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TUNED IN MUSIC MAGAZINE Vol. II Issue One Table of Contents Yonder Mountain String Band . . . . . . . . . . Page 4 It’s Always About the Music . . . . . . . . . . . . . . . . 6 Shannon Cain . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 Chad Randall and the Moods . . . . . . . . . . . . . . . 8 Dean Agus Band . . . . . . . . . . . . . . . . . . . . . . . . . 10 Venue Spotlight . . . . . . . . . . . . . . . . . . . . . . . . . 14 Artist Performance Review Paul Thorn. . . . . . 15 Artist Performance Review Kris Bell . . . . . . . . 17 Artist Performance Review YMSB . . . . . . . . . . 20 Wayne Perkins . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Same Song Different Verse. . . . . . . . . . . . . . . . . 29 And the Music Plays On . . . . . . . . . . . . . . . . . . . 30 Jonathan Clay . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Still California Dreamin’ . . . . . . . . . . . . . . . . . . . 35 CD Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Staff: Directing Editor Lea Sylvester Directing Editor Donita Booher Music Editor Megan McKee Photographer Lisa Grissinger Phylis Simmons Lea Sylvester Contributing Editor Lisa Grissinger Editor and Proof Mary Markle Tuned In Music Magazine is published by MagnoliaMedia. Please direct all inquiries to publisher@tunedinmusicmagazine.com

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Yonder Mountain String Band Rocking a New Beat with Bluegrass

The band known as Yonder Mountain String Band is not your Grandaddy's bluegrass band. The music is a contemporary, rock, folk, hold-onto-your-seat flavored music. The banjo, bass, mandolin, and guitar sounds are too uplifting to stay in one's seat very long. We counted about 60 seconds. Let's put it in this perspective: it's like going from 0 to 90 in about 8 seconds. Pretty darned fast, pretty darned good. Anyone who loves good music must see Yonder Mountain String Band (YMSB) in concert. It will be an experience you'll never forget. Addicting, yes it is addicting. Adama Aijala, Jeff Austin, Dave Johnston and Ben Kauffman rock the bluegrass sound. The band hails from Nederland, Colorado; having met up at a local club there called The Verve. In December, 1998, they formed YMSB, and the rest is history. And they are making history. Topping the music charts above more traditional acts such as Alison Krauss and Union Station, this band tours extensively and have developed both a bluegrass fanbase as well as a jam band fanbase. All is good.

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They are often on tour and among appearances scheduled for 2008 is Bonnaroo, one of hte largest multi-day concerts in the U.S. For an extensive tour schedule, please visit their website at http://www.yondermountain.com Jeff Austin, mandolin, vocals. Jeff Austin picked up the mandolin only a few years before forming YMSB. He will often break into a freeform scat during a song. Ben Kaufmann, bass, vocals. Ben Kaufmann's ability to write songs has formed a solid foundation on which the band's repertoire has grown steadily since 1998. Among his earlier compositions are, "The Bolton Stretch" (Elevation), "On the Run" (Elevation), and the epic live song "Traffic Jam" (Mtn. Tracks Vol 3). Dave Johnston, banjo, vocals .Dave Johnston forms a great deal of the band's overall sound with his banjo. He sings in a low tone. Of all the members, Dave has contributed the most instrumentals, with Adam second. Jeff and Ben have put words to all of their songs. Adam Aijala, guitar, vocals. Adam Aijala's guitar playing forms a framework for many of YMSB's songs. One of Adam's most well-known songs, written back in the days of Elevation, is "Left Me in a Hole." (continued page 6) Discography: * Elevation (1999) * Town by Town (2001) * Mountain Tracks: Volume 1 (2001) * Mountain Tracks: Volume 2 (2002) * Old Hands (2003) * Mountain Tracks: Volume 3 (2004) * Too Many Years – a benefit for Clear Path International to which YMSB contributed the track "A Father's Arms" (2005) * Mountain Tracks: Volume 4 (2006) * Yonder Mountain String Band (2006) * This Bird Has Flown - A 40th Anniversary Tribute to the Beatles' Rubber Soul, with various other artists

It’s Always About the Music

Gary Hays

It’s the simple truth that Nashville is no longer just “The Country Music Capital” of the world. It is now referred to as “The Music Capital” of the world. The music scene is diverse and all genres are eagerly accepted. Each month, Songwriters Anonymous/Hays Entertainment, features two artists that are coming on strong and taking Nashville by storm. To show the cities musical diversity, this month we have chosen two distinct and opposite genres by two distinct and opposite artists. Chad Randall and the Moods possess an edgy rock/pop/alternative sound. Shannon Cain is new country. Both are outstanding examples of the talent that roams the stages of Nashville. Keep your eye on both of these acts. If you have an opportunity, go see them before it costs you $45 a ticket.

Chad Randall and the Moods: www.myspace.com/chadrandallandthemoods Shannon Cain: www.shannoncainmusic.com

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Shannon Cain Shannon grew up with very young parents and their LP and 8 track collections. By the time he was 5, he had his own turntable and helped himself to a ton of great music: Led Zepplin, James Taylor, Lou Rawls. Jim Croce, Santana, The Beatles, Don McClean, Jackson Browne, Jimmy Hendrix, Leon Russell and others. His Dad had a guitar but, because of an old hand injury, he wasn’t able to play much. Still, Shannon remembers sneaking out of his room at night to hear his Dad and a buddy play songs in the living room. Shannon bought a guitar at a yard sale and learned a few songs from a book that had Beatles, Elton John, America, and Doobie Brothers songs. After picking up a few chords he started writing his own songs. Kids in his youth group would ask him to play when he went on weekend retreats or things like that but his writing and interest in performing didn’t really develop until his second year of college. At one point, his buddy, Justin, said he should put together a demo. Only problem was, he had no clue how to do that. Fortunately, he called Michael Henry Martin at Castle Sound… and he walked him through the process, becoming a mentor and friend along the way.

Shannon learned about the industry and about who he was—or who he does not ever want to be—as a performing songwriter, since moving to Nashville three years ago. Every night he would go out to play some writer’s round, scared to death because it seemed so many people sang better, played guitar better, performed better, or wrote better songs. He was shy, didn’t know anyone, and was trying to stand out in a city full of talent when he barely had any idea of what he wanted for his music, let alone how to get there. But he worked hard and kept at it. Now he has a great record label and a wonderfully produced CD and now, more than ever, he knows it’s time to work hard at proving to the folks who’ve shown so much faith in him, that his music has staying power. Shannon leaves his fans exhausted by the end of each of his shows. His high-energy performance never lets up.

Listen to Shannon Cain

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Chad Randall and the Moods: The sound of Chad Randall’s music is dynamic and unique. It’s a blend of emotionally driven rock and atmospheric overtones. Influences swing as far right as they do left, from listening to James Taylor in the back seat of the family station wagon to discovering the Counting Crows and Ryan Adams. The blending of Chad’s artistic identity and that of his band “the moods” has created a truly fresh and distinct sound as they set their sites on the new Nashville rock scene and beyond. The band calls Nashville its home. It was here that Chad settled, leaving Madison, South Dakota, to pursue his musical aspirations. He was already an experienced performer, having played throughout the Midwest with the first band he formed, gaining local acclaim. He began testing the waters of song writing at the age of 14. By the age of 19 he was writing songs that were not only melodically driven but identifiable on a spiritual and humanist level. “I’ve always wanted to write songs that not only stir creativity in people but, connect with them on an emotional level…” By the time his second year at the local University was closing in Chad was already making plans to make push at the recording establishment of Nashville. Within thirty days of moving to Nashville Chad was already establishing relationships that would lead to publishing and recording contracts with Chelsea Music Group, Nashville TN, and Reel One Music, Los Angeles.

In the fall of 2007 Chad met guitarist Michael Gallaway at a local rock venue.

The two began to collaborate as Michael began to add his own unique style and taste to the music.

Within the next few months the two had added Kevin Albright to the rhythm guitars, Dan Pinson to reinvent the rock bass guitar, and Casey Kinnan to anchor the Rhythm section on drums. “Casey is one of the best Rock drummers in Nashville. Having worked with him on 2 previous projects, I already considered

him a close friend and I was excited to hear he was on board,” Chad recalls. With the line-up in place, the band is rapidly filling their schedule with upcoming shows. They are currently set to record winter/spring of 2008. Look for them, coming to a venue near you.

Listen to Chad Randall and The Moods

"Those who danced were thought to be quite insane by those who could not hear the music."

Angela Monet

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A Voice Heard Across Arkansas… A Talent That Needs To Be Shared!

Lisa Grissinger

Dean Agus is a name that is familiar throughout Hot Springs, Little Rock, Texarkana and other parts of Arkansas. In the near future, more and more people across Texas, Nashville and beyond will be familiar with this talented young man. Dean is a man with a voice that amazes and song lyrics in his head that artists will be begging to use and audiences will be clamoring to hear. Dean has been on the Hot Springs music scene for many years as the front man for Crash Meadows and more recently the Dean Agus Band, playing acoustic guitar and providing the lead vocals. The Dean Agus Band, or DAB, also includes Dean’s brother Medo on lead guitar, Daniel Keith on bass and Hampton Taliaferro on drums. Almost any night of the week, you can catch Dean playing acoustic around town with regular gigs at Slim’s, Shooter’s Bar & Grill, and Doe’s Eat Place, as well as catch him or the full band at many other places, including gigs at local venues, private events and fundraisers/ benefits. The music you will hear is varied and endless at any given Dean Agus or DAB gig. Dean has what seems like a limitless repertoire of cover tunes as well as a growing number of tunes penned by Dean as well as brother Medo. Dean carries two notebooks with him to his gigs, one with covers and one with his own music. Both notebooks continually grow. Ask him for a song, if he doesn’t know it, he will by the next time you see him! When Dean Agus gets on that stage, you are guaranteed a show you will not forget. Whether it is Dean playing acoustic and singing on his own, or the whole band with Dean’s golden voice, Medo playing amazing guitar licks, Daniel rocking the bass, and Hampton tossing in a few rapping word gems as he keeps the beat. If you catch Dean on the right night, in the right venue,

you may have the pleasure of watching a song be “written” on the spot, and you are just as likely to get a case of the giggles as you are to get teary-eyed.

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He has been known to take the tune from a well-known song and use lyrics from other songs to create an interesting combination, sing a well known artist’s song in the style of another, or make up a song from three words thrown out by the audience. Funny, entertaining, and he makes it work! One crowd pleaser he does is Reggae Challenge where he takes a song, sings it n reggae-style, you just have to hear it to believe it. Dean makes the audience enjoy music, whether it is music he has written, music by other artists, or music he tweaks in an amusing way. The band is no stranger to success, winning competitions including Boogie’s Annual Battle of the Bands in January, 2007, and the Magic Springs 1st Annual Battle of the Bands in the summer of 2007. The Magic Springs win earned them a chance to open for a headlining act at Magic Springs during the Spring/ Summer 2008 season. To date, it has not been announced which well known band it will be, but it will be a band which has a similar musical style. DAB also made it to the “Arkansas Times Musician Showcase” in 2007 where they finished in the top three. “Eleven Worlds Apart” is a phenomenal cd and was released by DAB in December 2006. With songs written during an emotional time in Dean’s life, the songs are full of whatever he was emotions he was feeling during the time. His songs are full of every range of emotion known to man and no one can listen to Dean sing without being swept into that emotion. “I can only write what comes to me. It’s an outlet for me. I hide it in the real world and pour it out in the songs.” There have been previous recordings, including Crash Meadow’s “Damage Done” and also an unreleased cd “Torn Apart” from Mojo Blues Record. That particular label had about 8 artists, and Dean actually did some recording with Taylor Hicks, of American Idol Season 5 fame, during that time. There are also hopes in the future for possible cds including more band cds, and maybe even an acoustic cd. Their fans are keeping their fingers crossed! Dean’s real focus is on writing, and is almost always writing a new song. With a vast array of original songs, he has songs that no one has even heard yet. In August, 2007 he signed a contract with Cherri Entertainment in Nashville.

Dean’s main objectives at this point in his career are to get the band heard and seen, to achieve a recording contract, and have an opportunity where established artists have the chance to hear his original songs. While he loves to get on the stage and perform, and plans on doing that for many years to come, songwriting is his true love. Dean, the man, is down-to-earth family man who loves people. With many friends and loved ones, there are very few people more likeable than Dean Agus. People have nothing but good to say about him both personally and professionally. He can make anyone feel at ease and is very approachable. He wants to help, whether it is a newer artist, a friend in need or someone he has never met. Just an all around nice guy. That radiates from him as an artist as well. He inspires others not to give up hope or their dreams. Dean never stops working to become a better at his craft. “I think a musician needs humbleness. There is always someone better out there! I have to keep working to improve.” He says that he always feels that he is never as good as he wants to be, therefore that drive to improve whether as a performer or a songwriter is always there keeping him going. Dean will always be working to improve himself, his music, and so will DAB. Keep your eye on them! Their future is looking bright!

http://www.thebeadbiz.com

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"Music and rhythm find their way into the secret places of the soul"

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Plato

VENUE SPOTLIGHT WorkPlay, Birmingham Alabama WorkPlay, located in Birmingham Alabama at 500 23rd Street South is a progressive venue. Not only does it cater to any genre of music, local, regional and national acts but it houses offices directly related to the music industry. With four contemporary and versatile rooms to choose from, scheduling for any day of the week; WorkPlay can house any entertainment event or special event from wedding receptions to mitzvahs. Their friendly staff provides a place for special events of all kinds. They help create events to fulfill any dreams. As stated above, perfect for wedding receptions, mitzvahs,

rehearsal dinners and celebrations large or small. Two recording studiios, in-house engineer Bert Trotman. Information studios contact Bert...bert@workplay.com WorkPlay regularly features Singer/songwriters in the bar. Utilization of their entire space is what WorkPlay is about. No matter what genre music you prefer, a trip to WorkPlay will be worth the time. There is always something for everyone there. Not too many establishments has everything that WorkPlay has to offer. They do a lot to promote music; and they do it well.

Branson-Styled Entertainment Complex Planned in Alabama

Country Crossing, a country music resort to be built near Dothan, Ala., received approval from the Houston County Commission in Dothan on Monday (Feb. 25). Country Music Hall of Fame member George Jones and entertainment attorney Joel Katz accompanied real estate developer Ronnie Gilley to the morning meeting to present plans for the complex that aims to be a national tourist destination similar to Branson, Mo. Despite Branson's remote location, Katz said the area flourished because of the demand for family-oriented entertainment. The proposals surrounding Country Crossing include performance venues, hotels and restaurants, along with a midway and an RV park. Gilley said several country artists are expected to sign agreements to headline at Country Crossing venues.

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ARTIST PERFORMANCE REVIEW Paul Thorn, WorkPlay Birmingham, Alabama Paul Thorn has come a long way from Tupelo, Mississippi. In fact, his new CD entitled "A Long Way From Tupelo" might make one think he has gone farther than he actually has. Don't get us wrong, Paul Thorn's latest CD is what we feel is his best, yet. However, it isn't far from Tupelo at all. (See our review of this CD, this issue). In usual fashion, at his concert February 15, 2008 at WorkPlay in Birmingham, Paul Thorn didn't disappoint a single person who packed in to see him and his band play. With the addition of three back-up singers, they were tight, right and outta sight. Thorn took the stage with "It Don't Feel Like Saturday Night", led straight into "Heart With a Four Wheel Drive" then introduced a new song from his "A Long Way from Tupelo", "It's All About People". With energy and urgency, Paul put on one of the best performances we can recall. Interjecting (with his self-deprecating humor) his humorous stories and observations, the crowd hung on his every word and note. The theatre was packed to capacity. We noted that fans of all ages made up his audience, we even spotted a few children in the crowd. With his "I'm Still Here", a song that could be taken as auto biographical, Paul had the audience singing right out of his hand. In the end, Thorn played for almost two hours and left his audience with smiles on their faces happiness in their hearts like only Paul Wayne can. For more information about how you can experience (not just see but EXPERIENCE) a Paul Thorn concert, please go to http://www.paulthorn.com for his tour schedule. In addition to his tour, Paul excitedly told his audience that he and his band will be appearing on "Late Night With Conan O'Brien" on March 19, 2008. Well worth watching. We give this concert five stars out of five. No one entertain an audience better than Paul Thorn.

Paul Thorn entertains at WorkPlay in Birmingham, AL

~Tuned In Music Magazine~

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ARTIST PERFORMANCE REVIEW Kris Bell Band Rocks Austin

Lisa Grissinger

When the Kris Bell Band took the stage in Austin, Texas, on Friday, March 14, 2008, the people milling around in search of some “good music” had no idea of the treat they had in store! At 6:30 p.m. when Kris Bell, John Cooper, and Shane Sexton, all from Nashville, along with Texas guitarist and friend, Heath Clark, stepped on to the Guitar Hero III Main Stage at the Texas Rockfest and rocked Austin for the 30-minute time period they had been allotted, those people found what they were looking for. As much music as Austin has, especially in this particular week full of music with both SXSW and the Texas Rockfest going on, I guarantee that the Kris Bell Band will be remembered by many in attendance that day! At the beginning of their set, hard-core KBB fans that had traveled to see the band from all around the country, were ready for a great show. They

knew that what was about to happen on the stage was going to be something fantastic! Once the band began performing, the numbers grew. As the band moved through their songs, more and more people came over to see who they were hearing and wanting to hear more from them. By the end of the concert, the crowd had grown significantly, everyone near the stage, dancing, moving, singing and smiling, glad that they were there standing in front of this band. No one who heard the Kris Bell Band that day left disappointed! “Livin’ for Tomorrow” with its strong lyrics and guitar riffs had the audience moving. “Runnin’ Out on You” kept up that rhythm and fluid beat as well. Kris’ voice growling through the songs was at its best. Kris and the band slowed it down a bit with “I Know the Sun Will Call.”

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His fans are familiar with this song as Kris has performed it during his acoustic sets, but it

was so exciting to hear it done whole band and with the electric guitar.

The heartfelt lyrics moved the audience and were delivered with such intensity. It was something wonderful to hear. What a great job slipping it in to the set list, too, because it sure showed those listening the range that these guys have in their music. During “With You in Mind” and “What Song Is It You Wanna Hear” the band blew the audience away, with their aggressive, energetic performance! You could see that the band was feeling it as strongly as the audience. Watching them interact with each other, both verbally and nonverbally throughout the set, shows how well this band works together. Last song of the set, a new song for the band, “My So Called Friend” was full of pain and turmoil. WOW! The more songs Kris writes, the more new songs his fans want to hear. I can’t wait to hear this one again. That was it…it

It was hard to believe it was over. The audience could have kept listening, and would have, but it was time for the next band to go on. Austin was hot but no one even felt the heat, unless it was what was coming off that stage. Kris Bell Band made their presence known and gained new fans. With an upcoming CD in the works, those fans will be glad that they got to experience Kris Bell Band as the band develops into one major force to be reckoned with. What the audience saw in Austin gave just a glimpse of that! Fans, old and new, left the area with smiles on their faces and a Kris Bell Band song in their head. I personally cannot wait for the next performance. Simply put, this band rocks! Visit Kris at: www.KrisBellMusic.com www.myspace.com/kbell22 www.RebelBell.com

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YONDER MOUNTAIN STRING BAND

– WorkPlay, Birmingham Alabama

When Yonder Mountain String Band took to the Workplay soundstage, they didn't need anything flashy. Just four guys in street clothes with their string instruments and a warning for the older fans: "We're not your grandma's bluegrass band."

SPECIALYonder Mountain String Band…

The band kicked off a fast-pickin' set with tunes such as "If the Right One Didn't Go Wrong" and "Angel" as the mostly youthful crowd bounced along to the backporch jams. Even the gray-haired Yonder Mountain fans couldn't help but dance.

Members of Yonder Mountain showed off their talents during the hour-long first set by doing just about everything a bluegrass band should. Mandolinist Jeff Austin and stand-up-bassist Ben Kaufmann led the way with vocal duties, but each of the four members stepped up and sang when a bit of variety was needed; the two- and sometimes three-part harmonies didn't hurt, either, especially on sing-a-longs such as "Idaho."

Most impressive, however, was the way each band member handled his instrument. The four tossed solo duties back and forth like hot coals. While the banjo, acoustic guitar, and mandolin all made for great freestyle spotlights, Kauffman's lone bass solo toward the end of the night stood out as the highlight of the show.

After a 30-minute intermission, Yonder Mountain came back to the stage for a second set that lasted almost two hours. "We're starting earlier these days so we can play a lot longer," Austin said. They did just that, stretching songs like "Dawn's Early Light" to 10 or 15 minutes, allowing room for lengthy jams.

There also was time for a few stories that brought the songs to life. Before moving into "On the Run," Kaufmann told the crowd about being pulled over in Massachusetts by a guy from his high school class. "I couldn't think of a better way to get revenge than by writing a song about him that thousands of people will hear," said Kaufmann.

The evening ended around 12:30 a.m. with a two-song encore of obvious crowd-pleasers.

Although the show was slow at points, Yonder Mountain String Band had enough energy to keep the crowd dancing and singing through the night. Folks young and old couldn't have asked for much more from a bluegrass quartet.

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The Man With The Guitar

Wayne Perkins Here at Tuned In Music Magazine, we talk to songwriters and musicians each day. In almost each case, they talk of "making it big", getting a record deal, selling thousands of albums, playing to fans at packed venues; and, for most of them unfortunately, this will not happen. Today, we have the electronic media that is taking over traditional radio and the way albums are distributed. Before this technology, musicians and songwriters had to play to thousands and work for years before they got the name recognition of the public. Here is a story of a great guitar player who has played on 50 Platinum albums (that can be confirmed; we know that number is higher), and five Gold albums. For a guitarist named Wayne Perkins, he had achieved everything he wanted by the time he was 24 years of age. He is known for his guitar prowess and uncanny way of knowing just what a song needs. Ask a "big-time" artist anywhere; The United States or Europe and they will know who Wayne Perkins is. His story is one that shows dreams do come true. He has seen the mountaintops, the valleys and the splendor of having those dreams come alive. He has lived the careers of many popular artists. He helped make many of their careers, as well. He certainly makes great music. After spending over a month with him and many, many conversations, it is our honor to bring you one of the best guitar players ever. Wayne Perkins lives in Birmingham, Alabama. These days, he spends his time writing and recording music and catching up with old friends. He is producing several artists and talking about getting back out and playing with his great friend, Lonnie Mack. He gets invitations every week to go play with different events; make guest appearance, etc. He is a very humble and humorous person. Just a few years ago, he left California where he had just released a new CD, Mendo Hotel, to come home. In 1997, he had begun experiencing severe headaches and had lost the feeling in his left hand. Doctors told him he had several brain tumors and these were effects from them. He returned home to Alabama to recover. Sitting on the front porch of the old house where he and his brother and sisters grew up, playing his accoustic guitar, one would never know that Perkins had been unable to play just a few years ago. But he plays and writes and although his previous music is not dated, it is still relevant and modern today; his new music is great. He tells the story of going to meet a friend recently. "I was sitting there and my friend told someone he knew nearby that I had played with The Rolling Stones and Lynyrd Skynyrd and the guys said 'sure' and walked away. I just laughed." That's Perkins.

A musician who has played on so many albums, many of our readers probably have his music and just don't realize it. Along the way, this journey he has taken with it's winding, twisting turns, the "sideman" as he refers to himself, has become a master. A master guitarist, lyricist, and survivor. A Platinum Guitarist. His story cannot all be told here. This is just a taste of the life of Wayne Perkins and his story. Wayne grew up like so many other children of the south, listening to his parent's music; Hank Williams, and others. He tells the story of trying to play and the early spring of his life. "Well, in the South in the "early fifties" with no TV, you do one of two things, and the other was play music. My Mom and Dad both played guitar and sang country and a little gospel music. There was always a guitar layin' around the house, so when I was big enough to hold one I tried to get the hang of it, I guess I was about six years old." "I would almost get the melody to "Hang Down Your Head Tom Dooley" picked out and Daddy would sit there and take it as long as he could and say, "Give me that thing, I'll show you how to do it." He would proceed to break into three or four Hank Williams songs and a couple of Jimmy Rogers songs and this would piss me off. It had nothing to do with "Tom Dooley." But the minute he put it down, I would grab that guitar and run for the woods and play 'til I got tired or it got dark, whichever came first."

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He loved music and fortunately for everyone whose life his music has touched, he was a natural. He says his first guitar was a Silvertone that his mom bought for him. His first "real electric guitar" was a 1966 Fender Telecaster.

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He tells Tuned In about one of his earliest memories of going to play with a group of musicians nearby his home and being handed a pretty Jaguar guitar and he thought that was the prettiest thing he had ever seen. Perkins had his first music session in a little studio in Birmingham called Prestige, owned by Bob Grove, at age 15. He talks of playing and recalls that the first song ever recorded in Muscle Shoals was "You Better Move On" by Arthur Alexander. "This was before Fame Studios or before he worked for Muscle Shoals Sound, before they ever existed. It was above a little drug store in Florence, Alabama", says Perkins. "In fact, that's the very first song The Rolling Stones did in America on The Ed Sullivan Show". "I knew I could make music and make money at the same time, not to mention the women and everything that I thought would come with being a musician", explains Perkins. "So, I formed my first band, 'The Vikings'. When I hit sixteen, I had enough of school and a string of teachers that didn't like my long hair. They said I would "never get anywhere playing' that guitar." So I said, "Oh yeah? Well you just watch me!" At that point, I left school, left home and moved in with a fellow band member of the Vikings named Charles Nettles and his Mom." Soon after that, Perkins learned of an opening at a studio in Muscle Shoals called "Quinvy's" where a fellow musician friend worked as well. "That was the start of my professional career as a studio musician. Going to work for Quin Ivy. He had a rhythm section funded by Atlantic Records to record Percy Sledge and a couple of other artists that Quin had. The job was fun but a different kind of hard work. It was something I loved and one day Jerry Wexler walked into the control room; I remember Quin saying that 'Jerry WAS Atlantic Records, and that we were supposed to make him happy with our work.' So you can imagine this young upstart from Birmingham, Alabama was quite beside himself". "Well, that gig lasted for about nine months and then there was no more funding. So the band had to decide what to do because Quin couldn't afford to keep us on. So everyone went their separate ways, except for me…I didn't want to leave." "All this time, the boys at Muscle Shoals Sound kept falling by the studio to listen. So Quin took me aside and said, 'Listen, I'll pay your rent and one meal a day, and maybe after awhile, you can get some demos or something "up on the hill," meaning 3614 Jackson Highway. And Quin was right, I began to get work at Muscle Shoals Sound."

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"I worked at first with people like Dave Porter and the Soul Children, Dave Crawford and Brad Shapiro, and Dee Dee Warwick. At the same time, Duane Allman had gone back to Georgia to put the Allman Brothers together. Now Eddie Hinton was working on a duet album with Jim Coleman and was going to get out of Muscle Shoals as soon as possible. So I guess my timing was pretty good. I started doing master sessions like Ronnie Milsap's first album for Warner Brothers with Jim Dickinson and Dan Penn. Joe Cocker's session with Denny Cordell, Leon Russell's session, Jimmy Cliff, Jim Capaldi and Steve Winwood. Soon, my friend Marlin Greene

wanted to do a solo record, and we did, called 'Potters Wheel', but it had to be shelved about halfway through so I could work with Tim and Steve Smith. (Two guys from Birmingham whom I'd never met before) who were recording their own album with David Hood producing. Well, it turned out they were stronger with me in the band as well as in the studio. So, that was the beginning of Smith, Perkins, Smith." "My first attempt at a solo LP took a backseat to Smith, Perkins and Smith and we were signed by Chris Blackwell to Island Records. We did a showcase at Muscle Shoals Sound for him and were immediately asked

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if we'd rather break the band in the USA or try our hand in Europe. We all looked at each other and said without one bit of hesitation…Europe! Hence, Smith, Perkins and Smith was off to jolly old England. Next thing I know we're on tour and our first stop is the infamous Cavern Club in Liverpool where we were held over for a third night…I'm in hog heaven!" "I mean we're out on the road with Free, Fairport Convention, Argent, Uriah Heep, Family and Vinegar Joe, which is where Robert Palmer came from. Bet you knew that. So we break to record Smith, Perkins and Smith II in the Studios on Basing Street, an old converted church. I would constantly run into people in the hallway like Jeff Beck, Steve Winwood and Cat Stevens. The Eagles were doing Desperado with Glenn Johns downstairs while we were upstairs doing our second LP. I shared an apartment building with the Eagles and Joe Cocker at 333 Kings Road, a real nice quiet little place…yeah!" Chris Blackwell was preparing to produce a band that, when its music reached America, would take hold and introduce a whole new genre of music to millions of people. That band was Bob Marley and The Wailers. In the Island Basing Street basement studio known as the Fallout Shelter; the basic tracks were, as Chris Blackwell says, "incredible"; but the Island head's additional production gave the album an international pop passport, via overdubs of sounds familiar to rock ears, the guitar licks of Alabama's Wayne Perkins being the most effective.They called Wayne Perkins the "white Wailer". The man who gave "Concrete Jungle" what Robbie

Shakespeare calls "that wicked, wicked solo", explains how this all came to be. "I had been working on a second Smith Perkins Smith album for Island when Chris stopped me on the spiral staircase going up to the top studio - the main room. He said there was a Wailer project he wanted me to play on, I said, Who are The Wailers?Chris said, 'They play reggae' and I said, That don't help me." After a brief rundown on reggae, Blackwell told Perkins, "Just get your Les Paul and your Fender amp, and come on down." Says Perkins, "I was a 20 year-old boy from Alabama confronted by these wild-looking Rastas from Jamaica. I had no idea what I was getting into." It was the first time Perkins had heard reggae - "Desmond Dekker wasn't reggae to me, it was too much R&B, and I had been in the studio with Jimmy Cliff but it was not the same as the real roots reggae sound that Bob Marley was known for. It was strangest thing I'd ever heard, it's like nothing I'd ever heard because I had nothing to compare it to. I could only see one pen light on Chris Blackwell....I asked him if while listening to a little of it if there was anything he could tell me that might help me out a little. He said, 'don't listen to the bass, he's a melody-guy. The drums are on the 1 and 3, the guitars and keys are all on the upbeat, and that's pretty much it; best of luck.' " "On the third take of 'Concrete Jungle', with the lights down low, Perkins nailed the solo and all of a sudden the place went wild. Then Marley came running out to congratulate me by sharing a two foot spliff joint he had in his mouth. He insisted I join him." Breaking into

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a hearty Southern laugh, Perkins admits that the rest of the night "went a lot slower." Today, the man who has been credited with giving Bob Marley's music enough of a " rock" sound to be introduced in America, tells Tuned In Music Magazine that he never really got credit for his contribution. He is also disappointed that repeated requests for Gold and Platinum records have been ignored. That would be about ten platinum albums he is owed for his work with Bob Marley. Unfortunately, this type of wrong-doing happens to musicians in the industry every day. " In fact, the Muscle Shoals Swampers failed to get credit or receive thanks for the licks they played on one of Bob Seger's albums when he gave his induction speech at The Rock and Roll Hall of Fame; without which his career would've been dubious. " "By the time I was 24", says Perkins, "I had achieved my goal of being on a world tour and did so with Leon Russell and The Shelter People. I had my band, Smith, Perkins, Smith, and had played with the Gap Band", and he added to that "I remember when Willie Nelson came up and played played a few dates with us before he became so popular..." Perkins was recommended for the guitarist's position with The Rolling Stones by his friends, Glenn Johns, Eric Clapton and Leon Russell. Perkins had worked on a Georgie Fame record with Glenn Johns. The opening was made possible by Mick Taylor's resignation from the band in early 1974. Perkins lived at "The Wick" with Keith..Says Perkins of the experience, "I stayed with Ronnie and Keith ,Anita Pallengberg, Marlen and Dandy. I stayed at The Wick to work on the Black and Blue

Album, as well as write with him (Keith) and work out the songs to be played on the next tour. This resignation came at a time when the Stones were in the studio recording the album, 'Black and Blue' in Munich. Despite the resignation of Mick, the recording had to go on so several guitarists were brought in to record, including Jeff Beck, Rory Gallagher, Wayne Perkins and Harvey Mandel. Wayne believed he was in the Stones for a couple of weeks, through the Munich recordings, even when Harvey Mandel was there but when Ron Wood showed up, the picture became clear "We had spent enough time recording together and everything seemed to fit like a glvoe but when Ronnie Wood showed up; they had the "London" thing down; they had known each other or years and it was when I realized it was a hard -core London rockers club I could never be a part of...." My goal in life was to play with the biggest rock and roll band in the world and there's platinum on my wall to prove I got there." Mick Jagger told "Creem Magazine" in 1975, "Wayne came along as the Stones guitar player. He had lived at my house for about a month or so, and I had run down all our old songs with him, new stuff...and he really wanted to do it. He was really into it. We got back to Munich and cut some really nice tracks...we got some great tracks we are using for the album [Black and Blue]." Of Ron Wood vs. Wayne Perkins, Jagger said, "No matter how great Wayne Perkins is...he plays very similiar to Mick Taylor, maybe a little funkier in places. Ron Wood isn't a 'virtuoso' but the BAND is a virtuoso so..." Tuned In Music Magazine will let its

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readers make the decision what that statement meant. In addition to album releases from his band, Smith Perkins Smith, and Crimson Tide; "Mendo Hotel" was released in 1995 and "Ramblin' Heart" was released a few years later. These albums are "signature" Perkins and are wildly popular among those who hear them. He has not achieved the success with his own albums as he has with his music on other artist's albums. He attributes this to lack of appropriate marketing programs on the part of the labels he was on and poor management on the labels as well. His song, Big Stratocaster, which is his personal tribute to his friend, Stevie Ray Vaughan, appears without licensing on an album of "blue-eyed blues players" and this matter is being dealt with appropriately. He has seen it all and done it all and seems to have received some of the "bad" with all of the good. Yet, he maintains a great attitude toward his career. Perkins has played with many artists, among them: Percy Sledge, Millie Jackson, Ronnie Milsap, John Prine, Lonnie Mack, Don Nix, Albert King, Marlin Greene, The Everly Brothers, Kenny Young, Claire Hamill, Michael Bolton, Joni Mitchell, Joe Cocker, The Rolling Stones, Bob Marley and The Wailers, Alabama State Trouples, Alex Taylor, John David Souther, P.F. Sloan, Bill Wyman, Mickey Thomas, Leon Russell, The Oak Ridge Boys, Prince Phillip Mitchell, Glen Frey, Steve Cropper, Levon Helm, Lynyrd Skynyrd, Soul Children, The Emotions and many more. Of his experience with Lynyrd Skynyrd, Perkins had several

memories of his friend Ronnie VanZant, "Ronnie could speak to everyone from the 'penthouse to the parking lot' and had a way of writing that connected with everyone. That's why the music is still so popular and loved today...I will always miss him as well as Allen Collins and Leon Wilkerson." Perkins played on Lynyrd Skynyrd's 'Muscle Shoals' album as well as 'First and Last.' He also joined them for several concerts. Just, prior to the crash and just before Stevie Gaines joined Lynyrd Skynyrd, Wayne Perkins was offered a position as a guitarist with Lynyrd Skynyrd by Ronnie and Gary. Says Perkins, "Ronnie and Gary called and said, 'Perkins, we decided you're it.' I told them, this is Friday, can you give me until Sunday?" I was working on a project funded by Issac Tagrett (founder of The Hard Rock Cafe' and The House of Blues), with Tim Smith, and had conflicts with the thought of bailing on that. I thought about it a lot; it just didn't feel right so I didn't do it. I didn't want to walk out of the project I was currently with. In January of 1977, I met up with them one more time, then the crash. I don't even remember what I thought at the time. I'm still numb, to tell you the truth. I just know I was at Muscle Shoals Sound when I heard the news. The studio was empty that night. I just couldn't think and to this day I have a hard time getting my mind around everything." Perkins added, "Leon Wilkerson told me they had opened the show for the Stones in Knebelworth and Lynyrd Skynyrd pretty had pretty much taken the show. I've played with the Stones and I played with Lynyrd Skynyrd. Skynyrd was the better band."

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Wayne remembered a concert at Rickwood Field in Birmingham, Alabama on the 4th of July one year when he had joined them onstage. "There was an 11 p.m. curfew because the stadium was in a residential area of West Birmingham. We had played Sweet Home Alabama and had come back for an encore for Freebird. Then everything went out! Whew, the fans were not happy and neither was Ronnie. He sent someone to plug everything back in. We were halfway through Freebird when the plug got pulled again. Things hit the fan then. There was a huge crowd and they were yelling, throwing things and generally tearing the place apart. We had to get a police escort out of the place back to the hotel. Ronnie was mad as hell. We ended up playing guitar in our room all night, getting party favors out and having a great ol' time." We asked Perkins about his friendship with Stevie Ray Vaughan and he explained why it was so special. "I had gone through a divorce and just buried myself in the bottle. Literally. I was in Memphis and had played with Lonnie Mack, who was a great friend and also knew Stevie Ray. So, that's how we were introduced to one another. We worked together some. But the thing that made him special to me was the fact that he had licked his alcohol problem. He got me in AA and became my sponsor. I know for a fact that many times he'd find me in a bar and purposely get me out to the car to listen to this or that or

something he had recorded because his purpose was to get me out of the bars and away from the bottle. He gave me his AA books and papers and helped me so much. I can't even talk about the loss I felt when he died. It took me years just to write the song 'Big Stratocaster' and I just get choked up. If it weren't for Stevie Ray, I wouldn't be here today." We asked Wayne what he'd like to say through the interview most and his said, "I'd like to be known as a well-rounded artist, and understand that I still have tons of songs no one has heard and will keep turning them out." Perkins is a true-to-life person who has achieved more to this stage of his life than most people could dream about. And, he still has a big future ahead. We don't think there are many people walking around who know what this artist knows and can do what he can do. Wayne Perkins is one of America’s best-kept secrets. If you would like to hear his music or send him a message, visit his website at http://www.wayneperkins.com or his myspace at http://www.myspace.com/wayneperkinsmusic Listen to Wayne Perkins Lea Sylvester ~Tuned In Music Magazine~

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And the Music Plays On

In doing my research on the changing face of Music Festivals over the past 40 years, one thinghas become very clear. MUSIC has not really changed. Bands and Artists have not really changed. What has changed is the 'business' of concert production. Yes, there are new sounds, new names, new players in the game. But the 'reason' that concerts still exist is that people still want to experience LIVE MUSIC for themselves. They're simply not content to sit home and pop in a DVD of Monterey or Woodstock.

The 'concert' culture has changed, in the same way that all things that have changed in American life over the past 4 decades. But not as much as one would expect. The venues are still generally in rural or sub-urban areas with enough space to allow for the crowds, parking and vendors. The stages are still big, often there are several, allowing for more than one act to perform at a time.

The performers are still varied and represent some of the best of music past & present. The attendees still span generations, from children age 7 to those born in the 70's and to some who are now in their 70's. The Vendors are still there, selling their merchandise, and the porta-potties are still free and prevalent.

What has changed the most is the 'cost' of putting on such a show. The age of FREE went out with the Age of Aquarius. Today's concerts cost anyway from hundreds of thousands to millions to produce. Many things make up that equation. Location, regulation, transportation, artist fees, event staff, security, and even the cost of energy is a major factor in producers deciding 'yay or nay' on an event.

Most people believe that concerts are paid for by the cost of tickets. This is a real misconception. After looking at several concerts, from local events to the biggest of the big, it is clear that tickets sales alone only provide from 30-40% of the funding necessary to put on any musical event in present day.

So where does the rest of the money come from? Advertisers! Sponsor money is probably the biggest factor in putting on any event. Can the producers entice enough big money backers to cover the cost of the production and also allow them to walk away with some worthwhile pocket change? Some of that money can come from the Vendors, who generally pay a fee to set up shop for the duration of the event, but most of the money comes form Radio Stations, Record Labels, local merchants and some national names we've all heard of like Pepsi, McDonald's, Ford, Nike, etc.

As I said before , nothing is Free any longer. With the sponsor support, sometimes comes sponsor influence. Certain types of music, certain artists, certain target audience, all of these can be affected by the preferences of 'big money' providers. So, as much as the music festival culture appears to have survived and may even have grown in the past 40 years, the legacy of the truly 'free music' concert has faded away with the tie-dyed tunics of 1967.

by Donita Booher

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And the Music Payed On..and On..and On.....

1967 TIMELINE

Jan 14 In San Francisco's Golden Gate Park approximately 30,000 take part in a "be-in."

Mar 13 Soul singers, Otis Redding and Sam & Dave arrive in London to begin their 4-week tour of Europe to rave audiences.

Mar 22 Regarding Vietnam, Senator Dirksen, says that President Johnson "does not have sufficient resolution."

Apr 4 Martin Luther King Jr. denounces the war in Vietnam.

Apr 5 Grayline bus service begins tours of the Haight-Ashbury district of San Francisco.

Apr 28 Boxing champion Muhammad Ali has refused induction into the Army and is stripped of his boxing title.

May 30 Jordan signs a pact with Egypt,.

Jun 2 Rioting and looting erupt in the Roxbury section of Boston. Nearly 100 are arrested.

Jun 11 In Egypt the fiction has arisen that British and American intervention is the cause of the poor performance of Egypt's military.

Jun 16-17 The Monterey International Pop Festival opens in California and is attended by over 200,000.

Jun 19 On television, Paul McCartney of the Beatles repeats his admission that he has taken LSD.

Jun 21 Summer begins. A song is in the air called California Dreaming. " Tens of thousands of young people are headed to San Francisco for what will be called a "summer of love."

Jul 4 Britain's parliament decriminalizes homosexuality.

Jul 4 In the United States the Freedom of Information Act becomes official.

Aug 1 Israel acts on a threat made to Jordan at the beginning of the Six-Day War.

Aug 3 President Johnson announces plans to send 45,000 more troops to Vietnam.

Oct 17 In New York the musical Hair premiers Off-Broadway.

Oct 18 At the university in Madison, Wisconsin, hundreds of students protest recruiting by Dow Chemical, the maker of

napalm and Agent Orange.

Oct 20 In Meridian Mississippi, seven men are convicted of violating the civil rights of the three civil rights workers murdered in 1964.

Oct 26 John McCain bails from his damaged plane and falls into Hanoi’s Truc Bach Lake.

Oct 26 In Iran, his imperial majesty, the King of Kings, the Shadow of God and Light of the Aryans, Shah Mohammad Reza Pahlavi, has his official coronation.

Oct 27 Richard Nixon claims that the U.S. must pursue the war in Vietnam to a "successful" conclusion or risk a Third World War.

Nov 7 President Johnson signs the Public Broadcasting Act, establishing the Corporation for Public Broadcasting.

Nov 21 President Lyndon B. Johnson signs the air quality act, allotting $428 million for the fight against pollution.

Dec 10 Otis Redding joins the many music stars who die in airplanes. He and six others die when their plane crashes into Lake Monona in Wisconsin.

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Dec 31 Some 474,300 US soldiers are now in

Vietnam.

2007 TIMELINE

Jan.4 Washington Bush revamps US military in Iraq

Jan.8 Somalia U.S. targets al Qaeda suspects

Jan.10 Washington Bush boosts troop numbers in Iraq .

Jan.13 Jerusalem- Rice begins Mid-East peace push

Jan.20 New York- Hillary Clinton joins 2008 race

Jan.23 U.S. Congress- Bush urges unity in speech

Jan.28 Southern Iraq- US, Iraqi troops have killed 250 militants

Feb.2 Iraq- U.S. loses fourth copter in Iraq in 2 weeks

Feb.4 Florida - Super Bowl: Colts beat Bears 29-17

Feb.6 Florida- Astronaut charged with attempted murder

Feb.7 Baghdad - Fifth U.S. chopper in 18 days down

Feb.8 Florida- Former Playmate Smith dies at 39 Anna Nicole Smith has died near Miami at the age of 39.

Feb.10 U. S. Midwest- Obama launches presidential bid

Feb.27 New York- Dow Jones loses 416

Feb.28 Arizona - McCain seeking Presidential nomination

Mar.6 New Jersey - Mega Millions sets new world record

Mar.27 U.S. Congress - Senate votes for Iraq deadline

Apr.16 Virginia-33 students massacred in class

Apr.26 U.S. Congress - Congress backs Iraq pull-out plan

May.7 Washington-Queen attends White House dinner

May.12 Iraq - 3 missing, 5 killed in attack on U.S. patrol

Jun.21 Baghdad -14 U.S. troops killed in 48 hours

Jul.1 New England- Bush and Putin in informal talks

Jul.12 U.S. Congress - House of Reps votes for troop pullout

Aug.1 Saudi Arabia- Saudis back US Middle East plans

Aug.2 Minnesota - Up to 50 vehicles trapped in wreckage

Aug.3 Southern California - Marine sentenced over Iraq murder

Aug.22 Washington - Bush issues Vietnam warning over Iraq

Aug.23 U.S. Congress-Top Republican urges Iraq pullout

Aug.24 Afghanistan - U.S. jet 'bombs British troops'

Sep.3 Baghdad- President Bush made surprise visit

Sep.4 Nevada- Famed flier Fossett missing There were no signs of missing aviation adventurer Steve Fossett. See

Sep.7 Washington-Bin Laden says US should convert

Sep.13 Washington- Bush pledges Iraq troop reduction

Sep.19 New York- Ahmadinejad denied visit to 9/11 site

Sep.21 Washington - Blackwater in Iraq weapons probe

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Oct.10 U.S. Congress -US bill on Armenia moves forward

Oct.12 Moscow - Putin warns U.S. in missile talks

Oct.23 Southern California- 500,000 flee wildfires

Oct.25 Washington- US imposes new sanctions on Iran

Oct.28 Colorado-Red Sox sweep to World Series title

Oct.29 Iraq-US hands over Karbala to Iraqis

Nov.10 Washington -US and Germany vow Iran diplomacy

Nov.13 U.S. Congress - Hidden costs 'raise US war price'

Nov.18 Iraq - Bomber kills kids getting toys from troops

Nov.20 Washington -US confirms Mid-East peace talks

Dec.3 Washington-Iran's nuclear weapons work halted.

Dec.6 CIA-'wiped' interrogation tapes

Dec.12 Washington -Central banks act on credit fear.

Dec.18 U.S. Congress Senate passes $70B in war fun

"We dance for laughter, we dance for tears, we dance for madness, we dance for fears, we dance for hopes, we dance for screams, we are the dancers, we create the dreams."

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Jonathan Clay An Artist Whose Time Has Come

For Jonathan Clay, it seems that he has achieved so much for such a young age. And, he has. A music artists who sings, plays, writes and has a positive vision of what he wants. His lyrics are beautiful, the music soothing and sensual. His "story" is an amazing one. We are proud to introduce our readers to Jonathan Clay, one of the newest, most prolific music artists today. Remember his name...you'll be hearing his music. Perhaps you've already heard it and now you can put a "face" to the music. Jontathan is a "real" guy who admittedly didn't take his music seriously until he was a 15 year-old. He says his father always loved music and he feels that had an influence over his musical aptitude. "nobody every really taught me to sing. I had musical parents though, and I think it helped to always hear them singing and making music. My dad played guitar and that definitely rubbed off on me. He enjoys music as much as I do and that really had a big impact on my development as a child. I was the kind of kid that would get frustrated though, and I probably quit guitar 2 or 3 times. He was patient with me though, and every time I thought I wanted to try my hand at it again, he was there offering to help me. Eventually, I think I messed around on it enough, that it started to come to me." "I decided around the time I was 15 years-old that I was going to be a serious musician", says Clay. "My dad encouraged me to go to college and I did. My first CD was the result of a collaboration between myself and a guy who was a music major." "How did I get started." I felt it, I wanted to start creating my own music. It was really a big milestone when I got a program to record things when I was a Freshman in college. I met a guy with a recording major and recording me was his midterm project. And so, it was his first attempt and my first time to be in the studio. It was a really cool experience." A young man who knows how to use the internet to his advantage, Jonathan insists on answering his mail himself, even though it may be a daunting task. He spends hours answering e-mail, personally, each day. He blogs on his myspace and does this to connect to his fans. Clay explaisn how he got his music out after that recording session. "I took those songs and burned hundreds of copies and handed them out to people on campus. I bought a printer that would print on CDs and I sold off my website. Finally, I got some CDs printed and have ended up selling thousands through my website." Not only has Jonathan been successful in getting his music heard, it has been featured on MTV's regular programs "The Hills" (Back to Good), "Newport Harbor" (Afterall), and "The Real World" (Afterall). Most recently, "Lincoln Heights" played a Jonathan Clay tune. How did he connect with MTV? "It happened when someone involved in a film came across my music. They got in touch with me, and I put them in touch with the manager I had at the time. I've had some really good experiences with licensing my music to independent films, and I think it can be really beneficial to both artist and film. Recently, 'Back to Good' aired on The Hills. Too bad they didn't tell me! It was a pleasant surprise though. They re-run those episodes like 50 times a week, so I'm sure I'll end up catching it sooner or later." Wow, seems like Jonathan Clay has been in the right place - at the right time. But, of course, anyone in the music business knows it's all hard work. He said, "I don't know how MTV found me, really, or if they might've found me on Myspace."

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"I'm working on a tour for January, 2008, putting another one together for March. These are short, intense two week tours. Maybe two shows a day, every day. I've released a new album as well." "There's been some interest from somebody at Sirus, don't know if they committed to playing my music or not. There's lots of internet stations playing my material. I'm thankful that MTV has used my music on several of their shows." Clay's music business is a family-affair and the collaboration seems to be working. He has not signed with a major recording company, although there has been interest. He wants to maintain his control over his music. He explains a little of his family involvement, "I've never seen anything Dad can't do and he jumps in and does it and he helps me with the music, the marketing and when he knew that I was motivated and had potential, he started helping. We asked Clay what he would like to say through this interview, the thing that was most important to him and his answer was simple. "I'd like to thank the amazing people who've listened to my music from day one and who have done anything possible to have gotten their friends to listen and have spread the word about me. I feel like I'm getting more hits and e-mails than some artists with crazy marketing campaigns. I'm very fortunate." Our readers can learn more about Jonathan Clay by visiting his website at http://www.jonathanclay.com or his myspace at: http://www.myspace.com/jonathanclay Listen to Jonathan Clay Lea Sylvester ~Tuned In Music Magazine~

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Still California Dreamin' 40 Years Later MICHELLE PHILLIPS ON MONTEREY - a special recollection of the festival (Reprinted from Huffington Post)

When our friend Alan Pariser came over to our Bel Air house in April 1967 he had the idea to do a pop festival in Monterey, California and make a killing. It was a great idea -- but impractical in that it wouldn't have been possible to pay the fees of the top artists required to attract a huge crowd, house and feed them - and then turn a profit.

But an intriguing idea no less. It took roughly an hour for Lou Adler and John Phillips to take control and turn it into the first non-profit pop festival - in fact the first pop festival of any kind - and name it "The Monterey International Pop Festival". They quickly formed a Board of Governors which would turn out to be the early "genius idea" that would give the festival its glorious clout.

Lou Adler, John Phillips, Paul McCartney, Donovan, Mick Jagger, Roger McGuinn, Smokey Robinson, Terry Melcher, Andrew Loog Oldham, Alan Pariser, Johnny Rivers, Paul Simon and Brian Wilson. They were all assured they would never have to attend a meeting.

Now for the tricky part: getting pop and rock artists to perform for... gulp... free. Be assured, this was a totally alien idea to musicians at the time!

So John and Lou scrambled to come up with the entities that would benefit from their free performances. Music schools in Watts and Harlem, free clinics in San Francisco and Los Angeles, free musical instruments for underprivileged kids etc., etc. And the talent took the bait...

With The Mamas and The Papas, Simon & Garfunkel, The Beach Boys, Ravi Shankar (who had already been booked by Pariser), Johnny Rivers and The Byrds on board - word was out. It was going to be something you didn't want to miss out on.

McCartney suggested an unknown (to the U.S. anyway) crazy singer/guitarist named Jimi Hendrix. Andrew Oldham (the Rolling Stones manager/producer) strongly urged them to fly in a group called The Who. The San Francisco promoters and producers, Bill Graham and Ralph Gleason, turned in Jefferson Airplane, Canned Heat, the Grateful Dead and Big Brother & the Holding Company featuring a blisteringly-soulful blues singer named Janis Joplin.

John wrote "If You're Going To San Francisco (Be Sure To Wear Some Flowers In Your Hair)", had his old band-mate Scott Mackenzie sing it, Lou Adler produced and released it. It shot to #1 on the charts within just two weeks. Now we had an anthem and the acts were now clamoring to get on board.

D.A. Pennebaker, whose claim to fame at that time was the great Dylan documentary "Don't Look Back", was hired to film the three days of June 16, 17 and 18. The weekend that started what eventually became known as "The Summer of Love".

One hundred and fifty thousand orchids were flown in from Hawaii, placed on every seat and scattered on the stage - and when the first chord rang out from The Association, the festival began. Friday night also saw rounds and rounds of enthusiastic applause for Johnny Rivers, Lou

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Rawls, Eric Burdon and The Animals, and Simon & Garfunkel.

Saturday afternoon was blues and "wacky rock" - Canned Heat, Country Joe and the Fish, Al Kooper, the Paul Butterfield Blues Band, Steve Miller and more.

Saturday night: Hugh Masekela, The Byrds, Jefferson Airplane - and the one suggestion I had made - the incomparable Otis Redding

On Sunday afternoon the audience was held spellbound by Ravi Shankar who held them in the palm of his hand for a deliriously spiritual three-hour concert.

And just when you thought you'd seen it all, Sunday evening brought in more Janis, The Who and that guy McCartney had suggested, Jimi Hendrix, bringing down the house, eventually even setting his guitar on fire. Oh boy!

Scott Mackenzie sang the anthem, that by now was an international #1 song and we, The Mamas and the Papas, closed to an audience that had just experienced a three-day harmonic convergence of Music, Love and Flowers that resonates today as one of the greatest musical moments of all time. The rewards were great.

Michelle Phillips (2002)

My daughter Chynna Phillips was born eight months later and the Monterey International Pop Festival Foundation (that little "for-free" thing) is still generating hundreds of thousands of dollars every year for dozens of organizations that embody the spirit and intent - however vague it might have been at the time. Organizations such as Arts for City Youth, Childrens Hospital Los Angeles, Thelonious Monk Institute of Jazz, Haight-Ashbury Free Clinic, L.A. Free Clinic, the Barrio Symphony Orchestra and the Debbie Allen Dance Academy to name but a few.

For me and the 200,000 people who made their way from L.A. and San Francisco... from across the country and even from Europe and India - it is the sweetest and most powerful kind of memory. Very groovy...

CD REVIEW

Paul Thorn's new CD, released February 19, 2008, may be entitled "A Long Way From Tupelo" but he has matured into a seasoned performer without drifting too far from his musical heritage or what has built a steadily-growing base of devoted fans. "A Long Way From Tupelo" (title track) has solidified Thorn and writing-partner, Billy Maddox, as one of the best songwriting duos of any genre today. This is Thorn's best release yet. Those who love his previous works will find even more to appreciate with this one. Songs such as the title cut, as well as "I'm Still Here", and "All About People" demonstrate the maturity of Paul Thorn as a contemporary artist. Visit Paul Thorn's website, http://www.paulthorn.com to get your copy of "A Long Way From Tupelo". Two bonuses to getting it early: limited editions contain an extra CD recorded from a live acoustic show. The second; the artwork on the covers was done by Paul Wayne himself. Anyone familiar with his art will treasure this CD, not only for the outstanding music but for the original artwork.

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