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The Group With No Name was an American 1970s rock group, that was signed to Neil Bogart's Casablanca Records.The group included the future actress Katey Sagal. [1] They released one album, Moon Over Brooklyn, and a couple of singles including "Baby Love (How Could You Leave Me)" (Casablanca 860, 1976), with no commercial success.
In 2013 The Forest Rangers launched their first music tour with Katey Sagal. The live show featured several of the SOA songs among others and in addition to the musical aspect of the touring show, it included a moderated panel conversation with Sagal ( Gemma ) and cast members Theo Rossi ( Juice ) and Ryan Hurst ( Opie ). [ 111 ]
Sagal was born on January 19, 1954, in Los Angeles to a show business family with five children. [2] Her mother, Sara Zwilling, was a singer (stage name Sara Macon), [3] producer, and television writer who died of heart disease in 1975, and Sagal's father, Boris Sagal, worked as a television director. [4] Her father was a Russian-Jewish immigrant.
Katey Sagal and Kurt Sutter prove that spouses are more than capable of having a working relationship too.. Sagal and Sutter were “introduced through a mutual friend,” the actress told E!News ...
Members Charlotte Crossley, Sharon Redd and Ula Hedwig appear among the cast and special guests in the "album-cover" finale of the 1978 musical movie Sgt. Pepper's Lonely Hearts Club Band. In the 1980 concert film Divine Madness, the Harlettes are Jocelyn Brown, Diva Gray and Ula Hedwig.
Actor Katey Sagal visited BUILD Series to talk her new memoir 'Grace Notes' and the controversial portrayal of women in her hit sitcom.
The band got its name when Stills and bandmate Richie Furay stayed at a friend's house with a steamroller parked outside. The piece of heavy equipment bore the words "Buffalo Springfield Roller ...
The Advocate thought that "in an attempt to endow the schmaltzy lyrics with as much sincerity as possible, Sagal emotes almost to the point of parody." [6]AllMusic wrote that "the problem with Well...'s lack of commercial success probably had to do with the fact that it was too smooth for blues fans and too bluesy for adult contemporary; of course, those are also its strengths."