Lighting Direction DAVE LARABY Personal Manager RAYNER JESSON Sound Engineer JOE HEARTY (MINKY) Lighting Designer DAVE LARABY Monitor Mixer BOB SHANNON (DILDO) Stage Manager TONY LLOYD-WILLIAMS (ALPHONCE) Coach Driver TREVOR WIFFEN

Carpenter CRISPIN MELLER P.A. Crew MICK WHELAN, PHIL PRICE Light Crew MICK MARSHALL, PETE DAGNAL Truck Driver J0E 90 Tour Co-Ordinator JIM SULLIVAN P.A. Systems and lights supplied by T.F.A. ELECTOSOUND Trucks by EDWIN SHIRLEY TRUCKING

Programme Published by TOP-BILLING PUBLICATIONS LTD 13 Oxford Circus Avenue, W. 1. Tel: 01-439 7048/9 A SCRAPBOOK DESIGN Art Direction Bogdan Zarkowski Tel: 01 437 0948 Copyright Top-Billing Publications Ltd February 1977.

The death of three bands, an unknown singer, and the catalyst of a glace for the ingredients to mix, has been responsible for one of the finest musical colaborations to appear on the British musie scene in recent years, that of Graham Parker and the Rumour.

The break-up of so many good working bands simultaneously in the middle of last year was no coincidence. The misnamed "pub-rock" boom had given exposure to a number of bands, some new and some established, The name "pub-rock" contained the seeds of it's own destruction, bands were typecast by the media into a category of performance which made any attempt to progress to other venues almost an impertinence. The only prospect for the musicians was yet another year of belting up and down the motorway im the face of rising costs whittling away what little could be earned. Not surprisingly an element of frustration crept into the bands, coupled with an element of starvation. They decided to call it a day.

The common ground for many of the musicians was the Hope and Anchor Pub, with it's attached studio, where much of the original "boom" had occured. Ducks Deluxe, Brinsley Schwartz, Wet Willie, and many more rnusicians would spend time there talking music, getting a song together for a demo, and laying vague plans for the future. As Brinsley put it "At least it wasn't just sterile jamming there was a huge pool of musical energy". Graham Parker walked into the situation at the perfect moment. A filling station attendant from Camberley in Surrey, he had been writing songs for many years, playing for his own amusement round London Cafes. He'd heard about the Hope and Anchor's Dave Robinson via a friend of a friend, and having got together a demo tape on a borrowed recorder, he sent them off.

At the same time as Graham was dipping his toe in the water, Brinsley Schwartz, after the total immersion of his own band and Ducks Deluxe, and co-Brinsleyite Bob Andrews were ning to shape their careers up. Bob had originally planned to go to the States, but somehow it never came together, and he was doing the odd session, and missing the personal contact of live gigs. Martin Belmont was living upstairs at the Hope and Anchor after his spell with Ducks, and serving in the bar when not playing. Steve Goulding and Andrew Bodnar had that day severed their connections with Bouternps Roulez, and the sarne night found themselves making a demo record with Graham and the rest of the boys.

Out of such a little acorn the Rumour oak began to sprout. They were initially lucky in that the Newlands tavern, another of the pub-rock venues were perpared to allow them a room to rehearse their own material at no charge, and the band started knocking themselves into shape. They knew enough from their previous experiences that until things were settled and clear there was no point in getting involved in touring and it's inevitable expense. So they kept rehearsing and waiting for the right opportunity.

Dave Robinson saw the potential of a collaboration between Graham and the band early, and a few more demos were put down, including "Between You and Me" and "Back To Schooldays", two of the tracks off his forthcoming album "Howlin' Wind".

It was at this stage that a record deal began to be talked about, but it was still at the talking stage when Charlie Gillett, an old friend, played the tracks on a Radio London morning show.

Contrary to general belief record cornpany people do listen Phonogram A & R man Nigel Grainge happened to be listening that morning. It was just a matter of a phone call to Charlie to find out the how whens and wheres, and Dave found himself in touch with Nigel talking money.

The results are audible to anyone with the money for a record or a concert ticket.

In 1976 the band toured Britain in 4 major tours, the USA for 2 tours (One with Southside Johnny & The Asbury, Jukes) and Europe twice.

"Howling Wind" has been heralded as the best debut album in 1976 and 'Rolling Stone' magazine have chosen them as Best New Group. They have released a second album Heat Treatment" which has entered both British and American charts.

This is their first major headline tour of the U.K. to coincide with the release of their "Pink Parker" EP featuring the track "Hold Back The Night".

Those music writers who first tipped Graham Parker and Rumour as the hottest new band of the year, as well as the few who ignored them must be surprised at the speed at which their popularity has grown.

In a music scene only enlivened by the arrival of punk-rock, Graham Parker stands out like a good deed in a naughty world. The sheer inventiveness of good songs coupled with superb musicianship is a combination which is hard to beat. To accusations that he has been influenced by Dylan, Van Morrison and all the rest, Graham just answers "If you're not influenced by genius, you're wasting you're time".

The Graham Parker tour promises to be one of the music events of 1977.

The Upstage Club had a relatively short life. . . maybe a bit more than two years, from 1968 to 1970. But in that time it gave the kids of Asbury Park, New Jersey and surrounding areas a place to go and be themselves and do some of the things they wanted to do. And it gave aspiring musicians a place to play what they wanted and a chance to find out how good they could be. Anyone who thought they were anybody, and anybody who wanted to be somebody, put themselves on the line somewhere in the zone between 9 in the evening and 5 in the morning, night after night.

Bruce Springsteen, Miami Steve and assorted members of the E Street Band, past and present, paid a good chunk of their dues in that club. And so did a guy named Johnny Lyon, whose Upstage experiences convicted him that he could and wanted to be a professional singer and harp player.

Johnny Lyon was born on December 4, 1948 in Neptune, New Jersey and just about as far back as he can remember music permeated his household: black jazz, old R&B, the blues. . . in short, the best from the '30s, '40s and '50s that his parents had grown to love and that became a permanent influence on their son.

"You grow up listening to people like Billie Holiday, Jimmy Rushing and Wynonie Harris", Johnny recalls, "and you're hearing music in which people are really trying to express something. It's not muzak, it's not fluff, and it's not music deliberately made to sell. it's music made to move people emotionally. You grow up with that kind of stuff and it gets into you and you know it's always going to be with you".

Johnny got a relatively late start as a performer, going no further than singing at parties until he followed his roots and joined the Sonny Kenn Blues Band at the age of 16. "I suppose", he explains, "that if I had grown up in a Hit Parade house, I probably would have latched onto white pop. But I was drawn instead to music that recognised the darker side of life. It's not that I had anything particularly against, for instance, the Beach Boys, but when I heard them I heard someone saying, 'We are the rich young kids who surf all day' and I thought of the guys and girls who got cars for their high school graduation. For me, the Stones, Yardbirds and Animals struck more familiar, compelling chords".

In the early days, Johnny and his fellow musicians would drift from band to band ("We used to put together a band every other week"), looking for something that suggested a need for permanence. "None of us were really looking yet for a permanent band. Bands changed and broke up so often because of boredom, of lack of jobs, but mostly because there was a desire to experiment, to try something new, to get what you could form an experience and move on before you got stuck in a rut . . . at 16 or 17, you were in a band to have fun, to make a little money and to pick up chicks. lt was enough that you were doing what you felt like doing".

Doing what you felt like doing for Johnny was sharing a three-room apartment in Asbury with fellow musicians Hots, Albie and Miami Steve Van Zandt, his closest friend personally and musically. Living on $15 a week each wasn't exactly a joy ride, but slowly Johnny and Steve and some of the other guys who stuck it out evolved a clearer musical identity.

"Asbury", Johnny explains, "offered a lot of advantages of the big city without the paranoia that usually accompanied it. There was the excitement and the rhythms of boardwalk life along with places you could go to for solitude. You felt safe on the street any time of the day or night and you never felt hemmed in or stuck where you were. There was a more relaxed atmosphere, but not too laid-back: Everybody was always looking to get up and do things and keep active".

In the early seventies, Johnny's bands started to get down to serious business. Each experience seemed to progress to another. Steve and Johnny joined forces with Bruce Springsteen in the Sundance Blues Band and Dr. Zoom and the Sonic Boom. lt was during the latter's rehearsals that the nickname SOUTHSIDE JOHNNY was born.

"At the time, I was basically known for playing Chicago blues and since the South Side of Chicago was where it all happened there, the name sort of popped up and stuck. There were 13 people in a rehearsal, all crazy out of their minds with fatigue and starvation, so it would be kind of hard to be more specific than that".

In March of 1972, Johnny took off for Richmond, Virginia, with a bunch of Asburyites and joined up with a band called Studio B. Aside from some valuable musical experience, Richmond also gave Johnny a wife, Betty Scott, courtesy of a Springsteen introduction. As 1973 settled in, John returned home to form an acoustic blues duo dubbed SOUTHSIDE JOHNNY & The Kid (a.k.a. Miami Steve) which gave way to a larger aggregate known as the Bank street Blues Band. This unit was the first band in which John and Jukes keyboardist Kevin Kavanaugh, himself an Upstage graduate, joined forces.

Miami Steve left Asbury Park in early 1974 for a year's road stint with the Dovells, where he was to play with bassist Alan Berger, who was to join the Jukes in September 1975. Meanwhile, Johnny was starting to seriously think about putting his own band together. His sense of the direction he wanted to pursue was taking shape.

"Steve, Brucie and I were always trying to do what we liked to do musically, although it often wasn't exactly the thing people most wanted to hear. We wanted to open up the scene to make more kinds of music acceptable. . . I started to feel strongly that my musical involvement was predicated on the belief that what I was playing could be good music and still be dance music; that it could be dance music and still be good music".

The vehicle for the realisation of that philosophy, although John didn't know it when he joined in October 1974, was to be the Blackberry Booze Band, which included drummer Kenny Pentifallo, who's been with Southside ever since. Strongly sensing where he wanted to take his music, Johnny asserted his leadership in a band for perhaps the first time and things began to happen. The BBB signed on es a regular band at the Jukes' present home, Asbury's legend-to-be, the Stone Pony, in December of 1974. When Miami Steve left the Dovells in February of 1975, he came home to join the Booze Band as co-leader with Johnny, and in June 1975 the name of the group was changed to SOUTHSIDE JOHNNY & THE ASBURY JUKES.

While Steve went off a month later to accept Bruce's invitation to join the E Street Band, he kept in close contact with Johnny and worded with the band whenever he was off the road. When Bruce and the E Streeters finished their national tour on New Year's Eve of 1975, Steve, Johnny and the Jukes put the wheels in motion. A demo was made in the Record Plant Studios in New York with Miami Steve producing and was circulated to a bunch of record companies, with Epic A & R Vice President Steve Popovich, a resident of nearby Freehold, J.J., Showing keen interest.

Rather than waiting for all the details of a signed contract to be worked out, Miami, Johnny and the Jukes, along with some sidemen, entered the Record Plant studios in mid-February, and five weeks later finished their first album, "I Don't Want To Go Home", Featuring two previousIy unrecorded Springsteen songs, three Miami Steve originals, five R & B oldies, and guest appearances by Lee Dorsey and Ronnie Spector. Pleased with what he heard, Popovich signed the group under terms previously agreed to. It was done, as Southside puts it, the way the group wanted it done: "We wanted Epic to hear what they were getting. We wanted them to be sure and we wanted to be sure."

All the while, SOUTHSIDE JOHNNY & THE ASBURY JUKES have been doing their thing at the Stone Pony, three nights a week, five sets a night, to overflow crowds that keep coming back for more.

On any given Tuesday, Thursday or Sunday night at the Stone Pony, SOUTHSIDE JOHNNY & THE ASBURY JUKES choose from a host of songs to get their crowds dancing. You can hear Southside originals - along with songs by Sam & Dave, Sam Cooke, Bobby Womack , B.B. King, Bo Diddley, The Crusaders, Aretha Franklin, Jirnmy Cliff, Bob Marley & The Wailers, Jimmie Rodgers, Junior Wells, Gary U.S. Bonds, James Brown, Solomon Burke, Clarence Carter, Eddie Bo and Ernie K. Doe. Some people might think nostalgia while reading that list, but Johnny sees it a little differently.

"There really isn't that much new in music today. Most of the music is predicated on what's come before. Sure, the volume's gotten a lot louder - so a lot of the subtleties are lost and much of the singing is nowhere - plus you have groups wearing costumes and makeup, trying to look bizarre.

"No one remembers that Screamin' Jay Hawkins in the 50s dressed in a long cape, looking like a vampire, and was wheeled onto the stage in a coffin. And you sure don't get any more outrageous than Little Richard...

"So What's happened is that people have lost sight of influences and roots... We blend rock 'n' roll and the R & B sound from the '50s and the soul from the '60s and what we hear today. We do old songs because we believe they're great songs - not because they're old songs".

Kevin Kavanaugh - Keyboards and Vocals
Born: November 27, 1951. Member of the Bank Street Blues Band with Johnny, whom he first met at the Upstage Club in the late sixties. Member of Albie & The Hired Hands with Johnny (who played bass in that band) and Miami Steve (Whom he's known since they grew up together in Middletown, N.J.). Joined the Jukes in March 1975. First took up the piano at the age of 7 and suffered through 4 years of private lessons. Was at one time a reporter for the Newark Star-Ledger. Hobbies include photography and womanizing. Is single, of course.

Kenneth Pentifallo - Drums and Bass
Vocals, Lead Vocals on several songs
Born: December 30, 1940. Only original member of the Blackberry Booze Band still with the Jukes. Has travelled all around the country playing bands. First met Johnny at the Cat's Meow where the BBB used to gig. Has been playing drums professionally for more than 15 years. Hangs a mean pair of drapes and is known as the meanest maker of subs to have worked at Mr. Moe's Sub Shop. The natural wit of the band, crazy but funny. Collects '50s records, group sounds division. Married with three kids.

Billy Rush - Guitar
Born: August 26, 1952. Veteran of such bands as Captain Milkshake and Flog The Dolphin. Fondly remembers gigs at Junior and Senior Promts. Joined the Jukes in November 1975. Self-taught guitarist who got serious about his music when he started hanging out at the Upstage. Major hobby is sailing. Understands music perfectly; must have all nonmusical things explained to him three times. Single.

Carlo Novi - Tenor Sax
Born: August 7, 1949. Native of Mexico City who played, for six years, with the hottest R & B band in town, Javier Batiz & The Famous Finks. Came to America in 1972. Joined the Jukes in April 1975. Makes leather clothes. Married with one kid.

Ed Manion - Baritone Sax
Born: February 28, 1952. Member of Fourth Stream, a jazz-rock ensemble, and Lazarus. Joined the Jukes in April 1976. Attended Berklee School of Music and took lessons in New York from Carmine Caruso. Veteran of the navy. Amateur photographer. Single.

Tony Pallagrosi - Trumpet
Born: May 9, 1954. Member of Train, Silver String Memorial Band, Amusement and Yacht Rock. Joined the Jukes in April 1976. Also has taken lessons in New York from Carmine Caruso. Served time as a beach cop. Collects old '50s cars. Single.

Alan Berger - Bass
Born: November 8, 1949. Member of the Dovells with Miami Steve and of Sydewalk Theory. Joined the Jukes in September 1976. Studied at the Berklee School of music in Boston for a year (basically a jazz school). Loves dirty movies and girlie shows. Collects '60s R & B and soul records. Single.

Added to the programme since this Biog was written

Rick Gazof - First Trumpet

Richie Rosenburg - Trombone