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The Jayne Sachs Interview
by Rick Brown

Editor’s note: Janie Sachs (now known by Jayne) was a young woman who auditioned to be in a band I fronted way back in 1980 called Small Shoes. She played and sang with us for about 9 months when we parted ways most amicably. She was a pleasure to play music with and I hold some of the memories most dearly. We lost touch a long, long time ago until the drummer from that band…Tom Grice…called and informed me that Jayne had won the semifinals of this year’s John Lennon Songwriting Awards. It has been a joy to reconnect with her and I am astounded by her development as a singer/songwriter with a strong regional following in the Dayton, Ohio area.


Naked Sunfish – How did you get started playing music?

Jayne – When I was a freshman at OSU, I started writing original music and learning covers. I had never performed, but decided to try a slot at an open mic night on campus. I did the open mic and really sucked... badly. But I kept writing and playing for anyone who would listen. Then my sophomore year I auditioned for a band already established called "Small Shoes"... ever hear of em? You let me join YOUR group "Small Shoes" and this is where I learned more about playing live and how to play with other musicians. I learned about harmonies and such. I still have the piece of paper you wrote out for me to teach me the notes of a guitar... I never learned those notes and am still playing by ear by the way. But I remember learning how to tune a guitar from you, and realizing that one can change the sound of a guitar by sending it through an effects box... and other things that have been helpful in my career. From the gigs I did with Small shoes, I was able to buy a beautiful blond Guild acoustic and that became THE guitar I would write with for some 20 years to come. Still have it and still marvel at how beautiful it is.


Tom Grice (drums), Jayne Sachs (guitar and vocals),
Rick Brown (lead guitar, harmonica, vocals) and Yvonne Brown (bass)

N.S. – Of course I remember! Tell us about your early influences.

Jayne – Neil Young, Carol King, James Taylor... all the melodic singer/songwriters of the time. The Carpenters.

N.S. – You had a career in television for a while as well right?

Jayne – I started out as a reporter and then went into producing prime time specials with a news/documentary feel. From there I ended up as a writer/producer for a station's creative services department. I still love the idea of researching, writing, producing and reporting, but don't have any plans on going back to the daily deadlines of TV. Instead, I hope to take these skills and produce documentaries in the near future.

N.S. – You do gigs both as a solo artist and fronting a band. Do you have a preference?

Jayne – I very much enjoy both types of performances. The great thing about playing with the band is "feeling" the muscle that gets added to the bare bones of my songs. Having that power surrounding the songs allows me to perform more "physically" because of the added intensity and textures provided by my mates. On the other hand, playing solo (the way I write the songs) allows me a total connection and intimacy with the audience... given that they are hooking into it. Sometimes the best way to reach into a crowd is to strip down to the bare skeleton of the art because there's not much between you and them and that rawness doesn't allow the artist to hide.

N.S. – Recently you were a finalist in the annual John Lennon Songwriting Contest. Can you tell us about your experiences?

Jayne – My song "Twisted Ballerina" won their Pop Category. At first I was shocked they choose this song because it is very intense with a strong message via a story. I think it was brave of the Lennon judges to gives this song the opportunity to be heard. Because of the contest, "Twisted Ballerina" made it's way around the globe uniting survivors of child sexual abuse and advocates of all types. I heard from people as far away as Singapore, Ireland, Australia, The UK just to name a few. It was a very special connection that happened and I'm still amazed and grateful... and a big validation to win an international songwriting contest in that category.

N.S. – Many of your songs are about childhood. But they are dark. And “Twisted Ballerina” is a beautiful yet disturbing song concerning child sexual abuse. What inspires you to write about children in a serious manner? Did you have an unhappy childhood?

Jayne – I would say that I have a handful of songs about childhood... three in particular that deal with the issue of abuse or neglect and a few more which deal with my own childhood situation. I never "set out" or assign myself to write about any particular issue or emotion. I just write. Did I have an unhappy childhood? Yes, in many ways. My mother was dying from the time I was five until her death when I was 12. All of our surrounding neighbors' parents died as well and I saw all the children become orphans. My Dad was the only adult survivor. Possibly a weird environmental thing that happened or just a horrible state of circumstances. But this deeply affected and traumatized me. And then I was motherless and further affected and changed for the rest of my life. As my Mom was in her final year, I sat by her bed and soaked it all in... every breath of it... No one could convince me to go outside and play or to even leave this white couch I was sitting on. I believe I froze my brain to that time of my life and burned into it what I was witnessing... and I think it was in these moments that I became an artist... and would forever see the world differently out of those same 12 year old eyes. The music came later.

N.S. – What other subjects pique your writing creativity?

Jayne – I write a lot about relationships... certainly not all about "love" relationships. But we move through this life being a part of relationships of all types... we're even in a relationship with ourselves. There's always interesting points of view to write about... but again I don't ever intend on writing about any one particular subject... it just happens.N.S. – You are balancing a career and motherhood now with small children at home. That must be extremely difficult. How do you keep abalance?

Jayne – One day I'm rubbing my tummy and patting my head... the next day I'm doing this while hopping across the floor on my right foot. It's very difficult juggling a music career and family. I had to make an initial decision to sacrifice big parts of my career to start and maintain a family. I would love to tour. I don't tour. I would love to spend days on end in a studio. I'm not able to. I would love to fly to New York and take advantage of a special showcase, but if it happens to be at a time when something important is happening with my children, I won't fly to New York or anywhere else. I'm with my children. And I don't regret it one bit. But it has been a big adjustment. I'm an unsigned, independent artist trying to get to "some" next level... but I have self-imposed limitations that my career must fit into.

N.S. – I've read that the only time you've experienced writer’s block was when your kids were quite young. And contrary to most writers it was because you were actually very happy. What brought the ideas surfacing again?

Jayne – Yeah, my writing comes from the depths... not from the surface at all. And having kids made me one happy Mom sliding around on the surface. And this wasn't good for my writing. I was still writing, but everything I was writing I thought was horrible. This is the definition of writer's block. Even though I was happy at being a Mom, I started to grieve. I was grieving at the loss of my art. I was so incredibly sad and started writing a song called "When It's Dark"... a song about the demise of my music career. This particular song ironically cut through the writer's block and opened up the floodgates again. I wrote an entire CD called "Sutures" and am still writing.

N.S. – I hear you work on new tunes…practice your guitar…essentially do all your creative work in a closet. Can you tell us about this special closet? It must be large and comfortable!

Jayne – My closet is my own little haven. It is a walk in closet, but it's jammed full with clothes and guitars and a few boom boxes, etc.. This is where I go to practice, to write, etc.. It is out of necessity actually because after everyone goes to sleep I need a place where I can go and not wake anyone up. So I go into my closet and close the door.

N.S. – What are your plans for the future…your music…and your family?

Jayne - I'm 45 years old now and it's highly doubtful a record company will sign someone my age (silly fucks)... but I would love to get a publishing deal and see some of my songs licensed out for TV or film... and I would certainly consider a writer's deal with a publisher because I could do this while still engaging and maintaining my family.

As for family, I plan on being the best Mom I've always wanted to be. My husband George and I are very devoted parents and will do all we can to raise stable, well-adjusted, happy kids. I'll just try to do this with a guitar strapped on to my body, that's all.

To learn more about the Jayne Sachs Band…purchase CDs…and listen to her music go to: http://www.jaynesachs.com.


Pot Luck
by Ted Kane

Roberto Magris' Europlane, Featuring Herb Geller. Il Bello Del Jazz. Black Saint/Soul Note, 2006. ****

Italian pianist Roberto Magris leads a pan-European quintet on the fine new CD Il Bello Del Jazz. Most notable among the group's members is the fine alto saxophonist Herb Geller, a veteran of the West Coast jazz scene of the fifties and sixties who has long resided in Germany. The date is split more or less evenly between originals penned by either Magris or Geller on the one hand and standards on the other. The tracks more or less alternate in mood between hard bop and what could be described as a cross between impressionism and cool jazz.

Blank Sight
by John Bennett

Landscape & Nature Portfolio
by Patrick O'Malley


by Llori Stein

Observing the Giant Where Its Heart Beat: Part III
From China’s Coal Mine Capital with Love
By Amelia Hapsari

A slice of golden sun with slippery edge hung on the mourning evening sky. Smoking chimneys from different sizes and dusty rooftops shared their fate in Datong, the coal mine capital of China. Beijing often looked like a miserable girl who just got dumped by its passionate summer love, but Datong looked like a virgin whose love never arrived. She was grey, pale, and rusty. Spider webs nestled around her devastated soul.

The James Gang
August 26, 2006
Mizner Park
Boca Raton, Florida
* * * 1/2
by Rick Brown

When I was in high school I used to see The James Gang almost weekly at small teen clubs…most notably the North Ridgeville Hullabaloo. The Hullabaloos…and I believe there were three of them in the Cleveland area…were patterned after the 60’s pop show of the same name. These places were small…so I got quite used to standing…and acting cool…a mere 6 or 7 feet from Joe Walsh (guitar), Jimmy Fox (drums), and Tom Kriss (later replaced with Dale Peters on bass). Once their second album, Rides Again, became a national exposure and they embarked on a tour, my proximity was altered considerably.

I saw the Gang at Veteran’s Memorial Auditorium in the fall of 1970. And while I was happy the group from my hometown had been “discovered” I could not veil the chagrin I felt standing and watching them play from the 20th row. Little did I realize I would again experience that feeling some 36 years later.

In the summer of 2005 the James Gang reunited for three shows in the Cleveland area. I was fortunate enough to catch the second show at the Beachland Ballroom…a venue not unlike the ones I frequented as a teenager. And while the show was all too brief it was a delightful reminder of days past and a remembrance that yes…indeed…these guys really rocked! When the group embarked on a summer tour this year, and I realized the concert could be included in the annual Florida Keys trip Dan and I consider a pilgrimage, I was ecstatic!!

Boca Raton, Florida however, is not North Ridgeville. Mizner Park in no way resembles a Hullabaloo. Hell…it isn’t even close to Veteran’s Memorial. Instead, the venue is a small amphitheater (I’m guessing seating 3000) set at one end of an outdoor mall complex with upscale restaurants, boutiques, and expensive condominiums. Snotty model types in their Saturday night “little black dresses” strolled amongst the pony tailed, aging bikers that is the James Gang’s loyal fan base. And as if this were not disconcerting enough…our seats were in like…the 20th row…sigh.

Still…I enjoyed most of the crowd. I bought $130 worth of James Gang t-shirts. And when the show began I felt the excitement. “We’re the James Gang from the 20th Century” exclaimed Joe Walsh as they ambled on stage. Joe’s guy next door jokester shtick was certainly at its sharpest. “Some of you weren’t born when we were originally together. Just consider us really cool friends of your parents!” Yet immediately it was apparent the band would not have the volume it needed to perform a dynamic rock show. Maybe it was all the folks in the fancy condos nearby. I can only speculate.

James Gang loyalists responded warmly to the opening strains of “Midnight Man” which, while pleasant enough, with the addition of three female backup singers (and a keyboard player) the tune was more reminiscent of the Eagles (Walsh’s current band) than a power trio. Ditto for “Walk Away”. For the early part of the set list the Gang leaned more towards “pretty” than “rocking”.

Yet the performance did rock at times…albeit too softly. A long jam of “Stop” had the fire of the old Hullabaloo days. And segueing into Albert King’s “You’re Gonna Need Me” certainly showcased Walsh and company’s blues roots. The band was most impressive during the extended jam segments… “The Bomber” in particular. And while a torrid cover of the Yardbird’s “Lost Woman” excited the crowd, it was puzzling to me why both Walsh and drummer Fox both had extended solos but bass player Dale Peters did not.

More in tune with the environment were the acoustic and keyboard based songs. “Garden Gate” and especially a charmingly naked and vulnerable … although effectively enhanced with a faux string section…“The Ashes, The Rain and I” really stood out. And “Take a Look Around”…arguably the best lyrics Mr. Walsh penned with the Gang…was a definite highlight. And the concert peaked nicely…again albeit too soflty…with a scorching “Funk # 49” followed by Walsh solo career favorite “Rocky Mountain Way” and the blues classic “Goin’ Down” as an encore.

Maybe it’s unfair of me to compare this show with the Beachland Ballroom of last year and the past history I have with the James Gang. But the show…while fun…was good…not great…although no fault of the musicians. While the disappointment was similar to my succumbing to their rise in popularity in 1970…the seats in the 20th row, et al…this was more akin to seeing the James Gang in the Church of American Consumerism…on the altar of the almighty dollar no less. While I reluctantly let go of my space 6 feet from the band decades ago, this was a reunion tour at a fashion mall. And any upstanding, decent, sarcastic Clevelander knows the blasphemy of this. And the James Gang…God Bless ‘em…certainly deserve better…much better.

Freak Show 2006
Shadowbox Cabaret
Easton Towne Center
Columbus, Ohio
* * * *
by Rick Brown

Having never been a Halloween devotee I usually approach Shadowbox Cabaret’s annual Freak Show with a bit of trepidation. This year has a refreshingly different tack to the performance with the inclusion of lots of UFO themed sketches. And I was informed before the show began that I was here on “understudy night” which also proved to be a breath of fresh air. Consider our waiter, relative newcomer Jim Andes. He not only is a super dancer but played superbly as Dracula opposite veteran David Whitehouse’s Dr. Fill in the first of two new and totally delightful spoofs on Dr. Phil: Dr. Fill vs. Dracula and Dr. Fill vs. the Wolfman. Filling in (pun intended) for Shadowbox stalwart Jimmy Mak is no small feat. But Mr. Andes made the Dracula character his own rather than relying on mimicry of Mak.

Both sketches include some well-crafted writing and are powerfully performed by the likes of J.T. Walker (whose Wolfman is a recurring but always hilarious role), Whitehouse, Andes, Suzanne Miller and Brian Hurst. Dr. fill seemed to give a new vitality to old favorites like “Jason’s Scary Stories” – The BMV (and Walker played Mak’s Jason here with notable aplomb as well). Equally refreshing is The Mupranos, a spoof on the HBO show using Sesame Street characters. Aaron Szabo’s Bert mixed it up perfectly with David Whitehouse’s Ernie while the always-charming Amy Lay shone as Elmo. J.T. Walker’s Count however, stole the scene.

It hasn’t been an easy year for this troupe. Yet Shadowbox appears to have reinvented themselves, and it definitely shows in Freak Show. The interplay between live performance and multi-media is incredibly improved. With house band BillWho? and dancer extraordinaire Suzanne Miller “shadowboxing” if you will, tearing through a raucous “Night Prowler” behind an opaque curtain, singer Julie Klein is out front creating one of the best stage presentations I’ve seen these people perform. Almost as good is J.T. Walker wandering with dancers to the audience’s right, while singing the Door’s “Riders on the Storm”. Walker’s restraint, back dropped in the darkness with superb choreography makes for an exhilarating combination of sight and sound.

What makes Freak Show a standout is Shadowbox’s command of their entire performance space. The video screens are integrated into the show smoothly whether it’s the “chase scene” of Crazy Charlie – Miracle Hear or the documentary parody of “The Uncovery Channel”. And by having the lead singer amongst the dancers commands the crowd’s attention much better than fronting the band leaving people turning their heads from one side of the stage to the other.

While the music approaches nirvana at times there are a few slow moments. The Who’s “The Seeker” plods a bit. And Stephanie Shull’s incredible vocal range is handcuffed with “Message in a Bottle”. But all is forgiven after hearing the closing number The Zombies (I loved the “Zombies thread” resurfacing in the show) “She’s Not There”. Steve Guyer masterfully interprets this 60’s 3-minute gem. And was I imagining a segue into Santana’s “Soul Sacrifice” for an all too short drum solo by the Beast? BillWho’s drummer…well…there are none finer. Believe me…when this writer asks for a longer drum solo I am more than impressed.

In its sum of all parts Freak Show 2006 is a magnificently entertaining night of comedy, music, dance, and autumn revelry.

Freak Show 2006 runs through November 11th. For more information go to www.shadowboxcabaret.com.

Laura Joseph

Naked Sunfish Rides … er Swims? Again
by Rick Brown

It’s hard to believe this was our fifth foray down the Florida coast to the Keys for the men behind Naked Sunfish. Yet by our age you would think the passing of time would be too clichéd to comment ... not so. This year we were faced with an “orange alert” meaning that all liquids were banished from flights. So I Fed-Exed my toiletries to Key West. At the gate the security guard seemed to think it was suspicious for me to kiss my wife good-bye and tell her I loved her. What a world ... as the Wicked Witch lamented in a more innocent age. What a world!

when i when
by jessy kendall

when they stop
i play
when these bald eagles fish
i cross the bridge
when i roll my eyes
i drumming
when i sneeze
i take walks
when i look up
i take walks
when i growl
i pet dogs

when i quit i get bored when i eat i go to potlucks when i write i go to
bed when i crash from e i throw the phone when i putty walls i yell when i
go down town i buy bottles when i trip i dance when i perform for crowds i
fiddle with my knobs

when i smile
i see moose prints
when i eat ice cream
i embellish
i am a special needs poet
when i imagine
i am invigorated
i take a deep breath
when i breathe
i control it
i don't mean to
taught dumb
taught to trance out of life

when i struggle
i'm lonely
when i'm sinister
i blow men
when i take noelle out
i am sweetened
i move into an attic
to pay cheap rent
i sweat and sweat
to save money by lying here


The Rocky Horror Show
Shadowbox Cabaret
Easton Towne Center
Columbus, Ohio
* * * * *
by Rick Brown

Ah yes…the 1970’s! I remember them well…well? Uh…perhaps pretty well might be more accurate. It was a delightfully cheesy decade when mainstream America did it’s best to catch up on the wildness of the 1960’s counter culture…if not politically most definitely socially. People from all walks of life were experimenting…or at least saying they were experimenting…with recreational drugs, cross dressing, bisexuality, casual sex, and open marriage. My mother blamed David Bowie for the bisexual fad. Maybe she was right. I’ve known people who were bisexual for all of say…a month and a half. But hey…they gave it a shot! And what better metaphor for all this ribaldry? The Rocky Horror Show!

I’ve seen the movie. And because I waited until the audience participation overtook the film itself, the plot escaped me. At least until I saw Shadowbox’s wonderful stage production where I realized Rocky Horror actually does have a storyline…albeit a thin one. Yet that only serves to make this production more charming…in it’s transsexual/transvestite sort of way.

Representing mainstream America of course are Janet and Brad played brilliantly by Sara Tomko and J.T. Walker. Nerds both, they have a flat tire and wander into the castle of Frank ‘N’ Furter (Brian Westbrook) where the mad transvestite “makes” his lovers…both literally and figuratively…and then literally again. Even Brad and Janet eventually fall into Mr. Furter’s lustful web and are unconvincing in their regret. Still…in the end…Furter gets what’s coming to him.

The people at Shadowbox have done their best to keep the audience from getting out of control by over participating. And while there seemed to be denizens of fans in attendance, there was an air of respect for the troupe’s performance. I must say that unlike the flick, I totally enjoyed this stage show. The cast is split between some of the top actors from both Columbus and Newport’s cabarets. And it certainly shows in the quality.

The darker roles of Riff Raff and Magenta are presented masterfully by veterans Tom Cardinal and Edelyn Parker, while Amy Lay’s more playful Columbia is a fine, fine counterpoint. Usherette/Narrator Christina Connor makes sure the musical segues from one plot element to the next. Ms. Connor does a fabulous job pulling the story back full circle just before the finale. And Katy Psenicka’s choreography utilizes the stage magically…from one side to the other. Apart from the wrong shirts being handed to Brad and Janet upon their arrival at the castle and Rocky (Jim Andes) getting separated from a platform shoe…all of which is covered perfectly…the staging appeared flawless. The group songs and dances are a visual and aural smorgasbord of joy.

The tunes in Rocky Horror are exceptional. And with a plot that is relatively predictable therein lies the show’s essence. The band is fronted by the steady hand of guitar guru Matthew Hahn who keeps the band in the shadows just enough to coax an exuberant purity out of the singers, making each tune sound fresh rather than like “golden oldies circa 1975”. It was great witnessing Chris “The Rev” Ciampa tickling the ivories again. And Lyndsey Strouse soaring on the sax made the show that much sexier. (Forget all those girlie girls on flute, oboe and clarinet back in high school. It was the girls on drums and sax that were the band babes.)

Almost stealing the show is Jim Andes as Rocky. He is at once the consummate home made boyfriend with the dancer’s body, yet the victim of deranged love. After seeing Jim cavort around the stage…semi-nude as they used to say…I’ll bet lots of those 1970’s “month and a half bisexual men” in the crowd might have been reconsidering the adventure.

But The Rocky Horror Show on this night…and I’m guessing most of them…belongs to Brian Westbrook. His campy, vamping, swaggering, delightfully devious Frank ‘N’ Furter is the centerpiece for Shadowbox’s production. Mr. Westbrook commands the stage with a presence both playfully intriguing yet sinisterly beguiling. His Frank ‘N’ Furter…by show’s end…has seduced us all. And he accomplishes this wearing a garter belt and hose. Westbrook’s self-assured, strutting, posturing girlie man had the audience silently begging to have their genders bent…by Frank ‘N’ Furter personally of course. It’s all time warp at it’s best.

The Rocky Horror Show runs every Sunday in October through the 29nd. Get your reservations immediately!!!

I know of no one who works harder than these performers…some of whom do a Saturday 10:30 pm show in Newport, Kentucky and two performances of Rocky Horror…beginning with a 2:30 Sunday matinee…the very next day in Columbus. For more information go to www.shadowboxcabaret.com

Crosby, Stills, Nash & Young
August 29, 2006
Germain Amphitheater
Columbus, Ohio
* * * * *
by Rick Brown

Whether people like it or not this new millennium in America is starkly reminiscent of the Vietnam era’s politics. Sure the war is different. But the justifications for its’ continued “necessity” are hauntingly the same. And I can think of no rock and roll outfit more qualified to address the tired rhetorical bullshit of America’s extreme right than Crosby, Stills, Nash and Young.

Yet some audience members … and they weren’t just the younger ones either … behaved as if this was say … the Beach Boys. I mean … Young’s 1970 anthem ”Ohio” is by no means the “O H! I O!” chant heard at the horseshoe down the street. So to those folks who thought this was to be a pretty sing a long to tunes like “Our House” and “Teach Your Children” (which by the way is in itself a subtle protest song) I say this. Will you people ever get your neo-conservative, gay bashing, faux family values heads out of your respective Republican asses? The tour is called “Freedom of Speech” for Chrisakes. In America a rock band should be able to play “Let’s Impeach the President” without getting a beer thrown at them. (I’m fairly certain the propagator was Dick Cheney.) Maybe CSN&Y should have screened their audience like Bush and company does. Nah. They’re better men than he. David Crosby, Stephen Stills, Graham Nash and Neil Young, all have more integrity than anyone in the president’s band of cronies.

So enough with my ranting. The crowd was probably 90 percent behind the political messages. (It always amazes me how loud the ignorant minority can be.) Buoying the show … making it untypical of a “reunion tour” was the inclusion of what seemed to be almost the entirety of Neil young’s recent “Living with War” CD…one of his most inspired in years. And the band sounded as good as ever … albeit a few songs taken down a key or so. Most of “Living with War” was peppered through the first half of this three-hour delight.

It’s easy to forget the impact CSN&Y have had collectively on American music. But they rolled out the chestnuts this evening. “Déjà Vu” (how appropriate), “Wooden Ships”, “Long Time Gone”, “Almost Cut My Hair” (Crosby sounded as good this evening as he did in the 60’s) … all these tunes…with the absence of less political numbers…made it obvious to anyone paying attention that this was an anti-war rally as much as a rock concert. Just about every protest song written by each of these gifted songwriters was performed. “Buffalo Springfield’s “For What It’s Worth”, Nash’s “Immigration Man”, “Chicago”, and “Military Madness”, Still’s “Find the Cost of Freedom (performed with a back drop with thumbnails of all the dead from the war and a counter furiously incrementing to almost 2700) … all these songs have a renaissance of relevancy here.

Neil Young’s “Rockin’ in the Free World” was the perfect encore to a perfect show. The vast majority of the audience rose as one and sang along…just as the vast majority in this country are finally putting fear of being labeled a traitor and standing up to Bush and company’s lies about Iraq and his phony “War on Terror”. This evening was moving…exhilarating…musically magical…and for the most part…a long overdue coming together of community. For those in the crowd wanting a nicey nice evening of pop songs … an escape … go see Michael Bolton next time around. And for the few fascists in attendance … hey … Ted Nugent is still a flag waving asshole.

Our Top 5 Picksby Ted Kaneby John Bennettby Cory Tressler by Patrick O'Malley by David HochmanTravel SectionRecipes and MoreBack Issues

© 2001-2006 NakedSunfish, All Rights Reserved

Issue 1 - January 2002