D u b o s e' favorite dance picture
Play anniversary waltz on accordion and then video with Lawrence welk or somebody dancing The waltz
Danny and the Juniors
Live the Golden Era 1950s and Early '60s in Oldies Country, where the Good Times Live On - the music, the movies, the memories in one mutli-media experience. Share with us!
Saturday, November 29, 2025
Dubose Tribute Sing-along and Dance
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
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
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"
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"
Thursday, August 14, 2025
Ballroom Dancing- learning and enjoying the art of..
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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)
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 !