50 years ago last night, on Tuesday, March 10, 1970, The Association played a show at the old Brown County Arena in Green Bay. I posted that music history tidbit to our local Facebook history groups last night.
Which led my friend Kim to ask …
“No idea if it’s true or not, but I had heard many years ago that the original James Gang with Joe Walsh was the opening act at this show. AND that the illustrious Mr. Walsh got arrested at the Midway Motor Lodge for possession of pot. After all these years, can anyone confirm or deny this story for me?”
Well, now. Can’t resist that one. It is mostly true.
The James Gang did not open for The Association at the Arena that night. However, the James Gang was on a bill with the Youngbloods at the Arena roughly 6 months later, on Friday, Sept. 18, 1970.
And, yes, Joe Walsh, 22, of Kent, Ohio, was busted for possession of marijuana after the Brown County Sheriff’s Department raided his room at the Holiday Inn on Friday, Sept. 18, 1970. He was freed on a $500 bond so the James Gang could begin a month-long tour of the UK three weeks later.
Joe Walsh — thereafter referred to as “Joseph F. Walsh” in the Green Bay paper’s court stories — apparently never returned to Green Bay to face the music.
On Monday, Nov. 2, 1970, Walsh missed his arraignment date. That day, the James Gang was off between shows in Dania, Florida, and Atlanta.
Four days later, on Friday, Nov. 6, 1970, Walsh was arraigned, represented by two attorneys from Milwaukee. That day, the James Gang played two shows at the Westbury Music Fair in Jericho, N.Y.
In late April 1971, Walsh’s lawyers were still arguing their case. Walsh’s case was continued to May 20, but there’s no further mention of it in the Green Bay paper. That day, the James Gang was off between shows in New York and Cincinnati.
Three local college students — a 19-year-old man, a 19-year-old woman and an 18-year-old woman — also were charged with possession in the wake of the bust at the Holiday Inn. Their cases were dismissed.
My guess, having covered the courts in the late ’70s: Either Joe Walsh’s case also was dismissed or the judge simply forfeited Walsh’s $500 bond and called it a day. $500 was a lot of money back then — $3,300 in today’s dollars.
Now, about that Youngbloods/James Gang show. According to the Green Bay Press-Gazette, it was a …
Melanie, the pop-folk singer, was to have been the headliner. She didn’t show. She was said to have had “a bronchial ailment.”
So the Youngbloods took her place. They rehearsed on stage, then started the show, playing first. “The Youngbloods were plagued by electronic breakdowns, feedback and tuning troubles,” my friend Warren Gerds wrote in the next day’s paper. That, and the Arena’s poor acoustics swallowed up their sound.
Then the James Gang came on stage.
“The James Gang is a head band. Upon finding that out, about 100 listeners headed for the door. Others left in a steady, strong trickle,” Warren wrote. “The James Gang had no problems with acoustics because they overpowered the arena’s echoing traits.”
At the time, the James Gang was still touring behind its 1969 debut LP, “Yer’ Album.” Here’s a cut that “head band” may or may not have played that night in Green Bay, clearing the house on a night when only 500 people came out to a show in a 5,000-seat venue.
“Funk #48,” the James Gang, from “Yer’ Album,” 1969, which I saw while record digging not too long ago. All three band members — Joe Walsh, bass player Tom Kriss and drummer Jim Fox — are credited as co-writers.
This is the only James Gang LP on which Kriss plays. Dale Peters took his place for the next record, “James Gang Rides Again.” On which, of course, “Funk #49” was the first cut.
Christmas has come and gone for another year, but some gifts you never forget.
50 years ago, for Christmas 1969, Santa brought a radio. Yep, that Panasonic RF-930 AM-FM radio. It changed and shaped my life.
I took it upstairs to my bedroom and set it on top of my filing cabinet. I tuned in WOKY, the Mighty 92 out of Milwaukee, one of the great Top 40 AM stations of the era, and started digging all kinds of pop, soul, R&B and rock. I can’t think of many more exciting times to listen live to the Top 40 than 1970 and 1971.
— One night, without asking my parents’ permission, I quietly made a long-distance call to WOKY because I could win a record if I was the right caller and knew the answer to a certain question. I knew that Creedence Clearwater Revival started out as the Blue Velvets and the Golliwogs. I won the record. A couple of weeks later, my record arrived. It was an obscure record sent to DJs. I had never heard of Bob Summers. Certainly not on WOKY. Yeah, just slightly disappointed. I no longer have the record I won, but I did buy another copy years later.
— WOKY ran a contest to get petitions to try to persuade the Beatles to not break up. One of my junior high classmates gathered signatures for one such petition. If memory serves, she won some kind of prize for her efforts.
— WOKY’s morning DJ, whom I could listen to only during the summer and during school vacations, was Bob Barry. It was quite a kick to hear some of his stories and meet him at a book signing last year.
My other regular stop was WTMJ, Radio 620. “Packers, Badgers, Brewers, Bucks! Hear ’em all on WTMJ, Milwaukee.” At night, when the clear channels were crystal clear, I’d surf the AM dial for distant baseball and basketball games.
Not long after Christmas 1971, we moved, and I switched over to FM — yep, it was AM, then FM.
WIFC, the Big 95 out of Wausau, Wisconsin, was a tremendous small-market station during the ’70s, Top 40 during the day and free form after 9 or 10 p.m. Those free-form hours, jam-packed with deep album cuts, introduced me to so much great rock and, yes, even some pretty cool jazz.
When I was a high school senior in 1975, I spent a cold February morning with WIFC’s morning DJ. I sat in on his show to write a feature for the school paper. Ten years ago, I reconnected with Bruce Charles and interviewed him again. That three-part story is here, here and here.
From 1970 to 1977, that radio was my constant companion while at home.
Then I got my first stereo system, and its receiver pretty much took the radio’s place. (For the record, that stereo consisted of a BIC 940 belt-drive turntable, an Akai AA-1010 receiver and Atlantis speakers.)
In the late ’70s, I took that radio with me when I went to shoot baskets. I’d set it at the base of the hoop while I played. It took a few shots from balls that came straight down off the rim. One such wayward shot bent the antenna. It eventually broke, so there’s long been just a stub of an antenna. I’ll forever associate the Rolling Stones’ “Some Girls” LP with that radio. In the summer of 1978, it sat at the base of the hoop at the park and the Stones poured out of it.
50 years on, I still have that radio, and I still listen to it.
On fine summer days, I set it out on the patio, sit in the sun and listen to the Brewers. During football season since at least the ’90s, I set it next to me in the rec room during Packers games, turn off the TV sound and tune in the Packers Radio Network.
If there’s one song that demonstrates how that radio changed my life, it’s the Jackson 5’s take on “Santa Claus Is Comin’ To Town.” It blew my 13-year-old mind when I heard it for the first time on WOKY at Christmas time in 1970. I had no idea there were pop, rock, R&B and soul versions of Christmas songs, all played only at a certain time of year. What a magical thing.
50 years ago, in 1969, the members of a garage band from Montello, a small town in south-central Wisconsin, went on the ride of their lives.
Early that year, Underground Sunshine was playing teen dances, roadhouses and clubs across the southern half of Wisconsin. Jack’s, along U.S. Highway 12 in Baraboo, was one such place. The Airway Bar in Marshfield was another. The Oconomowoc Teenage Republican Club dance at the Oconomowoc High School gym was another such gig.
But by summer, Underground Sunshine’s cover of the Beatles’ “Birthday” was all over the radio. The rocket was lit.
Wednesday, May 28, 1969
Underground Sunshine signs a recording contract with Mercury Records, which plans to release “Birthday” on its Intrepid label.
Tuesday, June 3, 1969
“Birthday” is released on Intrepid. (The 7-inch, Intrepid 75002, is out of print, as are all of Underground Sunshine’s recordings.)
Here’s the flip side. “All I Want Is You” is an original by band members Berty Koelbl, Frank Koelbl and Rex Rhode, all classmates at Montello High School. It’s clearly influenced by the Outsiders’ “Time Won’t Let Me.” There’s also a pleasant enough pop-psych jam in the middle.
Single version, stripped down
LP version with a more polished sound
Thursday, June 26, 1969
Underground Sunshine plays the first park teen dance of the summer at the Vilas Park Shelter in Madison.
Sunday, June 29, 1969
Underground Sunshine plays a midday show — 11 a.m. to 1 p.m. — at the Gimbels store at the Hilldale Shopping Center in Madison. (The top photo is from an ad for that gig.)
The first week of July 1969
Underground Sunshine plays a week-long stand at the Club Sahara, a nightclub on the east side of Green Bay. Warren Gerds, the young entertainment writer for the local paper, the Press-Gazette, profiles the band for the lead item in his column. He also writes a feature story on its light man.
What follows are Gerds’ column lead and excerpts from his feature story on the light man, published two days apart.
Thursday, July 3, 1969
What has happened to the Underground Sunshine is what all young rock and roll groups dream about: Quick success.
Two years ago, the Montello, Wisconsin, band didn’t exist. Come August, it will be pulling in $1,000 a night.
How come? “We’ve got a fabulous manager,” leader Berty Koelbl said during a break at Club Sahara. Berty said [Jon Little of WISM radio (Madison)] considerably changed the fortunes of his group.
“He gave us places to play. He knows a lot of club owners.”
It was also Little who suggested the rock quartet record “Birthday,” a Beatles song. The Underground Sunshine version hasn’t made the Green Bay charts yet, but it’s No. 30 in Milwaukee.
Berty said “Birthday” is helping bolster his band’s pocketbook. “Before ‘Birthday,’ we were getting $150 a night. Soon we’ll be up to $1,000,” he said. The band is getting $800 a week at the Club Sahara because it signed for that figure three months ago, Berty said.
Underground Sunshine’s “Birthday” is also bolstering the Beatles’ till at the rate of two cents a record. That’s the price for rights to the song.
Berty said his group’s version is different from the Beatles’. “First, there’s the organ lead, which the Beatles didn’t use. We also brought the singing up louder.”
Berty said he has qualms about “Birthday.” “People have been hearing another version of the Beatles,” he said. “It’s always better to record your own material.”
That’s what Berty intends to do at the next record cutting session, which will be held in a few weeks. Berty’s composition “Take Me, Break Me,” will be cut then. He also wrote “All I Want Is You,” which is on the flip side of the current record.
It is Berty’s aim to add more original songs so the group can create its own image.
“Right now, we don’t play much original stuff — only two songs. But within a month, we’ll be doing two-hour routines, and probably 90 percent of it will be our own material … except for “Birthday” because that’s what gave us the start.”
Aside from Berty on bass guitar and vocals, the band consists of Berty’s brother, Frank, drums; a relation of manager Jon Little, Janie Little, organ; Rex Rhode, lead guitar; and Bruce Brown, lights.
The idea for the light man came from watching Milwaukee and Chicago groups, Berty said. “I got tired of pushing my foot down on the floor for lights,” he said.
Saturday, July 5, 1969
Bruce Brown, 18, operates the unique switchboard for the lighting system.
As sort of visual accompanist, Bruce manipulates light switches to the tempos of rock music. The result of his effort is like watching a miniature, rhythmic, multicolored lightning storm.
Other rock groups have lighting systems, but none quite so complex that they need a special man to run them.
Brown is in charge of $600 worth of electrical equipment. The custom-made switchboard controls the strobe (quick-flashing) and black lights and 16 multicolored lights in four banks.
Two of the four-light banks flank the band, and the other two face it. Brown sits off to one side, behind an amplifier.
“I work with the feeling of the song most of the time,” Brown said. “Sometimes I work with the rhythm of the song, and sometimes I don’t. It depends on the song.”
Brown said he got his job by hanging around the Underground Sunshine players while they were practicing. “They just wanted more lights on them, and I was always around them.”
“They used to practice in the lead guitarist’s basement, and I used to work their lighting system, just to get them in the mood,” Brown said. “It was something to do, rather than be on the street.”
The switchboard was built with the aid of Brown’s father, who is an electrician.
“We all got together and worked out what we wanted. It took an afternoon to do that and two other days to make the switchboard.”
He has been doing his light work for a year.
Saturday, Aug. 2, 1969
Underground Sunshine appears with Dick Clark on ABC’s “American Bandstand,” having flown to Hollywood to tape an appearance earlier in the week. They play “All I Want Is You” and then “Birthday,” of course.
[If the video doesn’t queue up properly, start it at 26:10.]
Underground Sunshine’s main lineup appears on the show. The Koelbl brothers — stage names Berty Kohl and Frank Kohl — are on bass and drums, respectively. Berty is just about to turn 20. Frank is 21. Chris Connors, whose real name was John Dahlberg, plays lead guitar. He’s 22. He’d just joined the band, having auditioned after answering an ad in the Milwaukee Journal. They needed a lead guitarist because Rhode had quit in a dispute over equipment. Jane Little, whose real name was Jane Whirry, plays keyboards. She’s 18 and just out of high school.
“The group was outfitted by The Hub in Madison before their trip to the ABC color studios,” the Capital Times newspaper of Madison reported. The Hub was a clothing store.
That night, Underground Sunshine plays a gig at the Armory in Sheboygan, Wisconsin. After that, the band heads to Chicago for recording sessions.
Saturday, Aug. 9, 1969
In July, the Green Bay writer reports: “Because of the success of the record, the band has signed a contract to play with the nationally-known Vanilla Fudge in an August concert at Pittsburgh.”
The Shower of Stars show, part of the KGV Summer Music Festival, takes place at the Civic Arena in Pittsburgh.
Underground Sunshine gets third billing behind Vanilla Fudge and Illusion but is listed ahead of Andy Kim, Joe Jeffrey and “other acts.”
Wednesday, Aug. 13, 1969
Underground Sunshine plays the “Dance of the Summer” at Memorial Hall in Racine.
Saturday, Sept. 6, 1969
Underground Sunshine’s cover of “Birthday” peaks at No. 26 on Billboard’s Hot 100 chart. It’s a big hit in the late summer of 1969. It reaches No. 2 on the Hit Parade at WLS radio in Chicago in mid-August, but can’t displace the Rolling Stones’ “Honky Tonk Woman.”
Thursday, Sept. 18, 1969
Underground Sunshine’s follow-up single, a cover of Bread’s “Don’t Shut Me Out,” backed with “Take Me, Break Me,” an original, is out this week. It peaks at No. 102.
Here’s that single.
Here’s the LP version of the flip side, 11-plus minutes of jamming, rambling and noodling.
After the single’s release, the group sets out on a tour of the South, then plans to take a little time off.
Underground Sunshine releases its only album, “Let There Be Light,” on Intrepid. Only two of its eight songs are originals. On the rest, they cover the Beatles and Creedence Clearwater Revival twice, along with Bread and the Spencer Davis Group. It was recorded at Ter-Mar Recording Studios — more commonly known as Chess Studios — at 2121 S. Michigan Ave. in Chicago.
Friday-Saturday, Dec. 5-6, 1969
Underground Sunshine is back at Jack’s on Highway 12 in Baraboo.
Tuesday, Dec. 30, 1969
Underground Sunshine plays at a teen dance at the Cow Palace at the Fond du Lac County Fairgrounds Park in Fond du Lac.
The rest of the story
“Birthday” was the only hit for Underground Sunshine, which in late 1969 and sometime in 1970 released two other singles that went nowhere in the charts.
Their third single was an original, “9 to 5 (Ain’t My Bag),” written by Dave Wayne (real name Dave Waehner), who’d replaced Jane Little on keyboards.
The last of their singles was a cover of “Jesus Is Just Alright,” which was covered by the Byrds in 1969 and by the Doobie Brothers in 1972.
Underground Sunshine broke up in 1970. The rocket had flamed out.
Why? When Wisconsin music historian Gary E. Myers interviewed the band members 26 years ago, in 1993, there was no consensus. Money problems, with some making too much and others not enough. Too much weed being smoked. Boy-girl problems, including too many groupies.
Some 20 years after the breakup, the Koelbl brothers and Rhode revived Underground Sunshine for a short time.
“(Underground Sunshine) gave us a lot of opportunities and I had a lot of great experiences. Got to see a lot of the country. Got to see a lot of different things,” Frank Koelbl told Myers in 1993.
“It’s been a very, very good learning experience. Even the way it was done, I would not trade anything for it,” Bert Koelbl told Myers in 1993.
When this blog debuted 12 years ago this week, I knew plenty about Peter Tork and I knew nothing about Harvey Scales.
Fellow music bloggers hepped me to Harvey Scales, who was an underappreciated Wisconsin treasure. He’s well known to soul enthusiasts and to those who saw him 50 years ago on a Midwest circuit of clubs, college rathskellers, frat houses, roadhouses and beer bars. He died on Feb. 11. He was 77, maybe 78. When I posted word of his death in a couple of local history Facebook groups, the memories poured in from that long-gone scene:
“I remember being at the teen beer bar, Jack’s Point Bar on the Beach Road, Twistin’ Harvey singing and standing on the tabletops while twistin’ a white towel over his head. He was very good and got the place rockin’!” … “Threw me his sweaty shirt!” … “Twistin’ Harv was legendary and always drew a big crowd. They were so much fun!” … “First good R&B band I had ever heard. They really opened my eyes to a complete different style of music.” … “Twistin’ Harvey and the Seven Sounds blew my mind in the late ’60’s at some outdoor event in Appleton.”
Peter Tork’s passing on Feb. 21 was not unexpected. He also was 77. When Michael Nesmith and Micky Dolenz announced the most recent Monkees tour, I immediately got the sense that Tork sat it out because he didn’t feel up to touring. Whether that’s so, only those closest to him know.
“I have in general made no secret of the fact that all these recent years of Monkees-related projects, as fun as they’ve been, have taken up a lot of my time and energy,” Tork said a year ago, preferring to work on a blues record instead. “So, I’m shifting gears for now, but I wish the boys well.”
I’ve loved the Monkees since I was a kid in the ’60s. Truth be told, I don’t write about them enough. Wish I still had my Monkees cards and my Monkeemobile model. I still vividly remember the day my Monkeemobile’s roof got smooshed beyond repair. However, we still have all the records.
We were fortunate to see the Monkees in three different settings, in three wonderful shows. We started with Davy Jones solo in 2010, then the Davy-Micky-Peter lineup in 2011, then the Mike-Micky-Peter lineup in 2014. That’s Peter playing the red guitar at right in the latter show. Each time we saw Peter, he was the coolest, most relaxed guy on the stage.
When this blog debuted 12 years ago this week, I knew nothing about Mongo Santamaria, either.
It wasn’t all that long ago that my friend Larry Grogan — the proprietor of the mighty Funky 16 Corners blog and the host of WFMU’s “Testify!” — hepped me to him, too. Still exploring, still learning.
The record you see below is one recently found while digging and recently ripped on the turntable that sits just to my right in AM, Then FM world headquarters.
Imagine seeing a photo of something you thought existed only in memory. As you try to process it, the whole thing takes your breath away. Then you get catch your breath and settle down to scrutinizing the tiniest details of the photo.
When I grew up in Sheboygan, Wisconsin, in the ’60s and ’70s, everyone went down by Prange’s. It was the biggest department store in that city of 50,000 along Lake Michigan.
The record department was in the basement. You went down the main escalator and there it was, over to your right as you stepped off, a dazzling world of colorful and thrilling LPs spread out before you. 45s? Sure, but those you could get at the neighborhood dime store. Prange’s was the place where you came to ponder the mighty LP.
This photo is from 1969 or later. In the row going up diagonally from the lower left corner are the Beatles’ “Revolver” and “Magical Mystery Tour” and the Archies’ “Sugar Sugar,” the latter released as an import in 1969. I’d love to see this photo at higher resolution so I could try to ID some of the other records.
I never bought a lot of LPs at Prange’s — all I had was paper route money, and not much of it — but what I did buy were among the first albums I ever owned. I still have them all.
— I gave Creedence Clearwater Revival’s “Cosmo’s Factory” LP to my friend Mike for his 13th birthday. It came out in July 1970. His birthday was in October. Truth be told, I’d wanted it for myself. Instead, I got Creedence’s “Green River,” which by then was a year old. It all worked out.
When I was 13, I was tempted by, perhaps even obsessed with, Janis Joplin’s “Pearl.” It had been released in January 1971, midway through my eighth-grade year. I liked the music. Mostly, though, I thought her pose on the cover was kind of hot — and, yes, I already had some sense of someone being a hot mess — and I really didn’t want to try to explain that to my parents.
So I never bought “Pearl” at Prange’s. Truth be told, it’s only been in the last 10 years that I finally bought “Pearl.” I’ve since bought three or four copies, always looking for a cover in a bit nicer condition than the one before.
Maybe I’ll even frame it someday. It tells quite a story about a young record digger, even if only he recognizes it.
In none of those posts was there a mention of Aretha Franklin, who also was still with us at the time, and who certainly was worthy of appreciation. Now that she’s gone, I feel bad that I didn’t properly appreciate her tremendous talent.
In the wake of Aretha’s passing, Sirius XM turned its Soul Town channel into an Aretha Franklin tribute channel. For the past 11 days, it’s been all Aretha, all the time. I’ve heard deep cuts that go well beyond any of my few Aretha records.
After 11 days of Aretha, I’m exhausted. She has worn me out.
Ike and Tina proclaimed “We nevah, evah, do nothing nice and easy.”
Well, Aretha nevah, evah, did anything nice and easy, either.
Aretha testified! Aretha brought forth that gale force of a gospel voice in song after song, in style after style, in decade after decade. Aretha was relentless.
After 11 days of Aretha, I find myself in the same place as my friend Greg, who wrote this over at Echoes in the Wind on the day after she died.
“So why do I feel I have I so little to say? Because Aretha Franklin as a subject for eulogy, memoir or memorial is too damned big. She towers over the music world in a way that few artists do. So I don’t know where to start or to end or even what to put in or leave out.”
I’ll try. Here is my testimony.
I first heard Aretha testify in the late ’60s, perhaps while listening to WLS radio out of Chicago as we drove around southern Wisconsin with our older cousins during the summer.
Perhaps I first saw Aretha testify while watching a variety show, the kind my dad loved. I would have been 10, 11, maybe 13. Was it two nights after Christmas 1967, when Aretha sang “Respect” on “The Kraft Music Hall” with Woody Allen as the host? Was it Saturday night, Nov. 2, 1968, when Aretha appeared on “The Hollywood Palace” with Sammy Davis Jr. delivering a most memorable introduction? Was it Friday night, Oct. 9, 1970, when Aretha sang “I Say A Little Prayer” on “The Tom Jones Show” and duetted with Tom?
“Spanish Harlem” was the first Aretha song I came to know well. I was 14 when that came out in the late summer of 1971, a year I spent glued to my AM radio, listening to WOKY radio out of Milwaukee.
Then Aretha fell off my radar until I was in my 20s. I dug her in “The Blues Brothers” in 1980 — as did everyone else — and then she roared back onto the charts in 1985. I loved Eurythmics, so of course I loved Aretha’s duet with Annie Lennox on “Sisters Are Doin’ It For Themselves.”
About that time, I bought “Aretha’s Gold,” a greatest-hits comp from 1969, the stuff I knew from radio and TV. For probably 20 years, that was the only Aretha record I had. Then I sold it and started collecting and exploring some of her great LPs on Atlantic. Those are my records at the top of this mea culpa.