KENT LAVOIE ...The Singer Called Lobo Where were you when you heard first the song, “Me And You And a Dog Named Boo”? You probably remember the colorful Big Tree Records label on the 45 single that you rushed out to buy. Do you recall seeing the funky artwork swirling around your record turntable as you imagined what it would be like to be “traveling and a living off the land” with artist known simply as Lobo who sang the catchy tune. It was the first hit for both Big Tree Records and Lobo, reaching # 5 in the United States and #4 in the United Kingdom, quickly followed by singles “She Didn't Do Magic,” “California Kid And Reemo” and “The Albatross.” An exclusive interview for MyBestYears.com by bestselling author Darryl Hicks
Then Big Tree Records, funky logo and all, merged with Bell Records. In the confusion, Lobo's second album, Close Up, was lost and never released. For awhile, some music industry insiders figured Lobo was just another in the long line of “one-hit wonders,” but he proved them wrong again and again! Today the Florida native is still defying the odds that a truly good guy with a busload of talent and a normal-sized ego can survive and thrive in the rough-andtumble world of show biz, but that’s precisely the story of the guy who shines through on this exclusive, candid MyBestYears.com INTERVIEW SPOTLIGHT. However, there is one thing you must know from the beginning: His name isn’t really Lobo. MBY: Do you prefer to be called Kent or Lobo? KL: Either one. I answer to whatever people call me. Mainly I’m just Kent unless you’re sending me a check. Then it’s Roland Kent Lavoie. (laughs) MBY: We’ll get into the name Lobo in a few moments, but first let’s go back to your childhood… KL: I was born in Tallahassee, but I grew up in Clearwater and Winter Haven where I went to high school. Basically I’ve lived in Florida all my life. MBY: You grew up around a lot of music. What were the main influences? KL: I grew up in sort of the average household. We had a record player and radios, but it was really a chance encounter with a friend of mine who lived down the street that changed things for me. He had just got a new guitar and wanted me to come see it. I did, and as I went out his back door afterward, I saw that he had thrown away his old guitar. It was a Dobro. On a whim I asked if I could have it. That’s how I got into playing. MBY: On a discarded Dobro, no less? KL: I can’t even guess what it would be worth today if I still had it, but on that day it was pretty dilapidated, and when I picked it up, my friend said, “It’s gonna be hard to play. Tune it down so it won’t kill your fingers so much.” MBY: From the Dobro, you graduated to a Fender Stratocaster. That ended up being your door-opener, right? KL: That’s exactly what happened. I had learned to play some on the Dobro, then I bought a small Duo-Sonic, which is a small student-style Fender guitar with a three-quarter inch neck. A couple of months later I got a Strat. About that time another friend of mine lived down the street and had bought a Telecaster. They were getting a band together then. When they found out I got the Strat, I was in the band. MBY: This is the band called the Rumours, right? KL: The first we ever played was for the high school talent show. I think there were 1,200 or so kids there. Back in the Fifties, at least where we lived, there weren’t that many bands around, so they just went crazy. We were playing Ventures music, and they thought we were cool. It was unreal! MBY: Was it one of those revelation moments when you suddenly knew what you wanted to do? KL: Not really. That moment was several weeks after that first show when the high school teachers asked us to play for a party they were having around a pool. We had practiced vocals, but we hadn’t really sung anything yet. We just did instrumentals because we were all scared to death to actually sing. At the party we played the first set with nothing but instrumentals. Then we decided to go ahead and sing the one song we had ready with words—the song by Ray Charles called “What’d I Say?” So the first words I ever opened my mouth before a microphone before an audience were, “Hey Mama, don't you treat me wrong; Come and love your daddy all night long!” As soon as I opened my mouth, I was an equal to the teachers! It was amazing the transformation these people went through as they heard me sing. MBY: They were into it, right? KL: Yeah, and I just knew instantly that there was something here. I was suddenly a hero to these school teachers! That was absolutely cool to me. MBY: How old were you at this point? KL: Sixteen. I remember that I was a junior in high school, and I was able to drive. MBY: For many male rock and rollers, that moment of epiphany comes when they realize they can make money and get the girls… KL: Or both! MBY: Both, for sure. But for you it was seeing the teachers respond to you… KL: I think there are three stages, at least after I saw what happened to the schoolteachers. First, it was just plain fun to play and sing. The second thing was the girls, which was a pretty great second thing! The third was the money. They all kind of go together, maybe, but it seems to happen that way. Really, for me at the time, it was just the magic of singing a couple of Ray Charles or Buddy Holly songs and suddenly everybody thought I was something! Obviously this is different from the real musicians who practice a very disciplined craft, but I was just a kid singing rock and roll, strumming three chords. MBY: Not bad…obviously since it eventually took you to the four corners of the globe. What is truly amazing is that in the same high school band with you were Jim “Spiders and Snakes” Stafford, Gram (of Flying Burrito Brothers fame) Parsons and drummer Jon Corneal (who later joined Parsons' International Submarine Band). Did you have any clue back then how far any of you in the Rumours band would go? KL: Not really. We were so radically different from each other. That’s why we worked well together. Stafford wouldn’t have opened his mouth for anything back in those days, not to sing and definitely not to be a comedian. MBY: That’s hard to believe. KL: Really…he was a good musician, but nobody thought of him as a singer. When he finally called me up, after a lot of things happened for me as Lobo, he wanted me to listen to the songs so I would do them. I said, “Jim, these are good. You need to do these yourself.” We talked to Mike Curb and the rest is history. But when I went to see him in the club after he started performing more and more, he started telling jokes and I was flabbergasted. I had no idea he was that funny. MBY: How about Gram Parsons? KL: Well, he’s was a whole other thing. He was an introverted, quiet guy back then. I never ran into him in the later years, but I talked with a girl who was an assistant engineer out in Los Angeles. She knew him at the very end, and she described him in the way I knew him when he was just a kid in the band with me…very moody, kinda sitting back in the corner. He was scared to death of me because I was a couple of years older than him, and I just didn’t want to put up with any foolishness. In the band, it was either you came and played, or you didn’t. MBY: Still, you have to have some great Gram Parsons’ stories. KL: We only played a few gigs together. One of the best I remember is one time we were supposed to play over in Cocoa Beach. We had taken my father’s little home electric organ with us. Gram had learned the licks to Freddie Cannon’s “Palisades Park.” That was pretty radical, since nobody played with electric organs in a garage band. We loaded this thing up in Gram’s Volkswagon van. Gram wasn’t old enough to drive yet, so he had this buddy drive him over to Cocoa. The r est of us arrived, and Gram wasn’t there. We started playing, and he still wasn’t there. I was ready to kill him! All of a sudden he came walking across the floor in the auditorium where we were playing. There were maybe three hundred kids there. He was holding his arm funny, and he looked like someone had beaten him up. I stopped the song and right in front of everyone said, “Where in the hell have you been?” All the kids were gawking at us. Gram said, “We hit a (bleeping) cow!” He was like in shock. I said, “What are you talking about?” We went out front and looked. Sure enough, there was the van with cow’s meat and blood all over it. I said, “Fine! Load the organ on stage and you can still play `Palisades Park.’ Then you can go to the hospital.” He did. We played the song. Then he left for the hospital. It turned out that his arm wasn’t hurt as badly as we first thought, but it was his foot that was broken. MBY: A fitting story for a man that would become such an influential and wild part of the wacky West Coast scene during the late Sixties and early Seventies. Lots of people point to his influence in both Country Rock and Rock and Roll—running with people like the Byrds, Eagles, the Rolling Stones (Gram was reportedly the inspiration for the Stones’ classic song, “Wild Horses”) and Emmy Lou Harris, as well as his untimely death at 26. KL: I’m still amazed. He was nothing like all those things that came along later, running with the Stones, wearing Nudie suits, the whole drug scene, the UFOs, all the crazy stuff about his death….as a young guy he was nothing like that. In 1964, while continuing to play music at night and attending the University of South Florida, Kent met Phil Gernhardt who had produced Maurice Williams and The Zodiacs big hit "Stay," as well as “Snoopy and the Red Baron” for The Royal Guardsmen. Phil would also go on to produce Dion's classic hit, "Abraham, Martin and John." In the mid-1960s, Phil recorded Kent (as part of the band called The Sugar Beats), scoring a regional hit, "What Am I Doing Here?" (an old Johnny Rivers tune). Phil Gernhardt would be instrumental in much of Kent’s coming success. Kent’s 1969 solo single on Laurie Records, "Happy Days in New York City" (featuring background vocals by The Left Banke of "Walk Away Renee" fame) didn’t do much, but the continuing relationship with Gernhardt) led to the next song, one that would sent Kent’s career skyrocketing.
"The Sugar Beats" (left to right) Kent Lavoie on guitar, Bill Denman on bass, Rick Emmert on drums, Bill Ellington on guitar (1963)
MBY: It’s amazing some of the people, like Gram and all the others that you’ve worked with through the years. Let’s jump ahead a little. Would you mind telling the story, probably for the one-millionth time, how the song “Me and You And a Dog Named Boo” came about? KL: Actually, I was playing poker with some guys from the neighborhood last night… MBY: Were you winning? KL: A whopping two dollars. MBY: Not bad!
Kent and Boo (1971)
KL: Anyway in the middle of the poker game, one of the guys asked me to tell the story again. I can honestly say that I really don’t get tired of telling it. I had gone to New York to record a song at Famous Music for Phil Gernhardt. This was before Helen Reddy’s song, “You and Me Against the World,” but it was a phrase Phil used to describe the way the world was right then. At the time I was playing in a Tampa bar band named Me and the Other Guys. I was working on several songs, including a tune about traveling around the country with this girl, and I was trying to rhyme “you and me.” Now “me and you” would have been easier, but I was trying to do it with proper grammar. I couldn’t find anything to rhyme that fit what I wanted to say in the song. Finally, after I got back home to Florida, I decided to turn the phrase around to “me and you.” I was thinking about it, sitting in a room that had a big sliding glass door overlooking the back yard. My big German Shepherd dog, Boo, came running around the corner and looked in at me. I said, “Well, now, that’s kinda freaky. How about putting `a dog named Boo’ into the song?” That’s literally how it came about. All of a sudden the song really started coming together. I hadn’t been to any of the places mentioned in the song except Georgia, but I just kept putting in places that sounded far away like Minneapolis and L.A. MBY: And the rest, as they say, is history. KL: It’s was something else. The song just went off. Since then it’s been discussed in so many ways as “the anthem about relationships,” “opening the door to Seventies travel songs,” and “one of the ten worst songs ever recorded.” It’s been dissected and analyzed to death. Actually, I had no big agenda when I wrote it. It’s just a little tune about going all over the place. I don’t think it’s the best I’ve ever written, and I don’t think it’s the worst, but it’s probably the song most people know me by. It’s just a song. The seminal tune went to # 5 on Billboard’s charts, spending an amazing 13 weeks in the Hot 100. Suddenly everyone in the country, it seemed, were singing along to Kent’s lyrics: Me and you and a dog named Boo Traveling and a living off the land Me and you and a dog named Boo How I love being a free man. MBY: The timing seemed so perfect for “Me and You and a Dog Name Boo,” the right song for AM radio in 1971, and one of the most likeable, catchy, sing-along tunes ever. There were a lot of young people hitting the road in Volkswagon vans and hitchhiking all over. KL: Timing had a lot to do with it. I’m not sure it would have done what it did ten years earlier or ten years later. One thing you learn after 35 years in this biz, you never defend the songs or explain too much. All I know is that young people living today who weren’t alive when men walked on the moon for the first time or when John Kennedy got shot or when the Beatles came out—you just won’t understand those times unless you lived in them. Even though lots of young people hear the song and like it today, it was something for that particular time in history. MBY: Yet the song will probably live forever because of the hook. Which brings us to the big question: Why “Lobo” on the label instead of Kent Lavoie? KL: (laughs) When we cut it, everybody thought it was going to be a hit, but Phil Gernhardt advised me to use a different name to keep me from being typecast as a novelty act for the rest of my life. “Lobo” means "lone wolf" in Spanish, so it seemed to fit the song and allowed me to sort of hide my real identity. MBY: The problem was that your plan almost worked too well, right? KL: From the beginning people always thought of Lobo as a group, not a solo artist. It was a little weird at first, but as time has passed, it has been a good thing. I still travel all over, get off the plane, do a concert as Lobo, then go back to being Kent Lavoie. It allows me to live in a nice neighborhood, work in my own yard, and walk anywhere I want. I could afford a yard man and a gym, but why pay all that money when I can do it myself, right? During the 1970s, Lobo hit the Billboard Hot 100 with 16 singles, including the million-seller "I'd Love You To Want Me,” which became rose to # 2 for two weeks, spending a whopping 14 weeks in the Hot 100. Within weeks it became a Gold Record with over a million copies sold! Suddenly, though the slow ballad was the opposite of his earlier up-tempo hit, people were again singing along with Kent’s memorable lyrics that seemed perfect for the times: Baby, I'd love you to want me The way that I want you The way that it should be Baby, you'd love me to want you The way that I want to If you'd only let it be.
MBY: What led to such a different song from “Me and You and a Dog Named Boo”? KL: I had really started feeling that I had been typecast as a novelty act, as Phil Gerhardt had predicted. I wanted to write something very different. About that time Nilsson was having a lot of success with songs like “Without You,” and Mac Davis had really exploded with "Baby Don't Get Hooked On Me.” I started playing around with a slower guitar sound. When I finally wrote, “I’d Love You to Want Me,” my friend Billy Michelle offered it to The Hollies, who were coming off monster hits like “He Ain’t Heavy, He’s My Brother” and “Long Cool Woman.” They loved the song, but for some reason they decided not to record the tune. The timing would have been perfect as a follow up to “Long Cool Woman.” The story goes that they didn’t like the line, “And when you moved your mouth to speak, I felt the blood go to my feet.” I liked the line. Thankfully, I wasn’t financially stressed by then, so I stuck to my guns. I had already re-written and re-written the song. That line was always one that people really seemed to like. Finally, I said, “Thanks, but no thanks.” Probably I would be making more money if the Hollies had recorded it, from a writer’s standpoint, but I just was stubborn enough not to change it. Plus they wanted to take half of the writing credits for it. MBY: A pesky little detail, right? KL: Yeah! Anyway, I decided to record it myself. It was the jolt my career needed, so I’m really glad it turned out the way it did. “I’d Love You to Want Me” went on to become one of the top all-time hits in many countries, including # 6 of all time in Germany! Kent followed with his third Top 10 hit, "Don't Expect Me To Be Your Friend," which peaked at # 8 in 1972 and spent 13 weeks on the Hot 100. MBY: "I'd Love You to Want Me" was especially a huge international hit, but why so big in Germany? KL: Sometimes things happen—good or bad—that you would never think about. This was one of those times. It was used back then on the most popular television show in Germany, The Commissar. Somebody was murdered in the story, and as the person was being killed, the song “I’d Love You to Want Me” was playing on the radio. It was just one of those amazing things that was written into the story for some reason. Suddenly, the song went to # 1 there, and it stayed at the top for sixteen weeks! MBY: Although not as dramatically, perhaps, but the song was big all over the place. Do you have any idea why it was such a huge hit around the globe? KL: I have gold records for “I’d Love You to Want Me” from practically every country in the world that gives gold records. I don’t really know what was so special about it, but it was obviously a universal theme of love. Who can explain why one song hits and another one doesn’t, even when you think both are equally good? MBY: It is hard to explain…and one of the big mysteries of the music business, don’t you think? KL: It is. The same reason a listener cannot always explain to you why they like a particular song is the same reason why you can’t always explain why you wrote it. Sometimes things just seem to come together at the right time. To me, it’s the beauty of the whole deal. MBY: That has to be an interesting concept to deal with as a successful writer, trying to figure out how to duplicate what worked before. KL: I compare it to a guy who is with a woman who is so far above his head, and every time he’s around her he feels like, “Aha, the joke’s over. She’s gonna dump me. I’m gonna be out of here.” In fact, that whole idea ended up being the title song of my album, A Cowboy Afraid of Horses.: Two more Top 40 hits came in 1973 with "It Sure Took A Long, Long Time" (went to # 27) and "How Can I Tell Her" (peaked at # 22). During 1974, Lobo hit the charts two more times with "Standing At The End Of The Line" (up to # 37) and "Rings" (went to # 43). In 1975, he returned once more to the Top 40 with a song that peaked at #27, "Don't Tell Me Goodnight." He then disappeared from the charts until 1979. In the late Seventies Kent recorded with Warner Brothers, then signed with MCA and had a brief comeback on the pop charts in 1979 with “Where Were You When I Was Falling In Love" which went all the way to # 23. MBY: As you continued your career, you worked with some truly amazing people. Tell us about your friendship with Robert John (best remembered for his 1972 version of the Token’s hit, “The Lion Sleeps Tonight” and the 1979 song, "Sad Eyes," featuring his falsetto vocals, which reached # 1 on the Billboard Hot 100.) KL: Bobby was signed to Famous Music, which is where I did some recording. He and a guy named Michael Gately had written a number of songs together. They were great background singers together. Bobby did the really high parts on “I Want You to Want Me.” Everybody thinks it was a girl, but it was actually him. He was awesome. It was years later that he had “Sad Eyes.” He was incredibly talented, and I was really glad he finally had the huge hit on his own. He’s a really nice guy. Actually, what I remember about the “I Want You to Want Me” session was that Bobby just wanted to get the song finished so he could go to the hockey game that night. He was a huge hockey fan. MBY: You mentioned earlier about Jim Stafford, who was in the first rock and roll band with you, the Rumours, as a teenager. How did you end up producing hits for him like “Spiders and Snakes”? KL: In the early Seventies, Jimmy was working at a bar in Clearwater Beach. He called me and said, “I’ve written some songs. Would you listen to them?” I went over to meet him at the bar. He had a song on a tape recorder. The bar was closed during the daytime. It was cold and dark inside. When he switched on the song, “Swamp Witch,” I was blown away. I told him, “Jim, that’s a hit, but it’s a hit for you, not me or someone else. You’ve got to record it.” Right after that, MGM signed him to a recording contract and I ended up producing the album. Along the way, MGM found out how good of a comedian he was and really started pushing it. MBY: You said that he was pretty reserved back in the old days. By this time was he always “on” and funny? KL: I had never seen it too much before, but he was really starting to hit his stride by then. I remember meeting him in L.A. about the time we were working on the album. He was doing a club thing for the press, and I went backstage. He and Tommy Smothers were sitting across from each other at a little bitty table. They were both stumbling over the words in a funny way, they way both of them do, and it was the most comical thing I had ever seen in my life. They were slamming each other with one-liners. Everybody around them was rolling on the floor, but neither Jimmy or Tommy were laughing at all. They were just killing everybody else with line after line. I think I really began realizing then how funny Jim was. Funny indeed. The Kent Lavoie-produced songs were smashes. "Swamp Witch" hit the Top 40 (peaking at #39) in 1973, followed by "Spiders and Snakes" (a Gold Record that went all the way to #3 the same year). The string continued with “My Girl Bill," "Wildwood Weed," "Your Bulldog Drinks Champagne," "I Got Stoned and I Missed It,” "Jasper" and "Turn Loose of My Leg." A national television variety series came next. Today he performs to packed crowds at the Jim Stafford Theater in Branson, Missouri. Meanwhile, Kent has stayed busy traveling, recording and performing all over the world. In the 1980s he formed Boo Publishing, Lobo Records and Evergreen Records. He continue to produce hit, including country chart-toppers for Jim Stafford, Joe Stampley and Christy Lane. Kent even recorded a country chart hit as a member of Wolfpack (a band that included Kenny Earle and Narvel Felts) called "Bull Smith Can't Dance The CottonEyed Joe." MBY: You’ve had such an interesting career. Some people would be phoning it in by now, but you seem very enthused about what you are doing. What excites you today? KL: My wife. My kids. My grandkids. Playing golf. I’m really enjoying recording, too. MBY: Can you talk about any of the new songs or the album you are working on? KL: I did one tour of Asia with Air Supply. I really liked the guys. A year or so they made this album with just guitars, and it sold real well in Asia. The last time I was over there touring, one of the record guys said, “You ought to do the same thing.” It started some wheels moving. I got back and started messing around with some songs. Thankfully with Pro Tools® (a computer recording program) with all its zillion tracks, my guitar and a synthesizer, and all of a sudden I’m an orchestra! (laughs) What I’ve done is to go back to where I originally started, which was with an old four-track recorder, an acoustic guitar, and me. Thankfully it’s a lot better equipment and more guitars. I’ve been able to put some good songs together. Then I send the digital files to Billy Aerts in Nashville who puts the backgrounds and drums in. MBY: You’ve been associated with Billy for a long time in one way or another, right?
The incomparable Billy Aerts
KL: Over 35 years. He was part of my band, “Me and the Other Guys” in the late Sixties. He served in Vietnam, then came back to do all kinds of things. He toured with me. He’s written music for everybody—Joe Cocker, Kenny Chesney, Holly Dunn, Lee Greenwood, Paul Overstreet, Susie Luchsinger, Janie Frickie, Jim Stafford, Joe Stampley, Firefall, Cristy Lane, Judy Rodman, Lisa Daggs and others. He wrote music for the TV show, Remington Steele. He even wrote the Tampa Bay Buccaneers Fight Song! MBY: Not bad credentials! KL: He’s such a great guy. He’s my friend. He performs onstage with me. He’s my manager. He’s my co-producer. He does everything. Anyway, I send him the files, he puts everything together, then when he’s ready, I fly up there and we finish everything. MBY: Will the album be available here in the US? KL: I know it will be available in Asia and other areas. You never know how big it will be or how well the tunes will be accepted, but that’s part of the fun. What I do know is that its been sort of like doing it like the old days—me doing pretty much everything except all the magic that Billy Aerts does. It’s got a lot of the spontaneity of the old days with garage bands, writers and singers that seems to be missing from so much of the music today. MBY: Such as the concept of learning to play the music and working your way up, getting a hit, then an album—as opposed to the five million dollar advertising campaigns for brandnew manufactured artists? KL: That’s pretty much the way radio and the music industry is today. You get airplay because you have a machine behind you, not because the songs are hits. But the public is missing a lot of the spontaneity and fun we had back in the day. MBY: There are a few tunes that still slip through from time to time, right? KL: One was Billy Ray Cyrus and “Acky, Breaky Heart.” It would probably never happen now. It was so free and different. It is so radical from most of the stuff coming out of Nashville. I kinda miss that sort of thing. I miss the beauty of not seeing the face that goes with the song, rather than having instant stars on TV and videos. MBY: It is a different day, isn’t it? KL: Remember hearing “Brandy, You’re a Fine Girl…” for the first time. It didn’t matter what the group looked like. Who even cared what Looking Glass the group looked like? When they sang, “There's a port on a western bay, and it serves a hundred ships a day…” you were in the middle of all those lonely sailors who passed the time away and talked about their homes. Man! The song was magic by itself. MBY: Or “Wildfire” by Michael Martin Murphey? KL: Great example. The lyrics and the tune grabbed you. A lot of people can even tell you the first time they heard, “She comes down from Yellow Mountain; on a dark flat land, she rides on a pony she named Wildfire, with a whirlwind by her side.” Awesome! Suddenly you were out there on that cold Nebraska night, riding along with Wildfire, right? You can’t manufacture something like that. MBY: You do realize that this conversation is drifting toward, “Well, in the good ole days…” But what you are saying is true. There are good songs today, yet so much of the music does lack the spontaneity and courage that marks the really classic tunes that really stand out. KL: Definitely. MBY: Like “Me And You And a Dog Named Boo.” KL: Isn’t that something? I’m really grateful that some of my tunes have stayed around and people still remember them. MBY: Even when your grandkids have kids, they’ll probably be singing the Boo tune.
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KL: Maybe. Who knows? MBY: Speaking of grandkids. Tell us a little about your family. KL: Susie and I have been married forever. One of our children and three of my grandkids live here in Florida. Another of our kids and two grandkids live out of state, so we don’t get to see them as much. They range from eight to two. MBY: It’s hard to imagine Lobo as a grandfather… KL: It’s great. The best part is that you’ve had a little practice. With all the mistakes you made with your kids, you know not to make the same mistakes with your grandkids. The funny part is that you wonder why you get along so much better with your grandkids than you did with your kids, and the reason is so obvious. You’ve learned. You have more patience. MBY: You’ve always seem to be in shape. Do you do anything special? KL: Not anything out of the ordinary. I take good care of myself. I try to eat right. I walk everyday. I work in my own lawn. For me, taking good care of myself is the only way I could keep doing all that I want and need to do. As it is, I have a lot of energy, and I doing the stuff that excites me about life. MBY: And performing? KL: Definitely! And hopefully Kent Lavoie will continue to make people happy by performing for years to come all over the world. Today his albums sell well, especially in Asia and Europe where he has an especially large fan base. His now-classic tunes are mainstays on radio stations and Internet DJ programs, and his new songs keep touching hearts everywhere, crossing generational barriers with seemingly universal, timeless lyrics and music. That quite a living legacy for a man known since the early Seventies simply as Lobo!
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