Tag Archives: Bob Dylan



By  Alan Chrisman

Bob Dylan made his commercial electric breakthrough with his song,  “Like A Rolling Stone”, which  was released on  July 20, ’65.  Dylan finally had his first  Top Ten  hit with “Like A Rolling Stone”. Despite its 6 minute length , the song became Dylan’s most commercially successful release, remaining in the US charts for 12 weeks, where it reached number 2 behind The Beatles Help ( although he had recorded his previous album, Bring It Back Home, as half acoustic and half electric just  a few months before).  “Subterranean Homesick Blues, also electric, from the Back Home album had just barely made the Top 40 Billboard Chart peaking at number 39.  Dylan had been popular on college campuses with his acoustic folk-protest songs, but he craved the  mainstream acceptance that the Beatles had and they craved the more artistic respect that  he had. “I just kept it to myself that I really dug them,” Dylan told biographer Anthony Scaduto (per Rolling Stone). “Everybody else thought they were just for the teeny boppers . Upon hearing, “I Want to Hold Your Hand”, Dylan said later, “They were doing things nobody was doing,” “Their chords were outrageous. It was obvious to me they had staying power. I knew they were pointing the direction that music had to go. It seemed to me a definite line was being drawn. This was something that never happened before. ” So they both directly influenced each other and reached out to each others’ audiences.   The Beatles started paying more attention to their lyrics after hearing Dylan’s songs.  John Lennon’s writing, especially with songs such as “You’ve Got to Hide Your Love Away” and “I’m a Loser”, started becoming more reflective and personal.  The Beatles also would soon release their folk-rock influenced album, Rubber Soul,

Bob Dylan would be booed for going electric at the Newport Festival on July25, '65

Bob Dylan would be booed for going electric at The Newport Folk Festival on July 25, 1965

by the end of ’65, with songs like “Norwegian Wood” and “Nowhere Man”.  Meanwhile, Dylan had been affected by them, “In my head, the Beatles were it.” His next album, Highway 61 Revisited also released in’65, would be all electric.
Five days, after releasing the single, “Like a Rolling Stone”, Dylan would play the Newport Festival on July 25, and half the audience, the folk purists, would boo him for going electric and leaving behind his political folk-protest past. Dylan and the electric The Band was still booed by some folk-purists in '66 at the Royal Albert Hall, London

Dylan would continue to be booed by some folk- purists in ’66 when he played with the electric mainly Canadian, The Band, at the Royal Albert Hall, London

And even almost a year later, when Dylan toured England in ’66 with the electric, The Band, he was still being booed for playing rock-influenced music. A heckler at Manchester Free Trade Hall shouted “Judas” at Bob Dylan for having the audacity to play an electric set . Dylan replied, “I don’t believe you . . . You’re a liar,” then told his band to “Play it f***in’ loud” as they launched into Like a Rolling Stone.  And like the Beatles, it had changed the direction of music.

In 1974, I saw Dylan and The Band (who are mainly Canadian) perform “ Rolling Stone” In Montreal, as everyone got up and sang along.  Rolling Stone Magazine ranks, “ Like a Rolling Stone” as the greatest song of all time.

From Martin Scorsese’s documentary No Direction Home, Like A Rolling Stone”:


Rubber Soul, 1966, was a different kindof album for The Beatles and pop music




By Alan Chrisman, copyright.

The original cover for the Beatles’, North America only, Yesterday and Today album in 1966, was a photo of The Beatles dressed in bloody smocks with cut-up dolls. This became later known as the famous, “Butcher Cover” and is now one of the rarest Beatles’ collectables. But after negative reaction from radio stations and reviewers to the cover, it was quickly withdrawn.

Capitol had released hundreds of thousands originally and recalled them immediately, but on some they just pasted over with the tamer, more common ‘Beatles in trunks’ photo.  Some of the covers could actually be steamed off, revealing the valuable original cover beneath.  But they are today, rare indeed, and one of the Beatles’ most illegally-copied items, so beware of purchasing a counterfeit one, when only Beatles’ experts can probably tell the difference.

The Beatles originally posed for the shocking cover to complain, the way Capitol Records, their U.S. record company, was “cutting” up their original British releases and compiling them into more albums. The U.S. Yesterday and Today album contained a few songs each from The British Help movie album, “ Act Naturally”, “Yesterday”; from the recently released Rubber Soul ”Nowhere Man”, “Drive My Car”, “ If I Needed Someone”, and “What Goes On” ; and from the yet to be released Revolver,  ”I’m Only Sleeping”, “Doctor Robert” and “Your Bird Can Sing”; plus songs from the double-sided single, “ Day Tripper”/“ We Can work it Out”.

The Beatles were angry that Capitol had ‘messed’ up their albums and the order of their songs as they had originally planned them, thus the “Butcher” cover. They also said, later, they were also making a statement on the Vietnam War. So the butcher cover could well be the first “punk” cover.

” Butcher Cover”, original cover for the North American only, Yesterday and Today, album


The later, tamer Yesterday and Today, cover was used to cover over the more controversial, ” Butcher Cover”, 2nd. State version (( original cover(‘Butcher” cover underneath hasn’t been peeled).

But growing up in the States at the time, I didn’t know all this, and it wasn’t until years later, when I got to hear the original Beatles’ British albums, that I got to see and hear the differences.  But since the American Yesterday and Today album was how I had learned these songs, that order is how still, I fondly remember them and Yesterday and Today was always one of my favorite Beatles’ albums.

Rubber Soul, minus the four songs mentioned above included on Yesterday and Today, had also been released in the U.S. the previous December, 1965.  It was The Beatles’ 6th album, but it was unlike any previous Beatles’ album.  They had come off touring and for the first time, had a few months off, to just concentrate on writing and recording.

And it showed on this new album.  Both the songs and production revealed a new maturity in the group.  Most of their songs and albums before, were written on tour in hotel rooms or recorded very quickly in between their very hectic schedules.

They had also been influenced by the recent folk-rock of Bob Dylan and The Bryds, and the harmonies of The Beach Boys.  But it also had elements of soul, Eastern, and psychedelic music.  The songs themselves were no longer talking about relationships and love in the same way as the earlier, “I Want To Hold Your Hand” and “Yeah Yeah Yeah” songs.  Some were written by Paul (you could usually tell, by who was listed as lead singer): “Michelle”, “I’ve Just Seen a Face”, “You Won’t See Me”, “Drive My Car”.  John wrote: “Norwegian Wood”, “Nowhere Man”, “Girl’, “In My Life”, “ Run for Your Life” and “It’s Only Love”  and together they wrote “The Word”. But already, except for an occasional line or two, Lennon and McCartney were writing separately. There are also two songs by Harrison, “Think for Yourself”, and “If I Needed Someone”, and even Ringo contributed to the country, “What Goes On”.  It was some of The Beatles’ best song writing.

The Beatles were also trying out different textures and instruments.  On “Norwegian Wood”, Harrison adds some sitar sounds, which he was just learning, and would continue in that Easten music path in the future.  Paul plays fuzz bass on “Think” and piano and producer George Martin even joins in, playing  harmonium on “The Word” and piano on John’s ,“In My Life”.

Also for the first time, instead of just putting a bunch of single songs on an album, they covered a wider range of styles than any previous Beatles’ album, and the songs were fit together in some sort of order.  The Beatles would further develop this concept-album configuration with their follow-up albums, Revolver, the next year and complete it on Sgt. Peppers in ’67.  Even the cover was unique.  For the first time The Beatles’ name was not even on the front. The title, Rubber Soul, was a satire of the expression “plastic soul” for whites trying to do black-influenced music.  The cover was taken with the camera looking up at The Beatles and by mistake, the photo got distorted, but the Beatles asked the photographer to leave it that way.  The whole package perfectly captured the feel and experimentation of this different music for The Beatles, or anyone else up until that time.  Some people have said, Rubber Soul was a folk-rock album, but that label, mainly came because their American record company, Capitol, actually added some of their more folky-rock songs to the American version of Rubber Soul  to cash in on that new direction in the U.S. market.

Rubber Soul would be very influential on many musicians to come, in its range of styles and instruments and concepts.  Brian Wilson said,it inspired him to make his landmark, Pet Sounds, album, the next year.

I remember it well because it was the album which first turned me onto The Beatles, during my first university years in 1965 (I had the U.S. version, growing up in the States, originally.)  With Lennon songs like, “Girl”, where The Beatles sang together the chorus, ”Ooh Girl”, they were also saying in the background, “tit, tit, tit”. This was unheard of on American top 40 radio in the early 60’s.  So right then, I became a giant Beatles’ fan and, especially of John Lennon, and have been ever since.  Rubber Soul is listed on Rolling Stones Magazine’s best albums ever (#5), along with 4 other Beatles’ albums in the Top 10: The White Album, Revolver, Sgt. Peppers’, and Abbey Road.

John Lennon’s “In My Life” from, Rubber Soul:



Watch John Lennon doing,“Girl”( hear Beatles’ saying, “ tit”,“tit, “tit”, in background) from Rubber Soul:





Jeff Lynne was the leader of ELO , which had many hits in 70's & 80's



By Alan Chrisman, copyright.

One of a series of articles about musicians and groups and some of the perhaps lesser-known songwriters and players behind some of rock’s classic artists and songs. So far: Bob Seger, Long John Baldry, Tony Joe White, Harry Nilsson, Glen Campbell, Paul Revere & The Raiders, Johnny Rivers, The Rascals, Rick Nelson, Del Shannon, Badfinger, Bob Marley, etc.

“Eldorado”, ELO’S classic album with hit, “Can’t Get IT Out of My Head”, 1974

Jeff Lynne was in bands: ELO, TRaveling Wilburys, The Move & Idle Race

Jeff Lynne’s bands: Idle Race, The Move, ELO, & Traveling Wilburys and later producing Beatles’ songs

Jeff Lynne was the brains behind Electric Light Orchestra (ELO) and their many hits in the 70’s & 80’s.  But he is also one of rock’s most respected producers, having produced albums for the ex-Beatles, Tom Petty, Traveling Wilburys, Roy Orbison, Dave Edmunds, Brian Wilson, Randy Newman, etc.

Lynn was originally from Birmingham, England. He was in an early band, Idle Race, which put out two albums in ’69.  But in 1970, he joined The Move, led by Roy Wood.  The Move were well respected and popular in England and known for their theatrical performances, but were not known very much in America at the time.  They recorded 4 British albums: The Move, Shazam, Looking On and Message from The Country and several great singles, “I Can Hear The Grass Grow”, “Flowers in The Rain”, “Brontosaurus”, “California Man” and “Do Ya”, from 1966-‘72.

Then Roy Wood and, now Jeff Lynn who joined The Move in 1970, had this idea to combine rock and classical, which led to ELO. Wood left around that time to form his own band, Wizard, which had some success in England.  But Lynne carried on with the original drummer, Bev Bevan, from The Move, and added Richard Tandy on synthesizer and others on string instruments.  Lynne, Beatles-influenced, said he hoped to create the kind of sound used in John Lennon’s, “I Am the Walrus”.

ELO’s first album, contained their first hybrid classical-rock hit, “Roll Over Beethoven”, in 1972. They were to go on to have many successful: On the Third Day (‘73), Eldorado (’74), Face The Music (’75), New World Record (’76), double Lp Out of The Blue (’77), Discovery (’79) and several more into the 80’s.  And off these albums they would have several, especially in America, massively popular hits, “Evil Woman”, “Livin’ Thing”, “Strange Magic”, “Telephone Line”, “Mr. Blue Sky”, “Hold on Tight”, “Don’t Bring Me Down”,  and many more.

But in the mid-1980’s, Jeff Lynne (who wrote the songs and was basically ELO), disbanded them to concentrate on his other love, producing. In 1987, he produced and co-wrote songs for George Harrison’s, Cloud 9, and co-wrote his “This is Love”.  Then as part of the supergroup, Traveling Wilburys (Harrison, Dylan, Tom Petty, Roy Orbison and Lynne), he co-produced with Harrison their two classic albums.  This led to Lynne producing Orbison’s Mystery Girl in ’88 and  co-producing Tom Petty’s next two albums, Full Moon Fever and co-writing hits, “I Won’t Back Down”, “Free Fallin’”, and  Into The Great Wide Open (“Learning to Fly”)  in 1989 and ‘91.  He also produced songs for Brian Wilson, Duane Eddy and Randy Newman., and a posthumous album for Del Shannon, Rock On.

Lynne put out his first solo album, Armchair Theatre, with the single, “Every Little Thing”, in 2001, including George Harrison and old ELO bandmate, Richard Tandy. But it was when he was chosen to produce two left-over John Lennon songs, ”Free As A Bird” and “Real Love”, with the remaining Beatles for their Anthologies in ’95 and ’96, that he finally got to work with all his long-time heroes, The Beatles.  He then produced one of Paul McCartney’s best recent albums, Flaming Pie, in ’97.

In 2001, Lynne put out one more ELO album, Zoom, with guests George Harrison, Ringo and Richard Tandy.  And he produced George Harrisons excellent last album, Brainwashed, before Harrison died in November, 2001 and produced the live tribute CD, Concert for George, in 2003.   He produced an album, Analogue Man, for Joe Walsh in 2012 and Lynne released his second solo album, Long Wave, in 2013.  He also provided a song for the Hollywood film, American Hustle.

For the 50th anniversary of The Beatles coming to America Grammy Tribute, in Feb, 2014, Lynne performed “Something” and “Hey Bulldog”.  It’s also been announced that he is producing Bryan Adams new CD.

Lynne re-visited his hometown, Birmingham, England and received an award in September-not bad for a Birmingham lad, who realized his dream of combining rock and classical and getting to work with some of rock’s biggest artists. Jeff Lynne also has the distinction of being one of the few producers to work with The Beatles, besides their long-time producer, George Martin, and legendary producer, Phil Spector, and to become one of their close friends.

I was fortunate to see Jeff Lynne and ELO three times: The first for their 1st album with “Roll Over Beethoven” in 1972. At that concert they did a version of the original Move rocker,“ Do Ya”, originally written for The Move.  I remember they also did a great cover of The Beatles,“Daytripper” too.

I next saw them in ‘80 in Montreal at the Man & His World, former Expo ’67 site for their album, Eldorado.  It was a beautiful summer night, and the first time I saw lasers used in a concert.

And again at the Montreal Forum in ‘77 for their double album, Out Of The Blue, with their ‘Flying Saucer’ stage.  ELO always had a very theatrical part to their live shows. They were always one of my favorite bands, besides The Beatles.

See ELO perform “Can’t Get It Out Of My Head” from their Abbey Road-like 1974 Eldorado album:



See ELO perform Jeff Lynne’s, “Do YA”, originally written for THE MOVE:



By Alan Chrisman (All Articles ARE written BY ALAN CHRISMAN), copyright 2012-2015 (A Praveen Patel has tried to hack them and claim them). 

I just re-read Chris O’Dell’s book, Miss O’Dell:  My Hard Days and Long Nights with The Beatles, Stones, Dylan, & The Women They Loved, about working for many of rock’s greatest artists.  It’s been out a few years now, but you know how sometimes you don’t always fully get an album or book the first time.  But as Patti Boyd, says on the cover, “It’s a riveting, honest, brave account and I couldn’t put the book down”.  She would know because she was George Harrison’s first wife and O’Dell became one of her best friends.

Miss O’Dell, a girl from small-town Oklahoma, through a chance meeting with Derek Taylor, one of their close associates, gets a job possibility to come to London and work for the Beatles’   new company, Apple Corps., 1968.   Just the right amount of smarts and assertiveness leads her to become one of their most trusted inner-circle.  She stays at their homes and becomes good friends with their wives.  She does many things, especially, for George and Patti, including  the typing of George’s lyrics for his break-through solo album, All Things Must Pass and he writes a song for her,” Pisces Apple Lady”.  She attends Beatles’ recording session (something that even Beatle wives weren’t supposed to do, until Yoko) and sings behind “Hey Jude”.  She also meets many of their rock star friends like Mick Jagger, Bob Dylan, and was briefly intimate with them as well as Ringo, even, at one point.  For she becomes their confidante, as well, something that rock idols seemed to need, as they have to live in often isolated worlds.

She tells these amazing inside stories and gives us a glimpse at what these larger than life personalities were really like and is especially good at capturing the complexities of each.  Miss O’Dell shows us what it’s like to be Rock Royalty.  We think their lives are so glamorous and they are, and they can indulge their excesses-drink, drugs, and egos more because they have the power and money to do so.  But it seems it’s just one less thing to worry about perhaps, for as human beings, there’s always something else wanted.  So each Beatle tried to find his own peace, in different ways.  At one point, George tells Miss O’Dell, that she’s “the lucky one”, a less complicated life perhaps and without all the increased expectations.  Many of them would also pay a price for their fast lives in the 60’s, as a list of their relatively-early deaths, at the end of her book reveals.

But when The Beatles fall apart and she has to find another job, she misses being in on the action, and becomes increasingly involved in heavier drugs herself.  She then becomes the tour manager for some of the the top other rock acts, Stones, Dylan, CSNY, and many others.  Her organizational skills and abilities at satisfying rock star’s demands and egos come in handy.  It’s no wonder she later went back to school and became a Professional Personal and Abuse Counselor.  She remained friends with The Beatles and their wives and ex-wives and many others she knew closely.  So, Miss O’Dell is a fascinating and rare inside story of The Beatles and her own life

You Never Give Me Your Money & The Beatles After the Break-up by Peter Doggett

Reviewed by A. Chrisman

I’ve always been most fascinated with two periods of The Beatles, especially, their beginnings in Liverpool and Hamburg and in their later years 1968-70, before their break-up.  The irony is that I think they made some of their most interesting music at those times.  Besides many of us being affected by them, The Beatles Story is, I think so intriguing, because it really encompasses a bit of everything-from rags to riches beginnings, youthful ideals, artistic success, love, later in-fighting, and perhaps even, eventually a kind of  redemption.  In other words, all the things, that all of us, as human beings probably go through in our own relationships and lives.  But their journey happens at a much higher profile and speeded-up rate.  After all, they as a group, The Beatles, only lasted about 10 years.   It’s hard to believe because so much happened in that time.  It truly was at a special time in history, “The Sixties: The Decade That Changed the World’, as some have called it.

They were a big part of that, for they revolutionized not only pop music and culture, but so much more.  I think that is why The Beatles continue to fascinate us, not only the Baby boomers who grew up with them, but also generations to come.

Peter Doggett points out in his book, You Never Give Me Your Money & The Beatles After the Break-up that their own company, Apple Corps. began in 1968 originally as a way, suggested by their financial advisors, to protect their money from the British tax system.  But The Beatles, being artists and not businessmen, saw it also as a way to help other up-and-coming artists. They never forgot how they themselves had been pretty well ignored by the music industry, until a little-respected branch of Britain’s EMI record label and a potential-seeing producer, George Martin, finally gave them a chance.

They had this idealistic and youthful 60’s ideal that they could perhaps offer that chance to others at the same time.  But pretty soon, as with the excesses of the sixties, a lot of freeloaders started taking advantage of them and Apple.  And it was fast becoming a financial mess.  On top of that, The Beatles were going in different directions themselves, personally and creatively.   Always before they had, despite the differences between members, especially John and Paul, the creative-opposites and main songwriters on which they revolved, been able to come together.  There was always a bit of rivalry between John and Paul, as anyone who’s has had an older sibling can understand, and they needed the others’ approval, and it made for a balance in their song writing.  But now George too, was coming into his own as a songwriter, and felt unrecognized by the other two.  They were also, at the same time, fighting just to keep control of their song publishing, for which they had had to made deals in the beginning.  They had left all the business decisions to their manager, Brian Epstein, but he was no longer there to protect them and the businessmen and lawyers saw their chance.  So it was the perfect storm.  Soon The Beatles were divided into different camps.  There was street-wise, Allan Klein, that John & Yoko admired (and George and Ringo went along with) on one side and McCartney and his wife, Linda Eastman’s more refined lawyer family on the other.  Doggett documents, step by step, the long drawn out battle.   The interesting thing though is, it seemed nobody really did totally want to end their fruitful partnership, but like in a torn marriage, no one also wants to admit they’re wrong.  And the divorce proceeds.

So it comes to an end, tellingly, at the same time as the 60’s decade ends.  The split, especially in such acrimony, sends shockwaves throughout the pop culture.  For, as I say, The Beatles had become more than just a pop band.  They represented the hope of the Woodstock generation that we could all get along on just love and peace.  Then John Lennon, in one of his first Beatles-split solo albums sang, “ The dream is over” and that he didn’t believe in Beatles as well as all the other icons we had looked up to.   He said he just believed in “Yoko and me and that’s reality”.  He was no longer the Elvis-inspired, teenage wannabe rocker that had gotten him to start The Beatles.

Many fans still hoped, for years after, that somehow they (or our idealized vision of them) would somehow hold time at a standstill and re-unite.  But it was not to be. Times had changed and so had they. They had grown up and so would we. They continued in their solo albums and lives, Paul with Linda and Wings, John with Yoko, George fulfilled his acceptance as a songwriter, and Ringo just being himself.  But The Beatles were always more than the sum of their individual parts, as became apparent.  Ironically, they were still to compete with each other throughout their solo careers (and secretly meet with each other) and even came close a couple times to, possibly, re-forming.  By 1973, Klein was replaced as head of Apple by their long time loyal Liverpool assistant and got it back on track, Neil Aspinall (whom my Russ/Cdn. friend, Yury Pelyushonok, got to know a bit when they were discussing possibly publishing his book about the Beatles’ effect on the Soviet Union and he described Aspinall as their “guardian angel”).   But then John was assassinated by a fan and later George was stabbed by another mentally ill fan and then died of cancer.

So The Beatles’ Story, took on almost Shakespearian proportions.  As I said, it had everything-innocence, great achievement, even sadly, tragedy.  It also paralleled our own lives and journeys as many of us also went through our own innocence, loves and perhaps relationship break-ups.  But of course, there are the magnificent songs that have remained timeless.   True artists articulate a society’s and people’s feelings, often in advance, and perhaps when we hear or see them, we see our own reflections. The Beatles were able in their songs, more than any other group, perhaps, to capture a range of emotions with which a wide cross-section of us could identify. The energy, hope and innocence of their early “Yeah Yeah” songs to the experimental albums and songs of Rubber Soul, Revolver, Peppers, White Album, to the bittersweet/ break-up Let it Be and yet they were somehow to end with the beautiful harmonies of Abbey Road.  And their solo albums also reflected their and our more coming to grips with our maturity.  The Beatles were always able to affect people on many different levels at the same time.   “ I am he as you are he and we are all together”, as John Lennon sang on, “I Am The Walrus”.   “Imagine” is played every New Year’s Eve in Times Square and John Lennon is respected for his ideals and music and Harrison for his songs and his spirituality.  The Beatles finally released the documentary & The Anthologies in the mid-90’s, which Neil Aspinall had first conceived and had been compiling since 1970 and it sold 30 million copies and were the top selling albums in the world those years and showed their longevity.  50 years later and counting, Paul and Ringo are still performing and able to bask in their well–earned legacy.  And there’s even a kind of redemption in that.

I ‘m still amazed myself, how new generations are still affected by them, all these years later, a  half-century later now since their North American Invasion.  I was at a family get-together, recently, and a grand- nephew of mine came up to me to introduce his high school girlfriend to me.  Evidently he had told her that I knew some things about The Beatles.  She was all ga-ga (and not for Lady Ga-Ga evidently), but for The Beatles.  So I told her a couple of my own Beatles’ experiences and gave her a copy of my book, “It’s A Long Way Home” (& How Beatles’ Music Saved My Life).   I noticed that she was like those young awe-struck first Beatles’ fans or like we were when we first saw them on the Ed Sullivan show.  She could relate just as much to them, even all these decades later.  Somehow their songs were able to still capture all those moments in time and the emotions.  And it wasn’t just the Babyboomers, like me who had grown up with them, but for new generations to come too, it seemed.  The girl insisted on giving me a hug after, and I knew some things would always feel the same.

“Yeah Yeah Yeah”

Cover; Late Night Dreams Cd by Al & The G-Men



Cover: Alan Chrisman’s book, “It’s A Long Way Home”(& How Beatles’ Music Saved My Life), A Musical Memoir about how Beatles’ music changed his own life, and millions of others.

By Alan Chrisman (All Articles ARE written BY ALAN CHRISMAN), copyright 2012-2015 (A Praveen Patel has tried to hack them and claim them). 

Cover; Late Night Dreams Cd by Al & The G-Men


“AL & THE G-MEN” ———BIO.

Al “Sticks” Chrisman has been kickin’ around music for a while, having run a vinyl store, promoting musicians, organizing concerts, Beatles Conventions, etc.  He also specializes in the jungle rhythms of the lost Amazonian tribe, the Gutu.

“G-Man” has his own pedigree: playing guitars since age 13 and having studied at the Burl Ives School of Folk and Ethnic Roots, under the renowned Prof. Schwartz Swinborne.

And together, they formed “Al & THE G-MEN”  to combine and explore their unique tastes.  Thus far, they have written and recorded independently over 50 songs including their CD of original songs to accompany Al’s 2013 book, “It’s A Long Way Home”, about his involvement in the Ottawa, Canada music scene the past several years.

Hear “AL & THE G-MEN” SONGS:        http://www.rockthistownproductions.com

“Lady in Black” – Lyrics by Alan Chrisman c. 2012 SOCAN          (REGGAE SONG)                               

It was a cold day

then sun broke thru the skies

Made me want to get away

to a hot island paradise  

Dropped by my local cash place

Cause, Man, I needed some bread

There was your pretty face

and it made me dream instead        


So let’s go under a tropical moon

and get up and dance

to a cool reggae tune

and give it a chance  

In your thin black skirt

Lets just grab some cash

Woman, you made me want to flirt

and make a quick dash  

Lets get out of the cold

to an island in the sun

winter only makes us feel old

and lets have some fun