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MY JOURNEY WITH THE DOVERBOYS (Cont'd)

As the summer of 91 slipped into autumn - I believe - dates are hazy for a multitude of reasons(wink wink). I attended my first DoverBoys gig. It was at the American Legion Hall in Poughkeepsie. Don't worry - you have-not read the last of the Legion! The place was relatively full. My recollection of the gig was that I was very pissed off the people were slam dancing into me while I was trying to look rock star disaffected. I also remember seeing a bald African-American gentleman and a skinny, tattoo laden, fuzz cut white kid in silver lame cocktail dresses on stage dancing to the bands cover of "I'm too Sexy". At least I think it was that gig!! I just kinda laughed and shook my head. Little did I know that both of those guys would become very good friends of mine. Who would of thought!! Well, I walked away from the gig saying "I just don't get it". I even mentioned that to Bill. We still laugh about that comment to this day.

Anyway, I continued in Postcard/Sleet/Cellophane as the Doverboys had their separate travails. Both bands would gig together from time to time and I would hang out with the fella's at the bar and various social events as both bands had many mutual friends. Towards the last 6 months of my P/S/C tenure, I started to developing a strong relationship with Tim Bynum, lead singer of the D-Boys. We hung out frequently as our mutual friend and la'me dress wearer Brian Hay was a constant presence to both of us.

Bill used to have party's in the summer at his place in Marlboro. In the summer of 93 the D-Boys asked me to sit in on a tune at this party. We decided that I would play on Kiss' "Do you Love Me". Needless to say, it was a fucking debacle. I was extremely wasted the night before and went to the party just fucking toxic. So of course - the only thing to do was start over again. And it was hot out that day. I was blitzed, feeling physically bad, and in a mean head as my band situation was really miserable at that point. The song was just butchered. I heard Grundy was pissed at me since I blew so badly! Sorry Grund, I hope you forgive me...

Later in that summer, I opened for the D-Boys doing a solo set. Also I started developing real solid friendships with Bill, Tim, Mike, and some of their crew whom I only knew in passing.

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Shortly there after, The D-Boys began to record a EP entitled "Woof". I had recently departed P/S/C/ and was in the early stages of forming Lie Cheat Steal. Bill asked me to play on the demo. I more than readily accepted. They were drummerless at the time so I inquired who was handling the drum chores. I was told that it was none other than Mark Lafalce, who had been the drummer in Agitpop as well as Postcard, Sleet, et al. Due to the circumstances regarding my departure of that band, Myself and Mark were not on friendly terms. After that bit of news was dropped, I informed Bill that under no circumstances could I be in the studio with Mark at the same time. I would love to do the demo, and volunteered to dub my parts-as they were all pretty much lead parts and second guitar not necessary for the basics. For the record, Mark Lafalce was and probably continues to be a fantastic drummer and all around musician. The guy was fucking talented. There was never any question about that. Bill knew I would be prepared and would nail it quickly but he wanted the full sound for the basics. I told him I was going out of town that weekend anyway. On that Sunday of basics, I get a phone call. It is Bill. Imploring me to come to the studio. I asked him if Lafalce was there. He said yes and that it would be no problem if I should up. He was probably right. But I knew I would have a huge problem so I made up some douche bag excuse and basically said there is no way I can make it. Well, has my ass got a razzing for that rock star move!!!! Till this day it gets brought up from time to time as a classic "Behind the Music" moment, if the general public actually gave two squats. To hear Bill tell it is hilarious!. It makes me laugh as well.

I did my "Woof" tracks. The D-boys songwriting was starting to incorporate more pop and metal influences and I kinda liked the direction. I was also getting some queries from Bill and Tim about joining the band. Tim and I worked together so we talked frequently about it.

I was doing LCS and that's what I was into.

Well, all the talk was for naught as the D-Boys couldn't find a stable drummer(I mean that in every sense). Then, as told in the LCS saga-Grundy joined LCS and the Lahey illness occurred. I was already sporadically jamming with the D-Boys when Sean was sick. Bill had wrote some new material and was actively pursuing a drummer. That's when talks picked up about my joining the D-Boys. After talking with all three of the fella's I agreed to play in the band, but with a few minor conditions.

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First, I expressed no desire to conduct business. No gig booking, managing, etc. I would show up for every practice, gig, session or commitment. And did. Also, since I still harbored some latent dreams of LCS, the fella's and I acknowledged that it may occur that I leave to restart that. I volunteered to help with songwriting and to learn as much of the back catalog as they wanted. All I wanted was to be paid 1/5 when we gigged. We would deal with other stuff as it came up. Since we were all friends and I trusted them implicitly, I never gave it a second thought. They were and are quality guys. So the order of business was to get a permanent drummer.

Enter Bob Page. Bill found Bob somewhere that I don;t remember. Bob was living in Pine Bush NY. Way the hell out in the sticks going toward Middletown or something like that. He had family in NY but spent the majority of his life in Florida. He had a real streak of good ol' boy in him. Bob was a metal guy. Well schooled in the hard rock heavy metal drum style. And that was about it. He didn't really mind some punk but he was livin the Motley Crue dream. Bob had a thick southern accent. We discerned quickly that while a nice guy, Bob was not going to threaten the Dean's list anytime soon. He liked to drink and party so that worked out well, but he did get a little crazy when liqoured up.

The first few months were fine. We were learning new material and the band was getting super tight. The new material was much more mature and cohesive. I heard some of the long time D-Boys fans were disappointed with the new direction. A little too metal/hard rock/commercial for them. My response to them was "too fucking bad".

I mean, we were growing as musicians and songwriters. We always had other influences and with myself and Bob on board, it was only natural that the style change slightly. But the band did gain some new fans. Since Bob and I were well versed in cover bands, we started banging around some covers during practice. Mostly AOR metal and 80's rock and some new wave stuff.

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We were ready to gig quickly. Since the time line is fuzzy, I will only recall some memorable Bob gigs and anecdotes. We played some joint in Wappingers Falls. They had TV's behind the stage so the band could program the TV's during their set. Bill brought in this tape of "the greatest hockey fights". Between the beer, hockey fights, aggressive music, and a very loud, physical, and energy packed performance combined with a bunch of jock type muscle guys in the crowd, things got rough. I remember bodies flying around and some chairs and table getting banged up. Their was definitely an aggressive vibe that night. I think the owner said

"I thought the name of the band was familiar, and if I knew it was these guys, I would have never fucking booked them".

Then there was the "Poughkeepsie Live" gig. This was a cable access show. We knew the fill in host, which got us the gig. We were scheduled to play 5 songs, be on the show intro, and have a little interview with audience call in at the end. The show crew nearly shit when we walked in. This was a small TV studio and we walk in with half stacks and drums up the ass, and by the way, a blow up plastic sheep with fully replicated female genitalia. Our temporary mascot. It fit nicely on the end of a boom stand.

We were off to a good start. Tim, Bill, and myself did the intro. We had 10 minutes to kill before we played, so we decided to go to the bar across the street for a couple shots. The cameraman came with us as it was a pre-taped piece airing. The show staff was slightly concerned with the band AND cameraman splitting to woof down Jagermeister across the street. We assured them of no problems. And there were none. So we start to play and we notice that we are fucking LOUD. No problem there either except the panic in the control room. We found out later that we pinned everything and they were terrified that we would blow out their board.

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We also thought that it would be a terrific idea to do a cover for the show. So we picked a song by the Meatmen entitled "Tooling for Anus". What's wrong with that for 7:15 at night? Nothing in my book. I almost lost it laughing while playing that. And the sheep was front and center on the end of the boom stand for the entire performance. Now it is interview time. We all assemble, with Tim holding the sheep. Things are now so loose that the show host, who was off that night but at the studio, wants to be in on the interview because of the hi jinx. He was grinning from ear to ear. We were probably the most fun and unpretentious act they had and everyone was having a blast. So the call in's start. Nothing to wild - the usual fare. Then a question comes in for Bob. He lit right up, happy as a clam. It starts out as the usual complimentary thing until the following question"Bob, I just wanted to know if you fuck that sheep after the gigs?" It was too quick to be censored out. Of course, the band and the hosts are in stitches laughing. Except Bob. He just sat there with this stupid grin and he was just dumb struck. In hindsight, I think it really hurt him and totally blew him out of the water. I noticed a slight change in Bob after that incident. But it was still a friggin' riot. We have suspicions as to the culprit, but it is still a mystery as to the identity of the caller.

Another phenomenon was going down at the gigs as well. We would do the bulk of our originals and would just start playing covers. If we knew them or not. Some one from the crowd would shout out a song and we would play it. Sometimes it was good, sometimes a wreck, but always fun and we would try almost anything.

The D-Boys/Wormwood gig was a highlight due to the fucking STELLAR version of 'Delta Dawn" we pulled out with Raisa from Wormwood on vocals. This phenomenon just grew. It got to the point that after about 8 originals, the crowd would start demanding that we do covers. Or telling us "less talk, more rock", which became a gig ritual. Gotta give the folks what they want.

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PART 2: THE INS AND OUTS OF ANOTHERS DEMISE

The last days of Bob "Gump" Page.

There are a couple things to tell before we get to the departure of Bob. Around this time, the band was getting interest from some small indie label by the name of Infamous Records. Talk about truth in adverting. They hooked us up with some other bands to gig with from their label. One band was called The Donner Party. They were like a mean and noisy version of Devo, dressed up in silver jumpsuits. I guess Bill was close to doing something with this crew as he seemed very positive and upbeat. Since I wasn't doing any band business and was happy in my role, I didn't give it much thought either way. And Bob was probably stoked. We had come up with an inside joke nickname for Bob around this time. Forest Gump was the big movie at the time. To be kind, Bob was not a bright guy and lacked a certain sense of social graces.

He was a good ol boy, drummin', drinkin', fuckin'(or at least trying to). Don't get me wrong, I liked Bob and he was a decent guy. Just very detached from certain reality's. But who isn't, right? Due to a rash of bad decisions, we observed that Bob pretty much lived life by the notion of "Drummin is as Drummin does", like the advice Forest Gump got from Mama. So we took the joke to the next level and decided just to call him"Gump".

We needed a gig to seal the deal with this Infamous records clown. This cat who ran the label struck me as shady and I was already having concerns about signing anything this dude handed out. But there was no need to get ahead of myself.

We procured a gig at the American Legion, the home of many a wayward D-Boys gig. I remember getting a real P.A. system for the gig and really being rock star about the whole gig. There was an air of seriousness to the gig that we didn't usually have. As serious as we could be anyway. Long story short, the gig turned out to be a mess. I was in the back of the building and hear that some fight broke out during the set. No shock there really. Then I heard the combatants. It was two friends of ours, Tim T. and Pete S. Their opponents were the record label clown and some other guy. What a combo!!!!Anyway, it was a mess and we were banned from ever playing the Legion again. And Billy the Clam's Mom meant it this time!!!!!

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Needless to say the record deal was off as well. Which didn't break my heart.

We also played another lackluster-but not offensive-- gig at The Chance, which is the best place to play in Poughkeepsie. The band was off for a myriad of reasons. But the live board tape does exist!!!!! Bob was getting edgy around this time. The band never was paid well. Bob was used to cover gigs and getting cash. That wasn't happening in the DIY world. Which Bob had no concept of. The record deal falling through also bummed out Bob's vision of ROCK STAR!!!! He was also driving a lot to get to practice and gigs to be fair.

We were booked to go into the studio. Jacques Cohen was a friend and acquaintance to us and ran a nice little studio in Poughkeepsie. Jacques was a hard worker who was very neurotic when it came to producing. And he was a quiet guy, but could definitely get his point across when needed. He was a character. We gave him several names, like "Top Jacques Le Rock", "Jacque and Roll" and one that I made up and Bob Page's favorite: "Jacque the Monkey" - taken from the Peter Gabriel song "Shock the Monkey".

Bob hated the studio. He was way to attention deficit. He could never understand and argued vehemently why it took so long to get drum sounds. HE always just set up and played. He refused to listen to the logic of good drum sounds. So now add this to his over all angst of low paying gigs and lot's of driving.

There were a couple of fun moments during that session. We drank a ton of Piels, when we left, we noticed the empties and stood back a moment in reflection. I remember being frightened the session would suck due to the amount we drank. We weren't counting. And Bob pulled out a classic. We were taking a short break for some technical thing going on. We decided to have a beer and shoot the shit, the whole band. Then it happened. Bob opens up and starts telling us this amazing story of an event when he was in Florida. He had a friend named "big dick Pete". Because Pete had a big dick according to Bob. Then he goes on some spiel about him and Pete and 2 not even barely legal girls, getting wasted and crashing peoples pools and screwing in graveyards and all sorts of decadent crazy shit. And he is jacked about this story.

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So about 2 minutes into it I realize we have a classic, and motion to Jacque to roll tape, and he does. We, mainly me, keep egging Bob on with this story as he is getting fired up. After 18 minutes, we tell Bob this has all been recorded, and he shits!! He starts screaming that his momma is going to hear this when the CD comes out!!!! Well we got that on tape too, and by this time we are literally in tears. My sides fucking hurt from laughter. Bob was not amused. We reassured Bob that we would never take up 18 minutes of CD with that story. But the tape still does exist!!!

The session came out well. We got about 8 songs out of it. Some we couldn't keep because the tempo's were so out of wack. Or something like that. Plus, due to Bob's antics, Timmy changed the lyrics to what was "No Helmet" to "Know Bob". Bob was stoked about that. We will be getting into the "Legacy of Futility" CD as this session was the first part of the recordings. But we knew we were losing Bob. He was bailing from practice frequently due to work and his spirit was low to be sure. It started to affect his drumming. Bill was especially frustrated with him, but then again, he was always like that with any drummer - lol.

Bob also was a bad drinker and driver. The final straw for Grundy came when they were at a party and Bob was hammered, big time. Mike begged Bob not to drive, as I think Mike was the host, but Bob did. And Bob flipped his truck on the way home, got up and walked and left the vehicle there. Bob lived with his father. The police came to his house to wake up a still drunk Bob and question him about the accident. We knew this was the end and Bob called us shortly after to re-sign from the band.

The Bob era was fun for sure. Bob was a solid drummer and a fun guy to be with, and he was always pleasant at gigs. Remember--"Drummin is as Drummin Does"!!!

UP NEXT: The Goodwrench era!!!

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DOVERBOYS SAGA CONT.... "YOU WILL BEG FOR MERCY"

The Gooodwrench Era

It didn't take long to find a replacement for Bob. Which was unusual in Doverboy history. I don't remember how, but Bill knew or had jammed with a drummer by the name of Dave Goodrich sometime in his past. He had run into him and told him about the drum vacancy. I guess Goodrich was a metal guy and the whole punk/fun shtick wasn't his suit. But for whatever reason, he was up for it know.

Dave learned some songs and fit in quickly. He was a good drummer with nice chops. He was also a nice guy as well. He claimed to be close with the drummer from Skid Row, Rob Affuso, I believe. He wasn't lying. Dave was also a nice guy. But what really worried me was that he was a good looking guy and I panicked that my female fan base would flock to him. LOL..

Dave lived near Newburgh so I only remember hanging out with him at practice or gigs. Of course he got the obligatory "Goodwrench" name play on his last name. He was a good sport. Dave played a few gigs with the band in his tenure. The highest profile gig would have been the opening slot we had for the old punk band Murphy's Law of "Back with a Bong" fame. Well, we went on first out of like 3 or 4 bands. The gig was at some OTB teleplex theater in Middletown, NY. It was a fucking surreal scene.

Of course you have the hard core horse racing guys all about. Then we go into this narrow hall. I remember getting a vibe that this was a tough ass crowd. They were here for hard-core, no screwing around with our fun/snot/obnoxious mish mash. Plus we didn't have stacks which was what this venue was all about backline wise. As well, we walked in looking like us. Very average joe.

We did our set admirably. Bill says he was told by Jimmy Gestapo or some dude from Murphy's Law that they actually dug the band a lot. I know they were a few of Middletown's best and brightest who wanted to kill us!! That is a scary part of the world down there anyway.

The Doverboys played a few shows with Dave for a few months. We also wanted re-record the un-keepable Bob tracks.

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Everything was fine and dandy until we get a bit of news from Dave. Dave was offered a drum tech/roadie gig by his friend Rob Affuso for a Skid Row tour that was going to start. The tour had a bit of length to it. I can't recall how long.

The band was prepared to record, and studio time may have already been reserved. I know that I was in the early phases of decision making regarding my own relocation. But we will get to that.

Once again the band was in a pickle. Honestly, I think the wear and tear of the drum seat instability and the fact the band would hit a road block whenever we got momentum was beginning to seep it's way into our spirit. Plus we were getting tired of the same Hudson Valley treadmill. But forge on we did.

"I AIN'T NO COCKFIGHT REFUGEE"--MARK PUKMEL!!!!

Enter Mark Pukmel. Mark was a Poughkeepsie stalwart and an exceptional drummer. Pukmel could flat out play. He studied in NYC with some serious cats from all different genres. Mark was also and still is one hell of a person. A more gentle soul may not exist. Never had a bad word about anyone and was always very positive.

A far cry from our sarcastic, cynical, insular and negative attitudes. Mark played with a band called The Bandits. The were a roots rock, Americana pop act. They reminded me a lot of Chris Isaak and Mellencamp in songwriting style.

Mark wasn't too busy at the time. Oh by the way, Pukmel also lived briefly in that decadence pit called Bridge St. and had known the fella's for years. So we were not strangers by any stretch. He agreed to help us out in the studio to finish the sessions that Bob hacked.

Mark was a little reticent. Punk/Metal was not his bag. He worried if he could pull it off. Especially from a stamina standpoint. We reassured him that we had all confidence in his ability. And we did. We told him to do his thing. Don't worry about copping someone else's vibe.

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Pukmel was of course prepared and he learned the material quickly. I remember those practices as being a lot of fun. Since we all knew each other well there was no ice to break and we had many common points of reference. We worked hard and had a lot of laughs. And the material sounded good as well. Pukmel was pretty adamant about just sitting in and we knew it was a very temporary gig. Also, Mark taught us a valuable lesson about how dogs like to chase balls where ever they are and regardless of what you may be doing at that moment!!!!

We cajoled Mark to play some gigs. They were fun as well. I loved playing with Pukmel. He was my first choice to be in Lie, Cheat, Steal and he was much in demand in the area. He appeared to be having a great time with the D-Boys and there was a strong sense of camaraderie in the group with Pukmel.

"LEGACY OF FUTILITY"-THE DOVERBOY CD!!!!

We were only able to keep half-or 6 -8 songs that Bob had recorded 6 months earlier. With Pukmel in tow, we went back to see Jacque and re-record the other 6-8 songs that Bob blew through. Pukmel did not have the same rock stomp that Bob and Dave had. They were traditional, straight up, old school hard rock drummers. Pukmel drew from a different palette. And I dug it immensely. I was trying to incorporate guitar parts that wouldn't normally been heard in the D-Boys or that genre as a whole. Stuff like 7th's and ninth and suspended chords, counter melodies, etc. Mark brought his vast influence in as well but still retained the classic stomp and fury that the music needed. I was always partial to the Pukmel tracks.

Mark, being a pro, took his time to get the drum sounds correct. We breezed through the basics because we were all prepared.

Legacy of Futility ended up being a long CD. The 4 song WOOF session was included at the end of the 13 or 14 songs we recorded. Not to be biased, but most of those songs hold water today and are really timeless. Only a couple songs (Food, Stupid Song) sound dated and goofy. Then again - I always hated those two songs. lol.

The lyrics are great as well. Tim Bynum could pull shit out lyrically that still makes me shake my head. He was a awesome lyricist. He had his own vocal style and Tim would be the first one to tell you that he isn't a singer in the classic definition of the term, but I will say that Bynum had his own style that worked perfectly for The D-Boys. He is a singer/ lyricist whose style reminds me of Keith Moon's drum style. Genius and inventive and it could only work in the context of that group.

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Whenever I see or hear Al Sharpton speak, my immediate gut reaction is to want to blast the Doverboys song "Shitfaced" at maximum volume and send a copy of the lyrics to Al. "Shitfaced" is a scathing indictment of those who perpetuated and encouraged the Tawana Brawley hoax of the late 1980's. Tim's double entendre lyrics and social commentary regarding this incident was brilliant.

One of the best social/political commentaries ever in my book.

No need to fawn over Grundy as we all know from the LCS story my opinions about him - he is fucking great. But let's talk about Bill. Bill has a right hand from god. A very tight rhythm player. Bill can also pen a great hook. He is a lead guitarists dream as Bill laid down solid riffage that a second guitar could really open up.

I still think that the Legacy stuff could hold up with any punk/metal stuff coming out today. I heard some other people agree with that as well. Hopefully the Legacy CD will be available for mass consumption one day.

"YOUR ALL DONE"-THE DOVERBOYS LAST GASPS I had made the decision in the spring of 1995 to leave the Poughkeepsie are and relocate. When the destination was chosen, I told the fella's I was leaving immediately. I think they knew it was coming.

I believe we were all getting a little burnt. I knew I was. For many reasons getting out of Po-town was a much needed move. That place can be friggin' rough! But I know that I was sad to be leaving in that I was going to miss seeing the fella's on a day to day basis. From day 1, Tim, Bill, and Mike were supportive, welcoming, and created a terrific band atmosphere. There was NEVER any band infighting or drama. It was a memorable and cherished time spent in that band.

We persuaded Pukmel to do my "farewell" gig at Brady's. I remember having a great time. Too great since that is all that I remember.

I had a little side project going on at the time as well. I had been writing and jamming with Russ Cleverly. Russ played guitar in a punk/garage band called "The Symptoms". Very NY Dolls, Johnny Thunders, Ramones stuff. The D-Boys did many a gig with The Symptoms and they were usually many a ruckus!! The Symptoms had to brothers in the band who were friggin' wild men. Especially when drunk. They would lift monitors and slam dance and cause all sorts of hell. And they loved the Doverboys!!We loved them as well! We always looked forward to gigs with Mad Dog and his Brother!!!!

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Anyway, Russ played bass as well. I knew Russ for years as we both went to Dutchess Comm. College at the same time, worked in a day treatment BOCES school together, and I knew his older brother from high school.

Russ and I wrote some garage rock style songs, punky and thrashy but not hard-core and not elaborate, keeping it simple was the plan. We enlisted my old drummer Dave Rutherford, who was in Alternate Route. Dave hadn't played in a few years but was up for some no pressure fun.

Russ was bummed about me moving. And we had worked on this all summer so I thought we should do one gig as a way to send off the project. The gig was set for September so my Farewell lasted about 3 weeks. LOL.

We named the band "Dante and the Dream Lovers with the Trailer Park Queens" as we enlisted a former girlfriend and her friend to do back up vocals, dance, and look trashy and slutty. They did a great job! So did Russ and Dave. It was a good gig. Grundy and Lahey were there as well as the whole crew. Grundy tells a story that during the set, he leaned over to Lahey and said, referring to me, and I am paraphrasing, "That bastard, why didn't he bring in these songs for us!" I still regard that as a very high compliment from the Grund!!

The DoverBoys did a few gigs after I left. Dave Goodwrench came back from the Skid Row deal early but things never materialized. And I think they did a gig with one of their earlier period drummers, Robert Anderson.

In 1997, we got itchy to do show. So we enlisted LCS Drummer Sean Lahey to do the gig. Lahey wanted to do a LCS set as well. The concept of the gig was that it was going to be all covers, the whole night, and we would book it under different band names. Lie Cheat Steal became "Bunky", and The Doverboys were christened the "Coverboys". Also, we had to change the name because the gig was booked at the Rhinecliff Hotel, and the owner, old Ed Tybus, hated the Doverboys!! But we played at that festering dump whenever we wanted as the booker dug us and Ed was too senile to remember anything. Bill says that the night of the gig Ed walked up to him and asked if the band was the Doverboys. Bill said no, it was the Coverboys. And Ed replied, something like, "Good, I don't like the Doverboys and don't want them playing here"LOL.

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In 1998, on April Fools day, I was returning to my apartment after dinner with my wife. She wasn't my wife then as we were only dating. The point is that she vividly recalls this story. I check my messages upon entering and have a message from Brad Cleverly, Russ' brother. It was odd to hear from Brad, but not out of question as we had a close mutual friend. The message says Russ Cleverly, his brother and my friend/collaborator from Po-Town has had an accident. That was it. And that Brad would call me back in the morning. I recall being a little concerned with the mystery and pacing and not sleeping well. I truly had a bad feeling.

The next morning the phone rings. It is Brad. And he sounds devastated. I suspected this was going to be horrible. It was. Russell tragically passed away. I will not get into the details regarding Russell's death. I was blown away. I truly was and still am saddened by the loss of Russ. He was a very intelligent young man with a kind heart. A very gentle soul. He was also a very good friend. Russ was a little younger than me and I remember him as a kid as well. The wake and funeral were heart wrenching, and I recall sitting at the bar with Grundy and Mad Dog and others after the services just in stunned disillusionment. I still think of Russ often and his parents gave me his acoustic guitar. I think of Russ often when I play and he is a great inspiration. He truly loved to play music!!

Brad called me to let me know that a scholarship fund was being created in Russ' memory at Dutchess Comm. College, where he was working as a English Professor. He asked if we could do a benefit/memorial gig for Russ and the scholarship. My self and Eric the Mad Dog from the Symptoms put together a show for the fund at Brady's. Maya was also a huge contributor to this effort. Beside providing the venue, She got myself, Eric and Brad a interview on the morning show at WPDH, the big classic rock station in Poughkeepsie. We hyped the gig, I played 'Can't Explain" by Love on acoustic, and Mad Dog did some punk acoustic thing he wrote the night before - the dude had balls as that is a powerful station and he was not rehearsed!

And of course the "Coverboys" were headlining!. We did all covers, nothing but. Eric's band played as well. "Dante and the Dream Lovers" played a set, this time with Grundy on Bass and Mark Pukmel playing drums. I think the Bandits might have played it as well. I got a tear in my eye playing those songs that Russ and I wrote. I really believe his spirit was on stage with us that day. I could feel it. The Coverboy set was beyond fucking fantastic. We ripped the roof off the place. We blew minds right away when we opened with Judas Priests' "The Hellion" and then right into "Hell Bent For Leather". We also did some old Descendants, Motorhead, Led Zeppelin, Husker Du, an Avengers tune, Kiss, Elvis Presley and other great stuff. Stuff that we never did before. And we practiced the shit. We were tight. I think we did Russ justice and that he was digging it!!

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We had so much fun that we decided to do the Coverboys thing again a few months later. As Grundy said "This event didn't have the noble underpinnings of the first one", thus creating a O.K. gig. And it was O.K. And that my friends, was the last Doverboys gig. 10/9/98.

Do I think the D-Boys will ever do a reunion gig? The odds are slim. I personally think for the right reason it could happen, like the Jack Costello Liver Transplant Benefit.(That is Jack's idea-not mine). We are all still close friends. Hell, Timmy was my best man at my wedding! From board game dork to my best man, go figure!! Bill and I still chat about starting up a project and have jammed from time to time. I finally got him to buy a Fender Strat!!! He must have fell in love with my Pink Paisley Strat!! With out sounding mushy, I will say that I love those guys. That band has created solid friendships, and I am grateful that they included me.

CONFOUND THOSE DOVERBOYS!!!!!!!

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