Rock and Roll

Formed: 1973 in Rockford, Illinois
Years Active: 1973 through present.
Group's Main Members: Rick Nielson, Robin Zander, Bun E. Carlos, Tom Petersson, Jon Bryant

Back in the 60s, rock n roll oddball Rick Nielson began collecting bizarre guitars and studying esoteric British bands like Family and the Move. Tooling around the world, he returned to hometown Rockford, Illinois, and wound up in various outfits with avuncular drummer Bun E. Carlos. With lies of success, Nielson fooled bassist-in-crime Tom Petersson into leaving Europe to join. Soon, young folk singer Robin Zander was on board and Cheap Trick was born. The band played anywhere and everywhere, soon opening for the Kinks, Journey and Kiss. Nielson amassed a huge song portfolio before legendary producer Jack (Aerosmith, John Lennon, Zebra) Douglas finally led the quartet into the studio for their self-titled debut in 77. Cheap Trick showcased the Trick throwaway aesthetics of brilliant stupidity ("Hot Love"), wily irreverence ("Daddy Should Have Stayed in High School") and high-voltage pop genius ("He’s a Whore," "Oh Candy"). Chicago murderer Richard Speck was the topic of "Ballad of TV Violence" while "ELO Kiddies" is the cleverest Japanese toy/nuclear generation/Jeff Lynne song ever. In-house producer Tom Werman cleaned up the follow-up, In Color (77), for the radio and polished their third, Heaven Tonight (78), into a shining AOR gem. Few bands could turn songs about barbiturates ("Downed") and suicide ("Auf Wiedersehen") into chugging arena anthems, so Cheap Trick prepared for world domination. Merging the lines of metal, punk and Top 40, this golden stage is encapsulated by the brilliant "Surrender." Meanwhile, the band was already on top in Japan, documented on the stopgap live release At Budokon (79), which pushed the band to platinum status though it was originally intended for Japanese-only release. Thundering versions of "I Want You to Want Me" and the oldie "Ain’t That a Shame" were actual hits, bolstered by the band’s pioneering visual sense and Live at Leeds propulsion. After the abrupt Budokan, much momentum was lost by the impending release of the studio-intensive Dream Police (79). Though the title track, "Way of the World," and "I Know What I Want" were well-crafted singles, the roaring energy circulated by the live platter seemed to evaporate with the heady 70s. Petersson grew disenchanted, pulling a Yoko move with wife Dagmar, and left after the underrated All Shook Up (80), ironically produced by George Martin. Tick lost its commercial footing, unobtrusively releasing over-looked movie songs (two greats on Heavy Metal) for overlooked USA "Up All Night" movies and even "starred" with Debbie Harry in the animated movie Rock & Rule. Jon Bryant replaced Petersson and Trick dropped three eclectic pop artifacts: the compressed One on One (82) with Queen’s uber-producer Roy Thomas Baker; the quality Next Position Please (83) with kindred spirit Todd Rundgren; and Trick reunited with their first boardman, Jack Douglas, for the guilty pleasure Standing on the Edge (85). But when the clanging and bizarre Doctor (86) also slipped under the pop radar, the ever-encroaching record company took over. Petersson returned for Lap of Luxury (88), a calculated commercial confection with 3D production from Ritchie Zito. Trick scored a number one record with the lighter-ballad "The Flame." And "Don’t Be Cruel" was the first Elvis cover to hit the Top Ten since his death. But outside songwriters distanced Trick from their own records, and the vacuous Busted (90) increased the polarity between the power-party stage band and their adult-contemporary schlock tunes. Still playing wicked shows at state fairs and barbecues, Trick seemed to lose heart. In 94, a fresh start at Warner Brothers resulted in Woke Up with a Monster which accelerated Trick’s descent into obscurity. But Smashing Pumpkin Billy Corgan, an Illinois native who cut his teeth on vintage Trick, installed a new life force. Trick released another record, reissued their first four classics and began selling out shows again. Through it all, Cheap Trick weathers on like always, rockin’ like big dogs night after night .

Originally, there was an entire band called "Alice Cooper " led by a singer named Vincent Damon Furnier. Under his direction, Alice Cooper pioneered a grandly theatrical and violent brand of heavy metal that was designed to shock. Drawing equally from horror movies, vaudeville, as well as Black Sabbath, Led Zeppelin, and the Stooges, the group created a stage show that featured electric chairs, guillotines, fake blood, and huge boa constrictors, all coordinated by the heavily made-up Furnier. By that time, Furnier had adopted the band's name for his androgynous onstage personality. While the visuals were extremely important to the group's impact, the band's music was nearly as distinctive. Driven by raw, simple riffs and melodies that derived from '60s guitar pop as well as showtunes, it was rock & roll at its most basic and catchy, even when the band ventured into psychedelic and art rock.
After the original group broke up and Furnier began a solo career as Alice Cooper, his actual music lost most of its theatrical flourishes, becoming straightforward heavy metal, yet his stage show retained all of the trademark props that made him the king of shock rock.

Furnier formed his first group, the Earwigs, as an Arizona teenager in the early '60s. Changing the band's name to the Spiders in 1965, the group was eventually called the Nazz (not to be confused with Todd Rundgren's band of the same name). The Spiders and the Nazz both released local singles that were moderately popular. After discovering there was another band called the Nazz in 1968, the group changed its name to Alice Cooper. According to band legend, the name came to Furnier during a ouija board session, where he was told he was the reincarnation of a 17th-century witch of the same name. Comprised of vocalist Furnier, guitarist Mike Bruce, guitarist Glen Buxton, bassist Dennis Dunaway and drummer Neal Smith, the group moved to California in 1968. In California, the group met Frank Zappa and his manager Shep Gordon who signed Alice Cooper to their new label, Straight Records.

Alice Cooper released their first album, "Pretties for You" in 1969. "Easy Action" followed early in 1970, yet it failed to chart. The group's reputation in Los Angeles was slowly shrinking, so the band moved to Furnier's hometown of Detroit. For the next year, the group refined their bizarre stage show. Late in 1970, the group signed with Warner Brothers and began recording their third album with producer Bob Ezrin.

With Ezrin's assistance, Alice Cooper developed their classic heavy-metal crunch on 1971's "Love It to Death ", which featured the number 21 hit single "Eighteen"; the album peaked at number 35 and went gold. The success enabled the group to develop a more impressive, elaborate live show, which made them highly popular concert attractions across the U.S. and eventually the U.K. "Killer", released late in 1971, was another gold album. Released in the summer of 1972, "School's Out" was Alice Cooper's breakthrough record, peaking at number two and selling over a million copies. The title song became a Top Ten hit in the US and a number one single in the UK. "Billion Dollar Babies", released the following year, was the group's biggest hit, reaching number one in both America and Britain; the album's first single, "No More Mr. Nice Guy," became a Top Ten hit in Britain, peaking at number 25 in the U.S. "Muscle of Love" appeared late in 1973, yet it failed to capitalize on the success of "Billion Dollar Babies".

After "Muscle of Love", Furnier fired the rest of Alice Cooper, retaining the name for a solo career; the rest of the band released one unsuccessful album under the name Billion Dollar Babies. In the fall of 1974, a compilation of Alice Cooper's five Warner albums, entitled "Alice Cooper's Greatest Hits", became a Top Ten hit.

For his first solo album, Cooper hired Lou Reed's backing band from Rock 'N' Roll Animal -- guitarists Dick Wagner and Steve Hunter, bassist Prakash John , keyboardist Joseph Chrowski , and drummer Penti Glan, as his supporting group. "Welcome to My Nightmare" , Alice Cooper's first solo album, was released in the spring of 1975. The record wasn't a great departure from his previous work and it became a Top Ten smash in America, launching the hit acoustic ballad "Only Women Bleed." Its follow-up, 1976's "Alice Cooper Goes to Hell", was another success, going gold in the U.S. After "Alice Cooper Goes to Hell", Cooper 's career began to slip, partially due to changing trends and partially due to his alcoholism. Cooper entered rehabilitation in 1978, writing an album called "From the Inside" (1978) about his treatment with Bernie Taupin, Elton John's lyricist. During the early '80s, Cooper continued to release albums and tour, yet he was no longer as popular as he was during his early '70s heyday.

Cooper made a successful comeback in the late '80s, sparked by his appearances in horror films and a series of pop/metal bands that paid musical homage to his classic early records and concerts. "Constrictor", released in 1986, began his comeback, but it was 1989's "Trash" that returned Cooper to the spotlight. Produced by the proven hit maker Desmond Child, "Trash" featured guest appearances by Jon Bon Jovi, Richie Sambora, and most of Aerosmith. The record became a Top Ten hit in Britain and peaked at number 20 in the U.S., going platinum. "Poison", a ballad featured on the album, became Coopers first Top Ten hit since 1977.

The Coop has also made many a movie and television appearance -- alongside such stars as Helen Hayes, Mae West, and Gene Wilder, among others -- including, most notably, "Wayne's World," "Freddy's Dead: The Final Nightmare," "Roadie," "John Carpenter's Prince of Darkness," and "Something Wilder."

His Guardian Records release "A Fistful Of Alice," was a paint-blistering live album recorded in Mexico that features special guests Slash, Rob Zombie, and Sammy Hagar, and is guaranteed to break leases and shatter noise by-laws every time it's cranked up to full volume.

Also in release is "Prime Cuts: The Alice Cooper Story," a 90 minute home video shockumentary of Alice's career. This was followed in 1999 by the long-awaited release of the definitive multi-CD box set, "The Life & Crimes of Alice Cooper," an authoritative and comprehensive chronicle of Alice's entire musical history.

Another Chicago Classic and Favorite of us Midwest Folk


"We're 1980's rock 'n roll," says Hounds leader-founder John Hunter, Chicago native and, like the other band members, a seasoned veteran of Midwestern rock, nearly a genre unto its own these days. "By its very nature," explains Hunter, "rock 'n roll is steeped in rebellion. Hounds' messages are contemporary. They are not just sex & sleeze. They're not just street fighting. There's more involved in it, and there's still rebellion. in the '60's, rock 'n roll was more than an art form - it was political as well. Today, I'm not sure where the Hounds are going to end up politically. I think one of the Hounds' functions - or missions – is to shake up the people a bit. I want them to like us or to hate us, but react to the music either way. I want the music to make them think."

In Chicago, where Hounds have passed from semi-legendary street-cult status to genuine historical fact, the popular reaction has been all that Hunter could ask for. Come friday afternoons around 5 P.M., listeners of a dozen radio stations in the area have been known to salivate like Pavolv's dogs at the prospect of hearing Hounds Anthem, "Drugland Weekend," one more time. One station has it pegged as it's "most requested" number of 1976 and 1977 - notwithstanding the fact that they were programming it off a demo tape (which also included "The Alleys of Love," Hounds set opener) and the sides were not for sale in any record store.

With the release of the Hounds' debut album, UNLEASHED (March 1978), the latter problem is solved in no uncertain terms. At the same time, three years of scuffling (and several lifetimes of dues-paying) make it all worthwhile. There have been some times! "We really were starving at one point," recalls Hunter. "We did a tour of Wyoming, of all places, and sometimes we didn't have enough money for a motel room, so we'd sleep on park benches. Hey it was coarse.

For 28-year old Hunter, who'd graduated Northwestern University as a pre-med student, the rock 'n roll decision was hardly an overnight one. He was playing one-handed boogie woogie piano at age 3, and was trained through high school. Along the way was an endless succession of bands, with influences ranging from Dion and Motown in the early '60's (Jr. Walker's "Roadrunner" was the first song Hunter ever recorded); through the Beatles ("I was swept away... they changed my life") and the rest of the British Invasion, with its open indebtedness to its root source - American rhythm & blues and rock 'n roll, factors that figured heavily in the birthright of Hounds.

Out of school in 1971, the John Hunter Band became the focus of attention. An otherwise enlightening A&R junket to New York City turned up no buyers for his many demo recordings, but set his head straight on the next phase: "The general consensus was a) You need a direction; b) You need a band to perform the songs; c) You need a strong road organization and booking organization; d) You need strong management organization. So I had a lot of work ahead of me."

The work began as he sought musicians who shared his initial concept: "Substantial rock 'n roll, with rawness, the strength, the heavy dynamics that I'd really only hear from British groups until that point. I wanted to be able to use that classic British sound, to take those rock 'n roll, into a true rock 'n roll form, not American or British, but a form that transcends both, a continuation."

Hunter came across drummer John Horvath in a country-rock band called Wildwood and was able to convince him to join the venture. Trained by Roy Knapp (who taught Gene Krupa and Buddy Rich years before), Horvath's tastes extend from Lionel Hampton to Billy Cobham, from Led Zeppelin's John Bonham to Count Basie.

When Hunter saw a newspaper ad that read "Professional English-style rockers looking for front man" he crossed the Indiana border and found Jim Orkis playing lead guitar in Pyramid. Hunter sent Pyramid's drummer back to Macon (!) and brought in Horvath. Ditto Pyramid's bassist, whose cousin the guitarist dropped out in protest. Hunter, Orkis and Horvath became the nucleus of Hounds, and recorded the "Drugland Weekend" demo in 1975 with various bassists, they started performing as a 4-piece band, taking gigs virtually anytime and any place they could. With one important proviso - Hunter's unqualified refusal to play anything except his original material.

If such a "luxury" infuriated club owners or alienated patrons - who expected to hear "copy" material at least 50% of the time - it certainly didn't matter to the Hounds. If the boss or the patrons became abusive, the band was ready to defend itself. "We had no choice," says Hunter. "It was either fight or get buried. But something always happened to pull our spirits up, and we'd rally and keep going. 'Let's do a few more gigs, let's do one more demo, let's borrow a little more money and buy a little more equipment, let's make just a little bigger fools of ourselves.' We were bound and determined to make it, no matter what."

The true fans emerged slowly, turning up to request "Drugland Weekend" or "Alleys of Love" on the basis of the demo's radio play and the Hounds' hardworking presence in the area. One fan was Bruce Kapp of Celebration Productions, Chicago's primary concert promoters, who took over Hound's management in 1977 around the same time they were signed to Columbia Records. Already established as headliners around the city and even into suburban Indiana, hounds soon expanded their turf throughout the Midwest, as Celebration booked them onto major regional tour wings with the likes of Ted Nugent, Geils, Manfred Mann, AC/DC and others. The concert audiences were predictably more excited about Hounds' original music compounded with their outrageous, aggressive attitudes onstage. "And the more we did it, the more they liked it," adds Hunter.

Hounds' final personnel change happened last November, 1977, just weeks before recording sessions for Columbia were to commence at the Record Plant in Los Angeles. Guitarist Glen Rupp Jr. and bassist Joe Cuttone, Chicagoans who'd performed and recorded in the Paul Bogush Band (produced by Larry Carlton), were able to master Hounds' repertoire in a matter of days, and the sessions went on as scheduled. "I've never worked with such skilled musicians," praises Hunter.

It seems an altogether appropriate coda for this opening chapter of Hounds' saga that, right after they'd finished the sessions in Record Plant's Studio C, the facility suffered a million dollar fire. Hunter, engineer Steve Smith, and producer Terry Powell (of Sparks renown) were actually doing final mixes of the album elsewhere at the Record Plant when "C" was razed.

But now the real heat is on. "We were very savage when we put this band together," recollects hunter, "We've begun the first step of our journey with the recording of this album. Now we want the whole ball of wax, we want to establish ourselves and make albums forever. as long as we're physically able to do this, we're gonna do it, in one capacity or another. Right now, professionally, this is the high point of our lives

As stated here many times my major music influence was Chicago Rock from the mid 70's to the present,And after working 100's and hundreds of concerts at the Rosemont Horizon (now the Allstate Arena) for the Teamsters Union for 18 trs I have seen my share of music, Now to some of the best of my era, 1st The Boyzz from Illinoizz were our forth right favorites,Honestly seeing at least 500-700 of there shows, which led to a friendship very close with these local heroes, Alomg with bands like The Hounds, Holland,Pezband, The Kind,Chicago was flooded with killer music, As the Boyzz disbanded they broke into some very awesome bands such as Deluxery,Dirts Raiders, The B'zz all of which had that hard Chicago rock sound so loved by this city, Now many years later the verrry talented Michael Tafoya,Who rocked like no other and truly one of the most underrated guitarist in the rock world, Now Mr Tafoya and his Lost Boyzz have unleased a new round of that rock and showmanship only a showman like mike Tafoya can provide!!!! Hope you enjoy this Bio and if in Chicago dont miss this Rock Legend live!!!!!!!!! Thanks Chicago Mike



With an old school, "now sound", a bump-and-grind feel, and a roadhouse zest Tafoya's Lost Boyzz captures and tickles the happy bone in everyone's heart.

Michael Tafoya - Guitar and Vocals

First gained international attention with Epic recording artists, "The Boyzz from Illinoizz", with Dirty Dan Buck and company, releasing their album "Too Wild To Tame" (Epic Records). In the search of greener, creative pastures, Michael forms "The B'zz", also Epic recording artists. "The B'zz", featuring Tommy Holland (Holland "Wake Up The Neighborhood"), Steve Riley, (W.A.S.P. and L.A. Guns), Dave Angel, (The Boyzz) and Anatoly Halincovich, (a.k.a. Tony Hall) (The Boyzz, "America's Most Wanted"), went on to make an appearance on Dick Clark's American Bandstand, making history being the only unsigned act to perform in the show's 35 year run. Then, filmed a video for MTV, "Get Up, Get Angry", toured the country, all while writing music prolifically.

Michael went on later to form his own "Tafoya" band, which evolved into "Raw Dogs" (again with Tommy Holland). He as been rock and rolling for decades with nothing in his bones to slow his creative flow!

Chis McCoy - Drums and Vocals

Chris' life is a true, made for T.V. rock and roll story.

Chris was conceived in the back seat of a '68 Chevy, near Notre Dame University, in LaPorte, Indiana. His father, Terry W., played drums and Uncle Al, played accordion and then guitar professionally for the "Rockin' Riveria's". They scored the MEGA-SURF hit "California Sun", (co-penned by Uncle Al).

Chris has been holding drum sticks since he was able to grab them and actually started learning the drums at 10 and then began rocking at 14 with his first "very own" drum kit from his pop. And, the rest you got itis history!

Erik Osland - Bass and Vocals

Erik started playing Bass at age 7 and by 12 he was playing in various Lake County clubs with his father. He eventually picked up drums and guitar as well.

Erik has played with various local bands, promoted teen concerts and has a recording and sound reinforcement business ("Gadjet Productions"),

This outfit is definitely a diverse bunch, just like the music they play. Also just like the music they converge into a single point of view. Big sound, hip shaking, visually formidable, and zesty old school "now" sound. Michael's search led to

The band has a sound that's been decribed as "two to the mule" like they have six members rather than three players.
DON'T MISS OUR DEBUT CD TITLED 'LIFE'
Due for release Soon!!!
Web site http://www.tafoyaslostboyzz.com
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