He had a extensive career. Session guitarist with the likes of Van Morrison, Edgar Winter, Gary Wright, Boz Scaggs, Sammy Hagar and many others.

He joined the Edgar Winter Group, which put him in the spotlight. Later he formed Montrose with Sammy Hagar taking lead vocals. They released a half dozen albums.

In the late 70′s, he continued as a solo artist, releasing 9 albums over the next three decades.

He also formed Gamma with Davey Pattison in 1979, releasing 4 albums.

He had stopped playing when the cancer began a number of years ago and picked it back up last year when his cancer was in remission.

Listen to Archive

Listen to archive

I try to stay in the 60′s and 70′s as well as premiere new music. The first hour and a half of the show tends to be longer forms (greater than 5 mins). The second hour and a half shorter form.

I will make a CD of the show for you and throw in some goodies to the winner. If you want, you can do the intros for the songs too!!!

Listen to the show now.

His first hit, A Hundred Pounds of Clay, was a big hit in 1961 staying on the charts from April to May.  That led to a string of hits in the early 60′s

In 1974, he had a number one hit as a songwriter with Roberta Flack’s version of “Feel Like Making Love”, it also won a Grammy.

This 1968 Boston gem contains fine guitar and organ work. It features Walter Powers (The Lost and Willie Alexander’s Boom Boom Band) and blues guitarist Peter Malick, sideman for James Cotton and Otis Spann, who discovered Norah Jones and recorded her on

Michael Tschudin led the Boston-based band Listening, but it is the contributions by former Velvet Underground bassist Walter Powers and guitarist Peter Malick which make this album historic. Powers performed over the years with keyboardist Willie Alexander as members of Capitol Recording Artist the Lost, the aforementioned Velvets, and on Autre Chose, a live album from Alexander released on New Rose in Paris. Peter Malick is best known for being Otis Spann’s guitarist and a member of the James Montgomery Band on Capricorn. Their legendary status in Boston rock & roll history brings positive notoriety to the fine music on this Vanguard release. “So Happy” is the poppiest tune, a cross between the Monkees and the Mojo Men, which is quite misleading. The album runs the gamut from pop to blues to jazz. “Baby Where Are You” is some strange fusion of Motown and the Spencer Davis Group which then veers off in a frenzy of effects and musical jam. Eight of the 11 tracks are written by keyboard/vocalist Michael Tschudin, with three titles attributed to the group. “See You Again,” one of the group efforts, is another jam with riffs the Who would greatly appreciate. Phish’s success validates how ahead of its time Listening truly was. There is certainly an identity here as Tschudin takes the boys through all sorts of styles inside the tune “Laugh at the Stars.” Elements of Jimi Hendrix, the Band, and the Vanilla Fudge swirl around in the pretty decent production by Michael Chechik. Where peer group the Peanut Butter Conspiracy sound forced, Listening is right on target. There’s just no hit single here that could launch these gentlemen from the trap known as “The Bosstown Sound.” “9/8 Song” is definite jazz, kind of like latter-day Rascals, and we know how good that was, and how far it didn’t go. “Stoned Is” sounds like the Velvet Underground performing “Chest Fever” by way of Lou Reed’s “New York Stars” from Sally Can’t Dance. It would fit perfectly on the ’60s film soundtrack Psych-Out. Listening has punch and creativity which deserved a better fate. ~ Joe Viglione

Listening: Walter Powers (vocals); Peter Malick (guitar).

This group adds a nice facet to the Psychedelic Era.