The Sunday Comments ( 06 - 01 - 14 )

June 1, 2014, 9:18 am

≫ Next: Burton Cummings At The City Winery

≪ Previous: The Saturday Surveys (May 31st)

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Happy June!  (Man, where is this year going?!?!?  Seems like only yesterday we were digging out from one of the worst winters ever here in Chicago ... then again, we DID have snow as recently as a couple of weeks ago!!!  WTF?!?!?)

In honor of Paige's High School Graduation ceremony later today, I thought I'd kick things off this weekend with this one ...

re:  The '60's:  
Thursday Night, Tom Hanks' exploratory journey into the sixties decade aired for the first time on CNN at 7:30 central and it sounds like this program will repeat several times during the week.  I THINK it will be 10 shows in all, but tonight is the first (along with the earlier British Invasion special they ran a few months ago).  Should be great to see.  Hanks always does a good job with history and music of the 60's.

Clark Besch

We missed the initial broadcast due to the Burton Cummings concert ... but look forward to enjoying the entire series.  (Yes, it IS ten episodes).  Part One focuses on the great strides made by television in the '60's.  CNN REALLY could have done a better job of promoting this series.  Even their On Demand teasers barely run a minute long ... as we know there is SO much more that could have been shared.  I'm hoping the eventual DVD release will be jam-packed with extras!  (kk)    

re:  This And That: 

Drummer Dino Dannelli has posted this message on the official Facebook page for The Rascals:

To All Rascal Fans: As a group, the Rascals will not be touring in 2014. I wish Felix well on his tour this summer. Everyone please stay tuned for my info about The Rascals' 50th Anniversary in 2015!! And thank you all for your love and support during our glorious return in 2013.

-- submitted by Tom Cuddy

Boy, it'd be great if they could just pick up where they left off, wouldn't it?  (I'm guessing this means no new recording plans either).  Meanwhile, Felix hits The Arcada Theatre on September 20th with The Brooklyn Bridge.  (Wonder what they're gonna sound like without Johnny Maestro?!?!?)  kk

By now you've probably already heard about Steve Perry's return to the stage to perform a song at an Eels' concert in Minnesota!  First time he's performed live on stage in something like 19 years!!!

Here's the clip for those who may not have already seen it:

https://music.yahoo.com/news/eels-perry-didnt-know-show-204336676.html     

Guess who topped Billboard's Biggest Grossing Acts for the past 24 years?

Why it's none other than that flash-in-the-pan band from the mid-'60's, The Rolling Stones, who recently celebrated their 50th Anniversary with a reunion tour (and are STILL on the road today!)

According to Billboard Magazine, these are the Top Ten Biggest Grossing Acts of the Past 24 Years:

1. Rolling Stones - $1.566 billion  
2. U2 - $1.515 billion 
3. Bruce Springsteen - $1.196 billion 
4. Madonna - $1,140 billion 
5. Bon Jovi - $1.030 billion 
6. Elton John - $786 million 
7. Dave Matthews Band - $777 million 
8. Kenny Chesney - $752 million 
9. Celine Dion - $738 million
10. Eagles - $720 million

Damn it!!! After Glenn Frey reads this he's going to want to charge even MORE for an Eagles concert ticket!!!
I read an interesting take on how The Eagles got their name last week.  Over the years it has been alleged that their name was inspired by the country-rock sounds of The Byrds ... but in Harvey Kubernik's EXCELLENT book "Canyon Of Dreams", it is suggested that with Frey onboard somebody suggested the name "The Egos" ... and Glenn just misheard it and proclaimed, "Yeah ... The Eagles!!!"  Honestly ... it wouldn't surprise me one bit!!! (lol)  kk   

Kent ...  
Back in the old days they played the Top 500 over the Thanksgiving Weekend. They switched to Memorial Day Weekend.  No surprise at # 1 ... "Hey Jude" by The Beatles.  # 2 (Bon Jovi's "Livin' On A Prayer") WOULD'VE been a surprise, if they haven't been playing everyday! http://wcbsfm.cbslocal.com/top-lists/the-2014-memorial-day-top-500/
Frank B.

Yeah, I remember YEARS ago Scott Shannon telling me that The True Oldies Channel was NEVER gonna play Bon Jovi ... and now they seen to be EVERYWHERE, covering every format of music, playing virtually non-stop on the radio dial.

I've seen radio stations count 'em down for Memorial Day, Labor Day, tied into the Indianapolis 500 ... just about ANY excuse to feature a listener-driven countdown.  (Ron Smith still does his on Labor Day ... but only every other year now.)

Biggest "Oh Wow!" song on this list?  Probably "Big Girls Don't Cry" by The Four Seasons at #17.  Every other song in the Top 20 you hear at least three or four times a day.  And look how many '80's songs made the list ... including a couple I've never even heard of!  (OMD - "If You Leave" ... at #48?!?!  Seriously???  How does THAT one go???  Catchier than "Grease", "Day Tripper" and "Brown Sugar"???  For real?!?!?)  kk  

On Monday June 2nd, TCM is showing several British Invasion movies beginning with "A Hard Day's Night". (Don't know yet whether it's the restored version or not.) "Hold On" and "Having a Wild Weekend" are two of the other movies airing. "A Hard Day's Night" starts at 5 pm PST / 8 pm EST.

Bratbear

I doubt that it's the restored version ... that one's coming out in theaters.  But it would be cool to see a couple of these others.  Thanks for the heads up!  (kk) 

Health issues for Tina Turner?  Apparently she's made a public statement that she did NOT have a stroke.  (I hadn't even heard that she had!)  
Click here: Tina Turner Denies Stroke Rumors ~ VVN Music   

And, after Paul McCartney was finally released from a Japanese hospital to fly home to London, it sounds like George Michael was hospitalized again last week for an undisclosed illness.  (No official word on whether or not this was something he picked up in a bathroom.)

Some sad news for Lou Christie this week ...

Click here: Son of Lou Christie Killed in Motorcycle Accident ~ VVN Music

And this from Lou Christie's website, by way of Shelley Sweet-Tufano:

We are very sorry to announce that Lou Christie's son, Christopher Sacco, passed away in a motorcycle accident.  This senseless tragedy took place on Sunday, May 18th. Christopher was a smart, caring young man with a strong sense of family. He was a single parent to his 16 year old son Seth.
Christopher's friends have established an educational fund for Seth. Anyone wishing to contribute my log on to:  http://r20.rs6.net/tn.jsp?f=0016K2ikUm69za7GHDhN1jYyYHd8j0Kqt84DB0AkV7Moo52VtngmiwbmkJEQze6PhKB2hqh02tQqcYbTWDJxFysNZp56SaHJvIq9budgybVNVWuGI71lFKroRsbo43hqemyaei4zZtmdV57WF27S-tFsiqM4GE-bVAND3vzPCtWv5s_uU4m6kzvOSd3Jfn9UxUQ49nDOx5TCjoWZ9uoYbALUXaeb-CynNVOr3mcxuiN3p3m3QVoYlrwn8pwwnWUJDVrJF5WvFps2EOpOTPpxjN_xHtxzLauvY3O&c=bPRkpDMe3wgeuWS3a0eLtGLR2VTX8Wxqp62LdGlUifhBtR61IYazMQ==&ch=nI_WKfXqX2-35PVjOuvE_RGSfLn6HRZn7aVvGE7c5XZfz1Mym2aNDQ==  
Please keep the family in your thoughts and prayers 

Meanwhile, Brian May of Queen confirmed last week that new Queen music will soon be released from the vaults containing some never-before-heard Freddie Mercury vocals.

>>>I watched the CBS Sunday morning show this morning and they had a segment about Barry Gibb. He is touring solo for the first time. What I liked about the story is that one of his sons ... a heavy metal guitar player ... and Maurice's daughter are touring with him. Barry and Maurice's daughter sang "The First of May" together and it was fantastic. Seeing this helped take some of the sadness out of the loss of Robin and Maurice. Barry seemed happy, too.  (Stacee)  
>>>Wish Icould have seen that!  (kk)  
And now,thanks to FH Reader Tom Cuddy, we ALL can ...

Check out this video on YouTube:
http://www.youtube.com/watch?v=8pUa91AaXGg&feature=youtube_gdata_player

And this just in ... a concert review from Barry's performance here in Chicago last week ...

Although I’m disappointed Barry Gibb didn’t play NYC during his short tour and, as a result, I didn’t get a chance to see him, I feel like I have a great grasp of what the show was like from this review (of his Chicago stop) from Judith T.

Tom Cuddy  

http://chicagoandthensome.blogspot.com/   

I am a disgrace as a long-time FH subscriber, Rock n Roll mom, and celebrity friend. I CANNOT believe I haven't been helping to promote this.

http://www.bbking.com/film/
My friend Shirley King, BB's daughter, has been out visiting different Blues museums helping to promote this biography of her father that is now in wide-ish release.
Shirley lives in the Chicago area, and plays gigs with her own band, my son's band, and various other bands. But what really moves her is keeping a music education alive in schools and in children in general. I can't wait to go see this movie. (I see Dave Matthews has an appearance. meow!!)BB will be in town soon. Hoping to get my chance to finally meet him. Good things are on the horizon for children of the blues!
Kristy

Still plenty of time to register for your chance to win a copy of the brand new 2-CD Greatest Hits set "The Very Baddest of ZZ Top".  With a release date of July 22nd, we'll be taking names and numbers till then.  Just drop me an email with "ZZ Top" in the subject line and we'll enter your name in the drawing for a free CD package.  (kk) 

The California Music Show from England this Sunday June 1st on bigglesfm.com and 104.8 from 5 - 7 pm  (9 - 11:00 pm PST) " It's 'The California Music Show' continuing the A-Z of Neil Young Songs plus a special eight 'Santa Catalina Island Songs' chosen by Harvey Kubernik who's great new book 'Turn Up The Radio!' is just out. The book is a big influence on today's show. Please join me for the most authentic 'California Music Show' on bigglesfm.com." 
-- Mike Grant 
I've been making my way through Harvey's latest book for weeks now ... SO much great information to digest!  Highly recommended.  (kk)

Like KISS hasn't been getting enough bad press lately.  Now "Modern Family"'s Eric Stonestreet has reportedly dissed the group for rude behavior exhibited toward his mother on a recent flight to Kansas City.  KISS responds that Eric's got the whole story wrong.

You can read the full debate here:

Click here: Modern Family's Eric Stonestreet Criticizes Gene Simmons and Paul Stanley For Behavior ~ VVN Music

Click here: KISS Members Call Eric Stonestreet's Criticism Both a Lie and a Joke ~ VVN Music

Seriously ... these folks don't have anything better to do than get into a pissing contest?!?!  (Or would that be a KISSing contest?!?!)  kk    

re:  The Saturday Surveys / #1 On This Date / and Diggin' Forgotten Hits!:  
Kent,

I, too, have a problem seeing the Saturday surveys just because it is SATURDAY and we always have so much going on.  I do check it out later, so if the interest seems down, it could be that people DO like the project, BUT have little time on weekend and before you know it, the Sunday commentary is up.  Anyway, I hope it continues and I can get some more scanned soon. 

Clark Besch

The response has been overwhelmingly positive thus far ... like I've said all along, the ones who like it are REALLY into it ... so I don't know that we'll get much in the way of negative response ... because those folks aren't checking it out anyway.  I just think it's neat to see these songs displayed side by the side the way it really happened back in the day ... and then to hear a few of the more obscure ones as a reminder about how much GREAT music radio continues to ignore today.  (kk)   

Hi Kent,

I hope you keep posting the historically interesting Saturday Surveys.  I'm one of the people who enjoys poring over them - although, if I'm being completely honest, I don't have any interest in the '70s charts.  The music didn't grab me at the time, so I tend to just skip them.

Regardless of what you do, I'll keep visiting.  I admire your gift of the gab!

Marie

'The Vintage Song of the Day'

http://toodarnsoulful.blogspot.ca/   

Keep the Saturday Surveys for sure! Most Interesting!  

Ken

I don't know how many thousands of surveys have passed thru my hands over the years, but as I look at the KAAY chart in particular, it seems to me, I should have gotten a job as a proof reader for radio stations across the country. (WLS was notorious for butchering group / artist names or song titles). It would have been more enjoyable than working at McDonald's in 1970.

Jack

It is ridiculous how many mistakes and typos made it out into the streets ... almost like the weekly survey was an afterthought to the stations putting them out.  Every once in a while you'll run across an extremely elaborate one ... but for the most part these look pretty thrown-together.  (kk)

Kent -

I would've gotten back to you sooner, but I've been out of town for the long weekend. 

I say - KEEP IT! 

Like most of your readers, I've grown disenchanted with radio playing the same songs over and over and over again, and when I'm driving, I either listen to CDs or my iPod (now at over 9,300 songs).  I'm always looking for new additions to my song library, and I find your surveys to be most educational and informative.  When I look at all the great local hits that WLS and WCFL played back in the 60's & 70's (and in the case of WLS, even into the 80's), I know that other markets had their hometown heroes and unique chart selections as well.  I'm always interested in what people were listening to in New York City, Los Angeles, Casper, etc.  Keep the surveys coming, I say!
Sincerely,
Todd W. Zimmerman

Hi Kent,

The importance of your Saturday Surveys is that they provide the musical context for the hits.

I've often told the college classes that I teach that it is hard for them to appreciate the emotional impact that acts or songs had on radio in the 50s - 60s - 70s because if they are familiar with them it is from radio stations that play them along side similar songs and songs that were recorded afterwards and may have been influenced by them.

For example,  "It's Too Soon To Know" by the Orioles sounds like many other vocal group records UNLESS you consider it next to the other radio hits from 1948. Same with the first hits by Bill Haley, Elvis, The Beatles, Michael Jackson's 'Beat It", etc.

The Saturday Surveys are even more important for local hits, as you see them competing with the major acts of the time and can the similarity or differences.

Ed Salamon

One of the reasons I consider the '60's to be such a hot bed of musical creativeness (??? - probably my word!) is the fact that the competition was incredibly fierce during this time ... songs only stayed on the charts for about eight weeks back then ... and EVERY act and producer was inspired by what THEY were hearing on the radio, pushing each "latest sound" just a bit further.  That's why a Summer like 1964 stands out so strongly for me ... "Rag Doll" by The Four Seasons ... "I Get Around" by The Beach Boys ... "A Hard Day's Night" by The Beatles ... all considered to be musical peaks by these artists at that moment in time.  Other great music from The Summer of '64:  "Don't Let The Sun Catch You Crying" by Gerry and the Pacemakers ... " A World Without Love" by Peter and Gordon ... "Wishin' and Hopin'" by Dusty Springfield ...

Or, check out the COMPLETE list here:  Click here: Forgotten Hits - The Biggest Hits Of Summer, 1964

I love 'em, especially when you attach a song I like; however, it is a niche section of your newsletter and thus does not attract the same readership that your "star laden" daily features does.

And, I know this is not a perfect comp, but it's better than you will think. When you rail, and rightly so, over the repetitious music played on over the air stations, just remember that in a way what you described is similar to what programmers on oldies / classic hit stations go through. If they went as deep as you would like, they would probably lose a lot of listeners to songs that are not familiar to them.

When you do surveys, you lose a lot of readers because surveys matter only to a few of your readers. A Marshall Tucker Band forgotten song such as Last of the Singing Cowboys would be great to hear on the air but I'd bet 90 percent of that station's listeners in Chicago who would possibly be playing that song would scurry to another station to hear their familiar Boston song such as Long Time.

Rich

I think within the context of "Forgotten Hits" our agenda is pretty clear ... you pretty much know what to expect if you're hanging out here ... and it's BECAUSE we feature more of this "obscure" music that we've attained the audience we have.  Meanwhile I have always maintained that there is a "happy medium" that would please everybody by offering a little bit of both ... tone down the overplayed tracks that have driven so many of your listeners away ... and feature those "feel good" songs that folks WILL remember and enjoy if only presented with the opportunity to do so.  I really believe there is some middle ground here that continues to be unexplored ... more on this later in the week.  (kk)   

I am standing in a bank in Cleveland, Ohio. They have Muzak playing I Confess by the New Colony Six.  Does not get better than this!

Clay   

Kent --

I really enjoy the surveys. Being a long-time radio guy I especially like seeing what was hitting the charts in other areas of the country. I also like seeing what regional songs were hits and how they varied in different parts of the country. In NYC many doo-wop and group harmony songs hit the charts, for example, and these same songs rarely hit the charts in Oklahoma, for instance (no offense, Larry!).

Danny    

Hi Kent,  
Hearing Acker Bilk's Stranger on the Shore always makes me want to get up and dance. Great tune and great memories.  "If You Wanna Be Happy" always makes me smile and altogether brightens my day.Two reasons I enjoy Forgotten Hits so much. 

Tom Carroll

Fred Glickstein of The Flock dug hearing some of the instrumental tracks we featured in our recent "#1 On This Date" celebration ... and wanted to add these classics to the list:

http://www.youtube.com/watch?v=S-7lloS2J_A

http://www.youtube.com/watch?v=zvGNBTosRAs

http://www.youtube.com/watch?v=FNxpU_ITpMQ

http://www.youtube.com/watch?v=kvrD7XDwQ3Q

http://www.youtube.com/watch?v=eP1dYj2hGss&list=RDeP1dYj2hGss#t=17

http://www.youtube.com/watch?v=ZXyeb8ND89M

http://www.youtube.com/watch?v=WW21rcHiVU0

http://www.youtube.com/watch?v=TyXLJsO_ulw

http://www.youtube.com/watch?v=1st_9KudWB0

http://www.youtube.com/watch?v=7jzx664u5DA

http://www.youtube.com/watch?v=tSsiS-v6_6M

http://www.youtube.com/watch?v=_rQheOglFos

http://www.youtube.com/watch?v=pyUcnoracMM

http://www.youtube.com/watch?v=BbrXHMYAz-E

http://www.youtube.com/watch?v=66TLrby1R1g

http://www.youtube.com/watch?v=b1z4JfxFb6c

http://www.youtube.com/watch?v=pSkH-p1EW1o

http://www.youtube.com/watch?v=T5OsLatnCFY

http://www.youtube.com/watch?v=rr28--ZdP78

http://www.youtube.com/watch?v=-aWkhuAu8go

http://www.youtube.com/watch?v=sZ_WgrAAsBI

I sometimes wonder what would happen if every rock station in the country just spent one entire week playing nothing but the songs that were popular in the corresponding week in say, 1958.  Is it just me or was just one week of the Diamonds, the Del Vikings, the Olympics, Eddie Cochran, Buddy Knox, etc., better than a whole year of what we hear now?  I wonder what it would do to the minds of the teenagers today.  They'd start yearning for poodle skirts, crinolines, duck tails, tight skirts, turned up collars, 'black slacks,' pink shirts, white bucks, saddle shoes, penny loafers ... we were so cool.

Pttibg

I think an oldies station could EASILY keep their audience entertained by programming nothing but the hits on that date ... and there are SO many ways to do it ... 24 hours in a day ... one hour for each year, 1956 - 1979 perhaps?  Our four hours per day per year, spread out over an entire week.  Plus a WHOLE lot less repeats this way.  Just zero in on the biggest tracks of that particular year and expose your listeners to not only something new ... but also a whole bunch of stuff they haven't heard in ages!  (kk)

Thanks, Kent -
Always enjoy reading your website / blog!
Jon Olsen

Hi Kent, 

When are you going to be granted an Honorary Doctorate in Music for your work in Music Appreciation?  Hopefully your knowledge and the countless hours you put in for the enjoyment of others will be recognized.  Forgotten Hits never disappoints and is always full of surprises, information, and countless hours of enjoyment.  Thanks again for all your hard work, it is greatly appreciated. 
Best Regards, 
Tim Kiley

re:  Next Week In Forgotten Hits:
BIG concert weekend for me again ... Burton Cummings, Herman's Hermits featuring Peter Noone, Jay and the Americans and The Monkees (featuring Micky Dolenz, Peter Tork and Michael Nesmith) ... WHOA!!!  Watch for full concert reviews next week on the Forgotten Hits Website.  (VERY special thanks to Sam Boyd, Ron Onesti and David Salidor for both your generosity AND your support of Forgotten Hits ... it means a lot!)

Meanwhile, one more track to leave you with ...

Ironically, both Burton Cummings AND Peter Noone performed the Gerry and the Pacemakers hit "Ferry 'Cross The Mersey" in concert last weekend ... GREAT track.  (Peter had a bit of fun with his version, changing the lyrics to reflect The Fox River in St. Charles, IL, tying in with his appearance at The Arcada Theatre ... but still a great excuse to feature this excellent track.)  See you all next week!  (kk)
 

---

Burton Cummings At The City Winery

June 2, 2014, 4:06 am

≫ Next: Herman's Hermits Starring Peter Noone with Jay and the Americans - Live Concert Review (from The Arcada Theatre)

≪ Previous: The Sunday Comments ( 06 - 01 - 14 )

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There has never been another voice quite like his ...  

And when you strip it down to just that voice ... that incredible voice ... accompanied only by his own piano ... it resonates with every nuance and tone ... and it's nothing short of a powerful experience ... both dramatic and dynamic ... you literally FEEL every word ... every note ... in a crystal-clear clarity that just blows you away.  

Such was Burton Cummings last week in two sold out shows at The City Winery ... just Burt and his piano ... Up Close and Alone ... and it was spectacular. 

As you know, we had the pleasure of interviewing Burton last year just before his big show at The Arcada Theatre ...  
Click here: Forgotten Hits - bc    
Click here: Forgotten Hits: Burton Cummings Concert Review 

And both of these were incredible experiences for this life-long fan. 

But last week's shows were different ... without the band, there were limitations as to what he could and could not perform faithfully.  (He joked about not being able to do justice to "American Woman" without all the guitars that drive the song ... but then did a very cool version of "No Time" by featuring only "Burton's parts" ... meaning that with all of the background vocals missing there was no "no time left for you" but only Burton's response "on my way to better things" ... the whole experience was a whole lotta fun.)   

It also gave him a chance to do some things he doesn't typically do in concert with the full band ... softer, mellower stuff like "Sour Suite", a minor US Hit (#41) in 1972 that was a Top Ten Smash back home in Canada ... and several LP tracks including my all-time favorite, "Dream Of A Child", which closed the show.  Some worked better than others ... "Clap For The Wolfman" was just as entertaining performed as a solo piece as it was when we saw him perform it with The Carpet Frogs (aka The Burton Cummings Band) last November ... "Hand Me Down World" not so much ... and "Glamour Boy" (another personal favorite) fell somewhere in between.  As Burton explained, being up there solo he had access to much more material to choose from than he would have at a typical full rock band concert as the band didn't know all of his songs ... but he did ... and, as such, he was able to handle an obscure request here and there.  (This apparently occurred more on Wednesday Night than it did on Thursday ... Thursday we were treated to several songs added to the set list the night before ... because he'd now had the chance to practice them!!! lol)  

Along the way, we were also treated to a few surprises ... two songs by Bobby Darin, one of his ... and my ... all-time favorite performers ... (Burton gave us his readings of "Mack The Knife" and "Clementine") ... "Ferry 'Cross The Mersey" by Gerry and the Pacemakers ... the Georgie Fame version of "I'm In The Mood For Love" as well as his ALWAYS hysterical reading "If Rod Stewart Were Gordon Lightfoot's Favorite Singer" routine where he performs Stewart's "Maggie May" in a letter-perfect, booming Gordon Lightfoot voice. 

Burton is a very entertaining and personable performer.  He stated up front that he wanted the show to feel like having a bunch of friends over to his home while he entertained them in his living room and that's exactly the way it came off ... assuming your house guests typically give you a standing ovation six or seven times during the course of an evening!  (lol)  The stories and banter between songs kept things moving in a most-entertaining and endearing way ... and Burton waxed somewhat melancholy / nostalgic on several occasions when he reflected back to just what the City of Chicago meant to him.  (The Guess Who recorded the majority of their early hits here at RCA's studios on Wacker Drive downtown, a recurring theme that wasn't lost on his audience both nights.)  After seeing him twice now in the past six months (and spending a fair amount of time with him on the phone, corresponding via email and visiting back stage), I can assure you that these feelings are most sincere.  Cummings is truly humbled by the fact that, at age 66, he's still able to do this and emotionally touch an audience ... his music is still regularly featured on the radio some 40+ years later ... and he can still sell out venues wherever he goes.  He feels genuinely flattered to have been fortunate enough to carve out a career doing exactly what he loves doing and being the guy who got to either write, sing, perform and / or produce all of these great songs.  In fact, he told us that if crowds like this keep coming to see him play and sing, he could see himself doing this another 10-15 years.  (If he is able to stay in the fine voice and health that he's in today, this shouldn't be a problem ... Burton clearly comes off 20 - 25 years younger than he is ... and still sings every song in its original key and with all of the necessary afflictions.) 

Afterwards I heard a few guys talking in the men's washroom about how moved they were by the whole show ... two admitting that on more than one occasion Burton brought these "grown men to tears" with his performance.  These songs touched us ... and continue to evoke this type of response all these years later ... and when performed by the guy who brought them to us ... in such a personal way ... it truly is magical how this whole experience can make you feel. 

Burton Cummings returns to the Chicagoland area for an encore performance at The Arcada Theatre (with the full band) in November ... November 14th to be exact.  Get your tickets now as this show will most certainly sell out.  Don't miss an opportunity to see one of the all-time greats doing exactly what he does best. 

Herman's Hermits Starring Peter Noone with Jay and the Americans - Live Concert Review (from The Arcada Theatre)

June 3, 2014, 3:58 am

≫ Next: The Monkees - Live At The Star Plaza Theater in Merrillville, Indiana

≪ Previous: Burton Cummings At The City Winery

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I can honestly say that I have never been disappointed by a Peter Noone concert ... and I've probably seen close to 20-25 of them over the past 10-12 years.  

To this day his remains one of the most entertaining and engaging performers of ours or any other generation.  

Totally at home on stage, he covers all of the hits you'd ever want to hear ... with a whole bunch of adlibbing along the way.  No matter how many times you've seen him ... or the fact that many of the bits are recycled from show to show ... Peter ALWAYS brings something fresh and new to the table to make each performance unique and entertaining in its own right ... and Friday Night at The Arcada Theatre was no exception.  

About twenty minutes into the show, Noone picked up the set list from the floor, looked it over and announced ... "This is our set list for tonight's performance ... and we haven't done ANYTHING on it yet!"  It was damn near a true statement ... intermixed with a bunch of clowning around about fulfilling his life-long dream of performing in St. Charles, Illinois, at the Arcada Theatre, he managed to slip in tributes to Johnny Cash and Mick Jagger ... along with a couple of his earliest hits including "I'm Into Something Good", "Wonderful World" and the Herman's Hermits B-Side "Sea Cruise" ... as well as "Love Potion Number Nine" by fellow British Invasion act, The Searchers.  

Never letting up on the "St. Charles Connection", he kept the audience laughing throughout the night with frequent mentions of the rustic suburb, even incorporating its name (and that of The Fox River) into the lyrics of some of his songs.  It is IMPOSSIBLE to sit through a Peter Noone concert without a smile on your face the entire time ... he is, without question, one of the most endearing and engaging performers out there ... and, incredibly, he still looks like a kid having a blast up on stage.  (Noone hasn't aged vocally or in appearance since Herman's Hermits last hit the charts ... and his loyal legion of Noonatics still pack every single show.  Friday Night's show at The Arcada was a complete sell-out ... and he played to well-deserved standing ovations throughout the night.)  

All of the hits were there:  "A Must To Avoid", "Dandy", "No Milk Today", "Can't You Hear My Heartbeat", "Listen People", "Silhouettes", "Mrs. Brown, You've Got A Lovely Daughter", "End Of The World", Forgotten Hits Favorite "Just A Little Bit Better", the audience sing-along version "I'm Henry The VIII, I Am" (the best I think I've EVER seen it performed) and show-closer "There's A Kind Of Hush".  Wall-to-wall hits ... and wall-to-wall fun.  

Noone is booked solid well into next year. (You can find the complete schedule ... with new shows being added all the time) here:  
Click here: Herman's Hermits Starring Peter Noone

*****

Opening up for Herman's Hermits was Jay and the Americans, featuring (as he is referred to throughout the show) Jay #3.  (He's actually Chicagoan John Reincke ... and has been fronting the band for just over eight years now.) 

Joining with former Americans Marty Sanders, Howie Kane and Sandy Deanne, the group faithfully recreates the hits produced by the original band (with tributes to Jay #1 and Jay #2 throughout the evening.  A highlight for me was hearing Sandy Deanne refer to Jay #2 ... Jay Black ... as "a real pain in the ass!"  There's no love lost between these two!)   

Honestly, their between song banter needs a lot of work ... it doesn't feel at all natural ... much more "scripted" than conversational ... but once the music and the singing starts, there is no denying the power of this band ... they had the audience up on their feet numerous times throughout the night, offering up thunderous applause to many of the tracks they performed.  Forget the fact that Reincke is, to some degree, a hometown hero ... the reaction was genuine and well-deserved.  (There are other Chicago connections as well ... our FH Buddy Dave Zane plays lead guitar ... jeez, can anybody name a band this guy ISN'T in?!?!? ... and Chicagoan Billy Corston plays bass.)   

They, too, have dates booked through June, July and August ... mostly on the east coast where they are currently based (New York and New Jersey) but are also regularly adding dates.  (In fact, stay tuned for word on their return to The Arcada Theatre ... Ron Onesti has already promised to bring these guys back again.)   

Click here: Jay and the Americans    

Musical highlights of the evening included "Cara Mia" (naturally ... and, without question, the most powerful song of the night ... the audience went absolutely crazy!), "Come A Little Bit Closer", "This Magic Moment", "Let's Lock The Door (And Throw Away The Key)" and "She Cried" (which also received a tremendous response from the crowd) ... but quite honestly ALL of the hits they performed were near-perfect executions ... and they did 'em all ... "Hushabye", "Some Enchanted Evening", "Tonight", "Only In America", "Crying", "Walkin' In The Rain" and the Neil Diamond-written "Sunday And Me", his first big break-through hit as a songwriter.   

Definitely worth a look if they come to your area ... I know that I will definitely be back to see them for their return engagement at The Arcada ... maybe even as headliners next time!

The Monkees - Live At The Star Plaza Theater in Merrillville, Indiana

June 4, 2014, 4:12 am

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Capping off an incredible weekend of concerts, I went to see The Monkees Reunion Show at The Star Plaza Theater in Merrillville, Indiana, on Saturday Night. 

Incredibly THIS was the only show I saw all weekend that wasn't a complete sell-out ... and the very idea blew me away.  When Micky, Peter and Mike reunited after the death of Davy Jones last year, there wasn't a ticket to be had ... a fact not lost on Peter Tork who remarked from the stage, "Thank you all for coming ... those of you who are here ... and you know who you are!"  (lol) 

It was quite a multi-media extravaganza Saturday Night ... a giant movie screen was perched directly behind the band and it never stopped all night long, showing vintage clips from their old television series (that virtually every fan in the audience was able to recite right along with them, word-for-word, forever embedded in our memories and known by heart.)  There were also quite a few outtakes shown, including much more from their original screen test / audition tapes (which kicked off the show prior to The Monkees Theme coming on), including scenes of each of the Pre-Fab Four auditioning with other actors who did not make the final cast.  (Sorry, no ... Charles Manson was NOT amongst them ... but that was all just a big rumor anyway!!!) 

Musically, the trio was supported by what was in effect a ten-piece band ... so we were treated to a very full and rich sound ... musically speaking, it may have been the best backing I'd ever seen afforded a Monkees concert. 

Over the years I have seen some various incarnation of the Monkees at least forty or fifty times ... Davy, Micky and Peter, each as a solo act (again and again and again) ... several of the usual, post-MTV comeback "Here We Come ... just the three of us ('cause Mike's not here)" shows that have happened all over the midwest during the past forty years, Micky and Davy (doing their "Just Monkeeing Around" schtick at this very same theater AGES ago where I'll bet there weren't 28 people in the entire audience!), as well as a few of the original Dolenz, Jones, Boyce and Hart / "The Guys Who Wrote 'em and The Guys Who Sang 'em" Reunion Shows (including their very first gig together at Six Flags Amusement Park in St. Louis, Missouri, way back in 1976!)  Speaking of amusement parks, I've seen Peter at the long-since-gone Old Chicago indoor amusement park in Bolingbrook, too, as a solo act (where he signed a napkin for me with a green felt-tip pen!) as well as at various clubs around the city back in the early '80's ... and Micky and/or Davy at many of their local summertime neighborhood fests in and around the Chicagoland suburbs ... everything from the beautiful "Music In The Park" Wednesdays in Bensenville, IL, to the echo-bouncing-off-the-walls Elk Grove outdoor concerts to Franklin Park's "Railroad Days", which was held across the street from the train tracks (where the music was drowned out every time a train passed by ... which was about every twenty minutes or so!)

But I had NEVER seen Mike Nesmith before.  (The one chance I had to go was a LONG, long time ago when he did a solo date at a club in the Wrigleyville area ... but I got sick that night and was unable to attend.  Based on all the subsequent reunion shows that never included him, I felt like I had blown my one and only chance to EVER see The Nez.) 

But Mike was in full view Saturday Night ... taking center stage on a great number of songs throughout the night, revisiting a part of The Monkees catalog that has long since disappeared both from the radio and the concert stage over the past 40+ years.  (I couldn't get over the way Mike was dressed ... blue jeans ... a white t-shirt ... very "down home" ... but then these black, sparkly, glitter shoes that seemed so COMPLETELY out of character for him.  When I had the chance to visit with him a little bit backstage after the show, he had changed into black sneakers ... and I told him "I had REALLY hoped to get a picture of you in those shoes!"  Mike laughed and said "Well, you're too late ... those came off a half hour ago" to which I replied "You probably can't wear those in Texas, right???") He was gracious enough to then pose for a photo (taken, as was the shot below of me and Micky, by Micky's wife Donna.)

A TON of Nesmith material filled the set list ... "Sweet Young Thing", "You Just May Be The One", "Tapioca Tundra", "What Am I Doing Hangin''Round" (actually written by country star Michael Martin Murphey of "Wildfire" fame), "You Told Me", "Listen To The Band", "Circle Sky", "Papa Gene's Blues", "The Kind Of Girl I Could Love", "The Door Into Summer", "Sunny Girlfriend" and probably a few others that escape me as I type this.  (I couldn't help thinking how cool it was to not only hear these songs again, but to hear them from the guy who originally wrote and sang them.  A typical Monkees show over the past dozen years might have featured two or three Nez-Songs as a tribute to Mike, but that would have been it ... now we were being treated to nearly his full Monkees catalog.  I told him how good it was to hear HIM singing these songs again ... but couldn't help but know that, had Davy still been around for this tour, Mike's set list would have most likely been cut by 60-70% ... and he probably would have once again become disenchanted with the whole idea of doing these shows.) 

Speaking of Davy, his name was NEVER mentioned once during the course of the entire show ... quite a surprise to me.  I guess by now, everybody just knows and accepts the fact that he's gone ... whereas the first Micky / Mike / Peter reunion shows were staged as more of a tribute to Davy.  In fact, other than a short film clip of Davy's song and dance routine from the film "Head" (Harry Nilsson's "Daddy's Song") the only other Davy song performed all night long was "Daydream Believer", where they guys (including Mike) each took a turn singing a verse.  (Mike's reading was especially moving ... he might most likely deny it, but his voice cracked during his verse and in my heart I believe that was due to the pure emotion of performing a song SO associated with Davy ... and knowing that Davy will never be able to sing it again.)  The performance rendered a well-deserved standing ovation ... and was an emotional highlight of the night.  (I got choked up just telling this story the next day!) 

Addressing the elephant in the room, I will also admit that I am more than a little bit heart-broken every time I think about Davy not being here to be able to share in what fans have waited SO long to see ... a full-fledged Monkees reunion featuring all four original members.  But, shame that it is, it just wasn't to be ... and fans truly do appreciate the return of Michael Nesmith to the fold to help keep the legacy going. 

Most of the schtick and comedy were missing from Saturday Night's show ... this seemed to be a much more serious presentation of their music ... and any humor that was to be found came by way of the vintage tv clips ... there were no antics on stage this time around ... which has always been a HUGE part of a live Monkees concert.  As such, the band who "couldn't play their own instruments" certainly excelled in the live concert environment Saturday Night. 

And, because they were as much saluting the songwriters as the group's recorded legacy, we were treated to Mike singing his own "The Girl I Knew Somewhere" and Peter performing his "For Pete's Sake", both of which featured Micky on lead vocals during their original commercial releases.  I have to tell you that both sounded excellent when performed by their originators Saturday Night. 

As for any comments made recently in these pages about Micky's "lackluster" performance at The Arcada Theatre a few weeks ago, I can absolutely assure you that this was most certainly NOT the case at this Monkees concert ... he held absolutely NOTHING back at The Star Plaza show ... and was in EXCELLENT voice from start to finish, tackling the full gamut of Monkees material at a very high energy level ... "I'm A Believer", "Last Train To Clarksville", "Steppin' Stone", his own "Randy Scouse Git" (which was accompanied by a movie clip featuring some old man yelling out his window at one of his daughter's suitors, calling him a "randy scouse git" ... great stuff!), "Goin' Down" (which featured an audience member singing an entire verse, every word in perfect phrasing, to a HUGE round of applause from the crowd), "No Time" (a favorite of mine from the "Headquarters" album, from which they performed SEVEN tracks!), a killer rendition of "She" (from "The Monkees' Second Album") and "Pleasant Valley Sunday", their final encore track.  GREAT performances all around. 

They also performed the entire "Head" soundtrack ... which, for the die hards was, I'm sure, a real treat ... but truth be told, this simply is NOT The Monkees' strongest work ... despite 40+ years of them trying to convince us of otherwise.  (I have DESPERATELY tried to find the shining light in "Head" for four decades now ... and it still alludes me!)  Truth is, if you weren't a TRUE, die-hard fan, you probably had a hard time getting past "The Porpoise Song" and "Circle Sky" ... the music just isn't that commercially accessible. 

On the plus side, two of the absolute highlights of the night for me featured Peter and Micky trading off vocals on the seldom-heard and long-forgotten tracks "Words" and "Shades Of Gray", both of which are featured below (along with the obligatory Nez-Tune!) ... both of these classic tracks were executed beautifully and showed again just how well these two work together. 

As mentioned earlier, I was invited back stage after the show (Thank You Again, David Salidor!) to meet Micky.  Escorted in by Micky's wife Donna (who I had absolutely NO idea that this was who she was at the time she came to get me!), I got a chance to visit briefly with one of my all-time heroes in rock and roll.  (I have always maintained that The Beatles were the first, biggest and longest-lasting impact of music on my life ... but it was The Monkees who made me want to PLAY rock and roll ... and I remember telling Micky that many, many years ago when I had the chance to meet him at a signing after one of their shows at this very same Star Plaza Theater.) 

Overall, a GREAT show ... and an opportunity to finally hear some Monkees music long absent from our consciousness for far, far too long.  (I can't imagine that there'll be too many more of these shows featuring all three original members ... although The Monkees' 50th Anniversary is coming up right around the corner ... so who knows!!!) 

If you get the chance to see them, do yourself a favor and go ... this music was such a HUGE part of our lives growing up in the '60's ... it's not to be missed.  I can assure you that you'll really enjoy seeing it performed live by the guys who gave it all to us in the first place!

 kk and Micky

 Mike Nesmith in the foreground

 

Micky and Peter

If you DO plan on going, you'd better act quickly ... there are only a few dates left ... 

Click here: THE MONKEES IN CONCERT | monkees.com

 Backstage Show Pass

Thursday This And That

June 5, 2014, 4:32 am

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re:  Tommy Roe ... And The Triple Crown!:

Hi Kent ... 

I thought you might be interested in hearing my new single, released on Monday, June 2nd.
This is a song I wrote with my long time friend Mike Borchetta called "California Chrome." It's a song about the California-bred dream horse running for the triple crown at Belmont on June 7th. I recorded two versions, one pre-race which I am sending with this email, and one post-race if he wins. Hope you enjoy and if he wins I will send you the winning version.
Thanks,
Tommy Roe

Thanks, Tommy!  Here's hoping he wins!!!  (I wanna hear the other one!!!  lol) 

Forgotten Hits subscribers got an exclusive, sneak peek premier of this track earlier in the week ... and who knows, it just may become quite a collectors' item!  If Chrome wins The Triple Crown, Tommy's revamped "Winners Version" will be the official single release, making this pre-race track (get it?!?!) obsolete.  So hold on to your copy! 

Meanwhile, for those who haven't heard it yet, here's "California  Chrome" by Tommy Roe.  (And be sure to check the racing results this weekend!!!)  kk

Dear Kent,

Thanx for sending me Tommy's effort. As you know, it'll be a while before I'm named president of Mr. Roe's fan club, but this tune is terrific ... completely enjoyable.  I loved the hooks and the melody is catchy.
This does bother me ... I doubt Tommy's song will get much air play. Ask yourself which station is going to add the tune to its play list?
Now, let's go back 40-odd years to Secretariat, "Big Red", prepping for the Belmont. I have no doubt both 'LS and 'CFL would have made the record "happen" on their play lists.
My sincere congrats to Tommy Roe.
Chet Coppock
Host: Chicago Blackhawks Heritage Series
Host: Notre Dame Football, WLS Radio

Tommy personally told me to make sure that you got a copy of this ... "be sure to give it to your sports guy in Chicago"!  (lol)  Hey, maybe you can feature it on YOUR show and drum up a little interest.

Sadly, you're right ... there are SO many great artists out there that are STILL making great music after all these years ... yet radio won't give them the time of day.  (How did artists make "comebacks" back in our day?!?  SOMEBODY had to give 'em a shot and let the fans decide.)

Tommy's latest CD has some GREAT music on it ... and it has won some critical awards ... but the days of instant success and gratification seem to have disappeared in favor of 13 year old girls making home-made YouTube videos in their bedroom, singing into a hair brush.  When an artist like Paul McCartney can't even get his new stuff played on the air, you know just how badly the deck is stacked against some of these other acts and artists.  The real satisfaction for me is knowing that they're still doing it ... doing what they love ... and making good music  That's why we try so hard to promote these tracks here.  Over the past ten years or so we have "sneak peeked" more tracks than ever ... because the artists and PR guys know that radio simply isn't going to play them.  At least "leaking" a track through Forgotten Hits reaches the proper target audience!!!  (kk)

It pains me that artists we dug so much growing up can't get the time of day ... I really dug Tommy's song ... he's come along way from "Dizzy."
See ya soon,
Chester

Yes, the times have definitely changed.  (Do they even give out gold and platinum awards anymore???) LOTS of buzz going on about the possibility of a Triple Crown Winner being in our midst.  I think if we can get enough people to play and listen to Tommy's new tune, we just may see it turn Solid Chrome!  (kk)   

Thanks! This is very nice. Tommy sounds great, and it's very well done.

David Lewis    

Thanks Kent. Looks like Tommy went from fast girls (Sheila & Hazel) to fast horses.  I'd like to hear Tommy sing about the horse running in the Belmont, trying for the Triple Crown. When I play the Chicago song I call it = "Saturday At Belmont Park".

Frank B.   

Hi Kent, 

Loved hearing “California Chrome.”  I spent many years in Sacramento (Chromes'“home town), so the fact that he is so close to the Triple Crown fills me with pride.  

Tom 

That was interesting ... thanks for sending!

Stacee

Say Kent, thanks for being a Sweet Pea and emailing me that Tommy Roe track ... waiting to hear it was making me Dizzy.

Thanks,

Brad

Hi Kent,

I would LOVE to hear Tommy Roe's newest future hit!!!  My maiden name is Roe, and I always told all the kids in school that he was my cousin (you never know, I could be!!! I've done genealogy for over 30 years, and Imight be able to figure out where he fits in!)  I know I'm asking a lot, but could you tell him my story about telling everyone that he was my cousin, lol. 

Kim Roe-Kester

Aka Amzng Moonie

I'm not so sure Tommy would be "thrilled" with your secret identity ... but he'll probably read it right here in Forgotten Hits!  (kk)

re:  This And That:

Did you happen to watch The Rock And Roll Hall Of Fame Induction Ceremony?  I've yet to see the whole thing all the way through (it runs about 3 1/2 hours!  and, quite honestly, there are parts of this that I couldn't care less about!) ... but I DID happen to catch Daryl Hall's acceptance speech the other day and enjoyed it so much, I wanted to share it with you. (You're preachin' to the choir on this one, Daryl ... but we're with you 200%!)

 

Speaking of Philadelphia, you know I did some research and do you know that we're the only home-grown Philadelphia band that has been put in The Rock And Roll Hall Of Fame?

Now I'm not sayin' that because I'm proud of that ... I'm sayin' that because that's fucked up!
What happened to Todd Rundgren, The Stylistics, The Delphonics, Harold Melvin and the Blue Notes, Lenny Barry ... Chubby Checker ... how 'bout the biggest single in the history of the world, Chubby Checker ... why isn't HE in it, huh?

So I'm callin' everybody out ... there better be more Philadelphia artists in this place, OK?

Now that's all I've got to say.

-- Daryl Hall   

Speaking of awards, congratulations to Tom Jones, who will be receiving The Silver Clef Award for the SECOND TIME!  Jones is being honored for his nearly half-century career as a performer.  Other two-time recipients include Eric Clapton, Annie Lennox, Take That and The Who.

The 73 year old Welsh singer has gone "from strength to strength, sustaining his popularity as a live performer and recording artist for more than four decades.  He has lent his voice to every form of popular music, from gospel to country and from dance to rock, selling over 100 million records in the process."

Sarah Edge, director of Sony Mobile UK said, "Sir Tom is a living legend.  Not only has his music brought pleasure to many people, he has also used his music and influence to benefit many charities over the years.  We are honoured to present him with the Sony Mobile Lifetime Achievement Award."

Jones said (of winning the award) "To be presented with the Lifetime Achievement Award is a great honour and to be amongst the other fantastically talented artists is a real pleasure."

Previous winners include Paul McCartney, Ozzy and Sharon Osbourne, Coldplay, Oasis, The Clash, George Michael, Robert Plant, Sting, David Bowie, Elton John and Phil Collins.  (kk)

I had the pleasure of listening to a very enjoyable night of music the other night when Rich Daniels and the City Lights Orchestra performed right here Schaumburg.  The orchestra featured any number of guest vocalists (including Disco Queen and five-time Grammy Nominee Linda Clifford as well as Bruce Mattey of The New Colony Six, who has been performing with these guys for years!)  It was a wide array of musical styles ... everything from disco to Neil Diamond ... show tunes from "Chicago" and "Phantom of the Opera" ... a tribute to Frank Sinatra ... and much, much more.  It really made for a swinging time ... and I'm hoping to catch them again before the summer's over.  (A great way to spend an evening on a cool summer night!)

Special Guests that night were Bruce's fellow bandmates Ray Graffia, Jr. and Greg Favata.  (The New Colony Three???)  They sang the group's '60's smash "I Will Always Think About You" (which sounded amazing with the full orchestra backing) as well as their Chicago Gold Medley (featuring the music of The Cryan' Shames, The American Breed, The Buckinghams, The Shadows of Knight and The Ides Of March.  I'll tell you what ... that orchestra was REALLY enjoying playing "Vehicle" the other night ... they ought to keep this one in the set!)   kk 

Many of their dates are corporate events or private affairs ... but Bruce tells me that they DO have another gig coming up in the area in August:

We have another out door concert in Evergreen Park Sunday, 8-17, 6 to 8 pm, located about two blocks South of 95th Street on Homan Avenue at the Klein Parkk band shell.  Bring a chair or blanket.  This is a nice neighborhood annual event. (Music only so byo beverage, too.)

I really appreciate your message and very glad you liked the presentation. 

Thanks again and stay well,

-- Bruce   

And, speaking of the New Colony Six ... 

>>>I am  standing in a bank in Cleveland, Ohio. They have Muzak playing I Confess by the New Colony Six.  Does not get better than this!  (Clay)

How cool is that, Kent?  Please thank Clay for sending his note and extend even more kudos for his recognition of “I Confess” AND knowing it was New Colony Six performing it!  Clearly, Clay is quite the connoisseur of quirky music, or perhaps grew up in Chicago.  I heard “I Will Always Think About You” a few weeks ago during brunch at the Cary Diner and hear something of ours at least every 2^nd or 3^rd time we visit a Portillo’s, so Dick must be a fan or the programmers who put together his song lists must be, eh?

Ray Graffia, Jr.

Actually, I hear your stuff quite often at Portillo's, too!  Clay worked for a number of distributors back in the day and regularly processed orders for New Colony Six singles as they were being released in the '60's!  A VERY knowledgeable guy ... with (OBVIOUSLY) very good taste in music!  (kk)     

"Danbury Fields Forever" extends early-bird ticket discounts in honor of Sir Paul McCartney's Birthday this month

The New York / New England regional Music Festival for Beatles fans will "come together" Saturday, July 26 and Sunday, July 27, 2014, at Ives Concert Park in Danbury, CT, with 10 bands playing each day from Noon - 8 pm.  The 20 different acts will be playing songs from every era of The Beatles' legacy, including their Hamburg / Cavern beginnings and BBC-Sullivan years right up to Pepper / Abbey Road and beyond, plus solo career cuts. Producers are previewing the performers' set-lists to ensure that the same songs won't be repeated daily. 

Early-bird discounted are available from https://danburyfieldsforeveriii.eventbrite.com.

Fans coming both days have the option of staying at area hotels offering a special festival rate of only $79 per night. Visit: http://www.fab4musicfestival.com/hotels.htm. For entertainment line-ups or further info, visit website www.Fab4MusicFestival.com or call (203) 795-4737.   

Lovely tribute to your graduating Daughter.

Boy, am I a DORK ... I said that Maurice's Daughter and Barry sang "First of May" on the Sunday morning program when, in fact, it was "How Can You Mend a Broken Heart" ... Senior moment and, when you think about it, the correct song makes much more sense.

Stacee

Paige is the "baby of the family" so everyone keeps referring to us as "empty nesters" now ... so yes, this is a bit of an emotional moment for us.  Meanwhile the graduation ceremony went off flawlessly so now we're all on to the next chapter of our lives.

 Dad and Grad

As for Barry Gibb, I'm just glad I got to see the clip ... I wish I could have seen the concert but it just wasn't affordable at those ticket prices.  I'm glad the crowd reaction has been as good as it has.  Wow ... a thirty song set!  I wouldn't have figured!  (kk)

Kent ...

The Rolling Stones were #1 on your post of Billboard's biggest grossing acts of the past 24 years.

We just celebrated the 50th Anniversary of their first arrival in America.

http://ultimateclassicrock.com/rolling-stones-american-arrival/
Frank B.

On June 8th, Harvey Kubernik will be the guest interview subject and discuss his Turn Up The Radio! Pop, Rock and Roll in Los Angeles 1956 - 1972 book on Sunday night June 8th at 8:00 pm (PST) on the radio program Head Room, hosted by 

Barry Smolin on KPFK-FM (90.7).’ Listen world wide in real time at www.kpfk.org 

"Tune into Head Room for a weekly two hours of exploratory rock and roll designed to lubricate your mind: vintage and contemporary psychedelic music along with hefty doses of local bands and solo artists currently making the scene in L.A." --KPFK-FM   

Kent ...

Just before 7 AM (EDT) Scott Shannon asked the contest question =
What 1967 Hit, that was #1 for 4 weeks opened with the line "It was the 3rd of June" --

Woman on the phone continued singing "another sleepy, dusty, delta day."

She answered the question right and won concert tickets.

Scott played a small portion of the song, explaining "It doesn't fit our format so I can't play the whole song."

A few minutes later, he gets a text from Broadway Bill Lee (Afternoon DJ),  questioning his manhood. Now Scott says he will play the whole song, "Ode To Billie Joe", shortly after 9 AM. I guess I won't be hearing "El Paso" anytime soon.
Frank B.

Yeah, we haven't featured this one in a couple of years now ... for a while there, it was an annual tradition.  I did ask a couple of people at work if they took a moment to remember Billy Joe McAllister on the third of June ... after a moment's reflection, they got it ... one even cursed me out for sticking this song in her head for the rest of the day ... but "Ode To Billie Joe" ... big as it was ... is yet another MONSTER hit that has disappeared from the airwaves. (kk)

50 Years Ago This Weekend (June 6th)

June 6, 2014, 3:53 am

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Our first Billboard Chart of June, 1964 finds that THE BEATLES were only able to hold on to the top spot for one week with LOVE ME DO as THE DIXIE CUPS' CHAPEL OF LOVE pushed them out to #2.  A WORLD WITHOUT LOVE, LITTLE CHILDREN and P.S. I LOVE YOU remained in The Top Ten (at numbers 6, 8 and 10 respectively) and THE DAVE CLARK FIVE's version of DO YOU LOVE ME sat right outside The Top Ten at #11.  Other British Hot 100 Hits include DIANE at #14, BITS AND PIECES at #25, DON'T LET THE SUN CATCH YOU CRYING (up 21 places to #26), DO YOU WANT TO KNOW A SECRET (down to #36 from #19), GOOD GOLLY MISS MOLLY by THE SWINGING BLUE JEANS at #44, SUGAR AND SPICE by THE SEARCHERS at #47, (meanwhile, their newest release, DON'T THROW YOUR LOVE AWAY, jumps up from #69 to #54), I KNEW IT ALL THE TIME by THE DAVE CLARK FIVE at #53, BAD TO ME, up ten places to #61 for BILLY J. KRAMER AND THE DAKOTAS, YESTERDAY'S GONE (sitting at #64 for CHAD AND JEREMY and #84 for THE OVERLANDERS), and THE ROLLING STONES, holding steady at #82.  Surprisingly, there were no new British debuts on the chart this week.

The Beatles kick off the month of June at #1 for one more week on The WLS Silver Dollar Survey with "Love Me Do" / "P.S. I Love You".  Also in The Top Ten:  "Yesterday's Gone" by Chad and Jeremy at #5, the two-sided hit "Little Children" / "Bad To Me" at #7 and "Do You Love Me" by The Dave Clark Five, now up to #8. 

Peter and Gordon's version of "A World Without Love" slips a notch to #11, a position it now shares with Bobby Rydell's version!  "Diane" is at #12 and then there's not another British artist to be found until you hit #40 where "Die Beatles" sit with their German version of "She Loves You", "Sie Liebt Dich"!

On Sunday, June 7th, Billy J. Kramer and the Dakotas appeared on The Ed Sullivan Show and performed three songs: "Pride", "Little Children" and "Bad To Me".

The Saturday Surveys (June 7th)

June 7, 2014, 5:00 am

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Here's a 1969 chart from KELP out of El Paso, Texas.

Nice to see The Spiral Starecase (misspelled on the chart) on top with their late-'60's classic ... they only peaked at #12 in Billboard (and #7 nationally).



A couple of Forgotten Hits Favorites can be found in The Top 20 ... "Mendocino" by The Sir Douglas Quintet and "Israelites" by Desmond Dekker and the Aces.  (I'm also partial to the #22 Hit by Sonny Charles and the Checkmates, "Black Pearl", one of the last hits produced by Phil Spector.)  Pretty cool to see The New Colony Six debut higher than The Beatles, too!










And check out the photo below of The Cowsills receiving their gold record for "Hair"!  Very cool chart!

Here's another cool chart, from KRLA this time, circa 1965 ... a two-pager listing The Top 50 Hits (plus 5 "extras") played by the station.  (Check out a couple of those "pick hits" ... one was chose by Bob Eubanks, who later went on to host The Newlywed Game ... the other by Dick Biondi who had recently relocated to LA from Chicago's WLS!  Bob's pick ... "Yes, I'm Ready" did a little bit better than Dick's.)



The Sir Douglas Quintet are represented on this chart, too, with their other big hit, "She's About A Mover".  Another Forgotten Hits Favorite sits at #31 ... "Laurie" by Dickey Lee. 





You'll find some great Two-Sided Hits on this list, too ...

"Satisfaction" / "The Under Assistant West Coast Promotion Man" by The Rolling Stones (second week on the chart and leaping from #41 to #9) ... they've also got a two-sided hit at #20 ("The Last Time" / "Play With Fire").

More surprising ... how about Them ... with three hits on the chart this week ... their version of "Here Comes The Night" sits at #8 and "Gloria"/ "Baby Please Don't Go", listed as a two-sided hit, is at #16.

The Beatles are here (as one would expect) with their latest two-sided winner, "Ticket To Ride" / "Yes It Is" at #15 and Tom Jones is at #37 with "What's New Pussycat" / "Once Upon A Time".

Check out the #13 Record ... it's The Olympics' original version of "Good Lovin'", nine months before The Young Rascals would take THEIR version to #1.  And our buddy Billy Hinsche is new on the charts this week with the first big hit by Dino, Desi and Billy, "I'm A Fool".  Good stuff!

Here's one of the oldest charts sent in for our Saturday Surveys feature.

Dating back to June 9th of 1956, we got some pretty M.O.R. stuff here ...  Vic Damone at #1 with his version of "On The Street Where You Live" ... "I Could Have Danced All Night" by Sylvia Sims at #9 ... and several other titles that wouldn't really rank as "rock and roll" this early in the game.

And although this is only a Top Ten Listing, they still managed to slip in more tracks, thanks to a three-way tie for #3 between The McGuire Sisters, Pat Boone and The Chordettes ... a two-sided hit at #5 by The Four Lads and two two-way ties at #8 between Elvis Presley and Nervous Norvus ... (Elvis was also at #4) ... and #9 between the aforementioned Sims and Teresa Brewer ... giving you a total of fifteen titles in all on their Top 10 Tunes chart this week.

(I wonder how many of these surveys survived through till 2014 ... with the encouragement at the bottom to clip these photos out for your collection!)

The Sunday Comments ( 06 - 08 - 14 )

June 8, 2014, 2:53 am

≫ Next: Solid Chrome! (Another Forgotten Hits Exclusive!)

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re:  California Chrome:  
Kent, 
Your comments about my reaction to "California Chrome" and Tommy's song about "Chrome" were a summation of where the record business is in the 21st century.  Everything is packaged. Everything is done by computer. So many stations "outsource."
Good Lord, in today's environment would the young Rolling Stones have to fight like hell to get air play ... and just where would their songs get tossed into rotation?
Chet Coppock  

It's all over ... California Chrome did NOT win Racing's Triple Crown today at the Belmont.  The Chicago Tribune reports: 

California Chrome failed in his bid to join racing royalty on Saturday, and his disappointed co-owner said winning horse Tonalist's owner had taken "the coward's way" by not running the first two Triple Crown races.  The chestnut colt, winner of the Kentucky Derby and Preakness Stakes, finished fourth at the Belmont behind 9-1 shot Tonalist, who did not run the opening two races of the series.  
So Tommy's "Winners Version" will NOT be coming out after all.  Too bad ... still cool to hear something so timely, topical and contemporary!  (kk)     

Kent ...  
I love the Tommy Roe song. Can't stop playing it.  
Yesterday, they drew the Post Positions for the Belmont.  California Chrome is #2.   
Back in 1973, when Secretariat won the Triple Crown, he had Post Position #2 in the Belmont Stakes. You think that its a sign of things to come?  
Even if California Chrome loses, I'd like to hear Tommy Roe's winning version of "California Chrome."  
Frank B.  

LOTS of buzz about the race ... and hopefully Tommy's song, too ... SO cool to get this from Tommy Roe himself ... 

Kent, You are too much ... what a great email blast! Thank you, thank you, thank you!    
Chicago loves you and I love you.  
If he wins on Saturday I will shoot you the winning version right after the race.  
Let's put our bets down for "California Chrome." 
Rock on,  
Tommy  

Speaking of Tommy Roe, he'll be appearing at The Cavern in Liverpool where he'll be headlining "International Beatles Week" in Liverpool on August 26th.  
Tommy Roe wrote and recorded more Top 10 songs than any other American solo artist during the 60s ... and in 1963, The Beatles opened him on their famed UK tour.  Then, when The Beatles came over to The United States in 1964, they asked Tommy to open for them at their first US concert at the Washington DC Coliseum on February 11, 1964.  
Fifty years later ... on February 11, 2014, Tommy headlined YESTERDAY AND TODAY - The 50^th Anniversary Concert of the Washington, DC Show. His latest album, Devils Soul Pile, gained three stars in MOJO MAGAZINE.

re:  Concert Reviews:   

BURTON CUMMINGS  
Thanks, Kent, for the kind words. I think the folks all went home happy ... well, at least I hit my notes ... mostly!  And it really does make me proud deep down that I can play all alone for an audience. Not everybody can do that, so that's a cool deal.  
One good thing that's happening is that my Agent and Manager are getting great bookings for me as a solo, and gigs with the whole band … every time I do a good show somewhere major I gain a bit of ground back.  
I'm sorry we didn't at least sit down for a minute backstage but I was exhausted.   
Be well, and thanks …  
Burton L Cummings

Wow - great review.  We had an fantastic time at this awesome venue.  Hope to catch up with you again at the show in November ... which will be with the full band, by the way.

Sam Boyd

Looking forward to it.  This was our first trip to The City Winery which IS an excellent place to see an intimate show like this.  GREAT response from the very enthusiastic crowd, too, many of whom were there both nights.  It's a very nice place ... a bit "preppy" perhaps, but they bring in an eclectic group of artists to perform there ... and I can certainly see them inviting Burton back again.  (kk)

Kent,  
In the interest of accurate reporting, you should not say that he performs everything in the original keys of the recordings.  Generally, everything's done lower now. 
A couple examples:  
These Eyes    then:  https://www.youtube.com/watch?v=sw8nXCx5qgo&feature=kpand now:  https://www.youtube.com/watch?v=VRRmSo7-ITY  

Sour Suite, then:  https://www.youtube.com/watch?v=0n-5JXGOgXs&feature=kpand now:  https://www.youtube.com/watch?v=iiH2-eCyPVI   
Stand Tall, then: https://www.youtube.com/watch?v=LCc8wyBBsbA&feature=kpand now:  https://www.youtube.com/watch?v=WXkJN7e1_2U  
I know you're intent on reporting the facts correctly. 
Dan

Truly enjoyed your review on Burton Cummings. I admire a guy who's willing to go on stage solo and do a show that he's comfortable performing.  I would have loved to do have heard him to, "Clap for the Wolfman."
It was very clear, kk, by your "report card' on Burton that this guy touched your heart and soul. Hey, I'm 66 and now working on my third book along with my other broadcast work.  Man, it's great to be alive.
66 is the new, shall we say, 46? Gotta see Burton at Ron Onesti's Arcada.
Chet Coppock

You will NOT be disappointed ... great show every time!  (kk)

Saw the Guess Who twice in the last 15 years and they sounded great. Burton made it a point to say 'we play our own instruments and sing". And it shows. 
sanvtoman  
He pointed out in concert how artists recording today really don't have a clue (or the talent) to do what groups like The Guess Who did back in the day ... laying down most of this stuff "live" in the studio ... you had to really know how to play and sing in order to capture the magic ... and The Guess Who managed to do that for many, many years.  By the same token, it takes a lot of balls to get up there all by yourself with just a piano and play some of these songs for a room full of people ... but again he stressed that we were hearing the material much the way he first composed it at home ... just him at the piano, working out the mechanics of the song.  A VERY special night of music, to be sure.  (kk)

HERMAN'S HERMITS and JAY AND THE AMERICANS:  
Kent, 
I can't believe that the two Herman's Hermits songs you posted are the Favorites of my son and daughter.  Is my home wired? 
FYI since you are not connected to Facebook:  pieces of your reviews are floating around on artists sites.  Jay and the Americans have posted most of your review on their FB.  Fans have posted all of your review on Peter's FB site. Shelley J Sweet-Tufano  
As it should be, I guess ... anything to get the word out ... although what would have been MUCH cooler would be if they simply posted links TO the site ... because anybody reading about Jay and the Americans and/or Herman's Hermits would absolutelyLOVE Forgotten Hits!!!  (kk)   

GAH!!!! No Milk Today is currently my favorite Herman's Hermits song. I'm SO BUMMED I had to miss it! 
Kristy  

I was at THE MUSIKFEST CAFE AT ARTSQUEST STEEL STACKS IN BETHLEHEM, PA last night.  (Memorial Day, May 26th) 
OK, try putting THAT in the chorus of 'Travelin' Light'.  That WAS the chorus 'written' by Peter Noone for last night's performance at The Musikfest Café at Arts ... you get the idea?! 
Let's start with Steel Stacks.  I am always thrilled, amazed, and energized when unused man-made properties are converted into something newly useful ... preferably, an arts center.  The former Bethlehem Steel Company, former producers of a vast supply of steel and steel products is being / has been converted into a multiplex performing arts center.  I do not know the future plans (this is where ya'll jump in and tell me and the rest of FH readers what the plans actually are) may be, but so far I could see an indoor restaurant and performing stage (Musikfest Café), an outdoor performing stage, a mini-stage on the outdoor patio, and a movie cineplex.  All three performing stages were used last night.  Just a note (b flat) to visitors to this center:  there will be times when both the outdoor and indoor stages will be in use simultaneously.  To the management:  this was not a good idea.  I will try not to mention this again in this review, BUT it just may come up again, as the FREE concert outside starring The Smithereens, conflicted with the PAID concert inside.  Just as it is difficult to enjoy two different sound systems playing together in your home, it is distracting (to performers and audience) to have two live concerts going on at the same time.  Maybe it's an up-dated version of Battle of the Bands. 
The opening act was The Large FlowerHeads.  As you may have figured out, a 60's cover group.  They opened with 'Midnight Confessions' ... immediately tearing me up.  The woman across from us was asked to help out with a stage stunt involving panties being thrown on stage while the FlowerHeads were singing 'Delilah'.  When she came back, I informed her that anything that happened during Herman's Hermits would now appear tame.  They were much fun and an appropriate opening. 
Knowing that you (Kent) will be going to see Herman's Hermits starring Peter Noone THIS weekend, I just wanted to beat you to the review.  But because that is the case, I will make my review brief so that you can expand as fully as you wish.  The Hermits are Amazing musicians.  That may be the only thing I am not sure the newbies in the audience realized.  I am not putting down anyone else.  I am just saying that the artistry of Vance Brescia, Dave Ferrara, Rich Spina and Billy Sullivan is second to none ... or only to Noone.  The result is what the people see and hear, and THAT is the goal.  Peter's performance, backed by his Hermits makes listening to The Smithereens between songs tolerable.  It makes the annoyance of a cameraman in the way, or a wait-staff that has not learned how to serve their guests without blocking the show endurable.  (They need lessons from the staff in The Wolf Den) I promised brief so that Kent, you could go for length, but I literally danced my way back to the parking lot under the changing colors displayed on the STEEL STACKS IN BETHLEHEM, PA last night. 
Shelley J Sweet-Tufano

"Travelin' Light" is one of those great, over-looked Herman's Hermits songs that always sounds good in concert ... but you're right ... changing the words to fit THIS venue WAS a mouthful! 
Always a great show, no matter where he performs ... and yes, his band is smokin', too! (I know Vance regularly reads Forgotten Hits and I would have loved the chance to finally say hello in person after exchanging emails for so many years!)

THE MONKEES:

Freakin' perfect!  Thank you for the beautiful review of the Monkees show in Indiana ... just brilliant!  Great, great review!

David

I guess Micky was saving himself for the more important show. Given all the songs you described, was it a five hour concert??

Kristy

They played for two hours and ten minutes straight through  - no breaks and pretty much non-stop music - VERY little talking. A lot of time spent on Headquarters and Head material - and very heavy emphasis on Mike's tunes ... so not your typical Monkees show ... even if you've seen them as many times as I have!  (kk)

Hi Kent,

I saw your review of The Monkees at the Star Plaza Theatre in Merrillville on Monkees.net and then I read the rest on your blog. Sounds like it was an amazing show!! I saw them in Detroit on Friday - they were amazing there too. 

Just wondering, how does one go about getting a backstage show pass? I've always wanted to meet the Monkees so badly but never had the chance. How much time did you get to talk with them after the show? Did you get to see Peter too?

Thanks, Marilyn (better known as iluvmonkees on Monkee.net and tumblr)

As mentioned in my review, I've seen various incarnations of The Monkees close to fifty times over the years ... but have never had a backstage pass before. Normally, the guys will come out for sort of a "meet and greet" after the show, sign autographs and pose for a few pictures ... but they elected not to do that at the Star Plaza show.

As I understand it, I was one of only two people invited backstage for the "after show" ... a chance to meet The Monkees ... so it wasn't your typical "hundred people backstage / can't say more than hello" scenario, which is usually the case.  Prior to showing up at the theater I had NO idea I had backstage access ... it was a wild and crazy surprise when I picked up my tickets at the window, comp'd by Micky's PR Guy David Salidor, an avid Forgotten Hits reader.  (As such, we're often the very first source to break new Micky news as it happens!!!)  So thanks again, David, for this VERY pleasant surprise!

Peter wasn't there ... don't know if he left early or just hadn't come down yet.  Also being a life-long fan, I tried my best not to gush but did get a chance to visit briefly with both Micky and Mike.  (Micky's wife Donna took the two photos you saw on the Forgotten Hits website.)  Never one to over-stay my welcome, we just chatted for a bit and then I took off.  All in all, a very pleasant experience.

As to how to get passes, I haven't got a clue ... like I said, first time for me!  (A know a number of fans were VERY disappointed in that they had bought "VIP Tickets" to the concert, which they assumed got them backstage access afterwards ... but apparently it did not ... security told them that unless they had a pass like mine, they were NOT getting backstage to meet The Monkees.)  kk

 

I just got home a few hours ago after seeing the Monkees in Milwaukee on Sunday night.  I read where you were going to see them.  How did you like it? 

I was impressed with Mike Nesmith and how many songs they played that featured him.  Peter Tork was impressive as he played lead guitar, keyboards, bass, and banjo. Mike Nesmith got a standing ovation for 'What Am I Doing Hanging Around' and seemed surprised.  They also sang my favorite Monkees flipside, 'Words'.   

Of all of the great songs they played, I woke up this morning with Auntie Grizelda playing in my
head! 

Micky Dolenz sang well and is always a showstopper with his songs.  The band included his sister CoCo and Christian Nesmith and they were very good.
It is amazing that all three gentlemen are either in their late 60's or early 70's and still can sing well and dance a bit.  They featured shots of the Monkees TV program all night long while playing the song from that particular episode. 

I felt that they played too many songs from the 'Head' movie and soundtrack, which other than
'Porpoise Song'  I never liked that well.  The only other negative for me was the fact that they didn't talk to the crowd very much ... Dolenz a couple of times, and Tork once or twice, but Nesmith not at all. 

Overall it was a great show and I would go back again if I had the chance!  Now I have to sip come coffee and try to sound lively on the air!
Phil Nee - WRCO

As you'll see in my Star Plaza / Indiana concert review on Wednesday, I felt much the same way about the show as you did ... but I, too, would go back and see it again in a minute!  Thanks, Phil!  (kk)

I was able to attend the Star Plaza Monkees concert last Saturday.  It really was great seeing the three remaining members of the group!

Upon seeing them come out onto the stage, it was met with some great excitement!  My hope was that they would play some of their greatest hits from Headquarters and many of their albums. They didn't disappoint.

'Though Michael's and Peter's voice had trouble hitting many of the notes, they were still quite engaging and really seemed to love the crowd of adoring fans.  Micky actually seemed to have much more energy than he did at the Arcada show I also attended.  He seemed much happier to have his fellow "mates" with him and it showed in his body language and his overall appearance.

Some of the songs that most people would know (if they followed the Monkees back then) were:

Opened up with - Last Train to Clarksville

Papa Gene's Blues

She

Sweet Young Thing

I'm a Believer

I'm Not Your Steppin' Stone

You Told Me

Sunny Girlfriend

You Just May Be The One

Mary, Mary

The Girl That I Knew Somewhere

Shades of Gray

Randy Scouse Git

For Pete's Sake

No Time

Words

Porpoise Song (played on an episode of Mad Men)

What Am I Doin' Hanging Round (written by Michael Martin Murphey) of Wildfire fame

Daydream Believer

Listen to the Band

Their encore was Pleasant Valley Sunday !

Summary ... I was surprised that they ever mentioned the name Davy Jones ... it's like they all knew he probably was the face of the Monkees.  Not sure why, but the fact that they never muttered his name or any indication that he is still missed to this day was weird ... I actually thought it would have been GREAT to have someone do either - I Wanna Be Free or I'll Be True to You in honor of Davy ... neither song seems hard to do.... -:)

Mike's songs were a joy to hear. Peter Tork did a GREAT job on Shades of Gray, which was originally partly sung by Davy Jones.  Peter really enjoyed playing with the crowd and his instruments. Mike really just stayed back and played his guitar with little fanfare.

They did quite a few songs that I had not heard of and wasn't sure of the names ...?  It was also wonderful to see Micky sitting at the drums doing what we all remember him doing ... so it was even more exciting when he brought out a HUGE drum (we all knew which song he was about to do) and didn't disappoint with his untimely - Randy Scouse Git ... without a doubt, when it came time for Micky to sing his songs, he stepped it up a notch.

They played so many old show highlights on a back drop of a screen, but the audio was quite hard to hear. It brought back so many memories of all those little song skits that had.  It brought us all back to their attempt at comedy, and oh yeah ... they could sing and play as well!

I was able to snag the guitar pick thrown out by Christian Nesmith, who played guitar with the band. In all, they didn't disappoint their fans and were all happy to be there.

Thanks

Bob Morrow

You bring up several good points in your review, Bob, some of which we touched on in our own assessment.

It's really cool to see The Monkees' music become "accepted" in other media all these years later ... the use of "Porpoise Song" in "Mad Men", for example ... or "Goin' Down" being featured in the films "American Hustle" as well as the remake of the "Straw Dogs" movie.  That's because some of the people that are making these movies and television shows today grew up listening to ... and falling in love with ... this great music ... so they're finding ways to use and incorporate it into their current work, thus making it contemporary again.  (Kinda like when "Breaking Bad" featured the Badfinger hit "Baby Blue" in its final episode ... and so many people downloaded it that it charted again!)  This is why I have no problem with belaboring the point that this music will NEVER die ... it's timeless, classic music that will continue to be enjoyed and discovered by each coming generation.

The songs you "didn't recognize" most likely came from the "Head" soundtrack.  As stated in my review, I don't know why the guys seem so intent on hammering it home as to what a great and revolutionary film this was ... it wasn't!  I've tried to connect with it for forty years now ... and I  just can't make it happen.  They wanted to change their image ... the television show was over ... and they wanted to be taken seriously as artists.  THAT didn't happen either.  It wasn't until years later when the TV show started airing again ... and new kids started discovering all this great pop music that was included on their first four or five albums ... that The Monkees became popular again.  Anything these did post-"Birds / Bees" ... and, quite honestly, post-"Pisces / Aquarius" just wasn't all that good!

Speaking of Davy songs not done, how about "A Little Bit Me, A Little Bit You"?  That was a #1 Hit completely left off the set list.  I think starting off with a clip of Davy singing "Daydream Believer" would have been cool ... then have each of the other three join in, wrapping it up in time to see Davy do his little shing-a-ling dance there at the end of the video clip ... but the performance executed exactly as it was worked emotionally for me.  I truly don't get the idea of not mentioning him by name on stage, however ... or saying a few words about their fallen comrade.  It just didn't feel right to me. 

The other three toured for YEARS without Mike ... but still acknowledged him during every show, playing a couple of songs or letting the audience know how he was doing ... sometimes even bringing a life-size cardboard cut-out of Nesmith out on stage with them when they did one of his tunes.  But Mike missed those shows by CHOICE ... Davy, on the other hand, would have LOVED to be out there again as the original foursome ... he had no say in the matter.  And if you're going to run a clip, why "Daddy's Song", a tune virtually NOBODY knows!?!?  Why not "She Hangs Out" or something totally associated with Davy like "I Wanna Be Free" or "Girl" from The Brady Bunch, a song he slipped into his set every single night.  It just didn't make sense to me.  (Although, having said all that, I also know that any and every configuration of The Monkees since 1967 has probably spent more time NOT getting along with each other than getting along ... they're forever joined by what they collectively went through ... and because it's a MUCH bigger pay day for a Monkees concert than for any solo gig any of them can drum up ... but that's not to say it was always necessarily their first choice!)  At least it seemed like they were having fun up there and enjoying each other's company.  Maybe the loss of Davy Jones and Peter Tork's recent bout with cancer has driven home the point of cherishing the moments you had ... and have together.  (kk)

My name is Greg Favata and several years ago when I was with a band called The Renditions, we had the opportunity to open up a show for Davy Jones in West Chicago, IL.  (We performed pop music of the 60’s and 70’s so I guess the village of West Chicago thought we’d be a good fit to go on first before Davy and his band took the stage.)

The location was Reed - Keppler Park and the date was Friday, July 10th, 2009.  It rained like crazy that day ... poured all morning and afternoon ... but I called the village a few times that day and they said that they were keeping a watchful eye on the Doppler radar. They assured me we should come out and they were right. It wound up being sunny, very hot and very humid that afternoon and evening.

When we arrived, it was a case of “hurry up and wait”. Davy was there as his band tested their gear and began to run through some of the songs from the show. Davy had his own trailer, popped out occasionally to see how things were progressing, and eventually joined his band onstage to run through some numbers from the show and get levels, etc. Davy looks quite good for his age (which I believe was 63 at the time), but he’s no taller in person than he appears on TV (lol). He ran through several numbers during the sound check, including “Look Out, Here Comes Tomorrow” and “When Love Comes Knockin’ at Your Door”. It was a nice sized band, featuring very skilled players. All the standard instruments, (bass, lead guitar, keys and drums), along with two brass players, one of which doubled on percussion.

Of course, all members of our band had watched the Monkees TV show growing up and that made this a very special event for us. Kristi, our female singer, especially had a crush on Davy and, with her being a bit younger, saw the show in the late 70’s for the first time. She didn’t realize at the time she was watching reruns and would send fan letters to Davy without any addresses on the envelopes (just marked “Davy Jones”) requesting he respond and send an autographed photo as well. She never quite knew why he never answered (lol).  

Right before we did our sound check, Davy made it all up to her by walking up to Kristi and striking up a conversation with her. Just small talk, but it meant a lot to her. Of course, our set up and sound check wound up being of the very rushed variety. We set up our gear in front of theirs (it was a big stage) and didn’t get up there to set up until 5:40 PM with a 6:00 PM scheduled start time! The gentleman who was there to introduce us started to do so at 6 PM sharp. I leaned over to him and informed him, “We haven’t even checked our mikes yet to see if they work!” He gave us a couple more minutes until we were satisfied everything was at least functioning and we plunged into our 90 minute set. We did our show (Four Seasons, Beach Boys, Linda Ronstadt, etc.) and we had a relatively sparse crowd for the size of the area. In fairness, it was 6 PM on a Friday and it had rained all day. We were hoping to glom on to a little more of Davy’s audience (lol). When we finished up, we hurriedly got our gear offstage so Davy’s band could start. He came back from dinner after our show (he apologized for not seeing us), and was meeting with 20 people who had paid for VIP passes backstage. We tried to get a picture with him but were told by the village we couldn’t. Most of us in the band hung backstage anyway and as Davy was getting finished up signing vinyl albums and posing for pictures with these fans, we asked him if we could have a picture with him anyway. He couldn’t have been nicer and said, “Absolutely!” He guided us over to a spot next to the stage and after one shot was taken, he said, “Let’s get one more just in case.” Very cool of him! His demeanor was very easygoing and casual. He definitely came across as a good guy.

His show was very good and he played several numbers to satisfy almost any fan of his.

Introduced by a band mate as “The world’s greatest tambourine player”, he performed not just songs on which he sang lead in the Monkees but some of Micky and Mike’s songs as well. He performed “I’m a Believer”, “Mary, Mary”, “Papa Gene’s Blues” and “Goin’ Down”. Of course, songs on which he originally sang lead were more featured in the show. These included, “A Little Bit Me, A Little Bit You”, “Valleri”, “I Wanna Be Free” and “Daydream Believer”. He also did a killer version of “She Hangs Out”, “Consider Yourself” from his role as the Artful Dodger in “Oliver” and, as a tribute to the  music his folks played around his home as he was growing up, “Is You Is Or Is You Ain’t My Baby”. He also told a lot of funny stories about the Monkees TV show, kidding about his original bandmates’ current ages, and generally staying in the self-deprecating mode. I’d say he drew about 6-8,000 people for the evening’s show (a few more than we had at 6 PM – lol). All in all, it was a very memorable evening for our entire band.

The picture I’ve included is, from left to right:  bassist Neal Carpenter, vocalist Kristi Alsip, Yours Truly (lead guitar), Davy Jones and drummer John Radowski.

Thanks,

Greg Favata

I swear Micky's busier than ever!  Every time you turn around he's got something else booked and on the fire!  (We recently told you about "Rockers On Broadway" ... and now he's doing "Comedy Is Hard" ... while still making solo appearances and wrapping up this summer's tour with The Monkees!!!  (Maybe Micky Dolenz is the NEW "Hardest Working Man In Show Business"!!!  lol)

MICKY DOLENZ TO HEADLINE IN “COMEDY IS HARD!” PREMIERINGSEPTEMBER 24th at THE IVORYTON PLAYHOUSE

New York –Actor, writer, director, performer MICKY DOLENZ (of TheMonkees) has been confirmed for the lead role in Mike Reiss’ new play Comedy Is Hard! , premiering Wednesday, September 24, at The Ivoryton Playhouse in Ivoryton, Connecticut.

Dolenz, who just began a tour with The Monkees last week, has delighted audiences with his performances in such theatrical productions as the Elton John/Tim Rice  production of Aida; Grease; Pippin’;  A Funny Thing Happened On The Way To The Forum; and, most recently Hairspray in the West End playing Wilbur Turnblad.

Reiss' play is set in a home for retired actors and the play takes an affectionate look at the relationship and rivalry between a retired stand-up comedian and a classical actress.

A renaissance-artist of the highest order, Dolenz has continued his recording career as well, most recently with a solo album entitled Remember, released last year. He’s also participated heavily in the several Broadway charities; most notably for Rockers On Broadway. In fact, he was just announced as recipient for their yearly award; to be presented in November.

Said Dolenz,“The opportunity to originate this role in Mike’s new play is terrific. I am ready to un-leash my inner-comedian.”

Reiss, the acclaimed writer of I’m Connecticut and writer and producer for the animated series The Simpsons; also created the animated series The Critic. He’s also written the webtoon Queer Duck and worked on the screenplays for Ice Age: Dawn of the Dinosaurs; Horton Hears a Who!; The Simpsons: The Movies; and, My Life In Ruins.

And checkTHIS out ... he's even got his own Family Furniture Business!  
Click here: Micky Dolenz Monkees Furniture Business - YouTube

OTHER SHOWS: 

A few weeks ago we sent some lucky Forgotten Hits Readers to The Arcada Theatre to see Micky Dolenz with The Cowsills ... a GREAT show by all accounts.

After the show, they did a brief Q&A with the audience ... which has since been posted in its entirety on YouTube.  Here's the link:  
Click here: Micky Dolenz, Cowsills Q and A - YouTube

Sounds like a really fun time.  I hated to miss this one!  (kk)

And, speaking of shows at The Arcada Theatre, I just got this clip of The New Colony Six doing their big hit "I Will Always Think About You" the night they opened for Paul Revere and the Raiders ... in fact, you even get Ray Graffia, Jr., telling the audience the story about how the bands first met each other in California back in 1965!  (kk)

Click here: New Colony Six - I Will Always Think About You - YouTube

And, speaking of The New Colony Six ...

>>>I am  standing in a bank in Cleveland, Ohio. They have Muzak playing I Confess by the New Colony Six.  Does not get better than this!  (Clay)

>>>How cool is that, Kent?  Please thank Clay for sending his note and extend even more kudos for his recognition of “I Confess” AND knowing it was New Colony Six performing it!  Clearly, Clay is quite the connoisseur of quirky music, or perhaps grew up in Chicago.  I heard “I Will Always Think About You” a few weeks ago during brunch at the Cary Diner and hear something of ours at least every 2^nd or 3^rd time we visit a Portillo’s, so Dick must be a fan or the programmers who put together his song lists must be, eh?  (Ray Graffia, Jr.)

>>>Actually, I hear your stuff quite often at Portillo's, too!  Clay worked for a number of distributors back in the day and regularly processed orders for New Colony Six singles as they were being released in the '60's!  A VERY knowledgeable guy ... with (OBVIOUSLY) very good taste in music! (kk)  
Kent -  
Please thank Ray Graffia for his kind words.  Centaur (and) Sentar were both distributed by the company that I started working for in 1966 and 1967 in Buffalo - Best and Gold Distributors.  They were the BIG distributor in the Buffalo area and Centar 1201 (I Confess) was part of the USA label group from Chicago.  The Sentar part was distributed by Cameo Parkway nationally and we distributed that one, too!  I still have my original promo 45 of "I Love You So Much" by the NC6 which not only is a favorite of mine, but, once again, on Muzak at my bank, while doing bank deposits I heard "I Love You So Much" yesterday.  Someone from Chicagoland must be working at Muzak and knows their stuff as it really freaks out my bank tellers that I know what these songs are!   

CLAY PASTERNACK

That's amazing ... here in Chicago ... where both those records reached the #2 spot on The WLS Silver Dollar Survey ... you'd don't hear them at all.  Chicagoland Radio has COMPLETELY abandoned all of their links to the past ... a real shame (and crime against nature) knowing the legacy and impact this music had on us here back in the day.

The New Colony Six had EIGHT Top Ten Hits on our Chicagoland Surveys:  "I Confess" (#2, 1966); "Love You So Much" (#2, 1967); "You're Gonna Be Mine" (#8, 1967); "I Will Always Think About You" (#1, 1968); "Can't You See Me Cry" (#10, 1968); "Things I'd Like To Say" (#2, 1969); "I Could Never Lie To You" (#7, 1969) and "Roll On" (#10, 1971) ... but (other than within the context of a specialty program like Bob Stroud's "Rock And Roll Roots"), radio here doesn't play a single one of them!  And that's just WRONG!!!  (kk)    

Which ALWAYS brings us back to ...

re:  Radio Today:

>>>I really enjoy the Saturday Surveys. Being a long-time radio guy I especially like seeing what was hitting the charts in other areas of the country. I also like seeing what regional songs were hits and how they varied in different parts of the country. In NYC many doo-wop and group harmony songs hit the charts, for example, and these same songs rarely hit the charts in Oklahoma, for instance (no offense, Larry!)  Danny

Kent,
In today's comments (Sunday), reader Danny was correct about the great majority of group harmony and doo-wop records not making the local survey here in OKC. No offense was taken. I can honestly say that the only type of doo-wop-group harmony records that were played and made the survey
were the following: THERE'S A MOON OUT TONIGHT, RAMA LAMA DING DONG, WHISPERING BELL, COME GO WITH ME, TONIGHT (COULD BE THE NIGHT).  These, of course, were all also major hits nationally.
The hundreds of other doo-wop and group harmony records that didn't make our survey here,
I have managed to listen to through the years on other out of state stations, maybe certain "oldies" albums, etc. So even if a doo-wop or group harmony record didn't chart here in OKC, I am familiar with them. I have also tried to familiarize myself with the doo-wop and group harmony records that were big and prevalent back in the Eastern portion of the country.
For the past week and a half I have been listening to Sirius XM (50's  on 5 or 60's on 6) in my car radio since it was activated about a week ago. It will be deactivated tomorrow. In a previous e-mail to you, I will go back to my car radio being off since I really didn't miss anything but the same old same old.
Larry

The whole idea of Sirius / XM was to offer something OTHER than what you're force-fed everywhere else ... especially since you're PAYING for this service.  As such, listeners should have SOME say regarding what they pay to hear.  Instead, playlists just seem to be getting tighter and tighter.  Even Lou Simon, one of the big-wig over at Sirius / XM (and a Forgotten Hits reader) told me that their '60's station now means music recorded between 1964 and 1969 (unless it's within the context of some special programming, like one of his countdown shows.)  I think over time we have redefined these eras ... "The Golden Age Of Rock And Roll" is music released between 1955 and 1963, before The British Invasion.  Some artists (like The Beach Boys and The Four Seasons) spill over to cover The Swinging''60's.  (1964 - 1969)  1970 began the next era (after the split of The Beatles), ushering in the singer / songwriter era and then ultimately evolving into the disco era.  MOST music oldies connoisseurs will tell you that disco has NO place in the oldies format ... but even a disco-hating old fart like me has come to appreciate this music today ... not so much as a cultural phenomenon ... but more as really good dance music with catchy hooks.  I can sit through "YMCA" today ... this was NOT the case back in the '70's and '80's!  (kk)

kk,

Some random thoughts off the Sunday Comments section:

•  Put me down as pro-Saturday Surveys!  Like I say on my every other Wednesday Night Oldies Show (aka "The Vinyl Arkhives on www.kafmradio.org -- next show 6/11 @ 9 PM MT) when I do a countdown of a random radio station's survey from that very day (1955 - 1979), I always say to my audience, "Let's see what was popular in this town, compare it to the Billboard Hot 100 charts and then see how many of these the commercial stations still play (to death) today ... The answer to the last part of that statement is 'Not Many'".

• Which brings me to my other point.  If only the old... er, CLASSIC HITS stations would just follow the Billboard charts from exactly the same week of the calendar they are in today ... BOOM, there is their playlist! 

Here's more to ponder ...

-- If a station is playing music that spans 1965 - 1979 (15 years) = 150 weeks of Hot 100 charts = 1500 possible songs to play (not counting the "Bubbling Under" songs or Regional / Local-only hits) each week.

-- If the station averages 15 songs an hour, they could at most play approximately 2,520 songs based off of the 1500 "eligible" Hot 100 songs per week = every song only gets played approximately 1.68 times per week.
-- If said station would only play the songs that made it into the Top 40 positions of the day, then you still have a weekly pool of +/- 600 songs, which means each Top 40 song theoretically would only be played four times a WEEK (not four times a DAY).  Either way, its a playlist that is a helluva lot bigger than most stations today.

-- In cases where some of the Top 40 / Hot 100 hits are outdated or "dog" songs (Feelings, You Light Up My Life, Lawrence Welk, etc.) you can always play those songs maybe only ONCE a week, in the best suitable daypart (remember dayparting???), and give some other songs more favored by that specific market (not by a corporate suit hundreds or thousands of miles away) a few more spins in that given week.  Remember these songs will be in regular rotation for only at most a few months each year before other songs take their place.
-- In Summary:  If a classic hits or (dare we say it) "Oldies" station would ever follow this formula, any station will still be playing a currently-overplayed song two or three times each day, but look at all the surprises and freshness the station will have as the weeks and months roll on.  Remember, the TOP 40 or HOT 100 songs for any given week were based on how many people BOUGHT the song!!!  If it was anywhere on the survey, I can probably guarantee that at least one of your listeners remembers the song!  If not, then I predict that at least a handful of people will hear the song for the first time and actually like it!

Sorry for the lengthy comment ... I was on a roll and I can easily talk at length about the sorry state of today's radio.  BTW, if you are a GM or CO, and would like me to help get this type of station format started on a currently lifeless oldies or classic hits station, call me with a serious $$ offer and we'll talk!!! (Not holding my breath, though, sigh ...)

Regards, 

Uncle T. Jay

I've been pushing for this for years ... but your math's off a little bit ... 15 years of Top 100 charts = 780 weeks of potential hits to feature!!!  The possibilities are almost limitless!

I, too, like the idea of featuring music that was programmed together AT THE TIME ... to show how well they played together ... as well as show the progression of music during this fertile time in music.

Fact is, a LOT of these songs are "dogs" ... and will not play well today.  But I'll betcha I could EASILY find 6000 - 10,000 that would ... how on earth can ANY self-respecting radio station limit itself to 200-300?!?!?

Recent examples:  "I've Told Every Little Star" ... we heard it in an HBO / TV Movie and now my 18 year daughter will ASK me to play it because it's so damn catchy ... you can't help but feel good when it comes on.

"Papa Loves Mambo" ... by Perry Como for Chrissakes!!!  Who would have EVER thought that this little ditty from 1954 ... SIXTY YEARS AGO!!! ... could still perk up your ears and make you want to sing along ... but it happens each and every time it comes on ... I've watched kids completely stop what they're doing to listen to this track, featured in several different films and commercials of late.

I've seen the same thing happened with "Mr. Sandman", another suddenly "hip" song to play again.  I can easily throw in another 2000 off the top of my head. 

Think any kid growing up today going through the same emotions (mentally and physically that WE all did when WE were kids growing up) couldn't relate to something like "Everybody's Somebody's Fool" or "End Of The World"?  Now granted, these lyrics are nowhere near as romantic as today's music ... where they have to bleep out a few words from every sentence because it's all about "stickin' it in your booty" ... but it's a start ... and a damn good, fresh start at that!

Pull together a radio station that has a library of more than 35 CD's and I say the sky's the limit!!! (kk)

REMINDER:  Last week we reported that Ron Riley had to bow out of a scheduled appearance downtown with his old WLS Beatles nemesis Clark Weber due to health issues back home in Baltimore ... but earlier in the week it looked like he may be able to attend after all.  Naturally, all of our spirits perked up with the news ... but today ... apparently now official ... is that Ron is NOT going to be able to attend.  Too bad ... the prospect of reuniting these two Chicago Broadcasting Legends, long known for their "scripted" on-air radio feud in the mid- '60's, had all the ear-markings of a hit!  Instead, Clark Weber will have to handle this appearance (June 24th at The Hard Rock Cafe in Downtown Chicago, celebrating a Ringo Starr Art Exhibit) alone.  (Although don't be surprised if another WLS vet steps in to help move things along!  Stay tuned for more details!)

Speaking of details, many of them are still a bit sketchy ... but once we get the full itinerary, we'll be happy to pass it along.  What we DO know for sure is this:  Ringo's Art Exhibit runs the entire week (June 23 - June 29) at The Hard Rock Cafe ... and the art exhibit itself is free ... (but you can probably expect to pay about $12 for a hamburger if you decide to hang around for dinner afterwards!  Lol)  Ringo and his All-Starr Band then cap off the week-long activities with a performance that weekend (June 28th) at The Chicago Theater.  Again, stay tuned to these pages as more details develop.  It would be great to see some Forgotten Hits Readers (and long-time WLS Radio Fans) down there for this event.  (kk)

UPDATE:  Be listening for brand new promo spots running on WLS-FM announcing this appearance.  And (hopefully by phone) for an interview by Bob Sirott featuring both Clark Weber and Ron Riley about this VERY special time in radio, fifty years ago!  Meanwhile, WLS-AM and FM announced this week that they are moving their sales offices to The Merchandise Mart to join fellow Cumulus stations The Loop and WKQX.  (kk)

Hi Kent ...

Just to let you know that I believe that after the new 4 Seasons movie, "Jersey Boys," makes its debut in movie theaters on June 20th that there may be a revival of " vintage" oldies music.  The Broadway show was a big success and I think the movie will be as well.  I am anxiously waiting to see it.  Their music could catch on like "wild fire" and lead to a burst of "I remember that song" music playing again. (Hopefully!)  

You will be pleased to know that on several commercials in the NY area the ad men on Madison Avenue have revived some great oldies - they are the following:

AT&T Business - "Wouldn't It Be Nice" - the tune is in the background without singing;

A local juvenile cancer treatment center has a lovely three part harmony piece sung by school age children:  "In My Room";

Bobby Caldwell's "What You Wont Do for Love," from 1978 has been used in a Mitsubishi Outlander commercial;

And recently I saw another Verizon commercial called "20th Century Boy" by Marc Bolan of T-Rex. Verizon is good about using rock 'n roll in their ads. 

So Kent, there is hope to bring back the oldies!!!   

Sandy

Yes, we hear the oldies featured in television ads all the time ... but isn't it a shame that THESE are thinking creatively and outside the box while radio ... the media that is SUPPOSED to be setting the trends and bringing us these memories ... continues to fall flat on its collective face, failing time and time again to live up to its responsibilities?  (kk)

Good response to The Loop's first "Lost Classics" feature ... so this weekend they're featuring them throughout the weekend.  You can listen live here:

Click here: 97.9 The Loop

re:  New Releases:

Check out this new CD by some old friends! 

It's The Buckinghams ... and their brand new Flashback CD

Mastering by Larry Millas of Ides!!  Rocky of Shames there, too!
-- Clark Besch

   

Flashback!!
Rediscover the 60s all over again, as we share a song scrapbook almost 50 years in the making. Our musical journey began in 1965, in opening moments of our generation — The Beatles, the British Invasion, and U.S. President John F. Kennedy’s own Camelot belonged to us.
Starting from Chicago, we captured styles of The Beatles and the British Invasion in our look and style, as we appeared on WGN-TV’s “All Time Hits.” When our big break came to record at the legendary Chess Studios for Chicago’s USA Records, our first singles reflected those same influences. We were young, impressionable, anxious to succeed, and we worked hard to learn fast.
“I’ll Go Crazy” (James Brown), “I’ve Been Wrong” (The Hollies), “I Call Your Name” (The Beatles), “You Make Me Feel Good” (The Zombies), and “Lawdy Miss Clawdy” (Lloyd Price, Elvis) — those songs were “who we were” on stage. Here now for you are those songs, which marked our entry onto Chicago’s WLS and WCFL radio playlists.
With the #1 success of “Kind of a Drag,” we graduated to national artist spotlight, recording for Columbia. In 1967 we were named Billboard’s “Most Listened to Band in America” on the strength of our newly minted signature, “Pop / Rock Horn Sound.”
Think back to those days again as you again enjoy “Don’t You Care,” “Mercy, Mercy, Mercy,” “Hey Baby, They’re Playing Our Song,” “Susan,” and “You Misunderstand Me,” that we recorded for Fuel in 2008, hear also our “Back in Love Again,” also new just for you. Young men went to war as these songs were on the radio. Teenage girls hoped their guys would return home and waited for them, as these songs were on the radio. The Buckinghams brought “home” across the miles for many.
Remember those days now. Life was simple. Being together with those you loved was all you needed to live. Now, close your eyes, take a deep breath, and let the music transport you. Glide back in your mind to precious times left behind. Join us, won’t you?
PRODUCED BY Carl Giammarese
VOCALS:  Carl Giammarese, Nick Fortuna, Dave Zane
GUITAR:  Carl Giammarese, Dave Zane
BASS:  Nick Fortuna
KEYBOARDS:  Bruce Soboroff
DRUMS:  Rocky Penn, Tom Scheckel
TRUMPET:  Carlo Isabelli, Steve Frost
TROMBONE:  Chuck Morgan
SAX:  Kevin Flanagan, Jim Kaczmarek
LINER NOTES:  Dawn Lee Wakefield
RECORDED AT 24 / 7 Studios
ENGINEERING / MIXING:  Carl Giammarese
MASTERING:  Larry Millas, World Stage Studio, Burr Ridge, IL 
Audio CD  (June 17, 2014)

Label:  Fuel 2000

-- submitted by Clark Besch 

Psychedelic Music Legends The Electric Prunes Release New Live CD 'WaS'

Los Angeles, CA - Electric Prunes fans are buzzing with excitement about the release of a new CD of unreleased live material titled 'WaS'! Featuring 15 slamming cuts to keep you up at night! American psychedelic rock group The Electric Prunes first achieved international attention in the late 1960s. The band performed their 1966 hit song “I Had Too Much to Dream (Last Night)” on American Bandstand, and were also recognized for the song “Kyrie Eleison”, which was featured on the 'Easy Rider' soundtrack. After a period in which they had little control over their music, they disbanded for several years. In 1999, much to the delight of their fans worldwide, The Electric Prunes reformed, and resumed recording and touring!

And now an interplanetary message from James Lowe of the Electric Prunes ...

“The Electric Prunes invite you, our closest friends, to a new adventure! WaS. That WaS the Electric Prunes! It has been a long journey here and we have waited till the planetary alignment was correct for a new release. The lunar eclipse signaled the start of something, tho no one is sure exactly what? We offer WaS as the saucer to fast forward you to the cosmic finish.

There is a fine line between 'IS' and 'WAS'. If what you did is more important than what you are doing, you WAS. One moment you is and then you was. Somehow 1967 doesn't seem much different from today; tastes change but I think people are always on the lookout for some fresh ideas from the 'is' that makes them remember the 'was'.

Mark Tulin and I were collecting ideas and songs for our last adventure when he went through the door. I am not sure he is really gone because I hear his voice as clearly as if he were standing beside me. Usually, Mark and I would send each other song ideas back and forth until we had the rough story line and music in hand, then we would meet and pound everything into submission. This CD is a collection of those final ideas and messages between us and that is all we set out to present here; but a funny thing happened on the way to the recording studio. A new idea emerged behind a gig in Tokyo in an unusual snowstorm, and then someone sneezed on a girl in the subway, and a frozen winter chilled the planet; suddenly there were new thoughts, fresh ideas and new places to sketch our story in song. Everyone in the band felt it. Like a blast of energy. The 'was' became 'is'.

The Electric Prunes have always been a little on the outside. Maybe it was the name? Maybe the music? In all, we have released eight actual album offerings from the band (there are a few pretenders from the record company that we discount). Our legitimate recordings represent our thinking and, in some cases, lack of thinking. We were never mainstream enough to fret over what went on the records; witnessed by some of the goofy cuts we have released, we were just happy to be able to record our thoughts. It seems fitting that we release this 9th offering with the same abandon. This is a garage band and is not meant to be taken seriously. The music here is from all layers of the band from 1966 to 2014. This is a cool album, maybe the last we will ask you to support. But we do hope you will post it on the web and dance to it in the moonlight on 11! There is even a music video by the band for TOKYO floating around! Please bring your friends because the band wants to go out and play live one more time and we need you for that. Tell your local club to invite us. We will come ... We WaS but we still Is ...”

The 15-track CD features a throwback version of “Smokestack Lightning” from 2000 that was the band's reunion call-to-arms with Ken Williams on lead guitar, Quint back up on drums, Mark Tulin on bass and an occasional harmonica by James Lowe. Original noise! There is also a live version of “Bullet Thru The Backseat” from a night in Bristol England featuring Williams, Lowe, Tulin, Dooley, more original fare.

That leaves 13 original new songs to be explored. “Earwash” for the initiated!

'WaS' - Track List

1) Smokestack Lightning

2) TOKYO

3) Beauty Queen

4) Like Getting High

5) The Girl Who Crashed My Dream

6) Frozen Winter

7) Circles

8) Between The Cracks

9) Blue Sky / Red Dress

10) Love Fade Away

11) Bullet Thru The Backseat

12) Adoration Stuck

13) Hollywood Hype

14) Don't Sneeze On Me

15) Oh My My

Featuring:

James Lowe – vocals, guitar, harmonica, autoharp

Mark Tullin – vocals, bass, guitar, organ, piano

Steve Kara – guitar, vocals

Jay Dean – guitar, vocals

Ken Eros – guitar, ebow, mellotron

Ken Williams – guitar

Cameron Lowe - organ

Walter Garces – drums

Joe Dooley – drums

Bubu Bop – drums

Quint - drums

Check out the new Electric Prunes video for “Tokyo”: 

http://vimeo.com/94782940#at=0  
For more information:

www.electricprunes67.com

www.electricprunes.net/

Contact: band@electricprunes.net

 

Hi Kent and All -

Enjoying the 50 Years Ago This Week notes you are putting up.  Our band The Fifth Estate, then playing under our earlier name The D-Men, were right there playing at that time and in the middle of all this. So I thought I would mention that we also had our first record released THIS WEEK 50 years ago, on VEEP / United Artists. 

I'm sending a copy of it -  Don't You Know - which a couple of weeks later beat out The Dave Clark 5 AND The Animals on the biggest radio show from NYC at the time - The Murray The K Swinging Soiree!  On 1010 WINS.  Sending The Murray The K clip we have as well.

This track, along with all our early singles as The D-Men and some of our 1964-65 rock and roll, is being released this month, some songs for the first time, and as a brand NEW BIG 12" slice of black plastic vinyl! Just as it should have been 50 years ago. So anyone interested get your turntables ready for our "I Wanna Shout!" album.  It's the 60s all over again and a lot of it may be completely NEW and fresh to most. It's leaving the pressing plant this coming week.  It also has a great big full four-page written and photo insert with all kinds of previously not known info about the band and also a lot of pertinent info about what was happening then musically during that period. More specifics about this and our other upcoming releases will be up on the band website shortly. http://thefifthestateinfo.com/

Apparently there are a lot of vinyl albums being pressed once again, which to us is just immensely tremendous as this is "precisely"the way this music was meant to be presented and listened to.  But the sudden numbers is slowing down the release process slightly. 

We will have more definite dates up on our website as soon as we know them. But real SOON anyway!

Furv

re:  The Saturday Surveys:  
I noticed from your notes today on the M. O. R. chart that the file was named "WERE"  If so, it is from WERE 1300 here in Cleveland, the home for legendary radio personalites such as Bill Randle and Tommy Edwards.  Also, the KRLA chart from 1965 has an interesting sidelight:  the names such as Record Merch, Merit, Hart, Modern, Pep, and others refer to which distribution company in LA handled the respective label.  LA was a huge dist. market for the record business, and at the time between major label's branch operations such as Columbia, Capitol, Decca. RCA Victor, Liberty, there were about 8-10 additional distribution companies competing for space on the KRLA chart.

CLAY PASTERNACK

Oh my Kent,

That has to be my favorite installment of The Saturday Surveys to date.

I had totally forgotten the song "Laurie" even existed and then when I started playing it ... the lyrics just poured out of my mouth. So cool! The 1956 chart just made me miss my Parents. They used to sing many of those songs ... love Vic Damone. Put me down for a yes for the continuation of The Saturday Surveys.

Stacee 

Kent,

I was so glad to see you gave some love to the Sonny Charles classic, "Black Pearl".

Sonny's vocal is so passionate, so urgent ... while his message about his "Woman answering to no one" resonated with a boom during a time when racial strife was still very much a part of the
changing American climate.
I know Phil Spector gives us all the creeps, but his "Wall of Sound" concepts, which made songs by the Ronettes, Crystals, The Righteous Brothers and Sonny, so explosively unique has never been duplicated. And never will be.
"Black Pearl" is just a beautiful and exceptionally emotional song ... that once again couldn't get the time of day in today's world of music.
What the hell is that? Its a gosh darn shame - no more- no less.

Chet Coppock

---

Solid Chrome! (Another Forgotten Hits Exclusive!)

June 9, 2014, 4:12 am

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No, California Chrome didn't win Racing's Triple Crown this past weekend ... 

But Tommy Roe, good sport that he is, sent us the "Winning Version" of his new song anyway, to share as a Collectors' Item exclusively with our readers.  (You won't hear this one playing anywhere else ... but hopefully some of the jocks on the list will continue to play the pre-race version a little while longer!) 

Kent ...
Well, some things just aren't meant to be, and so it was on Saturday with "California Chrome." I must say though, Chrome re-connected me with my old pal Mike Borchetta and we totally enjoyed writing the song together. Mike and I go back to the 60's when we owned horses together and he was the genius promotion man behind my hits "Sweet Pea,""Hooray For Hazel,""Dizzy," and "Jam Up And Jelly Tight."
We both like to say we have retired from the business, but when an opportunity comes along like "California Chrome", we will jump back in with both feet and give it a go.
Anyway, how can you not love the music business. (Notice I said music business not record business.) It makes us smile, dance, have a good time, and that's what it's all about.
I noticed in your blog that you had some requests by some of your readers who wanted to hear the version of "California Chrome" had he won ... so I have attached a copy to this email as a collectors item.  It's too bad he couldn't pull off the win, but we rock on anyway, and it's been fun.
All the best my friend,
Tommy  

Thanks, Tommy ...I was hoping we'd still get a chance to hear it!  
It was fun being able to help out with this one ...
Like I said, VERY timely and topical ...
Of course it would have been even cooler had he actually won!  (lol)  
Fans will appreciate this one-of-a-kind collectors' item exclusive ... so thanks again.  
And seriously, we have GOT to get you out to Chicago for a show.  I've been asking around but just haven't found any "takers" yet ...
But I'm sure we can make it happen. 
Take care. 

kk

HAPPY TOGETHER

June 10, 2014, 4:00 am

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The 2014 Happy Together Tour kicked off this past weekend.

ALWAYS a fun time (and a GREAT night of music), the line-up has been revamped again a little bit this year ...

Joining last year's headliners THE TURTLES (aka FLO AND EDDIE aka MARK VOLMAN AND HOWARD KAYLAN), CHUCK NEGRON (formerly of THREE DOG NIGHT) and GARY LEWIS AND THE PLAYBOYS will be MARK FARNER (formerly of GRAND FUNK RAILROAD) along with MITCH RYDER AND THE DETROIT WHEELS!

Incredibly this is the 30th ANNIVERSARY of this always-popular summer series!  

Here's what the artists have to say about this year's tour:    

"This Happy Together Tour 2014 sizes up to be the strongest and most rocking summer we've had so far.  The artists who are with us make us excited to get started and the audience is in for a great night of music and memories."

-- Mark Volman / The Turtles featuring Flo & Eddie --

www.theturtles.com 

"Don't miss this show - it's magical!"

-- Chuck Negron, formerly of Three Dog Night --

www.chucknegron.com     

"Summing it up... I am proud to be suckin' air and still able to do what I love doing... ROCK has a grip on my soul and our fans rally to the call and bring it out of our innermost being time after time ... DAMN that's GOOD!! I know for a fact that Mitch Ryder, Gary Lewis, Chuck Negron, Flo & Eddie and myself will certainly be Happy Together this summer!! Peace & Love!

-- Brother Mark 
(Mark Farner, formerly of Grand Funk Railroad) --       

www.markfarner.com

"I'm excited and looking forward to bringing you more fun & memories in this year's Happy Together Tour."

-- Gary Lewis / Gary Lewis & The Playboys -- 

www.garylewisandtheplayboys.com   

"Happy to be together with the Happy Together Tour, and looking forward to a fun summer!"

-- Mitch Ryder / Mitch Ryder & The Detroit Wheels --

www.mitchryder.net

Here's the concert line-up so far ... with more dates being added ... be sure to check out this show when it heads to YOUR town!

HAPPY TOGETHER TOUR 2014 

June 7 - Hard Rock Hotel & Casino in Biloxi, Mississippi  
June 8 - Montgomery Performing Arts Center in Montgomery, Alabama    

June 10 - River Center for the Performing Arts in Columbus, Georgia   

June 11 – Coral Springs Center for the Arts in Coral Springs, Florida    

June 12 - Alabama Theatre in North Myrtle Beach, South Carolina  

June 13 – Ruth Eckerd Hall in Clearwater, Florida  

June 14 – Barbara B. Mann Performing Arts Hall in Fort Myers, Florida   

June 15 – Peabody Auditorium in Daytona Beach, Florida  
June 20 - Tarrytown Music Hall in Tarrytown, New York  
June 21 - NYCB Theatre at Westbury in Westbury, New York   

June 22 - Bergen Performing Arts Center in Englewood, New Jersey   

June 23 - Heinz Hall for the Performing Arts in Pittsburgh, Pennsylvania   

June 24 - Keswick Theater in Glenside, Pennsylvania   
June 26 - Penn's Peak in Jim Thorpe, Pennsylvania   

June 27 - Hampton Beach Casino Ballroom in Hampton Beach, New Hampshire   

June 28 - Count Basie Theatre in Red Bank, New Jersey  
June 29 - American Music Theatre in Lancaster, Pennsylvania     

July 1 - Mayo Performing Arts Center in Morristown, New Jersey    

July 2 - Innsbrook After Hours in Glen Allen, Virginia   

July 9 – Silver Reef Casino Pavilion in Ferndale, WA    

July 10 and July 11 - Snoqualmie Casino / Snoqualmie Ballroom in Snoqualmie, Washington   

July 12 – Horseshoe Casino Outdoor Venue in Jackpot, Nevada   

July 13 - The Mountain Winery in Saratoga, California  
July 15 - The Fox Tucson Theater, Tucson, Arizona
July 16 - Fox Performing Arts Center, Riverside, California
July 17 - Humphrey's Concerts By The Bay, San Diego, California
July 18 - The Saban Theater, Beverly Hills, California
July 19 - Celebrity Theater, Phoenix, Arizona
July 20 - Pacific Amphitheatre in Costa Mesa, California
(The OC Fair, appearing with Peter Noone and Herman's Hermits)
July 26 - South Shore Music Service, Cohasset, Massachusetts
July 27 - Indian Ranch in Webster, Massachusetts    

July 29 - State Theatre in New Brunswick, New Jersey  
July 30 - Big Sandy Superstore Arena, Huntington, West Virginia
July 31 – Centennial Terrace in Sylvania, Ohio    

August 1 - Tennessee Performing Arts Center / Polk Theater in Nashville, Tennessee   
August 2 - DTE Energy Music Theater, Clarkston, Michigan

August 3 - Wisconsin State Fair / Main Stage in West Allis, Wisconsin   
August 4 - The Sanford Center, Bemidji, Minnesota

August 6 - Fraze Pavilion for the Performing Arts in Kettering, Ohio   

August 7 - Hard Rock Live in Northfield, Ohio   

August 8 - Iowa State Fair / Grandstand in Des Moines, Iowa   

August 9 - The Family Arena in St. Charles, Missouri   
August 10 - Peoria Civic Center (Theatre) in Peoria, Illinois   

August 12 - Indiana State Fair / Marsh Free Stage in Indianapolis, Indiana   
August 14 - Wagner Noel Performing Arts Center, Midland, Texas
August 15 - Stafford Centre, Stafford, Texas
August 16 - Greenville Municipal Auditorium, Greenville, Texas

August 20 - Effingham Performance Center in Effingham, Illinois   

August 21 - Kentucky State Fair / Fairgrounds Stadium in Louisville, Kentucky   

August 22 - Paramount Arts Centre in Aurora, Illinois 
August 23 - Ho-Chunk Gaming, Black River Falls, Wisconsin
August 24 - Club Regent Casino in Winnipeg, MB, Canada  
August 25 - Minnesota State Fair in St. Paul, Minnesota  
August 27 - Colorado State Fair / Events Center in Pueblo, Colorado  

Additional dates to be announced shortly

Some Free Form Rambling

June 11, 2014, 4:45 am

≫ Next: Thursday This And That

≪ Previous: HAPPY TOGETHER

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Stick with me here ... and eventually some of this will start to make sense!

The executive board is delighted to announce that Chicago native Ron Alexenburg has accepted the responsibility of being named President of the Hit Parade Hall of Fame. As a member of our project since it's inception and serving as the executive director for the past year, his leadership and contributions have been exemplary.  

Ron is no stranger to the recording industry, having been a major force in creating and advancing the careers of Michael Jackson, Boston, Meatloaf, Heart, the Isley Brothers, Charlie Daniels, Kansas, LaBelle, Sprogyra, Rupert Holmes and Hot Chocolate among many others.  

At just 26 years of age Ron Alexenburg was appointed Vice President at Columbia / Epic Records by industry icon Clive Davis. In bringing Michael Jackson to Epic Records, the newly crowned "King of Pop" had his biggest successes with both "Thriller" and "Off the Wall," estimated to have sold in excess of 200 million recordings worldwide.  

As Owner & President of Alexenburg Entertainment Group since 1985, Ron's book "From the Warehouse to the Penthouse" is currently being readied for release. An Inductee of the "Long Island Music Hall of Fame," Ron Alexenburg is married to his wife of 48 years Rochelle is the father of three children and four grandchildren.
-- John Rook

The Hit Parade Hall of Fame is now rich with nearly 200 inductees ... you can find the complete list (along with this year's nominees) right here:    
Click here: Inductees | Hit Parade Hall of Fame   

Congratulations to FH Reader and Contributor Gary Theroux ... 

 

THE HISTORY OF ROCK 'N' ROLL with GARY THEROUX is very proud to announce that our series -- heard three times a day, Mondays through Fridays (and sometimes on weekends, too), on both rewoundradio.com and supernovaradio.co has just been awarded the Silver Trophy in the New York Festivals International Radio Programming competition. All of us at The History of Rock 'n' Roll are deeply thrilled by this worldwide recognition. In the immortal words of Huey Lewis, "the heart of rock 'n' roll is still beating" -- right here -- and in you -- every time the music speaks to and for your hopes, your dreams and your soul.

 

 

>>>Did you happen to watch The Rock And Roll Hall Of Fame Induction Ceremony?  I really enjoyed Daryl Hall's acceptance speech ... it was spot on ... so I wanted to share it with you. (You're preachin' to the choir on this one, Daryl ... but we're with you 200%!)  kk 

 

>>>Speaking of Philadelphia, you know I did some research and do you know that we're the only home-grown Philadelphia band that has been put in The Rock And Roll Hall Of Fame? 

Now I'm not sayin' that because I'm proud of that ... I'm sayin' that because that's fucked up!  

What happened to Todd Rundgren, The Stylistics, The Delphonics, Harold Melvin and the Blue Notes, Lenny Barry ... Chubby Checker ... how 'bout the biggest single in the history of the world, Chubby Checker ... why isn't HE in it, huh?  So I'm callin' everybody out ... there better be more Philadelphia artists in this place, OK?  Now that's all I've got to say.  (Daryl Hall)  

 

Yes, I agree with Daryl Hall.  The Philadelphia Sound needs to be recognized in the Hall of Fame.  I am surprised that all of the names Daryl mentioned have yet to be inducted.  What's up with that?  Those songs are classics.   Maybe next year. 

Blossmwrld 

 

More and more of the artists are starting to speak up about the short-comings of the Rock And Roll Hall Of Fame's nominating and selection process.  (In fact, I'm a little surprised that HBO aired some of these comments, spot on as they are ... but directly taking The Rock Hall to task for its methods.  I give them major kudos for that!)  

 

Paul Stanley of KISS made another comment that I especially liked:

When I first started listening to music, I was lucky: I saw a lot of people I loved. When I was a kid, I saw Solomon Burke, I saw Otis Redding, I got to see the Yardbirds. I got to see Led Zeppelin; Jimi Hendrix; Sly and the Family Stone; the list goes on and on. What I loved about all these musicians is that they had the spirit of Rock and Roll. I believe that the spirit of Rock and Roll means you follow your own path regardless of critics, and regardless of your peers. I think we’ve done that for forty years.   

Here we are tonight, basically inducted for the same things that we were kept out for. The people, I believe we’re speaking to the Rock and Roll Hall of Fame, and what they’re saying is, “We want more.” They deserve more. They want to be apart of the induction. They want to be apart of the nomination. They don’t want to be spoon-fed by a handful of people. Choices. The people pay for tickets. The people buy albums. The people who nominate do not. Let’s not forget that these are the people that make it all possible.  

So, I look out here and I see all these people. I see faces that over the years inspired me. People who made me what I am. So I am here tonight because of the people who inspired me, but I’m also here because of the people I inspired. So God bless you all; it’s been a wonderful night.  

-- Paul Stanley     

Here is a move that I think is LONG overdue.  

The Rock And Roll Hall Of Fame needs to schedule a mass, special induction ceremony to catch up a little bit here.  (I've been saying this for years.)  Take advantage of this one-time opportunity to help save face (and earn some credibility back!)

First of all, I believe that ALL of the current inductees should have a say in both the nominating and induction process ... because the committee currently at hand simply isn't getting the job done properly.  This is a group of people deemed worthy enough of induction by the hall ... have them campaign for the artists who most influenced and inspired THEM ... a chance to pay back some recognition for the incredible careers this love and appreciation of music gave them.  Come up with the top 25 nominees and then mass-induct twelve of them in a special ceremony.  (Who better to put together the list than the artists already inducted, paying tribute to their peers and mentors?)  Or (and I know this is just unthinkable!) have the PUBLIC vote for this special one-time ceremony and right some of the wrongs that have for so long plagued the Hall, wiping all sense of relevance and credibility.

And then, moving forward, commit to a better selection process so that this doesn't ever happen again.  (The shame is that SO many of the inductees are now long gone and unable to vote in such a celebration ... and far too many of those because The Rock Hall waited 20 - 25 years longer than it should have to induct them in the first place!!!)

FIX THIS!!!  Stat!

Speaking of nominations, we're throwing our full support behind Ed Sullivan for next year.  Seeing Brian Epstein and Andrew Loog Oldham inducted this year just points out again what a major oversight this is.  Ed Sullivan, more than any other individual in history, is most responsible for bringing rock and roll into our living rooms and fueling the mass appeal and pandemonium that then ensued.  

If you grew up in the '50's or '60's, you have fond memories of watching The Ed Sullivan Show EVERY single Sunday Night to see who he was going to feature next.  You patiently (or NOT so patiently) waited through all the juggling and magic acts, the comedians, the Broadway musical highlights, Topo Gigio and all kinds of other crap to see this week's pop or rock and roll star.  And, any star who was fortunate enough to appear on Ed's program Sunday night knew that their latest record was going to take a HUGE leap on the charts the following week because sales for that record were going to go through the roof after their appearance.

How on earth he has been overlooked this long is beyond me.  Again, it's time to start righting some of these wrongs.  For all his shortcomings in the personality department, Ed had an eye and an ear for talent ... and the next big thing.  Others have been inducted for their contribution to radio (Alan Freed) and television (Dick Clark) ... but Ed Sullivan was the first one to put this music in our face ... and we LOVED it!!! 

>>>I believe that after the new 4 Seasons movie, "Jersey Boys," makes its debut in movie theaters on June 20th that there may be a revival of " vintage" oldies music.  The Broadway show was a big success and I think the movie will be as well.  I am anxiously waiting to see it.  Their music could catch on like "wild fire" and lead to a burst of "I remember that song" music playing again. (Hopefully!)  Sandy  

"The Jersey Boys" countdown continues ... just a week to go now ... but I've gotta tell you, I am REALLY concerned!!!  The vocals I've seen in the promos so far don't come even CLOSE to capturing the sound of Frankie Valli and the Four Seasons.  As both a MAJOR fan ... and someone who saw the "Broadway In Chicago" stage version six times ... I couldn't be more disappointed with what I've seen so far, especially when it comes to "fake" Frankie Valli's vocals ... they're not even close!  Our Chicago Frankie BLEW this guy away!!!  (If they were going for the real sound, they would have been better served by hiring the best possible actors to play the parts and using the actual original recordings as part of the soundtrack ... but these are guys who had to go out and recreate these roles night after night after night ... they should be fully "seasoned" by now ... and I'm just not hearing it!!!)  Anybody can sing high ... but the whole essence of Frankie's voice was the fact that it had body and balls behind it ... when it hit you, you know you were hearing something that you had never heard before ... it captured you and sucked you in.  Check out the clips below ... NONE of that "magic" or sound is present in these vocals ... and, as such, I don't feel they do justice to this music.  (By comparison, go to YouTube and watch some of the clips for the brand new James Brown bio-pic ... they grab you by the guts and don't let go!)  

We've been waiting for this film for YEARS now ... but I'm prepping myself for a major disappointment.  I hope I'm wrong ... but just listen to some of this and see if you agree!  (kk)  

Click here: New Finale Clip From JERSEY BOYS Featuring John Lloyd Young & Cast   

More press: 

http://www.broadwayworld.com/article/JERSEY-BOYS-Movie-Cast-Talks-Live-Singing-More-In-New-Video-Interview-20140606#.U5Tag_l   

 

http://www.playbill.com/news/article/191973-quotJersey-Boys-Music-from-the-Motion-Picture-and-Broadway-Musicalquot-Sets-Release

Keith Bernstein / Warner Bros.

 

   

 

Thursday This And That

June 12, 2014, 4:48 am

≫ Next: 50 Years Ago This Weekend

≪ Previous: Some Free Form Rambling

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re:  Ex-Beatles In The News:

Big news this past week when Paul McCartney had to cancel / postpone / reschedule his first seven shows here in the States.  Still recovering from whatever Japanese virus he picked up a few weeks ago, doctors advised McCartney to rest up some more before taking on something of this magnitude.  As such, the tour will now kick off on July 5th instead, with make-up dates extending into October.  (Most of these shows are complete sell outs.) 

The rescheduling kind of messes up the original plan of closing out the tour at Candlestick Park, the last place The Beatles ever performed live in concert ... but let's face it ... things are a lot different now when you're 72 than they were when you were 24!!!

We've been telling you for weeks now about the up-coming Ringo Starr Art Exhibit at The Hard Rock Cafe downtown ... and subsequent concert at The Chicago Theater on June 28th.

Well, the folks at The Chicago Theater certainly could show the former Beatle a bit more respect than they have ... check out the marquee for the upcoming performance!!!

 

 

(Maybe it's a tribute to that whole Vee Jay Records / Beattles thing from 1963?!?!?)  I should point out that the sign has since been fixed.  (kk)

 

I just came across this on my computer, so thought I'd send along.  Hope you get to take one just like it soon and send my way! 

Clark Besch 

Apparently NOT going to happen ... so is the official word as Ron Riley really can't leave Baltimore now as he has to tend to his wife.  Latest story is that Clark Weber has asked former on-air mate Bernie Allen to stop by and visit that day.  (Here's hoping I can get a couple of pictures for the site while we're there ... I still think this is going to be a great time!)  By the way, I sent that Ringo marquee to Clark when I first saw it and told him that they have GOT to fix this ... is downright INSULTING!!!  They did.  (kk)

 

re:  This And That:

>>>Congratulations to Chicago native Ron Alexenburg, who has accepted the responsibility of being named President of the Hit Parade Hall of Fame. (kk)

Very cool! Ron Alexenburg is a good friend. We've caught up when the Buckinghams play a Concert in Westbury, NY, at the NYCB Theatre, which has become a yearly show for us. He was instrumental in launching our career in 1967 at Columbia when he was running PR there.

Carl Giammarese 

 

In local radio news, it was cool to see our WLS-FM Buddies Greg Brown and Danny Lake leading the pack in the mid-day ratings released last week.  Congratulations, guys.  (How the heck did Bob Stroud fall to fifth place?!?!  Everybody I know listens to this guy ... including me!!!  Too many "deep tracks, perhaps???  I warned ya!)  kk

 

Kent,

I just now saw on television a 30 second commercial for Hyundai. Don't know if it was for a local dealership or not. The background music used however,was the song REAL WILD CHILD. I do know that it wasn't Ivan doing it.

Larry

Too funny ... the night I got this from you I saw that same commercial five times!!!  No ... definitely NOT Ivan!!! (kk)

 

FH Reader Tom Cuddy just sent us this piece on The Dave Clark Five, courtesy of Harold Bronson, founder of Rhino Records ...

 

The 50th anniversary of the Beatles' debut in America has occasioned a number of other anniversary TV specials linked to the British Invasion. With a new documentary airing recently on PBS, The Dave Clark Five and Beyond -- Glad All Over, it's clear we're not done revisiting this rich musical period.
To a younger pop music fan, familiar postwar newsreel footage of hysterically screaming girls and a beaming boy band lip synching to a soundtrack of unfamiliar songs might lead one to suspect that the program is a spoof documentary of a fake group like the Rutles. Although the Dave Clark Five were a real group that had more hits than bands like the Kinks, the Animals and the Yardbirds, why are they less-well remembered? The documentary doesn't even pose that question. The answer is, it was a gross miscalculation of the group's mastermind, Dave Clark.
The DC5, as they were referred to, made great records, and were second to the Beatles in popularity with Americans before the rise of Herman's Hermits and the Rolling Stones. Dave on drums, Lenny Davidson on guitar, Rick Huxley on bass, and Denis Payton on saxophone were certainly competent, but keyboardist Mike Smith was a musical genius and superb vocalist who co-wrote many of the songs with Dave. The Dave Clark Five had their own sound, forged by Dave and his engineer, Adrian Kerridge, utilizing echo, compression and uncommonly loud drums. From having been a film extra -- occasionally a stunt man -- Dave acquired a unique theatrical sensibility that resulted in the group's stage show having more production value than that of any other rock act of the period.
Because they failed to progress musically in the manner of the Beatles and Rolling Stones, they were later dismissed as being lightweight. It took so long for the group to be voted into the Rock and Roll Hall of Fame that it was almost an embarrassment when they were finally inducted in 2008. Joel Stein, writing in the Los Angeles Times, made a joke at their expense when he reasoned that they failed to get enough votes the previous year "for allegations of totally sucking. Even the sluttiest '60s groupie didn't want Dave Clark getting glad all over her."
At Rhino Records, the company I co-founded with Richard Foos, they were always at the top of my list to reissue. In a prescient move, Dave had retained ownership of the group's master recordings, but he hadn't made a deal in the U.S. since the mid-1970s. He thought that by keeping them off the market, especially when interest was heightened with the advent of CDs, he could command a bigger royalty advance. Starting in 1984, I wrote him a yearly letter expressing our interest. He didn't respond until my fifth and last letter, seemingly bothered by my once-a-year query in declining. With the DC5 having been released on an imprint of a giant company, CBS, it was almost as if our small operation was like a buzzing fly to be flicked away.
In 1989, Dave made a deal with the Disney Channel to program the 1960s English music show Ready, Steady, Go! during evenings to attract adult viewers to the kids cable channel. Dave had purchased the surviving shows -- only a small percentage of those that were produced. With a relationship with Disney now established, in 1992 he made a deal with Disney's Hollywood Records to issue his group's masters. At this point the record company was not a success, so it was with some desperation that they gave Dave the large advance he held out for. Because the record company needed us to be involved -- we had three DC5 experts, Hollywood had none -- they sold us the marketing rights for mail order. Dave knew this. What he didn't know was that we were pulling the creative strings.
Dave hadn't realized that by keeping the records out of the stores for nearly twenty years, he diminished their value. Oldies radio programmed less of the hits, as they were not available to the stations. Similarly, the records did not get exposed in other media like movies, TV shows, and commercials. He also was insensitive to music fans who wanted to hear the records: some wore out their vinyl copies, others replaced their turntables with CD players. Whatever residual presence the Dave Clark Five records had, had dissipated, and much of the band's great music faded from memory. Record fans might still remember "Glad All Over" and maybe "Catch Us If You Can," but how many can recall the top ten hits "Because,""Can't You See That She's Mine" and "Over and Over"?
Ultimately, sales of The History of the Dave Clark Five were disappointing and the project lost money. Because of Disney's unfulfilled enticements -- among them, getting the group's songs into Disney movies and installing a DC5-themed cafe in the United Kingdom Pavilion at Disney World's Epcot, Dave told me -- he was able to extricate himself from the deal with five years left in the contract. I met with Dave when he tried to come to grips with Rhino's inventory of unsold mail order CDs. It was during these discussions that I revealed our behind-the-scenes involvement, and our desire to produce an elaborate box set, hits collections and reissues of the original albums. Dave admitted that he should have made the deal with Rhino, but he was reluctant to grant us any further rights. The Beatles, the Rolling Stones, Herman's Hermits, the Kinks, the Animals and the Yardbirds have all benefitted from extensive reissue programs, but not so the Dave Clark Five, whose only issued CD in the U.S. remains that one double album on Hollywood Records.
Harold Bronson is the co-founder of Rhino Records. His memoir THE RHINO RECORDS STORY: REVENGE OF THE MUSIC NERDS was recently published

 

And, speaking of British Invasion favorites ...

 

>>> Peter Noone in concert is ALWAYS a great show, no matter where he performs ... and his band is smokin', too! (I know Vance regularly reads Forgotten Hits and I would have loved the chance to finally say hello in person after exchanging emails for so many years!)  kk

None of The Hermits are spotlight stealers off-stage.  Vance can be elusive, but if he knows you wanted to shake his hand (now he does :-P), he will find you next time.  Hey Kent, come join any of our Northeast road trips this summer and fall.  For some reason, we are rich in all concert areas starting in July and going through November. 

Shelley J. Sweet-Tufano

Thanks for the offer Shelley, but unfortunately I am NOT "rich" when it comes to buying airline tickets and travel expenses!!! (lol)  Wish I could see some of these shows in other venues than the ones we have here locally, good as they are ... you seem to get a wider selection of musical choices out your way than we do here ... we seem to have the same group of artists making the rounds time and time again.  I would LOVE to see somebody like Lou Christie come thru Chi-Town!

As for Vance, I'd love the opportunity to visit for a while.  (Surprising to hear he's "elusive" backstage ... because he's SO low-key and laid-back ON stage!!!  lol)  I love the fact that he does his charity work, entertaining at nursing homes and such, when he's not out on the road with The Hermits.  And he's an accomplished singer, songwriter and musician in his own right, too.  (We've featured a few of his tracks over the years.)  Just seems like a good soul ... so I would have been quite pleased to meet him, shake his hand and thank him for all that he does.  Maybe next time around.  (kk)

Click here: Singer, songwriter Vance Brescia presents V-Place ... Watch, listen, laugh and learn about Vance's career and the

Believe me, I know where you're coming from!  You notice, I do not travel more than 4 - 5 hours away.  This summer / fall is especially affluent here for some reason that I will NOT question.  The timing works well right now for me though, as I seem to have established myself in both jobs well enough to say ... "Gotta take off for a concert (or 3)"  and get away with it. 

Lightning Strikes has been notified of your request, and are also visiting FH from time to time (especially when they are mentioned).  I think you have mentioned this to Ron Onesti.  Lou has not stopped his schedule, even though he is still grieving over the loss of his son.  I sent my condolences to them, but am giving them space to handle what they need to while keeping the music going. I will not see Lou till the first of September.  NEVER SAY NEVER.

Shelley

I've been trying to get Tommy Roe to Chicago, too.  (How's that for a GREAT double bill ... Tommy Roe and Lou Christie!!!) 

Because of all of the artists that we're in touch with now, we know that there are SO many that would love to come here to perform ... but are never asked.  Maybe the feeling is they couldn't sustain enough of an audience to fill a theater ... which is why these "package deals" appeal so much to me ... more variety and entertainment packed into every ticket sale.  FH Regulars like The Rip Chords and Henry Gross ... Freddy Cannon ... Davie Allan ... Charlie Gracie ... The 1910 Fruitgum Company ... Ron Dante ... Bob Lind ... The Fleetwoods ... Billy J. Kramer ... most of these artists haven't played a gig in the Chicago area in AGES!!!  Dionne Warwick recently approached me about lining up some shows in Chi-Town ... I put feelers out to several venues and didn't get a single reply ... and I just know that she would PACK the place!!!  It'd be nice if some of the people with far more power than I could get involved.  We would love to help make some of these connections and bring this talent to Chicago.  Thanks, Shelley!
kk

I heard a ton of rumors last week ... both announcing (and denying!) a Kinks reunion tour.  Guess we'll just have to wait and see how this develops.  (With their 50th Anniversary upon us, ANYTHING can happen!)  kk

 

Tell me this isn't Jim Carrey's role!

www.youtube.com/watch?v=CYQViYm92hg

Alex Valdez

LOL ... good call.  It's almost creepy, isn't it???  (kk)

Kent ...

Here's a new recording by Bobby Rydell.  I give it an 8. I like the lyrics and it's easy to dance to.

Frank B.

https://www.youtube.com/watch?v=aoh5CHGIe6Q&feature=youtu.be

Also from Frank ...

Click here: Tribute to Ricky Nelson - by Don Woods - YouTube

After seeing Matthew and Gunnar Nelson's tribute to their dad a few months ago, I just HAD to run this one!  (kk)

HI -
Firstly, JAY PROCTOR is doing great after colon cancer surgery ... should be back working soon.

He just sent me this great pic of our VAN ... circa 1990 ... It was my van ... I had logos put on before a long road tour.  Imagine my sons embarrassment when I'd pick him up from school ... haha!

L - R:  Dave Ferrara, drums ... now with Herman's Hermits; Beau Jones ... deceased; JAY; Wayne Smith; Rick Levy ...now with Tommy Roe and Jay Proctor

RICK

 

Hey Kent, 

I don't know if your readers are aware of the Mona Lisa Twins. They are two young ladies, actually twins, from Vienna, Austria, who play covers of 60's tunes and write original music in the style of 60's pop. They have now moved to Liverpool, recently played the Cavern Club, and with the generous support of their parents, are amassing quite a following. I just thought I'd pass it along because I think your readers would really appreciate their efforts. I'll attach some links. Have a look and see and hear for yourself.

Thanks!

Greg / NC6 

https://www.youtube.com/watch?v=qKRle7mgadk&feature=kp 

https://www.youtube.com/watch?v=1bAuhDjlAmM 

http://www.monalisa-twins.com/ 

https://www.youtube.com/user/MonaLisaTwins 

https://www.facebook.com/MonaLisaTwins 

Not bad ... I especially like "Drive My Car" and "California Dreamin'" ... but you'll find ALL kinds of clips up on YouTube for these two!  Thanks for sending.  (kk)

 

THE SIGNAL - A Musical Rhapsody

The Acorn Theater – Three Oaks, MI

Sunday, August 10, 2014 ~ 5:00 PM

TICKETS ON SALE NOW!   

Ticket Price: $25.00 per person

A true story in narrative and song … told at 45 rpm.

The story of a crystal radio that captures a radio wave … a signal … thus beginning a quest for harmony. 

It’s a reminiscence of radio, steel mills, gangs, family, and most importantly Gary’s Vee Jay Records.  The female Black owned label that landmarked the Blues, pioneered R&B, triggered the Four Seasons (which ultimately led to the Jersey Boys), introduced the Beatles to America, was the role model to Motown and heavily influenced hometowners, The Jacksons, including Michael.

Starring live: Rhythm & Blues Pioneer Award Winners, The Spaniels, (Goodnight Sweetheart, Baby It’s You, Peace of Mind),  Hall of Fame inductee, Willie Rogers of The Soul Stirrers, (A Change is Gonna Come, Chain Gang, If I Had a Hammer), and the nation’s premier a cappella group, Stormy Weather (Sweets for my Sweet, Sh-Boom, For Your Precious Love).

Tickets: Available on line at www.acorntheater.com

OK, this one sounds pretty cool! 

Superstars Of Classic Rock Honor The Music & Legacy Of The Doors Feat. Members of Deep Purple, Foreigner, Yes, Rainbow, Mountain, Moody Blues, ELP and Others! 

Featuring Todd Rundgren, Ian Gillan, Edgar Winter, Steve Morse, David Johansen, Larry Coryell, Mark Farner, Patirck Moraz, Mick Box, Keith Emerson, Lou Gramm, Leslie West, Thijs Van Leer, Steve Cropper, Rick Wakeman, Roye Albrighton, Nik Turner, Steve Hillage, Zoot Horn Rollo and Others!

Los Angeles, CA - A star-studded syndicate of rock virtuosos have gathered together to pay tribute to one of the best loved and most influential bands of all-time, The Doors, on a new CD release titled Light My Fire - A Classic Rock Salute To The Doors to be released by Purple Pyramid Records on June 24th! Produced by the extraordinarily talented Billy Sherwood, the album features brand new interpretations of classic Doors cuts that defined an entire generation, songs such as “Light My Fire,” “Riders On The Storm,” “Break On Through (To The Other Side),” “Love Her Madly,” “L.A. Woman,” “People Are Strange,” and lots more!

This is a once-in-a-lifetime opportunity to hear some of The Doors’ peers and prodigies tackle these seminal songs. Not one but TWO members of the quintessential prog rock band Yes, keyboard wizard Rick Wakeman and lead guitarist Steve Howe, joined Deep Purple’s Ian Gillan on the signature song, “Light My Fire,” which as Wakeman explains, “has always been one of those iconic tracks that keyboard players listen to because of the fact that there are so few tracks with keyboard/organ solos on them compared to our six-stringed buddies. It’s also a solo area that is totally open to interpretation so whatever you do is not comparable to the original, so it was an absolute joy to do.” Howe likewise enthuses, “I was delighted to play on this album as The Doors were a band I heard a lot as everywhere I went in the late ‘60s their music was playing, at friend’s, in restaurants, gigs & bars throughout London. I’m sure I saw them play at Middle Earth, a then hip club. Then, when the reissue more recently came out, I got totally back into their music, especially ‘Light My Fire.’”

Another keyboard legend, Geoff Downes, likewise extolled the genius of Doors’ organist Ray Manzarek saying, “It was a real privilege to be asked to participate in this project. Ray Manzarek was one of the pioneers of keyboard playing in rock music, and had a major influence on me and many others. His style was totally unique, and an integral element into what made The Doors sound the way they did.”

Meanwhile, renegade guitarist Steve Morse, of Dixie Dregs fame, recollects that The Doors were “a soundtrack, literally, for some of the most memorable times, good and bad, that I experienced as a young teen. Like many of my favorites, they were adventurous, improvising, unafraid of what the media might say, and all with a sort of lyrical freedom that still stands up today.” The Cars’ lead axeman Elliot Easton proclaims, “I had a wonderful time reinterpreting ‘Spanish Caravan,’” a song Easton found both “challenging and very rewarding!” And jazz fusion Larry Coryell concludes, “The Doors were the unofficial representatives to the world for LA, not ‘Los Angeles,’ but ‘LA.’ Their sound - raunchy, cluttered, sassy, leering, kind of mean, and always horny was the sound of LA/Los Angeles itself. How many times circa ‘65-66 did my first wife Julie and I drive through LA on the freeway listening to, say, ‘Love Me Two Times,’ and think that The Doors were the sound of LA just as clearly as Thelonious Monk was the sound of NYC.”

That sound continues to reverberate outward through both space and time, touching each new generation around the globe and keeping The Doors’ flame burning brighter than ever! Producer Billy Sherwood sums it up when he declares, “The Doors’ music will live on forever, and it’s my hope that we’ve paid tribute to the band in the highest way possible.”

1. L.A. Woman - Jimi Jamison (Survivor), Ted Turner (Wishbone Ash) & Patrick Moraz (Moody Blues)

2. Love Me Two Times - Lou Gramm (Foreigner), Thijs van Leer (Focus) & Larry Coryell

3. Roadhouse Blues - Leslie West (Mountain), Brian Auger & Rod Piazza

4. Love Her Madly - Mark Stein (Vanilla Fudge) & Mick Box (Uriah Heep)

5. Riders On The Storm - Joe Lynn Turner (Rainbow), Tony Kaye (Yes) & Steve Cropper (Booker T. & The M.G.’s)

6. The Crystal Ship - Edgar Winter & Chris Spedding

7. Intro (People Are Strange) - Keith Emerson, Jeff “Skunk” Baxter & Joel Druckman (John Fahey)

8. People Are Strange - David Johansen (NY Dolls) & Billy Sherwood (Yes)

9. Touch Me - Robert Gordon, Jordan Rudess (Dream Theater), Steve Morse & Nik Turner (Hawkwind)

10. The Soft Parade - Graham Bonnet (Rainbow), Christopher North (Ambrosia) & Steve Hillage (Gong)

11. Hello, I Love You - Ken Hensley (Uriah Heep) & Roye Albrighton (Nektar)

12. Spanish Caravan - Eric Martin (Mr. Big) & Elliot Easton (The Cars)

13. Alabama Song (Whiskey Bar) - Todd Rundgren & Geoff Downes (Yes / Asia) & Zoot Horn Rollo (Captain Beefheart)

14. Break On Through (To The Other Side) - Mark Farner (Grand Funk Railroad) & Chick Churchill (Ten Years After)

15. Light My Fire - Ian Gillan (Deep Purple), Rick Wakeman (Yes) & Steve Howe (Yes)

16. The End - Pat Travers & Jimmy Greenspoon (Three Dog Night)

To pre-order the CD at Amazon: http://georiot.co/216h

To pre-order the album on iTunes: http://georiot.co/Wns

And, speaking of cool new releases ...

Don't know if you've been informed about this yet, but there's a new Tony Hatch Compilation.

I believe Tony even wrote liner notes for it.

Here's a review ...

You can get it via the Amazon resellers for around 12 bucks plus shipping. 

Click here: I Know A Place: Petula Clark, Scott Walker, Connie Francis Celebrate “The Songs of Tony Hatch” | The Second Disc

Bill

Actually I saw this in the Collectors Choice catalog a couple of weeks ago and meant to mention it ... it looks like a very interesting compilation ... and I think Tony should send me an autographed copy!!!  (Are you reading this Tony?!?!?)  kk

Hey Kent,
Last week, the local PBS station aired a Chubby Checker 50s music special, and this clip of The Dovell's "Bristol Stomp" was featured. This was one of my older brother's favorite songs back then, and I didn't pay much attention to it. As I watched them perform the song on the special, I thought the lead singer sounded a lot like Len Barry. Ha! Barry and the boys looked like they were having so much fun, and I feel it must have been a wonderful time to be in a group like that. I may be wrong, but I think Len's solo career was another American victim of the British Invasion Death Star. Daryl Hall stated that more Philadelphia artists should have been inducted into the R&R Hall of Fame by now, including Len. Well, I vote for Len Barry and The Dovells for future consideration.
- John LaPuzza

http://www.youtube.com/watch?v=XCOB5-E4P6Y

Actually, that's a GREAT clip ... and EXCELLENT quality for its time.  (I wonder what it's from!)  Thanks for sharing.  (kk)

 

Hi Kent,
Enjoy seeing all the "Surveys" you include on your emails!  They bring back so many memories of songs we NEVER hear!!!
You mentioned "She's About A Mover" and The Rolling Stones'"The Under Assistant West Coast Promo Man"!!!  The Stones had an early hit, "I Used to Love Her, But Its All Over Now".  They appear on the TAMI SHOW singing it. That performance alone is worth the price of the DVD.
What do you think of TJ Lubinsky's new "Party Song" DVDs? They have a clip of The Mc Coys doing "Hang On Sloopy".  Was Rick Derringer the lead singer??
When in doubt ask the master.
Carolyn

"It's All Over Now" was a #25 Hit for The Rolling Stones in 1964 ... just a little before they exploded in a big way with "Satisfaction" (but a GREAT track to be sure.)  I really like their B-Side "The Under Assistant West Coast Promo Man" ... one of their forgotten gems.

I haven't seen any of the "Party Song" DVD's ... but DO know that Rick Derringer (then still using his real name, Zehringer) was, in fact, the lead singer of The McCoys back in the mid-'60's.  His brother Randy was also a member of the band.  (kk) 

 

re:  Some Sad News From Last Week: 

A legend in the evolution of Chicago music, Bill Traut has died, June 5. Here's a piece worth running in his honor.  

-- Ken Voss 

Manager Spotlight:  Bill Traut of Open Door Management

If you need to describe Bill Traut, think of “quiet man in charge.”  This Chicago native does not resort to screaming, tearing telephones apart or jumping on tables with his fist in the air.  He just gets the job done.  

Over the years, Traut has been a musician, producer, agent, record executive, artist manager and attorney.  His management company, Open Door Management, specializes in jazz, with such artists as Kurt Elling, Janis Siegel, Alan Pasqua, Alan Broadbent, Shelly Berg and the Traut / Rodby duo (Bill's son, Ross Traut,).

Bill lays rightful claim to such a resume that even the highlights are exhausting to read.  Traut was President of Dunwich Records (the first “garage-rock” label to hit gold in the 60’s with Shadows of Knight and their version of “Gloria”), President of Wooden Nickel Records (birthplace of Styx and Exile) and CEO of jazz-fusion label, Headfirst Records. He was Governor of both the Chicago and Los Angeles Chapters of NARAS, and was the Director of the NARAS Institute as well as a co-Founder of the Jazz Institute of Chicago and a member of the International Association of Jazz Educators. Bill has produced music for radio and television commercials for Coca-Cola, American Airlines and RCA/Whirlpool, and for various films and TV shows such as “The Hardy Boys” and “No Way To Treat A Lady”. 

Bill was a member of the International Association of Personal Managers, formed by Kenny Greengrass in the late 1960's.  For years he used their official contract with artists. “I still use a contract based on the original, but of course it’s brought up to date,” he said.  However, Bill points out, “I only use a contract these days when I'm signing a group.  All of my individual clients are without contracts. I don't bother anymore and it hasn't hurt me in the jazz field.  But I would absolutely have a contract with any group, particularly in Rock.” 

“Themost productive period was the running of Wooden Nickel Records and the development of Styx, but it wasn't the most enjoyable. When Styx left us and took the label down with them, it ended up in a major lawsuit, which was settled 3 years later.”  

That settlement has cushioned the way for Traut’s involvement with other artists in need of development.  As for enjoyment, Traut takes great pleasure in his current roster, and the creative/professional accomplishments of each artist’s career.

Bill’s first official credit was as guitarist and producer on the 1959 release “Blowin’ the Blues” (World Pacific). 

Bill played his last gig in Chicago at the London House in 1961 with Eddie Higgins, Richard Evans, Marshall Thompson and jazz singer Irene Krall. "After that I continued to do a little playing in the studios, mostly the oompah baritone sax on some of the Soul albums (the Memphis Sound) like Curtis Mayfield, etc.  I played it on one of the Styx albums (their idea, not mine), and on one of the Ohio Players albums, but which one is a secret."  

Jazz is where it all started. Traut began his career in the 1940’s as a saxophonist and arranger for several popular big bands, but as a producer has crossed various musical lines. Artists he has taken into the studio include hit makers like Styx (then unknown), Nazz (feat Todd Rundgren), The American Breed and Shadows of Knight, as well as jazz legends Buddy Rich and Count Basie. His company, Open Door Management, has become one of the leading jazz management companies in the business today. 

“It’s nice to be veteran of this industry,” Traut said. “To be loved and trusted by people after all these years is great.”  

Traut’s varied background (musician / lawyer / producer) could easily be a boon for his management activities.  According to Bill, “It helps every day.  I can relate to my clients and they know that I do.”  

Obviously when an artist has the “quiet man in charge” in their corner they are in good hands. Busy hands, but they're good. Sadly, he will now forever remain quiet, but his legacy will remain alive.
Contributed by Mike Gormley of
Los Angeles Personal Development (LAPD). Gormley was an A/R executive with Mercury Records when they were based in Chicago.

I am sad to hear of the passing of Bill on June 5 at age 85.  When working on a Dunwich music project, I was lucky to have spoken to him on the phone back in the early 90's and we talked about all the great songs he produced for Dunwich.  He truly was behind MANY of my favorite songs and without him, I would have so much music in my life lost to time.  Truly, he was an icon forgotten to many, but remembered through all the great music he gave us.

I think the first record I (and many) ever heard that Bill Traut produced was "Gloria" by the Shadows of Knight.  It was an amazing song that I had never heard by its' originators, Them, at that time in 1966.  The next Traut productions I heard by way of WLS in Chicago were "Oh Yeah!" by the Shadows Of Knight and then one of my all-time favorite songs, "You Don't Know Better" by Saturday's Children.  Soon, I was seeking out Dunwich 45s as well as (unknowingly) Dunwich Productions such as those by the American Breed and the Rumbles.  It wasn't that I knew of Bill Traut, but I knew the SOUNDS that ended up being Dunwich productions.  Those SOUNDS often became my favorite music of the 60's.  By the late 60's I would recognize that Dunwich logo on 45s and I would HAVE to buy it.  Bill Traut did not give us a Chicago sound, but gave us MANY Chicago Sounds ... pop, jazz, novelty, rock, garage, folk, and even country 45s were graced with his logo. 

I spoke with Bill in the 90's and he was still excited when he spoke of the Will-O-Bees, Cryan Shames, American Breed and his earlier days at Wurlitzer Juke Box Co.  He was proud to mention that Dunwich's first production, a small label instrumental single by the Univacs featured him as well as being the first 45 Steve Miller played on.  How he got "Gloria" on the radio through WLS' Clark Weber allowing Bill's "changed lyrics" to be heard on the air at WLS and how he got the American Breed signed to a major label deal in a Chicago blizzard are just two of the great stories that made 60's music so memorable.  From his near miss signing of Spanky & Our Gang to the combining of USA Records and Dunwich, thus pulling the Cryan Shames into the fold are more great stories we talked of then. 

Bill's music will be forever remembered by those of us die hard Dunwich fans and will continue to thrive in the years ahead.  Thanks to Sundazed and other labels, we continue to grow his legacy as the years pass.  Rest in peace, Bill.

--Clark Besch

 

 

 

50 Years Ago This Weekend

June 13, 2014, 4:05 am

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PETER AND GORDON's A WORLD WITHOUT LOVE climbs to #2 this week on The Billboard Hot 100 Pop Singles Chart, where it'll stay for a couple of weeks, held out of the #1 spot by CHAPEL OF LOVE by THE DIXIE CUPS.  Meanwhile, LOVE ME DO by THE BEATLES falls to #4 while LITTLE CHILDREN by BILLY J. KRAMER AND THE DAKOTAS climbs to #7.

THE DAVE CLARK FIVE have the highest chart debut this week as CAN'T YOU SEE THAT SHE'S MINE premiers at #68.  A brand new BEATLES EP issued by CAPITOL RECORDS (featuring THIS BOY, ALL MY LOVING, ROLL OVER BEETHOVEN and PLEASE MR. POSTMAN) makes Billboard's Hot 100 Singles chart, selling enough copies to debut at #97.  (The EP features two tracks from each of THE BEATLES' first two Capitol U.S. Albums, MEET THE BEATLES and THE BEATLES' SECOND ALBUM, both of which are still in The Top Ten on Billboard's Album Chart.)

In between, British acts are represented by DIANE (#11 for THE BACHELORS), DO YOU LOVE ME by THE DAVE CLARK FIVE (#14), THE BEATLES flip-side P.S. I LOVE YOU (#15), DON'T LET THE SUN CATCH YOU CRYING by GERRY AND THE PACEMAKERS (#20), another flip-side, BAD TO ME, by BILLY J. KRAMER AND THE DAKOTAS (#26), YESTERDAY'S GONE (#35, the CHAD AND JEREMY version), BITS AND PIECES by THE DAVE CLARK FIVE (#38), DON'T THROW YOUR LOVE AWAY by THE SEARCHERS (#41), GOOD GOLLY MISS MOLLY by THE SWINGIN' BLUE JEANS (#43), THE SEARCHERS again with SUGAR AND SPICE (#44), another DAVE CLARK FIVE HIT (their fourth this week on the countdown!) I KNEW IT ALL THE TIME (#59), NOT FADE AWAY by THE ROLLING STONES (#78) and THE OVERLANDERS' version of YESTERDAY'S GONE (at #81).

Here in Chicago, Peter and Gordon's "A World Without Love" makes a HUGE comeback this week, jumping from #11 to #1 on The WLS Silver Dollar Survey.  (It is no longer paired with Bobby Rydell's version, which occupies the #13 spot this week.  Most folks today don't even remember it!)  "Love Me Do" / "P.S. I Love You" slips to #2 for The Beatles while "Little Children" / "Bad To Me" by Billy J. Kramer and the Dakotas climbs a few notches to #4.  The Dave Clark Five's version of "Do You Love Me"  is at #6, "Diane" by The Bachelors is at #9 and "Yesterday's Gone" by Chad and Jeremy sits at #10, giving British Artists six of the Top Ten spots on this week's countdown.  (A couple of weeks ago it looked like they were struggling!)  Factor in a couple of those hit B-Sides and there was most definitely British domination this week in Chicago!

Incredibly "Sie Liebt Dich" (the German version of "She Loves You") climbs from #40 to #20 this week!  The only other British Hit on the charts is the debut of Gerry and the Pacemakers' first U.S. Hit Single "Don't Let The Sun Catch You Crying" which premiers at #35.

The Saturday Surveys (June 14th)

June 14, 2014, 5:00 am

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June 11th, 1956, marked a major turning point in radio in Chicago ... that's the week that WJJD issued their very first Top 40 Radio Survey Chart (shown below ... as you can see, listed as "Survey No. 1"!!!)

As far as I know, this was the very first Top 40 Rock and Roll Chart to hit our city (although you don't REALLY get a rock and roll track until you hit #7 on the list with Carl Perkins' classic "Blue Suede Shoes".)

Elvis Presley and Bill Haley and His Comets are each represented with two tracks this week ... and Pat Boone's got THREE!!!

There would be other Top 40 Stations in Chicago during the '50's ... and even WJJD themselves would abandon the format a few years later, becoming one of the biggest Country Radio Stations in America ... but this is VINTAGE '50's stuff here ... and a GREAT way to kick off this week's edition of The Saturday Surveys!

 

George Cates held the #1 spot on the very first WJJD Chart with "Moonglow" ... and The McGuire Sisters are at #29 with "Picnic".  Morris Stoloff combined these two tracks into a chart-topping instrumental hit of his own ... but that version didn't chart here in Chicago!



Now HERE'S something you didn't see very often in 1964 ... 

A Top Ten Chart with only ONE British Act listed!!!

Leave it to The Dave Clark Five and their #10 Hit "Can't You See That She's Mine" to mess up what could have been an All-American Countdown ... but there are some REAL surprises listed in this Top Ten as well.

Sure, the usual suspects are there ... The Four Seasons at #2 with "Rag Doll", Johnny Rivers at #8 with "Memphis" and The Beach Boys at #9 with "I Get Around" ... all major summer fare in 1964 ... but check out the rest of The Top Ten!

Sitting at #1 are The Jelly Beans with what used to be our traditional, annual Easter Feature here in Forgotten Hits, "I Wanna Love Him So Bad".  Barbra Streisand sits at #3 with her "Funny Girl" classic "People".  (Man, I've ALWAYS hated this song ... during the Summer of '64, my parents took us up to some cottage up in Wisconsin for a vacation ... and the ONLY redeeming thing about the whole trip was the fact that the on-site restaurant had a GIANT Jukebox.  Except SOMEBODY in the joint LOVED this song ... and one night played it at least twenty times while we were there.  Ruined it forever for me ... I hated it BEFORE that night ... but have DESPISED it ever since!!!  lol)

You'll also find some soft-rock schmaltz at #5 ("Love Me With All Your Heart" by The Ray Charles Singers ... a song I actually had to learn on the organ when my Mom made me take lessons) ... and "Remember Me" by Rita Pavone.  (Actually, we don't ... I'll bet there aren't six Forgotten Hits Readers who could sing a refrain from THAT one!!!)

However, the chart ALMOST redeems itself with the unexpected "Hey Harmonica Man" by Stevie Wonder at #7 and one of my all-time faves, "She's The One" by The Chartbusters all the way up at #4!  (This one stopped at #33 in Billboard.  I guess if you couldn't have The Beatles in The Top Ten, then the next best thing was having a group that sounded just LIKE The Beatles up there instead!)

In fact, you won't find The Beatles on this chart at all!!!  And that HAS to be a first for 1964!!!

Finally, another trip out to California for this Top 40 Chart from KFXM.

You'll find some typical Summer of Love tracks here ... "Light My Fire" by The Doors, of course ... "Windy" by The Association,  "San Francisco" by Scott McKenzie, "White Rabbit" by Jefferson Airplane and "A Whiter Shade Of Pale" by Procol Harum ... but you'll also find "The Flower Children" by Marcia Strassman (she'd go on to play Gabe Kaplan's wife on the "Welcome Back Kotter" television series a few years later) ... and one of MY all-time psychedelic favorites, "My World Fell Down" by Sagittarius.  (Cool to see The Buckinghams charting with a two-sided hit, too!)  Some of these jocks look pretty "square" to be playing all these heavy hits, don't they???



Here's another one of my 1967 favorites ... the seldom-played "C'mon Marianne" by The Four Seasons ... with The Jersey Boys movie opening next weekend, this seemed like a great one to feature today.

The Sunday Comments ( 06 - 15 - 14 )

June 14, 2014, 10:01 pm

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re:  JERSEY BOYS:  
>>>I've gotta tell you, I am REALLY concerned about the new "Jersey Boys" movie!!!  The vocals I've seen in the promos so far don't come even CLOSE to capturing the sound of Frankie Valli and the Four Seasons.  As both a MAJOR fan ... and someone who saw the "Broadway In Chicago" stage version six times ... I couldn't be more disappointed with what I've seen so far, especially when it comes to "fake" Frankie Valli's vocals ... they're not even close!  Our Chicago Frankie BLEW this guy away!!!  (If they were going for the real sound, they would have been better served by hiring the best possible actors to play the parts and using the actual original recordings as part of the soundtrack ... but these are guys who had to go out and recreate these roles night after night after night ... they should be fully "seasoned" by now ... and I'm just not hearing it!!!)  Anybody can sing high ... but the whole essence of Frankie's voice was the fact that it had body and balls behind it ... when it hit you, you know you were hearing something that you had never heard before ... it captured you and sucked you in.  Check out the clips below ... NONE of that "magic" or sound is present in these vocals ... and, as such, I don't feel they do justice to this music.  (By comparison, go to YouTube and watch some of the clips for the brand new James Brown bio-pic ... they grab you by the guts and don't let go!)  We've been waiting for this film for YEARS now ... but I'm prepping myself for a major disappointment.  I hope I'm wrong ... but just listen to some of this and see if you agree!  (kk)     

Ok, I'm hoping that this was a joke or just a really terrible audio clip.  

Nicki  

That's not real, is it?  Why would they do that?  It sounds TERRIBLE!!!    
Paige 

Kent,  
Mywife Janine and I saw the show in Las Vegas a few years ago and we were knocked out. I was looking forward to the film until I saw the trailer. It only took a few seconds to realize this film is in trouble (unless people have tin ears!!!). I'm so disappointed.   
Davie

Hi Kent -   
I think you're on to something, buddy. Frankie & The 4 Seasons sound like they've been sucking helium. Maybe Clint Eastwood thought he was directing "The Lou Christie Story"! What a shame. 

Clive  

Sorry, guys, but this is the real deal ... it's not a joke ... and it's not the least bit funny.  (That clip I ran lastweekwas deemed good enough by the film makers to release as a promo to entice people to come see the film ... what were they thinking?!?!)  

I would think that if you were going to commit to this story as some type of a permanent record, you would go out of your way to select the absolute BEST sound and look possible ... and, from what I've seen anyway, they've failed miserably.  (In all fairness, John Lloyd Young won a Tony Award for playing Frankie Valli on Broadway ... and it's his voice you hear on the official "Jersey Boys" soundtrack / original cast CD, which I think sounds GREAT! ... but whatever magic he may have captured there is sorely missing here.)  

Like I said, we've been waiting for this film to be made for YEARS now ... and now there's a part of me that doesn't even want to see it ... I'd rather preserve the excellent memories I already have of this show than risk tarnishing those memories forever by a sub-standard performance.  Again ... what were they thinking?!?!?  (kk)

There will be a brand new movie soundtrack for the film.  (The movie opens June 20th and the soundtrack CD hits the streets on June 24th.)  Looking over the track list, it appears that Frankie Valli and The Four Seasons do, in fact, perform some of the songs themselves ... as well as along with John Lloyd Young ... so this should be interesting, hearing these two "dueling Frankie" voices side by side! 

Here's a VVN update:  Click here: Preview: Jersey Boys - Frankie Valli & the Four Seasons and the Film Cast ~ VVN Music  

And just to show you that Young CAN handle the role of Frankie Valli, here's an apples-to-apples comparison between the sound clip we ran last week ... and the same track included on the Original Cast Broadway Recording.  (So what I want to know is ... what happened?!?!  All the grit and gravel that defined his stage Frankie persona is missing.  And how was this allowed to go through without fixing it???)  kk

Meanwhile, want the real deal???  Check out this INCREDIBLE Four Seasons Box Set that Rhino is putting out ... covers everything you'd ever want to hear by the group ... plus there's even a supplemental box of Frankie Valli's solo stuff!!!  (We settle for a pale imitation?  Go for the real thing right here!!!)  kk  

Click here: Who Loves You: Rhino Celebrates “Jersey Boys” With Box Sets For Frankie Valli and Four Seasons, First Bob Gaudio A

Kent ...

This weekend is the "Jersey Boys Weekend" on WCBS-FM.  Why are they doing it this weekend when the movie opens next weekend?  I think I know the answer to my own question. Next weekend is also the first day of Summer. So I think next Saturday and Sunday will be a "Summer Song Weekend."

Frank B.  
Hmm ... wonder if Scott Shannon will be featuring songs from our "All-Time Summer Favorites" list again this year.  (He very well may be compiling his own list right now through The True Oldies Channel!)  kk  
Click here: Forgotten Hits - Your All-Time Summer Favorites   

And this JUST in at the publishing deadline!  (I literally screamed out "Stop The Presses!" for this one ... something I've always wanted to do.)  

Reading between the lines here, maybe we're not the ONLY ones disappointed with the quality of the movie soundtrack.  (And THIS is from somebody who should know!!!)  Read on ...    

Kent:  

With “Jersey Boys,” the movie, being released on Friday, we had Frankie Valli as a guest on New York’s 710 WOR Radio yesterday on the Mark Simone Show.  

Believe it or not, Frankie Valli has not seen the movie yet.  He visited the set when it was being filmed, but he’s currently on the road and hasn’t been able to see it.   Surprisingly, the movie studio never offered to send him a DVD screener to view.  As of our interview, he was unsure when he would be seeing the movie.  

It’s incredible that Frankie is still touring and doing two hour shows at 80 years-old.  Some of his touring schedule is below.  

When Mark asked Frankie whether he would have preferred to have the movie actors lip synch to his recordings, rather than sing live, he was very respectful of the decision director Clint Eastwood made.   Clint had all the actors sing live to a band, but you could tell he would have preferred to have them use his tracks.  Sadly, he didn’t get a vote on how the movie handled his music.  It was completely Eastwood’s call.  

-- Tom Cuddy

New York, NY

FRANKIE VALLI's PERFORMING SCHEDULE:

Sunday, June 15 - Nashville, TN - Ryman Auditorium

Saturday, June 21 - Chicago, IL - Private Function

Friday, July 4th - Appearing on "A Capitol Fourth", a television special broadcast from National Mall in Washington, D.C.

Monday, July 14; Tuesday, July 15; Thursday, July 17; Friday, July 18 - Port Chester, NY - The Capitol Theatre

Saturday, July 19 - Canandaigua, NY - Constellation Brands - Marvin Sands PAC  (CMAC) 

Friday, July 25; Saturday, July 26 - Hyannis, MA - Cape Cod Melody Tent

Sunday, July 27 - Cohasset, MA - South Shore Music Circus

Friday, August 8 - Greenville, SC - Peace Center Concert Hall

Saturday, August 9 - Durham, NC - DPAC Durham Performing Arts Center

Thursday, August 14 - Livemore, CA - The Concerts At Wente Vineyards

Friday, August 15 - Rohnert Park, CA - Weill Hall @ Sonoma State University

Saturday, August 16 - Costa Mesa, CA - Segerstrom Center For The Arts

Wednesday, September 10 - Phoenix, AZ - Celebrity Theatre

Friday, September 12 - Woodinville, WA - Chateau Ste. Michelle Winery

Saturday, September 13 - Coquitlam, BC - Hard Rock Casino, Vancouver, Canada

Thursday, October 9 - Albany, NY - Palace Theatre

Friday, October 10; Saturday, October 11; Sunday, October 12 - Atlantic City, NY - Borgata Hotel, Casiono & Spa - Music Box

Wednesday, October 15; Thursday, October 16 - North Bethesda, MD - Music Center at Strathmore

Wednesday, October 29 - Williamsport, PA - Community Arts Center

Thursday, October 30 - Bethlehem, PA - Sands Casino

Saturday, November 1 - Bangor, ME - Cross Insurance Center

Sunday, November 2 - Uncasville, CT - Mohegan Sun

Wednesday, November 5 - Worcester, MA - TBA

Friday, November 7; Saturday, November 8 - Niagara Falls, Ontario - Niagara Fallsview Casino Resort

Sunday, November 9 - Cleveland, OH - Playhouse Square

re:  DON'T DISS LOU!:  

Hey, and don't diss Lou Christie ... I think he has one of the better falsettos we've ever heard over the years ... and, from what I understand, he STILL sounds great today.  (I'm starting a movement to bring Lou Christie to Chicago ... I still believe a double bill of Lou Christie and Tommy Roe would make for a KILLER line-up!)  I've never seen him ... and the one chance I had several years ago fell through when the concert was cancelled and we had to return our tickets.  (This would have been one hell of a show ... Lou Christie WITH Frankie Valli ... and, I believe one or two others known for their upper vocal range.  I was so inspired, in fact, that I wrote an entire series spotlighting some of the greatest falsettos in rock and roll history.  Naturally ... in typical Forgotten Hits fashion, I called it "Whippin' Out The Falsies"!!!)  

'60's FLASHBACK:  

LOU CHRISTIE hit The National Top 40 five times between 1963 and 1969 with '60's classics like LIGHTNING STRIKES (a #1 Single in early 1966), TWO FACES HAVE I (#3 in Cash Box and also #1 here in Chicago), the controversial RHAPSODY IN THE RAIN and I'M GONNA MAKE YOU MINE, an almost "Bubblegum"-sounding comeback hit in 1969. 
CHRISTIE (whose REAL name is LUGEE SACCO) was famous for his soaring falsetto, rivaling FRANKIE VALLI, who was also starting to hit the pop charts around the same time.  CHRISTIE first hit the charts in 1963 with his original composition THE GYPSY CRIED, a song co-written with TWYLA HERBERT, ironically a reputed clairvoyant (who just happened to be 30 years older than he was!)  They also cowrote several of his other hit singles:  TWO FACES HAVE I, LIGHTNING STRIKES and RHAPSODY IN THE RAIN, a song banned on numerous radio stations around the country.  (LOU eventually went in and cut new lyrics replacing the controversial "making out in the rain" line, which became quite a collectible over the years.)
In 1974, he cut my personal favorite track, a version of a song first featured in the 1930 movie MONTE CARLO called BEYOND THE BLUE HORIZON.  Sung in the movie by star JEANETTE MacDONALD, CHRISTIE's version would peeter out at #72 on the Cash Box Chart.  (It didn't even get THAT high in Billboard, where it stalled at #80.)  This song has since been covered by everyone from JOHNNY MATHIS to MICHAEL NESMITH!  LOU's version would also get the "film-treatment" when it was featured prominently in the hit motion picture RAIN MAN.   
It's an interesting track in that, if you listen REAL closely, you can just barely hear CHRISTIE singing (almost off-mike) on the first verse before coming in strong for the big finish.  CHRISTIE sounds great on what would be his last chart hit.  



*******

I guess we couldn't really mention RHAPSODY IN THE RAIN and then NOT feature the two versions that were circulating back in 1966.  
On the ORIGINAL version, LOU CHRISTIE sang the line "We were makin' out in the rain" ... HARDLY controversial by today's standards ... but in 1966, it got him banned from radio stations all over the country.  
In fact the ENTIRE ABC Radio Chain was prohibited from playing the tune!  (Amazingly, just one year later, VAN MORRISON was "making love in the green grass behind the stadium" with his BROWN EYED GIRL without any problems ... a #3 Chicago hit in the Summer of 1967!)  
CHRISTIE went back into the studio and recut the track with the substitute line "We fell in love in the rain" in time to still garner enough airplay to take his hit all the way to #16.  
Today, we feature BOTH versions of the single ... the "banned" version has become quite a collectible 45 in recent years ... I remember the Price Guides even listing the number etched in the wax so that the buyer could determine which pressing he was purchasing without actually having to listen to the record!






BTW:  ABC RADIO, led by a movement that started right here in Chicago on WLS, went so far as to tell TIME MAGAZINE that the suggestive lyrics about "makin' out in the rain" and "our love went much too far" along with the obvious rhythmic beat of the windshield wipers could ONLY mean that the couple was having sex in the car in time with the wipers.  When CHRISTIE re-recorded the lines as "we fell in love in the rain" and "our love came like a falling star," he ALSO slowed down the tempo a bit from the original pressing ... hopefully stopping once and for all the teen-lusting that was going on while listening to the other version!  (Yeah right ... I'm sure THAT fooled the teenagers during the charged-up sexual-revolution which was the '60's!)
 

re:  ED SULLIVAN:  
>We're throwing our full support behind Ed Sullivan for a Rock And Roll Hall Of Fame nomination next year.  Seeing Brian Epstein and Andrew Loog Oldham inducted this year just points out again what a major oversight this is.  Ed Sullivan, more than any other individual in history, is most responsible for bringing rock and roll into our living rooms and fueling the mass appeal and pandemonium that then ensued.   If you grew up in the '50's or '60's, you have fond memories of watching The Ed Sullivan Show EVERY single Sunday Night to see who he was going to feature next.  You patiently (or NOT so patiently) waited through all the juggling and magic acts, the comedians, the Broadway (and even OPERA!!!) musical highlights, Topo Gigio, celebrities in the audience introductions and all kinds of other crap to see this week's pop or rock and roll star.  And, any star who was fortunate enough to appear on Ed's program Sunday night knew that their latest record was going to take a HUGE leap on the charts the following week because sales for that record were going to go through the roof after their appearance.  How on earth he has been overlooked this long is beyond me.  Again, it's time to start righting some of these wrongs.  For all his shortcomings in the personality department, Ed had an eye and an ear for talent ... and the next big thing.  Others have been inducted for their contribution to radio (Alan Freed) and television (Dick Clark) ... but Ed Sullivan was the first one to put this music in our face ... and we LOVED it!!!  (kk) 

Kent - 
Thanks for writing about this! I, too, have been thinking about this more often since the RnR HOF inductees of last year -- Epstein & Oldham. I am in total agreement. 

Please keep up forwarding this idea, and let's somehow see if we can get a list of the people who are either on the board or are voters as to who gets inducted. Wonder if we can get that info and begin a real campaign? Do you have any leads in that regard? 

With this year being the 50th Anniversary of The Beatles on Sullivan, I think this is the right time to give this a serious try / push. Maybe next year we can get Ed into the HOF which he thoroughly deserves, and I believe, is overdue. I am also on the case. Thanks!

Best,

Andrew Solt

To date, nobody has been able to exercise ANY kind of influence on these decisions or nominees ... but I say we plant the seed and see what grows.  A "grass roots" campaign, if you will ... especially starting this early ... just might draw some attention.  I'd sure love to hear their explanation as to why Ed wouldn't qualify for induction!!!  There is absolutely NO good reason on earth that he hasn't already been so enshrined!  (kk)  

The real genius of Ed Sullivan in the 1960s was that he could keep three generations (the sixtysomethings, the fortysomethings, and all of us teenysomethings) tuning in week after week. The jugglers, comics and Topo Gigio appealed to the older folks, who were the demographic that big national advertisers wanted. Boomers became a hot demographic starting in '66 or so. Before that, not so much. (Let's face it ... you can't buy an Oldsmobile on your allowance.)
-- Jeff Duntemann
    Colorado Springs, Colorado  

re:  AND, SPEAKING OF THE ROCK AND ROLL HALL OF FAME ... :

... it sounds like Chubby Checker is now demanding his due!

After millions heard him mentioned in Daryl Hall's acceptance speech (not counting, of course, the six or seven of you who read about it right here in Forgotten Hits!),  it sounds like Chubby is FINALLY speaking up about this gross oversight by The Rock And Roll Hall Of Fame.  (Incredibly, way back in 2007 when I first ran my series naming The Top 40 Most Deserving And Denied Artists, I contacted Chubby and his fan club ... and was told in no uncertain terms to back off ... "leave Chubby alone" ... "The Rock Hall will do right by itself."  So, now that it's another seven years later, I've got to ask ... "How's that workin' out for you?!?!?"

Checker ABSOLUTELY belongs ... he set off a national dance craze sensation ... and remains the ONLY artist in the rock era to top the Billboard Hot 100 Pop Singles Chart TWICE with the same record.  Denying him induction is contrary to the very foundation on which The Rock And Roll Hall Of Fame was built.  (I don't know that "demanding" induction is the right way to go ... but hey, despite every one else's best efforts, it's landed on deaf ears thus far ... so maybe we DO need to shake things up a little bit!)  kk

Did you read on the internet where Chubby Checker basically has told the Rock and Roll Hall of Fame to shove it if they don't induct him into the Hall soon.

Larry

Yes, here's a more in-depth article sent in by FH Reader Tom Cuddy ...

http://www.huffingtonpost.com/2014/06/13/chubby-checker-rock-hall-of-fame_n_5490749.html

re:  THE BEATLES:

This past week marked the 50th Anniversary of The Beatles tour of Australia and New Zealand with Jimmy Nichol on drums!!!  Yes, incredibly management and the band thought it best not to cancel any tour dates just because Ringo Starr was in the hospital with tonsillitis ... so they brought on session drummer Jimmy Nichol to perform with them instead.  (It seems almost impossible now to imagine that the biggest band in the WORLD would elect to do such a thing ... and it would never happened today ... but back then apparently the logic was not to do anything to break the momentum of the peak of Beatlemania ... so that's exactly what they did!)  Nichol has never really been heard from since and, INCREDIBLY, he has never sought to cash in on his moment in the spotlight.  (Talk about your fifteen minutes of fame!!!)  This is especially ironic in light of McCartney postponing and rescheduling the first seven dates of his upcoming U.S. tour as he continues to recover from whatever virus he contacted while in Japan.  (kk)

VVN has more of the story here:

Click here: Flashback Set List: The Beatles Invade Australia ~ VVN Music

Check out that set list ... only ten songs in all ... and five of those were McCartney lead vocals!  Amazing!  (kk)

re:  THE DAVE CLARK FIVE:

Harold Bronson's piece on The Dave Clark Five was excellent: a 100% accurate assessment of Mr. Clark's unfortunate and inexplicable mishandling of the DC5's legacy over the decades.  Like Harold, I, too, tried to license DC5 tracks for reissue in compilation albums many times over the years and was always turned down.   Dave hasn't been the only rights holder with a grossly inflated idea of the value of his material who wound up minimizing the potential of such property and blowing a fortune on re-use opportunities over time.  Phil Spector did the same thing with his Philles catalogue; Allen Klein with the Cameo-Parkway masters and there have been others.  

Anyone remember Joni James?  Back in the '50s she scored 29 times (plus once in 1960) on MGM, including seven Top 10 hits (among them three million-sellers and one chart-topper, "Why Don't You Believe Me").  When Joni left the label, she and her husband, bandleader Tony Acquaviva, were able to take all her masters with them.   According to others who then tried licensing her stuff, Tony could demand advances of as much as a million dollars before anyone could reissue any of her tracks!   As a result, no one did -- and, just like with the DC5 material, radio eventually forgot about Joni James and so did everyone else except for an ever diminishing number of hardcore fans.   After Tony died in 1986, Joni's lawyer opened the opportunity to license her material a little bit and that's when I tried to clear ONE Joni James track for a CD box set I was putting together called "These Were Our Songs: The Early '50s."   I was told that I could not license less than six of her tracks for the collection, which was five more than would work within the context of the album's programming.  As Joni's lawyer stuck to his guns, so did I -- replacing Joni in the set with someone else.  Today Joni James is almost totally forgotten -- and some of the songs she made famous in the '50s are far better known now via the cover versions recorded later by other artists, such as The Duprees ("Why Don't You Believe Me" and "Have You Heard").

Gary Theroux 

Too bad ... these artists that have an over-inflated perception of what their material is worth just never seem to learn.  The audience who would have most-embraced The Dave Clark Five catalog has greatly diminished over time and all but their biggest hits have disappeared from the radio ... which is ALSO too bad because I liked nearly all of their singles.

Spector and Klein were similarly stubborn and blind to their quickly disappearing catalog.  And worse yet, many radio stations were programming bootleg copies that didn't earn either one of them a dime!  Between radio airplay, record sales and licensing for movies and film soundtracks, they probably left untold millions on the table holding off instead for the one big pay day that never came.

As for Joni James, I'm not sure too many people miss these tracks ... for most of us, it boils down to the old adage ... how do you miss what you never had?  We can't even get radio to play legitimate hit records from The Rock Era ... we have no hope at all of hearing her stuff that predated 1956!!!  (kk)  

Here's Joni's biggest Rock Era Hit ... "How Important Can It Be"  (#4, 1955).  Listening to it now I can say with all certainty that this track NEVER would have made the cut and stayed in any kind of rotation all these years, regardless of what her husband's position may have been regarding leasing her masters.  It sounds positively ancient by today's music standards and, as such, is understandably forgotten.  (kk)




I never realised until a couple of months ago just how much everyone loved Dave Clark!

Tony Hatch

More from Tony below ... read on!  (kk)  

re:  ON THE RADIO:  
I've really been disappointed with music channels on Sirius / XM Satellite radio.(60's, 70's, 80's channels for example) If you listen a lot, you'll find they don't go very deep and although their playlist is a big longer than terrestrial stations, they are VERY repetitive.

You can say, of course, they're oldies ... but I dug out some cassettes ... mix tapes ... that I put together years ago, and the years are right ... I'm playing the hits ... but very few of them are played on satellite radio.

WHAT'S UP?  Fewer and fewer reasons for satellite service (unless you're a truck driver on the road all day).  It's like cable tv ... lots of stations you'll never watch or listen to.  The 'powers', the only game in town, aren't programmers, they're bullies to the talent ...  SATELLITE IS DYING!!!  As soon as someone figures out income from the internet and makes a network out of it, SATELLITE IS GONE!!!   (Never pay full price ... I only kept it for a $77 a year offer ... they don't like to let you go ... they know you'll never miss them)!

-- RENFIELD

Satellite WAS an interesting alternative ... no commercials ... bigger playlists ... more variety ... but if they've cut their playlists now, too, what's the point?  Plus you're PAYING for this service!  (FH Reader Larry Neal made a similar claim a few weeks ago after his two weeks of free Sirius / FM ran out ... sounds like he won't miss it at all ... same stuff you can get anywhere ... and everywhere ... else.  Why would anybody pay for THAT?!?!?)

I truly believe there is NOBODY in power anymore that gives a damn ... it's not about variety ... it's not about standing out in the crowd ... it's not about giving the listeners what they want or a reason to tune in ... it's just going with the flow and listeners be damned.  Too bad ... there is a valuable resource here that is just being wasted away.  (I'd rather go to ReelRadio.com and listen to old vintage programs than to most of what passes for radio entertainment today!)  kk  

re:  THE SATURDAY SURVEYS:  
Hi, Kent,  

I must be one of "the six" Forgotten Hits folks who remember Rita Pavone, the song -- and the lyrics. And believe it or not, I heard the song on the radio in the Twin Cities on Friday.

"Remember Me" always reminds me of another great "scorned lover" song, Trade Martin's 1962 hit "That Stranger Used To Be My Girl."http://www.youtube.com/watch?v=3oj4r2RQZyc

Don Effenberger

 

Hola Kent, 

Where on Earth did you find that Top 40 listing posted today for this week in '64 ? As you know, I had a particular interest in the song "Chapel of Love" by the Dixie Cups and it isn't even on the list while it was nationally ranked #1 by the Billboard Charts? Talk about 'Bottom of the Dial Radio' ... CK80 ... ha ha ... what planet is this chart from?

I also think I found a goof on the WJJD Survey ... It Only Hurts For a Little While was actually by the Ames Brothers and it was RCA 47-6481. (Not Decca 47-6481.)  I was trying to find that song by the 4 Aces and it doesn't exist! 

I really like the varied Top 40 listings you gather from everywhere, and perhaps to add significance to them, you could lead with the Billboard National chart to compare and contrast the listening habits across the country.

Have a Super Flag Day !

Cheers,

CharlieOFD

As we've seen numerous times since this new Saturday Survey feature kicked off in January, the radio stations that published these charts were not particularly known for their accuracy ... or spelling skills!

CKLW was a Canadian radio station ... which might explain why "Can't You See That She's Mine" was already a Top Ten Record there the same week it was premiering on our U.S. Billboard Chart!  (They did tend to get the British Invasion hits there first for some reason!)

As for "It Only Hurts For A Little While", you're correct ... the BIG hit version was done by The Ames Brothers ... it looks like they got the catalog number right ... but not much else!  I checked the chart from the following week and the error had been corrected ... and it was listed properly for the rest of the record's chart run.  (By the way, the week it spent at #4, incorrectly identified as The Four Aces, was its peak on the chart.)  kk  

 

Kent, 

I didn't know that a group known as the 4 Jokers had a version of TRANSFUSION. I assume that's the old Nervous Norvus song. I couldn't find the 4 Jokers' version online.

And to answer your question, I may not be able to sing any of Rita Pavone's REMEMBER ME, but I do have the record and did remember it. 

Larry

Cool that we've heard from TWO of the six people that remember "Remember Me"!

As for "Transfusion" by The Four Jokers, that was a real record, released on Diamond Records.  Here's a photo of the label ... a promo copy no less!  (kk)

 

I find it amazing that Milwaukee had Top 40 charts/surveys before Chicago. That seems odd to me, but Milwaukee’s go back to at least September of 1955. 

Ken

I've found Top Ten Listings that used to appear in our newspapers dating back earlier than this WJJD Chart ... but as far as I know this was the first "official" Top 40 Chart published.  (Billboard also used to report the top records in Chicago in a weekly feature way back when, dating back to 1950 if I'm not mistaken ... but as far as an actual chart that we can show a photo of, this would be the earliest one I've ever seen.)  kk

 

re:  NEW CASH BOX BOOK:

It's at the printer now ... and copies will be shipping shortly.  It's Joel Whitburn's new book chronicling Cash Box's "Looking Ahead" chart ... and it sounds absolutely amazing!!!

The book details the nearly 6500 titles (by over 3000 artists) that failed to reach Cash Box's Top 100 Pop Singles Chart ... 3500 of which never made Joel's Billboard "Top Pop Singles" book either ... meaning ALL kinds of new entries for us crazed collectors to go after for our collections!

Early chart hits by established artists ... regional hits by garage bands that never caught on nationally.  Celebrity recordings ... they're all here packed between the covers of this 216-page encyclopedia of music history!  More details on the Record Research Website:

Click here: Joel Whitburn's Record Research | Music & Billboard Charts Data

re:  THIS AND THAT:

I just LOVE running a "feel good" story once in a while ... and this is a REAL feel good story, send in to us by The King Of Fuzz, Davie Allan ...

This is history but I wanted to tell you about it anyway. (I got dozens of comments in emails and on facebook about it and the kudos for my wife Janine are wonderful):

What a knock me out gift!! I just had to share this. I got up this morning and Janine, my wife, was nowhere to be found. She left a note saying she had to go pick up a special present and she couldn't have it delivered. So, a few hours later she gets home and says I need to come out to the garage and help her bring it in.  Standing there was my 60's bass player, Drew Bennett, and his lady Stephanie. Janine paid for their flights from Las Vegas and tomorrow we are going to Disneyland for two days (she is treating them to that also).  I was so stunned by this that I am still in shock! Davie Allan  

And THIS one's pretty special, too!!!  

>>>Don't know if you've been informed about this yet, but there's a new Tony Hatch Compilation. I believe Tony even wrote liner notes for it.  (Bill)

>>>Actually I saw this in the Collectors Choice catalog a couple of weeks ago and meant to mention it ... it looks like a very interesting compilation ... and I think Tony should send me an autographed copy!!!  (Are you reading this Tony?!?!?)  kk

Hi Kent,
I would have to be dead, very sick or very busy (extremely occupied sex?) to miss any item on Forgotten Hits. Every edition is an education. One learns so much! For example, I never realised until a couple of months ago just how much everyone loved Dave Clark!
I also appreciate that Forgotten Hits allows readers to promote their shows. I take this opportunity. This is a big one.
TONY HATCHin Concert at The Royal Festival Hall, London, Saturday July 5th, with a 40 - piece concert orchestra and fabulous guest singers with, especially, the amazing Petula Clark.
This is a double celebration. DOWNTOWN celebrates it's 50th Birthday this year.
TONY HATCH

Now THAT would be a show to see!!!  We have some readers over in the UK ... who knows, you just may get the chance to meet a couple of them at this gala event!!!  And PLEASE report back to us afterwards ... I'm sure you'd be the first to agree ... who would have EVER dreamed this possible fifty years ago?!?!  The music lives on ... some of the best music of our lives.  Congratulations, Tony!  (kk)

Very sad to hear that Bill Traut died.  Very important figure in Chicago late sixties pop and rock.

Blub  

A couple of weeks ago WCBS-FM started a new feature ... The 1980's at Eight with Joe Causi ... once again moving away from the 50's & 60's and closer to the 70's & 80's.

I was going to send you a couple of $2 win tickets on California Chrome, if he won, advising you to hold on to them as collectors items. I was going to frame mine with the newspaper headlines. It didn't work out.

I did the same thing a few years ago when Big Brown won the Derby and Preakness. It didn't work out either.

One of these years it's going to work. Of course I might go broke before that happens.
Frank B.  

Brian Wilson seems to be getting a lot of online shit about his new album project, which reportedly will feature duets with artists like Kacey Musgraves, Zooey Deschanel and Lana Del Rey.

Fans apparently hate the concept ... but Wilson defends his actions.  He recently posted the following on his Facebook page:

To my fans:   
It kind of bums me out to see some of the negativity here about the album I’ve been working so hard on. In my life in music, I’ve been told too many times not to fuck with the formula, but as an artist it’s my job to do that – and I think I’ve earned that right.I’m really proud of these new songs and to hear these great artists sing on them just blows me away. I love what we've done.I would think that after making music for more than fifty years, my fans would understand that I’ll always do what’s in my heart – and I think that’s why you are my fans. So let’s just wait until the album comes out because I think you just might dig it as much as I do.  
Love and Mercy,

Brian

I don't know about you but I LOVE the idea of hearing Brian's duets album.  (I'm a big Kacey Musgraves fan ... and watched her "Crossroads" performance with Katy Perry TWICE the other night!  I think she's one of the most creative and entertaining new talents out there!)  But then again I'm going to buy Brian's next CD no matter what ... so who knows.  (I was discouraged to read that Lana Del Rey seems to be hell-bent on a path of personal destruction.  She seems quite suicidal ... and lists her two greatest heroes and influences as Kurt Cobain and Amy Winehouse ... that alone ought to tell you something!)  kk  

>>>I've been trying to get Tommy Roe to Chicago, too.  (How's that for a GREAT double bill ... Tommy Roe and Lou Christie!!!)  Because of all of the artists that we're in touch with now, we know that there are SO many that would love to come here to perform ... but are never asked.  Maybe the feeling is they couldn't sustain enough of an audience to fill a theater ... which is why these "package deals" appeal so much to me ... more variety and entertainment packed into every ticket sale.  FH Regulars like The Rip Chords and Henry Gross ... Freddy Cannon ... Davie Allan ... Charlie Gracie ... The 1910 Fruitgum Company ... Ron Dante ... Bob Lind ... The Fleetwoods ... Billy J. Kramer ... most of these artists haven't played a gig in the Chicago area in AGES!!!  Dionne Warwick recently approached me about lining up some shows in Chi-Town ... I put feelers out to several venues and didn't get a single reply ... and I just know that she would PACK the place!!!  (I've also been pushing for a show featuring Herb Alpert and his wife Lani Hall ... but that, too, fell on deaf ears.  I did just hear last night, however, that the duo are coming to Skokie to do a show so we'll have to make it a point to get to that one!)  It'd be nice if some of the people with far more power than I could get involved.  We would love to help make some of these connections and bring this talent to Chicago.  (kk)   
Thanks for the thought, Kent (getting me out to Chi Town for a gig). You are right about one guy -- one NON-star guy -- not being able to fill a theatre. As you say, one needs to join a gang.

But the larger problem is that just one show isn't usually cost effective -- even if the pay is fabulous. One needs a tour. When you consider that an artist needs plane fare, transportation to the venue and usually at least one hotel night, I can't imagine any club, theatre or auditorium that can pay that kind of money. With a tour, it can often work out, but not for a single appearance. Plus, I can't speak for the other guys you mention, but some of us want to play our new things when we perform. "Oldies" audiences tend to resent that. Speaking for me, my new songs are better than the older ones and I want my fans to hear them. Some of the smaller venues (clubs as opposed to theatres) offer greater flexibility along those lines. As you know, two years ago, Danny O'keefe and I did a tour together and it worked out great. We did a mix of our old and new things and the audiences didn't demand that we stay in the past. There ARE venues like that and that's what I'm always looking for.

I appreciate your sentiments and your continued support of my career.

All the best to you,

Bob Lind   

Here's a GREAT review of Al Kooper's (@l k%per) recent concert at the Swyer Theater in Albany, New York:  http://metroland.net/2014/05/30/al-kooper-70th-birthday-concert/

Kooper has another gig lined up at the end of this month (with a full band, The Funky Faculty) at The Bull Run, a great supper-club in Shirley, MA, not far from Boston.  It's a One Night Stand on June 28th and tickets are suggested in advance.  More information here:

http://tickets.bullrunrestaurant.com/ordertickets.asp?p=684&backurl=default.asp

And news about a DIFFERENT Al(ice) (C)ooper came across our desk this week, too!  

New York, NY (June 12, 2014) — Following the April premiere of Super Duper Alice Cooper at the Tribeca Film Festival, and the subsequent release of the documentary on DVD, Blu-Ray, Deluxe Editions, and digital formats this month via Eagle Rock Entertainment, rock's greatest showman, Alice Cooper, heads out on a lengthy North American tour.

The summer trek starts with three shows in Michigan June 26 - 28 before Cooper joins Motley Crue's final "All Bad Things Must Come To An End" tour as a Very Special Guest on July 2nd, running through late November.   

The tour marks the debut of Alice's new guitarist Nita Strauss, who was recently ranked #1 on Guitar World's list of "10 Female Guitar Players You Should Know."  She takes the place of Orianthi, who has toured with Alice for the past few years.  Nita, who has made her name in bands including the Iron Maidens, Femme Fatale, and LA Kiss, joins Alice's band's three guitar attack, which also features guitarists Ryan Roxie and Tommy Henriksen, plus longtime bassist Chuck Garric and drummer Glen Sobel.

Super Duper Alice Cooper was produced and directed by the Banger Films team of Sam Dunn, Scot McFadyen and Reginald Harkema.  Banger previously delivered the award-winning documentaries "Iron Maiden: Flight 666" and "Rush: Beyond The Lighted Stage."  Eagle Rock Entertainment released the film in DVD and Blu-Ray on June 3rd, including a deluxe edition with extensive bonus material film footage from a rare 1972 Montreal concert and a full length recent Alice Cooper concert from the 2009 Montreux Festival on CD.

Alice recently marked the tenth anniversary of his radio show "Nights With Alice Cooper," which airs five days a week across the USA, Canada and Australia, as well as in the UK and Germany, syndicated worldwide by United Stations.

Alice Cooper tour itinerary:

Thursday, June 26 - Manistee MI, Little River Casino

Friday, June 27 - Sault Ste Marie, Kewadin Casino

Saturday, June 28 - Bay City MI, River Roar Festival @ Veteran's Memorial Park

Wednesday, July 2 - Grand Rapids MI, Van Andel Arena                                       

Friday, July 4 - Milwaukee WI, Summerfest @ Marcus Amphitheatre     

Saturday, July 5 - Noblesville IN, Klipsch Music Center                                     

Sunday, July 6 - Cincinnati OH, Riverbend                                             

Tuesday, July 8 - Columbus OH, Schottenstein Center              

Wednesday, July 9  - Maryland Heights MO, Verizon Wireless Amphitheatre 

Friday, July 11 - Des Moines IA, Wells Fargo Arena

Saturday, July 12 - Wichita KS, Intrust Bank Arena                                  

Sunday, July 13 - Tulsa OK, BOK Center                                         

Tuesday, July 15 - Cedar Park TX, Cedar Park Center     

Wednesday, July 16 - Dallas TX, Gexa Energy Pavilion                    

Friday, July 18 - Albuquerque NM, Isleta Amphitheatre                    

Saturday, July 19 - Phoenix AZ, Ak-Chin Pavilion              

Monday, July 21 - Hollywood CA, Hollywood Bowl                                   

Tuesday, July 22 - Irvine CA, Verizon Wireless Amphitheatre              

Wednesday, July 23 - Mountain View CA, Shoreline Amphitheatre        

Friday, July 25 - Reno NV, Events Center

Saturday, July 26 - Ridgefield WA, Sleep Country Amphitheatre                                  

Sunday, July 27 - Auburn WA, White River Amphithreatre               

Tuesday, July 29 - Wheatland CA, Sleep Train Amphitheatre  

Friday, August 1 - W Valley City UT, Usana Amphitheatre

Saturday, August 2 - Denver CO, Pepsi Arena             

Sunday, August 3 - Kansas City MO, Sprint Center

Tuesday, August 5 - Sturgis SD, Buffalo Chip

Wednesday, August 6 - Sioux City IA, Tyson Events Center   

Friday, August 8 - Tinley Park IL, First Midwest Bank Amphitheatre  

Saturday, August 9 - Clarkston MI, DTE Energy Music Theatre    

Sunday, August 10 - Toronto ON, Molson Canadian Amphitheatre 

Tuesday, August 12 - Cuyahoga Falls OH, Blossom Music Center

Wednesday, August 13 - Burgettstown PA, First Niagara Pavilion                 

Friday, August 15 - Pelham AL, Oak Mountain Amphitheatre               

Saturday, August 16 - Alpharetta GA, Verizon Amphitheatre @ Encore Park

Sunday, August 17 - Tampa FL, Mid-Florida Credit Union Amphitheatre                 

Tuesday, August 19 - Charlotte NC, PNC Music Pavilion                  

Wednesday, August 20 - Virginia Beach VA, Farm Bureau Live         

Friday, August 22 - Bristow VA, Jiffy Lube Live

Saturday, August 23 - Camden NJ, Susquehanna Bank Center                   

Sunday, August 24 - Mansfield MA, Comcast Center                        

Tuesday, August 26 - Saratoga Springs NY, Performing Arts Center

Wednesday, August 27 - Allentown PA, Great Allentown Fair 

Friday, August 29 - Wantagh NY, Nikon Theatre @ Jones Beach

Saturday, August 30 - Holmdel NJ, PNC Bank Arts Center

Sunday, August 31 - Darien Center NY, Darien Lakes Performing Arts Center

Friday, October 10  - Oklahoma City OK, Chesapeake Arena

Saturday, October 11 - Woodlands TX, Cynthia Woods Pavilion

Sunday, October 12 - Bossier City LA, Century Link Center

Tuesday, October 14 - Louisville KY, KFC Yum! Center

Wednesday, October 15 - Nashville TN, Bridgestone Arena

Sunday, Oct 19 - Jacksonville FL, Veteran's Memorial Arena

Tuesday, Oct 21 - Greenville SC, Bon Secours Wellness Arena

Wednesday, Oct 22 - Greensboro NC, Coliseum

Friday, Oct 24 - Atlantic City NJ, Borgata

Saturday, Oct 25 - Atlantic City NJ, Borgata

Sunday, Oct 26 - Uncasville CT, Mohegan Sun

Tuesday, Oct 28 - New York, NY, Madison Square Garden

Wednesday, Oct 29 - Syracuse NY, OnCenter

Wednesday, Nov 5 - Biloxi MS, Coast Coliseum

Thursday, Nov 6 - Southhaven MS, Landers Center

Saturday, Nov 8 - Detroit MI, Joe Louis Arena

Sunday, Nov 9 - Moline IL, iWireless Center

Tuesday, Nov 11 - Green Bay WI, Resch Center

Wednesday,  Nov 12 - Madison WI, Alliant Energy Center

Thursday, Nov 13 - Omaha NE, Century Link Center

Saturday, Nov 15 - St Paul MN, Xcel Energy Center

Sunday, Nov 16 - Fargo ND, Fargo Dome

Tuesday, Nov 18 - Edmonton AB, Rexall Place

Wednesday, Nov 19 - Calgary AB, Scotiabank Saddledome

Friday, Nov 21 - Vancouver BC, Rogers Arena

Saturday, Nov 22 - Spokane WA, Arena

For more information:

www.alicecooper.com

www.nightswithalicecooper.com

Yowzah ... now THAT's a TOUR!!!   Putting in long hours again lately, I've had the chance to listen to "Nights With Alice Cooper" more often recently ... it airs here locally on 103.9FM / The Fox ... and it's quite entertaining.  I have to say that I enjoy and appreciate Alice's taste in music. (kk)  

FH Reader Tom Cuddy tells us that Houston songwriter Mark James is headed to The Songwriters Hall Of Fame ...

http://www.houstonchronicle.com/entertainment/music/article/Houston-songwriter-headed-to-hall-of-fame-5542401.php#/12

Three of James' best known tracks are "Hooked On A Feeling" (a huge hit for B.J. Thomas), "Suspicious Minds" (a #1 Record for Elvis Presley) and "Always On My Mind" (written for Elvis but taken to even greater heights by Willie Nelson.)  To say that this is a long-deserved honor is the understatement of the day!  Congratuations, Mark!  (kk) Here's Mark singing his own "Suspicious Minds" (pre-Elvis).

We're still seeing lots of press about the new "Wages Of Spin II" documentary that's making the film festival circuit right now.  Thanks to producer / director Shawn Swords, I was able to view a screening copy last week.  My opinion:  this one isn't for everybody ... it is NOT something that is going to appeal to the masses.

That's not to say that it isn't interesting subject manner ... taking payola a step further, "Wages Of Spin II" examines some of the under-handed dealings that went on between MCA Records, Organized Crime and the United States Government ... reaching all the way up to President Ronald Reagan and the White House (who had ties of his own to MCA dating back to his motion picture days).  
It is just that the interviews are presented in such a matter-of-fact, monotone manner that it's hard to stay interested and focused ... heavy-handed as this subject matter may be, it is in desperate need of a lighter tone and better flow ... or I do believe folks will begin to tune out.  (To a degree, it hits you over the head ... but offers no "escape" to the topic at hand.)
Yes, it's 100% wrong that this was going on ... no doubt about it ... but the desired core base of MUSIC fans will want to hear the story from the perspective of how all of this affected them ... and that point just never seems to come across the way the subject of payola did in the first film.  As such, my feeling is that they are not going to flock to see this film the way they did the first one where they could immediately connect to the legendary presence of Dick Clark and Alan Freed.  There was a "connection" there that simply isn't present in this new film.
By the same token I came away from the film feeling like there probably isn't a single national chart that we can trust and believe anymore ... if the record companies, retailers and disc jockeys were involved in all of these under-the-table deals, you just KNOW that the trade publications had to be, too.  (We've already heard the stories about how a full page ad in any given publication could cause your latest hit record to take a 20-point jump up the next chart ... and I'm sure it runs FAR deeper than that.)  The thing about it is ... and it's a sad reality to a certain extent ... we were all apparently force-fed the hits since day one ... it had already been determined which records we were going to get to hear and which ones we weren't.  What nobody factored into the equation was the buying power of the American teenager.  I don't care how many times you played it, we didn't BUY it until we liked it.  Virtually EVERY kid I know had a limited source of income to spend on the latest hits of the day ... so we picked and chose wisely.

If you're an industry insider, you will definitely enjoy this new film much more than the average music fan / consumer will.  (The cut-outs story alone is priceless!  And think about how many of THOSE we have al bought over the years!)  But I cannot in good conscience recommend this film to everyone ... I just don't feel it contains the mass appeal to hold your interest.  Had they livened it up a little bit with a little more music of the day and entertainment star power, I think it might have held more of a "mass appeal" factor and connected with more of the target audience.  As it is, I can only give this a 4 out of 10.  (kk)

>>>The official word is Ron Riley really can't leave Baltimore now as he has to tend to his wife ... so the latest story is that Clark Weber has asked former on-air mate Bernie Allen to stop by and visit that day.  (kk) 
Speaking of Bernie Allen, Kent (see attached) -- and, as I think we have discussed before, Clark Weber and Ron Riley were emceeing a New Colony Six show in the vertical picture Clark Besch sent you (as evident by the “C” on the bass drum head, which, as you can see on the NC6 vs Robin Hoods Page 8 attachment from a concert at the Aragon Ballroom, is clearly ours)!      

Ray Graffia, Jr.  
P.S.  Fred Glickstein of the Flock told me he came to this show and shared that, in speaking with one of the Robin Hoods afterwards, he asked how they came to that name.  According to F.G., the dude said that they kicked around several tags  and mentioned The Flock as one they entertained but finally rejected.  Freddie, who liked the label, went to his mates and the renaming of their band (I forget their prior moniker) became official = The Flock! 
Pretty cool to hear the story when he first told me, both in his coming to see us and in our having the tiniest hand in naming them, and pretty cool again to be able to relate it to you!  
Later, kk,  
Ray

 

Get The Flock out of here ... for real?!?!?  Yeah, that is pretty cool.  (Don'tcha just love it when all this stuff comes around and ties together?!?!)  Some interesting behind-the-scenes insight, to be sure.  (Man you guys look so YOUNG there ... right out of high school, right?  1965!!!)  kk   

re:  HAPPY FATHER'S DAY:  
Kent,

Hope you have a great Father's Day weekend.  A while ago I thought of a record I hadn't heard in years, got it out to play end enjoyed it. Nope, it wasn't MY DAD by Paul Peterson, but Chuck Berry's 1964 DEAR DAD. It still rocks.

Larry Neal

Several years ago we did a Father's Day salute by playing TWO versions of "My Dad" ... the Paul Petersen hit single along with a little-know and long-forgotten Ray Stevens track by the same title that I just love ... especially the line about "my dad can beat up your dad ... but he wouldn't".  It's a great track ... so THAT'S the one we're going to feature today!  (kk)

re:  NEXT WEEK IN FORGOTTEN HITS:  
A very special new series ... inspired by one of our readers who asked us to define "The Chicago Sound".

(In fact, all of our "local heroes" should enjoy this one ... and some even weighed in with opinions of their own.)
Next week, Forgotten Hits investigates "The Chicago Sound"!
Does it even exist?  And how do we define it?  
Be sure to check it out ... EXCLUSIVELY on The Forgotten hits Website!

(And we hope to hear from YOU guys on this, too!)  kk

---

What Is "The Chicago Sound" ... Or Is There Such A Thing?

June 16, 2014, 4:13 am

≫ Next: The Chicago Sound - Part Two

≪ Previous: The Sunday Comments ( 06 - 15 - 14 )

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I recently received this email from FH Reader Shelley Sweet-Tufano ... and it got me to thinking ... is there really such a thing as "The Chicago Sound"???  

Kent, 
I posted on ChicagosownBuckinghams Facebook page, but people are shy there.  I am hoping your web page has bolder people.  I bought 'FlashBack', the cd you displayed on your site today.  As soon as it started, I said, "There it is! The Chicago Sound!"  Then I asked myself what I meant by that.  I am now looking for plain words and descriptions from others of what they think / feel the Chicago Sound is.  I can look up definitions, and techni-speak, but I want personal input; which may also include technical jargon.  Helping out the 'ole school marm' here please. 
Shelley J Sweet-Tufano  

Honestly, the more I thought about it, the more I felt unsure of just how I would answer this question ... especially at a level that would be acceptable for a school teacher to take to her students.  

Taken strictly in the context of her email, she was referring to The Buckinghams and the '60's ... but, as a school teacher, I'm sure she's looking for a broader scope and definition. 

"The Chicago Sound" ... 

We throw the phrase around quite a bit ... but what does it really mean?  (Chicago is the blues ... Chess Records ... Chi-Town Soul ... the whole "horn-rock" thing ... but it's also much more than that.) 

What defined us as a city and a sound that was uniquely ours? 

Food for thought? 

We put this out to a wide array of readers asking what THEY thought best defined "The Chicago Sound".  Over the next few days, we'll share some of the responses we received. 

And, we would love to hear from you, too ... and share your opinions with our readers.  

Is there really such a thing as "The Chicago Sound"?  I mean Detroit had The Motown Sound ... which became known as the Sound of Motor City ... but that was a very specific sound generated by a very specific label ... and most of those recordings featured music performed by the same block of studio musicians and written by the same staff of songwriters and arrangers ... so there was a "common thread" that linked all of this great music together.  But let's face it ... Detroit ALSO gave us Bob Seger and Ted Nugent ... and they don't sound anything at ALL like "The Motown Sound"!!! 

Certainly the music of California ran deeper than just surf tunes ... much as New York City provided us with more than street-corner doo-wop and songs cranked out by The Brill Building.  I don't know that you can accurately categorize ANY city as having a particular sound.  (OK, maybe Honolulu ... but somebody could probably prove me wrong there, too!!!) 

Then again, Nashville certainly had a sound ... if you were cutting a country record back in the '50's or '60's, odds are you went to Music City, USA to do so.

Ditto for Memphis and Muscle Shoals ... there was a certain sound created in those studios ... largely attributed to the incredible musicians on staff at these particular studios.  As such, artists as diverse as Elvis Presley and Dusty Springfield recorded there, trying to capture that unique "sound" of Memphis and/or Muscle Shoals.

By the same token, The Wrecking Crew played literally THOUSANDS of sessions in LA back then ... but they were such incredible, well-rounded musicians that in the course of 48 hours they could lay down tracks for Frank Sinatra, The Beach Boys, The Mamas and the Papas, The Monkees and still slip in three or four television themes to boot!  There was no one single "unique", identifying sound that tied any of this music together ... they just played on EVERYTHING!

And what about Philadelphia?  Certainly Philly had its own sound ... they even NAMED it "The Sound of Philadelphia" ... and if a new release came out of this city, you pretty much knew in advance what that latest hit record was going to feel and sound like ... there was an expectation and a particular groove attached to it.  In Philly, they wore the badge of THEIR sound right on the record label!

But did we have a "sound" here in The Windy City? 

Consider this ... even our local heroes ... The Buckinghams, The New Colony Six, The Mauds and assorted others ... made it a point to record some of their tracks at the Chess Studios on Michigan Avenue.  Heck, even The Rolling Stones wanted to record there when they first flew over from London!!!  So maybe THAT was the "uniting" force that best defined "The Chicago Sound"!!! 

Then again The Guess Who came down from Canada to record at Chicago's RCA Studios ... not so much because they were trying to capture a specific sound or groove ... the studios here were just better than they were back home.  That's not to say that they didn't pick up a certain ambiance from the city ... but I don't think it influenced their sound in any way ... The Guess Who's sound WAS The Guess Who's sound.

Look at an artist like Creedence Clearwater Revival ... they were able to capture the entire essence of "Louisiana Swamp" / Bayou Music ... in the Fantasy Studios in San Francisco!  (And John Fogerty will be the first to tell you that the single greatest influence on his style were the great Sun Records that came out of Memphis, Tennessee!)
 

Tomorrow we take a more in-depth look at the Sound of Our City ... kicking off with a piece written especially for Forgotten Hits by Carl Giammarese of The Buckinghams!!!

Stay tuned!

The Chicago Sound - Part Two

June 17, 2014, 4:41 am

≫ Next: The Chicago Sound - Part Three

≪ Previous: What Is "The Chicago Sound" ... Or Is There Such A Thing?

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Since Shelley singled out The Buckinghams in her inquiry, I thought that this would be a great place to start.  

The following comes from Carl Giammarese ... some of it written specifically for our readers ... and some of it is an EXCLUSIVE excerpt from his forthcoming book, world premiered right here in Forgotten Hits!!!  

The Buckinghams and “The Chicago Sound”   

Before The Beatles came and changed our worlds as we then knew them to be, Chicago had always been known for an exciting, vibrant sound coming from clubs and ballrooms here. Up and down the streets of Old Town, teenagers found bands they liked, one by one. As musicians in The Buckinghams and also as teenage consumers of music, we knew what we liked. Each of us liked and followed some of the same groups, but we also looked for whatever resonated with us personally to play for our audiences. Everyone had an equal say and we all got along well.  

Our parents’ music was playing on the radio ... Frank Sinatra, Dean Martin, Perry Como, as well as Andy Williams, Johnny Mathis, and Percy Faith. A young Barbra Streisand, Bill Haley & the Comets, and a few other artists were working their ways into the mix. Before Rock and Roll and the British Invasion were popular, Chicago was already famous for the greatest soulful sounds of blues and jazz — coming from the club scenes frequented by sophisticated listeners. Chess Records was birthplace and home of the Chicago blues sound for legends such as Willie Dixon, Muddy Waters, Howlin’ Wolf, B.B. King, and vocalists Etta James, Koko Taylor and more. That group defined “the Chicago sound” to us, before we found our way to performing as The Pulsations, later rechristened The Buckinghams, in 1965 and 1966.  

As The Buckinghams, we were proud to be alongside our friends in other Chicago bands including the American Breed, Baby Huey & The Baby Sitters, Canned Heat, Cherry Slush, Cryan’ Shames, The Dontays, The Flock, The Mauds, Shadows of Knight, New Colony 6 and more. Our sound, among the others, was a gritty, “garage” sound, as it’s been described, with a lot of fuzz guitar, rock beat and great vocals.  

The Buckinghams were fortunate to have the support and backing of two distinctly talented men, Carl Bonafede and Dan Belloc, who launched us on to records, based on what we were able to do onstage. We’d been playing at teen dances at the Holiday Ballroom, the Aragon Ballroom, (later Cheetah Nite Club), The Embassy Ballroom, Antoine’s, the Majestic and Dex Card’s Wild Goose. Remember those? 

As a result of our winning a 13-week appearance on WGN’s “All Time Hits,” Chicagoans identified us, by face and name, as their very own, among others, because of how we performed songs of the day back, for them. Seeing our look and style on stage also contributed to a Chicago sound for our group. We were all serious about performing, recording and music as “our business” — we didn’t have a “Plan B” for what we’d do if music didn’t work out. We were equally committed to being professional musicians as well as music professionals.  

With the financing of Bonafede and Belloc, and the talented engineer, Ron Malo, when we walked into Chess Studios to put down “our sound,” we drew on the strength of how we played our instruments and backed Dennis Tufano’s excellent, distinctive vocals. We were, before The Beatles, a band with more of an R&B sound than rock and roll. We did “I’ll Go Crazy,” “I Call Your Name,” “I’ve Been Wrong,” “Summertime,” “Don’t Want to Cry” and others in concert, without horns. We had a gritty, garage band sound to identify us as performers, similar to but different than the other groups.  

Our first album was the vinyl capture of the songs we played on stage that the teenagers liked. (To contradict your earlier statement in a different column, Kent, that we didn’t know how to play our instruments yet and relied on studio performers, listen carefully to every track on our “Kind of a Drag” album on USA Records. That’s Dennis Tufano singing, us backing him on vocals, Jon-Jon Poulos on the drums, Dennis Miccolis on keyboards, Nick Fortuna on bass, and me on lead guitar, not studio personnel. That’s all us.)   

What became a defining part of our recorded sound, also, were horn players from Dan Belloc’s big band. The Buckinghams never performed with horns on stage at that time, nor did we travel with them after we cut records in Chicago. Yet each of our USA Records had that distinctive “pop rock horn sound” that became the genesis of The Buckinghams’ “Chicago sound” on the radio. Other bands included horns in recordings outside of Chicago, but we were the first to become known for it here, because of radio airplay and WLS and WCFL, to have such horn-heavy arrangements, particularly trombone, on rock and roll records.  

After “Kind of a Drag” hit number one, and we left Chicago to go to New York with Columbia Records and manager / producer Jim Guercio, Marty Grebb had replaced Dennis Miccolis on keyboards. Guercio took our USA Records horn sound and added his own touches, and those of talented arrangers at Columbia with their New York studio orchestra players to create our next level of “horn sound.” Guercio had “ears” before the term ever became commonly used. Guercio’s major orchestrations on “Time and Charges” songs included symphonic instruments, plus the horns, which made our distinctive sound even more firmly the “pop rock horn sound.”  

Guercio strengthened that sound even more on orchestrations he created and assigned out to others, on our second album “Portraits,” created in Los Angeles. Jim brought in some studio players in LA if he didn’t like how we had recorded a particular track. He knew what he wanted and we were playing 300 dates a year (without horns) in 1967 and had little in-studio time. With “Hey Baby” and “Susan” on “Portraits” by Holvay and Beisbier, our Chicago sound, with the horns, was even more identifiable with us. Every song you knew back then that was ours had horns in it.  

A few years ago in concert, Nick and I started talking with the audience about how Guercio took what he learned with The Buckinghams over to the band “Chicago” by performing Marty Grebb’s “C’mon Home,” which we do first, and then we go right into Robert Lamm’s “Beginnings.” Same groove and feel.  

When I first thought about creating the “FlashBack!” album, I wanted to show our musical roots and how we matured through the 1960s until we broke up in 1970. It was fun to have Rocky and Dave join us in recording our early hits, including “I’ll Go Crazy,” “I Call Your Name,” “You Make Me Feel Good,” “I’ve Been Wrong” and “Lawdy Miss Clawdy,” (horn-heavy); and, we added in the national hits — “Kind of a Drag,” “Don’t You Care,” “Mercy, Mercy, Mercy,” "Susan,” “Back in Love Again” and “You Misunderstand Me.”  It was even more special because this time I was the one wearing the headphones, pacing the studio floor, listening to different instruments, deciding what to use. Larry Millis (The Ides) did a great job on mastering, more Chicago history there.   

“FlashBack!” is really our portfolio of the pop-rock horn sound, our journey we launched in Chicagoland and Chess Studios, which was continued on brilliantly by other Chicago-based bands, including all our friends you know so well. Every time a Chicago band broke onto the national scene was a win, shared by all of us.  

When Nick and I reformed The Buckinghams and decided to tour full time in late 1982, I wanted to have horn players join us on stage as often as possible, to stay true to our sound that people knew and liked us for back in the 1960s. We wanted to recreate the records as closely as possible, including the keys the songs were first recorded — that’s important to the audience and we respect what they want.  We’re fortunate to have Carlo Isabelli, Chuck Morgan, Rich Moore as our primary Buckinghorns, and we have brought them with us around the country for selected dates like Presidential Inaugurals. If we go too far from home or they have other commitments, I’ll find horn players in the cities we’re going to and work long distance before the concerts. Other times, Bruce Soboroff can sound like an entire horn section on his keyboards for us.  

Hope that explains our Chicago sound from our perspective. We’re glad to still be bringing that to our fans, on the road and on “FlashBack!”, which has already been receiving great feedback. Special thanks to Clark Besch for sending you the photos and liner notes and your running them in Forgotten Hits on Sunday. We appreciate your getting the word out.    

Carl Giammarese  
[Portions excerpted from the forthcoming book, “My Journey: Reinventing The Buckinghams” by Carl Giammarese and Dawn Lee Wakefield]    

Thank, Carl.  Interested fans can order a copy of the new Buckinghams CD through their website:   
Click here: The Buckinghams - Home Page    

Carl sent me a copy of their new CD last week and it's a fun listen ... as well as an accurate depiction of what these songs sound like when performed by The Buckinghams today.  And I've got to tell you, some of these songs really rock, thanks to the horn arrangements ... you don't realize just what a vital part of their sound this really was!  I am particularly fond of the new version of "Lawdy Miss Clawdy", a track that just missed Billboard's Top 40 after The Buckinghams relocated to Columbia Records and USA tried to cash in on their new-found success by releasing this old album track.  This track just jumps out of the speakers, grabs you and doesn't let go. 

The Buckinghams will also be part of the "Concerts At Sea" package in January of 2015 along with Paul Revere and the Raiders (that'll be fun, hangin' out with their old drummer Tommy Scheckel again!), The Lettermen and The Guess Who.  Again, more information can be found on the website via the link above.   

****  

Carl brings up a few good points.  Prior to "making it", The Buckinghams were influenced by any number of musical acts happening around them.  Two of the best early examples I can think of are James Brown ("I'll Go Crazy", a VERY minor hit for The Godfather of Soul that The Buckinghams reinvented, making it sound like their very own) and The Beatles ("I Call Your Name", which added horns YEARS before The Beatles and George Martin thought about doing so themselves!)

Clarifying a couple of points since they were mentioned in Carl's response:     

The comment about The Buckinghams not playing their own instruments didn't come from me ... but rather from a reader who made the "supposition" that (as most bands did in the '60's), The Buckinghams supplemented and enhanced their sound with the use of studio musicians.  (I have had to clarify this very point with Nick Fortuna earlier as well as he had interpreted the comment as coming from me rather than from a Forgotten Hits reader.)  

Over the years, Carl, Dennis, Nick and Marty have ALL told me on various occasions that once the band signed with Columbia Records, the use of studio musicians certainly became the case ... even more so with The Bucks out on the road as much as they were, playing live concerts and doing television appearances.  But I am happy to reinforce the point once and for all about the "Kind Of A Drag" album being recorded COMPLETELY by the original band.  

Another big story that's been going around for years and years is that Guercio would come back into the studio at night and put his own "musical touches" on what had been recorded earlier that day, sometimes wiping off an entire bass track for example to replace it with his own.  This, too, has been related to me numerous times from each of the guys ... and I'm sure that, as musicians, this had to be infuriating ... I think Carl covers this topic in a most professional and respectful manner when he says that the #1 priority always was committing the best possible tracks to wax and, as such, Guercio had the full support of the band [at the time anyway ... he had, after all, helped guide them to four straight Top Ten Hits!] ... and the band was out on the road much of the time fulfilling their end of the bargain.  (One thing I've learned from Carl over the years is the importance of committing the best possible product as the end result remains your "permanent record".)  As such, even 45 years later, The Buckinghams' records stand up exceptionally well today.  These are well-made recordings that accurately captured the sound of a bright, young, enthusiastic and exciting new band who were living the dream at that moment in time.  That's why you still hear this music every single day on the radio ... it has stood the test of time and ranks as pop perfection.  Each and every member who has EVER been a Buckingham should hold their head high and be extremely proud of this fact.  (kk)  

Thanks, Kent.  It was big fun to re-create those songs. I stuck to the original arrangements although with what I know today, I would have certainly done it differently, but I'm sure our fans want to re-live the songs in their original form. I'm a purest when it comes to that. If you listen to the re-records of the big hits, I really stuck to the original arrangements and tempos. Even the drum fills are there.  

When you listen to the new FlashBack CD you'll notice near the end that a few songs are out of order. It happened in the mastering process. I am going in next week to correct it. So there will be 250 that will become collectors items. That reminds me back in 1968 when Columbia released Dylan's new album.  The pressing plant put our album "In One Ear"on his B side.  That pissed him off!  Ha!   

Guercio was a great producer ... and maybe we've wouldn't have continued the hits without his guidance ... but then again we created our biggest hit without him. We knew if we didn't get some help and exposure more on a national level we could become another 60's Chicago one hit wonder. Like I said before, at the time there was a lot of talent in Chicago, but the business side of it was small time ... you still had to go to LA or NY to make it. The Columbia Records machine did a tremendous job promoting and distributing our records. When USA had Kind Of A Drag they blew it. The distribution was slower than it should have been and they didn't get us any national exposure on TV. That came after we signed with Columbia.  

Going back to Guercio, who knows what he did late at night. Our schedule was so busy with live performances in 1967, we barely had time to come into NY and record the next single. When we finally went to LA for a couple months to record Portraits (which to this day I am very proud of), we all contributed to playing and writing on that album ... which was our Sergeant Pepper. When we interviewed Guercio for the book, (IT WILL GET FINISHED!!!), I was surprised to hear that it wasn't Marty Grebb but a studio player on "Mercy." Marty was the most capable and seasoned musician in the band at that time and certainly could have played the Wurlitzer on that song, but who knows, maybe we were on the road at the time and he had to get it done. Marty made some big contributions back then.  After all this time, who really knows for certain who played what anymore! 
Carl 

Carl Giammarese's book "My Journey: Reinventing The Buckinghams" has been a long time coming ... but fans are anxiously awaiting its release.  (Just like making a record, Carl wants to make sure every detail is right ... because once it's out there, you can't go back and change it.  As such, they're still tweaking and fine-tuning it ... but he assures us it will be soon.)  Former lead singer Dennis Tufano is reportedly in the process of putting his memoirs together as well ... and rumors of a book by former keyboardist Marty Grebb have beencirculating for quite some time, too.  The story of The Buckinghams WILL get out there ... and we can't wait to hear it all!

In 1967 Cash Box Magazine named The Buckinghams "the most promising new artist of the year" ... and why not ... during the course of those twelve incredible months, The Bucks placed no less than SIX Top 40 Hits on The Cash Box Chart:  "Kind of A Drag" (#3); "Lawdy Miss Clawdy" (#39); "Don't You Care" (#6); "Mercy, Mercy, Mercy" (#5); "Hey Baby, They're Playing Our Song" (#5) and "Susan" (#7).  Billboard Magazine called them "the most listened-to band in America" that same year.  Some would argue that The Buckinghams put Chicago on the map.  No other localband to this point had garnered the national attention that these guys did.  (They even appeared on "The Smothers Brothers Comedy Hour" that year ... albeit flanked by a "Union Jack" UK flag!!!  lol)

The Chicago Sound - Part Three

June 18, 2014, 4:12 am

≫ Next: The Chicago Sound - Wrappin' It Up

≪ Previous: The Chicago Sound - Part Two

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Some of our readers ... as well as some of the movers and shakers who made some of this great music from this era ... weigh in on our latest topic ... 

Read on!  (Here are some of the first responses in):   

You know, Kent, this is a good question. Just what the heck is the Chicago sound, if there is indeed a definitive trademark sound?  
You touched on two possibilities that kind of go together ... the Chess Records blues and the brass sound. To me they're related.  
You have the 60s garage bands like The American Breed, The Buckinghams, The Shadows Of Knight, and The Mauds.  The first two represented a more brassier sound, but nonetheless the R&B roots come thru. They'd be joined later by The Ides Of March. Vehicle and Superman would be a departure from their earlier pop sound. More on that in a second.  
The Shadows Of Knight and The Mauds  were more straight ahead blues bands, influenced by Chess Records. The first few New Colony Six sides also had R&B influences as well. On the other hand you had The Cryan' Shames, the later NC6 sides and the early Ides sides, that took their cue from The Beatles. Then you have the soul / R&B of Jerry Butler, Curtis Mayfield, the Impressions, the Chi-Lites, Ramsey Lewis, The Staple Singers, The Dells, Gene Chandler, etc, who had to be influence by the blues issued by Chess and Vee-Jay Records. So if I were to go with one aspect that defined the Chicago Sound, I cast my vote for the Chess Records sound.  
Jack Levin  
There's no easy answer to this one ... and no "right or wrong" answer either ... as you point out, there are MANY elements that encompass "The Chicago Sound".  (Even '60's "pop" acts like The Buckinghams and The New Colony Six laid down tracks at the Chess Studios, whether it was just for a certain quality of sound or an inspired ambiance to those surroundings.  Heck, even The Rolling Stones made it a point to record there ... although, as we learned a few weeks ago, NOT their big hit #1 Record "Satisfaction"!!!  lol)  Lots of opinions here ... and I'm sure we'll see quite a few more once this posting goes out.  (kk)

All of the mid-'60's Chicago bands have admitted to some influence by The British Invasion bands ... The New Colony Six formed as "The Patsmen" for their High School Talent Show and performed a Beatles track ... then decided to stay together to see if they could make some real music of their own.  The Shadows Of Knight were called "Chicago's Answer to The Rolling Stones" ... so while certainly influenced by the Chicago Blues Sound of Chess Records, they may have come by it second hand through an act like The Stones or Them.  Even Jim Peterik later admitted that the very first Ides Of March Hit, "You Wouldn't Listen" was a combination of Curtis Mayfield and The Impressions and The Kinks, jumbled up together to create a fresh, new sound.  
The Hollies were another group that had a HUGE influence on our local heroes, particularly The Cryan' Shames, The Revells and The Buckinghams.  (They caught on to their incredible sound WAY before the masses did here in The States!)

I think it's the sound of soul. By soul I don't just mean R&B music, the blues, or African-American music ... I mean the music of deep feeling.  
Chicago's sound, thanks to both the blues and to Curtis Mayfield, was far more rich and had far more originality and depth than the Philly teen idol music of the early 60s, for example. It had its own kind of soul to it, much like Memphis and Detroit had their own soul. 
I think Mayfield is really ground zero for most Chicago music of the 60s -- even the rock and roll. Many rock groups recorded Impressions or Jerry Butler songs and tried to match their harmonies. Throw in the Beatles and the English groups' love of Chicago blues, and you've got what created the whole garage rock scene. 
Just my .02 
Stu Shea  

Outside of the garage early stuff, I always think of the great harmony vocals by The Shames and Bucks.

Dr. M.

Glenn Barton 

That's a great question and frankly I don't have a complete and definitive answer. While the "Garage Bands" didn't have a polished sound, perhaps it was that "Rock & Rag Tag" appeal that won the ears and hearts of teenagers. Kids listened to their music and thought "I can play as good as that! Tommy James and the Shondells were painfully raw and yet they certainly caused the cash register to ring.  The group Chicago had its brass that did enhance their sound but that was several years after the fact and yes, there certainly was the Chess sound. Chess was using tubes in their audio board when I first started doing voice work there and their audio often sounded more warm. The bottom line is that I can't define it but I know it when I hear it. 
-- Clark Weber / WLS, the 60's 

Kent,

We could take this topic in many directions, but without hesitation, the most melodic Chicago sound came from The Flamingos and their legendary ultra-passionate "I Only Have Eyes For You" ... a song that from a recording stand point was really years ahead of its time. I first heard "Eyes" when I was 10 years old and 50 plus years later it still resonates with me.

I would also toss in the Dells and "There Is" along with the ChiLites with "Oh Girl."
Pop sound? Truly hard to figure. But if I had to pick two songs that still make me want to get up and dance I'd toss the cap to "Vehicle" and "Gloria."  For rich, romantic flavor, lets go with Ronnie Rice and the "Six" and "Things I'd like to Say." All underrated song: The Ides and "L.A. Good Bye." The song has an ethereal quality that is truly emotional.

By the way, my biography - yes, my tell all biog - Coppock: "The Microphone Doesn't Lie and Neither Do I" will be out in mid-September.  Hope our FH buddies will check it out. I still have student loans to pay off.
Chet Coppock

Always love reading your stuff, Chet ... make sure I get an autographed copy!!!

SO many different styles of music in your brief synopsis ... maybe we can't really narrow it down to just one "Chicago Sound"!!!  (Because ALL of these answers qualify!)
Then again for all of those purists who maintain that singing under the street lamp was strictly an east coast thing, I submit Chet's suggestion by The Flamingos ... doo-wop just doesn't get any better than this!  (kk)

Hey Kent, 
That is a very good and interesting question. I know when I fly in from California to do Shames jobs in the Midwest there is an enormous difference in the music the radio stations play in Chicago as compared to LA. I really think that is what is at the heart of the Chicago sound. 
Chicago music has always been very raw and in-your-face and very, very heavily influenced by black music. I really think most of the groups that you are talking about such as the Buckinghams in Chicago and Earth Wind and Fire were very, very heavily influenced by the sounds of WVON and Chess Records. There was a whole group of other Chicago music, as evidenced by the New Colony Six, Shadows of Knight, Saturday's Children and the Cryan' Shames, who were very heavily influenced by the British Invasion of music. Even though we were more heavily influenced by the British Invasion, what we listened to on local radio had a tempering effect on the way that we played this music. I think it was more raw and more soulful than what the original British Invasion sounded like. 
Now these are just my opinions and my feelings. It is definitely not a definitive comment on why the Chicago sound was different but I really think what we listened to had an amazing effect on what we produced as musicians. 
Tom Doody 
The Cryan' Shames 

The Chicago Sound was a hybrid of 'Garage Band' and 'R and B'.  

James Fairs 
The Cryan' Shames 
Singer / Songwriter  

Speaking as an outsider, the Chicago Sound was many things:  the doo wop sound of the 1950's from the Vee Jay, Chess, Parrot, and other labels, the R&B sound of the music produced by Carl Davis, Curtis Mayfield, and others, the smooth R & B sounds of Jerry Butler, the garage band / post British Invasion bands of the mid-late 1960's and all the horn-laced music of people like Chicago and the Ides of March (and I know there are other examples you Chicagoland people can name) But that's a start, and it is ALL great music!

CLAY PASTERNACK   

The Chicago sound is full of wonderful contradictions -- like raw blues, yet polished with horn sections ... jazz with urban grittiness but full of the midwest's open spaces ... groundbreaking yet within the confines of tradition --

That's what makes it so great, you can't pin it down!

Steve Krakow / WGN   

Kent, 
My personal opinion is that there is NO Chicago sound.  There are so many types of music that got their start to some extent or became hugely popular due to musicians from this city that to corner it and say it is horn rock, or blues or whatever, would be an injustice to the city. 
I submit an interesting perspective from Chicago's "Psyche Pscene" magazine published in late 1969 written by Ron Schlachter titled "A Letter to You" in which he finds that by 1969, Chicago was on the wrong path musically.  In some ways, he claims that musicians are leaving Chicago and that the city needs to fight to keep the music scene alive.  I believe he is right about some things, but wrong about others. Nonetheless, his essay is interesting, to say the least.  He quotes some of Chicago's biggest movers and shakers of the era.  
You will note that this is biased towards the psychedelic movement of the time, thus the Psyche Pscene Slant on music, yet two years earlier, it was showcasing the pop sounds more often, so PP was changing as Chicago music trends changed from teen clubs to more underground places and sounds.  There is also a blame the radio sense, as FM was the only way to get albums played. 
Sorry it is cut off, but my scanner would only pick up what I got. 
Clark Besch

LOTS of props going out to Curtis Mayfield for HIS contribution to The Chicago Sound ... here's one of my all-time favorites by The Impressions ...

That's tough to narrow down in a few words.  I think of so many things ... certainly the blues is foremost, truly Chicago.  I do think of the CTA, the group, who then changed their names and became "Chicago" and the great brass sounds they projected.  I liked them from the minute I heard them.  Chicago seemed to pick up where Blood, Sweat and Tears left off, fusing jazz with rock and coming up with an incredible sound.  Even today, the minute I hear an intro to one of Chicago's sounds, it gives me such a good feeling.  I know I've told you before the how and why I put together the Ron Britain Sub-Circus ... mainly because I knew there were so many great artists out there not being played on top forty stations, actually any stations, and the group Chicago was one that I had in mind, along with Jimi Hendrix.  I got to know many of the guys in the group and Chicago told me I was the first one to play their music when they were still using their original name, CTA.  This I always found funny ... the CTA sued them because of them using CTA, so they became Chicago. What a great time in musical history back then and I will always be grateful and proud that I was a part of it.   
Take care, my friend. 
Kingbee 
Ron Britain

I always felt that it was a loose, under produced, in yer face kinda music.  There were holes in the instrumentation and the vocals were edgy and thin.  Some people might look at some or all that in a negative way but I think it is all positive.  It just didn't seem to take itself too seriously but still made the intended point(s).  Gee, what could be better.  "Drive My Car" by The BEATLES is as close to the Chicago Sound as they got! 
Bob Wilson (The Boyz and The New Colony Six)

That's a brain-buster!  To me, it's a hybrid of British Invasion, pop, horns, and blues-rock ... rather simplistic, but that's what I hear in my head. 
Dick Bartley    

It’s difficultto pare the “Chicago Sound” down to a few words. Usually, when one talks about the “sound” of a city it refers to studio musicians, like the Wrecking Crew in LA, the Motown folks, or Nashville’s top studio musicians.  It’s also difficult to pin down a city’s sound over many decades.  Here’s what I think:  

In the 1950s, it was the blues sound of Chess / Checker and Vee-Jay,which morphed from the blues of Muddy Waters, Willie Dixon, and Jimmy Reed to the rock and roll foundations of Chuck Berry and Bo Diddley.  

By the 1960s, it wasthe soul of Curtis Mayfield and all those he helped or participated with (Impressions, Major Lance, etc.), and the rock and roll horn bands which started with Jim Holvay and Gary Biesbeir and their band The Chicagoans / The Livers. The horn sound was “borrowed” from the soul bands in Chicago and modified for a big rock sound. By the late 1960s, this grew into big horn band sounds like Chicago (and by early 1970s, the Ides of March), as well as rock outfits like the Buckinghams and the Holvay / Beisbier follow-on group The Mob. 

The 1970s soul Chi-Sound was a direct evolution of Curtis Mayfield’s writing and production.  

So if there is a long-term thread here, it seems to be Curtis Mayfield, who grew from the blues in the 1950s with Vee-Jay’s Impressions to the 1960s Impressions and Curtis’ own production.  The horn rock sound developed out of the sound of groups like the Impressions. Mayfield also worked with Carl Davis, who was responsible for much of the latter Chicago music on the Okeh label.  

Just some thoughts. 

Mike Callahan

Kent --
I just wrote you a 750-word essay on how I define the Chicago sound.

My definition aligns with your reader's expectations: For me, it was indeed about the Buckinghams and the Shames and the NC6. That was because those were the bands I could play at home without getting yelled at. I was not alone in that.

This was a great idea -- and thank you for including me in your research.

-- Jeff Duntemann
   Colorado Springs, Colorado

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Cadging from Saul Bellow: I am an American, Chicago-born. Chicago, that *straightlaced* city.
Ok, that isn’t quite fair, and certainly no longer true. But back in 1963, when I first came upon pop music, Chicago was a sort of “none of the above” city. It wasn’t as diverse as New York, nor as liberated as California. It was less weird than, well, *anywhere.* This shaped the music: The Chicago Sound was to a great extent what our parents would let us play inside the house.
In a gigantic semicircle that surrounded the city’s core and went out as far as Crystal Lake and Aurora, an enormous horde of Boomer kids hit their teens at about the same time. I lived in Edison Park about 750 feet from the city limits and so I can’t speak for the kids further in, but our culture was stiflingly middle-class suburban. Our fathers served in WWII and listened to WGN. They kept us on a pretty short leash. When we drove it was in their boring cars, by their fussy rules, and before
their force-of-law curfews. Drag racing was done by somebody else on *Sunday! Sunday!* at some heavily advertised drag strip near a road none of us could find on a map.
Our common culture was mostly about music, bound together by local stations WLS and  WCFL, and documented by the weekly printed music surveys. National hits from other places dominated the air. I liked the California sound, but it might as well have been from another universe.  The B-side of a Morty Jay instrumental 45 I had in 1963 called “Salt Water Taffy” was entitled “What Is Surfing All About.” It was full of helpful advice like “Don’t wipe out!” Check, got it. I eventually had to go to the Carl Roden library to look up what “surfing” was. Alas, none of that was happening on Foster Avenue Beach.
No fast cars, no surf. As topics for pop songs, that left one another.  Hormones were universal, and the hot topic in 1966 was how to approach girls at the Immaculate Conception Teen Club and ask them to dance.  There was a priest and a Chicago cop at the back of the parish hall, and strategically placed parents with rulers in hand, so there was much politeness and not a great deal of actual physical contact. (I’m convinced that “fast dancing” was invented by nuns at Catholic schools for precisely that reason.) I recall surreal basement conversations with my 14-year-old friends about how you could tell when a girl was ready to hold hands with you.
What the local bands recorded reflected this. It was all about first kisses (the Riddles’ cover of “Sweets for My Sweet”) and walking along the sand with a girl, wistfully wondering if “It Could Be We’re In Love.” There was sand eight miles due east. All we needed, then, was bus fare and a girl. (One out of two ain't bad. Ok, it is.) Songs about heavy-duty making out like Lou Christie’s “Rhapsody in the Rain” were threatened with banning and were eventually defanged with tamer words.
What that left for the local groups were what I call “chaste love ballads” like the New Colony Six’s “I Will Always Think About You,” the Buckinghams’ “Don’t You Care,” and the American Breed’s “Any Way That You Want Me.” There was a lot of melody and harmony, and a remarkable lack of lust. The lust sometimes snuck in the side door (we all thought that “Gloria” was a pretty horny song) but it was encoded in a rougher style and not the lyrics. I knew a number of girls who were five-foot-four. None of them were hammering on *my* door at midnight, promise.
This Clean-Cut Coalition began to fragment 1968-ish, as college and the Vietnam War loomed large over us. I had more money, bought more albums than 45s, and listened to quirky little local FM stations more and WLS less. Fewer of us lived at home, which meant that we could play whatever we wanted without getting yelled at. (I think by then our parents were just tired of yelling, period.)  Chicago music gradually merged with and became indistinguishable from national music.
I haven’t lived in Chicago since 1979, but I still play the Buckinghams, the Cryan’ Shames, the Capes of Good Hope, the American Breed, the New Colony 6, and the Riddles. Why? They were the map of my young teen life, and just smell like home. Besides, I know most of those songs by heart and can hear them in my head without also hearing somebody opening the basement door halfway through and yelling, “Turn that thing down!”
The Chicago Sound. Totally yell-proof since 1963. Long may it wave!  
-- Jeff Duntemann
   Colorado Springs, Colorado

I don’t see that there was a Chicago sound, guys.  My belief is that youanalyzed the strengths and weaknesses of your personnel, adjusted for the instruments you had available and then either selected tunes by others to match your line-up or wrote songs to support that line-up.  Bands with strong vocalists would logically write / select material that could benefit from its singers’ skills.  If you had a horn section, you wrote / selected material that utilized those talents.  Lyrically, I know we wrote from our lives, such as the story behind Can’t You See Me Cry, and I think most of the Chicago bands whose personnel did their own writing followed suit.  So, other than management dictating that “the only way to a hit song is this or that”, and the band caving to those demands, I’d have to say we wrote what we lived – and things such as girls / relationships / cars / moods / things we read / unhealthy or positive pastimes / faith lives / senses of humor / what was going on in the world at large, etc. became the foundation for lyrics.  Not sure if this is helpful or not, but there ‘tis, for whatever it’s worth.

I’d very much like to be kept up to speed with what others feed back to you, as they may strike a chord that resonates with me and takes me to offering other thoughts, which may be beyond my ability to consider on a Fathers’ Day evening when I know that the frickin’ alarm clock goes off again early tomorrow morning and I am already tired from a busy weekend! 

Later lads,     

Ray Graffia, Jr.

NC6

Regarding "The Chicago Sound," there is, of course, no such thing. Chicago, just like New York, L.A. and countless other locations, have nurtured the wildly divergent "sounds" of loads of different singers, songwriters and musicians all of which only have one thing in common -- home addresses relatively near each other. Yes, Chicago was the home of Chess Records, The Buckinghams, The Cryan Shames and The New Colony Six, but the records of none of those four always sounded the same. Chicago has given birth to acts specializing in hard rock, soft rock, be-bop, blues, folk, country, sweet 'n' swing big band music, classical, doo-wop, polkas, etc. -- all diverse categories of music with some crossbred elements (as does ALL music) but otherwise nothing in common except the notes they mix in different configurations printed on sheet music. Chicago's the home of the blues -- but much of that came up from Mississippi and the rest of the deep South. Big band leaders as widely different as Kay Kyser, Jerry Gray, Benny Goodman, Eddy Howard, Duke Ellington, Dick Jurgens, Earl 'Fatha' Hines, Jan Garber, Griff Williams, Woody Herman, Frankie Carle, Joe Sanders, Ted Weems, Count Basie and others all performed in Chicagoland nightclubs and dance halls in the '30s and '40s, broadcasting live to fans all over the country.  Were they "The Chicago Sound"?  Arthur "Big Boy" Crudup recorded "That's All Right" and his other pre-Elvis rock hits in Chicago – as did the soul stars of Vee Jay and Mercury and gospel greats from Thomas A. Dorsey to The Staple Singers. Are they "The Chicago Sound"?  Chicago today is the home of heavy rock, house music, hip hop, rap, punk and a highly active (and diverse) independent music scene -- as well as the Chicago Symphony Orchestra, the Lyric Opera of Chicago and the Chicago Sinfonietta. Are they the "Sound of Chicago"?   

Groups of music people who frequently work together can and often do develop “A” sound -- as happened at Sun Records and Motown -- but even it does not define ALL the music generated in a specific city, locale or state -- especially over long periods of time (like, say, decades). Trying to link the wide array of musical forms which have come together in the Windy City over the years is like trying to link musicians by their birth dates ("Ooh -- that guy really has the Scorpio Sound") or favorite flavors of ice cream ("I really dig your Pistachio influence").  As the full spectrum of artists and types noted above attests, there is no "Chicago Sound" -- but there sure are Chicago SoundS!

http://www.youtube.com/watch?v=uxHQUvCkV20 http://www.youtube.com/watch?v=z0FLimfxQNw http://www.youtube.com/watch?v=-2zxv7CeJj0 http://www.youtube.com/watch?v=e1IO4oIyNyY http://www.youtube.com/watch?v=dY7fJv4nMy4 http://www.youtube.com/watch?v=Tlou_2lMLAc http://www.youtube.com/watch?v=kWySR5KKZ1k  
Gary Theroux 
"The History of Rock 'n' Roll"   

Got some thoughts of your own you'd like to share? Drop us a line ... I'm sure this topic is far from over (although we DO wrap up this particular segment tomorrow.)   Please let us hear from you and we'll run your comments in a future issue of Forgotten Hits.  (kk)

The Chicago Sound - Wrappin' It Up

June 19, 2014, 4:07 am

≫ Next: 50 Years Ago This Weekend

≪ Previous: The Chicago Sound - Part Three

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FH Reader Shelley Sweet-Tufano wanted to know how one would define "The Chicago Sound" so that she could better explain it to her students ... maybe even play them some examples to better illustrate the point.   

During the course of this little series, I think we've seen that it's almost impossible to categorize "The Chicago Sound" as any one thing. As Carl Giammarese of The Buckinghams pointed out when this discussion first started, ALL of their musical influences came together in creating The Buckinghams' sound.  That's why you had "I'll Go Crazy" by James Brown, "I Call Your Name" by The Beatles and their very own, distinctive-sounding "Kind Of A Drag" playing side-by-side on their first USA album ... right alongside "Summertime" from "Porgy and Bess"!!!  Anything ... and EVERYTHING worked ... once they put their own spin on it. 

But there wasn't any one sound that categorized Chicago ... The British Invasion groups that influenced SO many of our local heroes were themselves just recycling American music, applying their own unique interpretations along the way.  If you really stop and think about it, it's kind of funny in a way ... at that time, everybody was influencing everybody else ... yet all these artists were searching for their own special "niche" to stand out from the rest of the crowd.  That's why you had The Searchers doing an old Drifters R&B song ("Sweets For My Sweet") while Chicago's Cryan' Shames were picking up on a Searchers song ("Sugar And Spice") to launch their own chart career ... collectively, all these artists did their best to keep the circle going ... and each new discovery opened up another genre of music we hadn't yet been exposed to for quite a few of us ... which is how we learned to love it all.

Groups like The Rolling Stones, Them and the original Moody Blues were first influenced by the Chess sound coming out of Chicago ... but then The Rolling Stones begat The Shadows Of Knight and everything just continued to blossom ... and soon the "garage band" sound (the precursor to punk) was the latest rage.

The New Colony Six first formed as The Patsmen to compete in their high school talent show ... by singing a Beatles song!  But by the time they were cutting their own records you had everything from the garage band / early punk sound of "I Confess" ... to Bo Diddley's "Cadillac" ... to pure pop like "Love You So Much" and "You're Gonna Be Mine" ... to top-notch classic soft-rock ballads like "I Will Always Think About You" and "Things I'd Like To Say". 

The horn sound DEFINITELY became part of the "Chicago Sound" ... but this, too, first evolved out of the blues, soul and R&B that was so predominant in our area in the early '60's.  The Buckinghams laid the foundation and then Chicago took it all to the next level, capitalizing and improving on those sounds first created here by The Bucks.  The common link here was James William Guercio ... who produced both bands ... but, as Carl Giammarese so accurately pointed out, The Buckinghams were already recording that sound BEFORE they hooked up with Guercio ... and Chicago (as The Big Thing and CTA) had been perfecting it for YEARS in the clubs all around the area, before taking off for LA to try to make it there.  (It just blows me away that The Buckinghams never toured with a horn section back in the day ... ALL of their hits were so horn-heavy ... I can't even imagine going to a Buckinghams concert in 1967 and NOT hearing them sound like the records!!!)

The raucous, soulful sound of The Mauds was supplemented by horns on their biggest national hit "Soul Drippin'" ... and The Ides Of March literally reinvented themselves when they incorporated horns into their act and came up with the #1 Hit "Vehicle".  But while all of this was going on, soulful sounds by the likes of Jerry Butler and The Impressions and The Chi-Lites and The Dells were pleasing THEIR audiences with a completely different sound of the city.   And that doesn't even begin to take into consideration the smokey club sounds of Howlin' Wolf and Muddy Waters!

Whereas Detroit did, in fact, have The Motown Sound, they ALSO had the likes of Bob Seger and Ted Nugent.  Saying that "The California Sound" was strictly surf music ... or that "The New York Sound" was simply the doo-wop groups singing under the street lamp on the corner doesn't even BEGIN to do justice to all the great musical talent that came out of these two cities.  Musicians like The Wrecking Crew and songwriters like those housed in The Brill Building encompassed EVERY musical style ... brilliantly.  There is no feasible way to pigeon-hole these artists.  Memphis had its own brand of soul ... but so did Muscle Shoals, Alabama.  Nashville was the Country Music Capitol of the World.  There are SO many factors that enter into an answer like this that pretty soon you find that there is really NO answer at all!  (Are you more confused than when we started???  I am!) 

Shelley, the best we can suggest is that you play examples from ALL of these different types and styles of music and influences and show your students that "diversity" just may be the greatest musical contribution of all!

50 Years Ago This Weekend

June 20, 2014, 4:00 am

≫ Next: The Saturday Surveys (June 21st)

≪ Previous: The Chicago Sound - Wrappin' It Up

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Not many changes on the Billboard Hot 100 chart this week.  Brand new at #79 is WISHIN' AND HOPIN' by DUSTY SPRINGFIELD.  Other tracks holding on include A WORLD WITHOUT LOVE by PETER AND GORDON at #2, LOVE ME DO by THE BEATLES at #7, GERRY AND THE PACEMAKERS with their latest, DON'T LET THE SUN CATCH YOU CRYING, up 11 places to #9 from #20, DIANE by THE BACHELORS (first time in The Top Ten at #10), BILLY J. KRAMER AND THE DAKOTAS with their two-sided hit LITTLE CHILDREN (#11) and BAD TO ME (its flipside), up ten places to #16 … and about to overtake its A-Side!, more BEATLES (and another flip-side) P.S.I LOVE YOU at #22, THE DAVE CLARK FIVE and DO YOU LOVE ME at #24, YESTERDAY'S GONE is at #27 for CHAD STUART and JEREMY CLYDE, DON'T THROW YOUR LOVE AWAY by THE SEARCHERS is at #28, CAN'T YOU SEE THAT SHE'S MINE, another MAJOR hit for THE DAVE CLARK FIVE, leaps from #68 to #31, GOOD GOLLY MISS MOLLY by THE SWINGING BLUE JEANS is at #45, SUGAR AND SPICE, another SEARCHERS hit is at #58, NOT FADE AWAY by THE ROLLING STONES at #74, YESTERDAY'S GONE by THE OVERLANDERS at #81 and the FOUR BY THE BEATLES EP is holding steady at #97.

Here in Chicagoland, "Little Children" / "Bad To Me" climbs to #1, a spot it will hold next week as well.  It was during one of these two weeks that I discovered The WLS Silver Dollar Survey for myself for the very first time.  Dex Card used to count down The Top 40 Hits every week day beginning at 3:00 … and on the very first countdown I ever heard, "Little Children" by Billy J. Kramer and the Dakotas, was at #1 … so it HAD to be one of these two weeks.  I was hooked immediately … my very first countdown show … and I tuned in every day thereafter, even though it would be the same 40 songs all week long until the survey changed on Fridays!  I also found out that you could pick up a copy of the WLS Chart at your local record shop … and soon a brand new collection began as well. 

Peter and Gordon's "A World Without Love" dropped to #3, followed by "Love Me Do" / "P.S. I Love You" at #4, "Do You Love Me" at #12, "Diane" at #13, "Sie Liebt Dich" at #17 and "Don't Let The Sun Catch You Crying", making a big leap from #35 to #18.  (I remember at the time that "Little Children" was my favorite song … but "Don't Let The Sun Catch You Crying" was a close second.)  And The Dave Clark Five were back with ANOTHER brand new hit as "Can't You See That She's Mine", still one of my all-time favorites by them ... and one that WE used to do with the band just because it was such a great rocker ... debuted at #24.



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