlight on the infidelity their marriage has suffered.

Bono also pointed out that President Clinton was probably the most loved American President in Bono’s country of Ireland, other than JFK. He also acknowledged Secretary of State Hillary Clinton and her efforts overseas. The other songs were well rehearsed and performed as can be seen on You Tube.

Scott Batey



Ron Asheton Niagara Benjamin Miller

Hey gang I noticed that a new and vastly improved Wiki page is up for Ron Asheton... Thought I would share some of it with you. Also tomorrow I am going to visit a set where Ron Asheton filmed 2 movies. I can't wait to see this place.... it's an old school house and now a young band lives and pratices here. So stay tuned for this story tomorrow night...xRK

Ronald Frank Asheton (July 17, 1948-January 6,2009) was the American guitarist and co-songwriter with James Osterberg Jr (Iggy Pop) for the rock band The Stooges. Ron is ranked as number 29 on Rolling Stone's list of 100 Greatest Guitarists of All Time.

Asheton was born in Washington D.C. He already had five years of practice on the accordion behind him when he began playing bass guitar at age 10. Asheton was lead guitarist on the Stooges' first two albums, and later appeared as bassist for their third, Raw Power, when he was replaced in both instrument and songwriting prominence by The Stooges' new guitar player, James Williamson. When the Stooges reformed, however, he once again appeared as the band's guitarist.

Deniz Tek Ron Asheton Machinegun Thompson

Apart from The Stooges, Asheton also played in the bands The New Order (not the UK band New Order), Destroy All Monsters, Dark Carnival, New Race and The Empty Set.

Cammo jacket a gift from Deniz Tek

More recently he played with The Wylde Ratttz, a band composed of some of punk and alt-rock's most renowned and respected musicians. The band included Mike Watt of the Minutemen, J. Mascis of Dinosaur Jr., Thurston Moore of Sonic Youth, and Mark Arm of Mudhoney.

It contributed a cover version of the Stooges song "T.V. Eye" to the soundtrack for the Todd Haynes film Velvet Goldmine, which starred Ewan McGregor and Jonathan Rhys Meyers.

Asheton also acted, appearing with The Texas Chain Saw Massacre star Gunnar Hansen in Mosquito, which was released 1995. He also appeared in two other films: Frostbiter: Wrath of the Wendigo and Legion of the Night.

Asheton was found dead in his bed by police at his home in Ann Arbor, Michigan in the early hours of January 6, 2009, apparently having died of a heart attack a couple of days earlier. Police were summoned to Asheton's house by his personal assistant, who had been unable to reach him for several days.

Asheton is credited for helping to write the song "Hit Them Again" on the album Radios Appear (1977) by Radio Birdman, as well as one track that can be heard at the end of the movie Mosquito.

Some other tracks Asheton wrote had been recorded by the group "Wylde Rattz", for the original score of the movie Velvet Goldmine, but only one song was featured on the soundtrack (1998), as well as another on Beyond Cyberpunk a Wayne Kramer (MC5) assembled CD compilation (2001).



The Tap Room History

From Brian Brickley:

The old Tap Room had fallen on hard times by the time it we saw it. The beautiful wood work was all there but the top trim piece had fallen off years ago exposing fluorescent light fixtures. Half the room was full of booths and chairs and the other half was full of the broken pieces of booths and chairs.

Apparently whenever a chair broke the standard procedure was to take the pieces and put them "over there". And keep in mind the place was open for business! A handful of colorful characters and some college students frequented the joint on a regular basis.

John Farres and his wife Teddy had owned the Bar since 1941. They bought it just a few days before they announced that the Bomber Plant was being constructed in Willow Run. John said he never would have been able to afford it if the previous owner had known the plant was coming. When he sold it to us he was 95.

Unfortunately as the years went by the interest in live music began to fade. The attendance at the live shows got smaller and smaller. In 2004 we made a very painful decision to end all live music. The place just wasn't big enough to have music and a game room with a pool table. The last open mic night with Chris Buhalis was a very sad and tear filled evening.

In comes the pool table, a bunch of cool video games, a new counter with stools in the back and surprise, a whole bunch of new customers. Lisa and I were shocked at what a fun place the bar became.

As Jon our longtime bartender says "this place is Cheers!" Everybody knows everybody. Just show up and within a few minutes you will be playing pool with a new friend or catching up with an old one.

The Annex

About the same time all this was going on we took over management of Louis' Cafe. The restaurant was located next door to our building and had been there for years. We saw an opportunity to someday connect the two to allow the Tap Room to have a larger kitchen, more pool tables and room to bring back live music.

Lisa named the restaurant The Tap Room Annex which is the name John Farres used for an adjoining space that he had many years ago. Our water bill for the bar has come in the name Tap Room Annex ever since we owned it.

Our Tap Room customers and a lot of folks that haven't been in the bar love our food and the atmosphere at The Annex. The Ann Arbor News raved about us in their review and we couldn't be more proud of our staff. Brian Brickley

The Tap Room has been around Ypsilanti long before I was born... I think... I always remember seeing that very cool Neon Martini Glass whenever riding through town with my mom back in the early 60's.

Brian Brickley Tap Room owner and Kimmer

Around the time I moved back home to Ypsilanti (1997) I heard a young couple had bought the Tap Room and turned it into a cool jazzy club. It was true! Brian and Lisa did buy it and it was now a very hip place to hang out. I worked right down Michigan Avenue from the club and hung out for "Happy Hour" a lot. Loved the club. But I moved in 2002 to West Ann Arbor and didn't frequent Ypsi much after that....

The Original door is still there....



Carlos Alberto Santana Barragán (born July 20, 1947) is a Mexican-American rock guitarist. Santana became famous in the late 1960s and early 1970s with his band, Santana, which pioneered rock, salsa and jazz fusion.

The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music.


When I was lived in Ft Benning (1970) I met a cute boy named Mike who played in a band... I went to see him play one night at a teen club. He and his band played "Black Magic Woman". I fell in love with the song and Carlos Santana...

Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003, Rolling Stone magazine listed Santana at number 15 on their list of the 100 Greatest Guitarists of All Time. He has won 10 Grammy Awards and 3 Latin Grammy Awards.


Into the Sun Sample Tunes

The only singer who could attempt such an album as Beyond the Sun would be Chris Isaak. To attempt to cover Johnny Cash, Roy Orbison, Jerry Lee Lewis and Elvis would be a crazy move for a lesser mortal. Chris however can sing these tunes with ease.... The album is now available in my Amazon Store below...


Mayer Hawthorne

Today I received two messages from readers. Both advised me to check out Mayer Hawthorne as he is from Ann Arbor and a "retro" vocalist. Mayer's music is very much a throw back to Soul, Motown, New Wave, and a bit of Disco. In other words... This cat can sing! And.... often Mayer would play all the instruments on his demos.

Mayer's father played the best music of the Motor City for young Mayer growing up. Cool Dad!

Mayer is labeled "retro" because his sound could have been a perfect fit for the massive Retro music timeline of 1966-1974

“Most of the best music ever made came out of Detroit,” claims the singer, producer, and multi-instrumentalist, who counts Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences, but draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, and the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr. Mayer Hawthorne

Stones Throw label head Peanut Butter Wolf said, “He (Mayer) showed me two songs and I didn’t understand what I was listening to,” Wolf recalls. “I asked him if they were old songs that he did re-edits of – I couldn’t believe they were new songs and that he played all the instruments.”

Take a look at Mayer on Daryl Hall's Live from Daryl's House.. He is absolutely amazing and he is one of the best musicians to come out of Motown in a very long time...



Kimmer photo: Larry Leitner

A photographer I know sent me this article and I have to tell you it is such an eye opener! As a blogger I photograph and shoot video of lots of topics. Music, Art, News, and cool stuff that I think my readers would like. I do not ever have to ask for a "photo pass". If I had to... I would go shoot a different gig.. But the plight of rock photographers is not lost on me.

Even just 3 short years ago... I would go to a gig and I would be the only person shooting pictures or video. Not now... EVERYONE has a camera on their phone! These photos are blurry and grainy at best. They may get one or two good shots out of 30 pics.

It is infuriating when I am invited to shoot a band and the house demands that I turn off my nice video camera and then I see tons of amateurs shooting video off a cell phone YUCK!!!

It is also so mean and greedy of people to swipe photos and share them on facebook as their own... I hang with a ton of photographers and all they ask is photo: credit.. Meaning just add their NAME under THEIR photos. Please read the full article.....

The Battle for Music Photography
By Paul Natkin

From early cave drawings to the digital cameras of today, civilization has been recorded. When anything happened, someone documented it, and these records have preserved history and culture for future generations.

In the 20th century, photography became a prime means of documentation. As culture became more interesting to the masses, photographers gravitated to it—it was exciting, and a lot safer than documenting wars. Music photography is seen as an exciting profession, but if we examine the monetary component, “exciting” takes on a different significance.

Today, I go to a shoot with about $20,000 worth of equipment. Another $10,000 in computer equipment waits for me at home. Most publications pay in the range of $50 to $250 per photo. Even today, shooting digital photographs, a photographer could make $150 for about seven hours work (including getting to the show early, waiting at the box office for a pass that is not always there and a few hours of computer time at home to edit, archive and email the shots). That’s a little more than fast food workers make, and Burger King purchases and insures their equipment.

In the 1950s, music photography started to become an acceptable form of journalism. A group of photographers, most prominent among them Jim Marshall, Henry Diltz, Herman Leonard and David Gahr, began establishing the standards for the art form. Given unlimited access to musicians from all genres, they created bodies of work which will never be equaled. From live concert photography to formal and informal offstage work, they set the standard for any photographer.

In the late 1970s, the music business exploded. Musicians became Rock Stars, and publications started covering them more closely, especially magazines like Rolling Stone, Circus, Hit Parade, Teen Beat, and the best of them, CREEM.

These magazines had a limitless need for photographs, and more and more photographers leaped into that black hole to supply them with images, including west coasters Neil Zlozower and Jeffrey Mayer, east coasters Ebet Roberts, Lynn Goldsmith, Roberta Bayley and Laura Levine and Midwesterners Bob Alford, Ross Marino, myself and many others.

Typically, one or more photographers would befriend the new bands and “grow” with the band as they became well known. We built up a trust that would be broken if we sold an unflattering photograph, so we didn’t do that.

Publicists were friendly, recognizing that if they gave us access, whether a photo pass to shoot the whole show or a posed photo shoot, our pictures would make the band look good, and potentially turn a two-page story into a four-page story. It was our job to make the artist look good. Our work also helped many magazines put together special photo issues, publicizing the band even more.

As the ’70s became the ’80s, many more magazines started covering popular music, including People, Us, Newsweek and Time. Rock magazines, especially Circus, started to demand a certain kind of photography (Circus publisher Gerry Rothberg stated that all photos in his magazine had to be taken with a flash, so that skin tones would be normal).

Flash opened the door for amateurs who knew very little about photography. At times, magazine photo editors would obtain a photo pass for a friend, load a roll of film into a camera, preset all the settings, tape them into place and, after a short lesson in focusing and advancing the film, send their buddy to a concert.

After the roll was used, the “photographer” would sit back and enjoy the show. He brought the camera back to the office where the editor would unload the film, have it processed, and end up with three or four usable shots.

The magazine’s bonus was that the photographer/pal knew nothing about copyright or ownership, so the magazine would have three or four photos to use multiple times, free.

Circus established a policy to “buy” one or two rolls from a photographer for $100, which yielded many photos to be used over and over.

Related Posts Plugin for WordPress, Blogger...