Saturday, November 8, 2025

Righteous Brothers farewell tour stops in Napa California with boys closing with,'You've lost that lovin feeling


The boys in top form closing out show with the top selling song of all time, 'you've lost that loving feeling'. There was only one Bobby Hatfield but Becky heard that's a good shop with banter and all in the same style as Hatfield but with a different voice yet he can still hit the high notes


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Sunday, October 5, 2025

Los Straitjackets blow the roof off the joint defending reputation as top instrumental vintage surf band of past 30 years​


ivy room presents

Los Straitjackets blow the roof off the joint defending reputation as top instrumental vintage surf band of past 30 years

Ivy Room presents

Los Straitjackets + The Chuckleberries

PLUS DJ SID PRESLEY


Saturday, October 4 | Ivy Room

click for Marlboro song
CLICK. For video sample

 

Reprinted from do the bay.com


Mike Campbell knocked on the dressing room door and brought in a friend to meet Los Straitjackets. It was the late 1990s and through a chance encounter with Campbell, the band found themselves opening a series of shows for Tom Petty & The Heartbreakers. Mike introduced his friend: “You gotta meet these guys. They sound like the early Beatles if they didn’t sing.”

It was a high compliment because everyone in the band understood exactly how to take it. He wasn’t calling them the equal of Lennon & McCartney and company, just acknowledging that the band were high practitioners of the ‘combo’ sound: an early sixties line up of two guitars, bass and drums playing rock n’ roll music best exemplified by the Cavern Club-era Beatles.

Constantly tagged with a slightly reductive “surf music” label, Los Straitjackets are better characterized as “instrumental rock n’ roll,” and have been since founders Danny Amis and Eddie Angel met and watched drummer Jimmy Lester play drums with Webb Wilder at a Nashville club. Their influences range from the double-picking-surf-attack of Dick Dale, to the proto-rock of Link Wray, the hooks of The Ventures, to the groove of Booker T. & The MG’s, all played with an energy that acknowledges The Cramps and punk rock. And past the golden age of instrumentals of the 1960s, one could argue they have brought this music to more fans than any other band, having done it for more than 30 years.

They have taken their combo sound around the world, mostly making instrumental records, but also backing vocalists along the way, most notably for over a decade with Nick Lowe. It’s that collaboration that fuels this latest album, Somos Los Straitjackets. The lineup that has been touring since founder Danny Amis had to drop out of day-to-day operations because of his (winning) battle against multiple myeloma is Eddie Angel, longtime bassist Pete Curry, drummer Chris Sprague (The Sprague Brothers, Deke Dickerson) and Rochester guitar hero Greg Townson (The Hi-Risers, John Ellison). Playing hundreds of songs with and without Lowe, this four-piece has coalesced into an incredibly tight, rockin’ combo. “Playing behind a master like Nick Lowe makes you laser-focused on your playing. It has also made us very adept at coming up with twin guitar parts that complement each other,” says Eddie Angel.

After recording with Lowe at Alex Hall’s Reliable Recorders, the band knew they had met the man who could capture the sound of this group. Angel elaborates, “We trusted Alex’s instincts and we were fans of some of the studio’s other outputs like JD McPherson and The Cactus Blossoms.”

He continues, “The recording process we used this time was different. We got together numerous times at Pete Curry’s Powow Fun Room studio in LA to work up the songs, then we recorded demos to listen back to. Having some time to tweak the songs, and in some cases play them live, really helped when it came time to record.” They booked a session with Hall at bassist Pete Curry’s Marina Del Rey-adjacent studio, the Powow Fun Room, and followed up with a couple of sessions in Chicago. This list of songs built the first album of original material the band would record since Jet Set (2012). They worked on them at soundchecks and even peppered them into live sets. Somos is rounded out with two re-recordings of pandemic-era remote compositions (Townson’s “Genesee River Rock” and Angel’s “April Showers”) as well as revisiting “Spinout,” a track recorded by Eddie’s other band The Neanderthals (bolstered by some guest vocals from voice-over king Tom Kenny).

From Townson’s thrilling “High Wire Act” to Angel’s down and dirty “Numbskull” to the beautiful “Polaris,” Somos Los Straitjackets pulsates with wit, twang and thunderous rock n’ roll. On “Cry for a Beatle,” drummer Chris Sprague strapped on a rickenbacker, Pete Curry moved to his original instrument (the drums!), and Eddie Angel picked up a bass. Paying explicit tribute to the combo sound of the Beatles and evoking The Fab Four’s nod to The Shadows (“Cry for a Shadow”), this song closes the circle.

Somos Los Straitjackets demonstrates why Los Straitjackets have reigned as the kings of modern instrumental rock for over thirty years; with shimmering tremolo, relentless drum grooves, and hooks so catchy they don’t need lyrics to get stuck in your head. Produced with a vintage touch but packed with fresh intensity, Somos Los Straitjackets is both a love letter to rock and roll’s past and a declaration of purpose with feet firmly planted in the present: “We Are Los Straitjackets"
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Thursday, August 14, 2025

Ballroom Dancing- learning and enjoying the art of..


Plume
Dear Friends,

Today I would like to share with you an activity many have loved and may or may not have participated. This passion had led me to travel to many cities in the bay area taking group lessons/Social Dance with like minded friends initially dragging our spouses along first to DVC Pleasant Hill to attend the ballroom dance classes they offered. Spouses interests do differ and finally Bernie had to  painfully confess that he has 2 left feet like his father whose fees were refunded after a couple of classes at the Arthur Murray dance studio.  As he pursued his interest in tennis and now pickle ball too, I was encouraged to continue with mine- that was 2 decades ago as I transitioned to Line Dancing, as many of the line dances have ballroom dance patterns choreographed into it.

One of the best group lessons I had was up in Emeryville at Allegro Ballroom.  I had membership for 2 years just to attend Tytus Bergstrom Sunday 12 noon class. He taught 3 International Latin dances, Cha Cha, Rumba and Samba in monthly alternation.  What's so good about his class was that he had a great following of dancers (at least 30 or more every class) who had been with him for years.  So when we partner with these experience male dancers, we are really learning the dance together.

Here's an upbeat sample of the Internationl Latin Samba rhythm danced to the music of TICO TICO


What I learned from Ballroom dancing is it's musicality, it's simplicity yet complex dance patterns woven into the music rhythm that determines it's dance type. Rhythm patterns are the heartbeat of choreography, it dictates the timing, energy and overall feel of the dance.  "True mastery lies in how a dancer interprets and embodies that rhythm, adding layers of complexity, musically and personal expression"  Another very important aspect is training my ears to listen to a song's rhythm and then very quickly know what to dance after the music starts.  Most serious ballroom dancers have achieved that.  

In the Bay Area, there are many senior centers with DJs hosting dance socials for ballroom dancers, such venues are great for retirees, seniors and ballroom dance enthusiasts to enjoy an afternoon together.
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In brief,  Ballroom dancing consists of 2 categories - International Standard/Latin  and American Smooth/Rhythm. As many social dancing classes are taught the American Smooth style, I'll concentrate on giving you examples of the dance groups in the following videos which you can watch in your free time.

American ballroom dances are broadly categorized into Smooth and Rhythm styles.  
Smooth includes Waltz, Tango, Foxtrot and Viennese Waltz,  Here below are short videos
demonstrating the four dances.

1.    Waltz - "A graceful flowing dance with a distinctive rise and fall characterized by its 3 step
       pattern and smooth, continuous movements around the dance floor".



2.    Tango - "A dramatic and passionate dance with sharp, precise movements, often danced
       with bent knees and a focus on staccato rhythm"



3.    Foxtrot - "A smooth and elegant dance characterized by its gliding steps and smooth, flowing
                        movements across the floor".



4.    Viennese Waltz - "A faster, more elegant waltz with continuous turning and a sense of 
       lightness and grace".


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The Rhythm section includes Cha Cha, Rumba, East Coast Swing, Bolero and Mambo with videos below demonstrating the dances that characterized their distinct movements, musicality, and techniques.


Amazing Cha Cha Basic Routine for Beginners | Ballroom Mastery TV




East Coast Swing Fun Performance

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Saturday, May 10, 2025

Johnny Mathis at San Jose Civic , Oct, 2022



Johnny Mathis at @San Jose Civic 9 24
Highline Gina, let it  be me, ?2
Henry Mabcini tri ute
Who Momenyt v


Second half
Strangers in Paradise ,   secret love, a crowd fa orite

A certain smile

Brazil really showed Mathis  versatility

Betcha by golly wow broght him a little current, perhaps thebonlybsong he sung post 1963- 

But bigbsurprise of the night was Mathis ending show with A rocking Ray Charles big band number, let rhe goos times roll, - and he certainly ha d the band . Mathisbis one of a few pop artists t hat performs with full orchestras-or close to it, as well as his own rythmn section including his drummer of 40 years.
It was fun to see for I ce the usually placid Mathis really rock out, and the crowd at San Joae Civic loved it


The other of many highlitsbwas his performing with justa suits tip notch guitarist for about five so ngs near the end. The sound quality was impeccable and it showcased Mathis' still strong voice without the orher competi g instrums ts . 

I blistered ckosedly tobtheb lyrics to all the so gs ,for the first time. Once comes away with confirmation that Mathis is pure Romantic. His somgs are often about unrequited love and love gone wrong and yearning for perhaps the impossible , eg Stranger in Paradise.
M
But Romantic .using of the 50s and 60s always seemed idealized AND often with imaginary lovers and unrealistic certainly by today's standards. But it was fun to fantasize. Isn't escape really what it's all about. Few ever meet that dream girl or boywe heard about so often I the lyricsbof the old so gs, thi k Bobbybdarins 'Dream Lover,' or the broken roys'and others 'Dream Girl'. At least there was hope back then. Eve. If only I. A song. Today such  romantic ballads hardly exist .

Misty was a other great rowd pleaser coming near the end


Mathis seemed to perform all the. BIg hits during g y his  near 2 hour show- alo g with.ost secondary hits

MAthism is quite the throwback, not oN ly IN Romanticism but lack of effect. Most of the show was just Mathis singing while walking back and forth with an occasional ha d gesture. No gimmicks. Just the different styles of music  speaki.g for themselves es- and almost all pre-70s. No digital gimmicks or politics. Just good old fashioned melodi. Music performed   beautifully. When's the last time you could say t gat

In Mathis ' extensive , loving tribute to Mancini In which he sang a half dozen standards and lesser known Songs, 
He sang one about 
Treasure g, perhaps one of theose idealized lovers ' minute by minute.' 
There sbsokethimg to be Said about savoring everyday, if not minute- and  the few still active performers -all now in their 80-


Maybe he's tired born Hannes are, hos biggest hit, aabhebperdormed itbamongbopenimg nimbers


Mathis also gave us his interpretations of Beatles' “Yesterday, ',one of the high points accompanied only by guitar, ” “When I Fall in Love,' which he calls his calls his most personal song, “Let It Be Me,” and “Betcha by Golly, Wow!”

He had the audience swaying to the samba beat of “Mas Que Nada” and an unbelievable rendition of “Brazil” which ended the show until a most desired encore of “Let The Good Times Roll.”
The wonderful orchestra was led by Scott Lavender. Before intermission, the comedian and musician, Gary Muledeer entertained the audience with his humor and his impersonation of Johnny Cash. Muledeer ended his performance with “Mothers Don’t Let Your Sons Grow Up to be Cowboys.”
Spending the evening with the incomparable Johnny Mathis was truly “Wonderful, Wonderful.”

Approx set list

Setlist

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When I Fall in Love

(Victor Young and His Orchestra cover)

Play Video

Morning of My Life

(Bee Gees cover)

Play Video

It's Not for Me to Say

Play Video

Chances Are

Play Video

I'm on the Outside (Looking In)

(Little Anthony & the Imperials cover)

Play Video

Wild Is the Wind

Play Video

Oh Shenandoah

([traditional] cover)

Play Video

Let It Be Me

(Gilbert Bécaud cover)

Play Video

Let Go

Play Video

It Had Better Be Tonight (Meglio Stasera)

(Henry Mancini cover)

Play Video

Two for the Road

(Henry Mancini cover)

Play Video

Charade

(Henry Mancini cover)

Play Video

Days of Wine and Roses

(Henry Mancini cover)

Play Video

Moment to Moment

(Henry Mancini cover)

Play Video

Moon River

(Henry Mancini cover)

Play Video

Second set following intermission with comedian Gary Mueldeer. Johnny changed suits.

Pure Imagination

(Gene Wilder cover)

Play Video

Sands of Time

(George Forrest & Robert Wright cover)

Play Video

Baubles, Bangles and Beads

(George Forrest & Robert Wright cover)

Play Video

Stranger in Paradise

(George Forrest & Robert Wright cover)

Play Video

Secret Love

(Doris Day cover)

Play Video

A Certain Smile

(Sammy Fain & Paul Francis Webster cover)

Play Video

Wonderful! Wonderful!

Play Video

Betcha by Golly, Wow

(The Stylistics cover)

Play Video

Misty

(Erroll Garner cover)

Play Video

Yesterday

(The Beatles cover)

Play Video

You and Me Against the World

(Paul Williams cover)

Play Video

My Foolish Heart

(Victor Young cover)

Play Video

99 Miles From L.A.

(Albert Hammond cover)



The Twelfth of Never



Mas que nada

(Jorge Ben Jor cover)




Brazil

Let the Good Times Roll

(Louis Jordan and His Tympany Five cover)


(Outro)




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Tuesday, April 22, 2025

JUKEBOX JOURNEY TO FIND LAST SURVIVING LOCAL JUKEBOX REPAIRMAN-Jukebox pictures from 1953 Seeburg 100 G Seletomatic





1953 Seeburg 100 Selectomatic G Jukebox


Record carousel with tone arm, clutch and parts better left to the true jukebox repairman
Final challenge in taking apart the main mechanism to transport was to uncouple the pin box
Don't ask

Ah, tubes !
Speaker from which  those beautiful , warm sounds emanate
 amplifier and receiver


No, we're not talking CD jukeboxes or digital jukeboxes- we're talking about the original analog record-playing jukeboxes from the 40s, 50s and early 1960s. When Jukeboxes were  a work of art  very intricately woven together with m a n y moving and n o n- moving parts. Only a handful of active non-arthritic seniors well into their 70s, 80s or even nineties may be still around who can work on these beauties. When I bought my 1953 Seeburg 100 selectomatic G  s o m e 20 years ago it was still not a problem to find repair men. Advance forward 20 years with machines like mine sitting around with little play and no oil while the remaining oil in them was hardening, preventing movement of parts- we have a problem. Today as the few remaining- or I should say SURVIVING -jukebox repair men will tell you, jukebox repair is a lost art with just about all the former repairmen either having passed or retired. Those remaining usually are too far away or unable to travel. So , like in my case, to get by old jukebox f r i e n d working again it will mean learning some of the ropes myself to at least be able to disassemble the beast (affectionately) to mail or personally travel with to the nearest elder repairman ( no women that i ve heard of)  miles away .  If there's ever a chance in hell of getting this baby to work again It will involve being able to take apart and transport the key (30 pound) mechanism t o said last of the 'local' repair men in San Jose CA area. Forget transporting the entire jukeboxes which w e i g h well over 350 lbs.

When looking for a repair person - make that man- for your vintage jukebox don't even consider it being anybody under 70. Just like the Jukebox themselves now in 70s or 80s or 90s, the profession of jukebox repairman is truly a lost art with nobody under 60( at least that we've met)  taking up the profession- and I call it a profession because it's a pretty complicated business one doesn't learn overnight. That of vintage jukebox repair.
MY JUKEBOX JOURNEY
Now semi-retired, I finally had time to listen to the Jukebox I bought some 20 years ago but ,low and behold, it's not playing! It was working 5 years ago when I last tried it. but as noted when they sit around the old oil hardens and gunks up the thing so the parts won't move. But I need to hear those d u l s e t tones again and those beautiful doo- wop and rock and roll vintage sounds again is only the sound on a vintage jukebox .


The times have changed I learned quickly. It's not 1950 or even 1960. Or even 2005 , about the time I bought this jukebox when there were still a handful of jukebox repairman around.

I'm quickly learning after a few phone calls that there may not be a single jukebox repairman in the Bay Area of California. I found an old dated list of jukebox repair men around the country. But in trying to call them most of the lines were dead probably just like the people that used to be on the other end of the lines, sorry to say. I did reach a guy in Schenectady New York who wanted me to mail him certain jukebox parts with a large deposit. And I did find one guy in California, Dr jukebox, still operating out of the Sacramento area but who talked a good game butthead no intention of traveling the 120 miles south to my place in Pleasant Hill , California, plus he tells me he's booked up for 8 months. And then I just about gave up of ever hearing my beautiful jukebox playing again. But give up? No not me. If I could find someone affordable to get my 1963 Chrysler Imperial running again after a fire destroyed the entire engine assembly why couldn't I find somebody to fix this 'simple'  jukebox?

Being that there were no real jukebox guys that I could find in the Bay Area I accepted an offer from Frank to fix it man from Petaluma. A s p r y 65-year-old He was able to come out last week and actually get the tonearm 'd e g u n k e d,' if you will, so it could play one record, and demo interview with Jerry Lee Lewis from around 1958. But that was it. Couldn't get the tone arm to move down the carousel to play any of the other records. Even Jerry Lee Lewis gets old if you have to play the same thing over and over. I said Thank you to Frank after paying him him a small Ransom, but at least there was a sign of Hope.

Then, I got another lead from a guy who wasn't really a vintage jukebox repairman but did more modern CD jukebox repairs but was willing to take a look at it. This guy was a total failure even though he thought he knew more than I think he did, denying my problem was a clutch issue which everybody else felt it was. At least he didn't charge me and I said thank you and goodbye to Jay.

Then, on Sunday April 19th just as Jay was leaving after failing to bring more life to my jukebox buddy, I  received an email lead on perhaps the last REAL jukebox repairman in the Bay Area who yesterday walked me through taking the key mechanism apart and extracting it from the main jukebox body. It's sitting in the backseat of my car wrapped in a blanket like a newborn baby waiting to come into its own. I will drive it down to santa Clara CA tomorrow and leave it with Dan the Jukebox man, as I will call him, probably my last hope at least locally. Plus his Price is Right. 

My jukebox Journey
To be continued

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