Brooklyn Power Pop Festival Two Night Pass, Dwight Twilley, Shoes, Pezband, Paul Collins Beat

Brooklyn Power Pop Festival Two Night Pass

Dwight Twilley



Paul Collins Beat

Friday · May 9, 2014 - Saturday · May 10, 2014

8:30 pm


Off Sale

This event is 18 and over

Brooklyn Power Pop Festival Two Night Pass
Brooklyn Power Pop Festival Two Night Pass
When Power Pop and indie rock first collided in the ’70s, Trouser Press magazine was already devoted to tuneful music and the diy underground. From all corners of America, bands like Shoes, Sneakers, Pezband, Dwight Twilley, Let's Active, the Nerves and the Rubinoos didn’t need major-label endorsements to play music “where catchy hooks find the strength of blaring guitars a help, not a distraction.” Joined by Cheap Trick, Big Star, the Raspberries, Ramones, Blondie, Elvis Brothers, Velvet Crush, Go-Go’s, 20/20, Cars, Bangles, Green Pajamas, Three O’Clock and countless other great bands, Power Pop was – and is – a joyous singalong soundtrack that brings the energy. Fifty years after the Beatles lit the fuse, the timeless values that make Power Pop great continue to inspire new generations of bands, each adding their own blend of ideas and influences to the core.

Come on out and play!
Dwight Twilley
Dwight Twilley
Though the Dwight Twilley Band only had one hit (Twilley had another on his own), Twilley and partner Phil Seymour created an enduring and highly memorable brand of power pop that blended Beatlesque pop and Sun rockabilly "slapback" echo. Only a fraction of the band's early output was made available at the time, but these records are highly revered by power pop aficionados.

According to the legend, Dwight Twilley met Phil Seymour in 1967 at a theater where they had gone to see the Beatles' A Hard Day's Night. After the film they immediately went to Twilley's house to start writing and recording. The two continued the partnership over the next several years, calling themselves Oister and recruiting another part-time member, Bill Pitcock IV, on lead guitar. After developing their sound in their homemade studio, "the Shop," they decided to take a stab at professional recording and headed out to Nashville, though they ended up stopping first at the legendary Sun Studios. Jerry Phillips (Sam's son) was impressed enough to team them up with former Sun artist Ray Harris, who introduced them to "the Sun sound," roughing up their Beatles-obsessed style a bit and creating a unique and endearing sound.

The two signed to Shelter Records in 1974. Their first single, "I'm on Fire," became a national hit in 1975, peaking at number 16, with relatively no promotion. During an appearance on American Bandstand, the band previewed what was to be the follow-up single, "Shark," an equally infectious, hit-worthy rocker. The success of the film Jaws caused the label to reject the single, however, to keep them from becoming perceived as a cash-in novelty act. This was just the beginning of bad luck that would plague the group from that point on. Their follow-up single and completed album went unreleased for 18 months due to label problems, and a second album recorded in England was left unreleased altogether, creating a myth around the band in some circles while the general public quickly lost interest. The belated follow-up single, "You Were So Warm," ended up failing due to distribution problems. Predictably, when the album Sincerely was finally released, it failed as well. Seymour and Twilley befriended the like-minded Tom Petty and contributed backing vocals on several tracks. Petty repaid the favor for their second album, Twilley Don't Mind, for Arista in 1977. Despite the once again unquestionably high quality of songs, the album stiffed as well. Seymour left the band the following year, pursuing a brief solo career before lymphoma cut his life short in 1993.

Wayne's World
Twilley carried on as a solo act, releasing Twilley for Arista in 1979 and Scuba Divers for EMI America in 1982, and found success again with Jungle in 1984, when he scored his second hit with "Girls." Wild Dogs went unnoticed on its 1986 release by CBS Associated Records. In addition, Twilley recorded an album in 1980, Blueprint, that remains unreleased and contributed one track to the 1992 Wayne's World soundtrack, "Why You Want to Break My Heart." In 1993, DCC released The Great Lost Twilley Album, which collected a fraction of the "hundreds" of unreleased songs Twilley and Seymour recorded in the early, ill-fated days. Two newly recorded songs appeared on the best-of collection XXI (The Right Stuff) in 1996, and in 1999, Twilley released both another rarities collection, Between the Cracks, Vol. 1 (Not Lame Archives), and his first new album in 13 years, Tulsa (Copper). In 2001, Twilley released The Luck (Big Oak), an album he had actually completed in 1994. The seasonal EP Have a Twilley Christmas (DMI) appeared in 2004, followed by Twilley's ninth studio album, 47 Moons, in 2005.

Rarities, Vol. 1
In 2007 he signed to Gigatone Records and a deluge of Twilley releases followed, including reissues of Tulsa and 47 Moons (with bonus tracks), seven volumes of Rarities discs, and a compilation of tracks recorded after Twilley left CBS, Northridge to Tulsa. In 2009 he released an album of Beatles covers titled simply The Beatles and followed it with an album of originals in 2010 titled Green Blimp. After Twilley moved to the Varèse Sarabande label, his 11th album, Soundtrack, was issued in late 2011. Chris Woodstra/AllMusic

Dwight Twilley is back with a vengeance, touring and performing at Power Pop festivals throughout the country to fans both new and old. Be sure and check out the fantastic "lost" 45 of "Shark" recently issued on Hozac Records.
In the early 1970’s, the small Midwestern town of Zion, Illinois still bore many of the markings of its founding as a religious enclave for a faith-healing evangelist and his followers: no liquor, no lottery tickets, no bikinis at the park on Lake Michigan. In this environment, if you wanted fun, you made it yourself. That included music.

And so Shoes was born. At first it was just a name: high school friends John Murphy and Gary Klebe decided that having a band would be cool, despite their complete lack of musical training or any instruments. They spent two years buying garage-sale guitars, learning whatever chords people would show them, and listening, listening, listening to the music they loved—the Beatles, Big Star, Bowie, the Move, Todd Rundgren, Nils Lofgren—trying to find their own voices.

In the summer of 1973, Jeff Murphy, John’s brother, borrowed the money and bought a four-track tape machine. As they recorded with Jeff, they realized that he was the third member of Shoes. The next summer, they made their first DIY record without ever having played in public.

The result was the entirely homemade Heads or Tails (1974). For the next several years, Jeff, John and Gary painstakingly taught themselves to play and write and sing and produce, all without external guidance, in basements and bedrooms and a converted garage. When Gary studied abroad for a year, John and Jeff made a record for him, One in Versailles (1975), adding to their ranks drummer Barry Shumaker; when Gary returned the four punched out another full album in a matter of weeks, the scorching Bazooka (1975).

At the end of 1975, John and Gary returned from college permanently. Shumaker left, and they tapped local drummer Skip Meyer to replace him. Shoes pushed forward, beginning the power pop classic Black Vinyl Shoes that fall, a record which showcased their signature sound: fuzzy electric and bright acoustic guitars, jangly melodies, melancholy lyrics, and shimmering harmonies.

When it was self-released in 1977, it received excellent press, including a glowing review in The Village Voice, and was eventually picked up for re-release by JEM/PVC Records. With increased distribution, Black Vinyl Shoes drew the attention of major labels, and Shoes signed with Elektra/Asylum in early 1979.

Their three Elektra records—Present Tense (1979), Tongue Twister (1981), and Boomerang (1982)—won Shoes an international following and solid critical respect. They worked with Mike Stone, who had produced Queen, and Richard Dashut, who had helmed both Fleetwood Mac’s massive best-seller Rumors and its experimental follow-up, Tusk. Shoes’ videos—“Too Late” and “Tomorrow Night” in particular—were prominently featured on early MTV. But Shoes had signed during the devastating Crash of ’79, and they struggled to break out during these years against the backdrop of an industry in free-fall. They were released from their Elektra contract in late 1982.

Determined to go on, Shoes built a small studio—Short Order Recorder—in a strip mall in nearby Winthrop Harbor, IL, producing not only their own music—Silhouette (1984)—but also the work of other bands, including Chicago’s Material Issue. In 1986, they moved back to Zion, rebuilding Short Order Recorder into a small, respectable working studio with a national reputation. Shoes also expanded their label, Black Vinyl Records, releasing not only their own music, but that of like-minded artists and Short Order Recorder clients. It was a self-contained DIY operation gone professional.

Along the way, they released a collection of their finest songs—Shoes Best (1987)—and re-released their back catalog on CD. At the same time, they recorded the zestful alternative pop masterpiece Stolen Wishes (1990), which garnered a four-star review in Rolling Stone and had one track—John’s “Feel the Way That I Do”—picked up for inclusion in a Hollywood film, Mannequin 2. The record fit right in with the alt-pop revival of the early 1990’s: David Wild called it “a great, unpretentious pop record.” Shoes toured the east and west coasts for the first time ever to support Stolen Wishes.

The business of the studio and label delayed 1994’s Propeller, but when it was released, Shoes received the usual critical accolades—“spine-tingling pop of the first rank,” wrote Parke Puterbaugh in Stereo Review, “more aggressive than Shoes’ norm”—and delivered some scorching live performances, captured on 1995’s Fret Buzz.

1997 saw the release of the limited-edition As Is: a two-disc collection of outtakes, alternate mixes, rarities and, for the first time on CD, the much-discussed but rarely heard 1975 releases One in Versailles and Bazooka.

By the end of the millennium, digital musical production had rendered independent studios all but obsolete; file-sharing had the same effect on many independent labels. Shoes sold Short Order Recorder in 2004 and returned to their roots, recording at home.

In 2007, Jeff released the solo record Cantilever, a collection of eleven shimmering pop songs NPR’s Ken Tucker called “pretty glorious.” That summer, Shoes appeared at the Great Performers of Illinois concert series at Millennium Park in Chicago, as well as on WGN and WLS-TV. 2009 saw the band’s first overseas shows, as they traveled to Japan to celebrate the release of a CD box set on Air Mail Records. Shoes’ 2008 recording of Cheap Trick’s “If You Want My Love,” originally intended for a charity tribute album, was pressed and released in Japan.

Through 2010, the band was busy with periodic reissues, movie soundtracks, and work on an in-depth band biography, Boys Don't Lie: A History of Shoes, a behind-the-scenes look at Shoes' musical career juxtaposed against the backdrop of the changing music industry (expected in early 2012).

At the end of 2010, work began on a new Shoes record, titled Ignition, their first in 17 years. Working with John Richardson, who has been their live drummer since 1994, Shoes have found a new drive and purpose in these sessions. “I think that we're playing with a renewed sense of purpose,” Jeff says. “It's really been a joy to work on these songs and reminds us that, despite the fact that it takes a ton of work and worry, there really is no greater satisfaction for us than completing a new Shoes song. It has also helped to strengthen and reaffirm our friendships.” Gary notes, “We’re doing this for the joy of it, not to further our careers,” and expresses optimism over the direction of the new record.

With fifteen tracks completed, John characterizes Ignition as “somewhere between Stolen Wishes and Propeller.” And all the Shoes credit Richardson with adding new muscle to their songs. "Johnny’s our secret weapon,” John says; Jeff calls his drumming “inspired”: “with the inclusion of Richardson's drumming from the earliest stages of the songs, it gives us a rock-solid foundation to build on.”

-- Mary E. Donnelly, Managing Editor of PurePopPress, and author of Boys Don't Lie: A History of Shoes

Be sure and check out the great series of Shoes reissues on the Numero label.
".... “Power-Pop” was the moment—but Pezband is forever the quintessential American rock group." Paul Broucek, President/Movie Music/Warner Brothers

"Pezband are archetypal, unpretentious and a whole lot of fun. They offer a musical DNA that should be in the plasma of any serious music fan." Bruce Bodeen, President/Not Lame Records

Pezband is an American Rock band formed in 1971 in the Chicago suburb of Oak Park, Illinois.

The ensemble began in the fall of 1971 when four Oak Park musicians teamed up to jam on covers of songs by The Yardbirds, Kinks and Peter Green-era Fleetwood Mac. The original lineup consisted of Mimi Betinis (guitar and lead vocals), Mick Rain (drums and vocals), John Pazdan (guitar, piano and vocals), and Mike Gorman (bass and vocals)

The group played its first shows at small clubs in the Chicago suburbs, then advanced to performing on Rush Street, the principle entertainment district in Chicago. Singer Cliff Johnson was added to the lineup in the Spring of 1972. Playing venues such as Rush Up, they often performed five days in a row, four to five sets a night. John Pazdan left the group in December 1972, replaced by guitarist Dan Wade. With the new lineup, Pezband started touring the American Midwest and East Coast, incorporating original songs into their sets. A year later, guitarist Tommy Gawenda replaced Wade, and the band played the West Coast as well, with shows at the legendary Whisky A Go-Go and The Starwood in Los Angeles. By the end of 1975, Johnson was replaced by singer West Davis. In 1976, the group made the decision to play as a foursome with Betinis back as lead singer. They recruited NRBQ manager Mike Lembo and were soon signed to Passport/ABC Dunhill Records, relocating to New Jersey to be closer to management and record company.

Pezband's first record, eponymously titled ("Pezband”), was recorded in early 1977 at The House of Music in New Jersey, with E-Street sax player Clarence Clemmons, synthesist Larry Fast, and jazz trumpeter Randy Brecker making guest appearances. Positive reviews followed their first release, and the band found itself showcased as 'most promising act' at the ABC/Dunhill record convention. Soon after featured on national TV, they appeared on The Today Show with Jane Pauley, who commented that "this is the sound everybody will be talking about."

In 1978, the group opened major stadium shows for Fleetwood Mac and Supertramp and played New York at Max's Kansas City and CBGB's. By the end of that year, the band flew to London to record their second record, "Laughing In The Dark", at Jethro Tull's studio, Maison Rouge. Guest musicians included Tommy Eyre and King Crimson sax player Mel Collins. Famed cover art designers Hypnosis produced the artwork for the album (The first Hypnosis cover design for an American band). While in London, they also cut a live EP, "Too Old Too Soon", at the club Dingwall's, the first American group to record there. As 1978 drew to a close, Rolling Stone cited the "Laughing in the Dark" LP as one of the top records of the year.

In 1979, Pezband moved back to Chicago, recording their second live EP, "Thirty Seconds Over Schaumburg", at the suburban Chicago club B.Ginnings. Their third LP, "Cover To Cover", was recorded at Tanglewood studios in Brookfield, Illinois, at the end of the year, and included guest Scott May on keyboards.

1980, however, saw an industry-wide slump hitting the music and record business. Indie labels like Passport were particularly affected, and their support for Pezband faded. The group briefly disbanded but reorganized in 1981 as a trio with Betinis, Rain and Pazdan. This version picked up a production deal with former Oak Parker/ Los Angeles producer Paul Broucek and in 1982 recorded an EP titled "Women & Politics" at the Record Plant in Los Angeles. But their distribution deal fell through, and the group went on hiatus in 1983.

While on hiatus, the members took on various side projects, Betinis working with Cheap Trick bassist Tom Petersson, Pazdan founding the alt country group Big Guitars from Memphis while doing session and live work with everyone from David Sanborn to Chuck Berry. In 2006 and 2007, the trio of Betinis, Rain, and Pazdan played shows in Chicago, London, and Liverpool. They also recorded new material. Though well-received, they again disbanded...until 2012.

Unexpectedly, in the spring of 2012, producer (and now President of Music at Warner Bros. Pictures) Paul Broucek sent the Pezband trio a mastered version of "Women & Politics", the EP they had recorded in LA in 1982. Broucek, by this time an executive and well established music producer for New Line Cinema and Warner Brothers motion pictures (including "Austin Powers" and "Lord of the Rings") had started a boutique label, Common Market. He would see to it that "Women & Politics" would finally be released. This had the effect of restarting the group, which conducted under-the-radar gigs in Chicago, appearing unannounced at small Chicago venues, variously billed as "Nozzle" and "The John Pazdan Jazz Trio".

Drawing from a pool of five records, the "Women & Politics" EP, and new work written and recorded over the years, Pezband has formally returned. "Women & Politics" is scheduled for a 2013 release, and there will be a return tour to the UK and a first-ever tour in Japan, where fans have followed the band for decades, as well as a studio album "Dangerous People", for Japanese release. In the States, the band has started touring again, and is currently negotiating for a 7” single release in the Fall.
Paul Collins Beat
Paul Collins Beat
The Original CBS Bio:
THE BEAT(1979 C.B.S. Records)

American culture has had no stronger influence and ally during the past twenty years than rock 'n roll. The music thrives on social conflict, making its impact in the face of turmoil - or in spite of it. The popular ascent of black-rooted rhythm & blues and its marriage to white rockabilly in the 1950's - the marriage that formed rock 'n roll - was in part a reaction to the complacency of that decade. In much the same way, rock would graduate to an environment of communal activism and unrest in the 1960's.

The Beat is four very determined young men - Steve Huff (bass), Mike Ruiz (drums), Larry Whitman (guitar), with Paul Collins fronting the stage. "We're just four guys playing music," says Paul, "no trickery, no bullshit, just rock 'n roll. It's a whole new ball game now. All of a sudden, people who had their fingers on the pulse of what was going on - no longer do. All of a sudden, groups that were the definition of the times - no longer are... It's a big toss-up. What we're doing is no big deal to us, we're doing what comes to us naturally, the difference is that we're not trying to be the stuff that's going on now. We think we are what should be now."

Their first album for Columbia was produced by Bruce Botnick, of Doors, Rolling Stones, and Buffalo Springfield renown; who has also produced Dave Mason and Eddie Money. The Beat's recording sessions were fast (not hurried), efficient, five days for basic tracks and out. Rehearsals were carried out in advance, no time to be wasted inside the studio. Whitman; himself an L.A. veteran at the ripe old age of 23, is proud of the fact that four tunes on THE BEAT album are first takes.

About Paul Collins: Born in Manhattan, he lived near Army bases in Greece, Vietnam, and around Europe, his father being a civilian attached to the service. At 14, he was back in Manhattan, eventually landing at Juilliard Music School as a composition major involved in modern and avant-garde music - which had nothing to do with anything, he testifies.

He went to the Fillmore East a lot, and claims WABC radio as his biggest musical influence, circa 1968-69. At one point he wound up living in England, moved back to New York briefly, and then headed west to satisfy his curiosities, musical and otherwise.

Settling in San Francisco, he joined with songwriter Jack Lee and formed The Nerves in 1974, an original new rock band whose repertoire included "Hanging On the Telephone," later a successful single for Blondie. The song was included on The Nerves' 1976, 4-song EP, a successful record in its own right. It sold 10,000 copies in the U.S. and gave the band the momentum they needed to carry out a profit-making coast-to-coatst tour of underground and alternative rock venues.

They shared the stage with The Ramones, Mink DeVille, the Shadows of Knight in Chicago, and most importantly Eddie Money at the Longbranch in San Francisco. Eddie became an early supporter of The Nerves; and a close friend of Paul Collins, even after the group moved from San Francisco to Los Angeles in 1977· A year later The Nerves split up, and Paul met Steve Huff through the Musicians Personal section of The Recycler, southern California's newspaper of free classified advertisements.

Huff is described as "Mr. Bass Player" (or "Mr. Mellow"), from Redding, Cal., quiet, reserved, wears horn-rimmed glasses, and is a truly gifted bass player. He has a healthy dose of rock 'n roll sensibilities, and the right attitude to pull it off. He and Paul spent long hours in his living room, at first just formulating mental song ideas, later translating them onto a couple of TEAC tape decks for demo purposes.

Those initial demos found drummer Mike Ruiz joining the lineup of what was already being referred to as The Beat. Born and raised in New York, Mike has been in and out of every imaginable type of band - rock and otherwise - since getting his first set of drums at age 10. For our purposes, however, it was his stint in Milk 'n Cookies that is most important. Their-debut LP on Island was produced by Muff Winwood in 1975, while the band was still New York-based; eventually they moved to Los Angeles and, as these things happen, Mike found himself drumming on The Beat's demos. (Ask, and Mike'l1 also tell you of his half-year spent as Music Director of KROQ-FM in Los Angeles.)

Mike had drummed earlier (briefly) in a fairly well-known L.A. band, Needles & Pins (known for their prejudice towards the 'girl group' sounds of the '60's), featuring lead guitarist Larry Whitman. It was no trick for Mike to introduce Larry to Paul and Steve - thereby completing The Beat's lineup. Born in Pittsburgh, Larry's lived 20-odd years in L.A., playing guitar professionally since age 8. His playing credits are boggling: Shaun Cassidy's first backup band at age 14; on tv's "Groovy" rock series; formal study with Joe Pass and Mike Bryant; a power trio called kickback; endless Page-Beck-Hendrix bar bands; in Jeff Porcaro's high school band, Still Rural Life; and stints with Buddy Miles, Monte Rock, Kim Fowley, Iggy Pop, and others prior to Needles & Pins.

In mid-April, 1979, the Bill Graham Organization added The Beat onto Eddie Money's soldout night at San Francisco's Kabuki Theater. It was a resounding success, though unadvertised,and unexpected, and won The Beat a management contract with Mr. Graham. Now, THE BEAT album represents only the second act to appear on Columbia through Graham's Wolfgang Productions, the other being Eddie Money. The Collins-Money relationship also continues to thrive - they collaborated on Eddie's newest single, "Get a Move On," from the Americathon soundtrack LP on Columbia; and one track on THE BEAT album, "Let Me Into Your Life."

"To become successful is hard," Paul says, "but to maintain being successful is harder than anything." The band is keenly aware of who they are, what they are, and what their music is about.

Now… What is it that everyone likes about rock 'n roll? it's THE BEAT!
Venue Information:
The Bell House
149 7th Street
Brooklyn, New York, 11215