Sunday, February 6, 2011

Going Beyond "The Burg" with Larry "Butch" McGee

The only local legacy that's comparable to that of Pittsburgh's sports teams is that of it's rich musical heritage. And on this Super Bowl Sunday 2011 I'd like to share the story of a guitarist from Pittsburgh by the name of Larry "Butch" McGee. He was born on the Southside and raised in the Hill District by a single mother with a family of twelve children. His infatuation with the guitar began with Elvis Presley's 1957 appearance on the Ed Sullivan Show. Larry was twelve when he got his first guitar. "My mother raised us herself and I knew that she wouldn't be able to send me to school for music, or pay for me. So I figured I had to learn from what they call the school of hard knocks, in other words from any source that I could. And this has been my philosophy or strategy since I was a kid. So anybody that was great or good, I drew upon them and studied them. It wouldn't just be people on guitars. I'm inspired by Herbie Hancock and George Duke. They didn't play the guitar. Jocko Pastorious was a bass player. I didn't limit myself as far as who I tried to learn from."

I recorded an interview with Larry McGee five years ago and I explained that I was interested in creating a resource for people to learn about Pittsburgh musicians focusing on the records that they made. There are a ton of Pittsburgh musicians who relocated to New York and LA and became very famous. These people are relatively easy to learn about. What I'm more concerned about are the ones who didn't necessarily "make it." What was going on here locally in Pittsburgh is much more interesting to me than what people from Pittsburgh were doing elsewhere. "I'm glad you said that. A lot of the ones who didn't make it where so great to me. George Benson had just did a record with Quincy Jones called Back on the Block. He invited me to the session, and after that we went back to the hotel where he was staying in Hollywood. Out of the blue he asked me in front of all of the people 'who was the greatest group you've ever seen?' And I said it was the Altairs and he said to the people 'See, I told you.' So that gives you some idea of how some of the people who didn't make it were really great. George Benson's been around the world more times than I can count. He's seen talent."

McGee's musical career began in 1962 when he was approached by Benson and William Herdon of the Altairs. The Altairs were a Pittsburgh group who cut a record for Amy Records, which was a label based in New York. That was their first and last recording. McGee replaced Benson who moved on to start another group before leaving Pittsburgh to tour with Brother Jack McDuff.

Donnie Elbert "Your Red Wagon (You Can Push It or Pull It)"

b/w "Never Again" (196? Gateway, 45-761)
Van Harris & the Vanguards "Hey, Hey (Feel Alright)" Pt.'s I & II
(196? ABC, 45-11155)

One of McGee's earliest recording dates was with Donnie Elbert. Elbert was an artist from Buffalo, NY who scored a big Pittsburgh hit in the mid-sixties with "Have I Sinned" on Deluxe Records. The Pittsburgh-based Gateway Records label wound up releasing three singles by Elbert circa 1965. I never knew if the recordings were actually made in Pittsburgh, or perhaps they were just licensed by the label. That is until McGee told me that he played on "Your Little Red Wagon (You Can Push It or Pull It)." This may be my favorite of the six tunes and it's the only side that McGee plays on.

Pittsburgh-based band leader
Van Harris hired McGee to back the likes of The O'Jays, Peaches and Herb, The Dells, Chubby Checker, The Drifters, Fontella Bass and Jackie Ross to name a few. Harris assembled a band, Van Harris & the Vanguards, that featured himself on drums, McGee on guitar, David "Sugar" Cain on keys, Donald Jackson on bass, George Green on sax and Jimmy Rodgers on trumpet. McGee speaks very highly of bandmate David "Sugar" Cain. "He used to sing, write songs, play guitar, drums, organ, everything ... way back then. And in my opinion he was like the most talented person I ever met, or played with." The group's only record was "Hey, Hey (Feel Alright)" which was recorded for ABC Records in the late sixties. It's a somewhat obscure record, but not entirely hard to find. For as great as that record is it's kind of strange that it isn't in much more demand.

Lonnie Smith Move Your Hand LP (1969 Blue Note, BST-84326)
Lonnie Smith "Move Your Hand" Pt's I & II
(1969 Blue Note, BN-1955)
Lonnie Smith Drives LP (1970 Blue Note, BST-84351)

McGee's early touring experiences were with Bobby Watley and Winston Walls. In 1969 he went on tour with Blue Note recording artist Lonnie Smith. Lonnie Smith and George Benson had traded back and forth playing on each other's first few LP's. McGee is featured on the albums Move Your Hand and Drives. The title track from the former being an amazing hunk of jazz funk, which was issued as a single. If I'm not mistaken McGee also appears on Smith's Live at Club Mozambique LP, which was shelved for twenty-five years before it's 1995 release. In 1971 Larry replaced Benson once again in Brother Jack McDuff's quartet who he toured with extensively.

Larry McGee Revolution "The Burg (Pittsburgh, Pa)"
b/w "Happy Bicentennial USA" (1976 Boogie Band)
Larry Mcgee & Saxon Sisters
"We're Number One (Super Steeler Disco)"
(1980 Boogie Band)

McGee was still residing in Pittsburgh when he wasn't on the road. The Steelers back-to-back Super Bowl wins in 1975 and 1976 inspired a number of records that were either specifically about the Steelers, or they were what you might call very "Pittsburgh-centric." McGee recorded one of the earliest of these records and in my opinion it's the best one. It's titled "The Burg (Pittsburgh, Pa)" and there's more demand for this record today than there was thirty-five years ago.

"We did a minimum order, so I think there were 500 (copies made). Ralph Cominio, the owner of Asterik Studios, made those provisions for me. He made the arrangements and I paid the bill. We recorded that in the spring after the Super Bowl. I was living in Wilkinsburg. The studio was in Wilkinsburg too. The Boogie Band got together in '74 and we made the record in '76." The Boogie Band was initially the name of the group, but the record is credited to the Larry McGee Revolution on the Boogie Band record label. Larry played lead guitar and sang lead vocals with Lamont "Monty" Ray on rhythm guitar, Joe "Chipper" Gray on bass, Willie "Spiegal" Gay on drums and Keith Stabbler on keys. "All the musicians except Keith played with me regularly for at least two years. I was trying to think of a name for the label and I wanted to name it after one of my groups. That was the current group. The idea of Revolution, I liked that name at the time. It's like we were going through a different phase. Those two things are what inspired me to change the name of the group and use that for the record label."

WAMO and WYEP gave the record significant airplay. "There was a guy named Del King. He was a DJ on WAMO, and the Program Director for a while. He helped me get that on the air and WAMO played it regularly. We were on a TV show in Pittsburgh called Vibrations. It was a local show and the host was Bev Smith. We did 'The Burg' on there. We were scheduled to do the one song and they liked it so much that they asked 'Do you have another song?' But we hadn't rehearsed anything else. I wish I could get that."

In 1977 McGee hit the road with Norman Connor's Starship Orchestra. "When I played with Norman Connors I would double on drums. The first couple of songs, before he comes out, I would play. Very seldom do I do gigs on other instruments. Usually I do that in my own groups." During the stint with Connors McGee was interviewed for a full page feature in the October '77 issue of down Beat Magazine. Bill Milkowski, who wrote the article, refers to the shoe box of photographs that McGee shared with him during the interview. A lot of these photos have survived over the decades and are currently displayed on Larry's Myspace page. In July of '78 McGee received another full page feature in Guitar Player Magazine.

In 1980 the Steelers won the Super Bowl for the fourth time and inspired the sophomore release on the Boogie Band label, which was "We're Number One (Super Steeler Disco)." This was at the height of the Steelers popularity and McGee recalls it selling 10,000 units. Joe "Chipper" Gray was the only Boogie Band/Revolution member who played on this release. The song was co-written by Elizabeth Davis and it featured vocals by Denise and Debbie Saxon. Elizabeth Davis was a permanent fixture in the Pittsburgh jazz scene as she lived above the Crawford Grill since the early fifties. Her songs were recorded by the likes of Dakota Staton, Ramsey Lewis and Nancy Wilson to name a few. Denise and Debbie Saxon were part of the later Lovations line up along with Crystal and Penni Wilson. The collaboration of names involved with this release make it much more significant than your average Steelers record.

Gene Ludwig Now's The Time LP (1980 Muse, MR-5164)
Nathan Davis Faces of Love LP (1982 Tomorrow Int.)
Emmett Frisbee Sound Paintings LP (198? Street Level)

McGee recorded on three local jazz LP's in the early 80's. The juxtaposition of these three albums really show McGee's versatility, just within the jazz genre alone. The first of which is Gene Ludwig's Now's The Time, which was mentioned in the debut I DIG PGH feature in July 2010. "He (Gene) had scheduled Pat Martino and then I took Pat's place." Now's The Time features an all-Pittsburgh line up of musicians, but it was released nationally in 1980 on Joe Fields' Muse Records label. Ludwig is on organ and McGee's on guitar with fellow-Vanguard member George Green on saxophone, Tom Soisson on drums and Kwasi Jayourba on percussion.

In 1982 Nathan Davis released Faces of Love, which was the third project on his Tomorrow International label. It was recorded at Sound Heights Recording Studios in Brooklyn, NY and mixed at Jeree Recording Studios in New Brighton, PA. McGee is featured on guitar along with other familiar Pittsburgh names like James Johnson Jr. and Ron Fudoli. Some of the other names on the album are even more familiar including the likes of Idris Muhammed and Wilber Bascomb.

The last of these three jazz LP's is Emmett Frisbee's Sound Paintings. I can't imagine that this album sounded any less weird upon it's initial release than it does today. It's actually pretty amazing as it's part environmental soundscape and part eighties jazz fusion. It's also a really interesting document of the local jazz scene featuring McGee on guitar along with popular Pittsburgh saxophonist Kenny Blake and other artists who's names may be less familiar.

Bill "I Feel Good With You" b/w "Space Lady"
(198? Dollar Bill, RR-42480)
Lonnie Liston Smith "Star Flower" from the album
Love Goddess (1990 Startrak, STA-4021-LP)

The Bill 45 is another quality project that McGee was involved with in the eighties. You generally hear the B-side of this boogie era R&B masterpiece, but the A-side is pretty great as well. As a matter of fact if anyone got a copy of the limited edition mix that I did with DJ BusCrates a few months ago, The Top Shelf Collectors, then you've heard the B-side already. I've been scratching my head wondering who Bill was for years now and McGee informed me that it's actually William Herdon from The Altairs. The same William Herdon who gave him his very first gig in 1962 replacing George Benson.

McGee went back to school and studied business management at the Community College of Allegheny County. In 1987 he completed the program and relocated to Los Angeles. He created a publishing company and a production company along with partners Joe Caccamise and Alan Walker. In 1990 he co-wrote "Star Flower" which was included on Lonnie Liston Smith's Love Goddess LP. He's featured on the track playing keyboards, guitar, synthesizer bass and percussion. Other projects that Larry was involved with, which were never issued on vinyl, include The Jazz Syndicate featuring Phil Collins, Angela Bofill and Gerald Albright (1998), Norman Connors' Easy Living and Eternity (both released in 2000) and Tom Scott's' New Found Freedom (2002).

Larry McGee Revolution "The Burg" 12" Reissue
(2005 Licorice Soul, LSD-010T)

As I mentioned before, there's more demand for "The Burg" today than when it was initially released in 1976. This is largely because of UK disc jockey Keb Darge who is credited with (re)discovering the record. Darge is probably best known in the U.S. for the Funk Spectrum compilation series that he co-curated along with his stateside record-digging contemporaries DJ Shadow, Pete Rock and The RZA.

Back in September of 2005 I was speaking with jazz drummer extraordinaire Roger Humphries who informed me that Larry was living in LA and he suggested that I go online and look him up. When I went online I discovered that a UK-based label by the name of Licorice Soul was coincidentally reissuing "The Burg" that very week. I'd already seen that the original 45 had been selling for quite a bit of money, which explained all of "The Burg" related phone calls that we'd been getting at Jerry's Records that summer. McGee explains that he never met or spoke to Keb Darge and it was a DJ in the United States who initially contacted him about the record. "He's the one that contacted me first. He wanted to buy all 'The Burgs' that I had and the 'We're Number Ones.' Once we made that deal he connected me with Licorice Soul Records. I was excited. I really felt that the record never had the chance to get the proper exposure."

I was excited too, but kind of disappointed that the reissue and the new interest in Larry's record had gone under the local radar. When the Steelers were going to the Super Bowl in 2006 I thought it would be a prime opportunity to get Larry McGee's story published locally. Unfortunately I wasn't able to make that happen, but five years later the Steelers are going to the Super Bowl AGAIN and I'm in a much better position to publish this myself now. Regardless of whether we win or lose tonight I'm going to be alright. I like the Steelers as much as the next guy, but I've got people like Larry "Butch" McGee who make me proud to be where I'm from. The Burg (Pittsburgh, Pa).

Visit I DIG PGH on YouTube to check out selections from the Larry "Butch" McGee discography:

Friday, February 4, 2011

Title Town Sounds: A History of Pittsburgh Steelers Fight Songs

In 1969 Chuck Noll was hired as the head coach of the Pittsburgh Steelers. Noll turned the team around from what is commonly referred to as "The Four Decade Famine." In 1972 the Steelers finally made it to the play offs for the first time in the team's history. They returned to the play offs the next two seasons and finally clenched the AFC Championship in 1974. They then went on to win back-to-back Super Bowls in 1975 and 1976. You probably know how the rest of the story goes, so I won't bore you.

What's interesting is with this new success came notoriety and popularity, and with popularity came an expanded fan base and of course merchandising opportunities. Now-l
egendary players like Franco Harris, Terry Bradshaw, Rocky Bleier, Lynn Swann, L.C. Greenwood, Joe Green and Dwight White not only had their names immortalized in the NFL Hall of Fame, but also in a wide array of official, and not so official, Pittsburgh Steelers merchandise that included ... you guessed it ... vinyl records. A lot of these records are just your run of the mill sports novelty items, but some of them became very popular. Novelty or no novelty these were the sounds that defined the more successful seasons of Steelers football.

The Steelers Sing Holiday Halftime LP
(1969 Manilus Records, MAN 2010)

Mike Kalina & Friends "Steelers '72" (1972 Fox Records)
Jimmy Pol "Steelers Fight Song" (1973 NRM)
In 1969 Mike Tatich released what I believe is the first Steelers record, The Steelers Sing Holiday Halftime, on his New York based Manilus Records label. The album was arranged, conducted and produced by Jacques Urbont. Urbont had done some composing for popular 60's TV shows including Mannix and Mission Impossible. What's even cooler is that he's the one responsible for the theme songs to the 1960's Marvel Superheroes cartoons!

The earliest Steelers record I know of, that was produced locally,  was made in 1972. Mike Kalina, who would later become known as The Traveling Gourmet, released what was called a cut-in record titled "Steelers '72." A cut-in record was a type of novelty comedy record that was popular in the sixties and seventies. Most of the records were done in an interview fashion where the interviewee's dialog, or responses to questions, were comprised of soundbites from popular songs.
Perhaps think of it as a precursor to sampling. On this particular cut-in record Kalina is portraying the late Myron Cope who is interviewing the late Steelers' owner Art Rooney about the team's 1972 play off debut. The voice of Art Rooney is substituted by soundclips from early seventies hits including Isaac Hayes' "Theme from Shaft" and T-Rex's "Bang a Gong."

Then of course we have the first of many Jimmy Pol Steelers Fight Songs, which was released in 1973. Pol, whose real name was James Psihoulis, would undoubtedly  become the most well-remembered artist of what you might refer to as the Steelers Fight Song genre. My understanding is that Pol was not only a radio disc jockey/celebrity, in addition to being a polka band leader, but he actually owned multiple radio stations in the region and had a large involvement with the Pittsburgh-based National Record Mart chain.  It was National Record Mart who initially released Pol's Steelers Fight Songs on their NRM label.

Whatever It Takes LP (1975 Olympic Records, OLP-1001)
Super Steelers '76 LP (1976 Fleetwood, FCLP-3095)
Coward Hosell "Super Steelers '76" (1976 ?)
Larry McGee Revolution "The Burg (Pittsburgh, PA)"
(1976 Boogie Band)

As I said, the Steelers won back-to-back Super Bowls in 1975 and 1976. 1250 AM WTAE was the official radio station to broadcast the games and they were announced by Jack Flemming and the aforementioned Myron Cope, creator of the Terrible Towel. Highlights from the WTAE broadcasts were released on LP by the Massachusetts-based Fleetwood Recording Co., Inc. (the first album was in association with the Olympic Recording Co., Inc).

In 1976 there was another cut-in record made attributed to Coward Hosell. This was a bit of a mystery piece with a similar theme to the Mike Kalina record. In the spring of 1976 Larry "Butch" McGee released "The Burg (Pittsburgh, PA)" on his own Boogie Band Records imprint. He recalls placing a minimum order with the pressing plant and estimates that there were probably 500 copies made. This record has become very sought after, not because of its Steelers references, but because DJ's are actually playing it now 35 years after it's initial release. A lot of people nowadays know McGee primarily because of the interest in this record, but he actually has a some what extensive recording career. I'm going to go into more detail about Larry McGee separately.

Jimmy Pol "Steelers Fight Song 1978" (1978 NRM, 2250)
Jimmy Pol "Steelers Fight Song 1979" (1979 JP Prod./NRM, 2470)
Wakefield "Make Plans for the Super Bowl" (1979 ?)
Freddie Waters "Steel it Steelers" (1979 Kari, KA-105)

Jimmy Pol returned with more Steelers Fight Song polkas in 1978 and 1979. This essentially set the paradigm for the Steelers Fight Song that would be redone each year with updated lyrics. This also cemented Pol and his polkas in the memories of everyone who was around in the seventies to witness the Steelers' Super Bowl wins. Until this day I have many early recollections of Eastern European fathers and grandfathers with their accordions performing what was the "Black and Yellow" anthem of its day.

The "Make Plans for the Super Bowl" record isn't really exceptional, nor is "Steel it Steelers" by Freddie Waters. The latter although must have been tremendously popular because the city is littered with copies. The funny thing is that it was released by a label based in Nashville and there's really no indication that anyone local had anything to do with the record.

Jimmy Drake Orchestra "Steelers Victory Theme" (197? Alanna)
Pittsburgh Steeler Fans "Steeler's Victory Theme"
(197? Alanna, AL-579)

Acappella Gold "Title Town, U.S.A." (19?? Iron City, A-301)
Lou Antonucci "Titletown, U.S.A." (1980 Titletown Prod., 0001)

The Jimmy Drake Orchestra records on Bill Lawrence's Alanna label aren't amazing, but they're really interesting. The instrumentals on the B-sides are actually really well composed and a bit more compelling than the actual Steelers songs. The second record is a re-cut of the first with different vocals. I'm assuming that this is the same Jim Drake from the Tempos, who were a Pittsburgh group that sang "See You in September." That song was a fairly successful hit in 1959 and it was included on the soundtrack of George Lucas' 1973 film American Graffiti. The group Pure Gold, who are local purveyors of this late fifties/early sixties group harmony sound, recorded a Steelers song titled "Title Town, U.S.A." They recorded it as Acappella Gold on Iron City Records. There's no year listed on this release either, but another artist by the name of Lou Antonucci also recorded a "Titletown, U.S.A." song as well in 1980. It's more of a folk record though.

I've been receiving a lot of questions along the lines of "Why is the Title Town Soul & Funk Party called Title Town?" and "Isn't Green Bay the original Title Town?" Yes, Green Bay is the original Title Town, or Titletown (whichever you prefer), because they won the first two Super Bowls back-to-back in 1967 and 1968. Then the Steelers won FOUR Super Bowls between the years of 1975 and 1980, so obviously Green Bay got it's "Title" taken. And when the Steelers won the Super Bowl AGAIN in 2009, in addition to the Penguins winning the Stanley Cup, my partner Gordy and I thought that it was appropriate to name our party Title Town, which was definitely inspired via the "Title Town, U.S.A." records from the late 70's/early 80's. We wanted to use a local record reference and we thought that it sounded good.
So there you have it.

Pittsburgh Steelers Super Team XIII LP
(1980 Fleetwood, FCLP-3111)
Jimmy Pol "Steelers Fight Song 1980" (1980 JP Prod., PP-1222)
Jimmy Pol Cheers the Steelers LP (1980 JP Prod., PP-1233)
Champion City Singers "Italian Salute to the Steelers"
b/w "Irish ..." (1980 NRM, NRM-1012)
Champion City Singers "Polish Salute to the Steelers"
b/w "Jewish ..." (1980 NRM, NRM-1013)
V.I.P. Steeler Salutes (198? 2001 Record Co., 3352)
Freddie Waters "Super Steelers" (1980 Kari, KA-113)
Elliott, Walter & Bennett "The Twelve Days of Pittsburgh Steeler Christmas" (1980 Paid, PAD-PIT-4)
Larry McGee & Saxon Sisters "We're Number One
(Super Steeler Disco)" (1980 Boogie Band)

1980 would no doubt be the most prolific year for Steelers inspired music. Even Terry Bradshaw himself had a record deal and released a few albums of religious inspired country music. Fleetwood released another album of highlights from the 1979 season and the 1980 Super Bowl. Jimmy Pol not only released another Steelers Fight Song that year, but an entire LP titled Jimmy Pol Cheers the Black & Gold. Apparently there's another single from the album titled "1980 Steeler Fever" but I never came across that one yet. This is kind of interesting because Jimmy Pol began releasing this material on his own JP Productions imprint without National Record Mart's involvement.

NRM wasn't out of the fight song game yet though. They released a set of singles that year that featured Irish, Italian, Jewish and Polish salutes to the Steelers. The records are obviously not quite politically correct, but they were immensely popular. The sides of the singles were later rerecorded and rereleased on the 2001 label, which I always assumed had some affiliation to the 2001 disco club that was located on the Northside. Proceeds from the rereleases on the 2001 label benefited the Easter Seals organization.

Freddie Waters followed Jimmy Pol's example and redid the lyrics for "Steel it Steelers" and rereleased it as "Super Steelers." Another Nashville label called Paid released a record by Elliott, Walter & Bennett titled "The Twelve Days of Steeler Christmas." Once again there's no indication that anyone from Pittsburgh had anything to do with this recording either. I get the impression that the city of Nashville is filled with Steelers bars. There's also supposed to be a "One for the Thumb in '81" single that I've never come across yet.

Larry McGee released a follow up to "The Burg" in 1980 titled "We're Number One (Super Steeler Disco)." McGee recalls selling 10,000 copies of this single. This release isn't nearly as good as its predecessor, but it's significant because he co-wrote it with Elizabeth Davis. Davis was a song writer who lived above the Crawford Grill, which was a venue located in the Hill District. She's considered to be an important figure in the Pittsburgh jazz scene, but there's very little documentation of her work. Denise and Debbie Saxon were also featured on the record. They did very little recording that I know of aside from one single that was released while they were a part of a later Lovations line up. I consider the record to be very significant for these reasons, but it's definitely more of a novelty record where as "The Burg" is just a very well made disco record.

The History of the Super Bowl LP (1980 Fleetwood, FLCP-3110)
John Crispino & C.A.T. "Mad Man Jack" (1981 Erika Records)

The Steelers didn't receive their one for the thumb in '81 and the proliferation of Steelers fight songs quickly subsided. The franchise and the fans who supported it would have to wait 25 years for that fifth Super Bowl victory. Fleetwood released an album titled The History  of the Super Bowl in 1980, which included 24 years worth of Super Bowl highlights. This obviously included many shining moments in Steelers history. Erika Records, which was California-based label released a football-shaped tribute to Jack Lambert in 1981 titled "Mad Man Jack" by John Crispino & C.A.T. To my knowledge this is the only Steelers-related record that came out in '81 and there are none that I know of from 1982.

Jimmy Pol "Steeler's Fight Song 1983" (1983 JP Prod., PP1297)
"Doc" Stewart "Super Steelers Fan" (1983 C.E.S., 5630)
Tony Germaine "Cower Power" (1992 Power, 7227)
Kardaz "The Mighty Guins" (1993 Kardaz Inc., FS-759)

In 1983 Jimmy Pol released the last of his Steelers Fight Songs, once again on his JP Productions imprint. This record marked his tenth year in the Steelers fight song business. Charles "Doc" Stewart proved that he was a "Super Steeler Fan" that year with his release on his own C.E.S. Records imprint. The only other Steelers record that I know of is "Cowher Power" which was released in 1992 by Tony Germaine. That's very late in the game to be releasing a 45 unless you were a punk band. I have to give honorable mention to Kardaz who released "The Mighty Guins" single in 1993, which is the only Penguins record that I know of. Kardaz also recorded the Steelers fight song/Ghostbusters parody, "Go Steelers." It's not on vinyl, but it's currently featured on the WDVE website where you can check out a bunch of other relatively new Steelers fight songs as well. Obviously none of these songs made nowadays are going to be released on vinyl, but the saga continues none the less.

As hokey as all of this must seem, this tradition of making music pertaining to Pittsburgh sports teams has been going on for almost forty years and I don't anticipate it ending at any point in the near future. Especially with technology making it increasingly easier for people to record and distribute their own music. The question is: Will today's mp3's and YouTube videos survive forty years from now like the records that you just read about? I guess we'll see in forty years. In the meantime all that's left to say is ...


Visit I DIG PGH on YouTube to hear select Steelers fight songs: