From: Dave Frey

Subject: Re: Re-The New Mad Dogs & Englishmen Movie

Hi Bob,

As a promoter it’s rare to get props so I really appreciate you mentioning Lockn’ in your Learning To Live Together letter. During my 7-year run with Pete Shapiro our thing was to try to present once-in-a-lifetime artist collaborations. We had some big ideas and swung hard at them, like pairing Clapton with TTB (and Whitlock, Bramlett, Keys et al) to do Layla. That incarnation of our idea never got off the ground, but the TTB next one, Mad Dogs did. I’d seen Mad Dogs & Englishmen at the Evanston Theater on Central St when I was 11 and then bought the record. Pete, who’s younger, got it but didn’t connect like I did so he gave me the rope. I first tried to pair Joe with TTB and we got close, but sadly Joe died and the idea did too.

Later on Wayne called and said Derek & Susan were still up for it as a celebration. So again Pete gave me the rope and we worked out a deal and secured Leon. My next inquiry was to The Boss who wasn’t available, and when Paulo Nutini didn’t work out the focus switched to different singers doing their own interpretations. That’s when Wayne Forte really stepped up and we confirmed Rita Coolidge, Chris Stainton, Claudia Lennear, Chris Robinson, Dave Mason, John Bell, and others, and don’t forget Susan Freaking Tedeschi, Wayne was totally immersed, he even put up show posters!

Pete reminded me the budget was spiraling; “did I know what I was doing?” On a financial basis… it was out of control, sorry Pete. But Shapiro’s always been a great music film and video producer and he had the foresight to bring in (and vouch for) Jesse Lauter to document everything. Jesse found the original photographer Linda Wolf who we also flew in, Linda recently released a great book called “Cocker Power.” She and Mary Beth Aungier became invaluable because I couldn’t stop. They were tasked with the Easter Egg hunt and they found Bobby Torres, Pamela Polland, Bobby Jones, Don Preston, Donna Washburn, Jim Price, Daniel and Matthew Moore, and others. Some had been out of the game for years and wouldn’t come. Not Keltner, he wasn’t going to travel but said not to worry, the show would have “the pocket” because Leon and Stainton were there (and don’t forget Kofi Burbridge too!). Steve Martin stepped up too and got Chuck Blackwell and Sandy Konikoff’s info from Leon. Leon officially passed the baton to Derek who did what he does so well, he became the wizard, the eye of the hurricane, and a master music director.

At the rehearsals everyone seemed so happy to be together again, it was like a good high-school reunion. But there were serious challenges too. Marketing learned it was hard to message, sprawling, obscure, few knew what it was, especially without Joe. Then the day before doors a derecho storm hit the site and we lost Thursday. Our incredible crew recovered the site, re-permitted everything, and then Pete and I pushed most of those bands into shorter sets on Friday. No one slept for 3-days.

Come Friday night I stopped to breathe and my wife and I watched the show from out in the crowd. Everyone killed it of course, but when Leon sang “Mad Dogs & Englishmen” on his own, and we used two spotlights, one on Leon and the other on a center stage mic where Joe would have stood, there were few dry eyes in the crowd. I know it’s an old trick, and I sure hope it was captured on Jesses film. Afterward Leon shared that he was grateful because the show got him and Joe in touch again. The last thing he told me was to thank my mom for letting me see the movie at such a young age. So thank you mom, and thank you Bob for the acknowledgement.

Dave Frey

Lockn’ LLC & Lockn’ Farm LLC

Managing Member / Owner

P.S. And after all this time I still run into people that say they had no idea what they were about to see, but that MD&E then became one of their favorite shows ever. But to be candid, the show lost a fortune and raised my blood pressure, considerably.


From: Wayne Forte

Subject: Re: The New Mad Dogs & Englishmen Movie

It is extremely satisfying to know that you watched our documentary as closely as you did and more so that you truly enjoyed it.  While we (our director, co-producer, editor and I) would have loved nothing more than to tell all the individual stories in depth, it would then have been an over 3 hour film.  To that end, we were advised from the start, by multiple people, that we should not make a documentary film longer than 1 hour!  Well, that was definitely not going to work for us so, as 1st time director and producers, we proceeded to tell the story we  had planned to tell, however bearing in mind, though it was a tough decision, that ‘shorter’ may be better than ‘longer’.

We also had some comments from the ‘peanut gallery’ that there should be more ‘live performance’ in the film (bear in mind that very few people have actually seen the final doc so goodness knows where those comments were coming from!?).

In the end, suffice to say, there were a number of things we wanted to have included that we finally had to leave on the editing room floor, in order to get the doc to under 2 hours (and there were hours and hours more of interviews and live performance which had to be left out).

We, as ‘1st timers’, learned the lesson of toiling for hours and hours and days and days (which led to months and months then years), agonizing over what to leave out and what to include.  And, as you pointed out, it did take years for us to raise the funds to finally complete the project, all while we were slowly working on piecing the film together (6 years total – 1 year of being turned down, 3-4 years of fundraising, including 2-3 years of license clearances, mostly due to COVID, and for me, add another year of setting up the actual concert event with the festival producers).  In fact, after a year of being turned down by both corporations as well as individuals we finally decided to take the ‘DIY’ route, similarly as we had done with both the Tedeschi Trucks Band as well as The Derek Trucks Band prior, and proceed with the project independently by raising the funds ourselves.  And, while there were many, many ‘non-believers’ along the way (both corporate as well as individuals), there were also the ‘believers’ who understood what we were attempting to achieve and produce, or at least believed in us, the team of creators, and were willing to financially support the project.  As they say, ‘it takes a village’, however it takes ‘people’ to make the village and without them, there would be no film.

However, from the beginning (that is, following the huge success of and reaction to the live event), we all felt that this film HAD to be made and the story HAD to be told, not for ‘the money’ but for Joe, for Leon, for the Mad Dogs and for the history of music (something which has resided in the back of my mind for 6 years now).

Given the amount of time, care and effort involved in this project (and a certain amount of ‘love’) it is nice to know that the efforts have already been appreciated.

Thanks again.


From: JD

Subject: Re: Re-The New Mad Dogs & Englishmen Movie


I second every word of Elton’s letter. Mad Dogs and Englishmen was source of mad inspiration for me and Leon’s writing and playing cannot be over estimated. Try playing “Song For You” and you’ll get a wee sample of his brilliance. Thank you and thanks Elton for sending the big Amen to one of the giants on whose shoulder we stand.


JD Souther


From: Andrew Oldham

Subject: Re: Re-The New Mad Dogs & Englishmen Movie


They were rehearsing in Westport CT, i was living, well, transposing, on nearby Ridgefield Rd.

Manager Nigel Thomas and Man of War Denny Cordell brought Joe over for a meet and greet. Nobody accepred my standard supper, Stouffer’s Beef Stew bathed in Vodka, and the silence in the living room was grim.

Then Joe spoke, “So this is what’s between Boston and New York?”

Bless you Joe and all the wings you sung on…

Everbest, o


From: Michael Des Barres

Subject: Tweet by Michael Des Barres on Twitter

Leon Russell statue installed at Church Studio via @YouTube Richly deserved. The prince of Peace…& Rock ‘n’ roll.🎵


From: Terri Haram

Subject: Re: The New Mad Dogs & Englishmen Movie

Hi Bob, 

I just wanted to make a comment about Tedeschi and Trucks. A few years back I went to see them at the Ryman. I was in town working, saw they were playing and was able to score a ticket, front row on the side. It was my first and only Ryman show. I was glad a friend had convinced me to go. I was completely blown away. 

Live music always gives me an emotional and sometimes physical (I’m a bit of a cry baby when the music moves me) response. I don’t believe I stopped crying through the entire show. I was just so moved. I was on the side of the stage where Derek plays so was fortunate to be so close and watch him (through tears) the entire night. He as well as others in the band saw how moved I was. At the end of the first set I yelled out for a pic (yes I am that person!). How did I not notice Derek doesn’t use a pic? I was mortified! Derek, the kind soul that his is didn’t just laugh and blow me off. He reached down, tore the set list off the stage and brought it over to me. I couldn’t believe it. Such a great gesture!! I was going to be a fan after that concert, but because of Derek’s kindness, knowing I was having an emotional and physical response to the music, I will be a fan for a lifetime!!

Buy the ticket, take the ride!!

Terri H.


From: Craig Anderton

Subject: Barking up the wrong tree

With older recordings that were done in analog studios, I think comparing CD or SACD to vinyl is missing a very important point. The comparison should be what sounds closest to the analog master tape. To my ears, SACD does that better than vinyl or CD. SACD has the most inherently “analog” sound.

I believe one reason why SACD sounds better than CDs, and closest to analog tape, is due to the output filtering.

CDs have a brutally sharp output filter in order to pass frequencies below 20 kHz, while totally suppressing the 44.1 kHz clock signal.

Vinyl has to deal with preamps that use the RIAA curve. This introduces massive amounts of equalization on playback (up to 20 dB of bass boost and up to -20 dB of treble cut!). It basically “undoes” the massive amounts of bass cut and treble boost applied to the record to try and overcome vinyl’s lack of bass response and surface noise.

However…SACD’s clock frequency is so high that even the most gentle, neutral filters can remove the clock signal from the output.

So I believe the difference people hear among these various technologies is more about the difference among reconstruction filters, not the technology per se. With SACD, audio goes through much less, and much gentler, processing between the playback medium and your ears.

Vinyl does not accurately reproduce the sound of analog tape. Vinyl is a signal processor, but it processes the sound in a way that some people like.



From: Robert Heiblim

Subject: Re: Eagles MoFi Vinyl


Oh oh Bob, you are showing signs of audiophilia! No worries, I too am a recovering audiophile. This is not to be confused with what overlays this which is the luxury market for scarce goods also inhabited by audio lovers. You are right of course that you have to spend more than on a Bluetooth speaker, but you can get grand sound for the prices you mention as my friend and speaker designer Andrew Jones for example makes some great sound at reasonable prices.

The differences you hear and real. Of course much depends on your room, your particular set-up, the actual recording you are listening to and its mastering, etc., the gear and personal taste! This of course is part of the fun isn’t it? Many things we all love are the basis of arguments, discussions and fights like music itself, cars, wine, fine cigars and lovers. All things we debate but in the end have fun with.

I see many old friends and acquaintances weighing in like Joel Selvin or Michael Fremer. They are right in many ways, but I have been here since the beginning of digital and my take is a bit different.

My friend Dr. Anazawa of Denon/Nippon Columbia and his team built the first digital recorder. As he told me, it would take at least 30 years for everyone to learn how to use the system. New methods of miking the instruments, new ways to mix and master. He accurately predicted to me that producers would use the extra dynamic range for volume at first rather than quality. How right he was and early CDs sure show this.

Much has been learned and developed. I was involved in the sale of the first PCM100 to Record Factory in 1975, we have gone far beyond that now and from 14 bit to 24 bit with much better filtering and other tech. Answers to your concerns about bass or high frequency issues.

On the other hand I too love vinyl, but not for the sound per se but the ritual. It takes involvement. It makes you listen more and getting up to move the tonearm or change the disc, it is easier to listen to ALL the tracks while pressing a button on your device is so easy. Vinyl is showing the love of music and listening. As you know over 80% of the music sales are streaming, but more than 90% of the listening too so while I respect that some digital music is tiring to listen to that is not a blanket condition.

It does not matter to me. What matters is the love of the music. With so many types and artists and approaches there is room for every opinion. 

Just get some decent sound!

thanks for posting.



From: Preston Bealle

Subject: Beach Boys—i had the same 1966 trip to LA that you did, but from New Canaan

My Dad took us out there, and he knew everyone, so I sat at a Dodger game with Jack Benny, Cary Grant, and Mervyn LeRoy in Walter O’Malley’s box. We went on the Batman set and Robin tried to pick up my sister and get her away from my parents for the night.

One year later, my Dad says “We’re moving to LA”. He became vice president of the Dodgers. He was apologizing for removing me from high school  in 9th grade and starting over, across the country. Having seen it, as you did, I said “What? Are you kidding? Let’s go tomorrow!”  Loved it ever since and spend the winters out there now.


Darien, CT


From: Lee Kelley

Subject: Re: The Path


This rings so true to me.  Playing drums since I was 8 years but growing up in a time where most parents didn’t see music as a viable living.  They were great with me playing in the house everyday for hours and supported school band through high school.  They told me I had to get something to fall back IF music wasn’t in the cards.

Instead, I learned playing in bands/with others from watching one of the best East Coast regional bands, Sugarcreek. When Sugarcreek broke up in 1990 and leader, Rick Lee, wanted to form a new band, he picked me while in my senior year into getting my BA in English.

During those college years, we studied the Joseph Campbell book, “The Power Of Myth.”  The idea of “Follow Your Bliss” was instilled in me and is to this day.

Anyway, after getting “Too Much SyLviA” up and running as a variety band, my parents saw it was viable although unconventional.  They became even more supportive of my path than ever before.

January 2022 will mark my 25th year in Nashville; 24 years on the road with national acts and going into my 3rd year with Hank Williams Jr.

I kind of believe that we don’t really pick music as much as music picks us.  If you watch the “Count Me In” drummer doc on Netflix, my launching pad was identical to Taylor Hawkins’

Follow Your Bliss!!


Lee Kelley

Lebanon, TN


Subject: Thank you very much….



Thank you so much for taking a serious critical listen to the new Mobile Fidelity vinyl and SACD releases. I really appreciate your enthusiasm, as it is obvious our entire high-end audio community reads. Actually, I received more comments from record industry executives, hi-fi manufacturers, customers, and other high-end audio writers than I have ever received from any previous critique.

Our industry is mostly filled with writers who tend to forget the most important part of music listening. It’s fun! Always getting caught up in the technological jargon and using ridiculous adjectives people do not understand. But your ability to cut to the chase, tell compelling stories, and make people laugh or smile, is one of the keys to your tremendous success. Honestly, I wish more audiophile writers would take a page out of your playbook.

As you know we have some great releases coming soon that I expect will really turn you on. While we hang our hats in a crazy audiophile world, we are all just extreme lovers of great music, and our goals are simple: to provide the best quality pressings to the music lovers who value the art.

If you have any additional comments please do not hesitate to reach out to me directly. 

Much appreciated. 

Catch you on the flip side,


Josh Bizar

Music Direct/Mobile Fidelity Sound Lab


From: Jim Horn

Subject: Jim Horn dead

I’m very much ALIVE and don’t appreciate you sending out emails saying I’m dead. You need to correct this ASAP!


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