Robin Wilson of the Gin Blossoms Talks His “Miserable” Legacy

The Gin Blossoms today: Bill Leen, Scott Hessel, Robin Wilson, Jesse Valenzeula, and Scotty Johnson.Photo by Shervin Lainez/Courtesy of MSO PR

 To certain musically-inclined Gen Xers, one of the most formative and beloved albums of the early ‘90s was New Miserable Experience, the second studio effort that became the breakthrough album for the Gin Blossoms. The Tempe, Arizona-based alt-pop-rockers spawned four hit singles off it in “Hey Jealousy,” “Found Out About You,” “Until I Fall Away,” and “Alison Road.”

It was such a benchmark that the band extended the tour celebrating the record’s silver anniversary by playing the entire work all the way through, along with a career-spanning other set list.

“I see it now for what a solid record it was, and I take a great deal of pride in that it’s become part of the soundtrack for a generation,” says vocalist Robin Wilson. “It was always the soundtrack for my life, and I lived through it, and it was a difficult process to make it. So for it to succeed and for us to build a life and career on it, it means a lot. And I’m proud that people still really care about it. I mean, how many bands can do a record and have enough interest to tour on it 25 years later?”

But as Wilson alludes to – and rock history has noted – the process of making and releasing the record was sometimes difficult and ultimately tinged with tragedy, especially for one key member whose songwriting gifts got the ball rolling in the first place.

The Gin Blossoms formed in 1987, taking their name from a cutline in a photo of actor W.C. Field’s booze-ravaged nose in a Hollywood history book. At the time the nucleus was Doug Hopkins (lead guitar), Bill Leen (bass), and Jesse Valenzuela (rhythm guitar). After adding Wilson (first as guitarist, then as lead vocalist) and Philip Rhodes on drums, they released debut Dusted in 1987, and then the first edition of New Miserable Experience in 1992.

But near the end of recording, main songwriter Hopkins – who suffered from severe depression – had become a full-blown alcoholic who couldn’t function musically and was fired from the group. Initially, New Miserable Experience was not successful. But a year later it was re-released with better record label support, and the Hopkins-penned “Hey Jealousy” and “Found Out About You” – both tales of romantic desperation and anger – became the first two singles and were smashes.

But Hopkins was not listed in the credits on the re-release, and it was his replacement, Scotty Johnson, whose photo record buyers saw. Mounting personal issues sent Hopkins into a tailspin, and he committed suicide near the end of 1993 – shortly after receiving a gold record for “Hey Jealousy.”

On the current tour, Wilson and the band pay tribute to Hopkins right before playing two of the record’s lesser-known tracks. “’Hold Me Down’ is a really special song for me, because that’s the only one that Doug and I officially wrote together, so it means a lot,” Wilson says.

“And ‘Pieces of the Night.’ I was there when Doug was writing that and I wrote the lyrics for the bridge. Onstage, I don’t say a whole lot during the show, but I do get the audience to raise a glass and toast Doug before those two songs and I tell a little bit about the background. Those songs are big moments. I also like to hear Jesse sing on ‘Cheatin’ because we don’t normally play that.”

And the impact of New Miserable Experience goes further. Wilson says he’s constantly told stories from fans about it. “I never get tired of hearing it. People are sort of sheepish when they start to talk to me and maybe they expect me to roll my eyes and run away,” he says. “But when they say ‘I want to tell you a story,’ I know it’s usually going to be something meaningful about our music that has connected to their lives.”

The Gin Blossoms have broken up, reunited, and released other records since New Miserable Experience, notching up other hits including “Follow You Down,” ‘’Til I Hear It From You,” and “As Long as it Matters.” The current lineup – which includes Wilson, Leen, Valenzuela, Johnson, and drummer Scott Hessel, released last year’s Mixed Reality, which shows that the group has a power and presence today and not just existing on ‘90s nostalgia.

“It stands out. I think it’s the most consistent batch of songs we’ve ever turned in and it represents all of the writers in the band,” Wilson says. “We also worked with a producer [Don Dixon] and engineer we’ve never worked with before in a studio we’ve never recorded in. I really think it’s one of the better records we’ve ever made.”

He’s particularly proud of the album’s lead-off, track, “Break.” It includes the deep lyrics “We don’t always want what is easy/Never is enough/Not what I’d set out to be/But more than I was.”

“That one came to me pretty easily. The whole concept was laid out to me in just a few moments. And lyrically, this is my mission statement to my son,” Wilson says. “As a father, this is what I have to say to him. It’s me telling him I’m doing the best that I can as a dad and as a person and as a man.”

And while aware that nothing will get their current live audience as excited as the classic hits, Wilson says that the new material is going over really well. And he says that Mixed Reality is hands-down their best album since New Miserable Experience.

He adds that when this tour is over, he’s got a few gigs filling in as the lead singer for one of his musical heroes, the Smithereens (their vocalist Pat DiNizio died in 2017), and is plotting a summer co-headlining tour with one of their ‘90s contemporaries whose identity he can’t yet reveal.

“It’s so cool and rewarding to suddenly be in one of my all-time favorite bands. It’s a reason we wanted to work with [Smithereens producer] Don Dixon on the new record,” Wilson offers. “I would warm up my vocals singing Smithereens songs so he would know how much the music meant to me. I think of my 20, 21 year old self listening to the Smithereens and R.E.M. records and wanting to be in a band. And here I am at 53 doing that. And now our music means something to people.”

A version of this interview originally appeared at

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German Heavy Metal Barons Accept Get “Classy”

Accept guitarist Wolf Hoffmann is triumphant with his “Headbanger’s Symphony” at Wacken Open Air. Photo by Olga Poponina/Courtesy of Nuclear Blast Records

While he thinks the word “crazy” might be stretching it a bit, guitarist Wolf Hoffman does understand that what he did at Germany’s 2017 Wacken Open Air Festival (the world’s largest annual gathering of heavy metal fans) might have some questioning his sanity.

That’s where his band Accept staged an ambitious show divided into three parts: A short set with just the group, a middle section with different musicians where Hoffman debuted his instrumental work “Headbanger’s Symphony” with a full orchestra, and a final segment where his bandmates returned for lengthy set of more Accept songs, retaining the orchestra. It’s all documented on the 2CD/1DVD set Symphonic Terror: Live at Wacken 2017 (Nuclear Blast Records).

“Well, I wouldn’t go as far as to say ‘crazy,’ but I initially thought the idea was a bit ambitious! Bordering on crazy, of course!” Hoffman laughs. “it turned out to be pretty stressful, but it worked super, super well. We could not have asked for a better reception or a better audience. And the whole thing went down without a glitch. Though it was nerve-wracking at first!”

In addition to the show being the first time Accept had ever played with an orchestra – an increasingly common practice for hard rock, heavy metal, and prog bands – he was a bit worried how the beered-up, rowdy Wacken crowd would accept “Headbanger’s Symphony.”

“I always thought my solo stuff was sort of predestined to be played with an orchestra because it is classical music. Then when we got the invitation from Wacken to do it, I thought it was my chance!” Hoffman says

“And I metaled it up enough for a festival audience, which has a certain party atmosphere. You don’t want to bore them, so I stayed away from the slower stuff and long intros,” he continues. “Then we figured well, why don’t we play some Accept songs with an orchestra since it’s there. So it evolved!”

What Hoffman says he didn’t want to do with the Accept/orchestra portion, was simply tack on some strings and brass instruments to their material as an afterthought. He recalls hearing an orchestra’s take on Deep Purple’s “Smoke on the Water” where the musicians simply played the famous guitar riff and he found it wanting. He started sifting through the Accept catalog to see what would work more organically. So mostly guitar-based songs like “Restless and Wild” and “London Leatherboys” were out of consideration, but “Fast as a Shark” and “Balls to the Wall” were in.

“I tried to pick the songs where I thought the melodies would sound good when played by an orchestra. And I was pleasantly surprised at how they sounded!” he offers, while giving full credit to collaborator Melo Mafali for his orchestral arrangements.

The Germany-bred Accept formed in 1976, but came to worldwide attention and U.S. heavy metal popularity on the strength of a triumvirate of albums from 1982-85: Restless and Wild, Balls to the Wall, and Metal Heart.

The single “Balls to the Wall” became their signature song. New records and tours, lineup changes, breakups, and reunions have happened over the years. That includes the comings and goings of the bulldog-like vocalist Udo Dirkschneider (who also fronted his own group, U.D.O.). But original members Hoffmann and bassist Peter Baltes remained constants.

Accept returned in a big way in 2009 with the addition of the powerful vocal gravel of Mark Tornillo (ex-T.T. Quick) as front man, and the next year released Blood of the Nations. Their last studio record was 2017’s Lords of Chaos, though Hoffmann says they hope to finish in new one in the studio by the end of this year.

Wolf Hoffmann in 2018. Photo by Frank C. Duennhaupt/Courtesy of Nuclear Blast Records

As for his musical relationship with Tornillo, something that was fairly new when I spoke with Hoffmann in 2010, he says it’s only been great.

“I think we’re just growing together more and more, and we’ve done hundreds of shows together,” the guitarist says. “He came right out of the gate and was a perfect fit for us from the first day on. It was a great match, and when a great match works, you don’t question it!”

Another in addition to Hoffmann, Tornillo, Uwe Lulis (guitar), and Christopher Williams (drums), the band will use a new bassist for the upcoming short “Symphonic Terror” tour with the Orchestra of Death throughout Europe and Russia this spring. After more than four decades, Baltes abruptly quit Accept of his own accord last November. And while Hoffmann says it left him “heartbroken,” he admits to feeling some pressure as the sole original or classic lineup member now left.

“Yeah, there is a little bit. But I don’t let it get to me. We are just going to continue full force,” he says. “It’s a sad event, but you have to roll with the punches and move forward. And as long as I have the fire and energy with me, I’ll continue.”

Though (along with wife/band manager Gaby) will also have to keep an eye on expenses for the “Symphonic Terror” jaunt. Which – as pointed out to him – will surely not be small while lugging a full orchestra across many borders.

“That’s very true! I think I’ll have to treat them as cargo and just drop them off at the shows!” he laughs. “No per diems!”

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Funk Brother Dennis Coffey’s Scorpio Rises Again

At 78, former Funk Brother Dennis Coffey still gigs weekly in his beloved city of Detroit. Photo by Doug Coombe/Courtesy of Omnivore Records

It sounded like the greatest theme song to a gritty ‘70s cops-and-drugs movie that never came out. But in 1971, guitarist Dennis Coffey’s funky, rocking, slashing instrumental “Scorpio” was a million seller, hitting #6 on the Top 40. And it’s one of the few tunes by a white act deemed hip enough to be played for gyrating bodies on TV’s “Soul Train.” Credited to Dennis Coffey and the Detroit Guitar Band, it was a solo smash for a man who was best known for his work as a session player.

“Scorpio” appears – albeit in a much different sounding version – on Coffey’s most recent record, Live at Baker’s (Omnivore Recordings). It also features altered covers  from jazz players Freddie Hubbard, David Sanborn, Jimmy Smith, Miles Davis, Wilton Felder, and Brother Jack McDuff, along with the standard “Moonlight in Vermont.” And there’s the Temptations’ “Just My Imagination,” which pays tribute to both Coffey’s time at Motown as part of the Funk Brothers house band and his own distinctive work on the original track.

Just don’t think that the rest of his Live at Baker’s band – Demetrius Nabors (keyboards), Gaelynn McKinney (drums) and Damon Warmack (bass), knew exactly where would take them and the material.

“That recording was a moment in time. What I would do is get a chord sheet and give it to the musicians and we’d just count it off and see where it went!” the 78-year-old Coffey offers. “It was just organic. I never play a song the same way twice, and it’s a different feel every time we play it.”

And while he’s played on stage and in studio in Memphis and New York and Miami as well as lived in Los Angeles, Detroit is and was his unshakeable home base. “Every city has its own vibe, but [Motown founder] Berry Gordy told me a few years ago that he could have never founded the label in any city but Detroit,” Coffey says. “Music is in the DNA of this city. You can still go out and hear live music every night of the week.”

That includes music by Coffey himself. In addition to show at Baker’s Keyboard Lounge, he has a standing Tuesday night gig of more than a dozen years at the city’s Northern Lights Lounge. And as Live at Baker’s can attest, Coffey is equally at comfort playing blues, jazz, R&B, rock, and funk.

Dennis Coffey in the 1970’s. Photo courtesy of Clarence Avant – Interior Music Corp.

Coffey says that his versatility comes from his 25 years as a session musician. “Every day at Motown our job was to read a master rhythm chart and arrangement correctly, and then add something to it. And we had to do one song an hour and make them a hit,” he recalls.

And while the identities of the Funk Brothers were largely unknown (and uncredited on liner notes), more recent times have given them the long-overdue accolades they deserve, including as the subject of the well-received 2002 documentary Standing in the Shadows of Motown. Coffey will to this day occasionally give talks at the Motown Museum in the studio’s original location.

Picking up the guitar in his early teens, Dennis Coffey played on sessions before joining the Royaltones, who had a couple of minor hits. But his real rise came after joining the Funk Brothers in 1967 during a time of transition at Motown.

That’s his guitar heard on scores of hit songs, including “Cloud Nine” and “Just My Imagination” (with Coffey’s famous intros to both), “Psychedelic Shack,” and “Ball of Confusion” (the Temptations), “Someday We’ll Be Together (Diana Ross and the Supremes), “War” (Edwin Starr). At other labels he’s heard on “Band of Gold” (Freda Payne), and “In the Rain” (the Dramatics)—the latter with another famous, shimmering guitar intro.

His use of echo effects and a wah-wah pedal brought a contemporary, very ‘60s sound to Motown, working with producer Norman Whitfield who also wanted to shake up the label’s formula and sound.

“Norman Whitfield was a master at dynamics. The first session I ever did there was for ‘Cloud Nine’ and he wanted to experiment, so I put the wah-wah pedal on the intro, and he said ‘that’s what I want!’” Coffey says. “Two weeks later, I was recording it with the Temptations. I was his go-to guy to get where he needed to go. I had the effects, and I could play both the R&B stuff and the psychedelic rock.”

But solo hit “Scorpio” remains his calling card, and Coffey recalls the song’s origin. “I had a Sony tape recorder in my basement that was kind of new where you could overdub on tracks. Producer Mike Theodore and I were writing pieces for 50 instruments including strings. And then I said ‘I’m gonna sit down and write and have this concept of a guitar band. I played the 10 [demos] for Mike and he said ‘let’s record an album.’

He adds that he wrote the parts out for three guitars in three sections, so he and the band put fuzz on the guitars and sound like horns. “We overdubbed each section of three guitars to produce nine guitars,” Coffey says. “I also played a Fender bass through a wah wah pedal to sound like a trombone. That was me, Joe Podorsek, and Ray Monette. If you count my bass part it was nine guitars and one bass.” Bob Babbitt (bass) and Jack Ashford (drums) rounded out the Detroit Guitar Band.

Westbound Records album cover

Of Coffey’s 10 solo albums from 1969-1978, one does stand out a bit – albeit not for the music. The cover for 1975’s Finger Lickin’ Good might make even the Ohio Players blush, and would be impossible to put out in today’s society.

“That wasn’t my choice!” Coffey laughs of the, uh, artwork. “It was kind of suspicious. I didn’t design it or anything. But I learned in the past don’t mess with covers because the art director will screw you over and make sure that album doesn’t come out for a year!”

Finally, while Coffey has not had extensive touring in Texas, he did spend time in the state from 1960-61 while in the U.S. Army in the 101st Airborne Division. Coffey says had his basic training at Fort Hood before being transferred to Fort Sam Houston to train as a…medic??

“I was the best shot in the company, and they said I needed to be a medic!” Coffey laughs. “But I remember you had that River Walk there down in San Antonio. That was impressive. And I was driving over this hill in the early morning and you could see the Alamo. That was pretty hep!”

This interview originally appeared on

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Dave Mason’s Rock ‘n Soul Revue


Dave Mason today. Photo by and copyright Stuart Walls-Woodstock Photography/Courtesy of Albright Entertainment

In his decades-long career, Dave Mason has been a lot of things. Founding member of the seminal band Traffic (which punched his ticket into the Rock and Roll Hall of Fame), hit-producing solo artist in the ‘70s, and collaborator and friend to a who’s who of rock royalty including Jimi Hendrix, Eric Clapton, and George Harrison.

But his most recent tour found him in a buddy act with another Rock Hall of Fame member, Mason gets to be something he’s always wanted to be: Wicked. As in just like Wilson Pickett.

“I get to sing ‘In the Midnight Hour’ with the original guitar player!” Mason laughs. That six string virtuosos is none other than Steve Cropper, founding member of Booker T and the MG’s and member of the Stax Records house band who played on scores of massive soul hits. When you hear Sam and Dave or John Belushi of the Blues Brothers yell “Play It, Steve!” on either hit version of “Soul Man,” it’s Cropper they’re talking to.

So in addition to that and other Cropper-penned and/or played Stax gems like “(Sittin’) On the Dock of the Bay,” “Green Onions,” “Knock On Wood,” and “Try a Little Tenderness,” the set list will include Mason staples like “We Just Disagree,” “Dear Mr. Fantasy,” “Every Woman,” and his two signature songs: “We Just Disagree” and “Feelin’ Alright.”

In a bit of irony, “We Just Disagree” was Mason’s biggest solo hit, but was written by singer/guitarist and Mason collaborator Jim Krueger. The soft rock standard reached #12 in 1977. Conversely, “Feelin’ Alright” – which Mason penned when he was all of 18 and wasvoriginally released by Traffic – had its biggest success in Joe Cocker’s 1969 version. And that hit even higher on the charts when it was re-released three years later. In concert, Mason calls “Feelin’ Alright” his “Energizer Bunny of a song,” and artists as diverse as Three Dog Night, Lou Rawls, the Jackson 5, and Paul Weller have also covered it.

Mason says that he and Cropper first met in Los Angeles in the late ‘70s, but reconnected three years ago when they had lunch together in Nashville. Cropper later performed at a New Year’s Eve benefit show which Mason puts on annually in Hawaii with fellow musicians including Mick Fleetwood and Steven Tyler.

“After that show, I said to Steve ‘How do you feel about getting your tired old ass on the road with my tired old ass!” Mason laughs. “I mean, I was listening to him when I was 16 and 17 years old. It’s the music that all of us Brits learned from and made our own version of. It’s a great honor to stand up on stage with that man every night.”


Steve Cropper and Dave Mason on tour. Photo by and copyright Rich Saputo Photography/Courtesy of Albright Entertainment

Indeed, Mason is quick to note that much of the success of many of the British Invasion bands and performers stemmed from their own takes on American music. The early set lists and albums of just about every band that made the trek across the Atlantic were riddled with covers of this material.

“Without that American music, that blues and R&B and country, there would be no Eric Clapton and no Rolling Stones. And no me,” Mason offers. “That was our basis to learn from. You did have to go out of your way a little bit to find the music, but in England, we didn’t have radio that was segregated by [genres]. So we heard it all.”

In addition to Mason and Cropper, the other players in the “Rock and Soul Revue” included Mason’s touring band of Johnne Sambataro (guitar), Alvino Bennett (drums), Tony Patler (keyboards), and backup singer Gretchen Rhodes. She opened the show with her own set, and sang lead on some of the Stax material while Mason exited the stage.

“Steve’s guitar style is such an integral part of those songs, I don’t want to get in the way!” Mason laughs. “But he then also sits in on parts of my songs that he feels will work for him.”

Dave Mason is also creating new music. But like so many other classic rock-era artists, finds it nearly impossible to release or promote, even if they have a current recording contract. And radio – both terrestrial and satellite – aren’t interested in playing a new Dave Mason song when they can spin “Only You Know and I Know” or one of his other hits for the millionth time.

“There is no putting out anything anymore, so I make CDs to basically sell at shows,” he sums up. “Making new music is an exercise in futility and the biggest problem is radio. It’s just wallpaper for selling products, regurgitating the same shit over and over again. And then with [new music], people can just go on the internet and steal it. But this our livelihood. It’s what we do to make a living.”

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Another Sip of the Lovin’ Spoonful with Steve Boone


The Lovin’ Spoonful today: (front row) Joe Butler, Steve Boone; (back row) Murray Weinstock, Mike Arturi and Phil Smith. Photo by Leon Volskis, courtesy of Steve Boone

It was the evening of August 26, 1966.  In the bowels of New York’s Shea Stadium – though only they knew it – the Beatles were preparing for what would likely be one of their final concerts in front of a paid audience. But instead of pacing the floor, the biggest band in the world were amiably visiting and chatting it up with one of their own favorite groups, the Lovin’ Spoonful.

The Spoonful themselves hadn’t planned on being backstage at all, but were taken there by security after fans spotted them in the general admission seats and began to cause a ruckus. And why not? At that very moment, the Lovin’ Spoonful had the #1 hit in the country with “Summer in the City.”

“That was probably the most complex of all the writing we did, and it started as a song by John’s teenage brother Mark,” Spoonful bassist and one of the song’s co-writer Steve Boone recalls. “They created a workable song and we went into the studio and worked on the arrangement from scratch.”

While most “summer” songs to date had extolled the virtues of the season, this one was a bit rougher. Its narrator with the grit on the back of his neck complaining about high temps as construction noises and car horns blared around him. Complaining that is, until he knows he can go up on a building roof with his girl where it’s a little cooler. And Boone’s distinctive piano riff is the song’s most recognizable musical part.

“John said we needed a middle section and he had heard me doodling on this piano part I couldn’t get out of my head, and we put it in,” he continues. “It ended up being the glue that held the song together. And our producer, Erik Jacobsen, doesn’t get the credit he’s due for working on our songs. He made them sound great on the radio.”

Those radio hits – including “Do You Believe in Magic?” “Daydream,” “Did You Ever Have to Make Up Your Mind?” “You Didn’t Have to Be So Nice,” “Darling Be Home Soon,” and “Nashville Cats” – will likely be on the set list when Boone and the current edition of the Lovin’ Spoonful play as part of a ‘60s package show  Feb. 16 at the Stafford Centre. And no one is more shocked that he’s still playing these songs 50+ years later than Boone himself. And to so many age groups.

“At the shows today, there’s definitely a multi-generational audience. And I mention to them that none of us ever thought it would last!” he laughs. “The contemporary opinion back in the day was once you turn 30, you got another job in the music business or a completely different career. You were done as a performer. But things like the Monterey Pop and Woodstock Festivals broadened the audience, and the rules went out the window. There was no longer a timeline to being a rock star.”


The Lovin’ Spoonful’s 1966 debut record; (clockwise from bottom left): Zal Yanovsky, Joe Butler, Steve Boone, and John Sebastian. Kama Sutra album cover

The Lovin’ Spoonful were also rock stars at a time that they weren’t so much, uh, accepted by all tiers of society. In his entertaining memoir Hotter Than a Match Head (written with Tony Moss), Boone recalls a 1965 tour that paired his band with the Supremes on a tour of the deep south. One night after playing a college in Waxahachie, Texas, he got a lesson in how things were a bit different than up in New York. Beginning with the fact that at the segregated late night restaurant they went to, the Supremes and their backing band weren’t allowed inside. They had to order from the take-out window. And then things got worse.

“It was still pretty rare to wear your hair longer than your collar, especially in Texas,” Boone says today. “Some rednecks who had way too much to drink decided to pick on John, who was so blissed out in his pink striped shirt didn’t know what was going on!”

Sebastian’s bandmates and some college kids who had been to the show tried to diffuse the situation, but it took the imposing entrance of the dozen-plus members of the tour’s all-black orchestra – led by a guy named “Big John” – to avert possible tragedy and whisk the Spoonful away before things got…hairy

The genesis of the Lovin’ Spoonful began with singer/guitarist/harmonica player John Sebastian and guitarist Zal Yanovsky. The pair were veterans of the New York/Greenwich Village folk rock scene, and had been in a group called the Mugwumps with singer Cass Elliott. She would later go on to join the Mamas and Papas, and their song “Creeque Alley” mentions the group and her former bandmates.

In 1965, Sebastian and Yanovsky decided to form a new band, calling it the Lovin’ Spoonful after a line in a blues song from Mississippi John Hurt—which actually refers to coffee, and not heroin or even semen as urban legend has dictated. Steve Boone (bass) and eventually Joe Butler (drums) rounded out the working lineup. They honed their act the Night Owl café and scored a record deal largely based on the strength of the demo for “Do You Believe in Magic?”

The Lovin’ Spoonful were even considered by two TV producers for the roles of a wacky rock group for series they were developing. Though they’d have to change their name to…the Monkees. They did not pursue the gig.

After a couple of years, the familiar tale of creative, personal, and business differences began to fracture the group. Yanovsky was fired by his bandmates in 1967 for a variety of reasons and replaced with Jerry Yester. Boone was closest to Yanovsky of any member, and it hit him hard. Though he knows the highly-extroverted and often maniacally funny guitarist could rub people the wrong way.

“Zally was certainly the clown prince of our band, and that’s a very positive description from me. He was also the pure lightning rod in our stage show, who brought the excitement and entertainment,” Boone says. “But yes, his image sometimes got in the way of how people took him as a musician. He was very intuitive and really explored depths of guitar playing in making it sound like other instruments. He had fans in guys like Eric Clapton and George Harrison. In fact, Eric and Zally hung out a lot after Zally left.”

That was later followed by the departure of Sebastian, also the band’s primary songwriter. The Spoonful’s hippie credentials (at least on the West Coast) suffered after it was revealed that Boone and Yanovsky, after being busted for drug possession, briefly and against their will became police informants. The Spoonful were also seen as a singles band in a time of burgeoning album rock, their “good time music” no longer in vogue. The band limped into 1969, then dissolved.


Steve Boone’s 2014 memoir. ECW Press book cover.

The core four reunited for a concert segment in Paul Simon’s 1980 film One Trick Pony, and also for their induction into the Rock and Roll Hall of Fame in 2000. In 1991, Boone and Butler resuscitated the band with Yester and have been touring ever since. In a postscript, Boone fell in love with and married Yester’s daughter. Yester himself was ousted from the band in 2017 after being arrested on and pleading guilty to charges stemming from possessing images of underaged girls on his computer.

The current lineup of the band includes Boone, Butler, Phil Smith (guitar), Mike Arturi (drums), and Murray Weinstock (keyboards).  And while purists will grumble that frontman Sebastian is no longer with them – or say it’s akin to seeing the current lineups of Grand Funk without Mark Farner or Styx without Dennis DeYoung – it’s ultimately the power and attraction of the songs that supersedes the individuals who happen to be onstage playing them.

“John and I stay very close. He is the best rhythm guitar player I’ve ever worked with. In fact, I’m calling him right after I get off the phone with you!” Boone says. “He didn’t want to be touring with the whole band again. But yes, it is the power of the songs that really [carries], and that’s what the audience tunes in to. We were fortunate to have nine top 20 hits, and that’s a tribute to John’s writing. They’ve clever and it’s good time music, which is our motto!”

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Gary Lewis is the Real King of the Playboys

Count Them In: Gary Lewis and the Playboys in 2018. (L-R) Michael Gladstone (guitar), Nick Rather (bass), Gary Lewis (vocals, guitar), Willy o’Riley (keyboards), and Bobby Bond (drums). Photo courtesy of Donna Lewis.

It’s fairly unusual for a band to hit #1 on the charts with their very first single – and especially considering they had never even gone on a tour before. But that’s exactly what happened in February 1965 when the debut by Gary Lewis and the Playboys, the tale of wobegotten love “This Diamond Ring” topped the Billboard listing. It ranked higher that week than both “You’ve Lost That Lovin’ Feeling” by the Righteous Brothers and “My Girl” by the Temptations.

Six other AM gold top ten singles would quickly follow including “Count Me In,” “Save Your Heart for Me,”  “She’s Just My Style,” “Green Grass,” “Sure Gonna Miss Her,” and “Everybody Loves a Clown” – the last song inspired by Gary’s father, stage and screen comedian Jerry Lewis. Gary’s 1967 draft into the U.S. Army and changing musical tastes when he returned stalled the band’s career, but Lewis has been a staple on package shows since then.

His most recent tour was with a fellow ‘60s hitmaking Gary (Puckett, and the Union Gap) for a dual bill. A longer set time allowed him to dig deeper into his catalog for an audience that now spans his original fans, their kids, and their kids.

“Whoever thought that I would be playing to three generations? The younger people say their grandmothers or mothers used to play our songs and then they check us out,” he says adding that any can access his music from decade ago with the touch of a computer keyboard. “It’s such a technical world and I believe it’s [kept the music] around. I am amazed at how many younger people will come up to me and know not just the hits, but B-sides and album cuts.”

Lewis says he and the current version of the Playboys use the extra time to play covers by people that influenced him like ‘Runaway’ by Del Shannon and ‘Love Potion NO. 9’ by the Clovers. And also some of his other songs that made the top 40 like ‘My Heart’s Symphony’ and ‘(You Don’t Have to) Paint a Picture.”

The band in 1966: Dave Walker, Tommy Tripplehorn, Gary Lewis, Carl Radle, and John West Photo from

But back in 1965, Lewis and his group were in the fresh flush of fame, so much that he had to move from his original instrument (the drums), to guitar. As the group’s singer, audiences wanted to see him up front and not in the back behind cymbals.

And in those days – before iTunes, YouTube, and MTV – every band was eager to appear on a nationally-televised TV variety program like “The Ed Sullivan Show,” “American Bandstand,” and “Hullabaloo” as the quickest way to reach the most people (and record buying teens) as possible at the same time with their music. After all, it worked out OK for those four longhairs from Liverpool. Lewis and the band did them all, but had relatively laid back approach.

“I never felt pressure being on those shows or competition with other acts, but the TV shows were important. We got on the ‘Ed Sullivan’ show with ‘This Diamond Ring’ and we got asked back five more times and that broke all those singles to the country,” he recalls. “People would have to work 20 years to get one shot on Sullivan! And ‘Hulabaloo’ was the first network rock show going to the entire country. They were the internet of today.”

More time consuming and grueling were the package tours that crammed multiple acts on buses for one-nighters across the country, with just enough time for each singer or group to do a few numbers and get off the stage. Gary Lewis and the Playboys were part of that in 1966 on “Dick Clark’s Caravan of Stars,” and returned the next year as well.

Gary Lewis today. Photo courtesy of Donna Lewis.

“It was funny because the people that were on that first tour were people that I enjoyed listening to before I even got into rock and roll. Gene Pitney, Bobby Goldsboro, Brian Hyland, the Yardbirds, the Crystals, Sam the Sham and the Pharaohs, I could believe I was on tour with those guys!” Lewis says.

He adds that on today’s package tours, he’s become friend with ‘60s contemporaries that he didn’t know back then like Peter Noone of Herman’s Hermits, the Buckinghams, Howard Kaylan and Mark Volman of the Turtles, and current tour mate Gary Puckett. In fact, the two Garys drove together to each gig on the 2013 Happy Together tour.

As for their recorded output, it features the playing of not just the group, but also the fabled L.A. session musicians the Wrecking Crew – who did similar services for the Byrds, the Beach Boys, the Monkees, and dozens of other hit acts. Producer Snuff Garrett and Gary Lewis have had sometimes differing opinions over the years on the topic about who is playing what on the final vinyl, but Lewis is steadfast in his recollection.

“The Wrecking Crew didn’t play on the tracks, they did the overdubs. I wasn’t upset about that because these players were seasoned and very good. We were too young to have any experience,” he says. “Plus, having Leon Russell for our arranger, he took care of all that stuff and tastefully add things. It was a great team, Snuffy Garrett, Leon Russell, and myself.”

Today, Gary Lewis says he’s both happy to still be on the road playing his songs for audiences. A few years ago he released a new single on iTunes, “You Can’t Go Back.” Though that seems exactly what his 2018 audiences want to do.

“No matter where I go, I have fun doing it, because I’m grateful for what I have. I realize that the fans have put me wherever I am. It’s not hard to feel blessed,” Lewis sums up. “I have plans to never stop! That’s my plan. I’m 73, but I don’t feel old, my body doesn’t feel old, and I just want to continue as long as I can.”

This article originally appeared on

For more on Gary Lewis and the Playboys, visit their website.

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Led Zep’s Fearsome Manager Gets a Book of His Own

Peter Grant (standing) with Led Zeppelin, Marine Drive, Mumbai, India, 1972. Photo from the Grant Family Collection/Courtesy of Da Capo Press

Bring It On Home: Peter Grant, Led Zeppelin, and Beyond – The Story of Rock’s Greatest Manager By Mark Blake

304 pp., $27, Da Capo Press

As any Led Zeppelin fan who has thumbed through Hammer of the Gods, seen the concert film The Song Remains the Same, or flipped TV channels showing any innumerable rock docs on TV can attest, manager Peter Grant was a formidable and frightening figure.

At 6’ 3” tall and weighing over 300 pounds, anecdote after anecdote about the balding, heavily-bearded Grant showcase him using physical threats – with occasional  follow through – to get his way or get a point across, whether confronting Zep T-shirt bootleggers or record company heads alike.

He was a heavy both in the literal and metaphorical sense, and it would surprise no one that his “fantasy sequence” in The Song Remains the Same shows him dressed up like a 1930’s gangster – complete with pinstripe suit – gunning down music biz execs in suits or, really, anybody who would diminish or derail the success of his beloved band and in particular, leader/guitarist Jimmy Page.

And while some of those stories are apocryphal and some steadfastly true, Grant’s story and life are much deeper and nuanced than most think of the thuggish caricature (which he himself happily promoted).

He’s largely been chronicled as an addendum to the larger Zep story, but here music journo Mark Blake (who also penned the Pink Floyd bio Comfortably Numb and Queen book Is This The Real Life?) makes Peter Grant the center of his own story. Which, ultimately, both surprises the reader with new things and confirms opinions already held.

Blake’s work was greatly benefitted by unprecedented access to Grant’s family, circle of associates (including members of Zeppelin themselves in previous interviews), personal papers, and the full cooperation of his estate. So we get the clearest picture yet about how, say, his offbeat upbringing and familial relations (he never knew his father) could make him find a sort of substitute family with the world’s biggest rock band.

Growing up, Grant had a series of colorful jobs including wrestler, club bouncer, bit actor, and artist minder – delivering performers like Little Richard and Gene Vincent around town when they toured England. He also learned some of his harder, Mafia-style tactics working for the notorious manager/promoter Don Arden (Sharon Osbourne’s father). He also learned to build his career from names familiar to rock nerds like producer Mickie Most and accountant Allen Klein.

Peter Grant would eventually manage the Animals and then the Yardbirds. And  when the latter group split into two factions, he cast his fate with Jimmy Page who wanted to create a harder band with a harder sound. That would become Led Zeppelin.

Peter Grant dessed as Santa Claus with the Yardbirds (Chris Dreja, Keith Relf, Jim McCarty, Jimmy Page), Chelsea, London, Christmas, 1967. Photo from the Richard Cole Collection/Courtesy of Da Capo Press

As Blake’s narrative winds into the early and mid ‘70s when they were arguably the biggest band in the world, the familiar tales of excess and bawdiness come reeling out. And while Zeppelin were hardly the only group living the “sex, drugs, and rock and roll” mantra to the limits and beyond, theirs took on a darker tinge in both the press and public’s mind – again, not wholly stoked by Grant.

His own life began to unravel with a cocaine addiction, bizarre behavior, and his wife leaving and taking their two children, a loss of which many Blake interviewed said he never got over. Page and drummer John Bonham were similarly falling down a hole of narcotics and booze. When Page accidentally spilled some ink from a pen into a pile of cocaine, for days after you could tell who was partying with the guitarist by the telltale streak of blue coming from their nostrils.

Paranoia and bullying became the norm as the band’s circle on tour grew wider and wider to include various gofers, assistants, bodyguards, “physicians,” friends, and groupies. The quality of the albums and live shows started to suffer, and the atmosphere around the band got heavier.

Blake reports that band members were actively discussing replacing Grant as their manager, but the 1980 “death by accidental suicide” of Bonham (who choked on his own vomit after drinking something in the neighborhood of 40 shots of vodka) effectively ended the career of Led Zeppelin. Surviving band members and Grant  chose not to continue as a unit.

In the last decade and a half of his life, Peter Grant found some sort of redemption. He gave up drugs and lost about half of himself in body weight. But he kept mostly secluded in his English castle (complete with a moat), only occasionally and half-heartedly looking for new bands to manage or involved himself with. Because after you’ve managed Led fucking Zeppelin, well…

Grant would also pop up at music conferences and panels, regaling wide-eyed audience members and industry professionals with his well-polished tales of Zep and Bad Company, even as former members of those groups distanced themselves from him personally.

In the end, Bring It On Home both bolsters and fleshes out the “Peter Grant” of lore with the Peter Grant of reality. And while it could be argued if he was “rock’s greatest manager” (though he did pioneer some practices still in use today), he certainly could be the one most passionate about his charges with his head and his heart into his job.

This review originally appeared on

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