1976 Gig List: Spokane Memorial Coliseum

OLYMPUS DIGITAL CAMERA photo by Robert G. Schoenberg

. . . Date . . . .  . .      Band . . . . . . . . . . . . . . . . . . .    . . . . . Attendance 
February 5 Electric Light Orchestra 1,602
February 12 Kiss 7,516
April 22 Johnny Winter 5,563
April 27 Elvis Presley 7,232
April 28 Peter Frampton 1,831
June 27 Jefferson Starship na
July 25 Yes 6,383
September ? BTO 5,620
October 7 Lynyrd Skynrd 2,454
October 22 ZZ Top 6,506
October 31 Rush na
November 19 Ted Nugent 6,196
November 28 Blue Oyster Cult 6,011
December 19 Beach Boys 6,840

Top grossing event was the Elvis show selling $7.50, $10 and $12 tickets bringing in $89,360. The Jefferson Starship concert was a request to rent in the April SEACAB meeting minutes.

Source: “Coliseum 1976.” SEACAB records; Spokane Arena Office Binder: “Coliseum Concerts” typed, handwritten and word processor documents 1975 to 1994. 14 Jan., 2011.

Copyright © 2013 Robert Schoenberg


Gonzaga University COG is No More: was a great Rockn’roll venue

Photo image taken along Still Creek near Mt. Hood, Oregon, 2010.

Photo image taken along Still Creek near Mt. Hood, Oregon, 2010.

The COG, Gonzaga University’s building for student meals on campus, was also a venue for dances. Many of Spokane’s local musicians played there. The COG is no more as the University is making way for something new, and tore the building down over the past few weeks. Visiting the campus on Friday all that can be seen now is a hole in the ground where the building once stood.

Following is a list of bands and the dates they played the COG as they were advertised in the Spokane Natural. There were many, many more bands that played the venue. Most of the advertising as to who was going to play the COG was by word of mouth and the occasional flyer taped to record store windows.

. . . Date . . . .  . .      Band . . . . . . . . . . . . . . . . . . .  
February 28 The Loop
March 15 The Experimental Spring Rock Ensemble Admission is 97 cents, 90
cents if in costume or roller
skates, 83 cents if both
March 16 BJ Thomas & The Sonics
March 21 The Shakers
March 28 Jug Band
April 18 Springfield Rifle
Sept. 27 Shirley Lorraine
Nov. 7 Zombies
January 10 Universal Joint
March 28 Siddhartha
April 3 Tender Green
Oct. 2 Universal Joint
Nov. 1 Gene Redding & Funk

Copyright © 2013 Robert Schoenberg

Jefferson Airplane – Byrds Concert at Spokane Memorial Coliseum May 29, 1967

Rock and Roll concerts in mid-sixties Spokane were marketed to teenagers, who by now were fans of The Monkees, an industry created, television promoted band that was more marketing than edging out of the musical envelope; or Bobby Sherman, a singer leveraged into the music industry by his management team after placing him on television’s music show Shindig; teenagers were teenyboppers, a marketing concept that earned money for the actors, musicians, producers, record company executives and publishers targeting that age group. The music wasn’t serious, or meant to be. Teenyboppers were just delirious, mindless teenagers responding to the best that the industry could crank out in as short of time as possible, marketed with photo spreads and made up stories in 16 Magazine, Tiger Beat, or whatever marketing tool was available. The record companies release the singles, and then tour the bands at concerts or teen fairs in just about any town with a big enough venue.

In 1966 the Bob Dylan concert at the Spokane Coliseum was cancelled. However, the Beach Boys came to town to appear at the Coliseum, Paul Revere and the Raiders were a hot act that year appearing on stage as headliners; and at the Spokane Teen Fair in August, promoted by George Phillips and the radio station KNEW, kids got to see the Animals from England and the Beau Brummels from California.

But something was changing in rock ‘n’ roll music in those two years from 1965 to 1966. It’s a shame that Dylan cancelled his concert in Spokane, because anyone who would have gone to the concert would have heard what were some of those changes then and there.

Since the music industry considered teenagers a marketing group, producers applied the lowest common denominator to the creation and promotion of the music they were selling on the ten week pop single plan. The plan was based on the long held model of producer/band/song concept that meant putting out a single every ten or twelve weeks, promote it through the radio station networks, get as much publicity in the teen media, and then see how far up the charts it can go. The farther up the chart it went, the more money everyone made.

But bands like Dylan’s’, or the Beatles at this time with their album Rubber Soul, and a host of bands in San Francisco, were creating music not meant for the teenybopper market; these bands were appealing to an older part of the generation, those in their twenties, in college, and yes, those over the age of thirty. It was a more modern music, and thanks to Dylan, the lyrics now had a more grown up message of alienation, anger, and protest.

All through 1966 bands such as The Grateful Dead, The Great Society, Quick Silver Messenger Service, Every Mother’s Son, Mount Rushmore, Jefferson Airplane, Captain Beefheart, The Son’s of Champlin, and the Steve Miller Blues Band, were playing various venues in the San Francisco area, including a number of events known as Acid Tests put on by the Merry Pranksters led by Ken Kesey. The Acid Tests, of course, involved the taking of the the drug LSD by not only the audience, but the band as well. Music was expanding in various ways in 1966, media was including the descriptive adjective trippy, to describe it, and categorized it as Acid Rock. Musical events were often advertised as a trips festivals, named after Kesey’s acid tests, a phrase that was soon picked up and exploited by the industry who once again saw dollar signs wherever they went.

After the breakup of her band, the Great Society, Grace Slick was asked to join the Jefferson Airplane, who had recently lost their lead female singer, Signe Toly Anderson, when she started a family and opted out of being in a band for a while. Slick joined the band in the fall of 1966 while at the time they were scheduled to be in the studio to produce another album. Surrealistic Pillow, the album they produced, was released in February 1967, along with the single, White Rabbit. At the time the San Francisco sound of music was just hitting the national media. An article appearing the previous December in Newsweek included references to the taking of drugs and describing people who wore bead necklaces (hippy beads) using them as a sign that they have taken and experienced an LSD trip.

These songs were not targeted to the hit single, 10 week plan of making money. Hendrik Hertzberg, the Newsweek writer who wrote the article noted that the songs written and played by these San Francisco bands were often characterized by the length of the song, often 15 or more minutes long, which was contrary to the two and half minute pop single. But that didn’t stop the industry from exploiting the bands for the teenage market. Hertzber wrote, “Meanwhile more and more record companies are tempting the San Francisco groups, more and more clubs across the country are opening wide their doors. But so far the San Francisco Sound prefers the warmth of its hippies. ‘When we play out of town,’ says 23-year-old John Cipollina, lead guitarist of the Quicksilver Messenger Service, “the out-of-towners have to be turned on to our message of freedom. In San Francisco they already accept it. The people out here are really open and the musicians are open. There’s a big love thing going around, you know.”

In January of 1967 all of the burgeoning hippy culture from 1966 seemed to appear out of nowhere at Golden Gate Park for the Human Be-In featuring dozens of the local bands for a free concert that garnered wide media coverage. At the very forefront of this cultural storm that was breaking over America were The Jefferson Airplane. Another hot band from Los Angeles that helped create the term folk rock because they included many Dylan songs in their playlist, were the Byrds.

Spokane was lucky to get both these bands booked into the Coliseum right at this time, as the music was just beginning to influence rock ‘n’ roll. Promoted as a Trips Festival, the appearance of the Jefferson Airplane and the Byrds was to be the essence of what happend at the notorious concerts at the Fillmore and Avalon ballrooms in San Francisco. It was the trippy drug induced hippy experience exported and taken on the road. Or at least that was what was advertised.

Spokane’s underground newspaper had just begun printing its weekly edition when the Airplane and the Byrds appeared at the Coliseum. Spokane Natural editor Orman Otvos, who went to the show, listed a number of things that he claims were advertised for this Trip-Lansing promoted concert at the Coliseum. He said he knew from accounts of what was happening in San Francisco the previous year involving what would be the Acid Test would be brought to Spokane for this show. This would mean that the concert would involve many of the typical Acid Test items – light show, strobe lights, cheap things to munch on like apples, candy, or whatever, open floor seating, black lights, fluorescent paints – but Otvos said very little of that was available, only a bare dance area and the bands, with a dysfunctional sound system to boot. There was a strobe light, there were sheets on the wall for the light show, and there was a mirrored ball, now called a disco ball, twirling overhead.

The event was not as advertised, according to Otvos, who said that “The Coliseum management pretty throughly screwed Trips-Lansing. Which ran the show. Mr. Stinnerson, the manager is a very arbitrary person, and treats problem people by expelling them.”

Spokane musician and record collector Bob Gallagher, had also gone to the show. Mainly because Byrds guitarist David Crosby was one of his musical heroes. When he got to the Coliseum he immediately worked his way to the front of the stage in order to see the band as close as possible. “It was the best show ever,” Gallagher said. “The Byrds were playing Younger Than Yesterday, from their best album, and the Airplane were playing songs that would become Baxter’s, their second record (with Slick), as you know, not a hit single on the record at all, being mostly ten minute songs. I thought both bands were at their prime, a really good show. What happened was the PA wasn’t happening right. I was right in front of a PA speaker, and there was a cop standing right next to the PA on stage. The Byrds play and they go back behind the stage and close the curtains and you hear David Crosby say ‘all they hear is our goddamn rhythm tracks, they can’t hear a goddamn thing we are singing!’ and it’s coming through the PA, and there’s a cop standing right there. We thought it was over for them, but they came back out. The Byrds were so awesome. It is one of my favorite concerts of all time.”

The Jefferson Airplane, Otvos said, refused to go on stage until the sound system was hooked up correctly. Otvos said that the Coliseum electrician responsible for hooking up the system was told by someone in the audience who had appeared onstage, how to hook it up. When the Coliseum electrician could not adequately do so, the guy complained and Stinnerson had the fellow removed from the stage area. Otvos said the system wasn’t operational until after 20 minutes of work, and that when it was working appeared to be along the same lines as what that guy had outlined in the first place. Otvos called the show “amateur,” but only from the point of view of how he thought the show should have been more like what he knew from shows in San Francisco at the Fillmore.

Otvos, Ormon. “Jefferson Airplane – Byrds Concert Spokane Coliseum.” Spokane Natural, Vol. 1, No. 3, 2 June 1967: 11.

“Minutes of the 182nd Coliseum-Stadium Advisory Committee.” May 25, 1967

Hertzberg, Hendrik. “The Nitty-Gritty Sound.” Newsweek. 19 December, 1966: 102.

Interview with Bob Gallagher, 4 April 2012.

Copyright 2013 © Robert G. Schoenberg

1977 Gig List: Spokane Memorial Coliseum

. . . Date . . . .  . .      Band . . . . . . . . . . . . . . . . . . .   Attendance 
February 2 Fog Hat 8,500
April 15 Super Tramp 5,301
April 17 Willie Nelson 1,717
August 11 Kiss 8,365
August 19 Styx 6,998
August 27 Heart 8,358
September 19 Rush 5,112
December 7 Buddy Rich 882

Top grossing show, Heart with $59,834; Kiss grossed $58,912; and Fog Hat cleared out with  $55,590.

Source: Spokane Arena Office Binder: “Coliseum Concerts” typed, handwritten and word processor documents 1975 to 1994. 14 Jan., 2011.

Copyright © 2013 Robert Schoenberg

The Continued Saga of Bobby Wayne, Spokane’s Rockabilly Original

Wayne hauled around the 78 rpm records of his song Sally Ann with the flip side, Warpaint in the trunk of his car selling them at his performances. One of his paying gigs was performing live at a Spokane radio and television station. Like a few years before when he performed in a country and western band also on the radio entertaining for a daily or weekly show, adding in music for commercials, they advertised their weekend performances at nearby grange halls. Ron Livingstone, a close friend of Wayne at this time, explained that a band would arrange to play at a grange hall, splitting the money taken in with the grange hall owners, and advertising each new gig at the radio station where they worked. It was pretty much do-it-yourself booking and promotion for these young country bands in the Fifties. But Wayne got fired from his job at the radio station for playing too much rockabilly style music, or Elvis type music, for the station manager’s taste.

After this Wayne booked gigs in the Northwest and in the Los Angeles area. He soon became well known for his guitar playing contributing to demo recordings of other musicians. In addition his song Sally Ann was reissued as a 45 rpm disc under an obscure label, LJV Records, who had acquired the master tape.

Wayne also hooked up with his old musician buddies Neil Livingstone and his younger brother Ron to play on Charlie Ryan’s first version of Hot Rod Lincoln recorded at SRC Studios in 1958.

Over the next few years Wayne was contracted to appear on the Grand Ol’ Opry concert circuit as a guitar player backing such musicians as Faron Young, Ferlin Husky, Lefty Frizell, Freddie Hart, Tex Williams, and Little Jimmy Dickens.

Locally, Wayne contracted with record label executive and producer Jerry Dennon of Jerden Records in Seattle. Wayne recorded Big Train with drummer Vince Gerber and bass player Delmar Hawkins for Jerden. The song was a regional hit in the Northwest, and in Canada. Columbia Records took notice because the style of music Wayne was recording had similarities to their star recording artist, Johnny Cash. Cash had not had a hit song with Columbia for some time in those years from 1961 to 1963, some of it because of his debilitating addictions to drugs taking a toll on his musical abilities. But his manager argued that Columbia Records should give him one more chance. Cash then recorded Merle Kilgore and June Carter’s song, Ring of Fire, and went on to become the legendary Man in Black.

Wayne signed a contract with Columbia Records in 1963, but because Cash found redemption with his new song, Wayne recorded with a subsidiary of Columbia, Epic Records. They rerecorded and released Big Train. As Wayne became known for his guitar playing, he recorded with Warner Brothers, A&M, Quality Reo, W&G, P.Y.E, Panorama, Piccadilly, Liberty and ABC Paramount. His  instrumental Tip Toes, reached #3 in Canada. And in 1966 Cash Box Magazine rated Wayne, Roy Clark, and Glen Campbell the top three Guitarists in America.

Wayne still recorded extensively with Jerden Records, and in 1964 released an LP, Big Guitar of Bobby Wayne. He then appeared in a band called The Hummingbirds, also recording with Jerden Records under that name. Dennon as well had Wayne take on the stage name Deke Wade to record some songs. In 1966 Wayne recorded a dozen songs that became the basis for the album, Ballad Of The Appaloosa. One of the songs from this LP was used by Walt Disney for the title song in the movie Run, Appaloosa, Run. In 1967 Wayne’s contract with Jerden ran out, and was not renewed.

Wayne in 1973 recorded with a woman named Guylaine from Canada producing an album of songs in French and English. Since then Wayne’s career slowed down considerably. He continued to play with friends in Spokane as much as he could. In 2011 he was diagnosed with a number of different diseases spending more than a year dealing with health issues. He died February 26, 2013.

Interview with Ron Livingstone, 5 May, 2013, Spokane, Washington.

Interview with Marge Meyer, 5 July, 2013, Spokane, Washington.

Wilkinson, Tony. “BOBBY WAYNE .“ Black Cat Rockabilly Web site.

Snyder, Robert Wayne. “Bobby Wayne.” Rockabilly Hall of Fame Presentation.

Copyright 2013 © Robert G. Schoenberg

Native son Bobby Wayne brought rock ‘n’ roll performance to Spokane in 1955

The debate on when and who had been the first to rock ‘n’ roll goes on. Some are in favor of Saturday Night Fish Fry by the jump blues band Louis Jordan and the Tympani Five (1949), others look to Bob Wills and his Texas Playboys and what they accomplished with electric guitars, and how his fast beat country and western swing music gently morphed into rockabilly by a younger generation of musicians like Bill Haley and his country and western band the Saddlemen, Elvis Presley, and a host of others at Sun Records in Memphis, Tennessee. Ike Turner in 1951 took his music, along with Jackie Brenston on vocals, to record the song Rocket 88 at Sun Records in 1951. The song gained the top of the Rhythm and Blues charts in June; Rocket 88 was then recorded by Bill Haley and the Saddlemen in June for Holiday Records. It became a regional hit for the young Haley and his band; this local hit eventually sent Haley on his recording career abandoning country and western for rock and roll in the music industry.

Haley broke into the Billboard Magazines Top 100 In April of 1953 with his band, now called the Comets, recording Crazy Man, Crazy for Essex Records, a song written by Haley that reached #12 on the chart that summer, a tune that sounded a lot like something Louis Jordan would do.

In addition to these songs, by the end of 1951, a Cleveland disc jockey at WJM, Alan Freed, is playing rhythm and blues records from black performers on his midnight radio show, and renaming it rock ‘n’ roll. Tapes of his show are rebroadcast in New York, where he eventually gets a job as DJ in 1954 playing his R&B records. It was unusual to play Black performer’s recordings on radio stations that at the time were segregated between White audience markets and Black audience markets. White audience radio stations played Perry Como, Rosemary Clooney, or Doris Day. Sometimes a Black performer had a crossover hit, like Nat King Cole, or Duke Ellington, acceptable Black performers to White audiences. But in the 1940s and 1950s, for the most part, radio was segregated. Black radio stations generally played to their Black marketplace, and the White stations generally played to the White audience market. The music played was often very different. However, listeners were not similarly held to this segregation. Anyone could listen to the songs they played, White or Black. Some DJs played R&B on their White station’s shows whose marketing was aimed at teenagers; and, Black stations could be listened to as well by White audiences. A Spokane record collector, Jack Kendall told me that while his family was living in Indiana, his father would go out to the car to listen to the Black radio stations. He remembers seeing his dad bobbing his head to the beat, and smoking his cigarettes on warm summer evenings.

Record company producers, seeing a potentially huge market for their records with teenagers, were working to bring the two sides together, the potential exploitation of a the market, and the infectious, addicting beat of R & B. Elvis became that connection. His popularity rocketed beyond anything all the other performers, Haley, Turner, Richard Penniman, Jerry Lee Lewis, or Chuck Berry were trying to accomplish, in fact should have accomplished. But Elvis had the stage presence, the charisma. He had young Frank Sinatra’s appeal to teenage girls, he had popular hit records, he was highly promotable through his appearances in movies and on television. Rock ‘n’ roll was available long before Elvis came along, but it was Elvis that made it acceptable. He sold the rest of the world on it. He also opened the doors to the riches of the recording industry for the other rock ‘n’ roll performers. Good music or bad music, rock ‘n’ roll was now making people wealthy.

Like other performers in R & B—black performers who were popular on the smaller marketing footprint within the Black population areas surrounded by larger white populations, and in rural areas of the South—Elvis’ popularity was limited to certain areas of the the South based on which small market radio stations would play Sun’s 78 records of Elvis. In 1955, as Sun released his songs recorded with Scotty Moore and Bill Black, Elvis, with Moore and Black as his band, began to appear wherever they could get a gig.

The trio began performing at various clubs in Memphis. In August of 1954, they got one gig on the Grand Ole Opry show in Nashville, and eventually they headed out on the road for a stop in Atlanta, Georgia in October.

Elvis and his band got invited to perform on the Louisiana Hayride radio show in Shreveport, Louisiana, resulting in an invite to appear Saturday evenings on the Hayride show when they could get to town. After that they started playing gigs in Texas, with more stops at other venues in town, and stops in Memphis when they came home. Sun Records released another 78, Good Rockin’ Tonight and I Don’t Care If The Sun Don’t Shine on the flip side in September 1954.

In 1955 Moore, Black and Elvis made 249 appearances, all around the South at places like Eagles Hall in Houston, the Catholic Club in Helena Arkansas, Mayfair Building Fairgrounds in Tyler Texas, American Legion Hall in Carlsbad, New Mexico, The Cotton Club in Lubbock, Texas, West Monroe High School in West Monroe, Louisiana, the Popular Bluff Armory in Popular Bluff, Missouri. The trio motored to gigs in Florida, North Carolina, Virginia, Alabama, Oklahoma, but did not get very far north other than a couple of stops in Cleveland, Ohio. Elvis and his band were a Southern phenomena at this point. But, he had gathered in the interest of some big wheels, like Col. Tom Parker, and musicians from Nashville, as well as young musicians like Buddy Holly, who opened for Elvis at a pair of gigs in Lubbock, Texas during 1955.

The band early on was asked to appear a couple of Saturday nights of each month on the radio show Louisiana Hayride where the house drummer. D.J. Fontana sat in with them. Fontana’s playing added a R & B backbeat to Elvis’s music.

Presley, through Sun Records, released six more songs: Milkcow Blues Boogie, You’re a Heartbreaker, Baby Let’s Play House, I’m Left, You’re Right, She’s Gone, Mystery Train, and I Forgot To Remember To Forget.

Early on in their career as a trio, Presley, Moore and Black played the Silver Slipper in Atlanta, Georgia the evening of October 8, 1954. Their records were for sale in the city’s record shops, and juke boxes carried their records.

Bobby Wayne Snyder, known in the country music and rockabilly circles as Bobby Wayne, was born in Spokane, Washington in 1936. His parents were Paul and Virginia Snyder. His father had some musical background, and Bobby started learning his way around the piano. While still a youngster, Wayne with his parents moved to California into a cramped mobile home. No room for a piano. The young Bobby switched to the guitar to keep up with his music. Sometime before 1952 the Snyders returned to Spokane. The now teenage Bobby got a job with the Western Union company delivering telegrams. He formed a friendship with a fellow delivery boy, Neil Livingstone, who also was interested in music, especially country and western music, and the steel guitar.  The next year, 1953, and all of sixteen years old, Wayne formed his first band, the Rocky Mountain Playboys. Bobby played rhythm guitar, while his buddy Red Adair played lead, and Bob Thames plucked out the standup bass. They snagged a weekly gig at the Woodland Beach Club at Hauser Lake up the valley from Coeur d’Alene, Idaho. In May the band felt together enough to book some time at Paul and Irene Carter’s Sound Recording Company (SRC) in the Symons Building, downtown Spokane, to record a couple of songs. They recorded Rocky Mountain Home, and There’s No Room In Your Heart.

The Rocky Mountain Playboys continued to play six days a week at the Jitterbug Club in Osborn, Idaho. While there Wayne meet Doug Dugger of the band T Texas Tyler and they rounded up a month long gig at the Moose Club in Missoula, Montana. Then the band brought in Jack Ackers for vocals, and Jack Evans, a fiddler. In the summer of 1954 the band scratched together enough money to travel to Los Angeles to find their break into the music industry, but because of restrictive age limits for musicians in bars where they needed to earn a living while in LA, the band went broke, and returned to Spokane a short time later. Soon afterwards the band split apart for good.

Wayne then hooked up with his old buddy Livingstone, who by this time had learned to play the steel guitar, and Livingstone’s younger brother Ron on fiddle With Thames on bass, Jack Curry on piano, they formed a new band, The String Dusters, and the band played local grange hall gigs through the winter of 1954-1955, as well as appearing live on a weekly local radio show.

Meanwhile, Wayne’s parent’s marriage had fallen apart and they divorced. His mother, Virginia, remarried and moved to Atlanta, Georgia. In the summer of 1955 she asked him to move down to Georgia to be with her. Arriving by Greyhound bus midday and hungry, his mother took him to lunch. It was while they were waiting for their meal that Virginia put a nickel in the restaurant’s juke box and played the song Mystery Train by Elvis Presley. While listening to Scotty Moore on guitar, Wayne immediately converted to rockabilly. He began buying up all of the 78’s Elvis released, and listened to any other R & B he could find. He had packed his guitar, and now practiced all day and into the night obtaining his rockabilly chops. He started hiring himself out for gigs meeting other musicians then in Atlanta playing the nightclubs. He met Roy Drusky, Jerry Reed, and Pete Drake. He paired up with Drake for gigs. But then his mother, another marriage on the rocks, headed back to Spokane taking young Wayne with her.

Wayne brought with him to Spokane his Elvis 78s, and all the other records he could find playing rock ‘n’ roll. He was so taken by the music he scrounged up a band and earned enough money to book more recording time at SRC. He hooked up with rhythm guitar player Harold Horn, and drummer Warren Waters to cut two sides, Warpaint, and a song about a high school girl he meet in Atlanta, Sally Ann. Wayne payed out of his own pocket to press 250 copies of the songs as a 78 rpm disc in December of 1955 hoping they would sell like hotcakes and he would get a recording contract with a national record company.

To be continued . . .

Bobby Wayne Snyder died February 26, 2013 in Spokane, Washington after a year-long struggle with illness.


Interview with Jack Kendall, 29 June, 2013, Spokane, Washington.

Interview with Ron Livingstone, 5 May, 2013, Spokane, Washington.

Fontenot, Robert. Elvis Presley Concerts: 1954 Concerts and other on-stage appearances by Elvis in 1954.  About.com Guide.

- Elvis Presley Discography: 1954 A historical Elvis Presley timeline of single, EP, and album releases. About.com Guide.

-  Elvis Presley Concerts: 1955 Concerts and other on-stage appearances by Elvis in 1955. About.com Guide.

-   Elvis Presley Discography: 1955 A historical Elvis Presley timeline of single, EP, and album releases. About.com Guide.

Wilkinson, Tony. “BOBBY WAYNE .“ Black Cat Rockabilly Web site.

Snyder, Robert Wayne. “Bobby Wayne.” Rockabilly Hall of Fame Presentation.

Copyright © 2013 Robert G. Schoenberg

1978 Gig List: Spokane Memorial Coliseum

. . . Date . . . .  . .      Band . . . . . . . . . . . . . . . . . . .    . . . . . . .  . Attendance 
February 21 America 3,000
March 13 Nazareth 8,500
April 20 Fog Hat 7,068
May 13 Ted Nugent 8,500
May 16 Tom Jones 4.087
May 18 Bill Gaither Trio 2,828
June 14 Boz Scaggs 6,270
July 27 Aerosmith 7,800
August 5 Blue Oyster Cult 7,800
August 12 Tribute to Elvis 1,675
September 10 Boston 7,800
September 28 Black Sabbath 4,529
November 8 Rush 4,200
November 17 Commodores 7,242
November 26 David Gates & Bread 3,697

Top grossing show, Ted Nugent with $63,750; then Aerosmith and Boston at $62,400 each; and Blue Oyster Cult with $59,219.

Source: Spokane Arena Office Binder: “Coliseum Concerts” typed, handwritten and word processor documents 1975 to 1994. 14 Jan., 2011.

Copyright © 2013 Robert Schoenberg