Goodbye World Goodbye
Keep On The Firing Line
Onward Christian Soldiers
I was the lead singer, and I also wrote the flip side, 'Would You Believe'. The record was produced in Nashville in 1965 by Dino Productions. I sang lead, and Joe Opatsky played lead guitar, Al Knox played rhythmn guitar, Butch Chevalier played bass, and Al Moreno was our drummer. Although we were signed by, they never recieved the tapes from Dino (Carl Friend). It turns out Carl became a scam artist in those years and didn't promote anyone he recorded, although he charged all of the bands $1,000. each for 'promotion'. We ended up releasing the record on our manager's (Roger Hopkins) independent label Little Nashville based in Charleston, S.C. Roger wrote 'On My Lovin' and Boyd Cobb was his partner who handled the publishing. They weren't members of the band. In recent years I've been recording cd's in my home studio which I post on a couple of internet karaoke sites. We lost our drummer, Al Moreno, in Viet Nam. Roger Hopkins died in a tragic car accident in the late 60's. Al Knox and Joe Opatsky are both living good lives with thier families. I retired from live performing in the early 90's.
SchizoidSide 2: -30634-
Waltz For Barbara
Blues For Vito
Rick Lawn (Tenor Sax, Soprano Sax, Bass Clarinet, Misc. Percussion),
Joel Chase (Electric Piano),
Tom Ives (Electric Bass, Flugelhorn),
Al Calone (Drums),
Smelly (conga drums)
It's some 40 years ago, now, that "Compass" was born in Oneonta, New York. There were 3 young jazzers just starting to play together in area clubs back then: Joel Chace [piano] from Walton, Tom Ives [bass] from Schenevus, and Al Colone [drums] from Oneonta. They'd perform as the Joel Chace Trio, the Tom Ives Trio, or the Al Colone Trio, depending on who booked the gig. Then in 1971 Rick Lawn, a young saxophonist, a Philadelphia native, and a recent grad of Rochester, New York's Eastman School of Music, came to town to become an instrumental music teacher with the Oneonta Public School System. Lawn, a practicing and active jazz musician, was looking to continue playing jazz in his new hometown, and, through his research, easily discovered the trio of Chace, Ives, and Colone. The group got together and began to rehearse, quickly finding out there was a connection, a common interest in performing, and that they could produce a unique and creative blend of jazz. That may have been what ultimately led to the naming of the quartet, "Compass"; the group played jazz in every direction.
"Compass" began to test its newfound style and energy by booking performances on college campuses, mostly colleges and universities based in New York State. The band self-produced a demo-album entitled "Compass Rises" in 1972, which featured original compositions written and arranged by Lawn and Ives. "Compass" was one of five groups on a promotional program that opened the Saratoga Performing Arts Center in 1972.
Fox on the run
She walk through the corn leading down to the river
Her hair shone like gold in the hot morning sun
She took all the love that a poor boy could give her
And left me to die like the fox on the run
Like the fox, like the fox, like the fox, like the fox on the run
Everybody knows the reason for the fall
When woman tempted man down in paradise's hall
This woman tempted me alright, then took me for a ride
But like the lonely fox I need a place to hide
Come take a glass of wine and fortify your soul
We'll talk about the world and friends we used to know
I'll illustrate, a girl put me on the floor
The game is nearly up, the hounds are at my poor
11447 ~ Since I Met You Baby
11448 ~ Any Message
18195- Here I Come (Through The Door)
18196- Do You Want To Dance
The story of Fayetteville group The Fabulous Tempo’s would emerge despite a slightly rocky introductory telephone conversation. In September 2003, I contacted Shirlean Williams, the vocalist on an obscure but great 45 rpm record by “Shirlean Williams & The Tempo’s Band”. She said she didn’t sing “rock” anymore – she was now involved in the church and making gospel music – and I should be really talking to the band’s owner. This would be Fayetteville’s Nolla Mainor, whom I immediately telephoned.JASON PERLMUTTER has been researching N.C. soul groups and plans to one day write a book on the subject.
At the beginning of our conversation, I expressed my love for and my desire to learn more about “the Shirlean Williams record”. This was a mistake. Nolla was upset and declared, “That’s my record! That’s not Shirlean’s record. She messed it up! I brought her up, but she was overconfident and didn’t rehearse and then sang herself hoarse trying to make the record.” I admitted my error, and we proceeded, more cordially. I learned about Nolla’s history in the local music scene, which dated back to the mid- ‘60s, with her first bands, the Soul Rockers and the Be-Boppers.
Hearing Nolla Mainor reminisce in 2003 meant hearing from a fiercely proud woman. And justifiably so: Nolla is a self-educated musician who may well have been the only female band leader in ‘60s and ‘70s North Carolina. After disco, her commitment to music didn’t wane; she successfully adapted by becoming a club deejay known to fans as “Queenie” and/or “Queen Bee”. Now, vintage equipment, consisting of large PA speakers and amps, two turntables, a mixer and microphones, occupies a good chunk of her living room. The blue- and black-colored release of “This Is A Song” and “Ease It To Me”, by Shirlean Williams & The Tempo’s Band, hangs on the wall, overlooking the equipment.
The Fabulous Tempo’s quietly handed out free copies of this, their only release, to dance contest winners at local gigs. There were no lucky breaks, and the record – only pressed in a quantity of 250 copies – would be forgotten. This wasn’t an issue of quality, even though the origin of the killer B-side is a little sketchy. Set this track into motion and within seconds you’ll instinctively be singing, “Without love, where would you be now / Without love-ove-ove-oo/Where would you be now.” But you’ll quickly realize your error as the Doobie Brothers’ indelible “Long Train Running” riff morphs into Nolla’s own rhythmic, sexual Fayetteville funk, with pulsing drums and congas, twangy guitar and punchy Hammond. This isn’t really a song so much as a funky vamp on top of which Nolla and her drummer make their way through an innuendo-shaded dialogue:
Nolla: Hey man, whatcha doing over there?
Drummer: Trying to get this girl to ease it to me.
Nolla: You know all you need to do man?
Drummer: Tell me about it.
Nolla: All you need to do is blow your horn.
Drummer: Blow my horn?
Nolla: Yeah, blow your horn.
Midway through this exchange, the words and music break for a thumping drum and conga solo that ensures that this is much more special than a rock ‘n’ roll rip. Coincidentally, earlier in her career in ’67 or so, Nolla seems to have lifted a few bars from “Open The Door To Your Heart”, by Detroit soul legend Darrell Banks, for her funky instrumental “Reach Down And Get It,” recorded by the Soul Rockers.