Catching Up on WBNY Alumni Weekend 2014

      Now that it has been a month since it happened, I guess it’s time to print my article/play list on my air shift on the WBNY 91.3 FM Alumni Weekend Shift Bidathon, which raised funds for the WBNY Alumni Association, which, in turn, is used to help the station.

       I was privileged to open the Alumni Weekend, from 9 AM-Noon Friday, April 25, with the fourth edition of “Death Or Glory,” this year subtitled “One More Time in the Ghetto.” For those of you who haven’t read my previous writing on this, briefly, I was an on-air staffer at WBNY 91.3 FM at Buffalo State College in 1984-1985; the station started in 1982, after existing as WSCB. Along with serving as a news anchor and reporter, talk show host and producer and executive producer of All Talk Monday, I was a DJ there, with my first regular shift from 2-6 AM Sunday mornings, and then I moved up to 6-10 AM Wednesdays, hosting the “Loudest Morning Show in Buffalo.” We were proud to be a radio station that actually broadcast into the community and wasn’t just available in the Student Union/on campus; indeed, we happily shocked some people when we began showing up in Arbitron books.

Once again, my WBNY show was brought to you in part by...

      Anyway, I enjoyed the opportunity to present some music rarely heard elsewhere in Buffalo/Western New York, and made some great friends who are still close friends today. The music geek bug bit hard during that time, and still has a hold of me today.

     My Alumni Weekend shows have featured much of the same music I played when a student, namely punk, new wave, hardcore and the start of cow punk and Americana, as well as original similar Buffalo music and other guitar-oriented music that had nowhere else to be heard. I used to feature more recent music, but the music I love and listen to most falls into the 1975-2000 period.

     You can tell this from my play list from April 25, which follows:

     9 AM – “Death or Glory,” the Clash; “Start,” the Jam; “Holidays in the Sun,” the Sex Pistols; “Wartime,” Nullstadt; “Disconnected,” the Enemies; “Put It Out,” Tension; “South of the City,” the Jumpers; “Earth Died Screaming,” Tom Waits; “Broken English,” Marianne Faithfull; “Midnight and Lonesome,” Buddy Miller; “Something About What Happens When We Talk,” Lucinda Williams; “Damaged Goods,” Gang of Four; “12 XU,” Wire; “Poptones,” Public Image Limited.

     10 AM – “Girl Power,” Electroman; “I Can Walk Away,” Pauline and the Perils; “Rumble Down,” the Rain; “Indy 500,” girlpope; “Sheena Is a Punk Rocker,” the Ramones; “Cool Metro,” David Johansen; “Gloria (In Excelsis Deo),” the Patti Smith Group; “Hangin’ on the Telephone,” Blondie; “No Action,” Elvis Costello and the Attractions; “Antmusic,” Adam and the Ants; “Do the Strand,” Roxy Music; “Another Nail in My Heart,” Squeeze; “Good Luck, Money and Gasoline,” the Pine Dogs; “Crash All Night,” Jim Whitford.

     11 AM – “John the Revelator,” Imperial Golden Crown Harmonizers; “Love Comes in Spurts,” Richard Hell and the Voidoids; “Tell That Girl to Shut Up,” Holly and the Italians; “Teenage Riot,” Sonic Youth; “See No Evil,” Television; “Tattooed Love Boys,” the Pretenders; “Heart of the City,” Nick Lowe; “Click Click,” the English Beat; “One More Time,” the Clash; “JJ,” Oui73; “Words in Red,” Peter Case; “When You Find Out,” the Nerves; “Bang Bang Bang,” Gurf Morlix; “Give It to Me Yesterday,” Pegasonics; “Turn on the News,” Husker Du.

     While I got to lots of bands and songs I intended, even with three hours, I was unable to get to and/or locate the vinyl or CDs in my collection for such bands as the New York Dolls, the Heartbreakers, the Replacements, Black Flag, Jason and the Scorchers, the Pixies, the Dream Syndicate or the SplatCats, among others, but I suppose some variety from year to year is needed. As always, I look forward to next year’s WBNY Alumni Weekend, and thank the station’s staff, management, alumni (especially Andrew Kat) and the listeners who made and continue to make WBNY what it is today.

Gurf Morlix to Perform at Pausa Art House May 1

     Western New York native singer, songwriter, guitarist, producer and Austin and Buffalo Music Hall of fame member Gurf Morlix will perform a solo evening of music at 8 p.m. Thursday, May 1, at the Pausa Art House, 19 Wadsworth Street, Buffalo.

Photo of Gurf Morlix by Val Dunne/Barkloud Productions

     Tickets are $15 at the door or $16 online at www.pausaarthouse.com/gurf-morlix-51.html, and according to the Pausa Facebook page at 10 a.m. Wednesday, “just a few more reserved seating spots with advanced tickets” remain. Along with his solo work, Morlix is best known as the guitarist, arranger and producer of Lucinda Williams’ best work, her self-titled album and “Sweet Old World,” and partially “Car Wheels on a Gravel Road.”

     Morlix’s most recent album is “Finds the Present Tense” (Rootball Records), and the electric full-band sound is utilized extensively and with excellent results, while some of his more acoustic/solo approach remains. Even the full band sounds of standout songs such as “Lookin’ for You,” “Bang Bang Bang” and “Present Tense” are compact and not overdone. “These Are My Blues” may be the meanest, dirtiest, gut-wrenching blues he has ever recorded, and demands repeated listening.

     Of course, this shouldn’t hide Morlix’s more personal side, even when another species seems less than approving. At about 1:15 a.m. Wednesday morning, after the NBA playoff games had ended, I let our dog Harold out for a final backyard visit before going to bed. Morlix, who often stays next door at the house of our neighbor, Buffalo Music Hall of Fame guitarist, singer, songwriter and Morlix childhood friend and bandmate Jim Whitford (the Pine Dogs, Twang Gang, Canal Street String Band), was outside with their dog, Nuala.

     While the dogs peed, howled and whined a bit, Morlix and I talked about a bunch of things, including how Gurf and Nuala were adjusting to each other. “I don’t think she likes my singing or guitar playing; I sat down in the room she was sleeping in and started to sing one of my songs, and she looked at me, got up and left. I later carried my guitar into the room she was in, and she took one look and got up and walked away again.” A moment later, Nuala, a vizsla/red coon hound blend, howled as she usually does; she basically never barks, just howls, which, as dog people ourselves, is no bother to Val or me. “She only howls one note,” Morlix said with a smile, and as Nuala howled again, he added, “See? The same note, a B.”

            Go see what Nuala was howling about Thursday night.

Dad's Records: From Elvis Presley to Spike Jones

I wrote about it a bit on The Buffalo Roots blog a few years ago, and my processing of my late father Edward's record collection continues.
This time, it is a major step. While I have been inventorying and discussing many of the other boxes and cases of records (33s, 78s and a couple of 45s) from Dad's collection, I am finally going to open what was described to me as a case of either his favorites or important/valuable records, which were kept in a14-inch tall, 18-by-14-inch wooden and cloth case with some leather on the top cover.
It is the case that my father's sole Elvis Presley record, a 78 RPM recording of "Baby Let's Play House," b/w "I'm Left, You're Right, She's Gone" (RCA Victor 20-6383), which was moved to after it was found, without a cover, standing in one of those old wire record holders. Sadly, the record is very damaged, with a crack that runs through the middle of the record, leaving it held together basically by the label.
There are about 120 records in this case, and I haven't run across anything that seems overly valuable and/or famous/important yet as I start this project. Among the artists I've encountered so far are Jimmy Dorsey and His Orchestra, Tony Martin, Xavier Cugat, Dinah Shore, Danny Kaye, Vic Damone and Margaret Whiting. Dad was a major big band jazz and jazz vocalist fan, as you can probably tell.

As I go through my father's record collection, the one surprise and concern I have is that I have barely found many recordings from his favorite two artists. Dad was an immense Stan Kenton fan, particularly of his "Artistry in Rhythm" and related artistry recordings. Indeed, my father once helped arrange the Lancaster High School Band Boosters bring Stan Kenton and His Orchestra to the high school for a fundraiser, and proudly took us to the show; I still remember how happy he was that night.

Dad's other standout favorite was Spike Jones and His City Slickers; if you knew my father, you'd easily understand this, with his liking for incredibly corny puns and jokes and slapstick humor, as well as big band jazz. I can still hear Jones and his orchestra's recording of "Beetlebaum" to this day, especially when I hear the "William Tell Overture." So far, I haven't found a single one my father's Spike Jones recordings, but I do have a few boxes left to process.

Continental Reunion, WBNY Alumni Weekend

It seems that the weekend of April 25-27 will be a rather busy and fun one in the Dunne Hosey Estates.
The formerly annual WBNY 91.3 FM Alumni Weekend will be held from Friday through Sunday, April 25-27, at the studios in the Student Union at Buffalo State College, 1300 Elmwood Avenue, and of course, on the airwaves at 91.3 FM, with a revised fund-raising effort included. I am very proud and humbled to have been a DJ at WBNY form 1984-1985, as host of the loudest morning show in Buffalo (6-10 AM Wednesdays), and I was lucky to get to play a lot of original local music as well. Details are still being finalized, and I will post them here as they become available.
The second annual Continental reunion, cleverly called Continental Reunion II, will be held Saturday, April 26, at the Town Ballroom (the site of the first reunion last year) on Main Street in downtown Buffalo. The event, which drew about 900 people last year to a night that no one present wanted to end, will again be produced by Bud Redding (Continental DJ, booker, virtual manager and musician) and Hard Productions, with lots of help from Jennifer Shanley.
The band lineup alone is amazing, including Nullstadt (who blew away everyone last year), the Enemies, Pauline and the Perils, Terry Sullivan and Friends, Tension. the Kevin K Band (former Toys, etc.), Johnny Revolting and Skinbound, and there will be nine classic DJs returning. In particular, Andre Frazier, DJ Andre, etc., should be performing double duty that weekend at both the WBNY Alumni Weekend and the Continental Reunion.
As we get closer to the reunion, I will be talking with Redding for a more extensive article and update, and for tickets or more information, visit the Town Ballroom box office or online at www.ticketfly.com. Also, for information on hotel packages for the weekend, check the Continental Facebook page. BTW, Continental Reunion II artwork courtesy of Bud Redding.

Rush to (Commercial) Judgment

Take off with Walmart, it's a beauty way to go.

Well, it seems that my continuing commentary (harping) on musical choices being used in commercials, mainly television, has taken an unexpected turn.
While I was watching the Winter Olympics from Sochi (and seeing little non-man made snow except February 18), I caught a commercial for Walmart, mentioning how allegedly committed the company is to the American (as in USA) workers it employs at its stores, warehouses, etc., as well as American factory workers and its acquiring of their products.
When I finished spitting out my snack and stopped laughing and shaking my head, I noticed that the music being used in the television commercial was..."Working Man," by Rush. That's right, Walmart was spraining muscles patting its own back for "supporting" American workers with a song from the proudly and unmistakeably Canadian progressive rock band which has set a course of independence, musically and politically, for years.
Of course, as well as this use of the song by one of the most vile mega corporations around, I am still confused with and trying to find more about Rush, its members and its licensing agents and staffers allowing the use of this song, even for money.
We have assumed control, we have assumed control.

Decided the Yogurt Sings the Song

Use of this photo of Simon LeBon proves how much I love my wife Val,
even though she is a bigger Jonathan Taylor fan

Yoplait yogurt has taken the lead in the use of music that surprises some people in advertising sweepstakes, most recently causing a mini controversy of sorts, at least among its fans, with the use of Duran Duran's "Hungry Like the Wolf" in a commercial that aired last year and early this year.
The band claims that it was unaware that the song was going to be used in a yogurt commercial and said it would never have agreed to its use, but please, don't try to tell me the band and its management, legal team and licensing staff didn't know of and allow this. The band members asked that the advertising campaign using "Hungry Like the Wolf" stop, and Yoplait eventually ended using the ads, whether because of the request or the campaign simply ran its course I can't tell (although the latter seems more reasonable).

I think Depeche Mode now has more than enough.

Yoplait then cleverly used "More Than a Feeling" by Boston in its next commercials, which pushed the Boston Cream Pie variety of yogurt, and has been using other bands' music.
Last night, for the first time I caught the newest Yoplait ad, using "Just Can't Get Enough" by Depeche Mode. I assume the campaign using this song has been out for a bit (I don't usually spend much time looking for yogurt advertising), but I have yet to hear any wailing or grinding of teeth or beating of breasts over this.
That's kind of surprising, considering that, while I enjoy both bands' music, I would certainly think of Depeche Mode as being a more cerebral and more serious band than Duran Duran.
 During my days as a DJ at WBNY 91.3 FM at Buffalo State College (1984-85), I played a lot of both bands and got way more requests to play their music. I remember that some early fans of Depeche Mode were kind of surprised and almost offended at the poppy sound of "Just Cant' Get Enough" compared to songs such as "Black Celebration," "Blasphemous Rumors," "Master and Servant" and "People Are People."  Somehow, I didn't expect the fans of the band that brought us "Girls on Film," "Rio," "Planet Earth" and "Hungry Like the Wolf," all songs I like, to get more publicly offended that Depeche Mode fans.
Maybe God does have a sick sense of humor.

Rage Against the Zamboni

     With Val and me major Buffalo Sabres fans, the Sabres having a pretty bad season so far (last in the NHL as of this writing) and me being a music geek, I have been noticing musical things while watching games a bit closer.
     First, the Sabres have adopted as their theme music for opponents' penalties "Bulls on Parade" by Rage Against the Machine. I am a pretty strong Rage Against the Machine fan (their debut album is  a classic), but I am wondering of the person who chose this song is a bit uncertain about the lyrics, which are rather anti-politicians and the ruling class using the military-industrial complex to maintain control and power and use any means to defend themselves and their beliefs; also, "bulls" has often been used to describe uniformed police and law enforcement.
     In hockey, professional and otherwise, there are enforcers who play rough games, often fighters, and trying to blunt the other team's similar players, who do not play too many minutes; or, the referees are enforcers of the rules. Either seems a bit of a stretch for the song, despite being a real headbanger.
     During the January 21 Buffalo Sabres-Florida Panthers game, which Florida won, 4-3, the music played during one of the breaks at the First Niagara Center was "War Pigs" by Black Sabbath; an absolute all-time favorite of mine and classic anti-war, anti-military-industrial complex, anti-politician song.
     But as much as I like and would encourage the playing of this and the other above song at Sabres and all professional sports games, I have absolutely no idea what the point was of playing it here, especially when I hear sports team and venue owners and operators mewling about creating family atmospheres. I laugh when I think of what family this might be...besides our own.
     Oh, one more Sabres music thought: Doug Allen is the main singer of the American and Canadian national anthems at Sabres games. For years, the Douger used to point to the crowd near the end of the US anthem, ending it by pointing into the camera as he sang "Home of the brave." It is an absolutely over-the-top, maudlin but fun moment, and Val and I would always loudly cheer on the Douger until and as he did it. But this season, there is none of this; no pointing and, indeed, the camera does not end the US anthem with a closeup of Allen. What gives, Sabres?