Friday 8/1/2008 ~ The 1966 Gibson
Yesterday I spent some time with
my 1966 Gibson guitar catalog.
As you might imagine, Gibson
has been publishing catalogs of its instruments for decades.
But for years and years (and years) they were boring black &
white catalogs like this one from 1957. (Although, in their
defense, in 1957 life was black & white...)
In 1966, though, encouraged by
the significant increase in guitar sales since the 1964 arrival
of The Beatles,
Gibson published their most ambitious (and full color!) catalog
(To give you a sense of the impact of The Beatles, Gibson's solid
body electric guitar sales rose 181% between 1963 and 1965. Their
acoustic guitar sales rose 81%.)
With the money pouring in, Gibson's
1966 catalog was forty-eight pages of gorgeous color photos of
their entire guitar and amp line. The guitars were pictured vertically,
in a beautiful, easy-to-follow format. Here are their top-selling solid-bodies.
Even the various "chapters" in the catalog were separated
by artistic photographs. For example, here's the photo that introduced the amp section.
(Re: The solid-bodies... If you
recall from last week's email, Gibson discontinued the Les Paul
body style in 1960. They redesigned their solid-body guitars
into the double-cutaway, beveled-edge SG shape pictured in this
catalog. The traditional Les Paul wasn't reintroduced until 1968.)
The photos scanned for this email
are from my personal copy of the 1966 Gibson catalog, given to
me in 1967 by Vic Lawrence at his shop, Victor J. Lawrence Guitar
Studios, in Castle Shannon. My
brother John took lessons at Vic's shop; and my mother bought
our family's first electric guitar there, a used 1965 Gibson
Melody Maker. (Vic was a friendly guy and great teacher. He even
wrote a successful series of guitar method books. In the 1970s
he retired, and sold the store. At the time I heard that he sold
it to another family named "Lawrence"... I don't know
if that's true... but it exists today, in the same location,
as Lawrence Music. Vic has since gone to the great jam session
in the sky...)
Anyway, I've admired this catalog
for years. And I've always been intrigued by some of the odd
models featured in it. My fascination recently led to me buying
one of them. And its existence... and the reason for its oddity,
goes back to 1961...
As mentioned earlier in this email, and discussed in greater
depth in previous emails, the 1964 "British Invasion"
had a significant effect on American guitar sales. But things
had been happening just prior to that which helped set the scene
for a guitar-demand-explosion. Since the 1930s, story-telling
guitarists like Woody Guthrie and Jimmie Rodgers had been performing
what could best be described as "American
Folk Music." In 1961 and 1962 a revival of old folk songs
started to spread across the USA... from New York's Greenwich
Village, to college campuses around the country. Groups like
the New Christy Minstrels and solo artists like Bob Dylan started
to find commercial success. And this guitar-based folk music
began to seriously creep into the consciousness of mainstream
American baby-boomers in April 1963, with the debut of an ABC
TV show devoted to folk artists, called "Hootenanny."
Watching the New Christy Minstrels
sing "Green Green" and "This Land Is Your Land"
on Hootenanny didn't cause every kid in the USA to suddenly want
a guitar... that happened in February 1964, when John, Paul,
George & Ringo appeared on Ed Sullivan... but it did plant
the seed that guitar music could be fun. And it did inspire some
kids to take up the instrument, which ultimately led to the American
folk-rock music of 1965. Bands like The Byrds, The Lovin' Spoonful,
The Mamas & Papas, and many others, were started by former
Getting back to the early 1960s,
acoustic guitar music was sparking the public's interest. And
Gibson decided that they really needed to cover all possible
bases. They already manufactured several four-string tenor guitars,
which allowed tenor banjo players to easily move to the guitar.
The one thing missing in their line was a steel string acoustic
that a classical player would feel comfortable with. After all, nylon string guitars sound
beautiful by themselves, but if you're going to be playing "Michael,
Row The Boat Ashore" in a college auditorium with six other
players, you're going to need the volume of a steel string. And
thus the Gibson F-25 "Folk Singer" was born! Here's the F-25 from the 1966 catalog.
The F-25, manufactured from 1963
until 1969, was a steel string guitar with a classical guitar's
body, and more importantly, a classical width fingerboard. If
Andres Segovia wanted to join The New Christy Minstrels, this
is the instrument he'd play.
When I saw one at a recent guitar
show I remembered seeing it in the 1966 catalog. I was compelled
by some unknown inner force to buy it. Here's John with a 1964 Gibson F-25 "Folk
But that's not what I really want to talk about...
The F-25 is not an earth-shaking
concept. It's just a rare, funny looking guitar that I saw in
Vic Lawrence's 1966 Gibson catalog. After I bought the F-25,
I dug out the old catalog to check out the guitar's picture.
Paging through the catalog, though, brought back distant mysterious
memories! I suddenly had the vast realization of its important
role in the development of my future! I began to realize the
significance of that particular catalog in my life!!!
In 1967, when Vic handed me the
Gibson catalog, my brother John was playing the 1965 Melody Maker
that Vic sold us. Yet, when I paged through the catalog to find
the Melody Maker, I was confused. John's Melody Maker had rounded
edges and a black pickguard with black pickups. The catalog Melody
Maker had a beveled-edge SG body, with white plastic parts. Gibson
had apparently changed the design of the guitar.
my brother John with his Melody Maker at our first ever public
appearance. (The Whitehall Shopping Center parking lot...
in 1967. I'm on drums behind him.) Here's the 1966 version in the catalog.
I filed this inconsistency in my brain for future use and moved
on to other stuff, like girls. But then, in 1969, when John upgraded
to a Gibson SG Standard, I pulled out the catalog again. (Yeah,
I tend to save stuff...) And again, the guitar didn't match!!
By 1969 Gibson had doubled the size of the pickguard, so it went
above the pickups as well as below. Here's my brother John in 1972 with his SG Standard.
Note how the pickguard differs from the catalog picture eighty-seven
So, John had two guitars and
I had a catalog, and nothing matched. Is it any wonder that I
decided to devote my life to studying the model variations of
Gibson guitars? (And that, of course, would lead to all brands
of electric guitars as well...)
So, this recent F-25 purchase...
inspired by a distant memory of an odd looking guitar... led
me to dig out its picture... which led me to the realization
that my entire career could be traced back to one 48-page publication...
the 1966 Gibson guitar catalog.
And that's what happened this
See you soon,
PS: Here are The New Christy Minstrels on Hootenanny.
The lead singer on this song, "Green Green," is Barry
McGuire. Two years later he was a solo artist and had a big hit
with the tune "Eve Of Destruction." The Hawaiian guy
on banjo, the third guy from the right, is Larry Ramos, who later
played in the band The Association.
PPS: You may not know that during
his "folk" years John (the new guy, not my brother)
also played with The Kingston Trio. Here's a rare album cover photo!
PPPS: Customer of the Week: The Wood
Friday 8/9/2008 ~ A Mystery Solved!
Have you ever run across something
that you were very curious about, but it was kinda mysterious,
so you put it aside,
and then 34 years later, you unexpectedly figured it out? Me,
It all started this Wednesday when I was reading my favorite
non-guitar magazine, "Wired." (I know it sounds like
a boring computer magazine, but it's not. I heartily recommend
it.) Among the many interesting stories in this month's issue
was an article about how long things last.
Comparing animal life-spans,
for example: Killer whales can live for sixty-five years; while
the average life of a lion is fifteen years. With regard to the
life-span of data recording, the Wired article compared the inscriptions
on an ancient stone tablet found in Bulgaria (seven thousand
years old), to info stored on microfilm (estimated
readable life-span of one hundred years), to data recorded on
home-burned CD-Rs (which some experts now say may only last for
With regard to data-storage,
they also mentioned floppy discs. While they don't rapidly degrade,
the technology to read them is now so out-of-date that the info
is inaccessible. (I have years worth of Pittsburgh
Guitars files on large floppy discs... the ones that actually
ARE floppy... and I don't have a machine or a program that can
When I started to think about
methods of recording data, record albums naturally came to mind.
No matter how far technology progresses, no specific "program"
or "data-decoding" is necessary to play a record. I
suspect that they will out-live CDs, at least as far as playability
And when I started to think about
albums, I thought about album covers... and how many times I
bought a record just because the cover was cool. They were extra
cool if there were guitars on the cover. Like "Having A Rave-Up" by The Yardbirds...
or "Everything is A-OK" by The Astronauts.
Then I started to think about
LPs that made me laugh... not in a ha!-ha! sense... but in a
sense. The first one that came to mind was the the final album
by a band called The Outsiders. It's a fake "live"
album, with audience applause added to studio recordings. If
that's not what's-up-with-that? enough, by the time the album
was released there had been so many personnel changes, that no
one was sure who was in the band. So, the front cover features
two guys with their heads turned so you can't see who they were.
AND they're BOTH playing bass! Here's "Happening 'Live!'" by The Outsiders.
When I thought about The Outsiders
LP, I remembered a record I bought 34 years ago, just for the
cover. It's called "Hep Stars On Stage" and it features
a very odd photo of a band, with guys standing on top of amps,
striking strange poses. When I bought it I couldn't quite decide
if it was a joke. The songs are all cover tunes, so I thought
it might be a studio band, with fake musicians posed for the
cover shot. The liner notes didn't help... they're in Swedish.
is the album cover.
But now that it's 2008, and all
information known to man is at our finger tips, I figured I'd
go to YouTube, to see if the Hep Stars On Stage really existed.
Not only did a band called the
Hep Stars exist, they had a wild and crazy stage show. And they
actually did stand on top of their amps! And do weird things
like the amp poses! And the YouTube video was from the same 1965
show as the album! Here are the Hep Stars doing "Whole Lotta Shakin' Goin' On" on YouTube.
With a little more internet searching
I found that they were actually a very successful band. Their
"International Official Website" calls them the "Biggest
and most popular pop group during the years 1964-69 in Sweden!"
Reading a little further, I discovered that after leaving
the band the keyboard player had just a bit more success in the
music biz... He's Benny Andersson, and after the Hep Stars he
formed ABBA! And now, he's a gazillion-billionaire.
So, it turns out that an LP that
I thought might be a fake-band-joke, actually features the guy
who wrote "Mama Mia!" Another one of life's mysteries
Here's what John would look like if he
was Swedish. He's even
playing a new Hagstrom "Swede" guitar. We ordered a
couple of dozen Hagstroms in January to try them out, and sold
them all... so we ordered more. They're starting to arrive now.
See you soon,
Last night I figured I should dig out my copy of "Hep Stars
On Stage" to photograph it for this email. I have my hundreds
of LP filed alphabetically, but I couldn't find it under "H."
I sat and thought for a minute...trying to figure out how my
mind was working when I filed it. I thought to myself, "Someday
you're going to want this record... and you'll remember the strange
cover... but you might not remember the name of the band... So,
no sense in filing it under their name... But what will you remember?...
I bet you'll remember that they were Swedish!!... SO file it
with a Swedish band you WILL remember: Locomotiv GT!" Sure
enough, in the "L" box, right next to Locomotiv GT
was the Hep Stars! And THAT'S how I file stuff!
PPS: I just looked up Locomotiv
GT, and apparently they were Hungarian! Good thing I didn't know
that when I was doing my filing! I bought one of their albums
in the late 1970s (the cover looked interesting)... and I really
enjoyed it. I subsequently bought four more, although two are
the same album, one in English and the other their native language,
which I'm now guessing is Hungarian! Locomotiv GT LPs.
PPPS: Here's the Hep Stars International Official Website.
PPPPS: We have two spots left
for our First Ever Pittsburgh Guitars Golf outing on Sunday August
17th. If you're interested, please email
John , and we'll sign you up!!
PPPPPS: Customer of the Week:
Friday 8/15/2008 ~ Logo Cover-Ups
A few weeks ago I mentioned Victor
J. Lawrence, who once owned a music store in Castle Shannon.
Several folks wrote to say that they, too, had fond memories
of old Vic Lawrence. In addition to running his store and teaching
there, he also published numerous guitar lesson and theory books.
Someone even sent in one of his music books, the "Play Today
Guitar Primer." Here's a link. Notice that the bottom line of the cover says, "Pittsburgh,
34, Pa." It was published before the implementation of the
Zip Code. (Five points: What does ZIP Code stand for?) (Ten points
if you answered without looking it up in Wikipedia!)
There's a really cute picture
of a super young Vic Lawrence on page five. And an even cuter
picture of a beautiful Gibson semi-hollow body on page four. In
a wonderful understatement, the heading simply says: "The
Guitar" (For Five points: What model is the Gibson? Five
more points: How can you tell so quickly? Plus an extra Twenty
points if you remembered the details from a previous Pittsburgh
Guitars Email Special, where I outlined the visual distinctions
between the different Gibson models that share the same semi-hollow
It's interesting that Vic, on
page five, is holding his personal Guild X-150, but in the photo
the "Guild" logo on the headstock has been airbrushed
out. I'm going to guess that since The Victor J. Lawrence Music
Studio was a Gibson guitar dealer, removing "Guild"
was the politically correct thing to do.
I've seen logo cover-ups, before...
both on TV and in print ads. For some reason in the early days
of Saturday Night Live
several bands used black tape to cover their guitar or amp logos.
I distinctly remember The Smithereens on SNL with tape covering
the Rickenbacker logos on their guitars. (I'm sure there was
a story behind that!)
And, of course, print ads and
catalog photos often remove competitors logos. Here's a Vox catalog cover, for example.
Note that John's Rickenbacker logo has been shaded out, and the
bass drum no longer says "Ludwig."
My favorite ad ever, though,
is one where the logo was NOT airbrushed... when it should have
been! Check out this Fender promo ad featuring Jeff Healey!! Scroll
down in the page for a close-up.
(Twenty points if you can send
an ad or catalog page... or a link, of course... to a photo with
a guitar or amp logo removed.
See you soon,
PS: A few weeks ago I linked
to the cover page of the amp section in the 1966 Gibson
catalog. It's an artsy,
outdoor shot of a Gibson amp. Our friend Susie, who grew up near
the Gibson factory in Kalamazoo, Michigan, recognized the area.
She wrote: "The photo of the Gibson amp had to have been
snapped on the beach of Lake Michigan (we Kalamazooians would
go there to swim, you know)."
PPS: Speaking of a gal from Kalamazoo,
Glenn Miller's big hit "I've Got A Gal In
Kalamazoo" featured lyrics that spelled out the name of
the town. For Ten points, name another Glenn Miller song, that
featured counting instead of spelling. Twenty points if you can
name it without looking it up on the internet.
PPPS: OK, have you tallied up
your points? (The honor-system is at work here!) Send in your
answers/point totals, and the winner will get an assortment of
logo-branded T-shirts from Martin, Ernie Ball and Vox... and
PPPPS: In the above email I used
the term "airbrushed" to refer to photo changes. That's
from the days when a photographer would physically re-touch a
photo or negative. For a contemporary photo, of course, we'd
PPPPPS: Customer of the Week:
Both shows at The City Theater were customers this week!
Friday 8/22/2008 ~ I'm A Believer
I was recently at a family reunion.
Since we were going to have a big crowd, I took a few guitars...
and amps... and a set of drums. (My brother John brought the
As you may know, drums are my
main instrument. At the reunion, though, I spent some time playing
guitar... and, as
always, I loved it! One of the things that differentiates the
guitar from the drums is that if you don't know a part, you can
just stop playing! If I got to a chord I didn't know, I would
confidently stop... and it looked like I was just adding dynamics!
Naturally, at the jam I suggested
simple songs: "Gloria" (three chords E-D-A); "Hang
On Sloopy" (three chords G-C-D); and, of course,"Louie
Louie" (three chords A-D-Em) (the third one is a minor chord,
but it's an easy one!). At one point I thought I'd get adventuresome
and add a four chord song, The Monkees' "I'm A Believer."
Kids were dancin', siblings were
bobbing their heads, it was a hit. In fact, it was oddly popular.
I was surprised...
It turns out that three different
family generations were enjoying the song for three different
reasons. (1) My older
brothers and sisters remember the original Monkees 45. (It sold
eight million copies. We bought two)... (2) Several 35-ish-year-old
family members are Neil Diamond fans. (He wrote the song and
it's on his Greatest Hits CD)... (3) And the kids liked it because
apparently it's featured in the Shrek movie! (Recorded by the
band Smash Mouth).
I knew that the series of Shrek
films were kids' cartoon movies, but I wasn't familiar with them.
After watching the kids dance to "I'm A Believer" I
looked up the movie
soundtracks... and there are some rockin' songs on there! In
addition to "I'm A Believer," the first film includes
a cover of Joan Jett's "Bad Reputation." And the third
movie has songs by The Ramones and Led Zeppelin! I'm glad DreamWorks
is teaching the kids to rock!
See you soon,
PS: The Monkees "I'm A Believer"
PPS: Smash Mouth "I'm A Believer"
PPPS: I mentioned this story
to someone from England and they said, "Don't forget about
the version by EMF, Oiy!!" I didn't understand the "Oiy!!"
until I heard it. Now it's hard to forget it!
EMF "I'm A Believer"
PPPPS: The winner of last week's
"Count Your Points Contest" is Bill M. Bill wins and
assortment of logo T-Shirts from Martin, Vox and others. Thanks
to all who entered our first ever honor-system contest!
PPPPPS: The answers were:
1) ZIP- Zone Improvement Plan
2a) The guitar pictured
is a Gibson ES-355.
2b) You can tell quickly by the bound headstock. The ES-335,
345, and 355 all use the same body, but the 355 is the fanciest,
with binding on the headstock, just like the headstock on a Les
2c) I discussed those models in the Email Special from 04/27/07.
Here's the Archive Link.
3) Several folks sent in ads with removed logos. Here's a State Farm ad from the August 22nd issue
of Entertainment Weekly.
4) The Glenn Miller song with counting: "Pennsylvania 6-5000"
PPPPPPS: Last week I mentioned
Vic Lawrence who used to have a music store in Castle Shannon.
Many people wrote to say they remembered Vic fondly. John C.
never met him, but was influenced by Vic just the same. Here's
John's response to last week's Email Special:
I enjoyed hearing about Vic Lawrence in your email. And when
I saw the back cover of the instruction book, it triggered a
memory. I have one of those chord finder charts listed on the
back. Actually I have two, and it has been a great tool for teaching
Here's the story. I grew up on the North Side in the 50's and
60's. At that time the only place to see guitar stuff on the
North Side was Volkweins, other than the pawn shops on East Ohio
Street, which I frequented also. Anyway, we teenage boys would
stop in Volkweins from time to time and admire the guitars and
amps that we could never afford.
They had a glassed off playing room beside the showroom, and
occasionally someone would have a guitar in there with all the
amps, trying it out. We would stand outside and watch.
One day I'm outside the playing room watching and the guy inside
motions for me to come in and listen. Turns out he plays for
the Vogues, and he tells me "Here's a song you'll hear on
the radio next week". He plays and sings the song, and it's
"5 O'Clock World." I tell him I'm just learning to
play and would he recommend anything. He says to go downstairs
and tell them you want Lawrence's chord finder, which I did.
It was only a buck, and this guy says it's all you need.
It was a great tool and I used it a lot.
OK, fast forward to about 5 years ago. Now Volkwein's has moved
to some industrial park out parkway west. And I happen to be
out there on business and notice the store. I go in and browse
around and remember my old worn, now lost, chord chart. I ask
the guy in the sheet music section if by chance they have the
Lawrence chord chart. He goes to the file cabinets, same way
they catalogued things when they were on the North Side, and
he brings me a brand new chord chart, looks exactly like the
one I had. Last one in the store. I ask him how much, he turns
it over, and it says $1.00, same as it did in 1942, so that's
what he charges me!
When I went looking for the new one to send
you a picture, I found the old one. Here's a picture of my original Lawrence Chord
Just thought you'd enjoy sharing another great memory of a life
touched by the great Vic Lawrence. When you mentioned him last
week, I didn't make the connection. Until I saw that instruction
book cover this week. Never met the man, but he's had a profound
effect on my self-taught guitar playing.
Keep up the good work. Hope to see you at the next Beatles show.
PPPPPPPS: Today Dave E. came
to the store, and surprisingly he brought in another version
of the Lawrence Chord chart! Vic's earlier version was published
by Volkweins. The newer one was published by Vic himself in
the 1960s... and twenty years later it cost 75 cents more
than John C.'s! Dave also brought in his original Vic Lawrence method book, along with a copy
of "Flight Of The Bumble Bee" that he bought
from Vic. Dave said he could never master the song, but that
Vic was so good and could play it so fast that it actually sounded
like a bumble bee! Dave also told us that one of Vic's students
was the great Joe Negri.
PPPPPPPPS: Customer of the Week:
Brew MySpace Page
Friday 8/29/2008 ~ Songwriters
I was sitting on the couch last
night, playing guitar... and I decided to open some song books
and play actual
As I strummed along, humming
the melodies in my head, I was reminded how much I admire songwriters.
I don't know how folks can start with simple D, A and G chords
and end up with melodic, catchy, songs. It's miraculous to me.
Last week I mentioned that The
Monkees' "I'm A Believer" was written by Neil "Pardon-Me-I-Have-A-Sore-Throat"
Diamond. Neil, of course, is a famous performer as well as a
writer. The flip side of that multi-million-selling record is
also a great song, "(I'm Not Your) Steppin' Stone."
"Steppin' Stone" was written by two guys that you may
not be familiar with, Tommy Boyce & Bobby Hart. As performers
Boyce & Hart had a #8 hit in 1968 with "I Wonder What
She's Doing Tonight"... but their biggest songwriting success
was with songs they wrote for the Monkees, including 1965's "Last
Train To Clarksville" and "The Theme From The Monkees."
("Here we come... Walking down the street...")
Boyce & Hart got their start
in 1964 with a #3 hit for Jay And The Americans called "Come
A Little Bit Closer."
"Come A Little Bit Closer" was a collaborative effort,
written by Boyce & Hart and songwriter/producer Wes Farrell.
Wes Farrell was making money
in 1964 from a song he wrote in 1960 called "Boys."
"Boys" was originally recorded by The Shirelles, and
released as the flip side of their #1 hit "Will You Still
Love Me Tomorrow." In 1963 The Beatles covered it on their
first album, and the royalty checks are still coming in. (The
LP was called "Please, Please Me" in England and "Introducing
The Beatles" in America.) ("...and now, here's Ringo!")
In addition to the Beatle royalties,
Farrell did OK for himself with another tune written in 1964:
"Hang On Sloopy." "Sloopy" was co-written
by Wes Farrell and another songwriter/producer, Bert Berns. (Bert's
middle name was Russell,
and he often wrote under the the name Bert Russell, as well as
Bert Berns should be more of
a household name than he is. With assorted songwriting partners,
he has certainly left his mark on rock & roll. In addition
to "Hang On Sloopy," Bert wrote "Tell Him"
for the Exciters, "Twenty Five Miles" for Edwin Starr,
and in 1967, he co-wrote the classic "Piece Of My Heart"
for Erma Franklin. (Aretha's sister.) Erma's version was a minor
hit on the Pop Charts, but a year later Janis Joplin covered
it, and the rest is history.
Now, you're probably saying,
"Wow, with 'Tell Him,' 'Twenty Five Miles,' 'Piece of My
Heart' and 'Hang On Sloopy' Bert Berns has written some big songs!
Could there be more??" Well, there's "Everybody needs
Somebody To Love" co-written with, and recorded by Solomon
Burke (1965); and covered by The Rolling
Stones (1965), Wilson Pickett (1967) and The Blues Brothers (1980).
And there's actually one more:
in 1961, with Phil Medley, Bert Berns wrote a song that is probably
being played somewhere this exact moment, "Twist & Shout."
"Twist & Shout" was recorded by The Isley Brothers
in 1962, covered by The Beatles in 1963 (on the same album as
"Boys") and played by a million-billion bands since.
And what does all of this mean?
I dunno... I'm just ramblin'... I like music, and since there
are only a finite number of chords, we need songwriters like
these folks to add melody to those chords, and add songs like
these to our lives.
So I like songwriters. And that's
what I'm sayin'.
Have a great holiday weekend!
See you soon,
PS: Bert Berns' writing partner
on "Piece Of My Heart" was Jerry Ragovoy. Ragovoy has
lots of other songwriting credits, but the tune I'm most familiar
with is one he wrote in 1963, and was covered by The Rolling
Stones in 1964, called "Time Is On My Side."
PPS: Wes Farrell, who wrote "Come
A Little Bit Closer" with Tommy Boyce & Bobby Hart in
1964, must have been inspired by their success with the "Theme
From The Monkees." In 1970 he wrote the theme song for the
Partridge Family Show, "Come On, Get Happy."
PPPS: Last week's First Annual
Pittsburgh Guitars Golf Outing was a blast. Here are some pictures. We'll definitely
do it again!
PPPPS: Speaking of doing it again:
Saturday Sept 13th:
The Pittsburgh Guitars Big Beatle Show #5 at The Rex!!!
PPPPPS: Customer of the Week:
Appearing 8/30/08 at Club Cafe