When I was a kid there wasn’t much available on the radio beyond the local AM radio stations. The one I usually listened to was WENY and at the time my favorite DJ was a guy named Paul Lee, who also hosted a late night Saturday monster movie as his alter ego, the Undertaker. He was entertaining for a 12 or 13 year old kid and had a pretty sharp wit for a DJ in a small market. He was always runnings call in contests and on one night Iw as lucky enough to be the 20th or whatever caller. I won a stack of 25 albums and I thought I was in pig heaven.
Of course, they were just getting rid of all the promos that had come their way and never made it on the air. Most were pretty bad and some were just not the taste for a teenager. I remember there was an Ornette Coleman LP that was a very conceptual jazz thing that sounded like squawks and buzzes to my ears at the time. Actually, it still sounded that way to me everytime I’ve pulled it out over the years. But there were a few gems in there.
One was this self-titled first album from David Bromberg. It was produced by George Harrison who appears on the very enjoyable song, The Holdup. Several of the songs are Bromberg’s interpretation of blues and traditional classics mixed in with some wonderful originals, including the strange and haunting Sammy’s Song. I still listen to it on a regular basis and it has always held up through the many years. Bromberg’s an interesting guy, a folk guitar wiz who basically quit the business for several years to learn the art of violin making. He has returned and plays several shows a year but maintains a violin shop in Wilmington, Delaware. He seems like a man who lives life on his own terms. A rare and wonderful thing.
Anyway, on this rainy Sunday morning, I’m glad I was the 20th caller and found this album. Here’s Last Song for Shelby Jean from it:
Redtree Times 
Paul Leigh became Paul Mayer. He reminisces about some of his (post-WENY) radio days here.
Leigh worked at WENY in 1972 and Bromberg’s eponymous album came out in 1971 so your 40-year memories are impressively accurate.
And, speaking of old vinyl, I note the death of Suze Rotolo, the “cover girl” on Bob Dylan’s 1963 “Freewheelin'” album.
Wow! What great sleuthing! I never realized his radio name was Leign and not Lee, not having visuals on my transistor radio. And I had completely fogotten that his radio nickname was the Friendly Giant, which I now remember. Thanks so much for the great links. It’s nice to see that he moved on to a nice career in radio with the talents that were obvious even to a 13 year-old back then.
I don’t often see Bromberg mentioned. His “How Late’ll Ya Play ‘Til?” is one of my favorites, a live recording from the Great American Music Hall in San Francisco.
I’d be hard pressed to pick a favorite track. Bullfrog Blues, Sweet Home Chicago and Come On In My Kitchen are edge-y, a little hard and beautifully played. On the other hand, Such a Night is as sweet as they come.
If you run across it, you’d like it.
Yes, that really is a great live LP. I’ve always liked the humor of this album as well. Just good stuff.
Bromberg was and is a huge influence on my guitar playing. I’m sure he would deny any connection at all to my flailings, but it’s the truth.
Speaking of influences, last week I got to see hot Tuna with guest Charlie Musselwhite. Jorma, through an instructional DVD, taught me how to play Hesitation Blues and Charlie Musselwhite has been one of my harp gods since 1970.
Thanks for reminding me. I have a guitar lesson DVD from Bromberg I’m going to pull out tonight and learn something new. Maybe Delia.
I love his version of *Delia*. Good luck with your playing!