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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

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

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.

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

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)

* 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:
Shannon Cain:

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

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

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

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
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.

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
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!

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



WorkPlay, Birmingham Alabama

WorkPlay, located in Birmingham rehearsal dinners and celebrations

Alabama at 500 23rd Street South is large or small.
a progressive venue. Not only does it Two recording studiios, in-house
cater to any genre of music, local, engineer Bert Trotman. Information
regional and national acts but it studios contact
houses offices directly related to the
music industry. WorkPlay regularly features
With four contemporary and versatile Singer/songwriters in the bar.
rooms to choose from, scheduling for Utilization of their entire space is
any day of the week; WorkPlay can what WorkPlay is about. No matter
house any entertainment event or what genre music you prefer, a trip
special event from wedding to WorkPlay will be worth the time.
receptions to mitzvahs. There is always something for
Their friendly staff provides a place everyone there. Not too many
for special events of all kinds. They establishments has everything that
help create events to fulfill any WorkPlay has to offer. They do a lot
dreams. As stated above, perfect for to promote music; and they do it
wedding receptions, mitzvahs, 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.


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 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~

Kris Bell Band Rocks Austin
Lisa Grissinger

When the Kris Bell Band took knew that what was about to
the stage in Austin, Texas, on happen on the stage was going
Friday, March 14, 2008, the to be something fantastic!
people milling around in Once the band began
search of some “good music” performing, the numbers
had no idea of the treat they grew. As the band moved
had in store! At 6:30 p.m. through their songs, more and
when Kris Bell, John Cooper, more people came over to see
and Shane Sexton, all from who they were hearing and
Nashville, along with Texas wanting to hear more from
guitarist and friend, Heath them. By the end of the
Clark, stepped on to the Guitar concert, the crowd had grown
Hero III Main Stage at the significantly, everyone near
Texas Rockfest and rocked the stage, dancing, moving,
Austin for the 30-minute time singing and smiling, glad that
period they had been allotted, they were there standing in
those people found what they front of this band. No one who
were looking for. As much heard the Kris Bell Band that
music as Austin has, day left disappointed!
especially in this particular
week full of music with both
SXSW and the Texas “Livin’ for Tomorrow” with
Rockfest going on, I guarantee its strong lyrics and guitar riffs
that the Kris Bell Band will be had the audience moving.
remembered by many in “Runnin’ Out on You” kept up
attendance that day! that rhythm and fluid beat as
well. Kris’ voice growling
At the beginning of their set, through the songs was at its
hard-core KBB fans that had best. Kris and the band
traveled to see the band from slowed it down a bit with “I
all around the country, were Know the Sun Will Call.”
ready for a great show. They
was so exciting to hear it done
His fans are familiar with this whole band and with the
song as Kris has performed it electric guitar.
during his acoustic sets, but it
The heartfelt lyrics moved the It was hard to believe it was
audience and were delivered over. The audience could
with such intensity. It was have kept listening, and would
something wonderful to hear. have, but it was time for the
What a great job slipping it in next band to go on.
to the set list, too, because it
sure showed those listening Austin was hot but no one
the range that these guys have even felt the heat, unless it
in their music. During “With was what was coming off that
You in Mind” and “What stage. Kris Bell Band made
Song Is It You Wanna Hear” their presence known and
the band blew the audience gained new fans. With an
away, with their aggressive, upcoming CD in the works,
energetic performance! You those fans will be glad that
could see that the band was they got to experience Kris
feeling it as strongly as the Bell Band as the band
audience. Watching them develops into one major force
interact with each other, both to be reckoned with. What the
verbally and nonverbally audience saw in Austin gave
throughout the set, shows how just a glimpse of that! Fans,
well this band works together. old and new, left the area with
Last song of the set, a new smiles on their faces and a
song for the band, “My So Kris Bell Band song in their
Called Friend” was full of head. I personally cannot wait
pain and turmoil. WOW! The for the next performance.
more songs Kris writes, the Simply put, this band rocks!
more new songs his fans want Visit Kris at:
to hear. I can’t wait to hear
this one again. That was it…it


– 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

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-

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.

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."
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.

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
"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."

"I worked at first with people like wanted to do a solo record, and we
Dave Porter and the Soul Children, did, called 'Potters Wheel', but it had
Dave Crawford and Brad Shapiro, to be shelved about halfway through
and Dee Dee Warwick. At the same so I could work with Tim and Steve
time, Duane Allman had gone back Smith. (Two guys from Birmingham
to Georgia to put the Allman whom I'd never met before) who
Brothers together. Now Eddie Hinton were recording their own album with
was working on a duet album with David Hood producing. Well, it
Jim Coleman and was going to get turned out they were stronger with
out of Muscle Shoals as soon as me in the band as well as in the
possible. So I guess my timing was studio. So, that was the beginning of
pretty good. I started doing master Smith, Perkins, Smith."
sessions like Ronnie Milsap's first
album for Warner Brothers with Jim "My first attempt at a solo LP took a
Dickinson and Dan Penn. Joe backseat to Smith, Perkins and
Cocker's session with Denny Cordell, Smith and we were signed by Chris
Leon Russell's session, Jimmy Cliff, Blackwell to Island Records. We did
Jim Capaldi and Steve Winwood. a showcase at Muscle Shoals Sound
Soon, my friend Marlin Greene for him and were immediately asked
if we'd rather break the band in the Shakespeare calls "that wicked,
USA or try our hand in Europe. We wicked solo", explains how this all
all looked at each other and said came to be.
without one bit of "I had been working on a second
hesitation…Europe! Hence, Smith, Smith Perkins Smith album for Island
Perkins and Smith was off to jolly old when Chris stopped me on the spiral
England. Next thing I know we're on staircase going up to the top studio -
tour and our first stop is the infamous the main room. He said there was a
Cavern Club in Liverpool where we Wailer project he wanted me to play
were held over for a third night…I'm on, I said, Who are The
in hog heaven!" Wailers?Chris said, 'They play
"I mean we're out on the road with reggae' and I said, That don't help
Free, Fairport Convention, Argent, me." After a brief rundown on
Uriah Heep, Family and Vinegar Joe, reggae, Blackwell told Perkins, "Just
which is where Robert Palmer came get your Les Paul and your Fender
from. Bet you knew that. So we amp, and come on down." Says
break to record Smith, Perkins and Perkins, "I was a 20 year-old boy
Smith II in the Studios on Basing from Alabama confronted by these
Street, an old converted church. I wild-looking Rastas from Jamaica. I
would constantly run into people in had no idea what I was getting into."
the hallway like Jeff Beck, Steve It was the first time Perkins had
Winwood and Cat Stevens. The heard reggae - "Desmond Dekker
Eagles were doing Desperado with wasn't reggae to me, it was too much
Glenn Johns downstairs while we R&B, and I had been in the studio
were upstairs doing our second LP. I with Jimmy Cliff but it was not the
shared an apartment building with same as the real roots reggae sound
the Eagles and Joe Cocker at 333 that Bob Marley was known for. It
Kings Road, a real nice quiet little was strangest thing I'd ever heard,
place…yeah!" it's like nothing I'd ever heard
Chris Blackwell was preparing to because I had nothing to compare it
produce a band that, when its music to. I could only see one pen light on
reached America, would take hold Chris Blackwell....I asked him if while
and introduce a whole new genre of listening to a little of it if there was
music to millions of people. That anything he could tell me that might
band was Bob Marley and The help me out a little. He said, 'don't
Wailers. In the Island Basing Street listen to the bass, he's a melody-guy.
basement studio known as the The drums are on the 1 and 3, the
Fallout Shelter; the basic tracks guitars and keys are all on the
were, as Chris Blackwell says, upbeat, and that's pretty much it;
"incredible"; but the Island head's best of luck.' "
additional production gave the album "On the third take of 'Concrete
an international pop passport, via Jungle', with the lights down low,
overdubs of sounds familiar to rock Perkins nailed the solo and all of a
ears, the guitar licks of Alabama's sudden the place went wild. Then
Wayne Perkins being the most Marley came running out to
effective.They called Wayne Perkins congratulate me by sharing a two
the "white Wailer". The man who foot spliff joint he had in his mouth.
gave "Concrete Jungle" what Robbie He insisted I join him." Breaking into
a hearty Southern laugh, Perkins Album, as well as write with him
admits that the rest of the night "went (Keith) and work out the songs to be
a lot slower." played on the next tour.
Today, the man who has been This resignation came at a time
credited with giving Bob Marley's when the Stones were in the studio
music enough of a " rock" sound to recording the album, 'Black and Blue'
be introduced in America, tells in Munich. Despite the resignation of
Tuned In Music Magazine that he Mick, the recording had to go on so
never really got credit for his several guitarists were brought in to
contribution. He is also disappointed record, including Jeff Beck, Rory
that repeated requests for Gold and Gallagher, Wayne Perkins and
Platinum records have been ignored. Harvey Mandel. Wayne believed he
That would be about ten platinum was in the Stones for a couple of
albums he is owed for his work with weeks, through the Munich
Bob Marley. Unfortunately, this type recordings, even when Harvey
of wrong-doing happens to Mandel was there but when Ron
musicians in the industry every day. " Wood showed up, the picture
In fact, the Muscle Shoals Swampers became clear "We had spent enough
failed to get credit or receive thanks time recording together and
for the licks they played on one of everything seemed to fit like a glvoe
Bob Seger's albums when he gave but when Ronnie Wood showed up;
his induction speech at The Rock they had the "London" thing down;
and Roll Hall of Fame; without which they had known each other or years
his career would've been dubious. " and it was when I realized it was a
"By the time I was 24", says Perkins, hard -core London rockers club I
"I had achieved my goal of being on could never be a part of...." My goal
a world tour and did so with Leon in life was to play with the biggest
Russell and The Shelter People. I rock and roll band in the world and
had my band, Smith, Perkins, Smith, there's platinum on my wall to prove I
and had played with the Gap Band", got there."
and he added to that "I remember Mick Jagger told "Creem Magazine"
when Willie Nelson came up and in 1975, "Wayne came along as the
played played a few dates with us Stones guitar player. He had lived at
before he became so popular..." my house for about a month or so,
Perkins was recommended for the and I had run down all our old songs
guitarist's position with The Rolling with him, new stuff...and he really
Stones by his friends, Glenn Johns, wanted to do it. He was really into it.
Eric Clapton and Leon Russell. We got back to Munich and cut some
Perkins had worked on a Georgie really nice tracks...we got some
Fame record with Glenn Johns. The great tracks we are using for the
opening was made possible by Mick album [Black and Blue]." Of Ron
Taylor's resignation from the band in Wood vs. Wayne Perkins, Jagger
early 1974. Perkins lived at "The said, "No matter how great Wayne
Wick" with Keith..Says Perkins of Perkins is...he plays very similiar to
the experience, "I stayed with Mick Taylor, maybe a little funkier in
Ronnie and Keith ,Anita Pallengberg, places. Ron Wood isn't a 'virtuoso'
Marlen and Dandy. I stayed at The but the BAND is a virtuoso so..."
Wick to work on the Black and Blue Tuned In Music Magazine will let its
readers make the decision what that memories of his friend Ronnie
statement meant. VanZant, "Ronnie could speak to
In addition to album releases from everyone from the 'penthouse to the
his band, Smith Perkins Smith, and parking lot' and had a way of writing
Crimson Tide; "Mendo Hotel" was that connected with everyone. That's
released in 1995 and "Ramblin' why the music is still so popular and
Heart" was released a few years loved today...I will always miss him
later. These albums are "signature" as well as Allen Collins and Leon
Perkins and are wildly popular Wilkerson." Perkins played on
among those who hear them. He has Lynyrd Skynyrd's 'Muscle Shoals'
not achieved the success with his album as well as 'First and Last.' He
own albums as he has with his music also joined them for several
on other artist's albums. He concerts. Just, prior to the crash and
attributes this to lack of appropriate just before Stevie Gaines joined
marketing programs on the part of Lynyrd Skynyrd, Wayne Perkins was
the labels he was on and poor offered a position as a guitarist with
management on the labels as well. Lynyrd Skynyrd by Ronnie and Gary.
His song, Big Stratocaster, which is Says Perkins, "Ronnie and Gary
his personal tribute to his friend, called and said, 'Perkins, we decided
Stevie Ray Vaughan, appears you're it.' I told them, this is Friday,
without licensing on an album of can you give me until Sunday?" I
"blue-eyed blues players" and this was working on a project funded by
matter is being dealt with Issac Tagrett (founder of The Hard
appropriately. He has seen it all and Rock Cafe' and The House of Blues),
done it all and seems to have with Tim Smith, and had conflicts
received some of the "bad" with all of with the thought of bailing on that. I
the good. Yet, he maintains a great thought about it a lot; it just didn't feel
attitude toward his career. right so I didn't do it. I didn't want to
Perkins has played with many artists, walk out of the project I was currently
among them: Percy Sledge, Millie with.
Jackson, Ronnie Milsap, John Prine, In January of 1977, I met up with
Lonnie Mack, Don Nix, Albert King, them one more time, then the crash.
Marlin Greene, The Everly Brothers, I don't even remember what I
Kenny Young, Claire Hamill, Michael thought at the time. I'm still numb, to
Bolton, Joni Mitchell, Joe Cocker, tell you the truth. I just know I was at
The Rolling Stones, Bob Marley and Muscle Shoals Sound when I heard
The Wailers, Alabama State the news. The studio was empty that
Trouples, Alex Taylor, John David night. I just couldn't think and to this
Souther, P.F. Sloan, Bill Wyman, day I have a hard time getting my
Mickey Thomas, Leon Russell, The mind around everything." Perkins
Oak Ridge Boys, Prince Phillip added, "Leon Wilkerson told me they
Mitchell, Glen Frey, Steve Cropper, had opened the show for the Stones
Levon Helm, Lynyrd Skynyrd, Soul in Knebelworth and Lynyrd Skynyrd
Children, The Emotions and many pretty had pretty much taken the
more. show. I've played with the Stones
and I played with Lynyrd Skynyrd.
Of his experience with Lynyrd Skynyrd was the better band."
Skynyrd, Perkins had several
Wayne remembered a concert at something he had recorded because
Rickwood Field in Birmingham, his purpose was to get me out of the
Alabama on the 4th of July one year bars and away from the bottle. He
when he had joined them onstage. gave me his AA books and papers
"There was an 11 p.m. curfew and helped me so much. I can't
because the stadium was in a even talk about the loss I felt when
residential area of West Birmingham. he died. It took me years just to write
We had played Sweet Home the song 'Big Stratocaster' and I just
Alabama and had come back for an get choked up. If it weren't for Stevie
encore for Freebird. Then everything Ray, I wouldn't be here today."
went out! Whew, the fans were not We asked Wayne what he'd like to
happy and neither was Ronnie. He say through the interview most and
sent someone to plug everything his said, "I'd like to be known as a
back in. We were halfway through well-rounded artist, and understand
Freebird when the plug got pulled that I still have tons of songs no one
again. Things hit the fan then. There has heard and will keep turning them
was a huge crowd and they were out."
yelling, throwing things and generally Perkins is a true-to-life person who
tearing the place apart. We had to has achieved more to this stage of
get a police escort out of the place his life than most people could
back to the hotel. Ronnie was mad dream about. And, he still has a big
as hell. We ended up playing guitar future ahead. We don't think there
in our room all night, getting party are many people walking around
favors out and having a great ol' who know what this artist knows and
time." can do what he can do. Wayne
We asked Perkins about his Perkins is one of America’s best-kept
friendship with Stevie Ray Vaughan secrets. If you would like to hear his
and he explained why it was so music or send him a message, visit
special. "I had gone through a his website at
divorce and just buried myself in the or his
bottle. Literally. I was in Memphis myspace at
and had played with Lonnie Mack,
who was a great friend and also nsmusic
knew Stevie Ray. So, that's how we
were introduced to one another. We Listen to Wayne Perkins
worked together some. But the thing
that made him special to me was the Lea Sylvester
fact that he had licked his alcohol ~Tuned In Music Magazine~
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

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

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

Jan 14 In San Francisco's Jun 16-17 The Monterey napalm and Agent
Golden Gate Park International Pop Orange.
approximately 30,000 take Festival opens in
part in a "be-in." California and is attended Oct 20 In Meridian
by over 200,000. Mississippi, seven men
Mar 13 Soul singers, Otis are convicted of violating
Redding and Sam & Dave Jun 19 On television, the civil rights of the three
arrive in London to begin Paul McCartney of the civil rights workers
their 4-week tour of Beatles repeats his murdered in 1964.
Europe to rave audiences. admission that he has
taken LSD. Oct 26 John McCain bails
Mar 22 Regarding from his damaged plane
Vietnam, Senator Dirksen, Jun 21 Summer begins. A and falls into Hanoi’s Truc
says that President song is in the air called Bach Lake.
Johnson "does not have California Dreaming. "
sufficient resolution." Tens of thousands of Oct 26 In Iran, his imperial
young people are headed majesty, the King of Kings,
Apr 4 Martin Luther King to San Francisco for what the Shadow of God and
Jr. denounces the war in will be called a "summer of Light of the Aryans, Shah
Vietnam. love." Mohammad Reza Pahlavi,
has his official coronation.
Apr 5 Grayline bus Jul 4 Britain's parliament
service begins tours of the decriminalizes Oct 27 Richard Nixon
Haight-Ashbury district of homosexuality. claims that the U.S. must
San Francisco. pursue the war in Vietnam
Jul 4 In the United States to a "successful"
Apr 28 Boxing champion the Freedom of conclusion or risk a Third
Muhammad Ali has Information Act becomes World War.
refused induction into the official.
Army and is stripped of his Nov 7 President Johnson
boxing title. Aug 1 Israel acts on a signs the Public
threat made to Jordan at Broadcasting Act,
May 30 Jordan signs a the beginning of the Six- establishing the
pact with Egypt,. Day War. Corporation for Public
Jun 2 Rioting and looting Aug 3 President Johnson
erupt in the Roxbury announces plans to send Nov 21 President Lyndon
section of Boston. Nearly 45,000 more troops to B. Johnson signs the air
100 are arrested. Vietnam. quality act, allotting $428
million for the fight against
Oct 17 In New York the pollution.
Jun 11 In Egypt the fiction
has arisen that British and musical Hair premiers Off-
American intervention is Broadway. Dec 10 Otis Redding joins
the cause of the poor the many music stars who
performance of Egypt's Oct 18 At the university in die in airplanes. He and
military. Madison, Wisconsin, six others die when their
hundreds of students plane crashes into Lake
protest recruiting by Dow Monona in Wisconsin.
Chemical, the maker of
Dec 31 Some 474,300 US Vietnam.
soldiers are now in

Jan.4 Washington Bush Feb.10 U. S. Midwest- Aug.2 Minnesota - Up to
revamps US military in Obama launches 50 vehicles trapped in
Iraq presidential bid wreckage

Jan.8 Somalia U.S. Feb.27 New York- Dow Aug.3 Southern

targets al Qaeda suspects Jones loses 416 California - Marine
sentenced over Iraq
Jan.10 Washington Feb.28 Arizona - McCain murder
Bush boosts troop seeking Presidential
numbers in Iraq . nomination Aug.22 Washington -
Bush issues Vietnam
Jan.13 Jerusalem- Rice Mar.6 New Jersey - warning over Iraq
begins Mid-East peace Mega Millions sets new
push world record Aug.23 U.S. Congress-
Top Republican urges Iraq
Jan.20 New York- Mar.27 U.S. Congress - pullout
Hillary Clinton joins 2008 Senate votes for Iraq
race deadline Aug.24 Afghanistan -
U.S. jet 'bombs British
Jan.23 U.S. Congress- Apr.16 Virginia-33 troops'
Bush urges unity in students massacred in
speech class Sep.3 Baghdad-
President Bush made
Jan.28 Southern Iraq- Apr.26 U.S. Congress - surprise visit
US, Iraqi troops have killed Congress backs Iraq pull-
250 militants out plan Sep.4 Nevada- Famed
flier Fossett missing
Feb.2 Iraq- U.S. loses May.7 Washington- There were no signs of
fourth copter in Iraq in 2 Queen attends White missing aviation
weeks House dinner adventurer Steve Fossett.
Feb.4 Florida - Super May.12 Iraq - 3 missing,
Bowl: Colts beat Bears 29- 5 killed in attack on U.S. Sep.7 Washington-Bin
17 patrol Laden says US should
Feb.6 Florida- Astronaut Jun.21 Baghdad -14 U.S.
charged with attempted troops killed in 48 hours Sep.13 Washington-
murder Bush pledges Iraq troop
Jul.1 New England- Bush reduction
Feb.7 Baghdad - Fifth and Putin in informal talks
U.S. chopper in 18 days Sep.19 New York-
down Ahmadinejad denied visit
Jul.12 U.S. Congress -
House of Reps votes for to 9/11 site
Feb.8 Florida- Former troop pullout
Playmate Smith dies at 39 Sep.21 Washington -
Anna Nicole Smith has Aug.1 Saudi Arabia- Blackwater in Iraq
died near Miami at the age weapons probe
Saudis back US Middle
of 39. East plans

Oct.10 U.S. Congress - Oct.29 Iraq-US hands Dec.3 Washington-Iran's
US bill on Armenia moves over Karbala to Iraqis nuclear weapons work
forward halted.
Nov.10 Washington -US
Oct.12 Moscow - Putin and Germany vow Iran Dec.6 CIA-'wiped'
warns U.S. in missile talks diplomacy interrogation tapes

Oct.23 Southern Nov.13 U.S. Congress - Dec.12 Washington -

California- 500,000 flee Hidden costs 'raise US war Central banks act on credit
wildfires price' fear.

Oct.25 Washington- US Nov.18 Iraq - Bomber Dec.18 U.S. Congress

imposes new sanctions on kills kids getting toys from Senate passes $70B in
Iran troops war fun

Oct.28 Colorado-Red Nov.20 Washington -US

Sox sweep to World confirms Mid-East peace
Series title talks

"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."

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'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."

"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 or his myspace at:
Listen to Jonathan Clay

Lea Sylvester
~Tuned In Music Magazine~

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

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...


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, 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.