Magical Moment Photos

ANN WILSON OF HEART CAPTIVATING THE NEW YEARS EVE CROWD IN OAKLAND ON 12-31-77. PHOTO BY BEN UPHAM.

HEART-
“GROWS UP TO HARD ROCK SOUND”
BY JAMES MCLINDEN
WISCONSIN STATE JOURNAL
MADISON, WISCONSIN
JULY 30, 1980

When Ann Wilson first came out on the Coliseum stage Tuesday night with the other four members of rock group “Heart,” she looked the part of the girl next door. She was almost wholesome-looking, a little chunky, with dark brown eyes and a cherubic smile on her round face.
But by the time she had finished singing “Bebe le Strange,” the opening number and the title cut from Heart’s recent album, that initial image began to fade. The band puts out a heavy metal sound, and the role of lead singer in a big name group such as Heart is a demanding one.
Ann Wilson was probably different from the other girls in her high school, skipping the football games and instead dropping in at a girlfriend’s house to sing along to Nancy Sinatra and Paul McCartney songs. But she is a big girl now, and along with her younger sister Nancy, one of Heart’s two guitarists, the pair have molded the group around themselves.
Their new album, which broke into the top five last month, shows the Wilsons’ influence more than earlier albums. It is definitely more hard-edged, more heavily textured than past efforts.
Although most of the set was given over to hard rockers like “Crazy on You” and “Barracuda,” singer Wilson and the band moved comfortably into “Dreamboat Annie,” the closest this band comes to a soft rock ballad in concert. Wilson’s wide-ranging soprano easily handled the delicate vocals the song demanded, but was less than convincing when she turned to a blues number.
Heart can boast of little bona-fide originality in most of its songs. The band’s driving rhythms borrow heavily from Led Zeppelin, which did just about all there was to do in heavy metal rock music a half dozen years ago, just as Heart was breaking into the national music scene.
Which is not to say that Heart’s set was devoid of excitement. “Straight on to You” was but one of the musical high points in the 90 minute-set. Propelled by Nancy Wilson’s jerky, biting guitar work and Michael Derosier’s drumming, the song rocketed along in double time. It reminded me of the song “Radar Love,” a minor classic from a few years back.
One of the band’s four encores was Led Zeppelin’s “Rock ‘n’ Roll,” done like the original but good nonetheless. Also thrown in for good measure was Little Richard’s “Long Tall Sally,” which featured good vocal work by Wilson but tired and feeble lead guitar work by Howard Leese and Nancy Wilson.
The younger, more introverted Nancy sat down at the piano for one number, leading the rhythm section and taking over the lead vocals. Certainly her voice is not as strong as Ann Wilson’s, but doesn’t deserve to be so underutilized.
Ex-Aerosmith guitarist and singer Joe Perry and his band opened the concert. I certainly hope his old group is not mourning his loss, as his guitar riffs sounded as dated as a presidential candidate’s rhetoric. Many in the crowd, bored with the opening act, milled around the Coliseum floor, chit-chatting, swilling and spilling beer and setting off firecrackers left over from earlier this month.

HEART DISCOGRAPHY:
1976 Dreamboat Annie
1977 Little Queen
1978 Magazine
1978 Dog and Butterfly
1980 Bebe le Strange
1980 Greatest Hits Live
1982 Private Audition
1983 Passionworks
1985 Heart
1987 Bad Animals
1990 Brigade
1991 Rock the House Live
1993 Desire Walks On
1995 The Road Home (Live)
2003 Alive in Seattle
2004 Jupiters Darling
2007 Dreamboat Annie Live

CLICK THE LINK BELOW TO SEE HEART PHOTOS:
HEART PHOTOS BY BEN UPHAM

NANCY WILSON AND HOWARD LEESE OF HEART PERFORMING LIVE IN OAKLAND, CA. ON 12-31-77 . PHOTO BY BEN UPHAM.

HEART-
“WILSON SISTERS HAVE HEART”
BY BRUCE MEYER
THE DELTA DEMOCRAT TIMES
GREENVILLE, MISSISSIPPI
DECEMBER 9, 1976

“Nobody should ever say that women do it better than men, or men do it better than women,” says Ann Wilson. “It’s like they each do it differently — each way is so heavy and each way complements the other. But when a woman’s soul tackles rock ‘n roll, it’s something different and it appeals to everyone.”
Ann and her sister, Nancy, have a hot new rock ‘n’ roll band called Heart. In a year that’s seen (or, rather, heard) the emergence of at least a half-dozen fine new groups, Heart’s polished blend of ballad and boogie stands out. Ann, 25, and Nancy, 22, are why.
Heart is their band: Ann is the lead singer and plays flute. Nancy plays both rhythm and lead guitar, mostly acoustic, but some electric. All of their songs — equally strong in lyric and melody — list both as writers, in the manner of Lennon & McCartney. And on stage, two stunningly beautiful young women, in their long, flowing dresses, hold the spotlight — and the audience’s undivided attention — with no difficulty.
Heart’s music is a rough-and tumble blend of the soft and the solid, the delicate and the raunchy. The mood, if not the texture, of their million-selling debut album, “Dreamboat Annie,” is strongly reminiscent of Led Zeppelin. Not surprising, since the band first made a name for itself in the Pacific Northwest by covering Led Zep material; they still use Zep’s “Rock and Roll” on stage for their encore.
As children in their hometown of Seattle, the sisters Wilson (“we’ve
always been more like best friends”) acquired a taste for the Beatles and a couple of cheap guitars at roughly the same time. Natural hams, they progressed rapidly from church sing-alongs to high school functions and — eventually — into a series of local bar bands. “We got tired of being confined to the acoustic thing,” says Ann. “All this stuff was coming at us in those days — the Moody Blues, the Beatles, the Stones, strings and choirs and all these really neat instruments. So I thought we ought to put together a rock band … and after that one thing just led to another.”
It’s at the bar band stage, of course, that most rock careers come to an end. But Ann and Nancy had a plan; a five-year plan for stardom. And the strangest thing about it is that since 1971, when Heart was formed as a local group in Vancouver, B.C., their careers have followed that plan almost flawlessly.
“It didn’t take long for us to become the biggest group in Vancouver,” says Ann, “because nobody else could do Led Zep and nobody else had a female singer who could do Robert Plant. So we planned to play clubs first, then start playing more of our own stuff and make the transition to concerts –get a record contract, and so on.”

HEART DISCOGRAPHY:

1976 Dreamboat Annie
1977 Little Queen
1978 Magazine
1978 Dog and Butterfly
1980 Bebe le Strange
1980 Greatest Hits Live
1982 Private Audition
1983 Passionworks
1985 Heart
1987 Bad Animals
1990 Brigade
1991 Rock the House Live
1993 Desire Walks On
1995 The Road Home (Live)
2003 Alive in Seattle
2004 Jupiters Darling
2007 Dreamboat Annie Live

CLICK THE LINK BELOW TO SEE HEART PHOTOS:
HEART PHOTOS BY BEN UPHAM

JEFF BECK AT THE "DAY ON THE GREEN" IN OAKLAND, CA. ON 6-6-76. PHOTO ART BY BEN UPHAM.

JEFF BECK-
“PROVES HE’S JAZZ-ROCK INNOVATOR”
BY NICK FOUNTAS
THE LOWELL SUN
LOWELL, MASSACHUSETTES
OCTOBER 18, 1976

Ten years, a near-fatal collision, and countless album credits later, Jeff Beck remains on the forefront as rock music’s premier guitarist.
His guitar virtuosity has been much hailed and often (unsuccessfully) copied.
His recent concert at Boston’s Music Hall represented another chapter in Jeff Beck’s life. His current performing tour with the Jan Hammer Group has astounded both record people and the public with the best of jazz-influenced rock.
Known as a perfectionist in music circles, Jeff cannot be an easy musician to cope with under the stress of an extended tour. But if the communication and feeling that he and Jan Hammer exude during a performance is any indication, the two virtuosos will play together for quite some time.
The show was opened by “Heart”, a six-piece rock conglomeration with a hit single high in the charts. The group’s saving grace are two ladies who can belt out tunes wilh the combined power of Janis Joplin and Maggie Bell. “Heart” can kick down the walls with gutsy rock and roll, but the stage act is prententious. They copy too many other people’s stage gimmicks. If they get out of this rut, it will be from the dedication and foresight of the two ladies, after reorienting their goals and methods.
Although the Jan Hammer Group serves mostly to back-up Beck, they were afforded the opportunity to perform six numbers before being joined by The Wiz. In a dazzling mini-set, the four-piece band performed much of Jan’s music from his past three solo albums. Hammer is an incredibly creative keyboardist who pays special attention to his Mini-Moog synthesizer. Fernando Saunders (bass), Tony Smith (drums), and Steven Kindler (violin) perform with ferocity characteristic of the most sincere individuals. They meld their personal styles and influences into a jazz-rock agglomeration that can wail.
Jan’s mini-symphony “Darkness/Earth in Search of a Sun” featured an eerie repeating pattern that paved the way for Beck’s dramatic introduction at the climax of the piece. The wonder-guitarist from Surrey emerged to a sold-out hall during the final crescendo to bring it to a powerful climax. It seemed that no introduction was necessary. Boston knew the man who had visited here so many times before, and we are sure he recognized many of the faces, too, standing and applauding before him. Beck began torturing his axe with “You Know What I Mean”, a funky tune from the “Blow By Blow” collection. Though the live versions differed somewhat from the original recordings, Jeff and Jan merged as one in an astounding display of talent. Hammer’s synthesis and Beck’s wailing, screaming guitar might have convinced the Rocky Mountains to chase and crush their spectre John Denver, for everyone knows those mountains enjoy a rock.
The performance also was recorded for possible future use as a live album. If the album materializes, reggae-inspired “She’s a Woman” will have to make its comical appearance. Jeff seems to have matured immensely over the past two albums, “Blow By Blow” and “Wired.” Less arrogant, his music has approached the level of maximum proficiency. His last two albums have been certified gold records.
Plagued in the past by futile attempts to find the perfect vocalist, he has given up his search in favor of his present instrumental format. This lends itself most successfully to Beck’s jazz-rock bag. Additionally, the loss of the Jan Hammer Group would deal a double blow to the public’s needs and expectations. Having seen that Beck is still in excellent form, many left the Music Hall thinking not about what they had just seen, but wondering what will be next in the ever-changing bag-of-tricks of Jeff Beck.

JEFF BECK DISCOGRAPHY:

1968 Truth
1969 Beck-Ola
1971 Rough and Ready
1972 Jeff Beck Group
1973 Beck, Bogert & Appice
1974 Live in Japan
1975 Blow by Blow
1975 UPP
1976 Wired
1977 Jeff Beck with the Jan Hammer Group Live
1980 There and Back
1985 Flash
1989 Jeff Beck’s Guitar Shop
1992 Frankie’s House
1993 Crazy Legs
1999 Who Else!
2001 You Had It Coming
2003 Jeff
2006 Live at BB Kings Blues Club
2007 Official Boot
2008 Live at Ronnie Scotts
2010 Emotion & Commotion

CLICK THE LINKS BELOW TO SEE JEFF BECK PHOTOS:
JEFF BECK PHOTOS BY BEN UPHAM
AND
JEFF BECK FINE ART AMERICA IMAGES BY BEN UPHAM

SAMMY HAGAR & BILL CHURCH ROCKING OUT IN OAKLAND ON 12-31-77. PHOTO ART BY BEN UPHAM.

SAMMY HAGAR
“MAN IN RED BELIEVES IN MIND AND SPACE”
BY CHRISTOFER GROSS
THE VALLEY NEWS
VAN NUYS, CALIFORNIA
APRIL 29, 1977

“I heard Cream for the first time and immediately took up the guitar”. Could be the words of any number of frustrated garage-band members during the ’60s who never made it out of their garages.
But these are the words of Sammy Hagar, who’s done pretty well for himself since pulling out of his garage. After touring the East with Boston, he opens tomorrow night’s Bob Seger concert at UCLA’s Pauley Pavilion.
What separates Hagar, if you look into the man, from the also-rans of the rock scene is an uncommon set of beliefs backed by confidence and clarity. His tag to the Cream remark was, “How Clapton has done all the innovating that he’s going to. But I feel that I’ve got a lot of new things to produce.”
Born in Monterey, he grew up in Fontana, the son of a boxer who held the bantamweight title during the mid ’40s. At 13 he saw Elvis Presley for the first time and was impressed to the point of idolatry. At 16, he heard Cream and picked up the guitar. After some years of local amateur bands he was accepted into Ronnie Montrose’s band Montrose.
After two years of writing and singing songs with that Bay area-based band, he went off on his own. Upon leaving Montrose he got the opportunity to do “Nine on a Ten Scale” for Capitol, his first solo album. On it he got some help from a contemporary of Clapton’s, Van Morrison.
“The bass player in my band,” Hagar explained, “Bill Church, had played with Van on Tupelo Honey’ and ‘St. Dominic’s Preview ‘ So Van was there as a friend. It turns out he wanted to play sax on the record When he came up to me I told him we didn’t have a song with a sax part and so he wrote a song called ‘Flamingo’s Fly” which he released on his new album. His version isn’t as good as mine, but neither is as powerful as when he first sat down with his guitar to play the song for me after he wrote it.”
On Hagar’s current LP, “Sammy Hagar,” songs by others are about one fourth of the album. Each one brings in enough new ideas to make it stand on its own.” There is Donovan’s “Catch The Wind,” Weil and Mann’s “Hungry”, and a tough version of Patti Smith’s “Free Money.”
The rest of the material, written by Hagar, is primarily goodtime rock revolving around parties, concerts and music. “Rock ‘n’ Roll Weekend,” “Cruisin’ and Boozin’,” “Fillmore Shuffle” and “The Pits” make up the best of these tunes. “The Pits” has a line in it about being hit in the face with a frisbee at a concert “Yeah, you can’t imagine how many times I’ve been hit up on stage,” complained Hagar, “but I guess it happens all the time. Everywhere I go to be interviewed, writers, radio announcers, all tell me they’ve been hit.” This writer was no exception.
Two of the remaining songs are more serious. “Red,” the opening cut, is a tour de force tribute to Hagar’s favorite color. Red, he said, corresponds to nine, “his number.” Since you’ll find one pertinent song on each of the Montrose albums he contributed to, and each of his solo albums, the reliance on red is, thankfully, more temporary. “I’m planning on wearing red this tour, but that’s it. I’d be disappointed if fans came to my concert dressed in red a year from now.”
The final song on the album, “Little Star/Eclipse,” reveals Hagar’s true interests. “I believe I know answers to where we come from, where we are going and the reasons why we are here. I get glimpses of images of the future in dreams and so on. That’s what I plan to do with my concept album ” Hagar plans to release two albums from now, an album recorded at a concert when he is performing his “in-the-works” space odyssey about “Sammy Wilde and the Dust Cloud.” “Sammy Wilde will be one of these characters who understand the mind and space and responds to prediction so that he avoids the minor hassles of the day. Eventually, he will be joined onstage by a spaceship which will take him away.” He plans to hover this spaceship, actually descend from the rafters of the hall, land on the stage and fly away.
Though Elvis inspired his motion, Uri Geller has strongly affected his mind. Geller is a 30-year-old, Tel Aviv born legend in mental telepathy. He is either a superb magician, or the premiere showbiz-meets-parapsychology proponent in the world. It was in just such a showbiz setting (“$45 a seat and no dinner”) that Hagar, who believes strongly in Geller’s abilities (“We had similar experiences when we were young”) saw him perform. His standard fare is bending coins and silverware, reading minds and fixing watches. All this without touching the objects. Said Hagar, “My wife had her watch with us which hadn’t worked in a long time. When Uri said concentrate on the watch, we did, and it began to work again.”
What does all this have to do with music? Until Hagar came along, nothing. But it is this snowballing nature of rock & roll that causes the music pick up and promote different ideas that the musicians come in contact with along the way. The ideas are mixed with the music and come to the audience in one degree or another of dilution. But this is not what he’ll be performing tomorrow night. Tomorrow’s still the high power rock that has made him the Bay area’s pick as America’s next sweetheart.
But someday, maybe kids will say, instead of having picked up guitar upon hearing Cream, “Yeah, I heard Sammy Hagar for the first time and picked up a book on mental telepathy.”

SAMMY HAGAR DISCOGRAPHY:

1976 Nine on a Ten Scale
1977 Sammy Hagar
1977 Musical Chairs
1979 Street Machine
1980 Danger Zone
1981 Standing Hampton
1982 Three Lock Box
1984 VOA
1987 I Never Said Goodbye
1997 Marching to Mars
1999 Red Voodoo
2000 Ten 13
2002 Not 4 Sale
2006 Livin’ it Up!
2008 Cosmic Universal Fashion

CLICK THE LINKS BELOW TO SEE SAMMY HAGAR PHOTOS:
SAMMY HAGAR PHOTOS FROM 1976+1978 BY BEN UPHAM
AND
SAMMY HAGAR PHOTOS FROM 12-31-77 BY BEN UPHAM
AND
SAMMY HAGAR PHOTOS FROM 2-2-77 BY BEN UPHAM

JOHNNY WINTER AND FLOYD RADFORD PAINT WINTERLAND BLUE ON APRIL 30, 1976. PHOTO BY BEN UPHAM.

JOHNNY WINTER
“PLANS TO GO ON PLAYING FOREVER”
THE BRANDON SUN
BRANDON, MANITOBA, CANADA
AUGUST 11, 1976

Johnny Winter is a man who knows a lot about the ups and downs of rock stardom and a few minutes after he walked into the room wearing the standard jeans, black shirt and sailor’s cap perched incongruously atop a long, thin shock of white hair it became apparent that he’s willing to talk about the way things have gone for him.
Johnny was born in 1944 and grew up in Beaumont, Tex., as an outcast from a lot of the regular pastimes of the kids who lived around him. Both he and his brother Edgar were albinos with abnormally white skin and little eyesight. For something to do, they both turned toward a variety of musical instruments.
As teenagers they played in bar bands with Edgar gravitating toward jazz and Johnny plunging headlong into blues rock guitar. In 1968, Rolling Stone Magazine ran a feature detailing the Texas music scene and devoted a few lines to Winter, dubbing him a “130 lb. cross-eyed albino with long, fleecy white hair playing some of the gutsiest fluid blues guitar you ever heard.”
Winter had already recorded a rough sounding album for a Texas label but the Stone article touched off a bidding war amongst the major record companies with Columbia eventually signing, him for a figure reported to be in the neighborhood of $750,000, which at that time was the highest advance ever paid to an artist.
Suddenly, Johnny Winter was a superstar in demand for live concerts to the degree that he was on the road nonstop for three solid years with few breaks other than to record another album. In the struggle to live up to the guitar legend that was being created around him, Johnny turned to heroin.
“I just got sick of-having no home, no friends, no sleep and no real personal identity,” Winter said. “After a while I just couldn’t handle the whole scene. It drove me nuts. Hell, it almost killed me. One day I said to myself, ‘No more, I quit. I’m goin’ home!’ ”
For over a year Winter remained in a private hospital cleaning up his addiction and getting his strength back before he served notice with the LP ‘Still Alive And Well’ that he was ready to attempt a scramble back to stardom. Now that he has managed just that feat, he was asked if it was all worth while, if he must not get tired of playing the speedy fusion of rock and blues guitar that is synonymous with the name Johnny Winter.
“I don’t get tired to doing what I’m doing,” he said. “I do get tired of being put in a category which prevents me from broadening out, still playing the blues and rock but do a nice ballad or country song and have people appreciate that, if I do it well. But I can’t. To my audience I’m either a blues player or a rock ‘n’ roll blues player and I never have been able to put anything else over.”
His latest album was recorded last summer in live concerts in San Bernadino, San Diego and at the Oakland Coliseum where the crowd numbered 55,000 people.
“Really when we did those dates Edgar and I were trying to get an album of stuff together,” Winter explained. “His band played a set, then mine, then we did a set together but after listening to the tapes I said, ‘Hey, there’s enough here for a live album of my own.’” I think people would rather listen to me live anyway. We’ve tried to make our studio recordings sound as much like a live gig as possible, ‘but there’s just that special buzz you get from going on in front of a crowd.”
Once again Johnny relies heavily on material written by other artists but the truth is that he uses songs like ‘Bony Moronie’ and ‘It’s All Over Now’ primarily as a skeleton on which to hang his extended guitar workouts.
“The reason that I do stuff by other people is that I’m simply not a great songwriter” Winter said. “Once in a while, I came up with something worthwhile but I’d rather record a great song by someone else than a mediocre song that I’ve written. Some people put you down for doing the old stuff but as long as you “do ‘em your own way and don’t just copy ‘em I think it’s fine.”
Does Johnny Winter ever ask himself how long he can keep on doing what he is doing. Does he ever think about standing out on a stage and yelling rock ‘n’ roll at an audience young enough to be his children? “Muddy Waters is still around,” he answered, “and Chuck Berry is still going strong. So I think, and hope, that as long as I play and sing well I can just go on forever. As long as I can stand up this is what I’ll be doing…

JOHNNY WINTER DISCOGRAPHY:
1968 The Progressive Blues Experiment
1969 Johnny Winter
1969 Second Winter
1970 Johnny Winter And
1971 Live Johnny Winter And
1972 Roadwork (with Edgar)
1973 Still Alive and Well
1974 Saints and Sinners
1974 John Dawson Winter III
1976 Captured Live!
1977 Nothin’ But the Blues
1978 White Hot and Blue
1980 Raisin’ Cain
1984 Guitar Slinger
1985 Serious Business
1986 Third Degree
1988 Winter of ’88
1991 Let Me In
1992 Hey, Where’s Your Brother?
1992 Scorchin’ Blues
1998 Live in NYC ’97
2004 I’m A Bluesman
2009 Johnny Winter Anthology
2009 The Woodstock Experience

CLICK THE LINKS BELOW TO SEE JOHNNY WINTER AND FLOYD RADFORD PHOTOS:
JOHNNY WINTER AND FLOYD RADFORD PHOTOS BY BEN UPHAM
and
Johnny Winter Fine Art America Images by Ben Upham

DAVE MENIKETTI & PHIL KENNEMORE OF Y&T ROCKING OUT IN SPOKANE ON 7-18-10. PHOTO BY BEN UPHAM.

YESTERDAY & TODAY
“A BAND ON THE WAY UP”
BY KATHIE STASKA AND GEORGE MANGRUM
THE ARGUS
FREMONT, CALIFORNIA
JANUARY 24, 1975

A little over a year ago Yesterday and Today was just another East Bay rock quartet trying to find itself. Today it is one of the fastest rising rock bands in the area.
After they took a first place in last year’s Hayward Battle of The Bands at Chabot College things seemed to happen for this young hard rock group.
Y&T played several gigs in the East Bay. Then in the middle of last summer they went to Seattle to get their act together. They came back last fall much more polished and played clubs like the Tuckett Inn in Hayward. The next thing you know Yesterday & Today played Winterland twice and a New Year’s Eve concert with the Doobie Brothers at the Cow Palace. It is hard to believe that four can improve so much in a year’s time as a unit like they have.
The band consists of Dave Meniketti on lead guitar: Leonard Haze on drums; Phil Kennemore is the bassist and Joe Alves plays rhythm guitar.
Although the hard rockers have their roots in Hayward, they like to be considered an East Bay band because some of the members live in Oakland.
They are the featured guest stars in this year’s Hayward Battle of The Bands to take place tomorrow night at Chabot College. “We’re all looking forward to playing in front of our fans in the Battle this year.” Haze said. “We are looking forward to hearing some of the young bands that will be in this year’s competition.
The new-East Bay Band played Winterland last Saturday night on the first Saturday sounds Of The City gig. The audience gave a bigger response to Yesterday and Today than the other two bands. Journey who have a new album coming out soon and Fever.
Although there were some sound problems it did not seem to bother Y&T, they cooked from the start to end and drew two encores from the large Winterland crowd. “It is like going home to play Winterland.” Haze said. “We are not all that familiar with it yet but it’s a fun place to play. “We sure owe Bill Graham a lot. He is one of the nicest guys I have ever met, and one of
the most together ones also.” says Haze.
Did Yesterday & Today ever think they would play Winterland as soon as they did in their young musical career?
“I did.” said Meniketti. “You have to have 100 per cent confidence and we do.” “To me it was a goal and now it is not a goal.” Alves said. “Now a goal for me is an album.” “The band does most of their own writing. That is a plus to any group if their material is good and Y&T’s is.
They have a good management firm in Spreadeagle (who takes care of business for the rock group Journey) and they have good people working with them right down the line from the road crew to their road manager Ken McMillian.
Haze tells the story of how Yesterday and Today got their name. “We were playing Treasure Island when they asked how we wanted to be billed. At the time I was listening to the Beatles album ‘Yesterday & Today’. I was on the phone trying to think of a good title and I looked over at the album cover and said Yeslerday & Today. That has been our name ever since.”
“A lot of bands pay their dues by playing a lot of local clubs. We wanted to stay away from that if we could because we don’t play club music. We paid our dues by playing high schools. Navy Clubs, apartment complexes and so on. We are better at larger places,” says Meniketti.
If Yesterday & Today improves in 1975 as much as they did in 1974 the East Bay is going to have a dynamite band.

YESTERDAY & TODAY (Y&T) DISCOGRAPHY:

1976 Yesterday & Today
1978 Struck Down
1981 Earthshaker
1982 Black Tiger
1983 Mean Streak
1984 In Rock We Trust
1985 Open Fire (Live)
1985 Down for the Count
1987 Contageous
1990 Ten
1991 Yesterday & Today Live
1995 Musically Incorrect
1997 Endangered Species
2000 BBC In Concert
2003 Unearthed Volume 1
2004 Unearthed Volume 2
2009 OneTwo (1st two albums Remastered)
2010 Facemelter

CLICK THE LINKS BELOW TO SEE Y&T PHOTOS:
Y&T FINE ART AMERICA IMAGES BY BEN UPHAM
AND
YESTERDAY & TODAY PHOTOS FROM SAN FRANCISCO APRIL 1975 BY BEN UPHAM
AND
Y&T PHOTOS FROM SPOKANE ON 7-18-10 BY BEN UPHAM