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Brian Jones Message Board Welcome to my Brian Jones Message Board. This page is moderated and should be used in good taste. All messages must be approved before posted on the message board. Please do not use any language that will offend anyone, and no nicknames like Spanish Tony. It will be up to the moderator of the message board to decide what material is suitable for posting. This board is NOT freedom of speech. A Tribute To Brian Jones Web Page
Rolling Stones TRUE STEREO Petition -- Rob Weingartner, 19:06:46 07/10/05 Sun
In 2002, Abkco Records released “The Rolling Stones Remastered Series” on a new format called SACD (Super Audio Compact Disc). When Abkco did this they released several songs for the first time in true stereo. Albums like 12 x 5 and The Rolling Stones, Now!, were done this way. Every song that appeared in stereo on these two albums were the only songs recorded in stereo. The other songs that are in mono were recorded that way. In other words, stereo versions of those songs simply don’t exist. My question is how come Abkco did this for 12x5 and The Rolling Stones, Now!, but not for Out Of Our Heads (US and UK), December’s Children (and everybody’s), Big Hits (High Tide and Green Grass), Flowers, Through The Past, Darkly, Hot Rocks, and More Hot Rocks (Big Hits and Fazed Cookies)? The latter six albums have some songs in stereo and some they left in mono, but were recorded in stereo. Abkco states in their press release at the time that the true stereo mixes will replace the mono counterparts on (I Can’t Get No) Satisfaction and Heart Of Stone. No they don’t. This version of Satisfaction is dreadful. It has no sound separation like a true stereo mix should have. You should hear different instruments come out of each speaker. It sounds slightly different than the original mono version but is still not the true stereo version they claim. And Heart Of Stone is in true stereo on every album except the UK Out Of Our Heads. Mother’s Little Helper is only in true stereo on the UK Aftermath, but is in mono on every other album. I have never seen a collection done like this before. Whenever a record label remasters a catalogue of a particular group, what they normally do is replace the mono version with the stereo version on every album in which that song appears. After all, that’s what Abkco did with Paint It Black, It’s All Over Now, and Time Is On My Side. Maybe there is a method to Abkco’s madness, but I can’t figure it out for the life of me.
This is where it gets mind boggling. Three other songs, Play With Fire, (I Can’t Get No) Satisfaction, and Get Off Of My Cloud were released in true stereo on the German and Japanese Hot Rocks which came out on Compact Disc in 1985, so why wouldn’t Abkco include them on the “Remastered Series” from 2002? On the “Remastered Series” these three songs are nowhere near as clear as on these CD’s and do not have the sound separation like a true stereo version should. Also, in 1985 Abkco released a box set called “The Rolling Stones Original Master Recordings” which also included the true stereo version of Get Off Of My Cloud. Over the years there have been several bootlegs which have included the true stereo versions of these three songs, plus others. The sound quality is not all that great but at least you can hear them in stereo. Why would these songs appear on bootlegs of all places? I find this to be quite baffling.
I am asking for your help. I have started on Online petition for people to sign to encourage Abkco Records to release the songs listed below in true stereo. We need to let Abkco Records know there is a demand to release the true stereo versions of these songs. It has been over 40 years since these songs were released, but we have never heard them the way they were actually recorded - in TRUE STEREO. Over the years, other record labels have remastered records by other Sixties artists, and in doing so have completely expunged mono versions from their catalog and replaced them for true-stereo versions. Why doesn’t ABKCO Records do this with The Rolling Stones catalogue?
Listed below are the following songs the Rolling Stones recorded in true stereo that were not included on Abkco’s “Rolling Stones Remastered Series:”
The Last Time
Play With Fire
(I Can’t Get No) Satisfaction (Abkco claims it’s in stereo)
Get Off Of My Cloud
As Tears Go By
That’s How Strong My Love Is
The Singer Not The Song
She Said Yeah
Blue Turns To Grey
Gotta Get Away
The Under Assistant West Coast Promotion Man
Cry To Me
The Spider And The Fly
One More Try
19th Nervous Breakdown
Long Long While
Have You Seen Your Mother, Baby, Standing In The Shadow?
Who’s Driving Your Plane?.
Stones Radio Special -- Jim, 20:48:45 05/10/11 Tue
With the recent release of the new Singles Box set, I heard that UMe is planning to do a series of radio specials which may include unreleased audio and interviews with the band. Have you heard anything about this or have any suggestions on how I can find out if this is true?
sad thats all -- Lauren (more like help but sad), 18:03:06 12/27/10 Mon
about Brain He was blessed by God with music then got cursed from Jelious ... the devil is pissed when God blesses people with real talent...... and how he created so many kids and alot where adopted.... thats strange.... maybe if Gods Kingdom Comes maybe brain will be playing again with the stones... alot of good people died in the sixty's .....its terrible becasue this generation the music did die...... that song bye bye miss american pie came true............ the generation is dead the spirit is dead.... the good tune of talent don't exist. will Peace
I wonder what Brian thought of this ad. This is from the July 11, 1962 issue of Jazz News magazine with a periodical on their first gig ever. Get a load of the title "Mick Jagger Forms Group." Brian used the name Elmo Lewis.
Brian's Rolls Royce -- Brent, 19:32:34 02/01/09 Sun
Does anyone have any info on Brians Rolls Royce he used to have, I read he had purchased it from George Harrison. I think it was a 1965 Silver Cloud, I am wondering if it is still around, I would like to see a picture of it.
ROLLING STONES SINGLES, B-SIDES, EARLY RARITIES REVISITED IN SINGLES/EPS BOX SET -- Robert Weingartner, 15:15:27 04/06/04 Tue
ABKCO Records is set to release The Rolling Stones Singles 1963-1965, the first of three limited edition box sets that are a comprehensive chronological overview of the Rolling Stones’ early career as pop chart hitmakers. The set will be in store May 4th and features a total of twelve individual CDs beginning with the band’s very first studio effort in the spring of 1963, including all of their ensuing hits, b-sides and EPs released through mid-1965. Release dates for Volume 2 (The Rolling Stones Singles 1965-1967) and Volume 3 (The Rolling Stones Singles 1968-1971) will be released in the summer and fall of 2004, respectively.
Today, the Rolling Stones are thought of as one of the rock era’s quintessential album bands but their origin and earliest notoriety came at 45 revolutions per minute. It was their version of Chuck Berry’s “Come On” recorded at Olympic Studios in London in May of 1963 that launched them and began the process that made the Rolling Stones a household name as they have been for over forty years. The track is paired with its original b-side, Muddy Waters’ “I Want To Be Loved,” on one CD. That record, as were the majority of the content in The Rolling Stones Singles 1963-1965 was produced by Andrew Loog Oldham.
The discs in the series replicate the band’s groundbreaking singles and EPs. The first volume includes a number of rarities including their cover of Lennon and McCartney’s “I Wanna Be Your Man” that is, once again, coupled with the band’s shocking, yet mostly instrumental, theme entitled “Stoned” which was withdrawn from U.S. release on “moral” grounds. The song is credited to Nanker Phelge, the songwriting pseudonym for the entire band and Oldham. The set includes a total of 33 tracks ranging from their first U.K. #1, “It’s All Over Now,” written by Bobby and Shirley Womack to “Tell Me,” their first U.S. Top 40 hit and the first significant hit written by the Mick Jagger and Keith Richards, themselves. Also included are such Stones classics as “The Last Time,” “Heart of Stone” and “Time Is On My Side.”
The package marks the first release on CD of three Rolling Stones EPs that were only previously released on vinyl in the UK including The Rolling Stones EP, the band’s first. Five By Five features such key tracks as “If You Need Me,” “Confessin’ The Blues,” “Empty Heart,” “Around And Around” and the band’s homage to Chicago’s Chess Studios “2120 South Michigan Avenue.” All are released here in mono and were recorded at that very address in June, 1964 at the end of the band’s first U.S. tour. The Got Live If You Want It EP, recorded in March of 1965, includes versions of “Everybody Needs Somebody To Love” and “Pain In My Heart” never before released on CD.
Each of the twelve discs is individually packaged in a picture sleeve utilizing original artwork while the actual discs approximate the black vinyl look of the Stones’ original 45s. The set includes a 28 page booklet that is packed with rare photos and extensive annotation. Also included in the package is an exclusive original essay by Rolling Stones authority Nigel Williamson. It provides a highly detailed historical narrative that puts the classic material of The Rolling Stones Singles 1963-1965 in perspective, offering facts and insight into the earliest recording efforts of the group that would come to be known as “The World’s Greatest Rock ‘n Roll Band.”
NEW ROLLING STONES RELEASE -- Robert Weingartner, 11:55:12 03/26/04 Fri
ROLLING STONES Singles 1963-1965 [Volume One] (2004 UK limited edition CD box set featuring 33 classic tracks across 12 discs, featuring American, British & 'export' singles [with individual picture sleeves] from their revolutionary groundbreaking musical period, presented in stunning picture box complete with 28-page booklet with essay, rare photos and memorabilia plus three bonus collectors photo cards) ** a superb collection for connoisseur, collector and casual fan alike! . ** released UK Release Date: Monday 26 April 2004 **
US Release Date: May
1. Come On
2. I Want To Be Loved
1. I Wanna Be Your Man
CD3: [The Rolling Stones EP]
1. Bye Bye Johnny
3. You Better Move On
4. Poison Ivy
1. Not Fade Away
2. Little By Little
1. It's All Over Now
2. Good Times, Bad Times
CD6: [Five x Five EP]
1. If You Need Me
2. Empty Heart
3. 2120 South Michigan Avenue
4. Confessin' The Blues
5. Around & Around
1. Tell Me
2. I Just Want To Make Love To You
1. Time Is On My Side
1. Little Red Rooster
2. Off The Hook
1. Heart Of Stone
2. What A Shame
1. The Last Time
2. PLay With Fire
CD12: [Got Live If You Want It EP]
1. We Want The Stones
2. Everybody Needs Somebody To Love
3. Pain In My Heart
4. Route 66
5. I'm Moving On
6. I'm Alright
Edwina.firstname.lastname@example.org -- Eddie (My son), 15:28:00 12/10/09 Thu
My beautiful son is BRIANS GRANDSON,his dad, is brians son BROAD BEAN HEAD.He is an amazing dad also our son is now playing instruments like ,well it surprises me, and im sure if his grandad wasnt taken from us erm!!!!! so early he would have been blown away also.For my baby who is 12 now and his dad who is 46 now there is so much love for Brian.Even though in his very short life he never had the time to come to terms with his responsabilites.God bless him and give me five minutes with mick and keith,love love love EDWINA
Snapshots: Getting blood from a Rolling Stone -- Chris, 11:42:36 07/22/09 Wed
Hey Rob, have you seen this from the new Goldmine mag?
Snapshots: Getting blood from a Rolling Stone
July 02, 2009
by Ian & Lauren Wright
With rhythm and blues steadily gaining popularity in England, fans frequented London’s Ronnie Scott’s Club in Soho, The Marquee Club in Upper Martin’s Lane and the Crawdaddy Club at the Station Hotel in Richmond.
Aspiring musicians used these clubs to meet other like-minded people with their own instruments and equipment.
In 1963, five young lads who shared an affinity for R&B and the desire to form a band met at the Crawdaddy Club. Brian Hopkins-Jones, from the upper middle-class town of Cheltenham Spa, was studying to become an architect and could play bar-slide guitar to a very high standard. Charlie Watts, a Regent Street graphic designer, was a prolific jazz drummer, playing regularly with top groups in the London scene. Michael Jagger, studying under a government grant at the prestigious London School of Economics, had a most distinctive singing voice, but his instrumental skills were limited to the tambourine and maracas.
When Jagger first saw Brian Jones playing the slide guitar, his jaw dropped. “Man, that cat can play.” Ten years before, Keith Richards sang in the choir at Westminster Abbey for the Queen’s Coronation. Now he was studying at an art school and was a fine guitarist affecting the chords of Chuck Berry, Chet Atkins and Muddy Waters. At 28 years old, Bill Wyman, the old man of the group, married with a son, had already done two years “national service” in the RAF and owned a guitar with two huge amps.
With a devout dedication to true-blue American music from the South and taking their name from a 1940s Muddy Waters hit, “Rollin’ Stone Blues,” the five lads formed The Rolling Stones. Brian Hopkins-Jones dropped the posh-sounding hyphenated name, and his contract stipulated he would receive an extra £5 per week as the band’s leader. Michael Jagger shortened his name to Mick, replacing his upmarket grammar-school speaking voice with an invented Cockney dialect credited to falling from gymnastics apparatus and biting off the end of his tongue. Though he had limited vocal range and an affected singing style that sounded like black vocalists of the American South, the girls all screamed when Jagger tossed his long hair and took out his maracas. He was the obvious choice for the band’s frontman.
My initial encounter with The Rolling Stones came in England in September 1964, at the Globe Theatre in Stockton during their first nationwide tour. They were riding high on their first Top 15 hit penned and gifted by Lennon and McCartney, “I Wanna Be Your Man.” Backstage everyone was nervous and fidgety. The boys were filled with angst about the performance, while I was unsure how to set up the shot. They gave a fantastic performance with a true R&B repertoire.
Back at the paper, I developed my pictures and the naivety was clear on both sides of the camera. Brian Jones is clearly the leader, sitting up front with Jagger relegated to the back. Bill Wyman, sitting on the dressing room sink, was far more concerned with a pack of peanuts, while drummer Charlie Watts looked the only one interested in being photographed.
The national press described them as “Scruffy, hooligans. Unkempt and unclean ruffians.” One headline screamed, “WOULD YOU LET YOUR DAUGHTER MARRY A ROLLING STONE?” In my experience, they were nothing like any of the aforementioned descriptions. These five young men were not what the press would have you believe. All were very intelligent, working or studying with top-level projects. Mick even spoke perfect French. Not only could Jagger chew gum and walk, he could chew gum and sing at the same time! They wore Eaton collared shirts, ties, conservative trousers, polished boots and socks. Today, it’s hard to recognize the baby-faced lad in the front right as Keith Richard.
A year later, in October, 1965, the Rolling Stones were back at the Globe Theatre in Stockton as fully-fledged pop stars with an incredible hit written by Jagger and Richards. “I Can’t Get No Satisfaction” was #1 in the United States and the U.K., though banned for a time in Europe because of the suggestive lyrics. One of our writers, Philip Norman, and I went to interview them and found they had acquired a gloss of confidence with just a bit of world-weariness. Though they all had flu, everyone was affable and forthcoming except for Brian, who stayed somewhat aloof. An extremely likeable, confident and well-mannered fellow, Jagger said, “Hey I almost became a journalist, like you two. I promised my father I’d give up music and become an economic journalist if the band didn’t make it in six months time.”
Later, Jagger and I were chatting about our passion for cricket, which we both played avidly. In a completely relaxed moment, I took a picture of him sitting on the stairs having a Pepsi. One of the crew came past shouting, “Hey, Mick, where’s that fifty a week you promised me? I’ve just had to part with twenty of my own money. It’s times like this when the job gets weary.” Ever the economist, Mick said, “I’ll give you thirty.” Mick had no cash, so Philip and I each stumped up 15 quid, which was a lot of money in those days. Mick promised to repay us, but even though I’ve seen him countless times since, he’s never paid up. That 30 quid must be worth about 500 pounds today, but it’s a great story to dine out on. Mick also talked about plans to marry his girlfriend, Chrissy Shrimpton, flying in the face of press rumors accusing him of being a debauched sexpot. Our conversation abruptly ended when the stage director shouted, “Show time lads.”
From a relatively quiet, relaxed backstage camaraderie, the boys walked onto the stage before legions of worshipping girls whose screams mingled with ugly shouts from a group of rowdy yobs, called Teddy boys (the equivalent of greasers in America). Obsessed with questioning Jagger’s sexual preference, the Teds hid themselves in the middle rows yelling, “Get back to London you bloody poufs.”
Those cowardly louts came to pop concerts specifically to cause trouble. If they didn’t get into a punch-up before, during or after the show, they felt they hadn’t got their money’s worth. Typically, the Teds worked as apprentices at the local shipyards by day. At night, they combed their hair into a pompadour with a duck’s ass at the back. After donning black drain-pipe trousers, they lay in the bath to get them soaking wet, then dried the trousers to a second skin, standing before a coal fire. Their knee-length dark red, blue or green frock coats had velvet collars with razor blades sewn inside the lapels.
These distinctive outfits were accessorised with Slim Jim ties, white socks and “Beetle Crushers,” three-inch crepe-soled shoes with vicious steel toecaps. Armed with flick knives, knuckle-dusters and motorbike chains, the Teds were looking for a fight; it didn’t matter who the victim. They could empty a pub quicker than the local constabulary showing up after closing time.
Anybody seeing a group of Teddy Boys immediately ran like hell, praying they wouldn’t get hit in the back of the head by one of the Ted’s treacherous coin missiles. With edges filed down to razor sharpness, those coins were terrifying. Even theatre bouncers avoided confrontations with the dreaded Teds. During the Rolling Stones’ performance, an adoring audience pelted the stage with their usual tokens of affection — teddy bears, cushions, Kiora bottles, and autograph books — while the Teds threw somewhat more dangerous messages. I stood in the orchestra pit, trying to take pictures with cumbersome equipment while dodging these gifts that were landing on or around me. A six-inch spanner whizzed past my head with a terrifying concussion of air and pinged off one of the metal footlight covers.
Seconds later, a high-heeled shoe whirled like a boomerang past my left ear on an upward trajectory, heading straight for Jagger’s head. Mick ducked, narrowly avoiding being hit smack in the face by the shoe. But one of those filed-down coins hit him above the right eye. Immediately blood flowed down his face, onto his shirt and trousers. Jagger pulled out a crisply folded linen handkerchief, held it over his eye and carried on his performance.
After their set, the cut above Mick’s eye received three stitches from one of the St. John’s ambulance nurses who were usually backstage to revive fainting fans and treat minor injuries.
I phoned the office to tell the Chief Sub Editor about the coin incident and could have predicted his response. “Did you get a picture of Jagger bleeding?”
Back at the paper, I found a note pinned to the darkroom door. “Phone the editor (Harold Evans) as soon as you get in.” Harry came down to the darkroom asking, “Can you pull it up and make it bigger so we can see more blood? Can you make it darker?” As soon as the first edition came off the press, I hurried to catch up with the Stones at the Scotch Corner Hotel a few miles outside of Darlington.
As with The Beatles, the boys were in the bar having a lager. Even though they were suffering from flu, shattered after two performances and were dealing with Mick’s throbbing eye, they seemed glad to see me and were amazed at how quickly the paper was printed. I was thrilled to show my photograph of bleeding Mick made front page with a terrific headline, “Blood From A Stone.” I didn’t know it at the time, but some 40 years later, I realize that brilliant piece of journalism from Sir Harold Evans was the best headline for one of my photographs in my entire career.
The Stones thanked me for the photographs and copies of the newspaper, and then excused themselves and went up to their rooms. The next morning one of their roadies called to say the boys had been chucked out of the hotel and wanted me to do a story for them.
My immediate thought was a noisy party, girls in the room, or loud music. In those days, drugs never entered into my mind. I arranged to meet the boys at a greasy spoon transport café on the A1 road where, after their horrible night, they didn’t look out of place with the real roadies.
Over breakfast the story unfolded. After they left me in the bar at the Scotch Corner Hotel, they went up to their rooms to order room service. While the night porter was setting up the cart in the room occupied by Jagger and Richards, Mick was talking on the phone to Paul McCartney. Mick asked the porter to borrow his pencil and proceeded to write his number on the wall adjacent to the nightstand. The porter reported the incident to the hotel’s night manager, and the group was summarily asked to leave. Keith tried to compromise by asking for a rubber eraser, but the manager asked them to finish their meal, pay up and get out. At 2 a.m., they found a bed-and-breakfast in Richmond where the sleepy proprietors had no idea who they were welcoming at that ungodly hour.
I reminded them they could afford to buy the Scotch Corner hotel and sack the pompous manager. With a full English breakfast and gallons of tea under their belts, they were ready to see the humorous side of the whole episode.
As they were leaving, I shook Mick’s hand. “Well at least you don’t have to worry about keeping that promise to your dad. You lads are Top of the Pops now.” Mick said, “Yeah but I still feel guilty for accepting that grant and not graduating.”
Two days later the spanner, high-heeled shoe and sharpened coin seemed inconsequential when a fan was stopped at the door trying to carry a double-barrelled shotgun into the theatre where the Rolling Stones were performing in Liverpool.
To Paul Spendel -- Shep, 09:38:01 05/19/09 Tue
Been following your posts for over a year and you got some interesting items. But a few things puzzle me so I hope you're gonna level with us buddy.
Feb 2008: you told us Tom Keylock had died but it turned out he wasn't and you were gone.
Summer 2008: you were going to publish a book under the name David Brandstone but when Helen turned up the heat you were gone again.
Two message boards you were embarrassed to show face on again.
October 2008: British journalist Scott Jones ran the Janet Lawson exclusive and this is where it got kinda weird. You were blowing your trumpet about tracking Lawson but there is no mention of you, it looks to me like the journo guy got to her first. He must have made a few bucks for himself too.
December 2008: After spilling your guts with the details of the BJ case you said you went to UK police with your case notes and they said there was nothing doing, they were'nt going to re-open it.
Spring 2009: you put a link to Sussex police on and it appears the case ain't dead but under review.So what's it all about man, running us up the wrong pole with all these bullshit rumors ? Just like reading Giuliano and Rawlings again. Like I say, it's one thing to spill your guts to a captive audience, it's another thing to lay it out straight.
Brian as the Archbishop of Canterbury -- Deb, 09:15:52 03/22/09 Sun
Stan Blackbourne: Brian came in one day dressed like the Archbishop of Canterbury; he'd obviously had a good bit of his stuff. Shirley Arnold, their fan club secretary, was shocked to see him come in like this. I said 'Good afternoon, your grace!' Brian said 'Oh, you recognized me then, how beautiful, isn't it marvellous!' He'd been to Bermans, the film and theatre costume people in Leicester Square. He said, 'Stan, I want to thank you for all you've done for me. I want to take you out to tea; I won't take no for an answer. We can walk to that nice place nearby. I've told the chauffeur not to bother waiting, that we'd be back in awhile.' Andrew later told me that Brian was 'emotionally loaded.' At the time I did not know what he meant. I told Brian that he could not walk down the street dressed as the Archbishop of Canterbury and I persuaded him to get in the car. We got to the tea-room and they just could not believe it; the waiters recognized him immediately. We had a nice long chat about things. He was okay and receptive, he's calmed own, his stuff had levelled off and we had a normal chat.
Brian Jones Movie News -- Helen, 17:07:23 06/14/04 Mon
Stephen Woolley directing The Wild and Wycked World of Brian Jones
Tuesday, May 18th, 2004
The Wild and Wycked World of Brian Jones: According to Variety, After a decade in development, The Wild and Wycked World of Brian Jones is finally ready to rock 'n' roll, with producer Stephen Woolley making his directorial debut.
Tom Hardy (Star Trek: Nemesis, Black Hawk Down) is in talks to star as debauched '60s rock icon Brian Jones, the charismatic guitarist who founded the Rolling Stones but was fired in 1969 and found dead at the bottom of his swimming pool a few weeks later.
The official verdict was accidental death. But the screenplay, by "James Bond" scripters Neal Purvis and Rob Wade, claims Jones was killed by Frank Thoroughgood, the builder who was working on his house.
That thesis has been put forward in several books, notably "Who Killed Christopher Robin?" by Terry Rawlings and "The Murder of Brian Jones" by his girlfriend Anna Wohlin, who was in the house when Jones died. Thoroughgood reportedly confessed years later, on his deathbed.
As well as optioning all the available literature, Woolley has conducted extensive research into the case. He hired private detectives to track down Thoroughgood's girlfriend Janet Lawson, who was the only other person present on the fateful night but disappeared after the inquest.
The film is set in the final few weeks of Jones' life, focusing on his intense and deteriorating relationship with Thoroughgood, flashing back to his childhood and the early days of the Stones.
The $10 million project will start shooting in September.
Soap & Deodorant for Stones! -- Deb, 17:41:34 03/31/09 Tue
Musician Richie Green was in a band called Bocky and the Visions. The Visions opened for the Rolling Stones at Cleveland Public Hall, November 3, 1964:
"We opened for the Rolling Stones first time they were here in town, 1964. I'm a kid just out of high school opening for the Rolling Stones. It kind of came pretty quick. We didn't meet the Rolling Stones, they weren't real friendly. They had a separate dressing room and didn't want to fraternize, which was kind of disappointing. We were their throwaway warm-up band, which was great for us. But there were other people who we opened for who were just super to us, like the Young Rascals, Lonnie Mack. This was the beginning of the British Invasion. The most notable thing I remember about that concert is that people were throwing soap and deodorant at the Rolling Stones. I guess they had some strange reputation. It was packed. They were immediately popular."
From "Cleveland Rock & Roll Memories" by Carlo Wolff.