Straight Tequila Night, the lead-off single from Seminole Wind (Anderson’s debut album for BNA Entertainment), went to number one across the board on every country chart. It was his first bona-fide chart-topper since Black Sheep in 1983. When It Comes To You, the second single, reached number two, while Seminole Wind, the heartfelt title tune soared to number one when released later in 1992. Jay Orr, a noted music writer for the Nashville Banner, was one of several critics to list Seminole Wind in a top-ten album round-up for 1992.

Seminole Wind is a vivid personal statement which Anderson wrote after visiting his 95-year old grandmother, and after driving around Florida observing the drastic ecological changes that time and progress wrought on his native state. Its accompanying video was shot at a cypress preserve in the Florida Everglades with assistance and participation of the region’s native Seminole Indians. It too leaped to the number one spot on national video charts.

Those of us who’ve followed the vicissitudes of Anderson’s recording career aren’t particularly surprised at his “rediscovery” in the wake of Seminole Wind. This is, after all, the vocal genius who won the Country Music Association’s 1983 Horizon Award and helped lay the cornerstone for the late 1980’s neo-traditionalist boom with his aforementioned early ’80’s stone-country hits. Those hits which showcased Anderson’s arresting, instantly recognizable vocal style; a provocative mixture of honky tonk fervor, rockabilly/outlaw gusto, sly, tongue-in-cheek humor, and just a hint of rock n’ roll swagger. The Anderson we hear today is merely the new and slightly mellowed adult version of the stylistically headstrong, fiercely determined 17-year old who hit Nashville running in 1972. He clawed his way up the ladder one rung at a time, from $5-a-night gigs in the honky tonk closets of lower Broadway and a day job tacking shingles on the new Grand Old Opry house at Opryland.

John followed Seminole Wind with five more critically acclaimed albums, spawning hits like, Money In The Bank, Ive Got It Made, I Wish I Could Have Been There, Let Go Of The Stone, Bend It Til It Breaks, Mississippi Moon and Somebody Slap Me.

John Anderson is a seasoned and improved model of the same tried-and-true, dyed-in-the-wool country vocalist who critics lauded more than a decade ago for having brought, “renewed beauty and elegance to the twin-fiddle, steel guitar tradition of the old-time honky-tonk balladeer.” The editors of Country Music Magazine, in celebration of the magazine’s twenty- fifth anniversary, compiled their individual choices for the best twenty records of the past twenty years, three of Anderson’s early albums made their respective short lists.

Other awards include a Grammy Award in 1996 for Amazing Grace: A Country Salute To Gospel. In 1994 the Academy of Country Music honored him with their Career Achievement Award. The same year he received the Country Music Association Album of the Year for Common Threads: The Songs of the Eagles. Swingin won the CMA Single of the Year in 1983. He has also received numerous nominations for Grammies, ACMs and CMAs and has several gold and platinum album certifications.

Recently, John has released Anthology on his own JA Records, distributed by Audium/KOCH Entertainment. This 30 song collection is a culmination of all the hits in John Andersons spectacular career as well as a few important songs that have been popular in his road show and frequently requested by his loyal following. John states, This project has great significance to me as this music and the musicians who played on it have become a big part of my life. I love and appreciate my fans and thank all of the people that have supported my music!

John Andersonan influence to many of todays country artists, a colorful character and truly a country music treasure!

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Canada finished the game with 14 gold, 10 th U.S. and Germany captured the gold medal won 9. Some of the most significant gold, medal performance in male figure skating gold and Shaun White men Ivan Lysacek won the halfpipe.Also in the 1000 meter event Sat Davis mens speed skating champion, and Lindsey Vonn took off with gold in womens downhill. Miller won the men good skiing super combined, Hannah Kearney placed first in womens Mogul, and Seth Wescott won the men snowboard cross competition.Silver was awarded the 2010 Games in 15 American athletes. The most famous of these medals came from both women and mens ice hockey. Both teams gold medal game was killed by their counterparts in Canada.

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Strictly speaking, based on their raw talent, the Count Five wouldn’t rate too much attention from music historians. The definitive one-hit wonders, they failed to make much of a lasting impression on the listening public or on music — but just play that one hit, “Psychotic Reaction,” even 40 years after the fact, and almost any audience will brighten up and want to hear more. Their one fault was that they could never generate more — they tried but never issued another record half as good.

The Count Five started life in San Jose, CA, in the early ’60s with a pair of high school students named John “Mouse” Michalski and Roy Chaney, who had played guitar and bass, respectively, in a succession of local bands such as Johnny & the GTOs and the Renegades, specializing in surf instrumental music. Still in their mid-teens, they changed their name to the Squires, added a singer (Kenn Ellner), and tried picking up on the British Invasion sound; this wouldn’t be the last time the group attempted to adapt to the musical sounds around them. Sean Byrne, an Irish-born guitarist, singer, and songwriter attending San Jose City College, came aboard in late 1964, and the Squires made a local name for themselves over the ensuing year. Then, organist Phil Evans quit for personal reasons and drummer Skip Cordell joined another group; with the arrival of his replacement, Butch Atkinson, the group changed their name to the Count Five. It was just about then that Byrne put the finishing touches on a song he’d been outlining in his head, ultimately called “Psychotic Reaction.”

That song, heard by a local DJ named Brian Lord, became the group’s key to stardom, at least momentarily. It became a showcase for the band’s abilities, especially guitarists Michalski and Byrne, and they began working it up into the crescendo of their stage act. At first it didn’t seem to do much good, as the group was turned down by Capitol Records, Fantasy Records, and a handful of other California-based companies, but after working out a new arrangement of “Psychotic Reaction” with the band, Lord got the song and the group placed with Double Shot Records, a Los Angeles-based label. The record — a chugging, fuzz tone-laden piece of punk defiance with more than a few signature licks and phrasings borrowed from Bo Diddley and the Yardbirds, among others, and a punk attitude that was worthy of the Standells — eventually made number five nationally and number one in Los Angeles.

Unfortunately, the band was never able to follow up the hit with anything even remotely as successful. An album was rushed out, containing some ill-conceived originals, but nothing that the group did after “Psychotic Reaction” seemed to work. They tried reusing the same formula, working in a slightly more folk-rock vein, and attempting some fresh guitar pyrotechnics (on “The World” and “Pretty Big Mouth” and, in a psychedelic vein, on “Peace of Mind”), plus a pair of pretty fair Who covers (”My Generation” and “Out in the Street”), but by 1967, it was clear that the group’s days were numbered. The strain of maintaining music careers while attending college — which was essential to the members keeping their draft deferments — took its toll, as did the dwindling bookings, as memory of “Psychotic Reaction” faded. In the end, after an attempt by Double Shot to keep Byrne as the only active member, the Count Five ceased to exist.

Their story might have ended there, as dimly remembered one-shot hitmakers, but for the 1972 release of Nuggets, Lenny Kaye’s original ’60s garage/psychedelic punk compilation. “Psychotic Reaction” may not have been the most original track on the album, but it was one of the more accessible, and still potent and enjoyable on its own terms six years after the fact; suddenly a new generation of enthusiasts discovered the Count Five. Yardbirds fans, in particular, tended to despise the group for having ripped off many of lead guitarist Jeff Beck’s pyrotechnical tricks in a more commercially successful manner, but generally the song proved a popular oldie selection among more knowing ’60s listeners, and there was demand for their album, which resulted in several rounds of reissues on vinyl and CD. In the decades since, the group has rated at least a mention in most histories of garage rock and psychedelic punk, and “Psychotic Reaction” is as much a standard of the genre as the Standells’ “Try It” or the Thirteenth Floor Elevators’ “You’re Gonna Miss Me.”

~ Bruce Eder, All Music Guide

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The music is a coverversion of Bodycount’s Body M/F Count from the album Born Dead. It was made entirely with one access virus a in 1999! It came to my mind for this vid because of the siren. I simply tweaked the lfo speed affecting the oscillator pitch and that over the whole song.

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The report states: Once installed, the fraudulent firmware is practically impossible to detect Once installed on a voting machine, the fraudulent firmware can steal votes in election after election without any additional effort; The AVC Advantage is vulnerable to hacks (fraudulent manipulations) in several different ways; Some of these hacks take the form of viruses that can automatically propagate themselves from one voting machine to another

If that wasn’t bad enough, the Princeton study of the Sequoia system proves an even more blatant form of certification fraud: getting a system certified with one set of hardware and software, and then making undeclared changes. One smaller voting system manufacturer (Advanced Voting Solutions) has been thrown out in disgrace as a voting system supplier over this issue already.

The Sequoia voting machines tested in this video by the Princeton team are the older “Advantage” optical scanners. What we use in Maricopa county, Arizona are the slightly newer (mid 1990s-era) and were originally ES&S equipment (Model 100 (5.0.0.0) and Model 150/550 (2.1.1.0). In 2006 they were converted into Sequoia Optech Eagle (1.28/1.50).

Maricopa Countys Central count scanner Model 650 (1.2.0.0) all refitted with Sequoia software and now called the Optech 400-C central count tabulator with (WINETP Firmware version 1.10.5). . The Insight precinct count units, memory pack readers and memory packs are all new with the Sequoia Memory Pack Reader (MPR) (2.15).

Previous public records requests have shown that Sequoia has committed misconduct in the certification process for their overall system by withholding a software component (the ballot layout generator) from all Federal and state level (ANY state) certification. In short, that means only Sequoia knows how their voting system works, legally an anathema in AZ and most other states. Certification means an outside testing agency reviewed the system.

Much of our work in Maricopa on Sequoia is base on our finding from the February 06 Presidential Preference Election – FULL REPORT: http://www.bbvdocs.org/sequoia/Maricopa-County-Elections-Report.pdf (5,769 KB)

For complete Princeton University report and 90 minute video go to:

http://citp.princeton.edu/voting/advantage/

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