Sunday, June 14, 1998

 

 

HOME-GROWN PASSION FOR MUSIC 

WVIA-FM'S GEORGE GRAHAM HAS BEEN NURTURING LOCAL TALENT AND PROVIDING EXPOSURE FOR AN ECLECTIC MIX OF ARTISTS FOR THE PAST 25 YEARS



ALAN K. STOUT
TIMES LEADER STAFF WRITER
JUNE 14, 1998

JENKINS TWP.- Whether it's listening to music for several hours a day, searching albums for that one special track, recording original music, writing album reviews or producing live radio concerts, George Graham's life is music.

 He has shared his love with others. And if you took a survey among area musicians asking which person has offered the public the most insight into their work and who has been the most appreciative and most supportive of that work, Graham's name would likely appear on every list.

 This year marks WVIA-FM's 25th year of radio broadcasting and Graham's 25th year at the station. As a DJ, producer and chief engineer, Graham has worked with hundreds of regional artists, overseen hundreds of recording sessions and hosted thousands of broadcasts.

 He's become somewhat of a legend in the local music community, perhaps in part because of his night hours and relatively low public profile. His 25th anniversary is a milestone that has not gone without notice by area musicians.

 Graham was recently acknowledged by the Local 120 Musicians Union with an award for his continued efforts in promoting live music.

 Mayor James Connors recently proclaimed a special "George Graham Day" in Scranton.

 The duo Flannery and Clarke recently performed a song written in Graham's honor at the station's 25th Anniversary Open House.

 And Badlees vocalist Pete Palladino- during the group's recent performance at the station- also presented Graham with a commemorative plaque from the station and thanked him on behalf of all of the musicians who he's supported over the years.

 "I just try to cultivate individuality," says Graham, reflecting on his 25 years in public radio. "I try to be as sensitive to the music as I can, rather than trying to make somebody sound like something that they aren't or sound like a hit record."

 Commercialism is of no consequence to Graham. It's quality that matters.

 His "Mixed Bag" program is aptly named, offering an eclectic array of music. His "Homegrown Music" programs - which can be equally diverse - offer artists the opportunity to make quality recordings at the WVIA studios and then have them broadcasted on the program.

 Graham also hosts WVIA's "All That Jazz."

 A native and resident of Carbondale, Graham, 47, was hired in 1973 as an engineer to help put WVIA-FM (89.9) on the air. A natural choice to help get the station started, Graham held a degree in electrical engineering from Duke University and had several years of college radio experience. His "Homegrown Music" program began on a weekly basis in 1976, but it was actually in the fall of 1973 that the first acts appeared on the show: folk singers Lex Romane and Ted Bird.

 The live concerts began in 1982, and have become a monthly feature. Graham says nearly 500 artists have appeared on the program.

 And unlike the popular "basement tape"-type programs that are found on many FM stations across the nation, the music played on the "Homegrown Music" show does not consist of tapes or independent releases sent to Graham by musicians, but rather music he has personally recorded and produced.

 " ‘Homegrown Music’ is, by definition, music that originated from the WVIA studios," says Graham, adding that the station was built with the idea of also serving as a recording studio for area artists. "I figured a public radio station should be kind of an artistic resource. The management at the time agreed, so recording equipment was put into the original budget for getting the radio station on the air."

 Musical history

 Graham says his love for music has been life-long, and that he first began honing his skills as a producer while still a teenager.

 "I had a fascination with audio and music going back to grade school," he says. "In high school, I recorded some bands and worked with the AV department and recorded some concerts. In college, I continued with radio and was involved in some recording projects. It's always been an interest of mine."

 Graham - who plays piano and can read music - names The Beatles' "Sgt. Peppers Lonely Hearts Club Band," Miles Davis' "Kind of Blue" and Atlantic's "Best of John Coltrane Collection" as a few of his "desert island" albums. Still, he pauses when asked to name the type of music he likes best, or the sounds that had the greatest effect on him and led to his career in music.

 "It's hard to say," he says with a smile. "I liked easy-listening things growing up. My piano teacher was good in the sense that every week he would give me a classical piece, and a pop standard, so I learned these songs sort of unwittingly ... .

 "Of course, in college, between '68 and '72, this was that whole period of turmoil, and the '60s and that whole scene of very eclectic music was just happening ... The Beatles releasing the `White Album' and later breaking up ... the psychedelic era ... . Some of it was really pretty fascinating and presaged a lot of the music which is still around.

 "Some of the early precursors of New Age music was coming out at that time," he adds. "The Moody Blues were starting with the whole `art-rock' thing. I remember going to a Janis Joplin concert at college, and she was advocating the blues and spreading the blues to wider audiences ... . I liked a good deal of it."

 Graham's eclectic tastes are showcased on the "Mixed Bag" program, which premiered in 1974 and includes the "Homegrown" show and his "Weekly Album Review." Graham says the show has evolved over the years, and that because there was no true commercial rock FM station in the area when WVIA first hit the airwaves, he once played more mainstream artists on the program.

 That, of course, was before they were mainstream.

 "Once commercial radio started moving into album rock, I started moving into other directions to provide an alternative," says Graham. "If YES and Bruce Springsteen were going to be on commercial radio, then we could get into blues, folk music and other different things that would have some crossover appeal from the commercial rock audience but would be different and go into different areas. The eclecticism of the program is, to some extent, driven by the alternative factor."

Graham says the recent trend of large corporations purchasing many commercial FM radio stations has resulted in a diminished role for program directors in choosing music. At WVIA, he's been able to maintain musical control of the programming, and spends several hours each week just listening to the national and independent releases he receives, deciding what to play.

 "A lot of times, the most commercial track is the first one on the CD, which for me would be a turn off," he says. "So I go further into the record. If I hear something that's intriguing, then I give it more time. ...

 "Today, it's far less the gut reaction of a local program director, but rather marketing research and computer analysis that's driving the programing of commercial radio," he says. "That's great for building audience numbers and getting your (ratings) up, but it does leave a few people unserved."

For 25 years, Graham has served not only listeners, but also artists. He names The Badlees, Tom Flannery, The Blue Sparks and Bob Dorough as some of the musicians that have stood out in his mind over the years. He says that he's aware that because the media has become so star-oriented, it's difficult for up-and-coming artists to find media exposure.

 To further articulate what he finds interesting about certain music, Graham also writes detailed album reviews, which can be found on his Web site at www.georgegraham.com. The site also has archive information on past programs, as well as information on upcoming broadcasts.

 In addition, some pre-taped "Homegrown Music" live studio concerts are being aired on WVIA-TV on selected Fridays at midnight, and the station recently released an 18-track CD, the "Homegrown Music Sampler," featuring a variety of artists who have performed on the program over the years.

 "To me, it's a great deal of fun to introduce people to new music," says Graham. "There's just something about it. ... I find it a lot of fun to say `Hey, listen to this. This is really interesting.' ...

 "After 25 years, it's still fun doing that."

 

(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)


 





























Sunday, April 19, 1998


DAKOTA
BACK WITH RAVES
FORMER REGIONAL FAVORITES AND NATIONAL RECORDING ARTISTS
 RELEASE NEW ALBUM 

By ALAN K. STOUT
MUSIC ON THE MENU
April 19, 1998


SCRANTON- The names of the rock and pop musicians from Northeastern Pennsylvania who have had some national success make for a very short list.  But rightfully on that elite roster is the band Dakota, which recorded a string of nationally released albums in the late '70s and early '80s.


Now, after a 12-year absence, Dakota is back. Still a popular act among collectors and fans of '80s-rock throughout Europe and Japan, the band has released a new album, "The Last Standing Man," which is available as an import at Gallery of Sound stores.  And with rave reviews pouring in from overseas, Dakota co-founder Jerry Hludzik is feeling a sense of musical revival.


"I knew this was a possibility for me to dig down and get some of the writing juices flowing again and maybe finish some of the legacy of the band," says Hludzik.  "It's a long shot - in other countries far away - but it's a chance."


The Legacy


Hludzik has always taken chances. He has dozens of road stories and tales of record company politics, power-plays and inner-band squabbles that have at times helped and at other times hindered his career. But whether the stories have good or bad endings, there's always a sense of pride in his voice when discussing any aspect of his musical past.


The history of Dakota can be traced to The Buoys, the area band that recorded the song "Timothy," which became a national hit in 1971. Hludzik and vocalist Bill Kelly were members of the group, but left in 1978 - straining some relationships - and released the Jerry Kelly album for CBS/Epic Records.  In 1980 the group changed its name to Dakota. That same year, they released their self-titled album on Columbia/CBS Records, and later snagged the opening slot on part of Queen's U.S. tour, which included three sold-out shows at Madison Square Garden.  In 1984, the band released "Runaway" on MCA Records, but label politics and changing musical trends prevented the band from reaching national stardom. The Kelly/Hludzik creative relationship and friendship soured, and the group disbanded in 1987,  giving a farewell concert at Montage Mountain.  "The Lost Tracks," an independently released recording featuring previously unreleased material, was distributed regionally in 1987.


In 1995, Hludzik says he was contacted by representatives from a Swedish label who informed him that the band was still selling albums overseas and had maintained a fan-base there. In 1996, Hludzik reached an agreement with Escape Records to re-release the "Lost Tracks, with a few minor changes, throughout Europe under the title "Mr. Lucky." Soon, Escape asked Hludzik if he was interested in recording a new Dakota album.


After some deep soul-searching, he decided he was.


Hot Nights


Keyboardist Rick Manwiller - who had joined Dakota in 1982 and has remained friends with Hludzik - was contacted, and a reformed Dakota began to take shape.


"I told him I decided I was going to give it a go, and that I hoped it was with him rather than without him," says Hludzik. "He called back the next day and we decided we were going to do it."


Guitarist Jon "JL" Lorance, who played with Hludzik and Manwiller in SecretCity, a post-Dakota project, was enlisted, and the drum stool was filled with Hludzik's teenage son, Eli.  Soon, the band was working at Sound Investments studios in Scranton, writing and recording new songs and looking to spark some new musical chemistry.  New numbers such as "Hot Nights" and "The Last Standing Man" seem to address, even lyrically, the fact that there's still some unfinished business left in the Dakota story.


Hludzik says he felt compelled to make a record that stylistically complemented the band's previous work.


"We had to make another Dakota record," he says. "And I had to exorcise a lot of demons.  It was the first thing I would be involved with Dakota without Kelly being a part of. I knew there was a possibility people would rip me apart ... but I'm not afraid of falling down.


"Failure to me ... I've been on my face so many times ... it’s just a word. If you lay down and don't get up, then it's a tag."


Overseas reaction to the album has been positive. Lawrence was featured in an interview with Young Guitar magazine in Japan and there have been flattering articles in Music Life and Music Guide magazines. There was also a four-star review in Belgium's Rock Report.  The CD was also spotlighted as the "Album of the Month" in Power Play magazine in England, and there was a "four-skull" review in Italy's "Metal Shop" publication.


"You've got to promise bite the head of bird to get a review in that magazine," quips Manwiller.


The music


Now in their mid-40s, Hludzik says the band's members - who are also involved in other musical projects - are still able to make their living performing, writing and producing music. Still, he and Manwiller say inspiration for songwriting now comes from different sources than it did in the '70s and '80s.


"I don't think either one of us could have written songs like this when we were 20 years old," says Hludzik. "You have to go through a little experience with a lot of different things to come up with where you are at the present time."


"We both have teenage kids," adds Manwiller. "A lot of the lyrics Jerry came up with were about parenting. It becomes more important to you, and you think of things that might help somebody."


One track, "Mama Teach," which Hludzik describes as "therapeutic," is about his son Eli leaving the house to go off to college.


"No matter how old your son or daughter is, you want another day," he says. "You want another day of sitting down with them before they leave the fold. It's about letting go. If someone can relate to that, and it helps them - that's the joy of it.


 Also a joy for Hludzik was working with his son. He points out that Dakota had never had a permanent drummer, and that Eli, now 19, is the first drummer to be an official member of the band.


"To have my son playing with me at my side was something you can't describe as a father," he says. "And it wasn't because we were throwing him a bone, but because he deserved to be there. I can't think of another drummer around that I would have wanted to use. He's so beyond his years, as far as music savvy ...


 "That was really instrumental in making the album sound the way it sounds," he adds. "What Rick and I brought to the table was one thing, but Jon and Eli upped the game of Dakota. The guitar playing ... I could have had three hands and couldn't have played as well as Jon played on this record."


Hludzik - who says there are no immediate plans for Dakota to perform live - adds that the recorded project and the positive response it's received has rejuvenated his interest and love for creating music. It's a feeling he admits had at once left him. He reiterates those sentiments - and his appreciation to those who still have an interest in Dakota's music - by referring to the lyrics to the album's title track:


"To remember how it felt to touch through expression," he says, quoting the song ... "I had forgotten about that."


He then finishes the line:


"Now we'll take our place, in your hall of grace, and sincerely - thanks to you all."

(Alan K. Stout has covered rock and pop music in NEPA since 1992. His weekly radio show, “Music On The Menu,” airs every Sunday from 9-10 p.m. on 105 The River.) 



















































































































































Friday, January 9, 1998

Out of Respect for Elvis


Pittston’s Shawn Klush delivers the music
 of Elvis Presley with a striking resemblance and sound

ALAN K. STOUT
MUSIC ON THE MENU
JANUARY 9, 1998

 As an eighth-grade student, Shawn Klush asked his principal if he could sing a number at the school’s annual year-end play.

 He chose Elvis Presley’s “Memories.”

 “It was my way of saying that we’re going on to high school,” says Klush, 28, of Pittston, who was already a big fan of The King.

 “I was scared to death, but I stood there and I did it. I look back on it now and laugh like hell … but it was a step.”

 A step - one might say - right into The King’s own blue suede shoes.

 Klush is now one of the world’s most respected tribute artists to the late Presley, who would have turned 63 on Thursday. He has performed across the country, including near the gates of Graceland, and has recorded with some of Elvis’ own closest friends.

 Last year, he placed second out of nearly 800 worldwide entrants in a huge Elvis convention/competition in Canada, judged by Elvis’ former drummer, D.J.Fontana, and backing singers, The Jordinares.

 Tonight, Klush - along with fellow Elvis tribute act Rick Saucedo - will perform in The Woodlands Grand Ballroom in Plains Township.

 Although raised in Pittston, Klush’s voice is occasionally peppered with a slight southern drawl. His lip occasionally curls upwards when he speaks, and he often breaks into a boyish grin after telling an interesting story. He often begins and ends his sentences with the word “man,” and even in plain clothes and a relaxed environment, there’s an uncanny likeness to Presley.

 “By the time I was 8 years old, I probably had every Elvis record that ever existed and could probably sing every song,” says Klush, who became a fan at age 4. His father, also a big Elvis fan, was once a DJ for WPTS-AM in Hughestown and actually saw The King perform at Madison Square Garden in 1972.

 Music, says Klush, always filled the home.

 “I grew up listening to Elvis and Dean Martin, which is funny for a kid born in 1969,” he says. “When you grew up in the ’70s, you were listening to KISS and Queen and Billy Joel … I still enjoy listening to that and love it, but to me it all stems from what Elvis did. He was the man.

 “There’s just something about his magnitude and something about Elvis that you can’t walk away from.”

 Klush says he respects and appreciates the great instinct Presley had for music.

 “His style, and the way that he felt music … I don’t think there was ever a guy that had that much natural rhythm,” he says. “He could just zone in … The whole style and everything that he did - even in the ’70s - there was still something to explore. Elvis was an unbelievable cat. To this day, I can still get chills listening to `2001? start. (Elvis’ traditional entrance music). You knew something was going to happen.”

 Klush’s childhood love for Elvis continued throughout his teens. He began working with friends in area bands, and at 17, played in a group called Triple Shot. He then sang in another Elvis group that performed frequently in the Scranton area, and later moved on to the Pocono resorts. He eventually landed steady work with the Las Vegas-based “Legends In Concert” tours and has been a regular in Myrtle Beach, S.C. Klush also landed an annual gig playing near Graceland in Memphis.

 “Every August, I play across the street from the mansion,” he says, reverence in his voice. “It’s the coolest thing. You have no idea what it’s like to stand in front of that house singing something like `My Way’ and looking over that wall … I consider myself real lucky to have that gig.”

 Last Aug. 16 marked the 20th anniversary of Presley’s death. The milestone drew some of Graceland’s biggest crowds, and while performing in Memphis, Klush was able to meet and spend time with Joe Esposito, Presley’s best friend, plus Presley bandmates Charlie Hodge, Scotty Moore and Fontana.

 Interestingly, Klush says he won’t perform in costume while performing near Graceland. On those occasions, he prefers to let the music do the talking.

 “That’s my way of showing respect for Elvis,” he says. “I won’t wear a costume or a jump-suite or anything like that. I just wear street-clothes.”

 The respect that Klush feels for Presley is now being returned by some of Presley’s friends. Klush’s new CD, “From the Heart” - on which he covers Presley’s material - features backing vocals by Elvis singers J.D. Sumner & The Stamps, plus Charlie Hodge. The suit Klush wears on his cover was done by the same designer who made suits for Elvis. And the striking vocals on the album could easily pass for The King.

 “I never had to force myself to sound like that,” says Klush. “We have almost the same tones, the same range and same baritone. I could sing a baritone note and still hit a tenor part and not have a problem.”

 For tonight’s show at The Woodlands, Klush will offer the music and persona of the Elvis of the late ’60s and early ’70s, while Chicago’s Rick Saucedo will stick to the Elvis of the ’50s and ’60s. Both singers will be backed by The Northern Lights from the Bronx, N.Y.

 Klush says he hasn’t performed in his home region in about six years. He says the special birthday event will not be simply an Elvis show, but also will offer outstanding musicianship from the band. Nearly 1,000 seats already have been sold.

 “I’m not Elvis and never will be,” says Klush. “I can’t scratch the surface of what this guy was. We’re only copying it, but hopefully we’re bringing it across the line where people can believe … If you let your inhibitions go when you come into the show, you’re going to have a better time.

 “It’s a real show paying tribute to a man that rocked the world.”


(Alan K. Stout has written about rock and pop music in Northeastern Pennsylvania since 1992. His weekly radio show, "Music On The Menu," airs every Sunday from 9-10 p.m. on 105 The River in Wilkes-Barre, Scranton, Hazleton, Bloomsburg.)