Dave The Boogieman - Power Pop Music Plus Radio...NYC

Power Pop Radio - 11L Radio NewYork International is back

2012-01-09T19:28:00.000-08:00

2012-01-09T19:23:00.000-08:00

Power Pop Radio - 11L Radio New York International

2011-02-14T17:47:00.000-08:00

Dave The BoogieMan - Power Pop Plus
    (Proudly serving the worldwide Power Pop community since 2008)

11L Radio New York International
Sunday radio show at 7:30pm East coast time every other week
Wednesday night show 9pm NYC time every week

Dave The BoogieMan "The Best Radio That No One Hears" trademark
"Life's too short to listen to bad power pop music"

The late Greg Shaw wrote in the Powerpop special issue of Bomp Magazine: "Any way you look at it, Power Pop began with the Who (and the Easybeats). Their approach to songwriting was solidly pop - every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important "la la la's".
LISTEN HERE LINKS:   click here or cut and past into your browser http://johnlightning.com/webcast/ live link day of show 7:30pm
http:http//johnlightning.com:8000/listen.pls       - High speed link
http://johnlightning.com:8002/listen.pls     - Dial up link (slow speed)

IF you need a FREE media player in your computer, I suggest first downloading www.winamp.com

My past shows can be downloadedfrom this link: www.johnlightning.com/boogieman

SORROWS CD 2010 0n BOMP Records

2010-09-28T18:48:00.000-07:00

Sorrows “Bad Times Good Times” Liner Notes

So there I was, having my coffee and New York Post in my big fancy manager’s office, when the guy I

just hired that morning appears at the door asking to use a long distance line so he could nail down his

band’s gig in Boston that weekend. This might sound weird in any other case, but market research

companies, like the one I worked in, were known to be a haven to artists, musicians, actors and other

dreamers because the hours were flexible, leaving time for them to pursue their “real career” aspirations. So

I was used to my "wanna-bes" asking all sorts of favors. I must have already had 23 other guys with bands

pass through my department that month alone, but at least 22 of them would have considered a ferry ride to

Staten Island an out of town gig. “Boston?!?!… Damn, that’s like… really out of town!... I was suitably

impressed. Arthur and I talked for a while about music we liked and the clubs his group played. We had hit

it off and he invited me to see his band at CBGB down on Bowery where they were playing in a couple of

weeks. I asked the band's name and he said – SORROWS (“without the "THE" in front!”, he quickly

pointed out… and has been pointing that out ever since). Sounded pretty gloomy to me.

Now, for me, it's all about the song, so I knew what I was hoping to hear - a song that just burst out, shook

me and made me want to hear it again almost immediately. I've spent much of my life listening to music

that somehow reminds me of that period in my life when rock music was so exciting and .... necessary. As

necessary as breathing, eating and sleeping. When I hear a song that approaches that vibe my focus

narrows, my ears shut out all other sound, the hair on my neck stands up and a tiny lump of happiness

quickly forms in my throat. But that's me... other people have different symptoms.

I didn't have very high expectations, as my reaction to most of the previous invites I’ve received from my

hopeful employees to check out their act, ranged from disappointment to wishing I had removable ears to

save myself. I also had a deep suspicion of bands not using the pronoun "THE" in front of their names. So I

went to see the band, hoping desperately that it wouldn't be as pretentious and gloomy as their name

sounded. The club was dark and reeked of beer, cigarette smoke and sweat. A trip to the bathroom

instantly convinced me that I was man enough to hold it in!…

SORROWS were already on stage. What struck me immediately was that they didn't look like the average

downtown band. No wrinkly unwashed T-shirts and strategically torn tight jeans, and they didn't look like

they had been buried alive under a rubble for the last 72 hours. No, these guys were dressed up and lookin’

sharp! They were joking with the crowd and seemed playful and enthusiastic. A big difference from the

studied cool and pre-fab aloofness of so many other bands I’ve seen. I had a hunch that this was not a band

that ran with the pack, but had a whole different idea about where they were going. And as I was about to

hear, where they were going is where rock n' roll lives and has always lived... what good rock n' roll is

always all about - THE SONG.... the hit single. I remembered Arthur's description of their sound as

"ABBA meets the Sex Pistols". I couldn't wrap my brain around that concept, when he first mentioned it,

but as I sat down for the show, right away I had a feeling that these guys just might be able to mix those

seemingly ridiculous extremes.

I hear the sound guy introduce the band and before he’s finished, over the screams from the audience Joey

lunges into the opening chords of Bad Times Good Times, followed by thunderous power chords, Jett even

finding time to twirl his sticks and chew gum in between, all at the same time… a frenzy of guitars

explodes, Arthur’s blistering Chuck-Berry-at his-best riffs propelled by the relentlessly charging rhythm

section of Jett’s drums and Ricky's bass… inside of a minute, it’s hard to tell if the sweat is flying from or

towards the stage. Over the song’s ending chord Arthur screams out “ooooone, tooo, threee, foooour!!!!”

and the band plows right into Can’t You Tell a Lie like a bunch of mad men… Then, no sooner does that

song end, when I’m instantly transported into the times of Gene Krupa’s swinging drums, which turn into a

rockabilly train groove as Ricky viciously assaults the Stones’ obscure gem - Off The Hook. I notice the

beer bottles the guys have by their mic stands… oh well, I guess not this time either, as the drums start up

again with a loud kick-ass thump and within seconds the band roars into "I Want You So Bad”. The bass

and drums drill so hard into my chest wall I might need a manhole cover, my body literally pinned against

the wall, I’m just breathless…

… and so it went… holy be-bop-a-lula!!!… a total sonic assault that, while ferocious rhythmically, had

hooks strong enough to hang an overcoat on and melodies that stuck like peanut butter on the roof of your

mouth. Song after song, well crafted harmonies, propulsive drums and bass, chiming and interweaving

guitars... These guys were condensing the whole of rock and roll, balling it up and hurling it at the audience

like a constant barrage of spitballs. Their range immense, as Arthur, Joey and Ricky traded off on lead

vocals, each with their own distinct sound, yet able to meld together seamlessly in harmony. Jett played to

his name, pounding the drums with the subtlety of a 747 during takeoff. Ricky's bass was thick and had

bounce with an almost-Motown groove to it. Arthur and Joey’s tight, spiraling solos danced around each

other’s lines to form what sounded like a wall of ringing riffs. I was certainly hearing the uniting of sweet

pop music with the ferocity of balls-out rock and roll and the hair on my arms stood up as they seem to

always do when I am swept away in sound. That whole “ABBA meets The Sex Pistols” thing suddenly

made sense!

By now my beer was put aside too and I had totally forgotten I knew someone in the band. I was hearing hit

song after hit song and my mind was reeling back to the days when great 3 minute songs ruled the world.

The wild abandon with which they were playing and the exuberance they had pulled from the crowd was

electric. One could almost feel their legs and feet disengage from their torso and pump to the rhythm. This

is the height that great rock n' roll hoists one up to, and I was now certainly witnessing a great new rock n'

roll band. I came looking for a song, a possible hit, and left thinking I had heard an entire night's worth of

hit songs played rapid fire, one after another, with the speed and purpose of a Tommy gun.

SORROWS closes their set with a kick-your-teeth-in Street Punk Blues, followed by an apt and

outrageously raucous cover of A Hard Day's Night for an encore (now, there’s a surprise!); the crowd is

bouncing and hollering like an insane asylum gone mad; the smile on my face large enough to blot out all

other facial features, my beer knocked over and splattered on the floor. I am hooked. I had found a local

rock band I could love. This is not going to be like all those other times when come Monday morning I had

to lie and tell someone I worked with: “you guys were awesome!”… I knew this was no longer just a band

that a friend played in; this was a band that stood on its own merits. Actually, they didn't stand. They

swaggered, they strode boldly, they commanded the stage...

As I am writing these words on a hot and sweaty New York summer day, SORROWS new album is blaring

out of my stereo. Know this up front: there's no “theme” or “concept” to this album, no overbearing stabs

at artiness, no important cryptic messages, no virtuoso jamming. What we have here is an arsenal of 3

minute perfectly crafted and played songs. Each and every one made for the radio, awash in melody and

hooks and driven by a powerful backbeat. There's a timelessness to a great song. Great songs sound great

forever. One listen to “BAD TIMES GOOD TIMES” will have you wondering if it's 1965, 1979 or 2010.

There is no doubt that SORROWS honors the past without slavishly churning out copies of styles gone by.

They make songs stand on their own... each one with something memorable to take away, each one tipping

its hat with a knowing wink to the music we grew up loving. Every song sounds so new, so recently made,

you can almost smell it - testimony to the passion that these guys bring to their music, the emotion that rock

and roll stirs and the joy of great power pop. Not that you'd care anyway as you sing and play your air

guitar along with one of the seminal power pop bands still around today.

Here come SORROWS… and remember, no @#%^*#$ THE!…

Barry Dreyfus, (Barry Badman, 11L Radio NewYork International)

New York City, June 2010

Paul Collins New CD on BOMP / Alive Records due out August 2010

2010-06-18T21:55:00.000-07:00

2010-05-31T16:38:00.001-07:00

2010-05-31T16:37:00.001-07:00

Dave The BoogieMan - Power Pop Plus
Sunday radio show at 7:30pm East coast time

LISTEN live HERE LINKS: click here or cut and past into your browserhttp://johnlightning.com/webcast/http: http//johnlightning.com:8000/listen.pls - High speed linkhttp://johnlightning.com:8002/listen.pls - Dial up link (slow speed)http://johnlightning.com/- Then click on the "listen link" in the upper right hand corner (make a PayPal donation if you wish)

IF you need a FREE media player in your computer, I suggest first downloading www.winamp.com

My past shows can be downloaded from this link:www.johnlightning.com/boogieman

Dave The BoogieMan "The Best Radio That No One Hears" trademark
"Life's too short to listen to bad power pop music"

The late Greg Shaw wrote in the Powerpop special issue of Bomp Magazine: "Any way you look at it, Power Pop began with the Who (and the Easybeats). Their approach to songwriting was solidly pop - every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important "la la la's".

Power Pop Radio

2010-05-31T16:34:00.000-07:00

Dave The BoogieMan - Power Pop Plus
Sunday radio show at 7:30pm East coast time
Every other Sunday night catch the John Lightning show when I am not on the air..

LISTEN live HERE LINKS:   click here or cut and past into your browser
http://johnlightning.com/webcast/http: http//johnlightning.com:8000/listen.pls - High speed link
http://johnlightning.com:8002/listen.pls    - Dial up link (slow speed)
http://johnlightning.com/- Then click on the "listen link" in the upper right hand corner (make a PayPal donation if you wish)

IF you need a FREE media player in your computer, I suggest first downloading www.winamp.com

My past shows can be downloaded from this link:
www.johnlightning.com/boogieman

Dave The BoogieMan "The Best Radio That No One Hears" trademark
"Life's too short to listen to bad power pop music"

The late Greg Shaw wrote in the Powerpop special issue of Bomp Magazine: "Any way you look at it, Power Pop began with the Who (and the Easybeats). Their approach to songwriting was solidly pop - every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important "la la la's".

Power Pop Radio - 11L Radio New York International

2010-05-31T16:31:00.000-07:00

Dave The BoogieMan - Power Pop Plus
Sunday radio show at 7:30pm East coast time

Every other Sunday night....Catch the John Lightning show when I am not on the air..

LISTEN live HERE LINKS: click here or cut and past into your browser
http://johnlightning.com/webcast/http: http//johnlightning.com:8000/listen.pls - High speed link
http://johnlightning.com:8002/listen.pls - Dial up link (slow speed)
http://johnlightning.com/- Then click on the "listen link" in the upper right hand corner (make a PayPal donation if you wish)

IF you need a FREE media player in your computer, I suggest first downloading www.winamp.com

My past shows can be downloaded from this link:
www.johnlightning.com/boogieman

Dave The BoogieMan "The Best Radio That No One Hears" trademark
"Life's too short to listen to bad power pop music"

The late Greg Shaw wrote in the Powerpop special issue of Bomp Magazine: "Any way you look at it, Power Pop began with the Who (and the Easybeats). Their approach to songwriting was solidly pop - every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important "la la la's".

NYC Power Pop Concert 4/29/10

2010-04-15T19:27:00.000-07:00

2010-03-20T20:40:00.001-07:00

11L Radio New York International

2010-03-20T20:36:00.000-07:00

Dave The BoogieMan * Power Pop Plus " Radio Malarkey "

Bay Ridge, Brooklyn, NewYork, USA
POWR POP RADIO via Internet
11L Radio NewYork International via the Internet
In association with JohnLightning.com

Can you pretend children?

Let’s pretend we have a real radio show! Or let’s pretend we’re a major podcast which has something beginning with L, yes that’s right, “Listeners”
Friends, on Sunday nights, if you find yourself with some free time please tune to the 11L - Radio NewYork International network with a rotating schedule of fine shows....
To hear show on broadcast days (Sundays @7:30pm)
& Encore Presentations anytime on an endless loop for 5 days after show http://johnlightning.com/webcast/

My past shows can now be downloaded, burned to CD's or your IPod from this NEW link http://johnlightning.com/Boogieman

My new Bloghttp://DaveTheBoogieMan.Blogspot.com

John Lightning - Info & Rants (Who is John Lightning?) JohnLightning.com

Dave The Boogieman -11L Radio New York International

2010-03-19T21:25:00.000-07:00

BoogieMan -Power Pop Radio

SORROWS - Classic video's

2010-01-24T19:42:00.000-08:00

SORROWS live 1980-81 NYC

SORROWS - Love Too Late - live 1980-81 at Hurrah's NYC

SORROWS - Television - live 1980-81 at Hurrah's

2010-01-05T08:46:00.000-08:00

SORROWS

SORROWS - lost powerpop returns

SORROWS - Reunion video 2009

2009-12-07T19:52:00.000-08:00

SORROWS reunion video 2009 Can't Go Back - view

Sorrows - 80's power pop returns

2009-12-01T10:05:00.000-08:00

Sorrows - The 80's power pop band returns

SORROWS on 11L Radio New York International

2009-12-01T09:34:00.000-08:00

SORROWS are back, be happy!!
The band that "Shoulda, Coulda but Did'nt" ...returns...

The 80's power pop band SORROWS with Arthur Alexander, Joey Cola, Rick Street and Jett Harris are coming back...
This Sunday night 12/6/09 an interview with Arthur Alexander will spotlight the music from SORROWS and the POPPEES a BOMP RECORDS artist (pre Sorrows).

Sunday December 6th:
7:30pm - Dave The BoogieMan Pre-show (Kevin McGowan)
8-11pm - Dave The BoogieMan with guests - Arthur Alexander (8-10pm)
                                                                       Eppy Epstein (10-11)

To hear show on broadcast days (Sundays @7:30pm NYC time) This Sunday 12/6/09
& Encore Presentations anytime on an endless loop for 5 days after show
http://johnlightning.com/webcast/

===========================================================
Arthur Alexander from the 80's power pop band's - POPPEES (BOMP Records recording artist) Jealousy, Love of The Loved -      http://www.myspace.com/poppeesboyfriends

SORROWS - Teenage Heartbreak, I Don't Like It Like That, Cryin' Time, Let Me Know
                             http://www.myspace.com/sorrowsnyc

Eppie Epstein - My Fathers Place - My Fathers Place - live vintage concerts FREE - WLIR-FM
                             http://www.mfpclub.com/indexframe.html

Latest news: Both albums should be reissued this year 2010 according to www.myspace.com/sorrowsnyc

The Poppees released 2 singles for Bomp Records and then split up into two groups, giving way to the Boyfriends and Sorrows. The Sorrows recorded 2 albums, the first one was the excellent "Teenage Heartbreak" the second one was the almost as excellent "Love Too Late", and both albums contained on the whole enough hooks and melodies that could justify a 2-LPs-on-1-CD reissue, that qualifies as one the Top 50 essential US powerpop records. Here are both Sorrows LP's.

They injected the Mersey beat and all the pop legacy that came of it to the same treatment that the Beatles themselves applied to that Shirelles, Tamla or Larry Williams’ repertoire, a treatment weighed down by a more pronounced binary beat and the electricity of guitars, but also influenced by the contemporary New York scene. From its jangly intro to its conquering final, the wonderful « Can't Go Back » is a sort of girl-group song ‘80s-revisited (picture a featherweight-class Cheap Trick). It’s great pop, and purely and simply a great moment of r’n’r. The swinging « All You Gotta Say » is reminiscent of the former Poppees, typical Beatpop bursting with echoed guitars. « Can't You Tell A Lie » is one of the best, reminding me that they
were contemporary of The Nerves. Listening to « Lonely Girl » or even « I Don't Like It Like That », it seems clear that the Sorrows tried to bring in pop elements into the sound of the second great rock'n'roll era (that yielded the Dolls, Groovies, MC5, Ducks Deluxe etc)... Another highlight is Joey Cola's « I Want You Tonight », an underrated genuine powerpop classic.

As the liner notes said, “it’s hard to believe this guy never composed or sung before the Sorrows”. Finally, this was the time for the urban folk-rocker « She comes and goes » that cornered sharply pop, as if the Ramones backed Jackie DeShannon ... or Ellie Greenwich, who actually appeared as guest star on background vocals...

They fetched Shel Talmy (producer of the Kinks, Who and Easybeats) for their second LP « Love Too Late ». Although I admit that he didn’t bring anything special to the recordings (but an inevitable cover of « Tired Of Waiting For You »), his trademark can be heard in « Christabelle », a nicely crafted piece of powerpop, sounding like the Raspberries doing the Easybeats. Joey Cola again brought a couple of songs : the playful « Love Too Late » with its organ riff, handclaps and an easy chorus that worked fine, as well as a memorable Rubinoos-flavored slice of great pop « Rita », showing that they lived in the ‘80s. Although the songwriting was less satisfying creatively, there are on this LP enough pretty good songs that could smooth out imperfections on the first (if two was one as I would say). Like « It’s Not Love Anymore », the solid pop tune « Breaking My Heart (Over You) » or « So Much In Love » with a verse of pure Sorrows and a chorus more in a R&B vein. Thanx to Pierre G. for his help about the Sorrows notes.

Teenage Heartbreak album
Teenage Heartbreak / I Don't Like It Like That / Bad Times / I Want You Tonight / Lonely Girl / She Comes And Goes / Can't Go Back / All You Gotta Say / I Want You So Bad / Can't Tell You A Lie / Second Chance / Television

Love Too Late album
Christabelle / Love Too Late / Cryin' Time / Rita / Breakin' My Heart Over (You) / Tired Of Waiting / So Much Love / What I Used To Know / Play This Song (On The Radio) / It's Not Love Anymore

====================================================================

To hear show on broadcast days (Sundays @7:30pm)
& Encore Presentations anytime on an endless loop for 5 days after show
http://johnlightning.com/webcast/

My past shows can now be downloaded, burned to CD's or your IPod from this link
http://johnlightning.com/firesale

7:30pm - Dave The BoogieMan Pre-show

Show 56 (hour 1)
Airdate December 6th, 2009 - 8pm – 11L - Radio New York International
Dave The BoogieMan @ the board
Arthur Alexander from 80’s power pop bands SORROWS & POPPEES
Peter & The Penguins
Sinceros (Mark Kjeldsen)
Jana Peri - new sing "I Hate The Holidays" (but live spending them with you)
Jellybricks
POPPEES
SORROWS
...more

Show 57 (hour 2)
Airdate December 6th 2009 - 9pm – Radio New York International
Dave The BoogieMan @ the board
Arthur Alexander from the 80’s power pop band Sorrows & POPPEES
SORROWS - rare stuff
The Jayhawks
The Beatles
....still more

Show 58 (hour 3)
Airdate December 6th, 2009 - 10pm – Radio New York International
Dave The BoogieMan @ the board
Eppy Epstein - - returns as guest in special pre-Thanksgiving show (with red wine)
The Who
Roebucks (from NYC)
The Sinceros
Dave Clark 5
...so much more

Dave The BoogieMan * Power Pop Plus " Radio Malarkey "
Bay Ridge, Brooklyn, NewYork, USA
POWR POP RADIO via Internet
11L Radio NewYork International via the Internet
In association with JohnLightning.com

Friends, on Sunday nights, if you find yourself with some free time please tune to the 11L - Radio NewYork International network with a rotating schedule of fine shows....

The John Lightning Show - Radio Extravagonzo
Dave The BoogieMan - Power Pop Plus Radio.....
Big Steve Cole - A Different Kind Of Oldies Show

LINKS.......to waste your time and perhaps learn sumthin'

http://www.johnlightning.com/

My Fathers Place - live vintage concerts - WLIR-FM
http://www.mfpclub.com/indexframe.html

2009-11-16T19:12:00.001-08:00

The Ferris Wheel - lost 60's sounds from England..

2009-11-16T19:10:00.000-08:00

The Ferris Wheel - lost 60's sounds from England..
LISTEN TO SONG - clicl link above...

The Ferris Wheel - lost 60's sounds from England..

2009-11-16T19:08:00.000-08:00

The Ferris Wheel - lost 60's sounds from England..

The Ferris Wheel were one of England's great lost musical treasures of the middle-late '60s -- immensely popular among club audiences, they were never able to translate their ability to win over crowds into chart success, but they made some great records while they were trying. The group came together out of the remnants of two earlier British bands, Emile Ford & the Checkmates and West Five. Dave Sweetman (saxophone), George Sweetman (bass, vocals), and Barry Reeves (drums) had played in the Checkmates, the backing band to Emile Ford (who was half-brother to Dave and George Sweetman), while Mike Liston (keyboards, vocals) had been with a group called the West Five. Trinidad-born Diane Ferraz (vocals) had recorded as part of the duo of Diane & Nicky, in tandem with vocalist Nicky Scott, under the auspices of Simon Napier-Bell, best remembered as the second manager of the Yardbirds; and guitarist Keith Anthony filled up the last instrumental spot in the group. The band's original name was Diane Ferraz & the Simon's Triangle, but that arrangement -- with the others designated as Ferraz's backing group -- proved awkward and irrelevant when the whole act jelled as a unit, and Sweetman and Liston also both proved good vocalists in their own right. For a new name, they selected the Ferris Wheel, taking off from Ferraz's family name.

The Ferris Wheel quickly became one of the most popular club acts in England, with their mix of soul music spiced with the influence of the psychedelic music that was starting to spread across the pop world. Vocally their sound was centered around Motown, but instrumentally they were very much a part of the London scene of the time -- there were no Mellotrons or sitars, but lots of guitar arabesques and extended ornate organ swells, and all of it was woven together well with the soul sound. Ferraz showed herself capable of crossing swords with Diana Ross or Martha Reeves or, together, all three vocalists could sound as smooth as the Fifth Dimension. The group was signed to Pye Records by producer John Schroeder, who was, himself, a major figure in soul music in England, having arranged for the release of many of Motown Records' early singles on that side of the Atlantic. It was Schroeder who decided to break the group by issuing a complete LP, Can't Break the Habit, rather than starting with a single. This was a bold and appropriate decision -- the group's range was so great and its command of various musical idioms so strong, and its act honed so well after six months of playing clubs, that it was well capable of delivering a dozen worthwhile songs. The Supremes, Carla Thomas, and other influences abounded, and all were given a unique spin. A trio of singles followed, drawn from the album, but none of them charted. The sextet stayed together for another year, but there followed a label switch and numerous membership changes over the next couple of years, most notably Ferraz's departure (from the music business as well, to raise a family), to be replaced by Marsha Hunt and then Linda Lewis. The group issued one more album, a self-titled release on Polydor in England and the MCA subsidiary label Uni in America (though they never had any impact in the United States. In subsequent years, George Sweetman passed through the line-up of Medicine Head while Barry Reeves joined Blossom Toes and Brian Auger & the Trinity, and latter-day drummer Dennis Elliott was subsequently a member of Foreigner.

The group was mostly forgotten during the later '70s and '80s, and Can't Break the Habit was one ofthe rarest LP releases in the Pye catalog. The burgeoning nostalgia for mid-1960's mod and "freakbeat" records, coupled with the ubiquitous Northern Soul boom of the late '90s, seemed to make a rediscovery not only called for but likely. In 2000, Sequel Records issued an expanded edition of Can't Break the Habit, complete with annotation that included reminsicences by Diane Ferraz......

The Ferris Wheel - lost 60's sounds from England..

2009-10-30T05:54:00.001-07:00

2009-10-28T19:23:00.000-07:00

The comedy of John Lennon. -
TO LISTEN - click link above

John Lennon was my favorite Beatle as he was
off beat yet wise well beyond his years...
This amazing video link made me smile.....

Listen to the Dave The BoogieMan Power Pop Plus radio show...

Dave The BoogieMan - LISTENING LINK--

Plus other great programs of
11L - Radio New York International
John Lightning - Big Steve Cole

2009-10-23T16:41:00.001-07:00

Soupy Sales - 2009 RIP

Soupy Sales 2009 RIP

2009-10-23T16:40:00.000-07:00

Soupy Sales, Sandy Becker, The Superman TV show, Abbot & Costello, Jerry Lewis,
Warner Brothers & Max Fleischer cartoons were the main influences in my early life....
I am sad to say at Soupy Sales has passed..

Kids, go into your parents wallet and take $5 out and send it to
11L -Radio New York International for Soupy....

11L Radio NewYork International - John Lightning

Dave The BoogieMan - 11L Radio New York International

Comedian Soupy Sales Dead At 83
The comedy icon made pie-in-the-face gag a pop-culture phenomenon.

It was a simple gag, but one that made Soupy Sales a household name: a pie in the face, or 20,000 pies, to be exact. That slapstick comedic trick, along with a warehouse of goofy faces and wacky characters helped elevate Sales (born Milton Supman) to one of the country's most beloved comedians in the late 1950s. Sales died on Thursday at the age of 83 at a hospital in the Bronx, after several years of declining health.

"We have lost a comedy American icon," longtime friend and manager Paul Dver said, according to CNN. "I feel the personal loss, and I also feel the magic that he had around him being gone. That's a much more severe loss than a loss of a friend."

With his loose-limbed physicality and malleable face, Sales honed his craft on children's television programs in the 1950s, blazing a trail for everything from "The Simpsons" to Pee-Wee Herman by cracking wise for kids while making jokes their parents found funny too. He's best known for his long-running kids show "Lunch With Soupy Sales," where he originated the pie-throwing gag. He moved on to "The Soupy Sales Show," which ran for 13 years in Detroit, New York and Los Angeles, before being picked up in other cities and overseas.

The program was salted with silly puppets named Pookie, White Fang and Black Tooth, but it was Sales who commanded center stage with his pratfalls, campy jokes, loopy characters and puns. The obligatory pie-in-the-face gag became such a phenomenon that the Los Angeles Times noted that stars such as Frank Sinatra, Mickey Rooney, Tony Curtis and Sammy Davis Jr. lined up to be smeared for its hip cachet.

Sales was born in the tiny town of Franklinton, North Carolina, on January 28, 1926. He was the son of the only Jewish family in a town where his father's dry goods store sold sheets to the local branch of the Ku Klux Klan. The family's name was so often mispronounced as "Soupman" that his parents jokingly nicknamed his brothers "Hambone" and "Chickenbone," bestowing on him the name "Soupbone," which was eventually shortened to Soupy.

After fighting in the Pacific in World War II and participating in the invasion of Okinawa (while honing his comedic chops aboard his ship's public address system), Sales returned and began his entertainment career in 1949 in Cincinnati, where he worked as a morning DJ and did stand-up in local clubs. By the early 1950s, he did stints as a script writer at radio stations in West Virginia and Cleveland, while moonlighting as a stand-up comedian and DJ.

He launched his TV career in 1953 with the live children's show "Soupy Sales Comics" on a Detroit station, which led to a nighttime show called "Soupy's On." The show was renamed "The Soupy Sales Show" in 1955, and it was in that version that he honed his stable of wacky characters, such as seductive Marilyn Monwolf and her vampiric neighbor the Count, Willie the Worm, "Onions" Oregano and private detective Philo Kvetch. While meant for kids, the show developed a cult following among adults in the early 1960s as it spread in syndication, with Sinatra's pie-slap helping to open the door for a series of celebrity pie cameos.

Along with his signature gag, the show featured jazz greats such as Miles Davis, Dizzy Gillespie, Thelonious Monk and Duke Ellington in the pre-civil-rights era, when black performers were rarely seen in prime-time slots. The show earned Sales a spot in the pantheon of iconic TV funnymen, alongside such legends as Red Skelton and Jackie Gleason.

But he almost blew it on New Year's Day in 1965 when he had to vamp for a minute while producing a show for a New York affiliate. Sales told the kids watching to find their parents' wallets and "get some of those funny green pieces of paper with all those nice pictures of George Washington, Abraham Lincoln and Alexander Hamilton" and mail them to him. He promised a postcard from Puerto Rico in return. When he repeated the gag in Los Angeles and Detroit, it led to a complaint from a viewer to the FCC that got Sales' show suspended. After a flood of complaints about the cancellation, though, many of them from teenage fans of the program, the show was back on the air within a week.

While his TV fame had faded by the late 1960s, Sales continued to be a staple in the medium, thanks to appearances on TV game shows such as "What's My Line," "To Tell the Truth," "Match Game" and "Hollywood Squares." Modern comedians like Howard Stern continued to sing his praises to a new generation. His sons, Hunt and Tony Sales, performed with rock icon David Bowie in the band Tin Machine in the late 1980s and served as the rhythm section on Iggy Pop's Lust for Life album.

Thanks for making my childhood full of pie...Perhaps the New York Yankees could learn where the pie in the face originated from ....

Wild In The Streets 1968 Film - Cult Classic

2009-10-19T18:55:00.000-07:00

Wild In The Streets 1968 film

2009-10-19T18:53:00.000-07:00

This is my favorite music related film of all time. Yep, it even beats the films Bye Bye Birdie,
The Beatles Hard Days Night and Elvis in Jail House Rock...

Check out the link below.....
Dave The Boogie Man

Wild in The Streets 1968 Film
LINK click this......

Distributed by American International Pictures
Release date May 29, 1968
Running time 94 min.
Budget $1,000,000 (estimated)

Wild in The Streets is a 1968 film, produced and released by American International Pictures, and based on a short story by writer Robert Thom. The movie, described as both "ludicrous" and "cautionary," was nominated for an Academy Award and became a cult classic.

Christopher Jones stars as aspiring singer and revolutionary Max Frost (born Max Jacob Flatow Jr.; his first public act of violence was blowing up his family's new car). Frost's band The Troopers live together with him, their women, and others in a sprawling Los Angeles mansion. The band includes his 15-year-old genius attorney Billy Cage (Kevin Coughlin) on lead guitar, ex-child actor/girlfriend Sally LeRoy (Diane Varsi) on keyboards, hook-handed Abraham Salteen (Larry Bishop) on bass guitar and trumpet, and anthropologist Stanley X (Richard Pryor) on drums.

When Max is asked to sing at a televised political rally by Kennedyesque Senate candidate Johnny Fergus (Hal Holbrook), who's running on a platform to lower the voting age from 21 to 18 (a genuine issue, not passed until 1971), he and the Troopers appear — but Max stuns everyone by calling instead for the voting age to become 14, then finishes the show with an improvised song, "Fourteen Or Fight!", and a call for a demonstration.

Max's fans (and other young people, by the thousands) stir to action, and within 24 hours protests have begun in cities around the United States. Fergus' advisors want him to denounce Max, but instead he agrees to support the demonstrations, and change his campaign — if Max and his group will compromise, accept a voting age of 15 instead, abide by the law, and appeal to the demonstrators to go home peaceably. Max agrees, and the two appear together on television, and in person the next day using the less offensive mantra "Fifteen and Ready".

Most states agree to lower the voting age within days, in the wake of the demonstrations, and Max Frost and the Troopers campaign for Johnny Fergus until the election, which he wins by a landslide. Taking his place in the Senate, Fergus wishes Frost and his people would now just go away, but instead they get involved with Washington politics. When a Congressman from Sally LeRoy's home district dies suddenly, the band enters her in the special election that follows, and Sally (the eldest of the group, and the only one of majority age to run for office) is voted into Congress by the new teen bloc.

The first bill Sally introduces is a Constitutional amendment to lower the age requirements for national political office — to 14, and "Fourteen Or Fight!" enters a new phase. A joint session of Congress is called, and the Troopers (by now joined by Fergus' son Jimmy, played by Michael Margotta) swing the vote their way by spiking the Washington water supply with LSD, and providing all the Senators and Representatives with teenaged guides.

As teens either take over or threaten the reins of government, the Old Guard (those over 30) turn to Max to run for President, and assert his (their) control over the changing tide. Max again agrees, running as a Republican to his chagrin, but once in office, he turns the tide on his older supporters. Thirty becomes a mandatory retirement age, while those over 35 are rounded up, sent to "re-education camps", and permanently dosed on LSD. Fergus unsuccessfully attempts to dissuade Max by contacting his estranged parents (Bert Freed and Shelley Winters), then tries to assassinate him. Failing at this, he flees Washington with his remaining family, but they are soon rounded up.

With youth now in control of America, politically as well as economically, and similar revolutions breaking out in all the world's major countries, Max withdraws the military from around the world (turning them instead into de facto age police), puts computers and prodigies in charge of the Gross National Product, ships surplus grain for free to third world nations, disbands the FBI and Secret Service, and becomes the leader of "the most truly hedonistic society the world has ever known". The final moments of the film indicate, however, that Max and his cohorts may face future intergenerational warfare from an unexpected source.

The movie features cameos from several media personalities, including Melvin Belli, Dick Clark, Pamela Mason, Army Archerd, and Walter Winchell. Millie Perkins and Ed Begley have supporting roles, and Bobby Sherman interviews Max as President. In a pre-Brady Bunch role, Barry Williams plays the teenaged Max Frost at the beginning of the movie. Peter Tork of Monkees fame also makes a cameo appearance as a ticket buyer.

The storyline was a reductio ad absurdum projection of contemporary issues of the time, taken to extremes, and played poignantly during 1968 — an election year with many controversies (the Vietnam War, the Draft, Civil Rights, the population explosion, rioting and assassinations, and the baby boomer generation coming of age).

The original magazine short story, titled "The Day it All Happened, Baby!" was expanded by its author to book length, and was published as a paperback novel by Pyramid Books.

A soundtrack album was also successful, and the song "The Shape Of Things To Come" (written by songwriters Barry Mann and Cynthia Weil) and performed by Max Frost and the Troopers, featured in the movie, became a #22 hit on the US Billboard charts.

The movie was released on VHS home video in the late 1980s, and in 2005 appeared on DVD, on a twofer disc with another AIP movie, 1971's Gas-s-s-s.

2009-10-12T19:47:00.000-07:00

Jim Morrison's ghost picture taken at his gravesite...Just in time for Halloween...SEE THE PICTURE below in a link

Researchers Say Photo of Jim Morrison's Ghost Is Real

2009-10-12T19:45:00.000-07:00

Researchers Say Photo of Jim Morrison's Ghost Is Real
Jim Morrison has been dead for almost four decades but a snapshot belonging to longtime rock historian Brett Meisner allegedly shows the Doors frontman haunting his own grave. And now, just in time for Halloween, researchers now claim the image is authentic.

Back in 1997, Meisner decided to take a snapshot next to the rock legend's grave in the famous Père Lachaise cemetery in Paris, not exactly an uncommon thing to do considering some 1000 people visit the grave daily. The photo, taken by Meisner's assistant, shows the historian casually standing next to Morrison's plot with one hand in his pocket and a white cloudy shadow to his left, the latter going unnoticed until Meisner finally decided to revisit the photo in 2002. The cloudy obscure image to Meisner's left appeared to be the deceased singer himself.

Word quickly spread thanks to the Internet and the historian sent the photo in for further analysis, which concluded that the snapshot was indeed as bone chilling as it was first perceived. In a new book titled 'Ghosts Caught on Film 2: Photographs of the Unexplained,' researchers rule out both lightning and image manipulation and conclude that the photo is simply "unexplainable."

"Part of me wishes that I never stepped foot into the graveyard in the first place," Meisner told the UK's Sunday Express. His life was never the same after taking it. Not only did his marriage dissolve, but in an eerie coincidence to Morrison's life, Meisner lost a close pal to a drug overdose as well. The photo also brought all sorts of cuckoos to Meisner's door saying they bared messages from the rock god.

"At first it was sort of interesting to see how many people felt a spiritual bond with Jim and the photo," Meisner said, "but now the whole vibe seems negative." Meisner hopes to privately donate the photo and negative.

SEE PICTURE FOR YOURSELF------
http://tr2.toopine.com:81/Jim_Morrison_ghost-2.jpg

2009-10-06T13:58:00.000-07:00

Power pop radio
with Dave The Boogieman

11L - Radio New York International Shows
link of shows
Index of /firesale

2009-10-05T19:48:00.001-07:00

2009-10-05T19:21:00.000-07:00

20/ 20 - Cherie - One great lost power pop bands & songs - They should be stars. Well, they have hit records on 11L - Radio NewYork International

2009-10-05T18:56:00.000-07:00

20/20 Cherie - WATCH VIDEO LINK - One of the great lost power pop bands..

20/20
Tulsa, Oklahoma
Genres Rock, new wave, power pop
Years active c.1975–1983, 1995–2005
Labels Bomp!, Portrait, Oglio
Members
Steve Allen (not the old talk show host), Ron Flynt, Mike Gallo, Chris Silagyi

20/20 were an American power pop band from Tulsa, Oklahoma. They were active from 1975 to 1983 and reunited during the mid 1990's to the late 1990's. Steve Allen and Ron Flynt formed the band in Tulsa in 1975 or 1976, and decided to move to Los Angeles in 1977 after fellow Tulsa natives Phil Seymour and Dwight Twilley met with success. Once in Los Angeles, they met with Mike Gallo, who joined the band on drums. The three-piece band signed with Greg Shaw's Bomp! Records in 1978 to record a single. Between the release of the single, and their first LP on Portrait Records, Chris Silagyi joined the band as a keyboardist.

After not having success, and in fact owing money to record labels from advances, the band broke up. Steve Allen went to work for Warner Brothers records and moved to Nashville, Tennessee. Ron Flynt moved back to Tulsa, Oklahoma. Chris Silagyi became a record producer. Joel Turrisi became an actor and works in other areas of film & music.

Albums
1979 20/20 138 Portrait Records
1981 Look Out! 127
1982 Sex Trap — Mainway Records
1983 Sex Trap — Enigma Records Enigma records picked-up the album for wider distribution, but "Sex
         Trap" and "Fast Car" were remixed, and "Please Please (Listen To Me)" was replaced by a track
         entitled "Jack's Got a Problem."
1995 20/20/Look Out! — Oglio Records First two LP's, 20/20 and Look Out! remastered and released
                                          on   one CD.
1995 4 Day Tornado — Oglio Records
1998 Interstate —
1999 Sex Trap — Japanese release Includes bonus track, "Best of Your Life."

Singles
1978: "Giving It All" b/w "Under the Freeway" (Bomp! Records)
1979: "Cheri" b/w "Backyard guys" (Portrait Records)
1981: "Strange Side of Love" b/w "People in Your Life"/"Child's Play"
         Tracks on compilations
1978: "Giving It All" The Best of Bomp Volume One (Bomp! Records)
1979: "I Need Someone", "Drive" Waves Anthology Vol.1 (Bomp! Records)
1993: "Song of the Universe" Yellow Pills Volume One (Big Deal Records)
1993: "Giving It All", "Yellow Pills" Shake It Up! – American Power Pop II (1978-80) (Rhino Records)
1995: "Remember the Lightning" Into the Anxious 80's (Risky Business)
1996: "Drive", "Screaming", "Under the Freeway" The Roots of Powerpop (Bomp! Records)
1997: "Day After Day" Come and Get It: A Tribute to Badfinger (Copper Records)
2009-10 A new CD of rare studio outakes and unreleased material is due out.....

Can we pretend children....

2009-09-29T14:24:00.000-07:00

Dave The BoogieMan * Power Pop Plus
"Radio Malarkey "

Bay Ridge, Brooklyn, NewYork, USA
POWR POP RADIO via Internet
11L Radio NewYork International via the Internet in association with JohnLightning.com

Eric Carmen with Dave The BoogieMan at
a Raspberries concert in NYC....
Can you pretend children?........Let’s pretend we have a real radio show! Or let’s pretend we’re a major podcast which has something beginning with L, yes that’s right, “Listeners”........
Friends on Sunday nights, if you find yourself with some free time please tune to the11L - Radio NewYork International for a rotating schedule of fine shows....

The John Lightning Show - Radio Extravagonzo
Big Steve Cole A Different Kind Of Oldies Show
Dave The BoogieMan Power Pop Plus....

To hear show on broadcast days only (Sundays @7:30pm)
& 24 hour Encore Presentations for 5 days after show - http://johnlightning.com/

Past Shows - Past shows can now be downloaded, burned to CD's or your IPod from this link - http://johnlightning.com/firesale

For show info or to submit music for the show
I can be reached at NewYorkNine@aol.com

I love to play listeners music...it better be good!

2009-09-26T17:19:00.000-07:00

News Flash...

11L- Radio New York International

September 28, 2009

The LA Dodgers have decided to tear down Citi Field as the Mets are a disgrace.
The Dodgers don't want to be associated with a team that honors their Brooklyn memory
by playing like the 1962 Mets.......

Dave on the air 9/27/09 - RIP Rhino Records

2009-09-26T04:36:00.000-07:00

Dave The BoogieMan * Power Pop Plus
I will be on the air Sunday this night at 7:30pm NYC time. 9/27/09

To hear show on broadcast days only & Encore Presentations for 5 days after show - http://johnlightning.com

Past Shows - Past shows can now be downloaded, burned to CD's or your IPod from this link - http://johnlightning.com/firesale

My radio show is dedicated to providing you with the "one tune" that will hopefully inspire you to explore this timeless music genre.

=======================================================

It is with great sadness that I must pass on to you the passing of Rhino Records.......
Rhino records RIP

Rhino Records: 1973 - 2009
By Jake Brown
September 25, 2009
We've all taken a great deal of pleasure in pissing on death bed of the major labels in recent years, and we've all unashamedly gawked at the grotesque spectacle of ever-decreasing sales of physical media. But now, the reality of the situation is hitting home. Rhino Records is dead.
Sure, Warner says that Rhino will evolve into an entity that "handles WMG's global digital catalog initiatives, film, TV, vidgame and commercial licensing, and name and likeness representation for legendary artists." But they laid off most of their employees. Why? Because of the "fundamental transformation of the physical new release and catalog business." Which translates to no more awesome box sets with crazy, unique packaging and informative, well-written, well-researched liner notes.
And that's just really fucking sad.

Some will suggest that times have changed and people no longer need all the "trappings" anymore. It's all about the music, right? Who cares about the stupid packaging?
I do.
Or at least I used to. To be perfectly honest, it's been a while since I've bought a Rhino box. The last one I had any real interest in was 2005's Girl Group box, One Kiss Can Lead to Another, packaged in a fancy pink hat box. But I passed on it. I didn't want to have to figure out where to store that hat box. Besides, I listen to 90% of my music on my computer and on my phone now. Me and the rest of the world, apparently.
There was a period of time, a decade or so, when I would ask for and receive a new Rhino box for my birthday every year. This lasted up until 2004's Left of the Dial: Dispatches from the '80s Underground, but in that time I got The Doo Wop Box (1994), the Nuggets box (1998), Loud, Fast & Out Of Control (1999), the British Nuggets box (2001), and others.
The best though was Beg, Scream & Shout!: The Big Ol' Box Of '60s Soul, an amazing six-disc collection of the original 7" mixes of 144 soul singles by 144 different artists. For just one example, the version of the Jackson 5's "Who's Loving You" is totally different from the otherwise anthologized stereo, album version. And it's awesome. The whole thing came in an old school record box with each cd in a mockup 45 sleeve. There was a little box of 144 "collector cards" with information about each of the artists. It's a work of art and a glory to behold.
When's the last time you felt that way about an MP3?
If you look at Rhino's history, you can trace the different eras...and see exactly when it all went downhill.
Rhino started as a record store in 1973, but by the '80s had already gained a reputation for excellent quality reissues. From 1986-1992, they had a distribution deal with Capitol Records. This was the period when I first discovered them as I completed my Monkees discography with the help of their reissued vinyl. As I got into CDs, I knew I could always count on a Rhino release to have at least 18 songs and informative liner notes. Back then I didn't know or care about audio fidelity, but Rhino discs always sounded great. Nancy Sinatra, Tommy James & the Shondells, Legends of Guitar: Surf, Vol. 1. Rhino was my teacher in my quest for knowledge about the history of rock and roll.
Then in 1992, Time Warner bought a 50% stake in the company. This was the period of the amazing box sets. They bought the other half in 1998, and in 2003, the founders of the company left and started Shout Factory. If you're looking through your record collection and notice that your Rhino stuff stops around this time, now you know why. To make matters worse, in 2007 they fired Bill Inglot, the mastering engineer responsible for 20 years of the high fidelity that was the foundation of Rhino's reputation.
But regardless of the corporate decisions that led Rhino down this path, it's still sad to see it end up this way. Thank you, Rhino, for all the great music. Your care and respect for the music and for the customer was obvious, and you had a huge effect on my life. You will be missed.
By Jake Brown, September 25, 2009

Comments

This is some sad news indeed.
I remember writing a paper my freshman year of college about why Rhino would be able to withstand the internet and digital distribution. I had dreams of one day working for the label.
My heart is little bit broken today. R.I.P. Rhino and thanks for directing me to so many great tunes.
• cauleyflower, Sep 25, 2009 1:02PM

Just a couple days ago, Rhino producer Andrew Sandoval gave an interview to LA Weekly wherein he discussed the end of the box set era.
When people say the music industry is challenged, that's kind of like the manager from Spinal Tap saying, 'Our appeal is becoming more selective.' We're more than challenged. I mean, things are just falling about because not only is there not enough money to keep things going, but people are saying, why should we even put out old catalog? It's not going to do X amount of dollars.You mean on CD?Yeah, or even online. There's this long-tail theory that everything will find it's audience, which may be true, but, then again, in order to have everything up online, you'd have to employ people, and the amount of money that comes in to do all that is not enough to employ somebody. [...]Do you feel like we're nearing the end of the box set era?We really could be, because it seems like people have tuned out to buying music at retail. I mean, if you go into Amoeba, you'd probably think otherwise because there are so many people there and it's such a destination. But when you think that LA used to have a ton of record stores, and now it's down to, really, just one major one. It's hard to say. If the sales slide off. I like the idea of this because there's so much value to it that is beyond just the music, so people can't just say, well, I've got all of those songs, or I could download this or that. There's a value in having the book with it. You try and do that. But my biggest worry is that, I know how many stores have taken this, and I can see it sitting there in its shrink-wrap with its price tag, and it's not free. If nobody ever gets to crack one of these open and see what's inside, that's the nightmare. That it just sits there like a book at the library that never gets read. I want people to know about this music and these groups.
Such a bummer.
• Jake, Sep 25, 2009 1:44PM ∞

Damn. I find this out minutes after receiving the Big Star box set (from Rhino) in the mail.
Over the last few years, I've stopped buying cds unless it's something really worth having. I tend to purchase new releases on vinyl, if available. But Rhino was one of the few remaining companies releasing cds/box sets that I occasionally bought. Rhino understood--even better than most indie labels--the whole record nerd mentality, and packaged accordingly. I'll miss them.
• Adam, Sep 25, 2009 2:16PM

Dear Jake,
Sorry to disappoint but Rhino is NOT dead. I know because I've been with the company for 17 years and I'm still with the company today (as are my 100+ coworkers). Yes, we made some changes yesterday in order to better prepare ourselves for the future, but we've done that several times over the past decade and just like before, we will continue on and do great work. While we are well-prepared for the digital future, we also plan to keep on satisfying fans of our physical products (both CD and vinyl), we just need to fine tune the way we do it.

2009-09-21T16:06:00.000-07:00

Power Pop Radio host Dave The BoogieMan

2009-09-19T11:43:00.000-07:00

Hi All,

This is the intro blog....

My name is Dave The BoogieMan
I host a Power Pop Plus Radio Show out of Brooklyn, New York.
I enjoy sharing power pop music from today and going back through time.
From the 2000's to the 1940's yes, power pop existed in the 40's...

My radio show is part of the rotation on the 11L - Radio New York International network.
All shows are braodcast on Sunday nights at 7:30pm, NYC , East Coast time...

I hope that you can tune in or submit music for my power pop radio show..

Other fine shows being broadcast on a rotating schedule on Sunday Nights are:

The John Lightning Radio Extravaganzo Show - Talk, Music, Comedy and a little bit of
everything. John Lightning hosts and takes you on a journey of life, politics and music with an
offbeat twist......John has broadcast radio for over 25 years. He created the legendery
WJPL-FM Brooklyn's best pirate broadcasts until the FCC realized that his ratings
were going throu the roof with radio starved listeners. He also worked on
WHVW-AM in the The Hudson Valley, New York doing a real country
radio show. Most recently John worked on WBCQ a short wave outpost from
Monticello Maine with a worldwide audience.

Big Steve Cole - A Different Type of Oldies Show - DooWop and its roots plus a bit of soul.
Big Steve has worked recently on WBCQ shortwave with a world wide
following. Steve is a master at radio production who helped produce the
Dave The BoogieMan first few radio shows...

Dave The BoogieMan * Power Pop PlusMy radio show is dedicated to providing you with the "one tune" that will hopefully inspire you to explore this timeless music genre.

Past Shows - Past shows can now be downloaded, burned to CD's or your IPod from this link - http://johnlightning.com/firesale

To hear show on broadcast days only & Encore Presentations for 5 days after show - http://johnlightning.com/webcast/"

Life's too short to listen to bad power pop music" "Great radio that no one hears anymore" trademark* - Dave

Bay Ridge, Brooklyn, NewYork, USA POWR POP RADIO via Internet Radio Radio NewYork International via the Internet & The 11L Network in association with JohnLightning.com

================================================================= Greg Shaw wrote in the Powerpop special issue of Bomp Magazine : "Any way you look at it, Powerpop began with the Who (...and the Easybeats...). Their approach to songwriting was solidly pop - every song was short, catchy, hook-filled, built on bright, uplifting major chords, and they never shied away from those all-important "la la la's". Dave's Links...waste your time wisely with these blogs...........

My Space - NEW - http://www.myspace.com/davetheboggieman

NEW - video of the show http://vids.myspace.com/index.cfm?fuseaction=vids.individual&VideoID=5336669611L - Radio NewYork International -

Show info link for all of the GREAT RNI programs including: The John Lightning Extravagonzo Radio ShowBig Steve Cole A Diffrent Type of Oldes Show Dave The BoogieMan - Power Pop Plus http://www.johnlightning.com/