LIFE OF THE PARTY: The Teensville label has just released an essential third installment in its Girls On 45 reissue series, featuring rare 1963-1967 singles by Jill Gibson, Ramona King, Sandy and the Sophomores, April Young, Linda Hopkins, Diane Renay, the Blossoms and others. Editor/Publisher Michael McDowell has the story in the Reissues/Anthologies section of The Shape Of Things To Come column. Click on the appropriate link at right under Previous Posts for details (Click on image to enlarge).


Welcome to the official web site for Blitz, The Rock And Roll Magazine For Thinking People. Since 1975, Blitz has been the leading voice for the discerning music enthusiast. Blitz Magazine was also one of the first magazines of its kind to embrace the internet, having also been online since January 1996.

Here you will find news and updates about all of the key artists essential to the growth and development of rock and roll music and related genres, including rhythm and blues, country and western, jazz and easy listening. For highlights from recent past editions of the Bits And Pieces and Shape Of Things To Come columns, click on the archival postings on the right hand side of this page. Be sure and check back frequently for regular updates.

If you have any questions, please e-mail us at

Michael McDowell
Blitz Magazine
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NOW ON BLITZ MAGAZINE'S WEB SITE: First generation garage rock legend and Arrows co-founder Davie Allan discusses the highlights of his half century in the spotlight. Plus an interview with country music and punk rock visionary Hank Williams III (also known as Hank3).

We pay tribute to country music pioneer Jimmy Dickens and soul shouter extraordinaire Joe Cocker, plus pioneering rocker Shane "Alvin Stardust" Fenton and Manhattan Transfer founder Tim Hauser, as well as beloved Paul Revere and the Raiders founder and keyboardsman, Paul Revere, original Chocolate Watchband lead guitarist Mark Loomis  and Human Beings bassist Steve Fava of Because I Love Her fame. 


The fact that previously unreleased material is still extant in the catalog of an artist who passed away nearly forty-eight years ago is nothing short of a miracle. But such is the case with pioneering visionary and saxophonist John Coltrane, whose November 1966 landmark concert at Temple University, Offering is at last now available on a 2CD set. Beloved country music pioneer Stompin' Tom Connors is celebrated a year after his passing at age 77 with the first in a series of CDs featuring previously unreleased tracks and rarities. Ash Wells' Sydney, New South Wales-based Teensville label has released the third volume of their acclaimed Girls On 45 series, featuring rare and obscure tracks by Jill Gibson, Ramona King, Sandy and the Sophomores, April Young, Linda Hopkins, Debbie Rollins, Mer-Lyn, Diane Renay, the Blossoms, Lacey Jones and others.


In the New Releases section of The Shape Of Things To Come column, folk rock pioneers the Brothers Four return triumphantly with their latest Seattle Works Entertainment release, The Beautiful World Of The Brothers Four. Rock and roll giant Jerry Lee Lewis more than returns to form with his latest Vanguard release, Rock & Roll Time. The Electric Prunes bring to fruition some of the last works that included the band's late bassist and co-founder, Mark Shalom Tulin in their latest Prune Twang label release, WaSPink Floyd re-emerges from self-imposed exile by putting the finishing touches on unreleased sessions that feature their late keyboardsman Rick Wright with their latest Columbia release, The Endless River. The Hardest Working Man In Show Business, Jeremy Morris and his band revisit some of his most recent triumphs in a live setting with his latest JAM Records release, All Over The World. Waco, Texas native and worship leader Kari Jobe takes on the challenge of presenting such an experience in a recorded setting with her latest Sparrow Records release, Majestic. We  also take a look at the farewell Appleseed label by CD by the late and beloved singer/songwriter, Jesse Winchester. The Los Angeles-based singer/songwriter John Zipperer has issued one of the most engaging new releases in recent months with his Nick Kirgo-produced album, Full Circle. Florida based saxophonist and former Elvin Bishop sideman, Terry Hanck has set the bar high with his latest Delta Groove Music release, Gotta Bring It On Home To You. 



BUZZ SAW EFFECT: First generation garage rock legend, guitar virtuoso and Arrows co-founder Davie Allan (pictured above) discusses with Blitz Magazine many of the highlights of his half century in the spotlight, including the release of his recent Retrophonic CD collections. Editor/Publisher Michael McDowell has the story below (Click on above image to enlarge).


While not a prerequisite for long term aesthetic success, a substantial background as a musicologist and/or record collector has proven to be beneficial to the careers of many a veteran musician. To wit, Jive Five and Genies co-founder Eugene Sampson Pitt and long time Guess Who front man and keyboardsman, Burton Lorne Cummings are both highly respected for having excelled in both disciplines; an attribute that has served each of them more than well in their respective recording endeavors.

One such individual who has followed suit and to date has produced more than a half century’s worth of first rate material in both a featured and behind the scenes capacity is the Arrows’ lead guitarist and co-founder, Davie Allan. A graduate of Ulysses S. Grant High School in Van Nuys, California (whose roster of vaunted alumni includes Monkees drummer George Michael “Micky” Dolenz, Los Angeles Times veteran Barbara Harris and former Houston Astros pitcher, Thomas James Griffin), Allan appeased his passion for music while there as a member of the school choir.

In the Grant High School choir with Allan was Savannah, Georgia native and future Lieutenant Governor of California (from 1979 to 1983), Mike Curb. A fellow avid musicologist and record collector, Curb enlisted Allan’s services in 1962 for the purpose of recording demos.

By 1963, Curb (on keyboards) and Allan were performing with a drummer and three vocalists as the Jadetts, who made their recording debut shortly thereafter with Look To The Stars / Father Knows Best for guitar virtuoso Dick Dale’s Deltone label (Deltone 5022). Before long, Allan was enjoying an sizable amount of work as a guitarist, with sessions by such diverse artists as the Paris Sisters, Jerry Naylor, the Hondells, the Zanies (a studio band featuring Allan) and the late, great Terry Stafford (amongst others) to his credit.

In 1964, Curb founded the Sidewalk label. Sidewalk’s first release was the highly promising original, Blue Guitar, coupled with a remake of the Shadows/Jorgen Ingmann standard, Apache as Apache ’65.

That ambitious single marked the recording debut of the Arrows, the band by which Allan’s legacy would ultimately be defined. Curb leased the single to Capitol’s Tower subsidiary, who reissued it as Tower 116 and promptly followed suit in June 1965 with the band’s debut album, Apache ’65 (Tower DT-5002). 

Drawing from such diverse inspirations as Travis Wammack (Scratchy), Alvin Cash And The Crawlers (Twine Time) and both Bert Kaempfert and Vic Dana, by way of Vaughn Monroe (Red Roses For A Blue Lady), the Apache ’65 album (which included Curb on keyboards, Harlan Hatcher on rhythm guitar and Larry Brown as the drummer, and also included several promising Curb and Curb/Allan originals) by definition suggested that Allan was determined to bring diversity on a long term basis to a format with seemingly limited parameters.

"Steve Pugh was not on the Apache '65 album sessions", said Allan, in reference to the bassist that worked with the Arrows around that same time.

"He did play on Do The Freddie, the flip side of the Moondawg '65 single that I am re-recording with Larry Brown again on drums. (But I'm) not going to call it Moondawg '15!".

To that effect, although the Arrows’ line up (which throughout the decades included such notables as Russ Viot, Drew Bennett, Lee Joseph and David Winogrond) was from the onset in near continuous fluctuation with Allan as the lone constant, Allan wasted little time in establishing himself as one of rock and roll’s leading virtuosos and visionaries in that capacity. As Curb became increasingly involved with Sidewalk and Tower as producer of a series of acclaimed film soundtracks (including Doctor Goldfoot And The Girl Bombs, The Wild Angels, Thunder Alley and Wild In The Streets, whose most noteworthy track, Shape Of Things To Come by Max Frost And The Troopers inspired the title of the reviews column in Blitz Magazine), he called upon Allan and the Arrows to provide some of the more memorable moments.

By the early 1970s, Curb was focusing upon the Mike Curb Congregation, whose irresistible 1971 Burning Bridges single (MGM K-14151) was featured in the Clint Eastwood film, Kelly’s Heroes. Curb also briefly served as president of the vaunted Verve label before shifting his attention towards political office.

Meanwhile, Allan persevered in a variety of disciplines. He backed Jim Pewter on a pair of singles for MGM in 1972, and recorded prolifically for the label (both with the Arrows and in a solo capacity) throughout mid-decade. Rightfully embraced as a major influence by the burgeoning punk/new wave revolution and the related second generation garage rock movement that came to fruition in the mid-to-late 1970s, Allan was duly recruited by industry pioneer Chris Ashford, whose What Records? (the recording home of such genre focal points as the Germs, the Dils, the Controllers and the Eyes) released the Arrows’ Stoked On Surf (What? 12-601) in 1982. A first rate vocal country LP, An Arrow Escape followed the next year; an album that was the subject of a rave review in Blitz Magazine upon its original release, and was recently reissued online in commemoration of its thirtieth anniversary.

That most welcome new reissue is by far not the first example of Allan’s ongoing commitments to both vinyl and the physical format in general. In 1997, Cynics co-founder Gregg Kostelich signed the Arrows to his prolific Get Hip label, resulting in The Born Losers Theme / The Glory Stompers single (Get Hip GH-209). The following year, the late Greg Shaw (who had briefly served as Blitz Magazine’s Art Director in the 1980s) signed the Arrows to his Alive/Total Energy label, where the band further realized their own interpretation of Max Frost and the Troopers’ aforementioned Shape Of Things To Come, coupled with the intense Vanishing Breed (Alive/Total Energy 3020). Happily, throughout that transitional period, Bob Irwin’s beloved Sundazed label successfully leased (from Mike Curb) and reissued a wealth of the Arrows’ Tower and Sidewalk material in the CD format, along with Restless In L.A., a 2003 CD of all new Arrows recordings.

Throughout much of the twenty-first century to date, Allan has maintained an active live performance schedule. In the process, he has amassed continued accolades for his formidable guitar artistry, which in part prompted his perceptive self assessment of “melodic grunge”. For the past several years, Allan has also been a most welcome member of Blitz Magazine’s “inner circle”, a handpicked group of musical legends and industry veterans that serve in an informal advisory capacity and who also occasionally network with one another.

Allan also continues to direct much of his attention towards his own Arrow Dynamic Records. The label issued the first volume of its Retrophonic CD compilations in 2009; an ongoing series of odds and ends from his solo and Arrows archives. The newer material in that first installment featured contributions from such duly inspired artists as the Long Beach-based Nushu cofounder and Vandalay recording artist, Lisa Mychols and Cockeyed Ghost alumnus, composer and keyboardsman, Adam Marsland.

“Adam appears on five tracks on the 2009 Retrophonic CD and one on Retrophonic 4”, said Allan.

Released in 2013, Retrophonic 4 (Arrow Dynamic AD004) finds Allan’s enthusiasm for Arrows-themed instrumentals undiminished; containing as it does a number of them that handsomely showcase his guitar work. The cover material therein is also reflective of his commitment to musical diversity, from a mid-tempo take on the David Whitfield and Mantovani / Jay And The Americans high drama masterpiece, Cara Mia to Vaughn Monroe’s (Ghost) Riders In The Sky, Buddy Holly’s Think It Over and the Little Richard/Bill Haley And The Comets/Elvis Presley monster classic, Rip It Up.

However, on the nineteenth of February, Allan found himself briefly sidelined as the result of cataract surgery. Thankfully the recovery process is progressing quite well.

“I now have to do the right eye in April”, said Allan.

“The worst part was the anticipation, plus getting more wrinkles, hair turning whiter, etcetera! As soon as this heals, I can't wait to go to Disneyland and check out Star Tours. Bet I'll see things I've been missing! And to start working on the (Arrows’) fiftieth anniversary album.

During his recovery, Allan took the time to discuss with Blitz Editor/Publisher Michael McDowell the various Retrophonic projects, as well as various highlights from his career and his insights on the growing download versus physical release controversy.

BLITZ: The Retrophonic series was intended to showcase the best of your heretofore unreleased material. But with the release of this fourth installment, it has become apparent that your archives were indeed vast. Was there any reason why much of this material did not see release at the time of its recording?

ALLAN: Actually, there aren’t that many previously unreleased tracks in the series. The first five tracks on Volume One were all new. Unfortunately, I don’t own anything from the ’60s. You know who does! He at least had the sense to allow Sundazed to release quite a few tracks on five CDs between 2004 and 2006.

BLITZ: Stick It Again is a rather animated, uptempo 4/4 rocker, which at various points suggests aesthetic solidarity with Joe Cocker's High Time We Went. You were one of the few artists to be embraced by the demographic that included the work of artists such as Cocker. Might your extensive involvement in the various film soundtracks have factored into that anomaly?

ALLAN: I wasn’t going for anything in particular, except as a follow up to my 2008 tune Stick It from the Moving Right Along CD. I occasionally do a new biker tune as a takeoff on the tunes in ’60s films. But I rarely copy anyone else’s work or their ideas. At least I don’t think I do!

BLITZ: Yet Don't Blame Duane is presumably a playful reference to fellow guitar virtuoso, Duane Eddy. It seems as though this particular piece was inspired more by his work for RCA Victor than his earlier sides for Jamie Records. True?

ALLAN: I was only going for a takeoff / tribute to Duane, but with my sound. In speaking of some of my low notes, a reviewer many years ago said it sounded like Duane with dirty fingernails.

I was disappointed in not hearing back from Duane after I sent him a copy twice. I had also sent my version of Rebel Rouser from Retrophonic 2009, and received no reply. I always answer all letters, emails, etcetera, and I basically told Dan Forte that I’m not a Duane fan anymore. Dan was so disgusted with me that he has given me the silent treatment ever since.

BLITZ: Los Cabos features guest vocals from Lisa Mychols, who has also recently been in the spotlight as the result of the physical versus digital controversy. You seemed to work well together in the studio. It also sounds as though this track may have in part inspired the recent release by the all-star band, the Bamboo Trading Company. Do any highlights from that particular session come to mind?

ALLAN: That version was another attempt to getting that tune noticed. The best version of the four I’ve done — one on each of the four Retrophonic albums — was by Linda Sarian, who should have been a country star! I had not heard of the band you mentioned. My contact at K-Tel said he likes my instrumental version the best, on Retrophonic 4. Huh?!

BLITZ: Rather than just serving as an answer song of sorts to your 1965 reinterpretation of the Shadows / Jorgen Ingmann classic, Apache, the track Apache Junction seems to equally reflect the inspiration of the Kinks. Your thoughts?

ALLAN: Maybe I unknowingly had All Day And All Of The Night in mind. But I never really meant to copy it. If they heard it, hopefully they took it as a tribute!

BLITZ: Retrophonic 4 includes both a tribute track to Buddy Holly and a cover of his Think It Over. Some have suggested that his Down The Line would have been a perfect cover for the Arrows. Yet you opted for one of his mid-tempo pieces. Why so?

ALLAN: I was picked as one of the recipients for a copy of his ’47 guitar by The Buddy Holly Guitar Foundation. I had picked It’s So Easy for the name of the guitar. That one was taken, so I picked Think It Over because I had recorded a pre-Arrows version that was lost by the way, and always loved the song. It was fun doing the harmonica solo. My first time ever doing that.

BLITZ: Shape Of Things To Come of course saw its biggest acclaim in the version by Max Frost And The Troopers on Tower Records, and in fact inspired the name of the new releases review column in Blitz Magazine. It is of course widely regarded today as one of first generation garage rock's definitive classics. Given the slight propensity towards period affinity extant in the lyrics, how does that particular track resonate with you today?

ALLAN: The song didn’t mean much to me until I did remakes on my Moving Right Along CD in 2008 and my Retrophonic 4 CD in 2013.

An interesting story is that I still see my name and the Arrows mentioned as being Max Frost and the Troopers. I wish I could say that we were Max Frost and the Troopers, but unfortunately, it's just not true. I DID play on the Wild In The Streets soundtrack along with studio musicians known as the Hollywood Wrecking Crew; Hal Blaine, Carol Kaye and Larry Knechtel. But none of us played on Shape Of Things To Come. A band was hired to do that one and it was kept a secret as to who the members were. Actually Mom's Boys, featuring Paul Wibier (who also recorded for Sidewalk Records as the 13th Power - Ed.).

The mix-up started when my instrumental version was released as the last Arrows single on the Tower label. All I did was play lead on that pre-recorded track, so everyone assumed that we and Max Frost were one and the same. On a sour note, that was my last single in the ’60s from the worst album of my career, the Arrows perform music from Wild In The Streets. I'm on some of the Max Frost tracks, including those that appeared on The Glory Stompers soundtrack.

BLITZ: Retrophonic 4 includes a straight ahead, rocking version of the David Whitfield / Jay And The Americans classic, Cara Mia. That is an interesting choice of covers for such an interpretation. What was the inspiration behind it?

ALLAN: I was in an oldies band in the late ’80s into the ’90s, and we recorded a vocal version of the song. (We had a) great lead singer named Gabriel Hernandez, but broke up before getting it released. I realized that I had the basic track and decided to try an instrumental version. It’s tough being your own major critic! But I am thrilled with the result.

BLITZ: Your own professed list of inspirations is quite diverse, from Andy Williams to Buddy Holly. Some of that has been reflected in your own repertoire throughout the decades. Yet you often return to the basic, guitar-driven first generation garage rock template, of which you were one of the pioneers. How comfortable are you with the balance between familiar territory and experimentation?

ALLAN: I have a great time with that. As an example, I feel my two Christmas albums, Fuzz For The Holidays One and Two work quite well.

My main inspirations are Elvis Presley and Henry Mancini. I got into music because of Elvis and then into the melodies of Mancini, which drove me to work on my songwriting. I have stayed with that objective, but still go for my grungy sound. Hence I call my music melodic grunge.

You initially stated that Retrophonic Four will be your last physical release. In turn, Nancy Sinatra recently released a new album that is available only in the download format. There has since been a rather fervent reaction to developments such as those within the community of musicologists and record collectors, who overwhelmingly champion the physical format; be it the CD, the vinyl record or the cassette tape. As one with a half century's worth of vinyl and CD releases to your credit, what is your own reaction to the rise of the digital download? In light of these developments, might there be continued availability of your own material in the physical format?

ALLAN: The term “download only” is not one that I relish. I recently reworked and released the An Arrow Escape album for its thirtieth anniversary. It’s mainly a country album. In 1983, I had decided to take a break from my instrumental career and focus on my love of older country music. The takeoff on “a narrow escape” was my wife’s idea. I collaborated with several friends; most notably Rick Korenthal, my co-producer on the album.

I went back to the master tapes. I transferred them into Pro Tools and spent months repairing, remixing and remastering it. It’s only for downloads. It seems that only about a dozen “fans” have downloaded it. Since the only (label) releasing my material is my own, the money and PR is not there. But I would like to do the next one on vinyl and CD.

Also, Jerry Clayworth is starting a label. He booked me on some shows in Texas a few years ago. He picked two of the tunes, Brews' Theme and Just One Man as one of his first vinyl singles. 

BLITZ: The recent passing of former Standells drummer/vocalist and your former Tower Records labelmate, Dick Dodd from cancer is a sobering reminder of the urgency of stating your musical case while you are still able to do so. How has his passing affected your commitment to your own mission statement?

ALLAN: I was quite saddened by his passing. It did make me look at my future. I do have one album on paper that I want to do, but I really need a label for it. It should be with Curb’s company. But I mentioned it in a Christmas card to him and I received no reply.

By the way, that next album will be titled something like, Davie Allan And The Arrows - 50th Anniversary. I plan it for the fall of this year. That marks fifty years since Apache ’65 was released. Wow! Where did the years go?!


STAND UP: Following his victory over cancer, veteran Gospel rocker Carman Licciardello (pictured above after his landmark 30 July set at Monroe Street Church Of God in Monroe, Michigan) took to the road in support of his recently released CD, No Plan B. Editor/Publisher Michael McDowell takes a look at Licciardello's miraculous comeback below (Photo by Michael McDowell - C&P 2014 Blitz Magazine. All rights reserved).


What a difference a miracle makes.

Earlier this year, veteran Gospel rocker Carman Dominic Licciardello was involved in a life threatening battle with cancer. And for a time, it appeared as though the disease was winning.

"I wish I had better news, but for the first time though this whole journey. I'm worried, really worried", Licciardello in a statement that appeared on Blitz Magazine’s web site on the 26th of January.

"I don't mean to be fatalistic, but if for some reason I don't make it out of here, I want you all to know what great friends you've been to me and how much I've loved every minute of being on the stage ministering.

Yet a mere seven months later, in a manner not unlike that outlined in his classic 1991 track, Satan, Bite The Dust!, Licciardello is not only cancer-free, but he has taken to the road for a nationwide tour in support of his just completed album, No Plan B.

The 30 July stop of his No Plan B tour brought Licciardello to the North Monroe Street Church Of God in Monroe, Michigan. The capacity crowd there was blessed with a ninety-minute sermon and musical set that can truly be described as nothing short of miraculous.

Long a pillar of musical integrity in a genre that has somewhat disconcertingly relied more often than not on mainstream flavor of the month music for its inspiration, Licciardello remains the Gospel rocker of choice amongst musicologists, academics and record collectors alike for his original, no-nonsense and hard hitting original material, which has drawn from such diverse sources as Chuck Berry (the early album track, Bethlehem), Henry Mancini (Mission 3:16), Gary U.S. Bonds (Sunday School Rock) and Dick Dale and the Del-Tones (Surf Mission).

Welcomed by a standing ovation and a glowing introduction from Senior Pastor Rick Massingill, Licciardello opened his set with several of his best loved originals, including Radically Saved, I Feel Jesus, the aforementioned Sunday School Rock, the often copied This Is My Bible and the high drama narrative, The Witch’s Invitation. With each track enhanced by pertinent visual aides on the screen to his rear, Licciardello presented an ambitious and spirited balance between archival material and selections from No Plan B (including The Flag and the title track).

But perhaps the highlight of his set came slightly past the midpoint, with a sermon based on The Great Commission of Mark 16. Also citing John 5 and drawing from the 1953 Alan Ladd / Jack Palance motion picture, Shane for illustration, Licciardello delivered a riveting message in somewhat unnerving terms as he spoke with great candor not only of his health issues, but of the residual fallout that came from being a pillar of aesthetic integrity within a genre that has sadly often fallen short in that respect. Without giving away the core of his message to those who may not yet have heard it, suffice to say that his reality check expressed therein should serve as a wake up call of sorts for both musical devotee and believers at large.

Upon resuming the musical portion of his set, Licciardello hit a home run with first rate renditions of the ballad I Surrender All (complete with altar call), the irresistibly bouncy Good To Me, the title track from his 2001 top ten motion picture, The Champion (in which Blitz Magazine’s Michael and Audrey McDowell had brief roles in the fight scene) and No Way, We Are Not Ashamed from his 1988 Radically Saved album. True to form, he ended the proceedings with his utterly stupendous signature track, Who’s In The House?, the song that concurrently rescued the much maligned rap, house and hip hop genres from themselves and served as an anthem of sorts for the faithful in the process.

While the realities of recovery meant keeping his post-show meet and greet to a minimum, Licciardello nonetheless and in no uncertain terms once again put both the mainstream and satan on notice that, through the grace of God, he is back with a vengeance. The No Plan B tour runs through mid-September and includes stops in Iowa, Missouri, Kansas, Nebraska, Wisconsin, Minnesota, Arkansas, Arizona and Oklahoma.



FULL ON: Since the release of  his 1999 solo debut with Risin' Outlaw, Hank Williams III (also known as Hank3) has firmly established himself as one of the most astute, unique, creative and ambitious visionaries in all of music. Editor/Publisher Michael McDowell spoke with Hank3 on the eve of his fourteen-date tour in support of his forthcoming Brothers Of The 4x4 and A Fiendish Threat albums. Story follows below.


By Michael McDowell

“Both the popular country music and the popular rock music of today leave much to be desired. It will get to the point that people will just get tired of its sameness and start demanding something a little bit better. I hope that’s where I come in. I’m very confident in my own abilities now. I hope everyone else will pick up on it.

So said country rock pioneer Hank Williams Junior in an interview with Editor/Publisher Michael McDowell in Blitz Magazine #32, which was published in September 1979. Although it would be nearly a decade before the so-called New Traditionalist movement would for one last time bring to fruition Williams’ vision for country music, the genre’s subsequent protracted aesthetic slump (combined with mainstream rock’s seeming inability to rectify its own situation) makes Williams’ observations all the more timely well into the twenty-first century.

In what is widely regarded as his signature track, the 1979 Family Tradition single (Elektra E-46046), Hank Williams Junior good naturedly celebrated what was generally perceived as the common thread between him and his legendary father, country music giant Hank Williams. But as is often the case, the difference between outside observers’ perceptions and reality can be substantial.

In the case of the Williams family, the common thread has actually been an extraordinary, God-given gift for artistic ability and creativity. Not so that each subsequent generation can dutifully follow in the footsteps of the earlier ones, but so that all concerned can assert their respective creative muse and produce unique and individual works of art that stand on their own merits.

To be certain, Hank Williams set the bar about as high as it can be set in that respect. In turn, Hank Williams Junior took into consideration his own inspirations, and for the past half century has established a most impressive legacy as one of the founding fathers of country rock with his various releases for MGM, Warner Brothers, Elektra and other labels.

Most recently, the current generation of the Williams family has grown exponentially in terms of breaking new ground. Beginning with the release of The Ones We Never Knew (Universal South 623392) in October 2004, Hank Williams Junior’s daughter, Holly Audrey Williams has since established herself as one of the premier singer/songwriters in all of music. Her third and most recent album, The Highway on her own Georgiana label is one of the most compelling new releases of 2013 to date.

All of which culminates in the work of a man who may well be the among the most qualified to not only rescue country music from the doldrums, but to inspire the world of music at large onto greater heights. Born Shelton Hank Williams in Nashville, Tennessee on 12 December 1972, Hank Williams III (also known as Hank3) has, since his 1999 debut as a solo artist with the release of Risin’ Outlaw for Curb Records, charted for himself a most unique and ambitious musical course.

As the son of Hank Williams Junior, Hank3 by definition was blessed with the creative capabilities that are indigenous to his bloodline. But as an avid musicologist, multi-instrumentalist and hardcore record collector, Hank3 also brings a wealth of experience and artistic acumen to the table. A firm believer in musical diversity, Hank3’s personal vinyl, cassette and CD archives include such inspirational visionaries as the late, great banjo virtuoso, David “Stringbean” Akeman and indie rock pioneers (and one-time Blitz Magazine cover story subjects), Black Flag.

In particular, Black Flag’s former front man, Henry Lawrence “Henry Rollins” Garfield has had a significant impact on Hank3, particularly in terms of his stringent work ethic. Likewise a relentless perfectionist, Hank3 has always made a concerted effort to persevere without compromise. While such noble aspirations may have temporarily cost him some momentum in terms of widespread notoriety, he nonetheless has amassed a most impressive recorded legacy along the way, with such triumphs as his 2002 Lovesick, Broke & Driftin’ album for Curb Records and the rather candid 2010 release, Rebel Within for Sidewalk Records to his credit.

In mid-2013, Hank3 once again took an ambitious step; this time in the form of two new albums that celebrate both of his primary musical interests. Recorded over a period of four months in his home studios (with Hank3 handling both drums and guitar, as well as production, mixing and mastering duties), the country-themed double album, Brothers Of The 4x4 also features Zach Shedd on stand up bass, David McElfresh and Billy Contreras on fiddle, Andy Gibson on steel guitar, Johnny Hiland on lead guitar, and Daniel Mason on banjo, with a special guest appearance by one-time National Old-Time Banjo champion, Leroy Troy.

In turn, the hardcore-flavored A Fiendish Threat affords Hank3 the opportunity to showcase his punk rock inclinations, which he does therein with resounding success. Brothers Of The 4x4 and A Fiendish Threat are scheduled for 01 October 2013 release on his own Hank3 label in both the CD and vinyl configurations. Hank3 is celebrating these new releases with a fourteen-date tour that will conclude on 08 September, including stops in Indianapolis, Flint, Pittsburgh, Washington D.C., Charlotte and Atlanta.

In the following conversation (which transpired on 07 August 2013), Hank3 shares not only his unique perspective as a member of country music’s royal family, but also the many varied inspirations behind his ambitious and engaging original material. To be certain, his is an artistic vision that at long last should appease the musical appetites of those whom are (in his father’s words), “demanding something a little bit better”.  

BLITZ: It’s good to see that the so-called Family Tradition has continued in your case. Not necessarily in terms of one generation following in the direction of another, but in that each has maintained a high level of creativity in their own right.

It’s always a challenge, trying to stand on your own two feet. Even if you’re Dale Earnhardt Junior or Frank Zappa’s son. Over the years, I’ve been lucky enough to find my own niche and my own voice. That can be a hard task, going up against Hank Senior and Hank Junior!

But my fans have stuck with me throughout the years. There have been a lot of great shows and a lot of different sounds that have come out of me over that period!

BLITZ: You came into an appreciation of music at a relatively early age. As early as the late 1970s, you were already expressing an interest in music and starting to accumulate a record collection. You had an advantage in that respect because of whom your father was, and he no doubt brought a lot of music to your attention.

But by that same token, you came into it right at the height of the burgeoning new wave/punk movement. It seems as though all of that factored into creating a richly diverse musical background for you. Did that concurrently spark your interest as a collector and a musicologist at that time, as well?

HANK3: It’s a little bit of both. My mom and my aunt always had interesting music around. Since I had a drum set and all of these different sounds, I kept trying to play along with Elvis Presley or Queen. Or when I got a little older, Gary Numan and the Sex Pistols. That’s basically how I learned how to play a lot of my instruments. It was kind of a natural progression for me on the guitar and on the drums.

For Hank Junior, Southern Rock was his thing. For Hank Senior, it was a little bit of country, blues and rock and roll. For me, it was just natural to learn other styles of music.

BLITZ: In a sense, you also carried on that perspective. Your grandfather reportedly had an interest in rhythm and blues, which was just coming into its own at that time. In turn, when Blitz Magazine interviewed your father, he mentioned that one of his early inspirations was Chubby Checker.

By that same token, from the onset, you seem to have embraced the rock of major label bands like Deep Purple, as well as the relatively underground movement espoused by Black Flag, the Sex Pistols and the Ramones with equal passion. Interestingly enough, at that time, those two camps were somewhat at odds, as though one was out to overtake or replace the other. Since that time, it seems that both camps have reconciled, though. Yet it seems that you always embraced both camps without that mindset.

HANK3: I’ve seen what you’re talking about. Sometimes jealousy or all of that stuff can come against bands. For me, that was a bit of a tricky one. When I was growing up, I liked Motley Crue. But I also liked Black Flag! Like you were saying, the followers of both were running down the street, hating each other as much as possible.

But with me, I just tried to keep an open mind. Throughout the country part of my show, I try to respect things, as I always try to give people their money’s worth. In the first part of the show, I always say, “I appreciate your coming out. I’m going to be doing some of these other sounds, which some of you might not like.” I think that kind of work ethic has helped me out in the long run, whereas it might have caused some issues with other bands.

BLITZ: There have been cases where artists have tried to move off into different directions or different genres. Or artists have taken careers that were established in one field and tried to establish themselves in another. Yet in those cases, there almost always seems to be some sort of resistance there.

You have always maintained that perspective. Yet for some reason, it seemed to have taken a long time before you committed your musical vision to record. You were involved in the Three Hanks project in 1996, in which you sang with your father and your grandfather’s recordings. But you didn’t make your debut as a solo artist until 1999, with the release of your Risin’ Outlaw album. Why the delay in putting your ideas into fruition?

HANK3: First of all, I wasn’t that crazy about that record, Three Hanks. I thought it was going to look bad, as if, “We’re paving the way for Hank3”. I naturally said, “Why don’t you wait ten years and then put that kind of record out?”

It was an honor to sing with Hank Senior and Hank Junior. But I definitely didn’t like the way that was done, being my very first country record.

The reason for the delay of the release of Risin’ Outlaw was up to Curb Records. They were getting used to me, and I was getting used to them. As time has gone on, I have probably been on my sixth year now without a manager. In some ways, it has worked to my benefit, just having the distribution company out there and putting out what I do, then going out on the road and trying to do it that way. 

BLITZ: You did go with Curb Records for the release of the Risin’ Outlaw album. You may or may not be aware of it, but in the 1960s, Mike Curb was involved with the Sidewalk and Tower labels, which were subsidiaries of Capitol Records. In the mid to late 1960s, they released a lot of film soundtracks and worked with independent first generation garage bands like the Standells, the Chocolate Watch Band and the Arrows.

Since that time, some of the artists who were involved with him have shared your sentiments about their experiences. Presumably you never sought out any of them for advice in that respect, then.

HANK3: Not really. It’s definitely a tough business. If you’re an artist or a musician that knows what your sound is and you know what you want on your records, it can always be a challenge.

For an artist like me, they just didn’t understand or get what I was doing. It doesn’t matter if you’re as big as someone on a huge scale level like Tim McGraw, or someone on a smaller level like myself. It seems like some of those same problems come up in the conversations!

BLITZ: Despite the circumstances behind it, if you look at the Risin’ Outlaw album from the perspective of an impartial, third party observer, there are definitely some tracks of merit in there. For example, it is very easy to be taken with your cover of Bobby Edwards’ You’re The Reason, which of course was also covered in 1965 by Gerry and the Pacemakers. You did a great, great job on that track. What inspired you to cover it?

HANK3: Honestly, I would go through all of the tapes and listen to the songs. And if I was going to be doing someone else’s songs, I at least got to pick out the songs. At the time that album was cut, the original version stood out a lot to me.

BLITZ: You once indicated that on the Risin’ Outlaw album, there are only a couple of tracks that still met with your standards. Presumably one of them was If The Shoe Fits, which states your case as an emerging artist quite well. In other words, “This is where I stand. You might not like it, but I am standing behind who I am”. Is that a fair assessment?

HANK3: Definitely! I would be down at Polygram or something, and see all of these people writing songs in offices. And I thought, “I’m not sure what the difference between y’all’s song is and one of my songs!” Songs like If The Shoe Fits, Mississippi Mud or Country Heroes, all of those in my eyes are decent songs.

Those are for my fans, and that was definitely one of the first to help get me on my way. It was before the heavy rhythm, high energy gallop was coming into play. But it was getting there!

BLITZ: You seem to have hit your stride in that respect with your next album, Lovesick, Broke & Driftin’.

HANK3: Yes! Working with (co-producer) Joe Funderburk on that record, and having (steel guitarist) Kayton Roberts there, working with musicians like that is always an awesome experience! It was a good learning curve. That was one of the last records that I got to do on tape to tape on the machines, pre-digital.

BLITZ: There is one song in particular on the Lovesick, Broke & Driftin’ album in which you and Blitz Magazine are definitely on the same page in that respect, the song Trashville. It seems to be an answer song of sorts within the country genre to Bob Seger’s Back In ’72, in which he talks about how the self indulgence in much of the music of the early 1970s crushed the music which had inspiration and took away the heart and the creative element. There were people who were trying to express themselves personally as individuals, but there was an undue obsession at the time with image and socio-political causes that took away from the heart of the music.

To take it a step further, Blitz Magazine has long maintained that country music’s last collective gasp of consequence was the so-called New Traditionalist movement of the late 1980s and early 1990s, where artists like Dwight Yoakam, Clint Black, Carlene Carter, the Desert Rose Band and Highway 101 came in; plus a lot of the long time greats were concurrently able to return to the spotlight, like Waylon Jennings, George Jones, Johnny Cash, Buck Owens and your father. Would you say that was the cut off point when Nashville became Trashville? Or what was the cut off point for you?

HANK3: It goes back to that independent streak that I’ve had. I’ve always known myself and I’ve always known my songs. I’ve never really understood why someone needed to tell me how to write a song. If you think like that and you play like that, it’s not going to get you very far in Nashville!

I love living in Tennessee, and I love being born and raised in Nashville. There are just two streets that I didn’t get along with that well, as far as business goes. Because if you are a super creative person like you are saying, it’s a tough gig. For someone like me, they just didn’t understand what I do. It’s a challenge when you’re involved in it. The managers, the lawyers, the producers and all of that stuff.

Even back when I first started in Branson, they said, “You know what you need to do, and you know how to do it”. And that’s what I have always basically done. I had to do some time with Curb for a little while, just to get out there. But the deal is still writing the majority of my songs and trying to get out there on the road, doing the best I can and trying to hang in there with it.

It depends on what you’re in it for. I was in it for my sound, my songs. That’s just natural when you’re coming with a bloodline that’s as creative as mine! Some people get into it just to record that song that’s going to become a hit and definitely be played on that radio station. I have been just a little more independent in my ways of thinking.

BLITZ: It’s interesting that you have stuck with Nashville geographically. Consider the following scenario: In the early 1990s, an individual of our acquaintance was a successful radio producer in Southern California. But when the Northridge earthquake struck in January 1994, he panicked and relocated to Nashville, leaving behind his successful $100,000 a year career in Los Angeles.

His idea behind relocating to Nashville was to find success in that field in country music. But about a year after he relocated there, we spoke with the pastor of his church. The pastor told us, “Your friend came out here to die, and to die big time”. Instead of furthering his career in that respect, the former radio producer was now cleaning the house, taking out the trash and mowing the lawn for a successful Nashville producer and living close to the bone. Does such a scenario sound familiar from what you have observed? And if so, what did those involved do about it?

HANK3: For me, it’s not quite that bad. If you don’t set yourself up for that huge fall, then you’re never going to fall. Unfortunately, I have never been used to making that much money! I’ve just been out there trying to figure out how to break even. I had to file bankruptcy about ten years ago, just to keep it out on the road. But being born and raised here, I have gotten a lot of the respect of the old timers. That’s a tough one!

I’ve kept it inside of the bars. There’s something of beauty of not going outside of the bars. It’s been the perfect thing of not too big, not too small. I think that’s helped me a lot over the years.

BLITZ: To that effect, you have maintained your integrity, which means at least being able to sleep at night. We can return to the Lovesick, Broke & Driftin’ album as an example. The opening song, 7 Months, 39 Days is a masterpiece of the traditional country template. You took that sound and put your own personal, distinctive stamp on it. It sounds as though you are in solidarity with that genre of music yourself, yet you want to keep it within your own framework.

HANK3: I’m always open to working with other people. But when it comes to my records, I’m writing the songs! I am at least in a position now that’s great, when another musician calls me up and says, “Hey, man. You wanna sing on this record?” I say, “Sure!” I get to do it, and I have no problems.

I don’t have to miss out on a lot of great opportunities nowadays. I got to record with David Allan Coe. I’ve had Junior Brown here at the house. He likes the way I record and the vibe of the house. There are a lot of things I’m involved with. I’m not totally opposed to working with other people. I did a project for Alamo Jones, just for the sake of doing it. We did like a five song EP. I’m always trying to be creative. I’m just not trying to be creative with other people as much, but the door is still open.

BLITZ: You seem to have made peace with your so-called Family Tradition a lot earlier on than perhaps your father did. Early on in his own situation, the obvious reference point for his concerns in that respect was his 1966 Standing In The Shadows single for MGM. He took a stand for himself, and he did so quite well.

On the other hand, you have also taken quite an impressive stand for yourself. You have done what you do very well for roughly the past fifteen years. Yet you don’t hesitate to give credit where credit is due, and that’s great.

If nothing else, you have demonstrated that the Family Tradition means that the spark of creativity is found in each successive generation, but in an individual way. For example, a couple of years ago, you made a guest appearance on Marty Stuart’s television program, in which you sang an absolutely spot on, bone chilling version of your grandfather’s My Sweet Love Ain’t Around. Then you turned around and did it your own way, underscoring that the common theme of the bloodline is that each generation is creative, but in their own right. Is that assessment on target?

HANK3: Definitely! Once in a while, I will do a tribute to Hank Senior, just because there will never be another one. No one will ever come that close to doing it as good. You won’t see me doing a whole Hank Williams show. You will only see me doing a few. Maybe a couple of songs every now and then, but it’s usually for friends, or just for paying respect.

When I think of Hank Junior and Hank Senior and all of the things that they’ve done, I am strictly mesmerized as a musician, and as a songwriter, about all of the different phases that they have been through in life. So that is something with me. When I’m listening to music, I am always thinking about the process that they had to go through to write the songs. How they might have had to get up at 5:30 in the morning and go down to the radio station. How did they have a voice that early in the morning? I’m amazed by the talent and how they got it done.

BLITZ: Do you think it is possibly a matter of perception? For example, you are presumably familiar with the 2012 reissue CD on the Time Life label, Lost Concerts, which features two complete and previously unreleased 1952 concerts by Hank Senior. The traditional accounts of his life often suggest that things were not going well for him in 1952, with one challenge after another. Yet if you listen to the Lost Concerts CD, what is more than evident on there is an artist who is very much on top of his game. He was doing stand up comedy, his delivery was brilliant, he radiated joy and he was in absolute command of the proceedings. If indeed there were issues extant in his circumstances, you couldn’t make a convincing case of it with that record!

By that same token, certain things were expected of you. Curb Records and the Nashville elite wanted this and that out of you. But you defied their expectations and did things quite well. Is that then a case of the bloodline maintaining its independence and its creative spark?

HANK3: I think it just kind of shows itself naturally. If you look at my whole music career, I’m not trying to be that negative punk. I’m just trying to do what feels natural to me. Some have said that I have held myself back for a lot of years. But it just goes back to that not being too big and not being too small. It’s just being in my niche! Being a drummer and a rhythm guitar player, throughout most of my young life has brought me into a situation like, when Johnny Hiland takes a solo on my record, he says, “Man, your rhythms just really stick out to me. I play on a lot of records around town, and no one has these kind of rhythms!”

So when I hear a compliment like that from someone who is looking at me in the now and not even at the past hardly at all, it’s good to hear that kind of a comment from such a high end musician. Theory and songwriting has always been tough for me with my learning disabilities over the years. It’s always a challenge to pump that stuff out.

BLITZ: It’s interesting that you alluded to exploring the dark themes. That interim period after the release of Rebel Proud, amidst those later Curb reissues, like Hillbilly Joker, Ghost To A Ghost/Gutter Town, 3 Bar Ranch Cattle Callin’ and Attention Deficit Domination, those albums seem to explore a lot of dark themes. Is it more of a situation of sharing first hand experiences, or perhaps doubling as a red flag of sorts to your audience, saying “Don’t go too far over the edge”? How do you view it?

HANK3: I would look at it more like when Johnny Cash would sing a sad lonesome song, or talking about taking his guns to town and killing somebody. You can only hear so much squeaky clean happy stuff on the radio, or whatnot. There has to be room for a lot of other stuff. I’ve just fallen into that “other stuff” category! I’m able to write about that other stuff a little more easily.

I definitely don’t try to push too much religion or too much politics. I do put it out there that yes, there is the light, and yes, there is the dark. And my granddad sang about the light, and he sang about the dark. I’m kind of doing it that same way. The genres are just a little more extreme nowadays. There is a whole genre called doom metal, which had that spooky, eerie, kind of ghostly feel to it.

Like on the new record, when I have songs like Deep Scars or Loners 4 Life, then I’ll turn around and put a good time feeling song in there, like Dreadful Drive, with the clawhammer banjo. Or Possum In A Tree, getting a little bit old school with Leroy Troy, just to brighten it up a little bit.

I’m always trying to keep some balance in mind. 3 Bar Ranch Cattle Callin’ is kind of a lighthearted, fun record. It’s not getting real serious. I tell all the kids that! I’m always trying to have that come across.

BLITZ: You have two of the best new albums of 2013 to date with Brothers Of The 4x4 and A Fiendish Threat. On the track Possum In A Tree in your new Brothers Of The 4x4 album, there is some inventive steel guitar work. The delivery is, like you said, pure. Is there an attempt with that track to capture some of the novelty spirit of the genre, as perhaps your grandfather did with Kaw-Liga?

HANK3: I wrote that song for Leroy Troy. Leroy Troy is a purist, clawhammer banjo king. Yes, I wanted that song to sound more old school. I wrote it with him in mind.

That was my first attempt at trying to play steel guitar. I took my recorder over there. Me and him tracked it live in his shed out back. There’s a lot of reasons why that song is going to stand out. It sounds a little more low-fi than a lot of the record would. There is a reason for that. As Leroy Troy would say, “And to top it off, it’s a true story, too!”

That was definitely a good, lighthearted, fun recording session. I can’t wait to play it for Leroy. He gets to hear it when it’s officially done. I want to see his expression in person!

BLITZ: You mentioned the musicianship of the band. The title track on Brothers Of The 4x4 and Lookey Yonder Comin’ both feature strong instrumental workouts that celebrate the joy of the lyrics, but also showcase the strong musicianship of those who are playing on there with you.

You have always surrounded yourself with really strong musicians, who tend to soar when given the opportunity. Do you find that outside players gravitate to your work for that reason?

HANK3: I’m lucky enough to have a lot of the same players come back every time I make a record. Over both records, there is two and a half hours of music. Yet there is only about twenty minutes of editing. So almost all of these songs might have taken a hundred times to get that one take. But that’s how we did it. The players are definitely steppin’ up to the plate on those songs, like you were saying.

Johnny Hiland was the first guy to lay down some outside stuff on it. Then Daniel Mason on the banjo, Andy Gibson on the steel guitar, and Zach Shedd on the stand up bass. It’s always a challenge, doing the engineering and the recording process of it. Sometimes the players look at me, wanting me to tell them what to play. Then other guys just already know what they’re going to play and lay it down.

BLITZ: It works very well in that respect, too. It seems like with the Brothers Of The 4x4 album, you are shifting the focus a bit more towards instrumental dexterity, rather than lyrical content. Would that be a fair assessment?

HANK3: I’ve always loved the great musicians. It just goes back to writing vocals being a challenge for me. Yeah, I like turning the band up! If you listen to my mixes, you’re going to hear kick drum and snare pretty loud. I’m a fan of the band.

When I was growing up, I never could understand why a lot of the live band members weren’t playing on the records. That always baffled me. So I am lucky enough nowadays that the majority of my live band plays on the record. I get to see some friends that I’ve made over the years come in and do some of the super pickin’, just layin’ it down like it was nothing. Johnny Hiland and Billy Contreras.

BLITZ: You mentioned the clawhammer style of banjo picking. In the past, you seem to have professed an interest in the real pioneers of that work, such as David “Stringbean” Akeman. He was a forerunner of that style when he recorded for Starday. You even covered one of his songs. Would you say that Outdoor Plan from your new album is an attempt to carry on his mission statement? Or at least that of Elton Britt, Uncle Dave Macon or Hank Snow? There is a little bit of all of them in that song.

HANK3: What you are basically picking up on is the man who has been like my grandfather growing up, and that’s Eddie Pleasant. He writes probably two to three songs per day. That song is a co-write, and a lot of those influences are coming across on that song. That’s probably what you’re feeling. Even though he loved it when it was just me and my acoustic guitar. I put a little more of a current kind of bounce under it.

There is a lot more Stringbean that I probably need to get close to. I have some of his records that I want to get to in the future. It brings me peace. When I’m not feeling good, I can just pick up the banjo, go outside and sit down under the tree. There’s something about it that soothes my soul! I know I’ll be doing a little more recording of that one day.

BLITZ: You have stated in recent years that you get that same gratification from sitting down and listening to your record collection. Does that still resonate with you?

HANK3: Absolutely! I go through my highs and lows. If I’m not super busy with the crew, and the trailer is loaded, the gear is in place and the merch is counted, I have some times! Hasil Adkins is one of the guys that can make me hurt if I need to hurt. I can put on some of his songs and definitely get past some emotions. If I feel like working strong through the day, I’ll have Jimmy Martin blasting in the background and getting some stuff done. Music is still definitely tapping into my emotions very strongly, when I’m just listening to it.

BLITZ: Have you added to your collection lately?

HANK3: Right now, I’m kind of stuck. I’ve been into a lot of ’70s rock and roll, and getting into a lot of Roy Duke. I’ve been fascinated with Dock Boggs over the years. Something about Dock Boggs has just grown more and more on me. There is something about the banjo and the singers.

I save a lot of it for when I’m on the road. That’s when I do a lot of my vinyl shopping. I haven’t been on the road in almost a year. So I’m a little out of touch!

BLITZ: You at least maintained enough of that inspiration to be creative enough in the studio to produce an album like A Fiendish Threat. If you were looking to perhaps capture the spirit of Black Flag, the Sex Pistols or, to a lesser extent, the Ramones, you nailed it!

HANK3: Whatever music style it is, whether we are calling it punk rock or not, I think it has a unique sound for it all being played and sang at the same time on the acoustic guitar. The acoustic and the stand up bass has made it its own little whatever people call it.

My friends that I have known my whole life are saying, “What are you calling this?” I just know that it was a record that was a lot of fun for me to record. It made me feel like I was a younger man on some of those vocal takes. A lot of high energy! Imagine a skateboarder that had a really bad wreck, and he’s got to piece himself back together. I’m putting a lot of the “rebuild yourself” kind of hope into that record. There are some positive messages in that one.

BLITZ: That brings to mind another tangent of your Family Tradition situation. You are of course a father. You have a son and a daughter. If either of them approaches you and seeks your advice on music, how would you guide them? What would you suggest to them?

HANK3: With my son, while he’s still in college, I am backing him, no matter what! I always tell him to learn a trade. He’s kind of going through spurts of playing the guitar for a while. Then he will play the banjo for a little bit. Then he will be all about capturing sound with tape decks! Either way, I’m always telling him to try to learn a trade, and play your guitar as much as possible. It’s going to take you a little while to figure out what your calling is.

But I am glad to have the open relationship and to be supportive. It’s always interesting to see him go through the changes, trying to figure out what he wants to do. My main thing is, “You’re young. Enjoy being young while you can. You know I’m here to help you out whenever you need it.

BLITZ: During the times that you were both endeavoring to get started in your own respective careers, did you ever exchange feedback with your sister, Holly for ideas?

HANK3: Me and Holly have never talked all that much on a musical level, probably because we may both be a little bit afraid that we don’t want to offend each other! We just keep it as a family relationship. She knows that I respect her as a musician, and I think that she does the same. I think for right now that’s the best thing for us. We don’t want any of the business messing us up!

BLITZ: A couple of the more interesting tracks on A Fiendish Threat are Watchin’ U Suffer, Fight My Way and Full On. What is the background on those?

HANK3: Watchin’ You Suffer is in a deeper tuning. That’s one reason why it might sound a little different. It’s got a little bit of that melody kind of drive to it. That’s where a little bit of the sci-fi stuff might be coming in to it. If you’re thinking about some 1950s kind of alien movie, where they’re up in the sky watching you suffer, it’s that kind of thing.

Fight My Way is definitely inspired one hundred percent by 7 Seconds, to the point where I was calling them up and telling them, “This comes from y’all one hundred percent, and I need y’all’s permission before I can go through with this!” They gave me their blessings. That was a song that just spoke to me a lot when I was growing up.

Full On is just one of those creative, kind of going for it full on songs of energy, all at once.

BLITZ: When these two albums are released, you may confound expectations, but you should also meet them. Those who have known you and your music, and know that you have pursued multiple directions will be pleased to see how much your work has grown.

That of course leads to the issue of how these new releases will come to the attention of your audience. For example, of course for much of your father’s career, the goal was to get on a major label, make a record, get it on the radio, get it played, get the disc jockeys behind you, and then you will be a success.

But as you are no doubt aware, in the ensuing years, the game has changed radically in that the independent artist and label has largely taken over. Radio has lost a lot of its impact. Commercial music is no longer universally held up as the standard for all to attain. The major labels have pretty much begun to focus on reissues and catalog items, because they cannot do justice to artists as they once could, while a lot of the artists are doing that sort of thing for themselves now. Fan support, technology and social websites have further enabled the independent artist to do that. To what extent do you envision those developments furthering your own career?

HANK3: There is something that my dad had that I’ve never had. He had a great relationship with his managers. That is huge! I’ve never had that. I’ve had a couple that I had been close to for a little bit. But when you’re talking about Merle Kilgore and Hank Williams Junior, I’ve never had anything that powerful in my corner.

BLITZ: It was Merle Kilgore who set up the interviews that Blitz Magazine conducted with your father years ago. He couldn’t have been nicer. A world class gentleman.

HANK3: No doubt. But you need to understand that if you are talking about the music business, what Merle did for Hank Junior was pretty huge. It’s hard to say with an artist like me, but when I see some of my heroes in a tough situation when they get to an older age, it’s either going to work for me, or it’s not. It’s really hard to say.

I had taken advice from Henry Rollins a long time ago. He said, “You work hard. You tour hard. You know your sound. All you need is good distribution, and that’s it.” I’ve stuck by those words, and it’s helped me out a lot.

I’m not saying for certain, but one day I might have a manger again. Someone I feel comfortable with. But most of the time, I’ve found that there are some artists that management just doesn’t work for. I think I’m one of those, just because I’m creative in a lot of ways.

BLITZ: Henry Rollins has maintained a level of success over the decades by constantly reinventing himself. After he left Black Flag, he did spoken word recordings. Then he became an author and a newspaper columnist. Most recently, he has been dabbling in acting. He has been all over the map, but he has nonetheless had success in every one of those ventures. Like you said, he worked hard and asserted himself. Presumably that is also what you are trying to do right now.

HANK3: Absolutely! He is definitely one of my heroes. A lot of my heroes usually have a high work ethic. Sometimes I wish that I could hang in there as much as Henry does. He’s so smart, and he takes on everything. I am hoping to get more and more stronger as I go. People like him, who kind of understand my history a little bit, have helped me conquer a lot of my challenges.

After I’m fifty, I really don’t know what’s going to happen musically for me. It’s going to be hard for me to look past that. Having someone like Henry Rollins to look up to, shows me that there might be other things in life that will ring true for me some day.

BLITZ: So you aren’t thinking creative muse long term as much as you are a survival strategy.

HANK3: I’m more concerned about not being able to pull off the show that I want to pull off! Can I still put on the country and the heavy metal? Every tour is a challenge. I am definitely living more in the now than I am in the future, because if you look at my financial past and all of that, it’s always ups and downs. Every night when you play, sometimes there are a thousand people, some nights there are a hundred people. But they still get the same show! And I’m still there if I’m sick or if I’m well. I’m gonna be up on that stage, doing the best I can, and letting someone forget about their problems for a little while.

BLITZ: It’s interesting that you are concerned about being able to maintain and execute your musical vision once you pass a certain chronological point. In recent years, we have seen a lot of first generation garage rock and related bands such as the Yellow Payges, the Monkees, the Young Rascals, the Rolling Stones and the Beach Boys all take to the road again to considerable acclaim, in spite of such concerns. Would taking it from the standpoint of heightened self-confidence help in that respect?

HANK3: Absolutely! I’m always astounded by some of the older guys that can keep bringin’ it to the table. Two nights ago, I went and saw Adam Ant. The first time I saw him was in 1984. He still has the voice. He still sounds like the guy that I looked up to way back then. I am always amazed by the Iggy Pops and the Willie Nelsons. These guys are still out there singin’ and playin’ and takin’ it to the next level!

I am always fascinated with the voice. For me, the voice is something that is hard to hold on to. On the road, you lose it and it gets weak. It gets gravelly. And sometimes, when you get older, just listening to Hank Junior records, you can hear how much his voice dropped, aside from the mountain fall and all of that.

Or Robert Plant. He is another perfect example of how things change when you get older. It’s always a challenge, that’s for sure! It keeps you on your toes. Who knows what will be waiting around the corner?

BLITZ: Monkees drummer Micky Dolenz, who has a wide and commanding vocal range, keeps his voice up by doing vocal exercises. Many artists also work out in the gym to prepare themselves for the rigors of the road.

HANK3: I have also been psyching myself up mentally in getting ready for the tours. I do nothing but stretch and breathe steam. I’m not the kind of guy who can just walk out on stage and have my voice. After a week and a half into it, I have to work at it two to four hours every day just to get it there. I do warm ups, stretching and exercises to get it to where I want it. Singing three and a half hours a night is always a hard thing.

BLITZ: Is that part of the reason why your upcoming tour is relatively brief, so that you don’t over extend yourself? Some artists have toured up to two years consecutively at a time. But your upcoming tour is scheduled to be completed in roughly a month.

HANK3: I’m just trying to see what a few weeks is going to do to me right now. I’m doing a small run. The longest I can go is a month and a half. Doing three and a half hour shows and four different genres per night? Now if I was just a country act, I could maybe pull off five to six months straight. But doing all of the other hard singing is a lot more tricky for me, mentally and physically.

BLITZ: How much of the set list in your upcoming tour will feature material from the two new albums?

HANK3: The country show will just be here and there, because of the fans. I’ve got my songs that a lot of the people want to hear. Foundation songs.

In October, there will be a lot more. I call this next tour the Nothin’ In It tour! I'm just gearing myself up for a harder run and a lot more work. I’m saving the energy just to get really personally excited for the next two years out there.

BLITZ: With regards to your two new releases, what is your perspective on the current developments in the industry? As you are aware, there has been a lot of interest in bringing back vinyl. Conversely, there has been a push from other camps in the industry towards eliminating physical product and making everything available only as a download. In the middle of it all is the compact disc. All three camps seem to be at odds with one another, each saying that their respective formats have a place, and they don’t want to concede it. What is your take on format availability?

HANK3: I seriously hope that people always have a chance to hold the product in their hands. Both the CD and the vinyl album. I know that vinyl will probably outlast the CDs. But as long as there is something there for them to hold on to, read and flip through, well, you just can’t replace that! Digital downloads are great, but it’s just not the same.

Like you are saying, hopefully it will hang in there. It needs paper and ink!

Since we’re talking about vinyl, I don’t carry that much of it on the road. I always tell everyone that is the place to get the vinyl. If anyone does come out to see me live, I usually don’t have an opening band. I always tell people that we usually play early. If the showtime is eight o’clock, then we are usually on stage at eight o’clock, as we often play about three and a half hours.

We cover a lot of different genres. I always do the country part of the show first, and the rock part as the night goes on. We’ve had a lot of great shows at the Machine Shop in Flint, Michigan over the years. There is always a lot of energy in the room on those nights!



COUNTRY MUSIC LOVER: Rockabilly pioneer and long time Grand Ole Opry great, James Cecil "Jimmy" Dickens (pictured above on the cover of his September 1960 Big Songs album for Columbia) passed away in a Nashville, Tennessee hospital on 02 January 2015 after suffering a stroke on Christmas Day and cardiac arrest on the day of his passing. Editor/Publisher Michael McDowell remembers the country music giant below (Click on above image to enlarge).


Sadly, the first musical casualty of 2015 is also one of its most beloved figures. Grand Old Opry veteran, long time Columbia Records artist, vocalist, songwriter, humorist, outspoken country music advocate and Bolt, West Virginia native, James Cecil “Jimmy” Dickens passed away in a Nashville, Tennessee hospital on 02 January after suffering a stroke on Christmas Day and cardiac arrest on the day of his passing.

Having begun his musical career in the late 1930s on WJLS radio in Beckley, West Virginia while attending West Virginia University, Dickens spent the next decade touring as Jimmy The Kid. He was performing on WKNX radio in Saginaw, Michigan in 1948 when he came to the attention of country music pioneer and Columbia recording artist Roy Claxton Acuff, who in turn introduced Dickens to the Grand Ole Opry and the label. By decade’s end, Dickens recorded his debut 78 for Columbia, Take An Old Cold ’Tater (And Wait) (Columbia 20548) as Jimmie Dickens, and became a regular fixture on the Opry; a position he would hold for the remainder of his life.

In the ensuing years, Dickens recorded prolifically for Columbia, with many of his tracks amongst the earliest examples of the fusion of rock and roll and country that became rockabilly. Some of his career highlights include They Locked God Outside Of The Iron Curtain, Lola Lee, Sidemeat And Cabbage, Out Behind The Barn, Stinky Boogie, Country Boy Bounce, We Lived It Up, Police, Police, When The Ship Hit The Sand and the November 1965 monster classic, Bird Of Paradise. He also recorded the Gospel staple, Old Country Church as a duet with the late, great Hank Williams.

In addition to his formidable skills as a musician, Jimmy Dickens was perhaps even more beloved in his role as outspoken ambassador for pure country music, possibly rivaling former Dodgers skipper Tommy Lasorda in his pure unbridled and outspoken enthusiasm for his chosen field. Dickens continued to perform at the Grand Ole Opry until 20 December 2014. He is survived by his wife, Mona and daughters Pamela Detert and Lisa King. Dickens was 94.


"I know you! You're the president of the Ray Charles Fan Club!"

So said Blitz Magazine Editor/Publisher Michael McDowell to Sheffield, South Yorkshire native and vocalist extraordinaire John Robert "Joe" Cocker, upon meeting him for the first time backstage after a live concert performance in the late 1970s, where he had shared the bill with Atlantic label recording artist Jay Boy Adams. The genial, gregarious and most gracious Cocker warmly welcomed the suggestion and responded at length how Charles' one of a kind musical persona was a major inspiration in his own mission statement.

That mission statement included a brief stint with the Cavaliers in 1960, where he performed primarily Lonnie Donegan-type material and continued to develop and perfect his capabilities as a world class soul shouter. By 1961, he had adapted the stage name Vance Arnold, inspired by ABC Paramount Records' rockabilly legend Vince Everett and country music pioneer Eddy Arnold. With his band, the Avengers, Cocker as Arnold featured covers of Ray Charles and Chuck Berry material in his set. By 1964 he felt confident enough in his capabilities to cut his debut single, I'll Cry Instead under his own name.

After a year's sabbatical from music, Cocker reemerged in 1966 fronting the Grease Band. By 1968, they had firmly established themselves with a faithful and inspiring cover of Joe Brown's With A Little Help From My Friends.

Seeing his enormous potential, A&M Records in the United States signed Cocker, who over the next several years firmly established himself alongside John Fred, Mitch Ryder, Monkees drummer Micky Dolenz, and the Animals' Eric Burdon as one of the world's leading soul shouters, with such first rate singles as his definitive rendition of Traffic's Feelin' Alright, plus Delta Lady, She Came In Through The Bathroom Window, a cover of the Arbors/Box Tops classic The Letter, You Are So Beautiful (which also found its way into the repertoires of both the Beach Boys and Billy Preston, who co-authored the song with Cocker) and the utterly stupendous, 1971 self-penned (with Chris Stainton) High Time We Went. Cocker's 1970 Mad Dogs And Englishmen for A&M is also widely regarded as one of the greatest live albums in all of rock and roll.

Cocker was of course also one of the featured artists in the 1969 Woodstock Music Festival in New York. In 1994, Cocker joined in the celebration of the festival's twenty-fifth anniversary, where he provided one of the festival's highlights with a tour de force rendition of High Time We Went.

Cocker and his wife, Pam Baker in recent years had relocated to their duly named Mad Dog Ranch in Crawford, Colorado. Cocker continued to tour and perform regularly, releasing the acclaimed Fire It Up album in 2012. Sadly, not long after its release, he contracted lung cancer, which finally claimed his life on 22 December 2014. Cocker was 70.


He has been called the master of reinvention. Indeed, few have enjoyed as substantial of a career renaissance as did pioneering rocker and Muswell Hill, North London native, Bernard William Jewry. 

Jewry began his musical career in 1960 as road manager for the aspiring Shane Fenton and the Fentones. The band had recorded a demo, which was sent to the BBC for consideration. 

In the interim, front man Shane Fenton passed away suddenly from rheumatic fever at age seventeen. At his mother's prompting, the band opted to persevere, with road manager Jewry assuming both front man responsibilities and the stage name of his fallen colleague.

That move was ultimately a most fortuitous one, with Jewry as Shane Fenton proving to be a world class vocalist in the vein of Buddy Holly, Eddie Cochran and Billy Fury. Shane Fenton and the Fentones signed with Parlophone, where from 1961 to 1964, they released such inspired singles as Walk Away, It's All Over Now, Too Young For Sad Memories, I Do Do You and their utterly stupendous signature track, 1961's I'm A Moody Guy. And in one of the all time great summit meetings of rock and roll, Shane Fenton and the Fentones co-starred with the legendary Billy Fury in the classic 1962 motion picture, Play It Cool. 

But when the so-called British Invasion came into being, the Fentones opted to disband. Fenton persevered for a season as both a solo artist and upon occasion with his wife, Iris Caldwell (who was the sister of fellow veteran rocker, Rory Storm), and also worked in artist management. 

As was the case for many a pioneering rocker, the early 1970s were a most unproductive and challenging time. Nonetheless, there were a number of artists who rose to the occasion and stood their ground against the mainstream in favor of the genuine article. Never was this more apparent than during one particular week in mid-1972, when three of the most beloved and influential veteran rockers (Rick Nelson, Chuck Berry and Elvis Presley) had the top three selling singles in the United States. 

In turn, others such as the band Mud and former Love Sculpture lead guitarist Dave Edmunds began to outspokenly champion basic rock and roll, and their numbers grew exponentially. Duly reinvigorated, Fenton took a suggestion from Magnet Records' Michael "Lord" Levy and reinvented himself as Alvin Stardust. 

As Alvin Stardust, Fenton enjoyed an unparalleled career renaissance. My Coo Ca Choo brought him his first consequential recognition as such in 1973. It was followed by such noteworthy singles as Pretend, I Won't Run Away and the inevitable I Feel Like Buddy Holly.

Fenton in his Alvin Stardust persona also contributed significantly to Gospel music. His 1986 I Hope And Pray single with former CBN co-host Sheila Walsh met with considerable acclaim, which led to a role in the UK stage production of Godspell. In 1989, he briefly hosted the children's television program, It's Stardust.

Fenton/Stardust remained active in each of the aforementioned disciplines until the present day, juggling his professional responsibilities with his family commitments. Each of his four children has achieved a remarkable measure of success in their own right. Oldest son Shaun Fenton is a school teacher. Second son Adam is a music producer. His daughter, Sophie Jewry is a graphic designer. And in her early teens, younger daughter Millie Margaret May is being indirectly blessed with an extraordinary musical education, with rock and roll great, Sir Cliff Richard serving as her godfather. 

Despite a recent diagnosis of prostate cancer, Jewry continued to perform live as Alvin Stardust. He recently completed a CD of all new material, which will be released shortly. Tragically, the disease nonetheless took its toll, and he succumbed to it on 23 October, thus bringing to a premature end one of the most extraordinary careers in all of music. Jewry/Fenton/Stardust was 72 and is survived by his third wife, choreographer Julie Paton and his four children.

If Blitz Magazine is The Rock And Roll Magazine For Thinking People, then musician, musicologist and fellow record collector Tim Hauser was the personification of our target demographic.

A native of Troy, New York, Hauser made a most memorable debut into the world of music in 1959 as a founding member of the Criterions. With lead vocals by John Mangi, the Criterions signed with Cecilia Records that year and turned out two of doo wop's finest moments with I Remain Truly Yours and Don't Say Goodbye. Hauser and Criterions members Tommy West and Jim Ruf persevered as a time as the folk trio, the Troubadours Three, while Hauser pursued his studies in economics at Villanova University.

During his years at Villanova, Hauser also began a lifelong fascination with broadcasting; serving at the university's affiliate station, WWVU. He continued to pursue his interest in music as a member of the Villanova Singers, alongside classmate and future solo artist, Jim Croce.

Following graduation, Hauser served in both the United States Air Force and National Guard. In 1965, he made a brief foray into the world of advertising as a marketing research analyst, with such noteworthy clients as Lever Brothers and Johnson and Johnson to his credit.

But true to form, Hauser's first love remained music. And in 1969, he launched the venture that would ultimately define him, with the formation of Manhattan Transfer. Comprised of Hauser, Gene Pistilli, Marty Nelson, Erin Dickens and the late Pat Rosalia, the ambitious quintet signed with Capitol and released the acclaimed Jukin' album.

While at the label, Manhattan Transfer also cut a sublime cover of Bob Dylan's Winterlude as a 6/8 dreamscape piece, complete with lavish and sublime vocal harmony. It was that Capitol Records single that brought Manhattan Transfer to the attention of Blitz Magazine and forever ensured their position in the upper echelons of group harmony.

However, creative differences brought the original Manhattan Transfer line up to a premature end. Determined nonetheless to keep the group's mission statement going while serving briefly as a taxicab driver, Hauser teamed up with the like minded vocalist Laurel Masse. The pair met fellow musicologist Janis Siegel at a party, and eventually recruited Grease veteran Alan Paul to to complete the line up. Hauser, Masse, Siegel and Paul subsequently signed with Atlantic Records and over the next several decades firmly established themselves as the world's premier vocal quartet.

Masse's tenure with the group ended while she was recuperating from an automobile accident. She was replaced in 1978 by the highly versatile and subsequently prolific solo artist and vocal coach, Cheryl Bentyne. It was that line up that persevered to the present day, with such groundbreaking albums as Music For Moderns, Bop Doo-Wopp, The Offbeat Of Avenues and Couldn't Be Hotter to their credit.

Throughout the decades, it was their mastery of many divergent styles that continued to serve them well. In terms of cover material, the group soared no matter what the source, making well established classics by the likes of the King Cole Trio, the Glenn Miller Orchestra, the Four Seasons, the Ad Libs, the Capris, Art and Dotty Todd, the Videos and Marvin Gaye their own. In turn, their original material made them virtually untouchable as a quadruple threat, with all four members contributing prolifically in a variety of disciplines.

In recent years, Blitz Magazine has had the pleasure and privilege of dialoguing with the various members of Manhattan Transfer on a regular basis. Beginning with a lengthy interview with the group's Alan Paul several years ago, the group has from time to time continued to share its passion as fellow musicologists, musicians and record collectors with Blitz.

Some years ago, the members of Manhattan Transfer astutely relocated to Southern California. And to his considerable credit, Hauser (along with such long time musical friends and colleagues as former Balancing Act guitarist Willie Aron, Tokens co-founder and original drummer Mitch Margo and beloved Blue Cat/Cameo label veteran solo artist Evie Sands) reflected his enthusiasm accordingly as a fellow hardcore fan of the Los Angeles Dodgers. Like the others, Hauser attended home games at Chavez Ravine regularly and was passionate about sharing his enthusiasm about MLB's premier franchise with Blitz and others.

Although Manhattan Transfer has continued to record and perform live regularly, both Hauser and Cheryl Bentyne were sidelined from the group for brief seasons within the past few years, due to major illnesses. To his considerable credit, Hauser successfully overcame prostate cancer (as did his long time friend and fellow musical visionary, Billy Vera), and also underwent successful spinal surgery. With Hauser and Bentyne back in fighting shape, the group had planned a series of live dates to take them through the remainder of 2014.

However, for Hauser, it was not meant to be. Tragically, he passed away unexpectedly on 16 October, just weeks prior to his seventy-third birthday. He is survived by his wife, Barb and two adult children. Thankfully, Manhattan Transfer has vowed to persevere in his memory. 


Although the news was inevitable, the multitudes who counted themselves amongst the band's faithful nonetheless were saddened by the news that beloved Paul Revere and the Raiders founder and keyboardsman, Paul Revere lost his long time battle with cancer on 05 October at his Idaho home.

Beginning as the Downbeats in 1958, the band that eventually became Paul Revere and the Raiders went on to cut a number of first rate sides for the Gardena label, including Beatnik Sticks, Like Long Hair, Orbit (The Spy) and the early Mark Lindsay vocal, Sharon.

Paul Revere and the Raiders then signed with Columbia, and in short order became America's premier first generation garage band. With a world class line up that included at various points along the way Revere, vocalist Lindsay, guitarists Drake Levin, Freddy Weller and Jim Valley, bassist Phil Volk and drummer Mike Smith, Paul Revere and the Raiders released a number of singles and albums for the label that rank among the finest in the genre, including Steppin' Out, Just Like Me, SS396, Kicks (which was subsequently covered by the Monkees), Good Thing, The Great Airplane Strike, Ups And Downs, Leslie (a B-side, which featured a rare Revere lead vocal), Tighter (a highlight of their 1967 Revolution! album), Him Or Me, What's It Gonna Be?, I Had A Dream, Too Much Talk, Don't Take It So Hard, Cinderella Sunshine, Let Me, Indian Reservation, Powder Blue Mercedes Queen and Love Music.

Although the band's Columbia era veterans each went on to great success in other musical ventures, Paul Revere kept the Raiders active until the present day, earning great ongoing acclaim as one of the world's finest live bands.

Sadly, earlier this year, Revere announced his retirement from the road, due to health concerns. True to form, he gave the battle his one hundred and fifty percent effort, but victory was not meant to be. Paul Revere was 76.


By the time that Blitz Magazine (and several others of similar intent) rose to prominence in the mid-1970s, radio had for the most part greatly diminished in its capacity as a viable source for worthwhile music.

Indeed, the times they were a-changin', and those of us in music journalism found ourselves fulfilling that role to an increasing degree. In terms of new releases, that task was made somewhat easier by the concurrent growth and development of the so-called punk and new wave movement, which gave rock and roll one of its last collective gasps of consequence.

For some publications (including Blitz Magazine), the sudden availability of an increased public forum also brought with it a golden opportunity to generate long overdue attention for solo artists and bands whose work had heretofore been overlooked by a widespread audience.

Amongst others, Blitz Magazine did so with the first generation garage band, the Chocolate Watchband. The group's three albums for the Tower label were readily available in the cutouts in the late 1960s (just months after their initial release), and had pretty much vanished from general circulation by the early 1970s. The band's work was nonetheless highly prized at Blitz; a point driven home in great detail in the early 1980s in our landmark three-part extensive interview with the band's late producer (and Four Preps co-founder), Ed Cobb.

With the release of the Chocolate Watchband installment of that Ed Cobb interview, interest in the band began to grow exponentially. So much so that before mid-decade, the Los Angeles-based Rhino Records commissioned Blitz Editor/Publisher Michael McDowell to composed the sleeve notes for the label's proposed anthology of the band's work. Due to temporary unavailability of master tapes at the time, the majority of the cuts on that vinyl anthology album were pressed from copies of the band's albums in Blitz Magazine's archives. Nonetheless, the Chocolate Watchband's best work was once again readily available, and the album sold briskly.

Thankfully, the long overdue interest prompted the band to reunite. In 1999, the Chocolate Watchband headlined a landmark show in San Diego, California that was put together by long time friend and journalistic colleague, Mike Stax. Despite the inevitable personnel changes, the band has continued to record and is readying a new studio album for release.

However, that joyous news was tempered somewhat with the news that Chocolate Watchband founder and original lead guitarist, Mark Loomis passed away in Hawaii on 26 September. A veteran of the San Jose-based Chapparals, Loomis became a key architect of the band's sound, which today is widely regarded as among the most essential and impacting in all of first generation garage rock.


The classic line up of the John Coltrane Quartet (John Coltrane - saxophone, McCoy Tyner - keyboards, Jimmy Garrison - bass, Elvin Jones - drums) has been held up as the standard of excellence within the jazz idiom for so long that many an aspirant has sought an alternative template on which to base their mission statement. Some have even done so after resigning to the inevitability that attempting to redefine and/or supersede their example is ultimately an exercise in futility.

Yet almost uniquely, one veteran saxophonist can lay claim to at least having the authority to do so. Little Rock, Arkansas native Farrell “Pharoah” Sanders is (along with Tyner) one of a tiny handful of surviving musicians who served with Coltrane’s vaunted organization. Along with Coltrane, his wife Alice Coltrane on keyboards, drummer Rasheed Ali and bassist Garrison, Sanders (as saxophonist and percussionist) was a part of the entourage that recorded the landmark, massive four-disc Live In Japan album for Impulse in 1966, which concluded with the jaw-dropping, fifty-seven minute rendition of Coltrane’s Atlantic-era signature track, My Favorite Things.

Since Coltrane’s tragic passing in July 1967 from liver cancer, Sanders has appropriated his mission statement and made it his own with a highly creative and prolific repertoire that maintains Coltrane’s impeccable standards without succumbing to sycophantic patronizing. And with his own virtuoso quartet (which features William Henderson on piano, Nat Reeves on stand up bass and Joe Farnsworth on drums), Sanders proved to be the ideal headliner at the thirty-fifth annual Jazz Festival in downtown Detroit, Michigan, which was held over the Labor Day weekend.

A committed believer who endeavored to express his faith through his music, Coltrane did so with unparalleled results in his February 1965 A Love Supreme album (Impulse AS-77). Sanders not only followed suit during his 30 August set before an overwhelmingly appreciative capacity crowd at the Jazz Festival’s Carhartt Amphitheater Stage by incorporating excerpts from Coltrane’s 1959 Naima (from Giant Steps on Atlantic SD1311) and A Love Supreme itself into his extended workouts, but by taking it a step further through the inclusion of his own duly inclined signature track, The Creator Has A Master Plan from his February 1969 seemingly incongruously titled Karma album (Impulse AS-9181).

Like Coltrane, Sanders has also surrounded himself with the finest of virtuosos. Pianist Henderson, bassist Reeves and drummer Farnsworth were all afforded ample opportunity to solo at length, and each responded with an enthusiasm that belied the over familiarity of the material within their own circles. In turn, Sanders reaffirmed his status as an adventurous keeper of the flame with a reasonable amount of thinking outside the parameters. At age seventy-three, he remains as on top of his art as he was on his earliest work for E.S.P. and Impulse.

To be certain, if Sanders is a keeper of the flame, then fellow veteran saxophone virtuoso, World War II veteran, North Carolina Agricultural And Technical State University alumnus and Badin, North Carolina native Lou Donaldson is one of the genre’s most uncompromising purists. With an impeccable repertoire that began with the 1952 release of his Quartet/Quintet/Sextet album (Blue Note BLP-1537), the generally genial Donaldson (who will celebrate his eighty-eighth birthday on 01 November) nonetheless remains an outspoken advocate for his art.

To wit, during his equally acclaimed set at the festival’s Mack Avenue Waterfront Stage on 30 August, Donaldson introduced his interpretation of Miles Davis’ 1957 rendition of Gene Austin’s Bye Bye Blackbird (from ’Round About Midnight on Columbia CL949) thusly: “We’re now going to play a tune made famous by Miles Davis when he was still playing jazz.

Undaunted, Donaldson moved on to his own 2002 Fast And Freaky (from his Relaxing At Sea: Live On The QE2 album on Chiaroscuro CRD 366), of which he said, “This is the kind of music that fusion musicians hate, because you have to practice to be able to play it!”

To further underscore his commitment to his principles, Donaldson paid tribute to Ivory Joe Hunter with an inspired rendition of Hunter’s 1949 I Almost Lost My Mind (MGM 10578), along with a faithful reading of Louis Armstrong’s 1968 What A Wonderful World (ABC Paramount 45-10982). And to dispel the undercurrent of uneasiness amongst a small yet relatively vocal percentage of the observers with respect to his observations about Miles Davis and fusion, Donaldson introduced the Armstrong track as, “A tribute to the greatest musician that ever lived. Now why are you all looking at me??” He reiterated the point with a spot on reprise of the tongue in cheek Whiskey Drinkin’ Woman from Relaxing At Sea: Live On The QE2 and (not surprisingly) got the biggest ovation of his set for his no nonsense extended workout on his own 1967 signature track, Alligator Boogaloo (Blue Note 1934). To be certain, few have been able to match such bravado with sheer ability, yet Donaldson continues to deliver both in abundance.

All of which pretty much sums up what was the most welcome and pleasantly surprising set of that evening back at the Carhartt Amphitheater Stage, with Detroit-born vocalist and Broadway veteran Freda Charcilia Payne triumphantly reinventing herself in celebration of her just released Come Back To Me Love album for the ongoing Festival co-sponsoring Mack Avenue label.

Long a jazz aficionado and an alumnus of the Impulse Records artist roster, Payne began her recording career accordingly in 1962 with a cover of Antonio Carlos Jobim’s Desafinado (Slightly Out Of Tune) on ABC Paramount 45-10366. Come Back To Me Love has brought her full circle, with Payne celebrating her not so latent enthusiasm for the genre via covers of the great Kenny Rankin’s November 1966 Haven’t We Met (Columbia 4-43885), bandleader Woodrow Wilson “Buddy” Johnson’s 1955 Floyd Ryland vocal, Save Your Love For Me (Mercury 70695X45), keyboardsman Eddie “Eddie Miller” Morgan’s I’d Rather Drink Muddy Water, and a show-stopping rendition of June Christy’s 1957 Thomas J. Wolfe and Frances Landesman-penned high drama masterpiece, Spring Can Really Hang You Up The Most.

Come Back To Me Love also features several like minded Gretchen Carhartt Valade-penned originals, including the reflective Lately, the Billy Eckstine/Joe Williams-flavored You Don’t Know, the mid-tempo and sublimely charted I Should Have Told Him, the Barbra Streisand-friendly Whatever Happened To Me, and the Billie Holiday-inspired title track. As executive chair of both the Detroit Jazz Festival and the Mack Avenue label, Valade has brought to the proceedings a keen and refreshing sense of solidarity and attention to detail, commensurate with that found in such earlier multi-tasking visionaries as Johnny Mercer and Fred Rose. True to form, Payne rose to the occasion accordingly, bringing unwavering world class interpretation to both studio and stage.

However, Payne’s biggest mainstream success came in the early 1970s with a series of singles for Eddie Holland, Lamont Dozier and Brian Holland’s Invictus label, including Bring The Boys Home, Cherish What Is Dear To You, Deeper And Deeper and You Brought The Joy. With all due respect for that phase of her work, she astutely sidestepped it for the most part during her set, with the inevitable exception of a sympathetically rearranged rendition of her 1970 signature single, Band Of Gold (Invictus IS-9075) as the set closer. Even so, the various tracks from Come Back To Me Love proved that Payne is far more in her element with this latest endeavor and is most assuredly on the right track.

Rounding out the three-day festival were inspired sets by such beloved legends as keyboardsman Ramsey Lewis (as part of a Nat King Cole tribute band), Stanley Clarke, Joey DeFrancesco, Diane Schur and Doctor Lonnie Smith; once again reaffirming the Detroit Jazz Festival’s status as the premier event of its kind.

Amongst aficionados of first generation garage rock, there are a number of tracks that are often held up as the standard of excellence within the genre. Some of the more obvious examples would include the Thirteenth Floor Elevators' You're Gonna Miss Me, the Seeds' Pushin' Too Hard, the La De Das' How Is The Air Up There, the Standells' Dirty Water, the Count Five's Psychotic Reaction and the Rationals' definitive rendition of Otis Redding's Respect.

However, for those of us at Blitz Magazine, the single that has represented absolute utter perfection more so than any other release within the idiom is the May 1965 Because I Love Her single by the Human Beings on the Warner Brothers label. From the Detroit, Michigan suburbs, the Human Beings (Ted Licavoli - lead vocals/rhythm guitar, Ronnie Blight - lead guitar, Steve Fava - bass, John Ruff - drums) created with that release a masterpiece of high drama. With its jangling guitar intro, Licavoli's pleading vocal and the great interplay between acoustic guitar and harmonica in the instrumental break, Because I Love Her peaked at number nineteen on the charts of Dearborn, Michigan's enormously influential WKNR Keener 13 in May 1965, in turn earning several television appearances for the band. It was also one of the tracks included in the acclaimed Michigan Brand Nuggets garage rock compilation album. Because I Love Her ultimately fared very well in the Best Singles category in the Blitz Awards For The Twentieth Century, which originally appeared on Blitz's web site in 2001.

Following that landmark release, the Human Beings then signed with the vaunted Impact label, which was also the recording home of such immensely respected artists as Mickey Denton, the Shades Of Blue, Sixto Rodriguez, the Sixpence, the Inner Circle and Jock Mitchell. The band cut three singles for Impact, beginning with the utterly stupendous An Inside Look/I Can Tell in November 1965, and followed with You're Bad News in March 1966 (which was coupled with a first rate cover of the Five Keys' Ling Ting Tong) and a unique, garage rocking take of Gene Austin's 1925 monster classic, Yes Sir, That's My Baby in March 1967.

Sadly, front man Ted Licavoli passed away in 2000 at age 59. Tragically, the world of music has now also lost bassist Steve Fava, who passed away on 23 February 2014 at age 67. Fava is survived by his three children, Stephanie Ludwig, Andrea Chambliss and Joe Fava, as well as two siblings and three grandchildren. Fava's family is planning a special celebration of his life for this coming spring. Details to be announced.