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(Fred Neil, Bruce Langhorne, Felix Pappalardi, and Jack Nitzsche) photo Fred Neil website


Bet you didn’t think that when Bob Dylan wrote his iconic piece, “Mr.Tambourine Man,” that a Mr. Tambourine Man actually existed. Well he does, and his name is Bruce Langhorne.

Langhorne, who was influenced by Staple Singers’ patriarch Roebuck Staples and Sandy Bull (one of the first artists to use tape recorders and loops on stage), started out as a session guitarist in the folk music scene back in the early 1960s, after playing at Gerde’s Folk City with other artists.  Bob Dylan, Harry Belafonte, Odetta, Carolyn Hester, Richie Havens, Hugh Masekela, Tom Rush and Judy Collins are just a few of the artists Langhorne has worked with, but he became closely associated with Richard and Mimi Farina (sister of Joan Baez)) during the course of their career, appearing on their first album, Celebrations For a Grey Day circa 1964.

Langhorne, whose distinctive guitar playing style was due to the loss of two fingers on his hand, was also known for playing a large Turkish style tambourine,  which Dylan said “was big as a wagon wheel.” Langhorne was the inspiration for “Mr. Tambourine Man” (although Dylan didn’t mention it to Langhorne at the time), and he is mentioned in the liner notes of Dylan’s Biograph album.

After playing on Dylan’s Bringing It All Back Home, which would be Langhorne’s first folk-rock album, he went on to scoring films, first working with Peter Fonda (after his Easy Rider) on The Hired Hand in 1971, and later working with Jonathan Demme on Melvin and Howard in 1980. He did several films with both directors. Langhorne then ventured into the food business towards the early 1990s, developing Brother Bru Bru’s Original African Hot Pepper (all natural) Hot Sauce, which has been endorsed by Andrew Weil, M.D.




Walking to the yearly Indian Larry Grease Monkey block party to see heavy metal band Judas Priestess, I heard the band’s lead vocalist MilitiA, three blocks away, above the Williamsburg din of cars and horns and trains I hear over here all the time. There’s nothing like the power of a good female vocalist!

And there’s nothing like a woman who wears many hats. Listen to this: she writes, she sings, she performs solo, she heads another hard rock band, Swear On Your Life, as well as her Judas Priestess band (the all-girl tribute band to Judas Priest). MilitiA VJs, hosts shows and has been all over music TV stations like FUSE, MTV2 and VH1. She’s collaborated with everyone from Dee Snider to Cyndi Lauper, Sandra Bernhard and even Nancy Sinatra. She’s appeared in TV shows and film as well.

If I told you that on top of all that she models you’d probably say, C’mon, get outta here! Where does she find the time for all this stuff? But it’s true. MilitiA has modeled for several clothing lines and calendars. In fact, this is a woman so totally in control of her career and the scope of it, that I wouldn’t be surprised if the next career goal she plans to conquer hasn’t already happened at the time of this writing. Just sayin’.




Stefanie Eulinberg. Drummer and vocalist. Been with Kid Rock’s Twisted Brown Trucker band for over 10 years now. One of the hardest working drummers in the business today. She’s played cruise ships, lounge circuits, bars, prisons, everywhere she could. Hailing from Berea, Ohio (a western suburb of Cleveland), Eulinberg also plays bass, guitar, writes jingles and does soundtracks, something she went to school for when she lived in L.A. Sometimes you might find her “on loan” to other artists, like the time Melissa Etheridge hired her for a tour. By the last day of that tour, she jokingly said, she had everyone in that band “drinking beer and wearing slippers.” Nothing like drinking beer with a girl who knows how to rock is what I say.




Seems like people have forgot about Phil Lynott. He headed the group Thin Lizzy, the band known for its dual lead guitars. If you’re not familiar with the band, you can hear elements of them in some of Bruce Springsteen’s earlier work. Thin Lizzy had hits with “The Boys Are Back in Town,” “Jailbreak” and “Don’t Believe A Word,” to name a few.

Phil Lynott, who hailed from Ireland, was a black man, with an Irish mother and a father from Guyana. He was a black Irishman, and he accepted who he was, even while friends said he might have been the only black man in the entire country at the time. On top of that, Lynott was completely rock ‘n’ roll, with the leather, chains, big afro, and all that.

Considering the work he and his band put out here, it’s been a mystery to me why he never seemed to get the attention he deserved while he was alive. (He died in 1986 from pneumonia and heart failure.) Lynott and the band were in the news recently, when it was reported that Lynott’s mother, said that her son would not be pleased that the Republicans were using her son’s “The Boys Are Back in Town” song at their convention. She said he would’ve disagreed with their position on gay marriage and taxes.

For more on Phil Lynott and his work, go to and learn about the man considered to be Dublin’s ultimate rock star.




Yeah, that’s the title. ‘Cause while we appropriately condemned him for the widely disseminated accounts of abuse he bombarded on the great Tina Turner, we have forgotten his real place in rock ‘n’ roll history.

Ike Turner was a key figure in rock ‘n’ roll in the early 1950s. He was a performer, a businessman with his own band, the Kings of Rhythm, and a talent scout, for RPM/Modern Records, as well as the legendary Sam Phillips. He recorded everyone from Howlin’ Wolf, B.B. King, Johnny Ace, Otis Rush and Bobby “Blue” Bland during this period. Before that he was a DJ for WROX radio in Clarksdale, Mississippi.

But his real importance lies in his recording in 1951 of what Sam Phillips christened “the first rock ‘n’ roll record”: “Rocket 88.” In production from 1949 to 1960, Oldsmobile’s Rocket 88 really ushered in the muscle car era. It had a V8, 303 cubic inch engine with 135 horses, which was powerful for its time in the consumer market. The body was designed to mimic the space age, which was happening at the time. Turner did “Rocket 88” with his Kings of Rhythm, but the cut was credited to Jackie Brenston and His Delta Cats. Brenston, a saxophonist who came up with the song, did the vocals. After it was done in his Sun studio, Phillips leased the cut to Chess Records, and the rest is history.

Then Ike Turner met Tina.