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Stax
Records Memphis Soul Music Rhythm & Blues Otis Redding Eddie
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STAX
NEWS
page 22
ASTORS' HAROLD
JOHNSON
(May 7, 2003)
Curtis Johnson from the Stax group The Astors of "Candy" fame just informed me by his brother Harold Johnson, also a member of the Astors, has died. When we met last week at Stax, he told me how he was concerned by his brother's health. My sincere condolences to him and his family.
Harold Quake Johnson
began his entertainment career in 1966 when he joined the Stax
Records group, The Astors, recording on Stax Records, the
songs Daddy Didnt Tell Me B/W More
Power To You, and toured with the group until 1968.
In 1968 he help form the group Brothers Unlimited
recording the album Whos For The Young (Capitol
Records). For over 3 years the group packed local clubs and
toured the Gulf Coast, and other areas of the country.
Later he spent several years touring with The Soul Children as
Road Manager and Sound Technician. In the 70s he
became a member of the Board of Directors of Funk Factory
Productions, Promotions, Inc. out of Dayton, Ohio, and Buffalo,
New York, and recorded with the group C.Q.C.S on the Funk Factory
Records label. In the early 90s he formed Jazz
Unlimited Productions that deejay Jazz on Sunday evenings at the
Executive Inn, and April House, and at Tailgate Parties (Southern
Heritage Classic). For the past 6 years he organized and
produced the Building Engineers Christmas Party each year for
Memphis City Schools, and Shelby County Head Start Building
Engineers. Two years ago he developed Services Unlimited
Consultant Group and last year opened an office, warehouse, and
Training Center on Brooks Road which he continued to manage after
becoming Ill.
Arrangements:
Wake: Sunday May 11, 2003
Time: 2 4 PM Place: M J Edwards & Sons Funeral
Home, 1165 Airways Blvd, Memphis, TN
Funeral: Monday May 12, 11:00 AM Place: M J Edwards &
Sons Funeral Home, 1165 Airways Blvd, Memphis, TN
THE MEMPHIS
REPORT
(May 7, 2003)
TUESDAY, APRIL 29
After an unforgetable week in Memphis, here is the first report about the Stax Museum and the opening events, thanks to Salv Macasil. I will write later about the Stax Museum which I visited several times. More details and more photos soon...
Its 4:30 am in Memphis, but
my body is still working on British Summer Time and its
telling me its 10:30 am and wont let me sleep. Or
maybe its excitement at the fact that Im in Memphis
for what is going to be remembered by those of us here as the
greatest musical experience of our lives thats keeping
me awake. Anyway, I decided that rather than lie there, not
sleeping, Id fire up my laptop, get some appropriate music
playing, and write about last night.
So Friction by the Soul Children is coming quietly
from the speakers, and Blackfoot is asking his woman Whats
Happening Baby?
My flight to Memphis got me in at 4:15 pm local time on Tuesday
29th. I collected my hire car and went straight to Rendezvous
Ribs in downtown Memphis to meet Cherrie Holden who had my
tickets for the various events. A group of fans had collected
there, along with Wayne Jackson, for dinner, but I had to check
into my hotel and have a shower so I couldnt stay. I then
got lost on the way to the hotel, but got there eventually,
checked in, showered, phoned home to let my wife know Id
arrived, unpacked, sorted out cameras, and headed back downtown
to the Gibson Guitar Lounge to see Linda Lyndell, Mable John,
Little Milton and Big Star. I missed my turning on to the
freeway, but after looking at my map realised that the road I was
on went downtown anyway, so I decided to take the slower, urban
route. That was a mistake, because by the time Id got to
the Gibson Lounge and circled the area for a while deciding where
to park, Id missed Linda Lyndell and Mable John was
half way through her set.
Linda Lyndell at the Gibson Lounge
(Photo © Patrick Montier)
Mable John, what I saw of her, was excellent, as was her band,
and the sound system in the club was possibly the clearest Ive
ever heard. Mables voice wasnt overshadowed by the
band, every word she sang came through loud and clear, and the
individual instruments could be picked out if you could get past
Mables wonderful, soulful voice. She finished the set with
a very sexy version of Your Good Thing (Is About To End)
which included a rap where she detailed how she had gone out to
buy a new negligee ... one of the see through ones to
seduce her man.
Mable John at the Gibson Lounge
(Photo © Patrick Montier)
I met up with some of the other Brits in the break before Little
Milton came on, and heard that Id missed some great events.
They had been to Reverend Al Greens church on the Sunday,
where the Reverend treated the congregation to Lets
Stay Together then invited an old friend up to the front to
sing with him. Up stepped Laura Lee for a gospel duet.
Some of the Brits had met Laura Lee earlier, so when she arrived
at the Gibson Lounge on Tuesday they were like old friends and it
seemed perfectly natural to have pictures taken with her. I was
also told about the trip that day to Willie Mitchells
studio. Willie himself was there and led the tour, which ended up
in his office where he played a rough mix of the brand new Al
Green CD for the assembled fans. I so badly regretted waiting
until Tuesday to fly out...
Just before he was due to start his set Little Milton strolled
past and more pictures were taken. Mack Rice bustled past and
promised to come right back for photos. There was a distinct
sense that all this wasnt really happening.
Little Milton took the stage after a brief warm up from the band,
and he launched into a decent, mid-tempo blues-y track from his
latest CD. He was also in great voice, and again the sound and
the mix were perfect. Then he announced he was going to do
another track from the new CD, and proceeded to sing a version of
Just One Moment which brought a lump to my throat,
and those familiar chills to my spine and my arms. This was when
I realised that it was real. I was in Memphis, watching Little
Milton as he sang a track from my favourite album. How could the
night possibly get any better? Milton got his guitar out after
that and played Walking The Back Streets And Crying
which brought a huge cheer from the audience, and a couple of
other blues numbers, but I was still feeling the chills from
Just One Moment. an
excellent set overall, even if youre not a huge blues fan,
and Milton has a great voice which hasnt really been
ravaged by time.
Little Milton a the Gibson Lounge
(Photo © Patrick Montier)
So how could the night get any better? Well ... as I was lurking
with the Brit Laura Lee entourage, waiting for more photo
opportunities, the ultimate opportunity came along. We were
invited back to the artists lounge. That doesnt adequately
describe the experience, so ... WE WERE INVITED BACK TO THE
ARTISTS LOUNGE!!!!!! So a group of half a dozen star-struck UK
soul-boys (and a soul-girl), cameras and autograph books at the
ready, were ferried through to meet the artists and their friends.
Not only were Linda Lyndell, Mable John, Little Milton, Sir Mack
Rice and Laura Lee in the lounge, but also hanging out were Al
Bell, Steve Cropper and Bettye Crutcher. (I think thats
everyone - I was in shock) I suspect,and I really hope Im
wrong, that the flash on my camera wasnt working. Ive
got to wait until I can get the film developed to tell if my
group shots of multiple soul legends, and close ups of Al Bell
and Steve Cropper in conversation, came out. In my excitement at
being allowed back stage I left my digital camera in the bar, and
I didnt want to risk not being allowed back in if I went to
get it.
I eventually went back to the main bar and caught a little of Big
Stars set, but after the photo session they couldnt
hope to be appreciated fully by me. Most of the audience loved
them though, and the band seemed genuinely pleased to be playing
in Memphis.
By this time I had been up for 24 hours so I went back to the
car, still not really believing what had just happened, and
headed for the hotel. Reality came crashing back in when I couldnt
find a way to head north on the road I wanted and ended up going
the long way around Memphis back to my hotel. My nightmare
journey also included a traffic jam after a nasty car crash and
several more wrong turns, before I finally got back at about
midnight, gritty eyed and irritable, to fall into bed.
Three hours later my body was waking up, thinking it was 9 am. I
might try to have a nap later, because tonight is the big one.
Isaac Hayes, Booker and the MGs, William Bell, Eddie Floyd, Rance
Allen, Jean Knight, the Mar-Keys, Mavis Staples, Ann Peebles,
Jimmy Vaughn, Wilson Pickett, Solomon Burke and others (... and
others? How long is this gig going to last?) with the celebrity
party at Isaac Hayes club afterwards.
Well, the hotel is now serving breakfast, and I havent
eaten since I was at Atlanta airport yesterday, so Im going
for my complimentary continental breakfast which will
probably be followed by a trip to the nearest International House
of Pancakes for a proper breakfast...
WEDNESDAY, APRIL 30
I didnt wake up until 9:45
this morning so I seem to have fooled my body into accepting its
new schedule. It means I missed the continental breakfast,
but since this consists of some soggy Danish pastries, some
blueberry muffins and some burnt coffee thats no great loss.
Off to IHOP again once Ive written this up.
Various list members met up at Rum Boogie Cafe on Beale last
night for dinner before heading off the The Orpheum for The Big
Show. There were huge crowds outside, and they turned out to be
the people who had booked tickets and wanted to collect them on
the night. So Id like to say a big THANK YOU to Cherrie
Holden for collecting my ticket for me and saving me from ticket
queue hell.
I was in row K, 10 from the front, mid left of the stage. Due to
the problems out front with the ticket queues the show started
late, but eventually the band including Steve Cropper, Michael
Toles, Lester Snell, Marvell Thomas and Bobby Manuel, took the
stage. There is far too much to say about last night, and Id
be here all day if I attempted to go into too much detail, but
the evening kicked off with the Mar-Keys, Wayne Jackson and
Andrew Love, taking the stage for a couple of numbers that
included a stomping Last Night and an emotional and
moving spoken tribute from Wayne Jackson.
The Mar-Keys/Memphis Horns at the
Orpheum
(Photo © Patrick Montier)
Eddie Floyd was up next, and he ripped through Knock On
Wood then announced that Wilson Pickett, who was due to be
there, had been ill and couldnt make it. Eddie then
introduced a song he and Steve Cropper had written for Pickett:
634 5789
Eddie Floyd at the Orpheum
(Photo © Patrick Montier)
After that my memory is hazy, but each act was introduced by a
celebrity, including Richard Roundtree, a local DJ, Chuck D from
Public Enemy, and various Stax personalities including David
Porter, Al Bell and Isaac Hayes. At one point early in the
proceedings a short film, made for the Museum, was shown as well.
I cant remember the exact running order, but:
Jean Knight did a great sounding and suitably sassy Mr Big
Stuff.
William Bell did an excellent You Dont Miss Your
Water and left the
stage to cries for more.
Ann Peebles looked sexy in a short dress, but sounded a little
hoarse
and had trouble hitting some of the notes on I Cant
Stand The Rain.
Booker T. and The MGs did a couple of numbers. Im ashamed
to admit that I cant remember what they started with,
although Im tempted to say Green Onions, but
their second number was a foot-stomping version of Time Is
Tight that started off with Duck playing light, delicate
notes before Booker joined in playing the melody gently and
slowly. It was a revelation to hear Time Is Tight
played this way, and Id never appreciated what a beautiful
melody the tune has. Steve took over from
Duck with some gorgeous guitar work, picking over the melody
along with Booker before the drums came in and upped the tempo.
The tune built on to a thundering climax and the band left the
stage to a standing ovation.
Isaac Hayes came on and conducted the band through Theme
From Shaft then sang a very nice I Stand Accused.
Jimmy Vaughn, a white Texas blues man, came on, and while hes
a very snappy dresser and a good guitarist hes not a
brilliant singer. He introduced Little Milton who joined him for
a guitar duel, but I wanted Milton to sing Just One Moment
again.
Jean Knight, William Bell, Ann
Peebles at the Orpheum (Photo © Patrick Montier)
Booker T. & The MG's and Isaac
Hayes at the Orpheum (Photo © Patrick Montier)
Somewhere around here the absolute, undoubted highlight of the
night took the stage. A grand piano was pushed on, and Rance
Allen was announced. I had been looking forward to seeing him,
and the Brits Id spoken to earlier had been happily
anticipating his appearance as well, but I dont think any
of us were prepared for just how magnificent he was. He was
simply astounding. I called my wife this morning to let her know
I was OK, and I started telling her about Rance Allen and I was
in
tears, trying to describe how incredible he was. Im filling
up now, just thinking about him. Superlatives do not exist to
describe the experience of hearing THAT VOICE live. I was nearly
converted from my atheistic ways as he sang That Will Be
Good Enough For Me. If you dont know the song, Rance
lists the places hes never been: hes never been to
Paris in the spring or the fall, never been to India to see the
Taj Mahal, never been to Switzerland to see the Winter Games
played, never been to New Orleans on Carnival or Mardi Gras day,
never been to London on foggy day, never been to hear a gondolier
play; but if he can only make it to heaven that will be good
enough. He sat at the piano first and the band picked up the
rhythm while Rance went through the first part of the song. There
were some thrilling whoops and swoops as
he played around with the words, and it was obvious we were in
the presence of a vocal giant. Then he stood up from the piano to
continue ...
Im sorry, Im crying again. The enormity of being
here,in Memphis, where my favourite music was created has just
overwhelmed me while I try to explain Rance Allen to the people
who werent there .... this was why I had flown nearly 4500
miles and paid hundreds of pounds to be here. This is a historic
week, and I am so grateful and happy to be here. Sorry, Ill
try to continue.
So Rance Allen stood up and treated us to a display of vocal
gymnastics that will ... NEVER ... EVER ... be bettered. (The
term gymnastics seems a little wrong here, and could
imply someone with great technical skills but little in the way
of real passion, but Rance Allen possesses immense technical
skill and an overabundance of passion that nobody else comes near
matching.) He hitched up his trousers so he could bend down while
testifying (and this was testifying at its most electric
and thrilling) and he clutched the air while writhing on stage.
Then he stood bolt upright, opened his mouth and this ...
incredible ... SOUND came out. Ive never heardanything like
it - it was part baritone roar, part screaming of a soul in
torment, and I will never forget the experience of being there
while he sang. The audience were going berserk, and I yelled
myself hoarse, screaming for more, but he did the one song and
left. If you werent there, mere words on a screen cannot do
him justice. Nothing will match this.
Rance Allen at the Orpheum
(Photo © Patrick Montier)
So what else happened? Mavis Staples did a couple, but her voice
has lost the suppleness of her youth and she sounded strained.
Michael McDonald joined her for a duet, then another white blues
man took the stage. Cant remember his name, didnt
like his voice, wondered why my time was being wasted by this
when Rance Allen could have been on stage singing Aint
No Need Of Crying.
Mavis Staples at the Orpheum
(Photo © Patrick Montier)
The Bar-Kays did a funky version of Soul Finger and were joined
on stage by Chuck D, and some mate of his who bounced around
stage, shouting Come On into his mic while Chuck did
some garbled rap, none of which I could understand, although the
words Stax and soul came out clearly from
time to time.
The Bar-Kays with Larry Dodson
(Photo © Patrick Montier)
A special guest came on. He wasnt mentioned in the
publicity, but Percy Sledge took the stage for When A Man
Loves A Woman, which was enjoyable, but Percy also
struggled a little.
Percy Sledge at the Orpheum
(Photo © Patrick Montier)
Carla Thomas provided the next Great Moment with a version of
Gee Whiz. Her voice still has the girlish tones it
had when she first recorded the song over 40 years ago, but theres
an obvious maturity in there that transforms the song from its
teeny pop origins. She was wonderful and you could feel just how
much she was loved by everyone there.
Carla Thomas (Bobby Manuel on
guitar)
(Photo © Patrick Montier)
A surprise guest was announced: Al Green. The crowd again went
berserk as Al grinned his way across the stage, but he was
following Rance Allen and it seemed to me to be testifying by the
book. A falsetto shriek here, a scream there, but it seemed a
little insincere. Al picked up a bunch of flowers and distributed
them to lucky ladies in the audience, and I just felt unmoved by
the whole performance.
Al Green at the Orpheum
(Photo © Patrick Montier)
Solomon Burke was the last singer to come out, and he was in
magnificent voice, and if Rance Allen hadnt been there King
Solomon would have probably been the vocal highlight of the night.
Ive never been a great fan of Solomons but all the
recent, glowing reports from his live shows were justified. He
was joined on stage by Sir Mack Rice for a version of Mustang
Sally which they both appeared to enjoy immensely.
Solomon Burke and Mack Rice at the
Orpheum
(Steve Cropper, Bobby Manuel an Jim Spake in the background)
(Photo © Patrick Montier)
Mavis Staples then came back on for the finale and was joined by
all the acts for a version of ... I cant remember what they
did! I seem to think it was Ill Take You There
but I couldnt swear to it. Anyway, the stage was packed
with a Whos Who of Stax soul legends as they belted their
way through the song.
The finale at the Orpheum Theatre,
Memphis, with the whole Stax family on stage. (Photo ©
Patrick Montier)
On to Isaac Hayes club afterwards, where a young local band
were on stage working through various soul classics and they were
not at all bad. Not many of the stars had come back though, but
Duck Dunn, Booker T, Joe Shamwell, Mable John and Isaac himself
were seated around the club, and I got a photo of myself with
Isaac Hayes.
Some members of the staxrecords
mailing list at the Isaac Hayes Club (Salv Macasil on far right)
(Photo © Patrick Montier)
A thirsty Rob Bowman, Duck Dunn
and Isaac Hayes and Booker T. Jones at the Isaac Hayes Club
afterparty
(Photo © Patrick Montier)
For Stax list members, and especially Anne Fill, I met up with
Mike and it turns out we live not too far apart, in neighbouring
counties.
I left the club at about 2:30 am, with the realisation that over
the course of the previous 50 or so hours I had managed to sleep
for maybe 4.5 hours in total. Of course I got a little lost on
the way back, missing my turn off and adding 10 miles to my
journey, but thats to be expected. Theres a thunder
storm raging somewhere to the south of me, and Im trying to
decide how to fill my time until the evening when we go to see
Wattstax. Maybe go to the Museum, maybe go record shopping to
Shangri-La, maybe go downtown and hit Tower Records for DVDs. Ive
got to get something to eat first though. Theres another
live show after the film tonight, then the official Museum
opening tomorrow morning at 8:30 am, then in the evening a live
show with the Mad Lads, the Bo-Keys and the group I am most
looking forward to seeing, The Masqueraders, so I probably wont
be about to give another report until Saturday.
In the mean time, everyone needs to get some Rance Allen music,
and immerse themselves in the voice of THE finest singer I have
ever seen.
THURSDAY, MAY 1
Just a quick note - I've just got
in after Wattstax, which is a brilliant film which everyone
should see when it gets re-released later this year, and which
everyone should buy on video or DVD.
After the film there were more live performances, firstly from
local kids who were benefitting from the Stax Musical Academy,
then Floyd Taylor in a tribute to his dad Johnnie, then the
Temprees, and then I was expecting the Dramatics. Four mics were
set up which seemed one too few, then the announcer started
talking about a group who had joined Stax in the late 60's, and
who had a hit with 'I'll Be The Other Woman'. With two new
members, Archie Love and Ann Hines, it was J. Blackfoot and
Norman West - it was the Soul Children!
Larry Shaw, WattStax executive
producer, The Stax Academy and Floyd Taylor at the Orpheum,
Memphis
(Photo © Patrick Montier)
The Temprees and The Soul Children
at the Orpheum Theatre, Memphis (Photo © Patrick Montier)
Some of you are aware that the Soul Children's 'Friction' is my
all time favourite album, so you can guess how excited I was (understatement
of the year) when they walked out. Most of the set was covers of
classic Stax material, but they finished with 'The Sweeter He Is'.
How could it get better. Well, getting invited backstage by Joe
Pusateri and Tim Whitsett, that's how. I took my digital camera
this time and I've got the pictures downloaded on my laptop to
prove that I didn't imagine it. I met J. Blackfoot and Norm West
of the Soul Children. I'm still smiling about it now.
Backstage at the Orpheum
(Photo © Patrick Montier)
Tomorrow morning is the official opening of the Museum, so we'll
all be down on East McLemore, bright and early to see the mayor
splice the
tape.
FRIDAY, MAY 2
There was a baseball game on last
night in the downtown area, so there were lots of extra cars on
the roads, plus the Beale Streeet Music Fest was on, which added
to the numbers, so I got delayed. I got stung $20 to park my car
and had to run to the Center for Southern Folklore, and arrived,
breathless and sweating to find the Masqueraders already on stage.
I found the Brits off to one side of this strange little cafe/bar/shop
place, which was situated in a shopping centre, and was told that
the 'Raders were only on their second song. I got my camera out
and took a few photos, moving around to get some shots from
different angles, then settled in to hear my favourite male vocal
group running through some cover versions, and some of their own
material. I remember KK posting a photo of the 'Raders at the
Luther Ingram benefit from a few years ago, which had the classic
comment "Three-part harmonies to f*****g die for" and
oh, how right you were Kevin.
It was a very low-key little gig, and the group were in casual
clothes, wearing stetsons, with just a keyboard for
accompaniment, but what a glorious thing it was! Once again I
can't remember the full set but there was a simply beautiful
version of the Impressions 'I'm So Proud' , a lovely 'Daddy's
Home', and absolutely wonderful versions of their own 'I Ain't
Got To Love Nobody Else' and '(Call Me) The Travellin' Man'. They
switched leads, harmonised perfectly, and in their quiet way were
even better than the Soul Children the night before. While the
Soul Children were incredible, they only did the one ballad, and
I'm a sucker for a slow song. None of the 'Raders set went above
a gentle mid-tempo and their harmonising IS to f*****g to die for.
They finished the set and we had a photo op at the side of the
stage, then they packed up their keyboard, put it away and
literally joined the small audience in the bar. More photos,
chats and autographs followed as they wandered about, relaxing
and eating from the buffet set up at the back of the place. The
Brits kept looking at each other in disbelief.
The Masqueraders
(Photo © Patrick Montier)
Now they were finished and I could relax I looked around and
noticed Carla Thomas - yes CARLA THOMAS! - sitting at a table
just to my right, with Randy Stewart. Her brother Marvell was
somewhere about too, but I never did get to see him.
Carla Thomas with Cherrie Holden
and friend Don Priest
(Photo © Patrick Montier)
An acapella group took the stage next, but I didn't know them and
for the life of me I can't remember their name. They also
harmonised perfectly on the two songs they sang. The other Brits
knew them though, and they had some publicity photos which they
were signing.
Then a state representative took the stage and made a speech
about the importance of music in Memphis, and started reading an
official document which was the State of Tennessee Senate
Joint Resolution No. 305, which was "A resolution to
recognise the visitors to the Stax Museum opening events as
honorary Tennesseans." He said he would be
reading out names and as they were read out the person should
come forward and receive a gift.
He read out various paragraphs about the Tennessee music and the
history of Stax, then mentioned Patrick and his Stax site, so
Patrick came forward and was handed an envelope and a cap naming
him an honorary Tennessean. Patrick's wife Marie-Anne was next,
and then he named all the members of Patrick's Stax mailing list
who had made the trip. Well, we certainly weren't expecting that!
So now I am an honorary Tennessean, and I've got the baseball cap
and official State certificate to prove it.
How to become a Tennessean! Philip
H. Trenary, State of Tennessee (Carl Wise in the background
A new Tennessean with Cherrie Holden (Photo © Patrick
Montier)
Back to the music and the Bo-Keys were next. Unbelievably this
group consisted of Charles 'Skip' Pitts on guitar, Willie Hall on
drums, Ronnie Williams on Hammond and Scott Bomar on bass. And
here they were, setting up on this tiny stage in a shopping
arcade. They were brilliant, of course, and ran through a short
set of extremely funky instrumentals. Cherrie Holden came up to
me while they were playing and asked if I wanted to meet Toni
Green. I had seen this beautiful woman in the bar and thought she
was Toni Green, but couldn't swear to it, but Cherrie assured me
that it was her, so ... of course I wanted to meet Toni Green! I
told her I had her last CD, 'Strong Enough' and really liked it,
and asked if she was recording at the moment. She said she had
about 5 or 6 songs done and was working on more. I got Cherrie to
take a photo of us together, which I don't think my wife will be
happy about ...
The Bo-Keys: Ronnie Williams,
Scott Bomar, Willie Hall and Charles 'Skip' Pitts
(Photo © Patrick Montier)
John Gary Williams of the Mad Lads walked past on his way to the
dressing room while they were playing, and soon all the Lads
appeared, looking sharp in their matching suits, and took the
stage, with the Bo-Keys backing them.
They also sang some perfect harmonies, and their set included a
swinging version of 'By The Time I Get To Phoenix' and gorgeous
versions of 'Whatever Hurts You' and 'Don't Have To Shop Around'.
I could hear someone in the audience singing along, and I
realised it was Carla Thomas. How cool is that? They got Toni
Green up on stage for a short while, to huge applause and lots of
camera flashes from the assembled Brits, and she sounded
fantastic - far more gutsy than on the CD. I was hoping Carla
would come up as well, but she stayed put.
The Mad Lads (Photo © Patrick
Montier)
The set ended and the group left the stage and mingled for a
while before going to get changed out of their suits. Bear in
mind that the Masqueraders were still hanging out, Toni Green was
wandering around looking lovely, Carla Thomas and Randy Stewart
were sitting a few feet away, Willie Hall, Ronnie Williams and
Skip Pitts were likewise just hanging out and you'll understand
that the general consensus among the assembled Brits was that
this was the best night of the whole trip. It was just so
relaxed, with photos being taken, everyone just enjoying
themselves and lots of conversations that started "Can you
believe this is happening?"
Many thanks to Carl 'Blue' Wise for setting this one up and being
the perfect host. It was another fantastic night, made all the
better by the relaxed atmosphere.
There's nothing planned for Saturday so I doubt that you'll see
any more of my ramblings. I've done this as much for my benefit
as for the list members who couldn't get here, as I wanted to
keep a written account to go with all the photos. I've made some
good friends while I was here, have enjoyed myself more than I
ever thought could be possible, and am so, so grateful to have
been part of this weeks historic events.
Salv Macasil
INDEX -- NEWS -- INFOS -- STAX TODAY -- FOCUS -- ADS -- LISTS -- LINKS -- PHOTOS -- CONTACT