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Some Of Your Mid-Week Comments

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re:  Clark Weber:  
Our long-time Forgotten Hits Buddy Clark Weber officially retired from the public eye this week, preferring to spend his senior years out of the spotlight, enjoying life with his family and friends.  We wish him the best.  (I guess that means the next time we all decide to go out to dinner together we'll have to use the drive-thru, right Clark???)
Weber is a Chicago Radio Icon ... he's been on the air here in Chicago in some fashion for 55 years, working for WLS, WCFL, WJJD, WIND, WMAQ and WAIT ... it is a RARE feat, indeed, to spend so much time in one city (and a MAJOR city at that!) in the life of a disc jockey ... but Clark was able to pull it off as he always had an audience here for his laid-back style of broadcasting.
And let me tell you, he's still sharp as a tack!  We've made several appearances together over the past several years and he is just as entertaining off the air as he is on.
We wish you well, my friend.
Prior to "officially" stepping back, Clark Weber will FIRST be inducted into the Illinois Broadcasting Hall Of Fame.
More on this story here:  http://chicagoradioandmedia.com/news/7411-chicago-radio-icon-clark-weber-retires   

Robert Feder also covered this story: 
On the eve of his self-imposed retirement, Chicago radio legend Clark Weber has been named to the Illinois Broadcasters Association Hall of Fame. 
Weber, 84, willbe inducted June 16th at a dinner opening the group’s annual state conference at the Bloomington - Normal Marriott Hotel and Conference Center. 
A giant of Chicago broadcasting since the early 1960s, “Mother Weber’s Oldest Son” succeeded through various incarnations as a disc jockey, talk show host, program director, advertising executive and industry elder statesman, all with style, class and professionalism. His 2008 memoir, Clark Weber’s Rock and Roll Radio, is the definitive story of the golden age of Top 40 radio here and his pivotal roles in that era at WLS AM 890 and the former WCFL. 
Havingkept up an active schedule of public appearances and speaking engagements, Weber said he’s finally ready to hang it up. “Bob Hope once said the time to retire is when you can still hear the applause from your dressing room,” he told me. “In my case, it’s time.” 
Weber said his last radio interview will be May 19th with midday hosts Bob Sirott and Marianne Murciano on Tribune Media news / talk WGN AM 720. His last speaking appearance will be May 22nd at Chestnut Square Retirement Community in Glenview. Then he’ll take one last bow at his June 16th Hall of Fame induction. 
As an IBA Hall of Fame honoree, Weber will join a pantheon of broadcast legends that includes Oprah Winfrey, Jack Benny, Orson Welles, Joan Rivers, Dick Biondi, Larry Lujack, Dave Garroway, Paul Harvey, Mike Wallace, Bill Kurtis, Orion Samuelson, Don Cornelius and Siskel & Ebert. 
Also honored at the event as IBA Broadcast Pioneers will be veteran Chicago radio newsman Lyle Dean and longtime Chicago sportscaster Armando Perez.
-- Robert Feder  

From Chet Coppock:
Kent,
If you looked in the dictionary under "Class" you might find a picture of the remarkable Clark Weber. It's unfair to call Clark a jock, talk show host or a pitchman. He was, much like the legendary Hall of Fame Broadcaster Jack Brickhouse, a consummate announcer.
As much as I remember Clark spinning 45's on WLS and Super 'CFL, I'll always recall him for something decidedly different.
I once took pro wrestling "bad boy" Bobby Heenan up to visit with Clark to hype a show promoted by Bob Luce at the International Amphitheater.  I'm sure C-dub had no clue who "Bobby The Brain" was but he conducted a brilliant 25 minute gab session. Weber was far too classy to ask Bobby if the bouts were tanked or if the "blood' was real - which by the way it is. Clark dug in with Heenan and pulled out a number of nuggets, all while treating a very gun shy Bobby with respect, class and dignity.
Sadly, my profession no longer turns out people as wonderful as Clark Weber.
That, in itself, is a tragedy.
Chet Coppock:
Host: Chicago Blackhawks Heritage Series 
 


And MAJOR WLS / WCFL Fan Clark Besch ... the "other" Clark on our list ...
Holy Sh*t!  Clark "Chrome Dome" Weber is retiring?  Mother Weber's eldest son is finally 65???!!  Who knew that he and Dave Letterman were the same guy??  Does this mean that my hero, Ringo Ringworm Ron Riley wins the feud???  Kidding aside, Clark ... has a GREAT first name!  Haha. 
He also is one of the longest lasting greats of broadcasting from the greatest era IN broadcasting on the greatest RADIO station ever -- WLS (among others, such as CFL).  I am so glad to hear that Clark has been inducted into the Illinois  Broadcasters Hall of Fame.  I read the last joke he used in Forgotten Hits and realize that he must now keep his subscription to the 60's Acme Joke Company until after his induction ceremony.  Sorry, Clark, just getting you ready for the roast.  You never know, Riley might show up and do his best Bruce Lovely from the window sill on you! 
Clark Weber, you have been a great friend to me, personally, as well as to millions who have listened to you spin the hits on the Big 89 and more recently, talk up a storm over the ever evolving AM waves.  Your puns and underlying silliness, as well as your easily given advice, happy go lucky attitude towards both your shows and your life have made it a joy for the millions (a REAL figure I am talking of there) of people who consider YOU their friend over so many decades.  May you enjoy retirement and your days ahead be filled with laughter!  (Are you REALLY David Letterman??) 
Take care and God Bless You, Clark Weber
-- WLSClark Besch  (the OTHER Clark)

And, in Clark's own words ...  
Morning Kent;  
Thanks so much for the kind words. It was time to step aside for several reasons and the most important is Joan’s health. She’s been fighting ovarian cancer for over a year and a half and I need to be here or very close by 24 / 7. That realization hit home in early April when I was booked for a two-day seminar in St Petersburg, Fl. The combination of being away, Joan not feeling well and my fatigue after the seminar told me it was more than time.  
A friend of mine who is still on the air and is way past his prime and knows it shared a comment with me that sums up the fear that some show biz people have about stepping down. He said, “ I’m afraid to go from “Revered” to “Irrelevant!” Talk about a misguided ego!
Of course I’ll miss the fellowship, the laughing and reminiscing, the mike, the podium and the adulation that came with it. However it’s more than about time.  
Mother Weber summed it up best when many, many years ago a girlfriend who was then the flavor of the month and I broke up. Mom said, “Don’t be sad because it’s over, smile because it happened!”
Clark
PS: Of course we’ll do that dinner sometime!

Folks interested in Clark's look back at Rock And Roll Radio - The Fun Years - can pick up a copy of his book here:
It was announced today that Leon Redbone, the legendary folk / jazz / roots performer has retired from both public appearances and recording. A spokesman for the artist noted, “We share the sadness and disappointment sure to be experienced by his many fans and friends and hope they understand that his health has been a matter of concern for some time.  It has become too challenging for him to continue the full range of professional activities.” 
Redbone’s career has spanned over four decades and began with his earliest performances on the folk festival and club circuit.  His numerous appearances on The Tonight Show with Johnny Carson and Saturday Night Live and other outlets catalyzed his rise to international recognition.  Over the ensuing years he has appeared throughout North America, Europe, Australia and Japan and released thirteen albums of his unique music, a panoply of early music styles that he delivered with his singular laconic idiosyncratic style. 
"A Long Way Home", a collection of solo performances, both live and studio, dating from 1972, documenting the dawn of Redbone’s professional career, will be released by Nashville’s Third Man Records as a double album in the near future.
A true champion of early American ragtime, blues and jazz, Leon Redbone has spent a lifetime preserving that musical tradition while exposing successive generations to a rich musical heritage of which they might not otherwise have become aware.  In this regard, his efforts have been lauded by numerous notables including Lovin’ Spoonful founder John Sebastian who has stated, “I find Leon Redbone to be one of our national treasurers.”  Blues and folk veteran John Hammond succinctly commented, “Leon is the real deal.”    
www.leonredbone.com
-- submitted by Bob Merlis   

re:  Paul Revere's Raiders:  
Hi Kent -
Yes, Tommy Scheckel is a driving force ... the best drummer around. I wish Paul's Raiders a lot of success in the future!
I once had a copy of "Like Long Hair" ... don't know what happened to it. Paul was quite the keyboard player!
Keep up the GREAT work, Kent.
Carolyn
Well, you can listen to OUR copy today if you like!  (kk)


Well done, Kent ... your raiders review was superb.
Chet

Hey Kent, 
Thanks for the great review ... it means a lot. We’re still figuring it all out ... hopefully the show will evolve and get better and better in time.  It’s great that you and Ron Onesti have teamed up, the stars have lined up for you guys.
See you down the road, buddy!
Tommy
I know this has gotta be tough for all of you guys - especially having Paul's images flashing up on the screen all night - and I know you'll catch some flack for carrying on without an original member - but the spirit of this great music carries on thru you guys - and you can certainly be proud of what you're putting up there on the stage. (kk)
 
re:  New On The List:
Speaking of The Arcada, more great shows have been added to the list ... check THESE out!!!
Arlo Guthrie - July 12th
The Geneva Music Festival featuring The Commodores, Dennis Edwards of The Temptations and J.T. Taylor of Kool and The Gang - July 18th
Graham Nash - July 28th
'70's Pop Fest featuring Bo Donaldson and the Heywoods, Elliot Lurie of Looking Glass, Tim Corwin of The Ohio Express, The 1910 Fruitgum Company and Kyle Vincent of The Bay City Rollers - August 28th
A Salute to The Music of Joe Cocker on August 29th, featuring August
Belinda Carlisle of The Go-Gos - September 9th
The Stylistics (featuring Russell Tompkins, Jr. - September 11th)
The triumphant return of Burton Cummings - September 18th
Sheena Easton - November 6th
And more shows being added all the time!
Stay tuned to these pages ... or check the Arcada Box Office Website at www.oshows.com   

re:  B.B. King: 
From Harvey Kubernik's book "Turn Up The Radio!  Rock, Pop and Roll in Los Angeles, 1956 - 1972: 
(published by Santa Monica Press, 2014)  
Crossing the Slauson Line    
Harvey Kubernik: B.B. King’s “Paying the Cost to Be the Boss,” on the Bluesway / ABC record label, was a Top 10 R & B hit in 1968, and it was popular on the KGFJ radio station.  
King’s opening slot at the Rolling Stones’ November 8, 1969, show at the Los Angeles Forum was a career-altering opportunity. On that cosmic night in 1969, King played in front of music reviewers, rack jobbers, DJs, guitarists, booking agents, and paying folks who had never heard, let alone seen, him in action. King was worshiped onstage in Inglewood that evening. It was a moment in which he knew, that, by the following Christmas, his next half a century of dates and live bookings were going to be taken care of. 
In late 1969, King hit the pop charts with the mournful “The Thrill Is Gone” and, in 1970, “Hummingbird.” He then headlined the Whisky a Go Go in 1971. 
I remember seeing B.B. King at Milwaukee's very first Summerfest in 1972 ... I swear we drove up every night after our day jobs to see artists as diverse as B.B. King, Chuck Berry, David Cassidy and George Carlin!  Then drove back home again so we could still make it into our jobs the following morning. Crazy time (and something much more easily handled at the age of 18 or 19 than today!) 
I swear, B.B. was old THEN!!!  And that was 43 years ago!  (Of course 40 IS old when you're only 18!!!  lol) 
When the news of his passing came I was amazed by the outpouring of grief I heard from friends and fans ... he truly touched ALL of our lives, no matter WHAT our personal musical preferences may have been.  A one-of-a-kind performer, to be sure.  He will be missed.  (kk)   

Bluesman Riley "B.B." King died Thursday (May 14) at his home in Las Vegas. He was 89. B.B. apparently suffered a minor heart attack and was taken to a hospital two weeks ago but was released to home hospice care. Born to sharecroppers in Itta Bena, Mississippi in 1925, he moved to Memphis in 1946, where he was called the "Beale Street Blues Boy" (hence the initials B.B.). He had his own program on all-black WDIA radio there in 1949 and started recording, first for Bullet Records, then for RPM, where his first charted record, "3 O'Clock Blues," made #1 on the R&B charts. It was the first of 76 R&B hits, 24 of which made the top ten.Starting in 1957, B.B.'s music crossed over to the pop charts as well, including blues classics like "The Thrill Is Gone" (#15 Pop, #3 R&B - 1970), "I Like To Live The Love" (#28 Pop, #6 R&B - 1974) and "Rock Me Baby" (#34 Pop, #12 R&B - 1964). All told, B.B. appeared 47 times on the pop charts, as well. He was well-known for his guitar, which he named "Lucille" (actually, he owned many Gibson guitars -- all given that name) after the woman who was the cause of a fight between two men that eventually led to a fire in a club he was playing in Twist, Arkansas. B.B. had been forced to re-enter the burning club to save his precious guitar. Though married three times (twice to the same woman), he once said he fathered 15 children with 15 different women. He was given the National Medal of the Arts in 1990 and the Presidential Medal of Freedom in 2006. He was inducted into the Blues Hall of Fame in 1980 and the Rock 'n' Roll Hall of Fame in 1987. He received honorary degrees from both Yale and Brown Universities. Sweden awarded him their annual Polar Prize for popular music in 2004.  
-- Ron Smith

re:  This And That:
Bobby Hart's been getting a fair amount of press lately for his new book "Psychedelic Bubble Gum:  Boyce And Hart, The Monkees And Turning Mayhem Into Miracles".
We're also awaiting the release of the Boyce and Hart Documentary "The Guys Who Wrote 'Em" ... and, hopefully soon, the premier of Bobby's new musical. 
 
In the meantime you can listen to this great Bobby Hart podcast, courtesy of our friends over at Vintage Vinyl News:
 
Hi Kent,
I know in the past, you've done some things with Bobby Hart. I thought you might be interested in our latest podcast, which has an interview with Bobby.
Have a good one!-- Roger WinkVVN Music
 
Speaking of upcoming radio interviews, Lettermen fans may wish to check out DJ Stu Weiss' show this Friday night when he speaks with original Letterman Tony Butala.
 
FH Reader Pam Dixon just sent us this updated schedule for Chris Montez appearances:
May 16 – Monterey, CA
May 23 – Bakersfield, CA   (Kathy Young is on this as well)
June 6 – Arcadia, CA    (Kathy Young is on this as well)         
June 16 - 22 - Belgium
Sept – Big E , West Springfield, MA
October 25-30 - Fallsview Casino, Niagara Falls  (Original Stars Show)  
2016
Feb 7 -21 – Rockin Cruise
March 20 – Westbury, NY
April 10 – Hauppauge, NY
June 18 - Lancaster, PA
 
A "modest" end to Lesley Gore's career is the way they're describing it ... more proof of why the royalty system has to change in order to better take care of all of the artists who created all this great music we still know and love.
-- submitted by Tom Cuddy
 
Last week we sent you a link to a brand new version of Lesley's hit "You Don't Own Me", which is apparently doing quite well on some of the foreign charts right now. (Which means songwriters John Madara and David White are earning a few bucks from this gem once again!)
Here's another link to that video:
 
re:  The Monday Morning 50-Year Flashback:
Very little soul music on the WIBM survey. I've noticed this on many smaller cities surveys.
Mark
I think it depends on the size of the market ... although I've pointed out several times in the past how even Mega-Giant WLS with 50,000 watts behind them often charted soul classics like "My Girl" by The Temptations, "Respect" by Aretha Franklin and several James Brown classics CONSIDERABLY lower than the national trades did ... and Chicago has a VERY large Black population.  (kk)
 
What I liked about the WIBM list was the way they made it on a typical 1967 era "IBM" computer card by chopping off the upper left corner.  Well done and not as simple as you might think -- just more appropriate as an IBM info card would look. 
As for the tracks you played, Freddie & Dreamers'"You Were Made for Me" has different edits and I cannot remember now if the one you played is the 45 version or not.  Capitol actually released this in 1963, but it was a hit on Tower over a year later in 65.  However, to elongate the song, they re-edited it, if I remember correctly. 
As for "Laurie," it is a classic story line song.  IF people really like this song, they are likely (like me) to be able to sing the entire story from start to finish without even trying to think of what line comes next!
Clark Besch
I've heard at least three edits of "You Were Made For Me" over the years.  Quite honestly, I've lost track myself as to which is which!  (lol)  But I'll betcha FH Reader John LaPuzza can tell us!  (Hey John, if you're reading this, can you send me a clean MP3 of the hit single mix???  Thanks!)  kk
 
re:  Beatle-ish:
In this week's edition, you mention the Magical History Tour. Well, you don't have to travel to England to celebrate The Beatles. Just go to Louisville, Kentucky, May 21-25 for Abbey Road on the River - http://arotr.com/ - Four days of Beatle tribute bands along the banks of the Ohio River. 
Ken Voss
Not QUITE the same as seeing all of the actual haunts The Fab Four visited during their journey through history ... but not a bad way to enjoy some great Beatles Music.  Also, The Fab Faux are coming back to The Chicago Theater later this year (November 14th to be exact) and, in addition to many of The Beatles' Greatest Hits, will also be performing "Abbey Road" in its entirety, start to finish.  (I've seen these clips on YouTube ... and they are not to be believed!)  Check 'em out here:
 
Kent ...
According to Billboard, these were 2014's Top Ten Music Money-Makers:
            1 = One Direction - $46 Million
            2 = Katy Perry - $30.1 Million
            3 = Justin Timberlake - $27.9 Million
            4 = Billy Joel - $27.2 Million
            5 = The Eagles - $26.2 Million
            6 = Luke Bryan -  $25 Million
            7 = Paul McCartney - $23.5 Million
            8 = George Strait - $22.5 Million
            9 = Jay Z - $22 Million
           10= Jason Aldean - $20.2 Million
I guess Sir Paul had a bad year... he didn't make the top 5.
Touring = 80.4 %
Sales    = 13.3 %
Publishing = 4.2 %
Streaming = 2.1 %
Frank B.
 
>>>PAULMcCARTNEY: Jams at Stepson's Graduation - Paul McCartney spent his Saturday night jamming at a private graduation party in Winter Park, Florida.  The party marked the completion of college by Arlen Shevell, the son of McCartney's wife, Nancy Shevell.  The band playing the event was Josh Walther and the Phase 5.  McCartney approached the group during a break about sitting in for a few songs.  He had the band play a blues riff as he improvised lyrics about his stepson's graduation and then led them through a few Beatles songs they knew.  (kk)
He did a handful of Beatles songs with Josh Walther and the Phase 5. 
Paul McCartney -- available for bar mitzvahs, parties, circus tours.
-- (I can see the ad now!)
Clark Besch
Well, for family functions anyway.  Just think about how much extra money Sir Paul could make each year playing nothing but "When I'm 64" Birthday Parties!!!  Heck, he might even catch Katy Perry!!!  (kk)

More Clark Weber Comments and Kudos

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re:  Clark Weber:
>>>I once took pro wrestling "bad boy" Bobby Heenan up to visit with Clark to hype a show promoted by Bob Luce at the International Amphitheater.  I'm sure C-dub had no clue who "Bobby The Brain" was but he conducted a brilliant 25 minute gab session. Weber was far too classy to ask Bobby if the bouts were tanked or if the "blood' was real - which by the way it is. Clark dug in with Heenan and pulled out a number of nuggets, all while treating a very gun shy Bobby with respect, class and dignity.  Sadly, my profession no longer turns out people as wonderful as Clark Weber.
That, in itself, is a tragedy.  (Chet Coppock) 
My thanks to Chet for the nice words and may I point out that “Bobby the Brain” had me in a choke hold during the entire interview!
Clark    

Great piece on Clark Weber, Kent. Do you know if Terri Hemmert has been inducted into the Illinois Broadcasters Hall of Fame? I know she's in the National Hall (She may be the 1st woman) She was a year ahead of me at Elmhurst College's WRSE outside of Chicago. She got to keep her name ... The station manager said I had to change mine to "Pat Roberts" ... Jack Mongan wasn't "radio enough" ... :)If she is in the Illinois Hall, she certainly deserves recognition. She, too, is an icon in Chicago radio! A true talent. Thanks again for everything. I love reading your site !
Jack
Terri is NOT an inducted member ... but I agree that she certainly belongs there.  You can check out the complete list of honored inductees here (kk):http://www.ilba.org/hall-of-fame/item/39-iba-hall-of-famers 

In reading some of the comments today in FH about Clark Weber, I have to concur with you, Chet and Clark about him. I never had the pleasure of meeting Clark, but talked to him a few times over the years at his various radio stops.  I remember chatting with him one Saturday morning at WLS about WLS surveys and if he knew where I could find some vintage charts. (This is darn near 10 years before you and I got together and wondered the same thing). Years later, when he was at WIND, he was gracious enough to call ME(!) and help a college radio guy with a documentary I was putting together. I knew Clark was a pilot and I was putting together a story about Buddy Holly and the hazards of riding in small planes. Who knew that topic would be discussed in FH almost 40 years later? Still some years later, I read that Clark was to be speaking at some fundraiser, I forget what for, but I donated about a dozen Silver Dollar Surveys for Clark to sign, figuring people who attended might bid on some one of a kind Clark Weber memorabilia. I have no idea if anyone bid or how much they sold for. They, as the rest of us, have nothing but fond memories of Mother Weber's Oldest Son. I've also corresponded with him a couple times here in FH. While I've had a couple of surveys from Clark's time in Milwaukee,  I think they're gone, but attached is the first WLS Silver Dollar Survey that mentions Clark. Good luck Clark.
Jack Levin
Thanks, Jack.  I'm also including a survey Jack sent me a couple of weeks ago from radio station WVOL out of Nashville, featuring a young Oprah Winfrey, who was the weather girl at the station.  (She was inducted into The Illinois Broadcasting Hall Of Fame in 2011 along with Bob Newhart!)  kk


Speaking of autographed surveys ...

If you talk to him can you ask him he would be so kind as to sign a couple of surveys?  That would be great!  Thank you.
Bill Hengels
WLSSURVEY @ aol.com 
Let's see if he responds ... I'm just afraid that a couple will soon turn into a dozen and then into 50 or 100 ... but I'm leaving this in his hands!  (kk) 

My family used to vacation for two weeks in Wisconsin every summer.  Clark and his family went to the same resort at the same time and my parents became friendly with the Webers. 
I remember that Clark's wife, Joan, was a wonderful lady and his two daughters were gorgeous.
I was probably around 12 to 14 at this time and music meant so much to me.
To know someone like Clark Weber, with his affiliation to rock and roll, impressed me more than knowing the President of the USA would have impressed me at that time.
Clark was a great guy ... very friendly and never upset with my constant questions about music and bands.
The thing I couldn't understand was how someone like Clark Weber could be so totally cool while my parents, who were similar in age, could be the squarest two people walking on the face of the Earth.
Go figure!
May God bless Clark and give him many more years of good health!
Thank you
Steve Sarley
I met Clark Weber through your connection and I thank you for that, Steve ... what a wonderful guy.  He has shared so much with me over the years ... and has been a HUGE supporter of our efforts here at Forgotten Hits.  (kk)   

Having moved into the range of Chicago radio in 1966, I was one of the multitude who enjoyed the wit and engaging style of Emperor Clark Weber over WLS and then WCFL when he moved there in 1969.  Clark was what I would call an "anchor voice" at both stations -- one of those compelling personalities who defined the image and appeal of The Big 89, Super 'CFL and Chicagoland Top 40 radio in total.  And while in 1973 I moved from the Midwest to L.A. (to find out if what the Beach Boys said about California girls was true), I've never been far from Clark's picture -- as it is on both sides of one of the oldies albums I've played the most on the air over the years: The WLS "Treasure Tunes" LP.
Gary Theroux 
"The History of Rock 'n' Roll"  



The Wrecking Crew

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As announced here a couple of weeks ago, The Wrecking Crew home DVD / BluRay release is FINALLY just around the corner.
 
We have been singing the praises of the great film for many years now ... it's an EXCELLENT documentation of how the hits were made, '60's-style, in California.  These previously unsung heroes are FINALLY getting their due, thanks to profiles put together by our FH Buddy Denny Tedesco, son of guitar whiz Tommy Tedesco, who was a regular contributor to these sessions.
 
In addition to the final cut of the film that is now playing in theaters all over the country, the home video releases proudly boast OVER SIX HOURS of additional footage and outtakes, interviews, song snippets and GREAT stories from the artists who were there and part of the scene at the time.

 
I'd like to take a moment to tell you about a companion book that is ALSO available ... a truly REMARKABLE "coffee table" type book, soft-cover bound, that's the size of a record album (12 x 12), chock full of 268 pages of photos and memories and comments from the movers and shakers of that era, all of whom had their fingers on the pulse as this great music was being created.
 
You'll discover page after page after page of never-before-seen photos ... studio shots, recording contracts and session logs ... as well as receive fly-on-the-wall commentary from the musicians, artists and engineers who were there making pop music history during the most exciting and important musical era of our times.
 
Elvis Presley, The Beach Boys, The Monkees, The Mamas and the Papas, Sonny and Cher, Frank Sinatra, Dean Martin ... countless TV and Movie Soundtracks ... great musicians like Glen Campbell and Leon Russell who went on to have their own successful recording careers ... and behind-the-scene musical wizards like Hal Blaine, Carol Kaye, Billy Strange and dozens more ... all told in their own words and pictures ... the PERFECT companion piece to the DVD or BluRay discs.
 

A movie soundtrack CD is also in the works.  (More details and dates to come as they become available).  These artists provided the soundtrack to our lives ... you simply will not believe the volume of tracks they produced during this era, all as uncredited, unsung heroes who crafted and shaped the "now sound of today", '60's-style.  (You'll now be able to pop that soundtrack into our CD players whenever we feel like it and relive all of the music, magic and memories!!!)
 
Numerous delays, film festival showings and fund raisers to collect the money for music rights have turned Denny's little project (originally started as a tribute to his father, who passed away early on during this whole process but was captured on tape for a number of comments and memories) into a 19-year ordeal of getting this final story out to the fans.  Well, it has FINALLY happened ... and all I can tell you that it was WELL worth the wait.  Denny Tedesco can be proud of what he's accomplished here ... and Forgotten Hits Readers will most definitely want to add these items to their personal libraries.
 
DVD / BluRay available June 16th
(Kickstarter contributors will receive their "special" version of this release automatically ...  others can preorder through the website below)
The book "Sound Explosion" is available now.
Complete details here:  http://store.wreckingcrewfilm.com/
 
And this just in ...
 
FH Reader Harvey Kubernik tells us about a very special Wrecking Crew Concert Event coming up in Hollywood, California next week.
 

 
The Wrecking Crew All Stars featuring Don Peake, Chuck Bergfoffer, Paul Kreibich, Richard Niles, Eric Eckstrand, Lamont Dozier, Jr., with Nadia Deleye
An evening of Songs and Stories
Don Peake is a guitarist who studied with Barney Kessel, Howard Roberts and Joe Pass. He toured with the Everly Brothers during 1961-1963, soon a membership in the famed Wrecking Crew studio musicians. He’s heard on countless Lou Adler, Phil Spector, Brian Wilson and Sonny Bono-produced recording sessions. In 1964 became the white guitarist to play and record with Ray Charles for ten years. He arranged “If I Were a Carpenter” for Bobby Darin and is the lead guitarist on Marvin Gaye’s “Let’s Get It On.” He is prominent on the early Jackson 5 and Barry White hit recording sessions. Don has arranged recording dates for Roy Orbison, the Monkees, Minnie Riperton and the Fifth Dimension.  In 2011 he produced the album Winds of Change for vocalist Izzy Chait.   
“I have picked up as many hints on guitar playing as I can from Don Peake, who is the Everly Brothers guitarist. He really is a fantastic guitarist, and the great thing about him is that he is always ready to show me a few tricks.” Keith Richards, New Musical Express 1963.” 
Chuck Berghoffer:Bass.A leading musician on the west coast, Berghoffer accompanied pianist Bobby Troup and his wife, singer Julie London. In the early sixties he was a member of the house band at Shelley Manne’s venue, the Manne-Hole, performing with Jack Sheldon, Frank Rosolino and Conte Candoli. He later worked at Dante’s with Frank Strazzeri amd Nick Ceroli. Around his studio and live gigs, he backed Nancy Sinatra on her hit single, “These Boots Are Made For Walkin’” as well as studio endeavors with Elvis Presley, the ’68 Comeback Special, the Everly Brothers, along with TV and video dates with Frank Sinatra, Glen Campbell, Ray Charles, Stan Getz, Art Pepper, Peggy Lee, Larry Bunker and Zoot Sims.  He’s also heard on Barbra Streisand’s Funny Lady as well as Frank Zappa’s Lumpy Gravy.   
Lamont Dozier, Jr. Vocals: is a singer/songwriter who’s musical influences range from gospel to soul and jazz roots. He hails from Detroit, Michigan, where he began his musical career, honing his talent for song, first in church, then branching out to local productions of television, radio, musicals, and then live entertainment venues and nightclubs. He has shared many a stage with many music industry notables, such as The Temptations, The Four Tops, Aretha Franklin, Ollie Woodson, Rick Braun and Gregg Karukas, Michael Lington, to name a few. He has also worked on show productions featuring Jennifer Hudson, and Jay Leno. Lamont also shares strong roots to the legacy of Motown, as his father, Lamont Dozier, Sr. is one third of the world renowned songwriting team, Holland-Dozier-Holland, who wrote many hit songs for the label. Through his own unique musical talent and expression, Lamont seeks to continue the great musical heritage that was forged by those who preceded him, and, at the same, help usher in a new age of soul singers and entertainers , who blaze their trails as live performers, rooted in the great tradition of R&B and Soul and Jazz.
Nadia Deleye: started her career in Los Angeles acting in television sitcoms, Diff’rent Strokes, What’s Happening Now, and had a recurring role on NBC’s Amen.  Her first opportunity working as a session singer in a recording studio was with producer and songwriter, Leon Sylvers III.  She continued to record vocals for Howard Hewitt, Austrian producer and composer, Peter Wolf, Flim and the BB’s, Kevyn Lettau, and Michael Ruff.  Most recently, Nadia was a member of The Family Stone – performing and touring with the original Rock and Roll Hall of Famers throughout the U.S. and Europe.  She’s also performed and recorded in Hawaii, Japan, and Scandinavia, and has shared the stage with Sheryl Crow, Carl Anderson, Al Jarreau, David Crosby and Graham Nash.  She currently lives in Santa Cruz, California.
Eric Eckstrand is serving as keyboardist and a guest vocalist for this event. The pianist, arranger and singer leads both the Eric Eckstrand Ensemble and the Eric Eckstrand Trio. As a session pianist, Eric has accompanied Smokey Robinson and Paul Anka. The Eric Eckstrand Ensemble is considered the premier band for swing, jump and boogie-woogie music since 1992.in 
Paul Kreibich. Drummer. He was drum major at Costa Mesa High School and already working five nights a week at a local club on Balboa Island by his junior year. Paul continued his studies at Berklee College of Music in Boston, Massachusetts. In 1979 at the age of 23 he got his first major jazz gig with the great singer Carmen McRae. They toured the United States and Japan including a concert at Carnegie Hall. Paul moved to Los Angeles in 1981, began private studies with well-known drum teacher Fred Gruber and attended LA City College. He joined the Ray Charles Band. He was the last drummer to play and was hired on the spot. Paul toured with the band internationally for four years.
He has drummed for many touring artists such as Mose Allison, Red Rodney, The Woody Herman Band, Anita O'Day, Scott Hamilton, Joe Pass, Charles Brown, Rosemary Clooney, Lee Konitz, and others. Paul's recording credits are now well over 60 titles including CD's with, Bill Perkins, Dianne Reeves, Bob Cooper, Conte Candoli, Charlie Shoemake, Herb Geller, Cedar Walton, John Hendricks, James Moody, Kenny Burrell, Ray Charles, Gerald Wiggins, Andy Simpkins, Terry Gibbs, Claude Williamson, and Frank Strazerri.
Dr. RICHARD NILES is a prolific composer, producer, songwriter, arranger and musical director whose career spans pop, R&B, rock and jazz.  Records featuring his work have sold over 250 million copies worldwide.
Richard Niles has produced, arranged and composed music for some of the world's most acclaimed artists including Paul McCartney, Ray Charles, Cher, James Brown, Kylie Minogue, Tina Turner, Mariah Carey, Joe Cocker, Lulu, The Troggs, Deniece Williams, Michael McDonald, Dusty Springfield, Pet Shop Boys, Cat Stevens, Grace Jones, Tears For Fears, Swing Out Sister, Boyzone, Westlife, Michael Ball and Take That.
If any of our readers are able to attend this very special event, please report back to us with all the details!!!
And one last VERY special Thank You to Henry Gross, who hooked me up with Denny Tedesco some seven or eight years ago.  As soon as we saw this film, we were happy to jump on board and let the rest of the world know what a great testimonial this was.  In fact, you can read our very first review(s) right here ...
 Denny Tedesco and Kent Kotal
after a special screening of "The Wrecking Crew"
at The Arcada Theatre last year

The Sunday Comments ( 05 - 24 - 15 )

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re: The Wrecking Crew:  
Kent,  
I bet this doesn't show up on any of their bios or discographies but in this 50th Anniversary of "The Arrows" I can't help but mention that Carol Kaye, Hal Blaine, Larry Knechtel, Billy Strange, Joe Osborne, Don Randi and others were "Arrows" on a few tracks.  
Davie Allan  
P.S. I'm trying to get a new album placed with Curb (he shares in this anniversary when we started "The Arrows") but ... stay tuned!  
Davie  
Congratulations on your 50th Anniversary, Davie ... and Good Luck with the whole Mike Curb thing. 
Do you remember any particular tracks The Wrecking Crewplayed on?  And was this something that you knew about or had prearranged?  Or just a surprise when you got to the studio that day?  (kk)  
Carol, Hal and Larry were on a few of the soundtracks I did, most notably, as far as "Arrows" go, "Devil's Angels" so they were on the soundtrack and the single which was my follow-up to "Blues' Theme". Billy Strange was on two tracks: "War Path" (that was a pre-Arrows single on the Marc label in '63) and "The Unknown Rider" that appeared on "The Wild Angels" soundtrack. I knew they were booked for the various films before the sessions. I also recorded a couple of Jerry Naylor sessions with them. Another session was the score for the award winning short, "Skaterdater". I played lead on those tunes with Al Casey, Jim Horn, Larry Brown and Larry Knechtel. I wish I had taken pictures and kept a log on all those sessions (in the studio daily for five years). Thanks,  
Davie  

Eric Ekstrand and I play two gigs every week as a duo. (Together on one for about ten years, the other for about two yrs). We have a monthly Thursday PM gig and Eric is taking that night off to do the Don Peake gig.
I first met Don when our band, the Portraits, was signed to Mike Curb in '67. Our manager was married to Albeth Paris of the Paris Sisters and Don was dating Priscilla Paris. Don arranged the strings, French horn and chimes on our record of "Over The Rainbow".

Gary E. Myers / MusicGem    

PUTTING THE WRECKING CREW INTO PERSPECTIVE:  
This group of cracker jack musicians created musical magic (and history) on a near daily basis, sitting in on sessions for ALL of the biggest artists recording in and around the Los Angeles area during the 1960's.  All were highly accomplished players (most with JAZZbackgrounds, believe it or not ... and not necessarily big fans of rock and roll other than as a means to earn a living) who were able to grab a sense of what a particular piece of music needed in a matter of just a few run-throughs ... most of the biggest hits of this era were committed to wax in as few as three or four takes.  Because of their ability to capture the "hit" sound so quickly, all were in hot demand.  A typical session might run 3-4 hours ... and during that span of time (depending on what the producer brought with him to the session), they might record a single, a b-side or maybe three or four album tracks ... then move on to their next session.  (Some did three or four three-hour sessions per day!!!  They might record with The Beach Boys, The Fifth Dimension and Frank Sinatra all in the same day!  Then get up in the morning and do it again for The Mamas and the Papas, The Monkees and Johnny Rivers!)  Studio time was expensive, even back in those days, so there was no time to waste ... they had to grasp it ... and nail it ... very quickly.)  Their input was held in the highest regard based on their proven track record. 
Keep in mind that there was NO advance rehearsal time for these sessions ... each and every time they came in "blind" and could be asked to play in virtually any style during each subsequent session.  These guys weren't in a regular band out playing in the clubs each night, honing their skills and arrangements ... in fact, it wasn't even the same players every time ... they just jelled in the studio, putting their own touches on whatever charts happened to be laid out in front of them that particular day. 
Each producer had their favorites ... but if somebody wasn't available to provide guitar or piano for a particular session, there were literally DOZENS of others who could step in and lend their own style to any given record.  The goal was to "mass produce" ... lay down as many backing tracks as possible in a three hour session.  Vocals could always be added later ... and typically the REAL band (or touring band) would have to come in later and then learn their "own" songs from the records!  (It didn't pay for these Wrecking Crew musicians to tour ... they could earn CONSIDERABLY more money doing session work than they ever could out on the road!) 
And, on top of that, they were "unsung heroes" ... rarely (if ever) receiving credit on the albums and singles they played on.  Nobody wanted to break the illusion that the artists we loved were playing their own instruments on all these radio hits that shaped the soundtrack of our lives.  Incredibly, The Monkees were ripped apart when it came to light that they weren't playing their own instruments on their records ... CRUCIFIED in the press ... when, in fact, those EXACT SAME MUSICIANS were also providing the backing sounds for The Beach Boys, Jan and Dean, The Mamas and the Papas, The Byrds, The Turtles, The Fifth Dimension, Herb Alpert and the Tijuana Brass, Elvis Presley, Frank Sinatra, Sonny and Cher and COUNTLESS others.  The Monkees just happened to take the brunt of it ... and eventually learned how to play their own instruments at the insistence of Michael Nesmith and Peter Tork. 
The movie and book point this out in clear, concise facts ... members of The Wrecking Crew played on more hit records than ANYBODY else in the business ... they were unparalleled. 
The era of the studio musician came to an end as more and more "self-contained" groups who were writing their own songs and playing their own instruments came into fashion.  But think about that for a second, too ... Major Acts like Fleetwood Mac would take YEARS between albums, crafting every nuance in search of that perfect sound ... The Eagles might work on a backing track for a week and a half before they felt they had finally captured the sound they were looking for ... spending nine or ten DAYS to fine-tune it to perfection.  The Wrecking Crew accomplished this in three or four hours ... and recorded another three or four songs in that same time period, too!!!  In hindsight, it truly is amazing! 
You will DEFINITELY want to check out the DVD, available June 16th (with an incredible 6+ HOURS of Bonus Material!!!)  Even if you've seen the film in a theater or at a film festival, this new release will contain VOLUMES of material you've never seen before. 
And I can't recommend the book highly enough ... page after page of tidbits in the words of the players, the producers and the artists themselves, talking about what it was like to record in this bygone era ... BEAUTIFULLY illustrated with photos and session logs .. a MUST HAVE for any '60's fan's collection. 
Both items are available through the links shown below: http://store.wreckingcrewfilm.com/   
https://www.facebook.com/pages/Sound-Explosion-Inside-LAs-Studio-Factory-with-the-Wrecking-Crew/612989205497913   

re:  Clark Weber:  
Hey Kent,  
I had the good fortune to attend Clark Weber's last public appearance (so he says) today.  He was speaking at Chestnut Square retirement home in Glenview.  I saw Clark right at the door when I walked in and he graciously signed my copy of his book "Clark Weber's Rock and Roll Radio".  He looked great, not ready for retirement, in my opinion!  He pleased the crowd with many stories of his glory days at WLS.  I saw a few fans with Silver Dollar Surveys ready to get signed.  He mentioned meeting many great artists BEFORE they were famous, including Barbara Streisand, Neil Diamond, the Supremes, Sonny and Cher and, of course, the Beatles.  What an interesting life he has led.  He mentioned he was once at a Paul Revere and the Raiders concert at a local high school and looked at me and said maybe I was there!  I told him I was!  Back then, it was the biggest deal for the Raiders to be at our local high school.  I still have my Raider hat I wore to that show.  Next, he mentioned introducing the Beatles when they played here in Chicago at Comiskey Park in the early l960's.  I had to laugh, because I was there, too!  I was lucky to have a very hip mother who dragged my brother and I to this concert, taking the Halsted Street bus.  I'll never forget it.  I'm sure Clark Weber had many, many more stories to relate.  I recommend anyone getting a copy of his book.  It's great reading about the early days of rock and roll in Chicago.  The crowd really enjoyed this blast from the past with Clark Weber!  
Janet  
How VERY cool!  Clark is a GREAT storyteller and, like I said, still sharp as a tack!  I've been to a couple of his library appearances ... and was there at The Hard Rock Cafe in Downtown Chicago a couple of summers ago when we he appeared at the Ringo Starr Art Exhibit.  I also highly recommend his book for those of you out there who grew up listening to Top 40 Radio in the '60's.  (kk)   

Many people wonder what Clark will live on now that he has retired.  I'm sure, like me, that he plans on living off all the Weber Moola he has from his days at the Big 89 when he was "Emporer Weber."  Sure the station gave away tons of real Silver Dollars, but getting Weber Moola was much cooler!  I was SO stupid as a kid!  :)  
Clark Besch


Clark told us years ago that the station passed out REAL silver dollars during their surprise and remote appearances ... often at the beaches along Lake Michigan where they'd find literally THOUSANDS of kids lying there under the sun with their transistor radios tuned in to WLS!  (kk)   

Kent,  
The WLS survey pictured today dated September 16, 1961, brought two recollections to my mind. The song coming in at #21, JOHNNY WILLOW, peaked at #2 here in OKC and the song coming in at #35 by the Untouchables charted here in OKC but it was the flip, a song called LOVELY DEE which made the survey.  
Larry  
Fred Darian's "Johnny Willow" peaked at #14 here in Chicago on The WLS Silver Dollar Survey while The Untouchables' track "You're The Top" topped out at #35 in its two weeks on the chart.  (kk)   

re:  The Buckinghams / Susan:
>>>The moment of magic ... FOUR of Chicago's best-known Buckinghams on stage together performing their hits again for the first time in 45+ years.  "Back In Love Again" (written by Marty) was the PERFECT opening song. (kk)  
Kent, 
Thanks for all the great video /photos / set list / reviews of the Marty Grebb party.  It all is great!  I am SOOO glad they chose to do "Back in Love Again."  I felt it was just as good as any of their hits and deserved top 10 status.  A Marty classic!  
-- Clark Besch
I agree 100% ... always one of my favorites, too.  (kk)

I remember the Buckinghams playing in Lisle, Il, at Jakes Pizza in the basement called the Snooty Fox. I was a waitress and stayed and had drinks with them.  
Linda Royer  
There was a stretch there in the mid-to-late 80s when they were doing a lot of the neighborhood fests, playing all kinds of hits from the '60's and squeezing their own hits in between songs by The Beatles, The Hollies and others. Since reforming, Carl and Nick have been successfully touring as headliners for about 35 years now! And the fans have stayed loyal. There's a very simple reason for that ... you just can't beat good music!  (kk)   

Didn't see any mention of Marty Grebbs wonderful version of Herbie Hancock's Canteloupe Island, one of the best songs of the evening. 
Dean Milano 
I asked Marty to verify the titles of the songs he performed as part of his official set and this one wasn't even mentioned or on this list.  The original titles given me were (from the original show outline) were: "Take It Easy", "50 / 50", "Come Rain Or Come Shine"and "Latin Medley".  Since he never offered up any alternative titles, this is what I went with.  (kk)  
Weird. He definitely did Cantaloupe and he even smiled when I told him it was the best tune of the night.  Oh well, no biggie. 
Your article was great, by the way! 
Dean 
Listening to Herbie Hancock's version, I definitely remember hearing this, too ... just not sure if this is the correct title for "50/50" or what was simply referred to as "Latin Medley".  (kk)   

 Some time ago FH Reader Clark Besch (who posed the question about your "Susan" preference in the first place) sent us this brief interlude, showing the source of James Guercio's inspiration for the timely psychedelic edit.  Of course The Bucks were shocked when they first heard it as this was all edited in by Guercio without their knowledge after they'd left the studio.  Truly, I don't mind it ... the short edit is just too sharply cut for my ears.  (Talk about crazy edits ... The Cryan' Shames absolutely RUINED the prettiest song they ever recorded on the album version of their Chicagoland #1 Smash "It Could Be We're In Love" ... talk about unnecessary gibberish!  Thankfully the folks at Columbia were smart enough to see the hit potential of the song on its own merits, edited it out and released it as a single.  It peaked at #52 nationally ... but topped the charts here in Chicago for four straight weeks during the Summer of Love, 1967.)  kk







The Exceptions:
Kent,
With Carl talking up the great Exceptions, here's a tidbit that's not even in my original long draft of the Bucks.  BTW, when speaking with Bob Stroud and Jim Peterik years ago, I brought up the Exceptions and both said they were blown away by the band.  Marty had great company and it was really a supergroup BEFORE there were supergroups.  The band at times included Marty as well as Billy Herman, Kal David, Jimmy Vincent, Peter Cetera.  When I spoke with Dunwich's Bill Traut when working on the Dunwich compilations CDs, he told me that David and Vincent were the top guitarists in the city at the time.  High praise for this band that never could crack the vinyl hit parades.  Personally, I LOVE the Exceptions'"As Far as I Can See" single which did get played on WLS' Dex Card show, because I taped it off his show in 1967!  
When Marty joined the Bucks, he brought two original songs to the band that he recorded with the Exceptions earlier.  His 1965 Tollie 45 "Come on Home" with Kal David & the Exceptions was reworked and recorded for the Bucks' 1968 "Portraits" album as "C'mon Home."  Can you believe the difference?  Also, he took another Exceptions 45, their first 1967 Quill / Capitol 45, the psychedelic "As Far as I Can See" and re-recorded it in 1969 with the Bucks for their A side single "This is How Much I Love You."  There's lots of tidbits about the band that are quite interesting.   
Clark Besch










re:  The Chicago Experience:  
You got any knowledge on where Chicago Experience may be playing? Would love to see them ... jeez, they were terrific!  
Chet Coppock    
Couldn't agree with you more ... check out their website for upcoming dates ... a couple of outdoor gigs at some of the neighborhood festivals this summer ... and we will definitely be there.  (I told my wife during their appearance at The Marty Grebb Benefit Concert that they performed "Dialogue" better than ANY time I've ever seen Chicago do it ... and I've seen Chicago at least a dozen times!)  kk

And how cool is this?  After his performance at The Marty Grebb Benefit Concert, original Chicago Drummer Danny Seraphine was honored with a street-naming ceremony at Cornelia and Normandy on the Northwest side of Chicago, the city he was born in and called home.  Congratulations, Danny!  

(For the record, I'm STILL waiting for an alley ... a driveway ... ANYTHING recognizing Forgotten Hits Way!!!)  kk


re:  This And That:  
Kent -  
This weekend WCBS-FM is counting down The Top 500 Memorial Day Countdown ...  
http://wcbsfm.cbslocal.com/2015/05/22/top-500-memorial-day-countdown/ ...  
Care to guess what # 1 will be?
Nowadays I haven't got a clue!
Frank B. 
 
We'll let you know when the final list is posted.  When I tuned in on Saturday I heard (in order) "Out Of Touch" by Hall and Oates, "Bad, Bad Leroy Brown", "Dreamlover" by Mariah Carey, "Who Loves You" by The Four Seasons , "Hot Stuff" by Donna Summer, "She Drives Me Crazy" by Fine Young Cannibals, "Upside Down" by Diana Ross, "Hungry Like The Wolf" by Duran Duran, "Silly Love Songs" by Paul McCartney and Wings, "Urgent" by Foreigner, "Heart Of Glass" by Blondie and Barry White's "You're The First, The Last, My Everything"  (#'s 192 - 181 ).  Definitely a younger audience voting this year ... I'm guessing you're not going to hear too many tunes from before 1968 on this countdown!!!  (kk)

I believe radio stations first started this tradition on Memorial Day, tying in with The Indianapolis 500.  Then it expanded (and/or moved) to Labor Day.  Ron Smith publishes The Labor Day Top 500 (as voted on by his readers and website visitors) every other year ... so this will be the year to cast your votes again.  You can vote by visiting the website here ... http://oldiesmusic.com/index.html
(To confirm, voting starts in August)  kk

>>>Paul McCartney -- available for bar mitzvahs, parties, circus tours.  (I can see the ad now!)  Clark Besch
You guys left out a gig for Sir Paul’s new  venue list: “WEDDINGS”!   
I’ve played a few of those through the years to those who had the bucks. 
Ex Letterman, 
Gary Pike


From about a decade ago.  Small world.
- Bobby Scammell


Hi Kent -  
Just spotted a piece you wrote about Roger Cook in January, 2009.
Thought you might appreciate this story that appeared today.
Regards
Martin  
MARTIN  LEWIS   

>>>The Freddie & Dreamers'"You Were Made for Me" track you featured recently has different edits and I cannot remember now if the one you played is the 45 version or not.  Capitol actually released this in 1963, but it was a hit on Tower over a year later in 65.  However, to elongate the song, they re-edited it, if I remember correctly.  (Clark Besch)
>>>I've heard at least three edits of "You Were Made For Me" over the years.  Quite honestly, I've lost track myself as to which is which!  (lol)  But I'll betcha FH Reader John LaPuzza can tell us!  (Hey John, if you're reading this, can you send me a clean MP3 of the hit single mix???  Thanks!)  kk
Hey Kent,  
I really don't know if there is a clean, mp3 copy of the Capitol Records 45, "You Were Made For Me" by Freddie and the Dreamers, but I'll keep looking. The song was recorded in England and was introduced on the Columbia UK label. I am trying to find the connection of Capitol with Columbia. I don't know if the two record companies had an agreement to share royalties (which I doubt) or Capitol "buying" the recording from Columbia, after the song made its European run in '63, and later appeared on Capitol, the same year. There are other 45s, like "I'm Telling You Now", that went though the same process. The EMI double CD set, "The Ultimate Collection" of Freddie and the Dreamers is supposed to contain the original Columbia recording, but who knows? Its liner notes have some inaccuracies, here and there, even calling the song, "You Were Meant For Me". However, I read somewhere that the word, "Meant" was part of the first working title of the song, written by Mitch Murray and Freddie. Thanks for giving me a shout!
- John LaPuzza


More Bobby Hart coverage in this interesting piece from Jeremy Roberts ...  
http://www.examiner.com/article/last-train-to-clarksville-writer-bobby-hart-unleashes-psychedelic-bubble-gum?CID=examiner_alerts_article   
We're seeing LOTS of press for Bobby's new book, out now.  (kk) 
http://www.amazon.com/Psychedelic-Bubble-Gum-Monkees-Miracles/dp/1590792904/ref=sr_1_1?s=books&ie=UTF8&qid=1432437259&sr=1-1&keywords=bobby+hart   

LOU GRAMM, THE VOICE OF FOREIGNER, TO EMBARK ONEXTENSIVE NORTH AMERICAN SUMMER / FALL TOUR IN 2015 
LEGENDARY LEAD SINGER OF ONE OF ROCK'S GREATEST BANDSTO PERFORM AN EVENING FULL OF HITS WITH THE ATLANTA SYMPHONY ORCHESTRAAT DELTA CLASSIC CHASTAIN PARK AMPHITHEATER IN ATLANTA, GEORGIA ON FRIDAY, JUNE 5  
If you listen to classic rock radio on a daily basis, you'd be hard-pressed to go a full day without hearing the distinctive and powerful vocals of Lou Gramm blasting through your speakers.  
As the voice of Foreigner, one of rock's most popular and successful bands, Lou can be heard on every single one of the band's classic hits, which includes sixteen Top 30 songs and nine Top 10's over the years. For those into chart success, that's one less than the Eagles and the same as Fleetwood Mac.   
 Here are the Top 10's: "I Want To Know What Love Is,""Waiting For A Girl Like You,""Double Vision,""Hot Blooded,""Urgent,""Feels Like The First Time,""I Don't Want To Live Without You,""Say You Will" and "Cold As Ice."
 You know them well.
 And let's not forget "Head Games," the rock anthem, "Juke Box Hero" and other rockers such as "Dirty White Boy,""That Was Yesterday,""Blue Morning, Blue Day,""Long Long Way From Home" and "Break It Up" that cracked the Top 30.
By 1980, Foreigner's first eight singles (from their first three albums, Foreigner, Double Vision and Head Games) entered the Billboard Top 20 charts, making them the first band to achieve that feat since the Beatles.                     
 On Friday, June 5, fans are in for a real rock and roll treat as Lou will performing a vast selection of those Foreigner hits, along with such solo hits as "Midnight Blue" and "Just Between You and Me," with the Atlanta Symphony Orchestra (Guest Conductor: Brent Havens) and his band at the Delta Classic Chastain Park Amphitheater in Atlanta, Georgia.         
One hit after another.
In 1978, shortly after the release of "Hot Blooded,"Circus magazine remarked that Lou had a voice that Robert Plant might envy.
Of course, the rest was rock and roll history as when all might have been said but not yet done, Foreigner would join Led Zeppelin on the Atlantic Records label as one of the most successful artists ever on the imprint.                 
In May of 2013, Lou, with the help of writer Scott Pitoniak, released a must-read autobiography titled, Juke Box Hero: My Five Decades in Rock 'n' Roll (Triumph Books).
A month later, he would be inducted into the Songwriters Hall of Fame.       
Lou and his band -- currently comprised of brother Ben Grammatico on drums, Michael Staertow on guitar, AD Zimmer on bass and Andy Knoll on keyboards -- have been on the road since the beginning of the year and have already performed a few dozen shows to date.
After the Chastain Park Amphitheater performance in early June, Lou will continue to tour throughout the year (see current itinerary below).
Come out and hear the voice behind the songs that have propelled Foreigner's worldwide album sales to exceed 75 million units, making them one of the world's best-selling artists of all-time.     
Get your tickets now!      
Urgent.            
Lou Gramm Official Website and Links
Lou Gramm Tour 2015*
Thursday, May 21 - Snoqualmie Casino in Snoqualmie, Washington
Saturday, May 23 - Bakersfield Rockin Country Festival in Bakersfield, California
Friday, June 5 - Chastain Amphitheatre with the Atlanta Symphony Orchestra in Atlanta, Georgia
Saturday, June 6 - Old Shawnee Days Festival in Shawnee, Kansas
Saturday, June 20 - Hard Rock Rocksino in Northfield, Ohio
Saturday, June 27 - Rockin Ribs Festival in Augusta, New Jersey
Saturday, July 4 - Sun Peaks Concert Series in Sun Peaks Village, British Columbia, Canada
Friday, July 10 - Peacefest in Peace River, Alberta, Canada
Saturday, July 11 - BobStock in Fort Morgan, Colorado
Thursday, July 16 - La Fete Du Lac Nations in Sherbrooke, Quebec, Canada
Sunday, July 19 - Great S. Bay Music Fest in Patchogue, New York     
Monday, July 27 - Olds Agricultural Grandstand in Olds, Alberta, Canada
Friday, July 31 - Rockin on the River Series in North Tonawanda, New York     
Friday, August 14 - Wisconsin State Fair in West Allis, Wisconsin
Friday, August 28 - Beacon Theatre in Hopewell, Virginia
Saturday, August 29 - DeKalb Corn Festival in DeKalb, Illinois
Wednesday, September 2 - Minnesota State Fair in St. Paul, Minnesota
Thursday, September 3 - Minnesota State Fair in St. Paul, Minnesota
Saturday, September 12 - Clovis Music Festival in Clovis, New Mexico          
*Additional dates to be announced    

Sixties Music Legends The Chocolate Watchband Releases New Greatest Hits Album I'm Not Like Everybody Else 
Los Angeles, CA –When discussing legendary psychedelic garage bands of the 1960's, the Chocolate Watchband is at the top of the list. Much to the elation of fans and music critics, this famed sixties group has recorded a new album of their greatest and most popular tunes entitled “I’m Not Like Everybody Else” to be released May 26 on Purple Pyramid Records. Recorded at KVP Studio in Santa Clara, CA, the focus on this album was to faithfully reproduce the sound of the Chocolate Watchband in the 60's with the rawness and energy of the originals. Also added were bonus verses and extended track mixes of 13 personal and fan favorites. “The Chocolate Watchband is back on the scene and ready to rock!” says Tim Abbott, guitarist and producer of the album.   
“This release is all new recordings from The Chocolate Watchband. I had the privilege of premiering some of these songs on the 2010 Bay Area Garage Band Marathon on KKUP Cupertino. This is an incredible set of vintage garage from one of the true legends of the sixties. With this album, there can no doubt the power of their music still speaks to a whole new generation,” says Phil Dirt radio DJ

The goal was to re-create the sound and energy of the sessions with producer Ed Cobb, from the first three Watchband albums that were recorded for Tower Records in 1966, '67, and '68. Electronically reproducing the reverb of the old 'Echo Chamber' from American Recording studio in Studio City, CA, different percussion instruments were added including sleigh bells, tambourines, chimes, temple bells and more exotic instruments like sitars, harpsichords, theremin and bouzouki that gave the original recordings their distinctive sound.  
Featuring:  
David Aguilar - Vocals, Harmonica, Percussion
Bill Flores - Bass
Gary Andrijasevich - Drums and Background Vocals
Tim Abbott - Lead Guitar, Keyboards, Sitar, Flute, Bazooki, Harmonica and Background Vocals.
Alby Cozzette - Electric, Acoustic, and 12 string Guitars, and Background Vocals. 
The Chocolate Watchband formed in San Jose in 1965. The band's music was described as “a blend of 1960s-style garage and psychedelic rock with a distinguishable ‘Rolling Stones’ San Francisco sound.” Produced by Ed Cobb, the group's early music combined the influences of blues with a psychedelic edge that featured terse lyrics and instrumental experimentation. The Chocolate Watchband appeared in the 1967 film 'Riot On Sunset Strip' and the 1968 film 'The Love Ins'. The band released three highly acclaimed LPs from 1967 to 1969 before disbanding in 1970. In 1999, they reunited at the San Diego event 66/99 in San Diego, CA, organized by musician/journalist Mike Stax. They continue to play today at garage rock festivals in Europe as well as the States with Little Steven, The Yardbirds, Love, The Zombies, Bo Diddly, Iggy Pop, the Strawberry Alarm Clock and the Electric Prunes.   
Tracks:
1. Expo 2000
2. Gone and Passes By
3. It's All Over Now Baby Blue
4. Are You Gonna' Be There (At The Love-in)
5. No Way Out
6. Misty Lane
7. I Ain't No Miracle Worker
8. Sitting There Standing
9. Sweet Young Thing
10. Don't Need Your Lovin'
11. I'm Not Like Everybody Else
12. Let's Talk About Girls
13. Inner Mystique   
Chocolate Watchband "I'm Not Like Everybody Else" isavailable on
To purchase “I’m Not Like Everybody Else” on CD: http://www.amazon.com/Im-Not-Like-Everybody-Else/dp/B00VH6S97M  
To purchase “I’m Not Like Everybody Else” on Vinyl: http://www.amazon.com/Im-Not-Like-Everybody-Else/dp/B00VH6SBI4   
To purchase “I’m Not Like Everybody Else” on iTunes: https://itunes.apple.com/us/album/im-not-like-everybody-else/id990793908  
Website:www.thechocolatewatchband.com/

50 Year Flashback - May 25th, 1965

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Some big movers on this week's KFXM Chart ...

The Supremes jump from #6 to #1 with their latest, "Back In My Arms Again" ... The Byrds are up nine places (from #13 to #4) with their first major chart hit, "Mr. Tambourine Man", Ian Whitcomb climbs ten spots (from #16 to #6) with his quirky but infections "You Turn Me On" and The Guess Who are up eight (from #18 to #10) with "Shakin' All Over" ... and that's just The Top Ten!  (Quite a bit of a shake-up for just one week!!!)

You'll find The Beach Boys at #12 with "Help Me Rhonda" (up from #21) and the latest from Them, "Here Comes The Night", climbs from #27 to #15 ... that's a jump of twelve places.  ("Here Comes The Night" was Them's first big national hit ... but as we've seen recently, their original version of "Gloria" topped the charts in a few major cities, despite its poor showing in Billboard Magazine.)

Right behind Them you'll find The Four Tops with the biggest chart mover of the week ... "I Can't Help Myself" is up twenty places to #16.  Tony Clarke isn't doing to badly with "The Entertainer" ... it's up from #34 to #21 this week ... and Freddie and the Dreamers climb ten places with "You Were Made For Me", a song recently featured in this very series.

Jackie DeShannon is up 13 spots with the '60's love anthem "What The World Needs Now Is Love", another great Hal David - Burt Bacharach tune ... and brand new on the chart we find Herman's Hermits' tribute to Sam Cooke, "Wonderful World".  We lost Sam a few months before ... in fact, check out the Spotlight LPs List and you'll see The Supremes' album "We Remember Sam Cooke" listed, too!














Several years ago Peter Noone told us (in our exclusive Forgotten Hits interview ... here):   http://forgottenhits.com/forgotten_hits_interviews_peter_noone

The Herman's Hermits version of WONDERFUL WORLD was recorded as a tribute, the day after Sam was murdered in the USA. At the same recording session THE ANIMALS recorded BRING IT ON HOME TO ME. A tribute !!! We were fans of his music so we did tributes.  We didn't want to make the best recording as we all knew that SAM'S recording WAS and ALWAYS will be the BEST recording.

Being #1

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There's long been a long, universally accepted adage when it comes to the pop charts ...   

"It Ain't #1 Till It's Number One In Billboard" ... 

And that distinction (or perhaps PERCEIVED distinction) always kept Billboard Magazine head and shoulders above its weekly trade publications competition, Cash Box Magazine and Record World Magazine.   

I personally have always wondered how three magazine charting the exact same music from relatively the exact same sources could sometimes have such a wide discrepancy when it came time to publishing their results each week.   

Sure, the top ten was pretty much a given ... while not necessarily in the exact same order, the ten biggest sellers for the week really could not be denied.  But further down the charts we often found discrepancies of 20+ points between a record peaking in Billboard and in one of he other trades.  (Good example:  Paul Revere And The Raiders ... their records always seemed to have a wider spread than many others when you compare them side by side with their counter-part charts.)   

"Like Long Hair" finished 14 points higher in Cash Box than it did in Music Vendor (with Billboard smack in the middle).  "Louie Louie" placed 26 points higher in Billboard than it did in Music Vendor ... unusual because moving forward, their records always seem to place lower in Billboard Magazine when compared to the other two trade publications.  Early hits like "Louie Go Home", "Over You" and "Steppin' Out" each had spreads of 13 points, 18 points and 17 points (respectively) between their best and worst chart showings.   

The trend continued once the hit records started ... "Just Like Me" (#11) placed seven points higher in Billboard than it did in Record World.  Paul Revere and the Raiders were cheated out of an "official" Top 40 Hit when Cash Box and Record World both placed "Peace Of Mind" at #35 and #37 respectively, while Billboard showed it at #42.  "Too Much Talk" had an eight point spread, "Don't Take It So Hard" a nine point spread, "Cinderalla Sunshine" had a 16 point spread and "We Gotta All Get Together" had a 25 point spread ... in all cases Billboard ranking these records the lowest.  The same happened with "Birds Of A Feather" (#13 in Cash Box vs. #23 in Billboard) and "Country Wine" (#28 in Cash Box and #51 in Billboard!) ... and yet another Top 40 non-hit according to "the musical bible".   

Another group short-changed has to be Chicago's own Cryan' Shames (who also just happened to record for Columbia Records ... think there might be a connecton there???)  

WLS-AM, The Big 89, had a HUGE national following ... with their 50,000 watt signal you could pick them up on a clear night in nearly every state from coast to coast.  As such, fans all over the country discovered songs recorded by our local heroes ... but they couldn't always find those records to buy in the record stores because the Mom and Pop shops typically only stocked what was performing well on their own local surveys and local market.   

As such, Cryan' Shames Top Ten Hits in Chicago like "Sugar And Spice", "I Wanna Meet You" and "It Could Be We're In Love" (#1 for four weeks during the Summer of '67) went virtually nowhere on the national charts.  Despite all its grandeur, Chicago's WLS just didn't have enough clout to make a noticeable difference on the national trades.   

That is until Joe Whitburn's new Comparison Chart Book came out, allowing us to shed another light on this topic.  "Sugar And Spice", a #4 hit here in Chi-Town, peaked at #52 in Billboard ... but came in 13 places higher (and actually made The Top 40) in Record World.  "I Wanna Meet You" peaked at #62 in Record World, despite a #85 showing in Billboard.  Even "Mr. Unreliable" dented Record World's Top 100 when it spent at week at #100 ... 27 places higher than it ever managed to rise in Billboard's Bubbling Under Chart.  Both of these records were Top Ten Hits here in Chicago.   

Four-week chart-topper "It Could Be We're In Love" stopped at #85 in Billboard ... but reached #52 in Record World ... that's a spread of 33 points!!!  I don't know what kind of research would result in THAT large a discrepancy!  And isn't it just a LITTLE bit odd that three straight Cryan' Shames records all reached #85 as their peak position in Billboard ... when in fact reach record performed far differently here in Chicago at the time, which would have been the primary basis for ANY chart activity monitored on a national level?   

Now one could argue that while all three trades used similar methods to determine their charts, I would still think airplay would have to be the greatest factor ... followed by sales reported by record stores all over the country.  (I suppose if Record World had a heavier concentration of outlets reporting from the midwest, THAT could explain why our Chicagoland hits always fared better in their publication.)   

But we also heard about all kinds of "Piggy-back" deals going on with distributors at the time ... yes, we'll ship you 200 copies of Record "A" (which you really want) but then you've also got to take 100 copies of "Record B" (which is kind of a dog but we're trying to drum up some airplay for it.)  It wasn't at all unusual to see MAJOR shipments one week for particular records, giving them a HUGE boost up the charts ... only to see these very same records come back in massive returns a week or two later because the record store hadn't sold a single copy.  Didn't matter ... by then, the "sale" had been recorded ... and the record earned a "bullet" in the process.   

There was also another fairly common trade.  (We all know about payola in the disc jocky booth ... but do you really think it ended there?)  How many times do you think THESE words were offered?:  "Take out a full page ad in next week's issue and we'll make sure your record jumps ten points and earns a bullet."  My guess is FAR more times than you can count ... like let's say EVERY week for DECADES as a label was trying to cut its losses and salvage an investment in some "hot new band" who never really had the tools to make it ... but "their lead singer was kinda cute so we thought we'd give it a shot.")   

That's the beautiful thing about Joel Whitburn's new book ...   

With a simple turn of the page you can see ALL of the records that made it to #1 in all three national trade publications ... as well as all of the ones that didn't ...but deserved to, most likely the result of some backroom politics sealing its fate with the artist none the wiser.  (And that's not to say that many of these artists themselves wouldn't have jumped at the chance to make a deal with the devil if it meant scoring a hit record in the process.)   

Rich Appel recently did his annual I.R.S. Countdown, highlighting records that readers and listeners feel were short-changed on the charts ... The It Really Shoulda ... Been A Top Ten Hit series has become quite popular with our readers and oldies fans all over the country.   

Meanwhile, over the next few days we're going to take a look at the #1 Records of the '50's, '60's, '70's and '80's ... and see of we can come up with more accurate list to share with our readers.  From time to time we'll refer back to Randy Prices's Super Charts, a conglomeration of facts collected for each week's chart based on research information from all three chart sources available at the time.   

If you're a chart-aholic like me, this should prove to be a very interesting series.  Hope you'll join us for this one!
kk   

Meanwhile, you can pick up a copy of Joel Whitburn's new Chart Comparison book here ... http://www.recordresearch.com/pop/the_comparison_book_1954-1982.php  

I can promise you endless hours of chart discovery enjoyment as you peruse these pages!

#1 - 1955 - 1963

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Because I didn't really discover the radio until 1964, it's hard for me to accurately describe the relative popularity of songs and how they charted before this date.  Everything I know about the popularity and success of these records (as far as chart history is concerned anyway) I've learned from books like the ones offered through Joel Whitburn's Record Research Company.

From 1964 on, I can speak pretty intelligently on the relative popularity of these tunes ... and will do so in the upcoming chapters of this new Forgotten Hits series.  

Meanwhile, for the years 1954 - 1962 (covered in Joel's brand new "Chart Comparison" book), I can only report the facts as he shows them in his book.  

Here goes:  

We don't really hit our first #1 chart discrepancy until 1957.  In July of that year, The Everly Brothers hit #1 in both Cash Box and Music Vendor Magazine with their first big hit, "Bye Bye Love".  It failed to reach #1 in Billboard.  That's because Elvis'"Teddy Bear" topped the Billboarod chart for seven weeks.  By comparison, Cash Box showed it at #1 for three weeks and Music Vendor showed it at #1 for four weeks.  As such, it's kinda hard to imagine a record as big as The Everly Brothers' first big hit NOT reaching #1 in all three publications.  

Billboard also awarded extra weeks at #1 to "Jailhouse Rock", which also topped their chart for seven weeks, compared to just three weeks in Cash Box.  Incredibly, it didn't reach #1 at all in Music Vendor.  Two other records that reached #1 that year in Billboard without doing so in either of the other publications in 1957 both belonged to Pat Boone ... "Don't Forbid Me" for one week ... and "April Love" for six.  (How does a record big enough to top Billboard's Chart for SIX WEEKS not register a #1 ranking in either of the other major trade publications???)  Perry Como also hit the top spot in Billboard with "Round And Round" without climbing that high in Cash Box or Music Vendor ... so did Buddy Holly's "That'll Be The Day" ... certainly a "perceived" #1 Record if there ever was one.  A record that MAY have deserved a #1 showing, topping the charts in both Music Vendor and Cash Box but NOT in Billboard, was "Raunchy" by Bill Justis.  Again I can't speak for the TRUE popularity of this record at the time because I wasn't there to witness it.  Hindsight, however, tells me probably not ... although it WAS his ability to play this tune that earned a young George Harrison a spot in The Quarrymen, the group that would evolve into The Beatles several years later!  

We saw another example of this kicking off 1958 when "The Stroll" by The Diamonds made it to the #1 spot in both Cash Box and Music Vendor ... for two weeks, no less ... without ever doing so in Billboard.  Incredibly, this was the only instance in 1958 where this occurred.   

There were times when a record topped the chart in Billboard but never reached #1 in the other publications.  These include "Hard Headed Woman" by Elvis, "Poor Little Fool" by Ricky Nelson (the very first #1 Record on the brand new Hot 100 Pop Singles Chart), "Little Star" by The Elegants and "Bird Dog" by the aforementioned Everly Brothers.  The main culprit here depriving these records a #1 showing in Cash Box and Music Vendor seems to be "Patricia" by Perez Prado, which held down the top spot for four consecutive weeks in both publications, despite a one week showing at the top in Billboard.  

1959 gave us a two-week chart-topper by Della Reese, "Don't You Know" that never reached #1 in Billboard.  It did rank as the top record in both Cash Box and Music Vendor, however.  The only Billboard #1 Hit that year NOT to reach #1 in at least one other publication belonged to Elvis Presley ... his "A Big Hunk O'Love" topped the Billboard Chart for two weeks in August of that year.  Elvis DID top the Music Vendor chart for two weeks with "(Now And Then There's) A Fool Such As I" without doing so in Billboard or Cash Box ... and "My Heart Is An Open Book" by Carl Dobkins, Jr. spent THREE weeks at #1 in Music Vendor without hitting the top in either of the other trade publications.  

Billboard had FOUR #1 Records in 1960 that didn't top the chart in any other publications.  They were "Mr. Custer" by Larry Verne, "I Want To Be Wanted" by Brenda Lee, "Georgia On My Mind" by Ray Charles and "Stay" by Maurice Williams and the Zodiacs.  There was never an instance in 1960 when records topped the other two charts without hitting #1 in Billboard.   

That being said, "Georgia On My Mind" and "Stay" were both monster hits ... and well deserving of their #1 berths.  They failed to reach the top in the other two publications because The Drifters'"Save The Last Dance For Me" occupied that position ... for six weeks in Cash Box and five weeks in Music Vendor.  By comparison, it only held the #1 spot in Billboard for three weeks.  In hindsight, "I Want To Be Wanted" and "Mr. Custer" may not have deserved their #1 status, although "Mr. Custer" WAS a pretty big novelty hit at the time.  

1961 saw TWO instances where a record topped the chart in both Cash Box and Music Vendor but failed to do so in Billboard.  "Exodus" by Ferrante and Teicher kicked off the year this way ... and then in October of that year it happened again when Roy Orbison hit the #1 spot with "Crying".  

Once again Billboard ranked Pat Boone at #1 while the other two publications took a pass ... this time it was "Moody River" that received this honor.  At year's end, The Marvelettes also had a Billboard-only #1 Hit with "Please Mr. Postman".  Honestly, I believe that ALL of the above-named titles are worthy of at least a week's worth of #1 status.
1962 shows two records topping the charts in Cash Box and Music Vendor without doing so in Billboard.  The first one to do so was "Mashed Potato Time" by Dee Dee Sharp.  It happened again with Elvis'"Return To Sender" toward the end of the year.  (I just HAVE to believe that "Return To Sender" deserved a universal #1 showing.  It missed in Billboard because of The Four Seasons hit "Big Girls Don't Cry".) 

Joey Dee and the Starliters had a three-week #1 run in Billboard without ever reaching the top spot in the other trade publications.  Tommy Roe achieved the same honors for two weeks with "Sheila" ... and Connie Francis spent a solo week at #1 in Billboard only in March with "Don't Break The Heart That Loves You".   

1963: 

Probably the most OBVIOUS omission from 1963 would have to be "Louie Louie" by The Kingsmen.  It was everything that "Dominique" by The Singing Nun wasn't ... and despite supposedly being banned from any number of radio stations around the country, it still managed to top the charts in both Cash Box (two weeks) and Music Vendor.  Only Billboard denied it its rightful berth at #1.   

Another #1 Record from 1963 that topped two out of the three national charts was "Hello Mudduh, Hello Fadduh" by Allan Sherman (an absolutely deserving novelty hit, big as it was at the time).  Again, Billboard was the lone hold-out.  The Tymes hit #1 in both Billboard and Music Vendor with "So Much In Love", topping the chart for a week in each of those publications.     

There were other assorted #1 Records that year that topped at least one of the charts ... "The End Of The World" by Skeeter Davis was probably the most deserving.  (It hit #1 in Music Vendor but stopped at #2 in both Billboard and Cash Box).  Other debatable #1's include "Sally Go 'Round The Roses" by The Jaynetts (#1 in Music Vendor only) and "Be My Baby" by The Ronettes (#1 in Cash Box only and, in hindsight, a very deserving #1 record.  The impact of this record was enormous.)   

I asked Randy Price, curator of The Super Charts, a ranking that takes into consideration a record's overall chart performance based on all three major trade publications, if some of OUR "worthy #1's" would have hit the top when weighted by the full scope of research used by all three trades.  Here are a couple of examples he sent me ...   

Bye Bye Love by The Everly Brothers - #2 (for 5 weeks!)
Raunchy by Bill Justis - #2
The Stroll by The Diamonds - #2
Louie Louie - #2
The only two titles from your list to actually hit #1 on The Super Charts are 
Exodus by Ferrante and Teicher
and Crying by Roy Orbison
 

#1 - 1964 - 1969

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Our look back at the nation's #1 Records continues today in Forgotten Hits.  

1964: 

Gross errors in 1964 include The Beatles'"Twist And Shout", #1 on nearly every chart we researched across the country (as well as Cash Box and Music Vendor) during our 50 Year Anniversary Salute to Beatlemania and The British Invasion last year ... but NOT in Billboard Magazine ... and "Last Kiss" by J. Frank Wilson and the Cavaliers, an absolutely deserving #1 Record that has stood the test of time ... it topped the charts everywhere but Billboard, too.    

Record World charted The Beatles at #1 for FIFTEEN straight weeks in 1964 ... "I Want To Hold Your Hand" (#1 for NINE weeks), followed by "She Loves You" (one week), "Twist And Shout" (one week) and "Can't Buy Me Love" (four weeks).  The Fab Four would hit the summit in Record World three more times before the year was over ... "Love Me Do" for a week in May, "A Hard Day's Night" for three weeks in July and August and "I Feel Fine" for two weeks in December.  That's 21 weeks on top in a 52 week year!  

Other records that topped two out of three charts include "My Guy" by Mary Wells (it missed in Record World), "A World Without Love" by Peter and Gordon (also cheated out of the top spot in Record World), "Everybody Loves Somebody" by Dean Martin (denied in ... you guessed it, Record World), "Ringo" by Lorne Greene (#1 everywhere except Record World) and "Mr. Lonely" by Bobby Vinton, which missed in Cash Box.  In hindsight, I suppose each of these records warranted a week at the top ... but even more so, I think the Mary Wells record, the Peter and Gordon hit and even Dino's comeback all deserved to be across-the-boards #1 hits. 

"Maybe" #1's for '64?  "She's Not There" for The Zombies ... it only reached the top in Cash Box Magazine.  I don't feel that "Popsicles And Icicles" by The Murmaids, "Bread And Butter" by The Newbeats or "We'll Sing In The Sunshine" by Gale Garnett were universally deserving, despite each spending a week at #1 in one national publication.  

1965: 

#1 on two charts out of three include "Back In My Arms Again" by The Supremes, "A Lover's Concerto" by The Toys, "Get Off Of My Cloud" by The Rolling Stones and "Let's Hang On" by The Four Seasons.  I'll concede that each of these records probably deserved a week at #1.   

Other #1 Records that only topped ONE chart (and deserved a better showing across the boards) include "Love Potion Number Nine" by The Searchers, "My Girl" by The Temptations, "Wooly Bully" by Sam the Sham and the Pharaohs (it was Billboard's Record Of The Year, for God's sake ... yet never made it to #1 in their magazine!), "Like A Rolling Stone" by Bob Dylan (an absolute classic) and "1, 2, 3" by Len Barry, which was ALL over the radio back in the day.  Questionable #1's?  How about "Can't You Hear My Heartbeat" by Herman's Hermits or "A Taste Of Honey" by Herb Alpert and the Tijuana Brass, both #1 in Cash Box only.  

1966: 

"Barbara Ann" by The Beach Boys topped the national charts everywhere but in Billboard ... "My Love" by Petula Clark did the same thing ... but not in Cash Box.  "A Groovy Kind Of Love" missed in Billboard, as did "They're Coming To Take Me Away, Ha-Haa! by Napoleon XIV, "Little Red Riding Hood" by Sam the Sham and the Pharaohs, "Sunny" by Bobby Hebb and "Yellow Submarine" by The Beatles.  "Reach Out, I'll Be There" topped the charts in Billboard and Cash Box ... but not in Record World.  The Napoleon XIV novelty hit was one of the fastest-rising records of all time ... even though its chart-life was short-lived, it absolutely deserved to be a #1 Record, as did "Barbara Ann", "A Groovy Kind Of Love" and probably "Sunny" (even though it's not one of my personal favorites.) 

Solitary #1's include "I Got You" by James Brown (Record World only), 19th Nervous Breakdown by The Rolling Stones (Cash Box), "Nowhere Man" by The Beatles (for two weeks, no less!, in Record World), "Daydream" by The Lovin' Spoonful (in Cash Box), "See You In September" by The Happenings (in Record World), "Mellow Yellow" by Donovan (another two week stint at #1 in Record World) and "That's Life" by Frank Sinatra (Record World only).  

1967: 

1967 kicks off with a couple of records that probably should have been #1's across the board.  "I'm A Believer" was such a HUGE hit for The Monkees that it denied a couple of other deserving songs a week on top of the charts.  (It topped Billboard's survey for seven weeks, Record World's for five ... and spent EIGHT weeks at #1 in Cash Box).  As such "Snoopy Vs. The Red Baron" (#1 in numerous cities around the country) only reached #1 in Record World ... while "Georgy Girl" by The Seekers hit #1 everywhere except Billboard.  That's because The Buckinghams spent two weeks at #1 with their first hit, "Kind Of A Drag".  At the very least, that tally probably should have been reduced by a week to allow "Georgy Girl" to rank as an across-the-boards #1 Hit.  

After topping the charts with their first two releases, The Monkees got cheated out of a third straight #1 Record when Billboard didn't rank "A Little Bit Me, A Little Bit You" in the top spot.  It spent two weeks at #1 in Cash Box and a week on top in Record World.  It was definitely deserving of a #1 berth in all three publications ... but Billboard ranked the Nancy and Frank Sinatra duet "Somethin' Stupid" at #1 for four weeks instead.  (Maybe they received an offer they couldn't refuse???)   

Frankie Valli received the same fate with his smash "Can't Take My Eyes Off You", #1 for TWO WEEKS in both Cash Box and Record World ... but NOT #1 in Billboard ... absolutely a #1 Record in the eyes of all of America (and certainly portrayed that way in "Jersey Boys").  In fact, Frankie's solo hit may have been bigger than most of The Four Seasons' hits up to that point.  

Billboard ranked The Doors' hit "Light My Fire" at #1 for three weeks and then gave The Beatles a week on top with "All You Need Is Love".  The other publications saw it the other way around ... The Doors held the top spot for one week in both Cash Box and Record World ... and then The Beatles spent two weeks at #1 in those publications.  

Three records that probably deserved #1 status were "Little Bit O'Soul" by The Music Explosion, "Never My Love" by The Association and "The Rain, The Park And Other Things" by The Cowsills ... yet each of these reached #1 in only one of the national trades.  Sam and Dave's "Soul Man" hit the top spot in both Cash Box and Record World ... I don't know that this record was big enough to do so.  (It peaked at #2 in Billboard.)  

1968: 

1968 kicked off with two records that reached #1 in Cash Box only ... Gladys Knight and the Pips' version of "I Heard It Through The Grapevine" (ironically, the year would close with the Marvin Gaye version on top of the charts) and "Chain Of Fools" by Aretha Franklin.  A couple of weeks later Chicago's own American Breed were at #1 in Record World only with their smash "Bend Me, Shape Me".  (Here is why I think Record World paid more attention to the Chicago charts than the other publications ... Dionne Warwick's "Theme from 'Valley of the Dolls'" also reached #1 in Record World only ... like "Bend Me, Shape Me", it, too, was a #1 Hit here in Chicago.  

Big discrepancy on just how big Paul Mauriat's hit "Love Is Blue" was ... five weeks at #1 in Billboard, SEVEN weeks at #1 in Cash Box ... but only THREE weeks at #1 in Record World.  It was followed by Otis Redding's "(Sittin' On The) Dock Of The Bay", which spent FOUR weeks at #1 in Billboard ... but never reached the top spot in either of the other publications.  Now THAT kind of discrepancy is just HUGE!!!  (Especially since Billboard didn't rank another Stax / Volt artist, Sam and Dave, at #1 for their hit "Soul Man" the previous year, after it topped the charts in both Cash Box and Record World.  I don't see how ANY records sits at #1 in Billboard without reaching the top in Cash Box or Record World, too ... something just doesn't feel right about this one!  

The Monkees were denied AGAIN of a sure-fire #1 spot in Billboard when "Valleri" reached the top in both Record World and Cash Box ... and spent two weeks on top of both of those charts.  Without question, this was ABSOLUTELY a #1 Record ... everywhere but Billboard.  Billboard also denied Gary Puckett and the Union Gap a #1 Hit when "Young Girl" topped the charts in both of the other publications ... but not in Billboard.  

The same thing happened with their follow-up release ... "Lady Willpower" hit the top spot in both Cash Box and Record World ... but did NOT hit #1 in Billboard.  What's up with that???   

Billboard had a couple more large discrepancies regarding a given record's popularity later that year ... The Rascals' hit "People Got To Be Free" topped the chart for five weeks in Billboard ... but only held the #1 position for three and two weeks in Cash Box Magazine and Record World, respectively.  "Hey Jude" is another classic example ... nine weeks on top in Billboard but only FOUR weeks at #1 in Record World.  (Cash Box fell somewhere in the middle with seven weeks at #1).  Their Apple Records signee Mary Hopkin deserved a universal #1 Hit with her first record, "Those Were The Days" ... it topped the chart for four weeks in Record World, two weeks in Cash Box ... but never hit the summit in Billboard due to "Hey Jude"'s run at the top.  

Finally, Marvin Gaye's version of "I Heard It Through The Grapevine" was a seven week Billboard chart-topper ... but only spent ONE week at #1 in Record World.  Again Cash Box fell somewhere in the middle, with five weeks on top of the charts. 

1969: 

One reason "Grapevine" only spent a week on top in Record World is because it was knocked out of the top spot by the killer Supremes / Temptations duet "I'm Gonna Make You Love Me".  This record topped the chart for three weeks in Record World ... and spent a week at #1 in Cash Box as well ... but never reached the top of the charts in Billboard.  It absolutely should have been an across-the-boards #1 Hit. 

"Build Me Up Buttercup" by The Foundations spent two weeks at #1 in both Cash Box and Record World but never reached #1 in Billboard.  Hindsight has proven it to be one of the biggest hits of the '60's ... as such, it deserves recognition as a #1 Record.  

Another good example is "Hair" by The Cowsills.  This record topped the charts all over the country ... and spent three weeks at #1 on the Record World chart and two weeks at #1 in Cash Box ... but did NOT reach #1 in Billboard ... and that's just wrong.  It absolutely should be considered a #1 Record.  

Same thing for Elvis' hit "In The Ghetto", number one in both Cash Box and Record World but not in Billboard.
Meanwhile, Billboard ranked The Temptations' hit "I Cant Get Next To You" at Number One for two weeks ... yet it never reached the top in either of the other national trade publications.  Instead, they assigned two weeks at #1 to Elvis again for "Suspicious Minds", a song we STILL hear three or four times a day some 46 years later.  

And here's an odd one ... we talked about "Something" / "Come Together" just recently in Forgotten Hits.  Well, in Record World Magazine, "Something" topped the charts for two weeks before being replaced by its B-Side, "Come Together", giving the record a total of FIVE weeks on top of the charts.  (That's because "Something" cut into the #1 run of "Wedding Bell Blues" by The Fifth Dimension, which topped the charts for three weeks in both Billboard and Cash Box Magazine.)  As far as The Beatles' two-sided hit, Cash Box simply gave "Come Together" a three week run at the top ... while Billboard delegated only one week to "Come Together".   

Once again, we consulted Randy Price's SUPER CHARTS.  This research takes into consideration every record's performance in all THREE national trades, thus utilizing the statistics used to compile each magazine's individual weekly charts, increasing the research database by perhaps as much as ten fold!)  I wondered if HIS chart research agreed with many of our assessments shown above.   

"They're Coming To Take Me Away,""The Rain, The Park And Other Things" and "In The Ghetto" all peaked at #2 on the Super Charts ("In The Ghetto" dropped to #7 in Billboard the week it reached #1 in Cash Box and Record World). Some of your other chart examples are shown below.
– Randy   

Here are a few SUPER CHARTS reflecting records that absolutely deserve certification as "Official" #1 Records in the USA ...

 



Tomorrow in Forgotten Hits ... a look at the #1 Hits of the '70's.
Meanwhile, you can pick up your OWN copy of Joel Whitburn's Chart Comparison book here ...

#1 (1970 - 1981)

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Picking up our series in 1970, we find our very first "Should Have Been An Across-The-Boards #1 Hit" candidate in May.  That's when Norman Greenbaum's "Spirit In The Sky" reached the top of the charts ... for two weeks ... in both Cash Box And Record World magazines ... yet did NOT hit the top spot in Billboard.  This one has always played as a #1 Record to me ... and its repeated use in film, television and commercials has forever burned it into our dna.  (It did top the chart here in Chicago as well ... both WCFL and WLS ranked it at #1.)    

Next up would have to be "Cecilia", also #1 everywhere but Billboard (including Chicago).  Billboard apparently denied it a #1 berth by giving a second week at #1 to Ray Stevens'"Everything Is Beautiful" instead.   

Two more such occurrences happened in August when Stevie Wonder's "Signed, Sealed, Delivered, I'm Yours" and Eric Burdon and War's "Spill The Wine" both reached #1 in both Cash Box and Record World but not in Billboard.  In hindsight, I'd have to say "Spill The Wine" was the more deserving of the two, despite the fact that I have NEVER liked this song.  It just played like a #1 Record.   

Creedence Clearwater Revival never had a #1 Record in Billboard Magazine.  For years they were called The Kings of #2.  This was not the case in Cash Box and Record World, however, where "Proud Mary" and "Bad Moon Rising" both hit #1 in Record World in 1969.  It happened again in 1970 when "Lookin' Out My Back Door" reached the top in both Record World and Cash Box ... but not in Billboard.  All three CCR hits were deserving of this honor.  Billboard denied "Proud Mary" #1 status by charting "Everyday People" by Sly and the Family Stone" and "Dizzy" by Tommy Roe at #1 for four weeks each instead.  "Bad Moon Rising" was eclipsed by a five week run at the top by The Beatles'"Get Back", in hindsight one of their weaker efforts that STILL managed to hold down the #1 spot for five big weeks in both Billboard and Cash Box.  

And finally, "We've Only Just Begun" by The Carpenters, their follow-up hit to their #1 smash "Close To You", reached the #1 spot everywhere but Billboard.  Big as it was at the time ... and big as THEY were at the time, this one definitely should have earned across-the-boards #1 status. 

1971 

"Lonely Days" was a HUGE comeback record for The Bee Gees ... and it reached #1 in both Cash Box and Record World ... but NOT in Billboard ... a HUGE mistake in my opinion.  This record marked a HUGE comeback for The Brothers Gibb and topped the charts all over the country and was deserving of a #1 berth.   

It was followed by "Rose Garden" by Lynn Anderson, a record I feel nowhere near as strongly about, that still managed to capture the top spot in both Cash Box and Record World.  (Billboard charted Tony Orlando and Dawn's "Knock Three Times" at #1 for three weeks instead while The Bee Gees and Lynn Anderson were enjoying #1 status in these other publications.)

Two more back-to-back #1 Hits everywhere but Billboard belong to "She's A Lady" by Tom Jones and "Doesn't Somebody Want To Be Wanted" by The Partridge Family.  Both of these records, based solely on their popularity at the time, were deserving of #1 status.  Ringo Starr accomplished the same feat with his first big solo hit, "It Don't Come Easy".  That record reached #1 everywhere but Billboard, too.  (This one I don't know if I feel quite as strongly about ... great record, yes ... incredible Ringo effort, for sure ... but #1???  I don't think so.) 

A major oversight seems to be John Denver's "Take Me Home, Country Roads", #1 for two weeks in Record World and one week in Cash Box ... but never reaching the summit in Billboard.  While I'm not a big John Denver fan, I believe that this record was deserving of a #1 showing ... and it opened up a huge career for him.  Right behind it came "Spanish Harlem" by Aretha Franklin, #1 for a week in both Cash Box and Record World.  I'm not so sure about this one either.  Billboard had Donny Osmond's "Go Away Little Girl" at #1, the start of a three week run at the top of their pop singles chart.   

1972 

Record World had Badfinger's "Day After Day" at #1 for two weeks in February of 1972.  While it's a great record (and one of my all-time faves), it failed to hit the top spot in both Billboard and Cash Box and, as such, I'd have to say probably was NOT deserving of #1 status.  A month later, however, Sonny Geraci and Climax hit #1 everywhere except Billboard ... and that record, big as it was at the time, absolutely deserved its #1 achievement. 

Three records in July alone reached #1 in Cash Box and Record World without hitting #1 in Billboard ... heck, that's most of the month!  First up was Billy Preston's "Outta Space".  Then came "Too Late To Turn Back Now" by Cornelius Brothers and Sister Rose, followed by "Daddy Don't You Walk So Fast" by Wayne Newton.  I'm not sure any of those records deserved the #1 spot but we still hear "Too Late To Turn Back Now" nearly every single day.  "Outta Space" was a totally different sounding instrumental to what we'd grown accustomed and Wayne Newton's emotional take on "Daddy Don't You Walk To Fast" will still elicit a tear from time to time ... but I just don't hear ANY of those records as #1's.  "Lean On Me" by Bill Withers topped the Billboard chart for most of July ... and also hit #1 in the other publications.  (This song has not aged well for me, although I really liked it at the time.  In hindsight the pacing seems a little bit off ... it plays as more of a funeral march than a pop hit, forty years later.)

There were several more instances of denied #1's inBillboard before the end of the year.  "I'm Still In Love With You" by Al Green, odd in a way since Record World had NOT ranked his earlier hit that year, "Let's Stay Together", at #1, while Billboard and Cash Box did.  Next came "Long Cool Woman (In A Black Dress) by The Hollies.  This record had #1 written all over it ... yet Billboard didn't see it that way.  "Everybody Plays The Fool" by The Main Ingredient is a record I feel absolutely deserved to be #1.  (Billboard showed "Ben" by Michael Jackson in the top spot instead.)  

The Moody Blues were also denied a top spot in Billboard for "Nights In White Satin", a record that topped Cash Box for a week and Record World for Two.  Other 1972 records that made it to #1's in two of the three national trade publications (but not Billboard) include "I'll Be Around" by The Spinners and "I'd Love You To Want Me" by Lobo.  There were also a couple of Cash Box only #1's worth mentioning that perhaps deserve attention as worthy #1's ... "Got To Be There" by Michael Jackson, "Rockin' Robin" by Michael Jackson, "Sylvia's Mother" by Dr. Hook and the Medicine Show, "Nice To Be With You" by Gallery, Back Stabbers" by The O'Jays and Burnin' Love by Elvis Presley.  Of these choices, I'd have to go with the last two as most-deserving of being a #1 Record.  

1973 

There were several songs that topped both the Cash Box and Record World charts in 1973 but failed to reach that position in Billboard ... probably the most we've seen thus far in our little expose of what constitutes a #1 Record.    

"Dueling Banjos" by Eric Weissberg and Steve Mandell (from the "Deliverance" soundtrack), "Could It Be I'm Falling In Love" by The Spinners, "Neither One Of Us" by Gladys Knight and the Pips, "Shambala" by Three Dog Night, "Yesterday Once More" by The Carpenters, "Live And Let Die" by Paul McCartney and Wings, "Higher Ground" by Stevie Wonder, "Heartbeat, It's A Lovebeat" by The DeFranco Family, "Goodbye Yellow Brick Road" by Elton John and "Leave Me Alone" by Helen Reddy ALL hold that distinction.  MOST of these deserve #1 status ... with a slight edge going to "Dueling Banjos" (held out in Billboard by a five week run at the top by "Killing Me Softly With His Song" by Roberta Flack, as opposed to three week runs in both Cash Box and Record World), "Shambala" (held out by Jim Croce's "Bad Bad Leroy Brown" in Billboard), "Live And Let Die" (nudged out by a two-week run of "Brother Louie" by Stories), and (dare I say it) "Heartbeat, It's A Lovebeat", a song I absolutely DETESTED (and still do) ... but cannot deny it's universal popularity, except in Billboard where Eddie Kendricks'"Keep On Truckin'" had a two week run, and "Goodbye Yellow Brick Road" by Elton John, kept out of the top spot by The Carpenters' hit "Top Of The World" (one of my least favorite records by them as well.)


1974 

"Americans", the spoken word record by Byron MacGregor topped both the Cash Box and Record World charts for a week in February ... but failed to do so in Billboard.  Somehow, I just don't feel that this was a deserving #1 Record, although it did garner quite a bit of media coverage at the time of its release.  "Boogie Down" by Eddie Kendricks also topped the chart in Cash Box and Record World, as did "Dancing Machine" by The Jackson Five, "The Show Must Go On" by Three Dog Night, "You Make Me Feel Brand New" by The Stylistics, "Don't Let The Sun Go Down On Me" by Elton John, "Jazzman" by Carole King and "When Will I See You Again" by The Three Degrees.   

Much as I liked these records, I don't know that "The Show Must Go On" or "Jazzman" deserved #1 status.  "Dancing Machine", "Don't Let The Sun Go Down On Me" and "When Will I See You Again" probably did.   

1975 

1975 saw "Boogie On Reggae Woman" by Stevie Wonder, "Jackie Blue" by The Ozark Mountain Daredevils, "Someone Saved My Life Tonight" by Elton John and "Mr. Jaws" by Dickie Goodman top both the Cash Box and Record World charts but fail to do so in Billboard, perhaps the shortest list we've run into so far.  Elton John was hot as can be in 1974 and 1975, so "Someone Saved My Life Tonight" probably deserved #1 status.  So did "Jackie Blue", which we still hear nearly every single day some forty years later.  "Mr. Jaws" was HUGELY popular at the time ... but #1?  I don't think so.  (It peaked at #4 in Billboard ... so it wasn't even close).  However, Randy Price's Super Charts also shows it at #1 when factoring in the combined rankings of the three major trades ... so maybe it did!

1976 

In 1976, "All By Myself" by Eric Carmen, "Dream Weaver" by Gary Wright, "Lonely Night (Angel Face") by The Captain and Tennille, "Right Back Where We Started From" by Maxine Nightingale and "Get Up And Boogie" by The Silver Connection each spent a week at #1 in both Cash Box and Record World Magazines without ever reaching the top in Billboard.  I might have to go with Billboard's rankings on this one.  Even with the benefit of forty years of hindsight, I don't know that I believe that any of these tunes truly deserved #1 status.  On the other hand the ONLY record to make it to #1 in Billboard and NOT reach the top in the other two publications was "Love Rollercoaster" by The Ohio Players" ... and I didn't particularly care for that one either.  It was HUGE in clubs, however, so I can understand how it would hit #1 ... it just wasn't my cup of tea. (But then again, neither was disco in general!)   

1977 

In 1977, not a single record hit #1 in both of the other publications without hitting #1 in Billboard ... first time we've seen THAT!!!  

Billboard #1's that failed to peak that high in Cash Box and Record World include "New Kid In Town" by The Eagles, "Don't Leave Me This Way" by Thelma Houston and "Looks Like We Made It" by Barry Manilow.  If there's a #1 Record that probably deserved an across-the-boards ranking at the top of the charts (but didn't get it), I would have to go with "Don't Stop" by Fleetwood Mac. 

1978 

1978 started with Player's hit "Baby Come Back" at #1 in both Billboard and Cash Box ... but NOT in Record World.  ("How Deep Is Your Love" by The Bee Gees, a carry-over #1 hit from 1977, experienced the same fate.  I can't imagine for a moment "How Deep Is Your Love" NOT being a #1 Record!)  That's because Record World charted Debby Boone's "You Light Up My Life" at #1 for THIRTEEN WEEKS ... replaced by "We Are The Champions" by Queen, a record that failed to hit the top in Billboard or Cash Box.  (I would have to say that ALL of the above mentioned tunes absolutely deserved a #1 ranking). 

There were only 23 #1 Records for all of 1978 ... and NONE of them hit the top spot in both Cash Box and Record World without also doing so in Billboard.  A couple of discrepancies worth mentioning ...  

"Emotion" by Samantha Sang and "Baker Street", both hit #1 in Cash Box only (and were deserving of #1 status in the eyes of all of America) ... while Anne Murray's "You Needed Me", #1 in Billboard and nowhere else, was probably NOT worthy of that honor.   

1979 

Only one record again this year that hit the top spot in both Cash Box and Record World despite failing to do so in Billboard Magazine ... and that distinction belongs to "Sail On" by The Commodores. 

#1 in Billboard only:  "Love You Inside Out" by The Bee Gees (worthy) and "Pop Muzik" by M (not).   

1980 

"Please Don't Go" kicked off the new decade at #1 in Billboard only ... I don't think it deserved it, especially in light of the competition ("Escape" by Rupert Holmes and "Rock With You" by Michael Jackson).  Kenny Rogers' hit "Coward Of The County" was #1 in both Cash Box and Record World, but failed to climb that high in Billboard.  I don't think it was deserving of Pop #1 Status.  However, somehow Paul McCartney's live version of "Coming Up" only hit the top spot in Billboard ... and stayed there for three weeks.  How this one escaped the #1 position in Cash Box and Record World is beyond me.   

1981 

Our final look ... "Being With You" by Smokey Robinson topped both the Cash Box and the Record World charts ... and I feel this was a record worthy of hitting #1.  (It spent three weeks at #2 in Billboard Magazine.)  The only other record to achieve #1 status in both Cash Box and Record World and fail to do so in Billboard was "Theme from 'Greatest American Hero'" by Joey Scarbury.  Honestly, I'm not quite sure HOW I feel about that one!!!  (lol) 

Two singular #1's that absolutely deserved #1 status were "Woman" by John Lennon (#1 for two weeks in Cash Box only) and "Elvira", #1 for a week in Cash Box, catchy as hell and on the radio non-stop in 1981.  It certainly deserved one week on top in all three publications.  (Billboard "peaked" it at #5 and it topped off at #3 in Record World.)   

That's our look back at #1 Discrepancies.  All chart information comes from Joel Whitburn's new "Chart Comparison" book, available through the Record Research website:   
http://www.recordresearch.com/pop/the_comparison_book_1954-1982.php   

In fact, Joel will be giving away a copy of this book to a lucky Forgotten Hits Reader at random next week.   

Wanna chance to win a free copy?    

Send us your comments on our #1 Series.  We'll let Joel pick the best one and award that person a copy of his great, new book.  (The Chart Comparison Book compares side by side the peak position of EVERY record to hit The Billboard, Cash Box and Music Vendor / Record World charts between 1954 and 1982 ... it's an invaluable source of chart information all in one place at your fingertips.)   

Even if you don't win a copy, you definitely owe it to yourself to purchase a copy via the link above ... EVERY hit record of The AM Radio / Top 40 Era, ranked by each national publication.  It's a MUST HAVE for any collector's library.  (kk)

NOTE:  Forgotten Hits subscribers received a special FRIDAY FLASH edition via email this morning.
Not a subscriber?
Just drop us an email at forgottenhits@aol.com, put "Subscribe" in the subject line, and we'll add you to the list.  And, if you live in the greater Chicagoland area, let us know that, too, and we'll add you to our Local List, offering special news and offers on concerts happening in our area.

TOMORROW IN FORGOTTEN HITS:  
A special encore presentation of The Top 200 #1 Hits of The Beatles Era, 1964 - 1970.  Don't miss it!

The Top 200 #1 Hits Of The Beatles Years ( 1964 - 1970 )

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A few years ago we compiled a chart designating The Top 200 Biggest #1 Hits of "The Beatles Years", 1964 - 1970. 

Utilizing statistics from all three major publications (Billboard, Cash Box and Record World), we took the ACCUMULATED total number of weeks spent at #1 during this era and then put together the ultimate #1 Hits Countdown.  (Because #1's were considered from all THREE publications, records that you don't typically find designated as a #1 Record were now given equal consideration, even if they only topped the chart in one of the national trades!)

The whole series is permanently posted here:
http://www.forgottenhits.com/the_top_200_1_hits_of_the_beatles_era_1964_-_1970 ...

But here's the recap (in its entirety):

THE TOP 200 #1 HITS OF
THE BEATLES ERA, 1964 - 1970

We've compiled a list of The Top 200 Biggest Number One Records of the Beatles Era.
 
Many, many years ago Casey Kasem did a special American Top 40 Countdown saluting The Beatles Era and it was one of my favorite "special countdown" shows.  I decided to take it another step further ... and expand the list to 200 songs ... but only included the records that actually made it all the way to #1!

Another big difference THIS time around is that we've compiled a list of EVERY Number One Single from ALL THREE of the major music trade publications for this era ... and, as such, you'll see some titles appear that might surprise you.  (Casey's countdowns were always based on the Billboard Charts ... long recognized as "The Music Bible" when it comes chart information.  OUR list takes into consideration ALL of the national research used to assemble these charts way back when ... hopefully presenting an even clearer and more-accurate consensus of how these records really performed on the national charts.)
 
As such, using OUR methodology, we'll finally be honoring some songs that we have always felt were #1 Hits despite the fact that they never "officially" reached the summit in Billboard Magazine ... songs like LAST KISS by J. FRANK WILSON AND THE CAVALIERS (#1 in both Cash Box and Record World but NOT #1 in Billboard), THOSE WERE THE DAYS by MARY HOPKIN, GEORGY GIRL by THE SEEKERS, THE RAIN, THE PARK AND OTHER THINGS by THE COWSILLS, SHE'S NOT THERE by THE ZOMBIES, SPIRIT IN THE SKY by NORMAN GREENBAUM, I'M GONNA MAKE YOU LOVE ME by DIANA ROSS AND THE SUPREMES AND THE TEMPTATIONS, BARBARA ANN by THE BEACH BOYS and many, many more.  (In addition, for the first time you'll see #1 Records included by Creedence Clearwater Revival and Blood, Sweat And Tears ... artists that couldn't get past the #2 spot in Billboard!  All-in-all, we feel a better cross-representation of what the charts were REALLY like during this exciting and inventive era.)
 
And, since this countdown spotlights "The Beatles Years", you can count on seeing 24 #1 Records by The Fab Four in the countdown as well.  (Although Billboard "officially" counted 20 #1 Records by The Beatles, this new expanded list now includes "Twist And Shout", a #1 Hit in both Cash Box and Record World, as well as "Nowhere Man", "Yellow Submarine" and "Something".) 
 
In all fairness, we DID make a couple of "judgement call" eliminations.  For example, even though George Harrison's "My Sweet Lord" reached #1 during 1970, we couldn't really include a record by a SOLO Beatle if we were saluting "The Beatles Years".  Too bad for The Quite Beatle ... had it been included, "My Sweet Lord" would have earned eleven weeks at #1 between the three publications ... and that would have been good enough to make The Top 20!!!  (We eliminated Diana Ross' first solo #1 Hit for the same reason ... but The Supremes are well-represented with TWELVE #1 Records of their own!  But the solo careers of George Harrison, Diana Ross, et al, are really of "another era" ... and NOT The Beatles Era.)   
 
The only other criteria required that the record had to have hit #1 between the weeks of January 1, 1964 and December 31, 1970 in order to qualify.  (In the event of ties ... and there were several ... we let the record's performance in Billboard, long considered to be the Pop Music Bible, determine the rankings ... and, if further ties developed ... and they sometimes did ... we weighted the record based on its long-standing popularity over the past 40-45 years.)
 
The list includes ONLY #1 Records ... so records that may have charted longer or earned more points in a conventional countdown will not appear here unless they reached #1 in one of the major trade publications.

  1.  I WANT TO HOLD YOUR HAND - The Beatles
  2. HEY JUDE - The Beatles
  3. I'M A BELIEVER - The Monkees
  4. AQUARIUS / LET THE SUN SHINE IN - The Fifth
      Dimension
  5. LOVE IS BLUE - Paul Mauriat
  6. IN THE YEAR 2525 - Zager and Evans
  7. CAN'T BUY ME LOVE - The Beatles
  8. GET BACK - The Beatles
  9. HONEY - Bobby Goldsboro
 10. I HEARD IT THROUGH THE GRAPEVINE - Marvin Gaye
 11. BRIDGE OVER TROUBLED WATER - 
       Simon and Garfunkel
 12. THE BALLAD OF THE GREEN BERETS - S/Sgt. Barry
       Sadler
 13. ODE TO BILLIE JOE - Bobbie Gentry
 14. THIS GUY'S IN LOVE WITH YOU - Herb Alpert
 15. I'LL BE THERE - The Jackson Five
 16. TO SIR, WITH LOVE - Lulu
 17. SATISFACTION - The Rolling Stones
 18. DAYDREAM BELIEVER - The Monkees
 19. SUGAR, SUGAR - The Archies
 20. HONKY TONK WOMEN - The Rolling Stones
 21. THE LETTER - The Box Tops
 22. PEOPLE GOT TO BE FREE - The Rascals
 23. BABY LOVE - The Supremes
 24. CHAPEL OF LOVE - The Dixiecups
 25. MRS. BROWN, YOU'VE GOT A LOVELY DAUGHTER -
        Herman's Hermits
 26. MRS. ROBINSON - Simon and Garfunkel
 27. WINDY - The Association
 28. I THINK I LOVE YOU - The Partridge Family
 29. YESTERDAY - The Beatles
 30. RAINDROPS KEEP FALLIN' ON MY HEAD - B.J. Thomas
 31. GROOVIN' - The Young Rascals
 32. DIZZY - Tommy Roe
 33. SOMETHIN' STUPID - Nancy and Frank Sinatra
 34. THE HOUSE OF THE RISING SUN - The Animals
 35. I FEEL FINE - The Beatles
 36. WE CAN WORK IT OUT - The Beatles
 37. I GOT YOU BABE - Sonny and Cher
 38. HELLO GOODBYE - The Beatles
 39. LOVE CHILD - Diana Ross and the Supremes
 40. LET IT BE - The Beatles
 41. COME TOGETHER - The Beatles
 42. CLOSE TO YOU - The Carpenters
 43. CHERISH - The Association
 44. MONDAY, MONDAY - The Mamas and the Papas
 45. A HARD DAY'S NIGHT - The Beatles
 46. YOU'VE LOST THAT LOVIN' FEELING - The Righteous
       Brothers
 47. EIGHT DAYS A WEEK - The Beatles
 48. EVERYDAY PEOPLE - Sly and the Family Stone
 49. OH, PRETTY WOMAN - Roy Orbison
 50. HAPPY TOGETHER - The Turtles
 51. WINCHESTER CATHEDRAL - The New Vaudeville Band
 52. HELP! - The Beatles
 53. SOUL AND INSPIRATION - The Righteous Brothers
 54. WEDDING BELL BLUES - The Fifth Dimension
 55. RESPECT - Aretha Franklin
 56. MAMA TOLD ME NOT TO COME - Three Dog Night
 57. VENUS - Shocking Blue
 58. AMERICAN WOMAN - The Guess Who
 59. TURN, TURN, TURN - The Byrds
 60. SUMMER IN THE CITY - The Lovin' Spoonful
 61. WAR - Edwin Starr
 62. RAG DOLL - The Four Seasons
 63. DO WAH DIDDY DIDDY - Manfred Mann
 64. WHERE DID OUR LOVE GO - The Supremes
 65. THE LONG AND WINDING ROAD - The Beatles
 66. I'M TELLING YOU NOW - Freddie and the Dreamers
 67. GRAZING IN THE GRASS - Hugh Masekela
 68. HANKY PANKY - Tommy James and the Shondells
 69. I HEAR A SYMPHONY - The Supremes
 70. THOSE WERE THE DAYS - Mary Hopkin
 71. THERE, I'VE SAID IT AGAIN - Bobby Vinton
 72. LIGHT MY FIRE - The Doors
 73. SHE LOVES YOU - The Beatles
 74. I GET AROUND - The Beach Boys
 75. DOWNTOWN - Petula Clark
 76. I CAN'T HELP MYSELF - The Four Tops
 77. THIS DIAMOND RING - Gary Lewis and the Playboys
 78. YOU CAN'T HURRY LOVE - The Supremes
 79. CRIMSON AND CLOVER - Tommy James and the
       Shondells
 80. HELP ME, RHONDA - The Beach Boys
 81. WILD THING - The Troggs
 82. WHEN A MAN LOVES A WOMAN - Percy Sledge
 83. ABC - The Jackson Five
 84. PAPERBACK WRITER - The Beatles
 85. THE LOVE YOU SAVE - The Jackson Five
 86. JUDY IN THE DISGUISE - John Fred and His Playboy
       Band
 87. THE SOUNDS OF SILENCE - Simon and Garfunkel
 88. THANK YOU FALETTINME BE MICE ELF AGIN -
       Sly and the Family Stone
 89. LOVE THEME FROM "ROMEO AND JULIET" - 
       Henry Mancini
 90. COME SEE ABOUT ME - The Supremes
 91. YOU KEEP ME HANGIN' ON - The Supremes
 92. SUSPCIOUS MINDS - Elvis Presley
 93. PENNY LANE - The Beatles
 94. ALL YOU NEED IS LOVE - The Beatles
 95. LAST TRAIN TO CLARKSVILLE - The Monkees
 96. I'M HENRY THE VIII, I AM - Herman's Hermits
 97. HELLO DOLLY - Louis Armstrong
 98. HARPER VALLEY P.T.A. - Jeannie C. Riley
 99. SOMETHING - The Beatles
100. HAIR - The Cowsills
 
101. DOCK OF THE BAY - Otis Redding
102. TIGHTEN UP - Archie Bell and the Drells
103. HELLO, I LOVE YOU - The Doors
104. GET OFF OF MY CLOUD - The Rolling Stones
105. STOP! IN THE NAME OF LOVE - The Supremes
106. PAINT IT, BLACK - The Rolling Stones
107. LIGHTNING STRIKES - Lou Christie
108. HANG ON SLOOPY - The McCoys
109. EVE OF DESTRUCTION - Barry McGuire
110. LEAVING ON A JET PLANE - Peter, Paul and Mary
111. GOOD LOVIN' - The Young Rascals
112. INCENSE AND PEPPERMINTS - 
        The Strawberry Alarm Clock
113. RUBY TUESDAY - The Rolling Stones
114. LOVE IS HERE AND NOW YOU'RE GONE - 
        The Supremes
115. SPIRIT IN THE SKY - Norman Greenbaum
116. I'M GONNA MAKE YOU LOVE ME - Diana Ross and the
         Supremes and The Temptations
117. BUILD ME UP BUTTERCUP - The Foundations
118. VALLERI - The Monkees
119. MY GUY - Mary Wells
120. NA NA, HEY HEY, KISS HIM GOODBYE - Steam
121. THE TEARS OF A CLOWN - Smokey Robinson and the
        Miracles
122. KIND OF A DRAG - The Buckinghams
123. MY LOVE - Petula Clark
124. EVERYTHING IS BEAUTIFUL - Ray Charles
125. REACH OUT, I"LL BE THERE - The Four Tops
126. 96 TEARS - ? and the Mysterians
127. THESE BOOTS ARE MADE FOR WALKIN' - 
        Nancy Sinatra
128. GOOD VIBRATIONS - The Beach Boys
129. GAME OF LOVE - Wayne Fontana And The
        Mindbenders
130. SOMEDAY WE'LL BE TOGETHER - Diana Ross and the
        Supremes
131. MR. TAMBOURINE MAN - The Byrds
132. TICKET TO RIDE - The Beatles
133. LEADER OF THE PACK - The Shangri-Las
134. CRACKLIN' ROSIE - Neil Diamond
135. OVER AND OVER - The Dave Clark Five
136. SUNSHINE SUPERMAN - Donovan
137. MAKE IT WITH YOU - Bread
138. STRANGERS IN THE NIGHT - Frank Sinatra
139. POOR SIDE OF TOWN - Johnny Rivers
140. LOVE ME DO - The Beatles
141. GREEN TAMBOURINE MAN - The Lemon Pipers
142. MR. LONELY - Bobby Vinton
143. THE HAPPENING - The Supremes
144. CAN'T TAKE MY EYES OFF YOU - Frankie Valli
145. BARBARA ANN - The Beach Boys
146. LAST KISS - J. Frank Wilson and the Cavaliers
147. A LITTLE BIT ME, A LITTLE BIT YOU - The Monkees
148. A LOVER'S CONCERTO - The Toys
149. I CAN'T GET NEXT TO YOU - The Temptations
150. A WORLD WITHOUT LOVE - Peter And Gordon
151. I WANT YOU BACK - The Jackson Five
152. RINGO - Lorne Greene
153. BACK IN MY ARMS AGAIN - The Supremes
154. TWIST AND SHOUT - The Beatles
155. IN THE GHETTO - Elvis Presley
156. A GROOVY KIND OF LOVE - The Mindbenders
157. SPILL THE WINE - Eric Burdon and War
158. LET'S HANG ON - The Four Seasons
159. THEME FROM "VALLEY OF THE DOLLS" - Dionne
        Warwick
160. LOOKIN' OUT MY BACK DOOR - 
        Creedence Clearwater Revival
161. LADY WILLPOWER - Gary Puckett and the Union Gap
162. LOUIE LOUIE - The Kingsmen
163. SUNNY - Bobby Hebb
164. GEORGY GIRL - The Seekers
165. FOR ONCE IN MY LIFE - Stevie Wonder
166. WE'VE ONLY JUST BEGUN - The Carpenters
167. MELLOW YELLOW - Donovan
168. CECILIA - Simon and Garfunkel
169. NOWHERE MAN - The Beatles
170. YOUNG GIRL - Gary Puckett and the Union Gap
171. THEY'RE COMING TO TAKE ME AWAY, HA-HAA!!! -
        Napoleon XIV
172. SOUL MAN - Sam and Dave
173. EASY TO BE HARD - Three Dog Night
174. I GOT RHYTHM - The Happenings
175. YELLOW SUBMARINE - The Beatles
176. LITTLE RED RIDING HOOD - Sam the Sham 
        and the Pharaohs
177. THE RAPPER - The Jaggerz
178. SIGNED, SEALED, DELIVERED, I'M YOURS - 
        Stevie Wonder
179. MY GIRL - The Temptations
180. NEVER MY LOVE - The Association
181. THE RAIN, THE PARK AND OTHER THINGS - 
        The Cowsills
182. 1, 2, 3 - Len Barry
183. JUMPIN' JACK FLASH - The Rolling Stones
184. SHE'S NOT THERE - The Zombies
185. WOOLY BULLY - Sam the Sham and the Pharaohs
186. SNOOPY VS. THE RED BARON - The Royal Guardsmen
187. BAD MOON RISING - Creedence Clearwater Revival
188. ONE - Three Dog Night
189. CRYSTAL BLUE PERSUASION - Tommy James and the
        Shondells
190. TIME OF THE SEASON - The Zombies
191. I GOT YOU - James Brown
192. PROUD MARY - Creedence Clearwater Revival
193. A LITTLE BIT OF SOUL - The Music Explosion
194. IN THE SUMMERTIME - Mungo Jerry
195. CLASSICAL GAS - Mason Williams
196. DAYDREAM - The Lovin' Spoonful
197. CANDIDA - Dawn
198. TOUCH ME - The Doors
199. LITTLE WOMAN - Bobby Sherman
200. A TASTE OF HONEY - Herb Alpert and the 
        Tijuana Brass

RUNNERS-UP (in alphabetical order):
AND WHEN I DIE - Blood, Sweat and Tears
BALL OF CONFUSION - The Temptations
BAND OF GOLD - Freda Payne
BEND ME, SHAPE ME - The American Breed
A BOY NAMED SUE - Johnny Cash
BREAD AND BUTTER - The Newbeats
CAN'T YOU HEAR MY HEARTBEAT - Herman's Hermits
CHAIN OF FOOLS - Aretha Franklin
I HEARD IT THROUGH THE GRAPEVINE - Gladys Knight and the Pips
INDIANA WANTS ME - R. Dean Taylor
JEAN - Oliver
LIKE A ROLLING STONE - Bob Dylan
LOVE POTION NUMBER NINE - The Searchers
19th NERVOUS BREAKDOWN - The Rolling Stones
PATCHES - Clarence Carter
SEE YOU IN SEPTEMBER - The Happenings
SHE'D RATHER BE WITH ME - The Turtles
SIMON SAYS - The 1910 Fruitgum Company
SOULFUL STRUT - Young-Holt Unlimited
THAT'S LIFE - Frank Sinatra
TURN BACK THE HANDS OF TIME - Tyrone Davis
WE'LL SING IN THE SUNSHINE - Gale Garnett
YOU SHOWED ME - The Turtles

The Alan Parsons Live Project - 2015

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We see a lot of shows ...    

And the second best show we saw all of last year was The Alan Parsons Live Project at The Arcada Theatre.   

It was topped only by their SECOND show later that same night!!! 

(After a full-throttle 7:30 performance the band came back out at 10:00 to do a second show that kicked the energy level up another 200%.  We've never seen anything like it ... and I still don't know how they did it ... but it was truly incredible.  After it was over, I committed myself to total fandom ... and have been listening to their collected works virtually non-stop ever since.)

Last Friday Night (May 29th) we were treated to a return performance of this incredible band at the same venue ... and once again they completely blew us away with their unparalleled talent and musicianship.

The Alan Parsons Live Project transformed the small, friendly confines of the sold out, historic Arcada Theatre into The Royal Albert Hall for the evening through their musical magic ... it was literally rock and roll royalty putting on a majestic performance of the highest caliber ... the show was nothing short of magnificent.

To a man, this has to be one of the most accomplished collections of musical talent to ever grace one stage.  Song after song ... EVERY song ... they continued to amaze their very receptive audience, who awarded them with standing ovations throughout the evening as each stellar performance seemed to surpass the last.

All the hits were there ... everything from "I Wouldn't Want To Be Like You" to "Games People Play" to "Time" to "Don't Answer Me" to "Sirius / Eye In The Sky", a Chicagoland favorite thanks to its long-standing ties to The Chicago Bulls during the incredible Michael Jordan era.  Album favorites like "Breakdown", "Old And Wise" and the entire suite from "Turn Of A Friendly Card" were featured in a two hour show broken into two sets.  It all culminated with a final applause, the likes of which I'd never seen before ... this audience simply did NOT want the band to leave the stage.  Parsons himself was beaming ... and the band was almost giddy ... they, too, were aware of the connection they had made that night .. and it was a reciprocal soul grabbing accomplishment, nothing short of a spiritual experience ... top notch musicianship and vocals throughout ... in fact, the sight of all eight band members singing together at various crescendos of certain songs was truly goosebump-inducing.  (Drummer Danny Thompson gave our buddy Tommy Scheckel a run for the money in the who can sweat off the most weight during a concert performance Friday night ... he was absolutely drenched at the end of the show!  I can only imagine it took a couple of hours to wring him out afterwards!)

And, in a day and age where most artists are looking to see how they can best approximate their sound by minimizing the number of players on stage, The Alan Parsons Live Project has taken the opposite approach, adding new members over the past few years to expand their on stage ensemble to eight.  The newest addition is Dan Tracey on guitar and vocals and he proved to be a valuable asset, allowing veteran fellow guitarist Alastair Greene to wail even more on his guitar solos (while still taking on quite a few amazing solos of his own.)  PJ Olsson was in FINE voice Friday night as were ALL of the members of the band ... Guy Erez on bass, Todd Cooper on saxophone and percussion and Manny Focarazzo on keyboards.  Parsons (who alternated between keyboards and guitar) also paid homage to his recently departed partner Eric Woolfson, who passed away in 2009, referring to him as "the other half of The Alan Parsons Project" ... it was in respect of Eric's passing that prompted Parsons to rename the current line up as "The Alan Parsons Live Project".



Since being TOTALLY captivated at last year's performance and picking up the box set of complete works (available through Alan's website shown below ... or Amazon.com for about $20-25 less) and listening to this music nearly non-stop in between, I have come to find many musical similarities in structure and melody that help to define the Alan Parsons sound.  Intentional or not, some songs almost seem to blend well right into others ... but I prefer to think of this as more of a universal "theme" rather than a "borrowing" from the past.  (John Fogerty already proved that you can't plagiarize yourself years ago!!! lol)  Still, in overall execution, you won't find a better example of musical synchronicity than these guys ... it is nothing short of pure perfection on stage.  (Although I will agree with you, Alan ... the inclusion of the "contract obligatory" final album is exactly as you describe it ... horrible! ... a complete throw-away without a vocal to be found ... and not befitting of the other material recorded and released in a different cosmic spirit.)

That being said, their brand new material recorded under their own terms is outstanding and holds up perfectly with all that has come before it.  Last year we were treated to "Fragile", the then brand-new single, in concert ... and this year they presented "Do You Live At All", both also available through Alan's website and the usual sources like iTunes and Amazon.  Give a listen to the sound samples ... they're great.  (In this day and age, Alan explains, people buy singles ... they don't buy albums anymore ... so he's making available individual tracks for downloading to feed the current "mode of operation" and buying habits amongst music lovers.  Meanwhile, he has ALSO released all of his albums on vinyl for all of us true, old-school die-hards ... and you can purchase autographed copies of these LPs on his site as well for about $75 each.)

Parsons is sticking around Chicago through the weekend to participate in a Master Training Class at RaxTrax Recording studio where purchasers of a ticket are able to witness an actual recording session produced by this musical genius.  ($1000 tickets to sit in the studio completely sold out ... or for $500 you could sit in an adjacent room and watch the whole proceedings on a video screen!)  That event is happening today, as a matter of fact, and is an all day affair, kicking off at 9:30 am and running well into the evening with a champagne reception afterwards.



There are only a few shows left on this leg of the current tour ... the band stops in Atlantic City, New Jersey, and New York on June 5th and 6th ... and then has dates in California the following weekend (June 11th and 12th) before taking a break.  Again, you'll find more information on the official website.

HIGHLY recommended ... in fact, this show gets the Forgotten Hits highest standard award as an experience worth seeing ... you'll leave the theater as a major fan and want to delve deeper into their collection just as I did to find out what else you may have missed over the past few decades. (I nearly ran out of superlatives describing this incredible concert experience ... and can only assure you that each and every one of them was well earned and well  deserved ... a phenomenal show you won't want to miss.)  kk 

Official Alan Parsons Website:

Our Alan Parsons concert review from last year:
http://forgottenhits60s.blogspot.com/2014/05/the-alan-parsons-live-project-concert.html

(special thanks to Luciano Bilotti for use of these photos in Forgotten Hits)

50 Year Flashback - June 1st, 1965

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Here's another LA Chart, this time spotlighting the first of June, 1965.

Sam The Sham and the Pharaohs are holding on to the #1 Spot with "Wooly Bully", a hit that Billboard Magazine would later name The Biggest Single of 1965, despite it never reaching the #1 position in their magazine!


Sitting at #6 are Herman's Hermits with their big hit "Mrs. Brown, You've Got A Lovely Daughter", a HUGE US Hit that was never released as a single back home in England.  On THIS chart, however, KFWB is showing it at a two-sided hit ... which means we get to feature one of my all-time favorite B-Sides, "I Gotta Dream On".  (We saw Herman's Hermits starring Peter Noone last Saturday Night and it was a VERY welcome surprise to hear them feature this one, LONG one of my favorites, in their set that night.  I still say this one could have been a major hit on its own had it been given A-Side status, much like "No Milk Today" a couple of years later.  Herman's Hermits EASILY could have had two more Top Ten Singles under their collective belts had the record label - MGM - chosen more wisely.)  You'll also find Herman's Hermits at #25 and #36 this week with "Wonderful World" and "Silhouettes" respectively.  (These guys were clearly hot at the time ... second only in popularity to The Beatles on the US Charts!)

The Four Tops jump 23 places with their soon-to-be #1 Hit, "I Can't Help Myself" ... and Roger Miller's got another hit on his hands as "Engine Engine #9" climbs from #17 to #8.  The Yardbirds are also up ten places with their first big US Hit, "For Your Love", #9 this week in 1965, with another song originally first recorded by Herman's Hermits!













Herman's Hermits Starring Peter Noone

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It was another wild night ... ALWAYS a good time when Peter Noone takes the stage ... and last Saturday (May 30th) was no exception.  In fact, this time around they performed the whole show as two sets with no opening act and a brief intermission, giving the fans even more of what they'd come to see, including a little more schtick, a few more British Invasion hits and some rarely performed Herman's Hermits B-Sides.
 
I had the chance to visit with Peter backstage before the show.  He had already done a fan club appearance earlier that day ... and several of the VIP fans with meet and greet privileges were invited to his sound check as well.  As we all already know by now, Peter's legion of Noonatics are second to none when it comes to loyalty to their hero, often traveling from show to show to catch his act in an almost Pied Piper fashion.  (It's a very reciprocal love fest ...making for an incredible connection ... Peter truly does love and appreciate these fans who have stuck by him from the very beginning.)
 
Having cut back on his number of appearances this year, Peter's mantra for 2015 is "This show will be the best one ever" ... and he did not disappoint.  He seems to have a built-in "entertainer switch" and once it's clicked on, he's in high gear from that moment forward, truly appearing to be having the time of his life up there while taking all of the rest of us along for the ride.
 
He was in fine voice and fine spirits as he took the Arcada stage for his first set, still sounding and looking incredibly youthful, cranking through the hits ... both his and those of several other British Invasion Artists as well ("Love Potion Number Nine" by The Searchers, "Ferry 'Cross The Mersey" ... or in this case "The Fox", a river that runs through St. Charles about a block away from the theater ... by Gerry and the Pacemakers, "I'm Telling You Now" by Peter's very close friend from the '60's, Freddie Garrity and the Dreamers, "A World Without Love" by Peter and Gordon, "For Your Love", the popular Yardbirds track (first recorded by Herman's Hermits by the way), "Do Wah Diddy Diddy" by Manfred Mann and a few others (including the obligatory Mick Jagger spoof, this time on "Jumpin' Jack Flash" and the Johnny Cash classic "Ring Of Fire", still one of the most popular songs in the set for some crazy, unknown reason!)
 
Incredibly, even at the ripe old age of 67 (he'll be 68 in November), Noone maintains his child-like voice, which has only gotten purer and richer with age.  He can completely transport you back to a time when he was 17 years old and on tv here in The States nearly every week performing his latest hits.  And when the music starts, it's like he's 17 all over again in an almost Peter Pan sort of way ... and the whole audience is off to Neverland and memories of a happier, carefree time.  I swear, he never ages ... and this music still has the same kick and appeal just as it did (as Peter points out) over 20 years ago when they were making records as the original Herman's Hermits.  (As always, Peter's crowd is a mixed bag of original fans ... their children who grew up listening to and loving this music ... and now even some grandchildren who have come out to enjoy the whole feel good '60's experience.  Never more than during a Herman's Hermits concert is my point driven home more clearly regarding this music being timeless ... we saw five year olds singing along with every word and dancing in the aisles!)
 
The show-stopper for me Saturday Night was "The End Of The World", a song he has long claimed to be his Herman's Hermits favorite ... I have NEVER heard him perform it better ... absolutely goosebump-inducing ... a simply beautiful reading of a classic.  Since about 70-80% of the show is played for laughs, one forgets just how well Peter Noone can still sing ... but when it's time to play it straight for a few minutes the quality of his voice really shines through.  He has clearly taken very good care of himself over the years ... and, having seen him perform at least 20 times in the past 12 years I can confidently say that this was the very best I've ever heard him sound ... so kudos to you, Peter, and your remarkable band for keeping things fun, fun, fun some 50 ... I mean over 20 years later!
 
With the expanded set we were treated to a few Herman's Hermits B-Sides as well. Besides "The End Of The World" the band also performed "Sea Cruise", "I Gotta Dream On" (one of my all-time favorites), "Traveling Light", "Hold On!" and "No Milk Today", a hit in its own right once DJs started playing the other side of "There's A Kind Of Hush", which just happened to be his show-closer.  (At the fan club convention earlier that day he asked those in attendance what other songs they'd like to hear, which is what prompted "I Gotta Dream On" being added to the set.  Should you be open to any other suggestions, another personal favorite B-Side of mine would have to be "What Is Wrong, What Is Right" ... it's got a whole different sound to many of the other ones typically performed each night.)
 
Most of the hits were there ... the only ones I noticed missing were "Leaning On The Lamp Post" (which he usually does ... I got the feeling that they were straying from the set list a little bit every now and then trying to keep things moving, so, during a different set of circumstances, some of these may be featured from time to time as well), "East West", "Don't Go Out Into The Rain", "Museum" and "I Can Take Or Leave Your Loving" ... otherwise we heard them all ... from the biggest ("Silhouettes", "I'm Henry The VIII, I Am", "Mrs. Brown You've Got A Lovely Daughter", "I'm Into Something Good", "Can't You Hear My Heartbeat', "Wonderful World") to the bit more obscure Forgotten Hits favorites like "Listen People", "A Must To Avoid" (performed Saturday as "She's a muscular boy"), and another personal favorite "Just A Little Bit Better", a song I still believe to be one of their all-time greatest.  Non-stop fun and mayhem from start to finish ... which is EXACTLY what they are going for!
 
Peter seems pleased with the new two-set line-up and no opening act.  "We'll be our own opening act", he told me, unless they can come up with some other British Invasion Act or worthy hit-making band from era to tour with.  (Last time they played The Arcada, Jay and the Americans opened the show for them ... and it was a fun night of '60's entertainment.)  It's a great approach to keeping things new and fresh again ... plus it gives the fans a chance to hear some great songs often left out of a one hour set due to time restraints, all keeping with the 2015 credo
"This show will be the best one ever."
 
He told us that he still does his Sirius / XM Radio Program and has recently written the liner notes for a brand new Herman's Hermits compilation CD put out in Germany (but available here in The States as well both through his website or places like Amazon.com ...66 tracks covering their whole career.) He has also mended fences with the Klein family since the passing of matriarch mogul Allen B. Klein, who tied up the music of Herman's Hermits for decades, often preventing their songs from being used movies, television and advertising commercials.  Since Allen's passing, Peter has been working directly with Allen's son Jody (a sometimes FH contributor) and they truly have been working together to get this music back out to the public with several new releases planned and/or already available (including a couple of films starring Herman's Hermits, long out of print.)  All of this is being done with Peter's input this time around (as it should be) with a common goal of mining those vaults for the very best material.  (Peter confided in me that Klein always had the best mixes anyway, so he's pleased to see these releases finally seeing the light of day.  Believe it or not for the first time EVER Herman's Hermits is selling Allen Klein material at their shows ... and being compensated for doing so!  Seriously, could there be a happier ending to this story?)
 
When I mentioned that Alan Parsons had performed at The Arcada the previous night, Peter told me that they were neighbors ... and had recently been out celebrating Eric Burdon's birthday.
 
 
Two COMPLETELY different types of shows ... both entertaining as hell ... completely sold out and performed back to back at the historic Arcada Theatre.  Man, what a weekend we had!
 
COMING UP:  Peter has agreed to do an updated Forgotten Hits Interview ... stay tuned for more details ... coming soon to these pages!
 
WHAT ARE THE ODDS?:  Prior to the show when I returned to my seat after visiting with Peter Noone back stage, a woman to Frannie's left asked if we knew if there was going to be an opening act this evening.  Because I had just spoken to him about this subject, I told her "No, they'll be doing the whole show themselves as two sets", to which she replied, "The last time I saw him, he performed with The Ides Of March, who opened the show."  She then said, "I went to school with Jim Peterik" to which I replied, "Really?  You went to Morton West?"  "Yes."  "So did I!  What year did you graduate?  I'm Class of '71."  And, before she could answer, the woman to MY right said, "I graduated Morton West in 1971!"  We were all flabbergasted.  What are the odds that all three of us ... COMPLETE strangers ... would all be at the same concert sitting in the same row, having all graduated from the same high school?!?!?  It helped kick the show off to an even better beginning.  (Blackhawks updates throughout the night kept the fans cheering as well, since this is the night they earned their spot at the Stanley Cup Play-Offs.)  But it was the music of Peter Noone and Herman's Hermits that united us all ... and kept us all up on our feet, clapping and singing along.  For two hours anyway, we were all 17 years old again, just like Peter ... and we were lovin' it!  (kk)

Recent Reviews ...

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re:  Alan Parsons:
[SCROLL BACK TO SUNDAY, MAY 31st, FOR REVIEW]

Alan told me I am his brother in Chicago ... and the Arcada is his home.
Ron Onesti
ALWAYS a good show.  And, thanks to Lou, we've been able to add a couple of photos to the website, too.  Be sure to check out Ron's "backstage" story this Friday as Alan discusses what it was like to engineer the very last "live" Beatles recording session ... on the rooftop of Apple Records.  (kk) http://www.dailyherald.com/topics/ron-onesti/ 

Here's one you haven't seen yet ...


Lead singer PJ Olsson (with Alan Parsons in the background) playing my personal favorite "Time" 
- photo courtesy of Luciano Bilotti - Thanks, Lou!

After reading your write up about Alan Parsons I regret not making the trip to St. Charles for that show.  Ron Onesti makes everyone feel like they are family!  Thanks Ron for the hospitality!
Marlee Harrison  
Based on the fact that Parsons has sold out The Arcada every time he's performed there, my guess is he'll be back ... see Ron's comment above ... don't miss it next time ... it truly is amazing!  (kk)  

Based on your first Alan Parsons review from last year I decided to check this out for myself.  So glad I did.  Professional musicianship of the highest caliber ... what a great show.  It was exactly as you described it ... rock royalty on stage.  
Alan


I wasn't all that familiar with a lot of the music performed by the Alan Parsons Project Friday night at the Arcada theater  I knew the hits, of course, but felt a bit in the dark on some of the other material.  However it was so perfectly executed that I was still able to enjoy the show to the fullest.  A perfect night of music, perfectly executed. 
Scott  

Kent, 
Your review of The Alan Parsons Project pissed me off ... only 'cause I couldn't be there  LOL 
Great job. One of these days I HAVE to get to Chicago to meet you and Frannie. 
Pete

re:  Peter Noone:
[SCROLL BACK TO TUESDAY, JUNE 2nd, FOR REVIEW]

Kent,
It was nice visiting with you in line after the Peter Noone concert and meeting your wife.  Peter Noone was wonderful as always and the sound check for the fan club in the afternoon was fun as he answered questions and sang a few songs.  I enjoyed your review of the Marty Grebb benefit and remember what an incredible evening we had at the Arcada with all the great Chicago talent!   
Marlee Harrison

Hi Kent,  
Great review!! 
I was there ... I saw you at the back stage entrance and was going to run over to say Hi and how much I enjoy the Forgotten Hits blog and all your history and insights. But before I could decide, yes no, yes no, you went back stage and I didn't see you again.I had a great time at the Arcada ... just wish it wasn't so far away ... we came from the Detroit area. I've been on your mailing list a long time, have won a few of your prizes and, like I said, always enjoy hearing about the entertainers we grew up with. Never in a million years would have thought I'd EVER meet Peter and get pictures and all that fun stuff. He a great entertainer and your review was spot on - the music takes you back to when you were young. He is SOOO patient and treats his fans great. And like you say, he enjoys it just as much ... or seems to - ha, his sound check / noonefests gives you a up close and personal feel. So, I just wanted to say thanks and keep it up!Judi Glatfelter
Livonia,
 Michigan

Nice to see you at the Peter Noone concert - I think you described the evening perfectly.  I had never seen his show before so I wasn't quite sure what to expect.  Needless to say, I loved it.
Steve
I ran into quite a few Forgotten Hits Readers that night ... still adjusting to getting recognized at some of these shows!  I know I say it a lot but I'm still ... and always will be ... a fan first.  I get just as excited seeing these artists as all of you do ... especially when they're as "spot on" as Peter and the band were Saturday Night!  (kk)


Kent, 
How fun to sit with Peter AND enjoy the show. Glad for you!   
Phil


Hi Kent,
Great Peter Noone blog!

(I feel like its godfather for introducing you two!)
I just emailed Vinny Martell of Vanilla Fudge and told
him about you (unless he already knows) and suggested he
contact you.  He's a real good guy ... and an *extremely* underrated talent.
I hope all's well.
Best,

Bob Rush
I've not spoken to anyone from Vanilla Fudge (but from what I understand, I have been indirectly responsible for a couple of their bookings recently.)  They're coming to Chicago later this year.  (They hit The Arcada Theatre on Sunday, August 7th, with opening act Nazareth!)
(For those who don't know, Bob got our interview with Peter Noone published in a British Music Magazine called "The Beat" a few years back ... in fact, they liked it so much they split it into THREE consecutive cover stories ... first time I think that's EVER happened!!!)  
We've been buddies ever since ... he's the Philadelphia Cheese Steak to my Chicago Italian Beef!  (lol)  kk  

Excellent review of the Herman's Hermits show - Peter Noone sounds exactly the same and he looks great - obviously the crowd loved him.  As you said, the Nooneatics were out in full force Saturday Night - but they were having a GREAT time so it was hard not to just go with the flow.  Downright infectious! 
Stan

Nice to finally meet you at the Arcada show.  Thanks for all you have done for me and the band over the years - it truly is appreciated. 
Vance Brescia 
Glad we finally had the chance to say hello.  I love the work that you're doing bring musical joy to some of our senior citizens who can't make it out to a show like this one ... it truly is commendable and I am ALWAYS happy to help spread the word.  Thanks, Vance!  (kk)
http://www.vancebrescia.com/memoirs/index.shtml   

Great review on Peter Noone ... I used to see Peter at the East Bank Club about 25 years ago when he was performing - help me on this - Joseph and the Technicolor Dreamcoat?
Truly one heck of a nice guy. 
Chet  
"Joseph" would have been Donny Osmond ... but Peter Noone has made NUMEROUS (Noonerous???) appearances in Chicago over the years ... big at Star Plaza just across the border, too ... maybe it was for one of those?  (kk)  

I was at the Peter Noone show at the Arcada on Saturday, too.  A Noonatic from across the Lake in Michigan.  
I concur that it is one of the best performances that Peter has delivered, and I overheard some people leaving the theater speaking of how obvious it is that Peter loves what he does.  It's his enthusiasm and his desire to make sure the audience and the band are having fun which keeps me coming back for more, year after year. 
Alice M 

Wonderful review.  You're correct ... Peter Noone and Jody Klein are getting along very well together ... and it’s so nice to see Eric Burdon and Peter together … two Mickie Most veterans (they live fairly close to each other in Santa Barbara County); Eric told me he borrowed Peter’s guitar player (with Peter’s consent) for a gig when Eric’s guy had to attend a family wedding ... warms my heart to hear this.
Bob Merlis 

Double K - 
Just a quick note to say thank you for suggesting that I take my wife to the Peter Noone show at the Arcada for our anniversary.  We had a great dinner before the show and then laughed and sang our way through the entire performance.  I never realized how many big hits he really had.  Loved his performance of Daydream Believer, too.  We had a fantastic time.
Spent the night down the street at beautiful Pheasant Run and did the nasty till the wee hours of the morning.  One of our best anniversary celebrations ever.
So thanks to you for making this recommendation - and thanks to Peter for an incredible and inspiring performance.
Dave
I knew you guys would love it ... ALWAYS a great show when Peter comes to town.  
On a related note (?) here's a picture we ran a few years ago from backstage at The Star Plaza in Indiana ... we call it "Peter Noone With Wood" ... sound like he wasn't the only one this past weekend! (lol)  kk

Just read your Peter Noone concert review ... I think it was one of your best.
Shelley
You would!!! (lol)
Then again, turn-about's fair play ... so here's one of Shelley's more recent reviews ... 

re:  And A NEW One ... :
The sound system wasn't that great to begin with at the 1st Armed Forces Day Rock and Roll Show.  I attributed it to all the necessary changes in mics, monitors, instruments, and other changes needed from performer to performer.  Then as Shirley Alston Reeves and The Shirelles finish a song selection, the entire sound system quits.  I mean NADA!!!  NO sound at all!  My eyes pop open wide, my mouth forms the sympathetic, "oh nooooooo ... " shape and I sit stunned.  Maybe they should never have started with 'Mama Told Me There'd Be Days Like This'.  OK, what happens next?  
Well, some of the crew jump into problem-solving mode, some (shockingly) start unplugging and removing the equipment from the stage (WHAT??? WHO said the show was over?) and Shirley and The Shirelles STAY on stage and start DANCING with whatever musicians would stay and softly (even the trumpet was on mic) accompany them.  CLASS A1 PROFESSIONALS, LADIES!!  And when they start to tire?  We, the audience, start singing 'Soldier Boy' to THEM!  Shirley leads us on, and then we stand and give them the ovation they deserve.  Shirley is crying.  They are kind of hurried off the stage and the emcee comes out to talk into a non-working mic.  Looks like he is mouthing, "Can you hear me?" 
My appreciation and thanks to the stage crew who insisted on fixing the situation and succeeded in bringing back the sound system ... somehow.  And to the crew who bailed and then were told to set the equipment back up to finish the show ... phhhhhhhttttt!!  I belong to a union, too.  There are such things as extenuating circumstances and just caring for others more than yourself.  Shirley comes back out, carrying her sparkly heels to complete her part of the show.  And as she and The Shirelles do a better rendition of 'Soldier Boy' than we did, we again rise up in applause.  This audience is not that young, but we insist on standing. 
The final act is next and guess who it is?  Lou Christie, who explains that the building was struck by lightning.  What?  BEFORE he performs?  
(Seriously?!?!?  Lightning Strikes ... at a Lou Christie Concert?!?!?  kk)
I am not totally confident that is the reason, but it makes for a grand evening after all.  Lou and his Crayons still have issues with mics, mic stands, and ill-working monitors as stage crew are still bustling to re-install everything.  One stage hand comes out, removes the mic from Lou and tightens it on the stand so that it does not fall off ... as it had been doing.  Lou talks Italian sign language to his audience till this is finished.  I know sign language and this is NOT what I usually teach my students.  But we love it, and laugh openly, which breaks the tension.  Lou, you were great.  Your music director must have looked more my age after this, but everyone pulled through.  Thank you for hanging around backstage till we could give you the stage back.  
My respect for Shirley Alston Reeves, The Shirelles, Lou Christie, The Crayons, Hell's Kitchen Horns, and Lou's other musicians grew so much during this night that I will hold you all in high esteem forever now.  No matter what.  Professionals!  Good people!  60's Musicians!  
Who else appeared?  Oh yes, it is not their fault they had sound.  (yes, sarcasm)  I will name them ...  
Linda Jansen and the Angels:  great job.  
Louis Vanaria, actor/performer opened.  Good job from a Bronx homeboy.  
Tally Lauriti, performing an Elvis tribute.  He gives a good tribute, but it was long for this type of show.  The audience grew restless.  
So, will there be a 2nd Armed Forces Day Rock and Roll Show in White Plains, NY?  ??????

-- Shelley J Sweet-Tufano

Thursday This And That

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Kent ...
If I was a DJ, I'd be playing this song today.It was the 3rd of June --
It is the 3rd of June!
Frank B.
https://www.youtube.com/watch?v=CZt5Q-u4crc
We missed it yesterday ... the 49th anniversary of Billie Joe McAllister jumping off The Tallahatchie Bridge!!!  (I did ask for a moment of silence at work ... of course everybody thought I was completely out of my mind!)  Still no contact with Bobbie Gentry ... but I'll never give up trying!  (kk)
 
Ron Smith sent us this Illinois Entertainer article on Me-TV-FM.  According to this, their playlist is now up to 2500 tracks ... with more being added all the time.  Now that's some SERIOUS variety! (So how come I keep hearing three or four of these songs every single day for a week straight?!?!?)  Still, I've got to hand it to them ... they're doing EVERYTHING that I have been preaching would be successful for the past fifteen years now ... variety spanning the '50's through the '90's ... a playlist of THOUSANDS of songs (instead of 2-300) ... and they're still running without deejays to keep their costs down.  Can't wait till they start streaming so our FH Readers all over the globe can tune in and listen, too!  (kk)
 
Speaking of radio shows, here's the latest schedule for Mike Baker's Forgotten 45's ...
Mike Baker And The Forgotten 45s will air Sunday afternoons 12 - 4 pm:
June 7th, 14th, 21st, 28th
July 5th, 12th, 19th, 26th
August 2nd, 9th, 16th, 23rd
A question about Chicago oldies stations
WLS-FM 94.7 Classic Hits but have you heard any songs by Cher or Cat Stevens
WJMK-FM 104.3 60s-70s-80s but have you heard Jamestown Massacre or The Five Stairsteps
Me TV FM 87.7 but have you heard Chuck Berry or Bo Diddley
Mike Baker And The Forgotten 45s plays the 50s, 60s and 70s.
Remember listening to Solid Gold Saturday Night with Dick Bartley and Real Oldies 1690?  That is the playlist!
or the WLTL iPhone app
MB
Mike Baker And The Forgotten 45s
 
DeeJay Stu Weiss salutes 1963 this week on his Friday Night Pop Shoppe ... 
You can listen live here:  www.oldiesyourway.com
 
Last week I presented Johnny Mathis with a special Billboard award at his concert at Milwaukee’s Riverside Theater.  The concert was fabulous!  He still hits the high notes in songs like “Misty” perfectly and had the crowd on its feet throughout the night.  It was great meeting him and he was very interested in his Billboard album ranking as the all-time #6 artist in history!  If you ever get the chance, get out and see this living legend perform – stunning!
Joel Whitburn
 
 
Hi Kent,  
Thanks for the Alan Parsons concert review. It’s always uplifting to see performances of “our music” described so positively.
Fascinating list of #1 Records, too. I’m assuming that #124, “EVERYTHING IS BEAUTIFUL” - Ray Charles, is really Ray Stevens. Don’t see Ray Charles on the list but then “I Can’t Stop Loving You” was about 18 months before the start date.
Surprise? Zager & Evans at #6. Unlike, say Paul Mauriat, who had an extensive recording career (especially in Europe), I think that “In The Year 2525” (and the subsequent album) was pretty much all that Z&E did. Such was / is the recording business that they couldn’t parlay that big hit into a successful recording career.
Thanks again,
Mike Edwards
Yes, the Ray Charles / Ray Stevens mix-up was a typo on my end ... it has since been fixed on both sites.  Since the list only covered "The Beatles Years" of 1964 - 1970, "I Can't Stop Loving You" wasn't eligible for inclusion.  (Someday I should do a more comprehensive list of maybe The Top 500 or Top 1000 #1 Records of the Rock Era, 1955 - 1985, similarly compiled by using the data from all three accumulated charts.)
Ironically I heard "In The Year 2525" when my alarm went off this morning ... just prior to reading and pasting your email!
Alan Parsons was phenomenal ... HIGHLY recommended should you ever get the chance.  (kk) 
 
I can't believe Alan Parsons was as good as you said - I think I know one song by him and he isn't the type of artist that I would think would hold any appeal for you.  Isn't he better known as a producer than an artist?  I'm going to have to check him out now just to see if you're crazy or not!
Steve
Trust me ... you don't just know one song by him ... go to YouTube and google The Alan Parsons Project and I'll bet you find out you know at least ten.
Their biggest hits were "Eye In The Sky", "Games People Play", "Time", "Don't Answer Me", "I Wouldn't Want To Be Like You" and "Damned If I Do", all Top 40 Hits between 1977 and 1984.  Their "Sirius" instrumental is the track used to open every Bulls game for at least the past 25-30 years ... and album tracks like "Breakdown" (featuring Alan Clarke of The Hollies on lead vocals) are Classic Rock staples.  Again, you will not be disappointed.  (Next time he comes to town, let's go together ... it'll be worth it just to see the look on your face once the music starts!)  kk
 
This past weekend inSpringfield and Peoria, IL, I had the good fortune to meet and greet with two of the most nicest and professional gentlemen in the music business, Jimy Sohns (Shadows Of Knight) and Ronnie Rice (New Colony Six). This was easily one of the highlights of 2015 for me.  Sadly, I do not have a fancy schmancy cell phone that takes photos, so there are none to share.
Saturday, in Springfield, it was just a meet and greet with Jimy where I got to meet Jimy Sohns of the Shadows of Knight for the very first time.  (This was Day One of a two day event.)  Had the event been held in Chicago, the room would have been wall to wall people, but this was very poorly attended. If 100 people walked thru the door that day, I would have been surprised. If Jimy was disappointed, he didn't show it. There was no music, just a meet and greet as part of a record convention.
As you can see he autographed a few things for me, including the first pressings of Gloria and Oh Yeah, with the picture sleeve. He also signed a bunch of WLS and WCFL charts for me. You can see the three in which Gloria appears at #1. Plus a reissue Dunwich various artists compilation CD, and and a reissue SOK vinyl LP. He would later joke that I had surveys dating back from when George Washington was president. He may be right. Too bad I can never find the stuff you need Kent.
Day Two, in Peoria, was slightly different. There was a record convention and, sometime after noon, Jimy Sohns showed up and I greeted him again with another couple surveys I had with me. However, I was waiting for Ronnie Rice, whom I had met just once before at a restaurant 30 years earlier. He showed up about 2 pm.
At the time I told him I know you hear the line "I have ALL your records" often, but I truly do. This was before the advent of CDs. Now that I have various CD compilations, I really don't need the 45s and have parted with many. Still, I bought a few with me, as well as the Colonization LP, the first New Colony 6 album that Ronnie plays on. I also handed him some surveys and his first solo record, Over The Mountain, which first appeared on a WLS survey at the end of 1961. He was a bit surprised to see that someone still has the record over 50 years later. The meet and greet at the record convention was actually only part one of the day's festivities. Later in the afternoon were performances by various local bands, and then climaxed by performances by Ronnie Rice and Jimy Sohns. I have no idea if they did any duets. Sad to say I didn't stick around to find out, as the show was scheduled to go on until 11 pm. Since it was a four hour drive home, there was no way I was gonna hit the road close to midnight and get home at 4 am. Those days are gone, especially after being up at 6:30 am, to get ready for the record show. My apologies for having no photos to share, as I don't own a camera, and I don't own a cell phone.
Jack Levin
But he DID send some photos of the autographed memorabilia ... check 'em out below.  Thanks, Jack!  (kk)
 


 
Speaking of Jimy Sohns, check this out ...
 
Kent -
I just got back from the Whisky A Go-Go where Jimy Sohns and the Shadows of Knight performed ... for the first time since 1968.  
In the middle of the set, Jimmy invited Dennis Tufano to join in ... that’s Dennis playing blues harp on the right. Jimy said “While I was doing ‘Gloria’, Dennis was doing ‘Susan.’”  Also in this photo are Joan Gand (keyboards) and Gary Gand (guitar) ... big night for Chicagoans on the Sunset Strip.
Bob Merlis
 
 
VERY cool!  (And Dennis plays a pretty mean harp, too, doesn't he!)
Love the comment about "Gloria" and "Susan" ... here's what Jimy told us just before the Marty Grebb Benefit Concert last month (kk) ...
Back 1966 / 1967, the name of every girl you met depended on whether The Buckinghams came to town first or The Shadows.  If we got there first, they were all named Gloria ... if Dennis Tufano got there first, they were all named Susan.
Early on in our formative years, all of us were competitive as we carved our way into Rock and Roll history ... I now feel that we have come full circle! The amount of energy and LOVE coming off the stage last Thursday was truly amazing. On behalf of the Shadows, Hawk, Billy Sullivan and that crazy good harp player, Dennis Tufano, we want say how proud we are to have been in yet another moment of CHICAGO rock and roll history. 
Rock on Chicago, Rock on Marty!
Jimy Sohns / The Shadows Of Knight
They referred to "Gloria" as "Rock And Roll's National Anthem" that night ... and they just may be right!  (kk)
 
I remember being at Poplar Creek for a summertime Beach Boys concert ... the opening act starts playing ... some group called the Tremblers ... the lead singer looked and sounded immediately familiar ... It took me a couple songs into their set list to realize it was none other than Peter Noone!
He was terrific!
Phil
Peter enjoyed some success with "Life After Herman" with The Tremblers.  Good as they were, they just never seemed to catch on here in The States.  He later told me that he had to "leave Herman behind" in order to appreciate him again ... and he's been doing the Herman / Peter thing ever since.  Honestly, we're all the richer for it.  (kk) 
 
>>>I heard the big news that Sirius / XM now has an ALL JAMES TAYLOR channel. I know how much you’ve wanted an “All JT, All The Time” station since MeTV-FM cut back on Mr. Taylor.  (Ron Smith)
An all James Taylor station ... perhaps they will aim it at ISIS and thus cause those maniacs to 'mellow out' and stop burning and beheading people.
Brad
 
To all my Oldies Community friends,
Click the linkbelow to see my brand new video tribute to Independence Day.
Thanks, 
Paul Evans
 
We featured this one a few weeks ago ... and now Grace has the #1 Single in Australia with her remake of the John Madara - David White - penned hit "You Don't Own Me", one of my all-time '60's favorites. 
Here's a link to the video, now with over four million hits!  (WTG, John!)  kk
 
Dear Rolling Friends,
Gary Pig Gold here again, with the latest appearance of my piece on "The Rolling Stones: The Mick Taylor Years."
Here is its virtual address, for one and all to read, reprint, re-post, quote from and / or link to
as always ...

FH Reader Wild Bill Cody used to tell us all kinds of tales about The Moon Rakers ... and how popular they were in the Denver area back in the day, opening up virtually every major act that passed through town.
Since his passing we have kept in touch with original members Veeder Van Dorn and Denny Flannigan.  Van Dorn tells us that the group has reunited for a series of concerts in and around the Denver area ... as well as some road shows, too.  (Wonder if we can get them to stop by Chicago for a quick set, too!  These guys were quite popular at the time as Denver's version of our "local heroes" that we write so much about here in Chicago!)
Anyway, here's the latest ... fans can find more information on The Moon Rakers official website, too, about upcoming appearances ... as well as how to download MP3's of their local hits. 

Read on ...
 
Kent, 
I hope you're having a great day.  I enjoy FH a lot but I just haven't written anything for awhile.  I often find myself thinking "How does Kent keep up with everything he is covering??" Kent, you are, seriously, one of the hardest working guys I know. 
Our first hit, "You'll Come Back" was released on Tower Records and was written by our own Denny Flannigan.  It went to #1 on KIMN Radio in Denver, which was THE top Denver Metro station for many years.  We opened for all the major Concerts that came to Denver ... The Dave Clark Five, Paul Revere and the Raiders, Sonny and Cher, The Byrds, Chad and  Jeremy,  and many, many others.
Roger Christian was our manager and got us on Tower Records.  Roger was a major Los Angeles DJ and had written Little Deuce Coupe, Don't Worry Baby and many other Beach Boy hits with Brian Wilson, and several others for Jan and Dean.
(NOTE:  We'll be featuring "You'll Come Back" in one of our upcoming "50 Year Flashback" pieces coming up in late August / early September ... it's a regular Monday Morning Feature here in Forgotten Hits that takes a look back at the charts fifty years ago that week in various cities from all over the United States and Canada.  Be sure to check it out!  kk)
In fact, we'll be playing around Denver in August for several 60s Reunion Concerts, and The Moon Rakers will have all five original members (this was years before Sugarloaf).  I'll keep you posted as it gets closer.
In the 60s we played as far east as the University of Iowa at Ames, flying and connecting through Chicago,  and we charted in Indianapolis.  The Moon Rakers actually bubbled under in Billboard, but we just didn't have the promotion we needed to get up the national charts.  
I heard from Rock Historian Les Peterson in Fort Collins that BADFINGER is back up on the Billboard Charts and touring mightily ever since their hit "Baby Blue" was included in the final episode of Breaking Bad.  Cool stuff.  Maybe The Moon Rakers will make a comeback too with "You'll Come Back". (pretty ironic wordplay if THAT happened!)  Hey, then you  can say, "You heard it here first".  
I definitely WILL let you know when I come thru Chi Town.  I'll even buy you lunch ... how about pizza?  Chicago Style!
Thanks for thinking of us Kent.  I'm looking forward to seeing you in Chicago.
You're doing great work with Forgotten Hits Kent.  Keep on Truckin'. 
Veeder Van Dorn
It's a date.  Bring Denny, too, as he's been a long time FH Member and is always inviting me to come by his club in Baja!  (Wish I could!!!) 
Hey check out this vintage newspaper clipping of a show The Moon Rakers opened for The Dave Clark Five!!!  Looks like pandemonium ensued!  (lol)  kk
 
 
ZZ TOP TO HIT THE ROAD ON GROOVES & GRAVY TOUR WITH SPECIAL GUEST BLACKBERRY SMOKE 
Hot on the heels of their tour with Jeff Beck and a sizeable concert run on their own, Rock and Roll Hall of Famers ZZ Top are teaming up with special guests Blackberry Smoke for the Grooves & Gravy Tour.  The tour will take the two simpatico bands through much of North America from mid-August to early October.  
The Grooves & Gravy Tour stops in Memphis (Live At The Garden Summer Concert Series), Festival Trois-Rivieres en Blues in Quebec, Nashville, New Orleans, The Blues & Brews Festival in Telluride, CO, Pomona and San Diego, CA, and -- to quote the  ZZ Top’s classic “Jesus Just Left Chicago,” – “all points in between.”  
Mutual admiration between the bands is strong, who both share Southern roots. “We’re looking forward to getting out there with the Blackberry Smoke guys,” declared ZZ Top singer/guitarist Billy F Gibbons. “Grooves & Gravy promises to be one of the rowdiest outings of the year so come on out and get crazy with us.”  
Likewise, Blackberry Smoke lead singer/guitarist Charlie Starr proclaimed, “We can’t wait to go out and make music with the legendary ZZ Top!”  
ZZ Top is an anomaly in the world of rock - singer / guitarist Billy F Gibbons, bassist / singer Dusty Hill and drummer Frank Beard, aka “the man with no beard,” have been the most consistently stable lineup ever in the entire genre. For more than 45 years, “that little ol’ band from Texas” has been putting out albums (25 million U.S. sales to date) and touring relentlessly, showing no signs of slowing down.
Blackberry Smoke, who formed in Atlanta, GA in 2000, have been making waves in the music world in recent years, playing a blend of Southern rock and country rock to enthusiastic audiences. No strangers to rigorous touring, they headlined multiple U.S. tours and have also been the supporting act for Zac Brown Band, Eric Church and Lynyrd Skynyrd. Blackberry Smoke have recently signed with Rounder Records, who released the group’s fourth album Holding All the Roses this past February.
ZZ TOP GROOVES & GRAVY TOUR WITH SPECIAL GUEST BLACKBERRY SMOKE:  
Aug 12* - Bethlehem, PA - Musikfest 
Aug 13 - Glen Allen, VA - Innsbrook After Hours 
Aug 15 - Memphis, TN - Live At The Garden  
Aug 16 - Asheville, NC - Biltmore Estate 
Aug 18 - Vienna, VA - Filene Center at Wolf Trap 
Aug 20* - Niagra, ON - Fallsview Casino Resort 
Aug 21 - Trois-Rivieres, QC - Amphitheatre Cogeco (Festival Trois-Rivieres en Blues) 
Aug 22 - Pownal, VT - Green Mountain Live 
Aug 25 - Northfield, OH - Hard Rock Live 
Aug 27 - Highland Park, IL - Ravinia Festival 
Aug 28 - Mt. Pleasant, MI - Soaring Eagle Casino & Resort 
Aug 30 - Windsor, ON - The Colosseum at Caesars Windsor 
Sept 1 - Nashville, TN - Ascend Amphitheater 
Sept 3 - New Orleans, LA - Bold Sphere Music at Champions Square 
Sept 4 - Dallas, TX - Music Hall @ Fair Park 
Sept 5* - La Grange, TX -  The Fayette County Fair 
Sept 10 - Lincoln, CA - Thunder Valley Casino Resort Amphitheater 
Sept 11 - Saratoga, CA - The Mountain Winery 
Sept 12 - Pomona, CA - Los Angeles County Fair 
Sept 13 - San Diego, CA - Humphrey’s 
Sept 15* - Park City, UT - The Canyons Resort 
Sept 18 - Telluride, CO - Telluride Town Park (Blues & Brews Festival) 
Sept 19* - Loveland, CO - Thunder Mountain Amphitheater 
Sept 20 - Gillette, WY - CAM-PLEX 
Sept 22 - Bismark, ND - Bismark Civic Center 
Sept 23 - Brookings, SD - Swiftel Center 
Sept 25 - Lancaster, ND - Pinewood Bowl Amphitheater  
Sept 27* - Fort Wayne, IN - Foellinger Theatre 
Sept 29* - Columbus, OH - Palace Theatre 
Oct 1*- Bloomsburg, PA - Bloomsburg Fair 
Oct 2*- Atlantic City, NJ - Caesar’s Circus Maximus 
Oct 4*- Louisville, KY-  Champions Park
*ZZ Top without Blackberry Smoke
 
Kent,  
I'm thrilled at getting the chance to share a "Rockword" crossword puzzle with your list.  I hope that the attachments are okay, both in terms of format and content.  
My reasons for continuing working on these Rockwords is twofold.  It's firstly to provide enjoyment to those who tackle the puzzles and in this regard, for some of your hard-core followers, the puzzle may be as "easy as pie".  But secondly I like to think that, for those who take a look at the puzzle, they are being reminded of some great titles, artists and music that they have not thought about in a long, long time.  Just my way of trying to keep the "Oldies" music alive.
As always, keep up the great work.
Mike Ogilvie
Mississauga ON.

Thanks, Mike ... have at it, gang!  (kk)
 
Kent -
I still mourn the loss of the annual Bob Stroud discs (which I bought from you in the later years of the series).  Any chance these will ever make a return?
-- Stephen Elders
I think the big thing here is sponsorship ... licensing all these tracks, even for a limited release such as this one, can be quite costly.
I asked Bob Stroud for HIS feelings on whether or not we may ever see another one.  I haven't heard anything back yet ... but if and when I do, I'll be sure to pass it along.  (Forgotten Hits would love to cosponsor something like this ... maybe even have a hand in picking some of the tracks ... but we don't have any money either!!!  lol)  I sure would love to see this series continue, however.  (kk) 
 
New 3 CD Box Offers A Heavy Dose Of Rare & Unreleased Iggy Pop Recordings!
Los Angeles, CA - When Michigan based proto-punk band The Stooges called it a day in 1974, the music world mourned the loss of one of the most groundbreaking rock bands ever. Fortunately, the mourning didn’t last long as head Stooge Iggy Pop quickly launched a stunning solo career that arguably eclipsed his auspicious early years. Psychophonic Medicine is an incredible 3 CD collection of rare and unreleased gems that focuses on Pop’s crucial late ’70s, early ‘80s post-Stooges output. The collection, available everywhere June 23 courtesy of Cleopatra Records, features studio outtakes from the landmark albums The Idiot and Party including never before released alternate mixes and two tracks not previously released in any form! Each of these recordings provides important insight into how Pop evolved from punk pioneer to one of the most diverse and adventurous artists in music.
But the party doesn’t stop there - the set also contains some of Iggy’s most electrifying live performances. Disc 2 is the first ever CD release of the legendary show at Paris Palace 1979. This incredible full-length recording showcases Iggy at his most explosive and audacious, ripping through such favorites as “I Wanna Be Your Dog,” “Cock In My Pocket,” “Kill City” and more! A newly discovered audio source from Pop’s San Francisco performance in 1981 wraps up the collection in fine form with scalding versions of “I Need More,” “Lust For Life,” “TV Eye,” “1969,” “The Winter Of My Discontent” and others. Each of the three discs is packaged in its own wallet and comes with a gorgeous 36-page full color booklet featuring rare photos from the archives of longtime Stooges photographer and co-author of the only authorized Stooges biography, Robert Matheu, who also wrote the liner notes. And if that isn’t enough, the box includes a special bonus track of Iggy’s duet with Best Coast’s Bethany Cosentino that was featured on HBO’s True Blood! Both collectors and the curious will find Psychophonic Medicine an irresistible aural trip.
DISC 1: RARITIES
The Idiot Outtakes (1977)
1. Dum Dum Boys (Alternate Mix) / 2. Baby (Alternate Mix) / 3. China Girl (Alternate Mix) / 4. Tiny Girls (Outtake) / Party Outtakes (1981) / 5. It's My Life (Unreleased) / 6. Bang Bang (Alternate Mix) / 7. Sea of Love (Alternate Mix) / 8. Time Won't Let Me (Alternate Mix) / Ric Ocasek Sessions (1983) / 9. Fire Engine / 10. Warrior Tribe / 11. Old Mule Skinner Steve Jones Demos (1985) / 12. Beside You / 13. Cry For Love / 14. Purple Haze / 15. Warm Feeling (Unreleased) / BONUS TRACK
16. Let’s Boot And Rally with Bethany Cosentino
DISC 2: PARIS PALACE 1979
1. Cock In My Pocket / 2. Kill City / 3. Fortune Teller / 4. New Values / 5. Billy Is A Runaway / 6. I Wanna Be Your Dog / 7. Five Foot One / 8. Dirt / 9. Batman / 10. Louie Louie / 11. Shake Appeal / 12. I’m Bored
DISC 3: SAN FRANCISCO 1981
1. I Need More / 2. Some Weird Sin / 3. Houston Is Hot Tonight / 4. TV Eye / 5. 1969 / 6. Rock and Roll Party / 7. Bang, Bang / 8. Dum Dum Boys / 9. Eggs On Plate / 10. I'm a Conservative / 11. I Need More (Again) / 12. Lust for Life / 13. The Winter of My Discontent
 
TIME TO LET YOUR FREAK FLAGS FLY AS HIPPIEFEST TOUR RETURNS THIS SUMMER TO CELEBRATE ONE OF GREATEST ERAS IN MUSIC
DANCE TO THE MUSIC AS THE LEGENDARY GROUP, THE FAMILY STONE, HEADLINES HIPPIEFEST TOUR 2015 WITH RICK DERRINGER, MITCH RYDER & THE DETROIT WHEELS AND BADFINGER FEATURING JOEY MOLLAND
Hey, all you former hippies and hipsters, it's time to let your freak flags fly once again, as the popular Hippiefest tour returns this summer to celebrate an incredible era in music and American culture.
To say that it will be "hot fun in the summer time" and a "family affair" would be an understatement, as the legendary group, The Family Stone, will headline this year's ten year anniversary Hippiefest tour that will feature Rick Derringer, Mitch Ryder & The Detroit Wheels and Badfinger featuring Joey Molland.
If you've attended a Hippiefest show in the past decade, you know what to expect... an incredible evening full of good time, on your feet, rock and roll.
If you haven't, it's time to turn on, tune in and see what it's all about!
Beginning in early July, "flower power" returns for its seventh tour in ten years on a psychedelic journey that will likely encompass twenty dates spanning the United States throughout the beginning of October (see current itinerary below).
The Family Stone -- featuring original founding members Jerry Martini, Cynthia Robinson and Greg Errico -- will be performing the music of Sly & The Family Stone including such classics as "I Wanna Take You Higher,""Everyday People,""Hot Fun in the Summertime,""Thank You (Falettinme Be Mice Elf Agin),""Family Affair,""Everybody is a Star,""Stand!" and "Dance to the Music." The group recently welcomed Phunne Stone, daughter of Sly Stone and Cynthia Robinson, as their new female vocalist leading them into their 50th Anniversary in 2016. The band initially hit the scene in 1966 and was the first major American rock band to have an "integrated, multi-gender" lineup. In 1993, Sly & The Family Stone were inducted into the Rock and Roll Hall of Fame, who would eventually cite two of their songs, "Dance to the Music" and "Thank You (Falettinme Be Mice Elf Again)," among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll. In 2001, they were awarded the R&B Foundation Pioneer Award and, in 2004, Rolling Stone ranked them 43rd on their list of the 100 Greatest Artists of All-Time. In 2006, Sly & The Family Stone would make a memorable appearance at the Grammy Awards. Joining Cynthia, Jerry, Greg and Phunne is the powerful lead vocalist, Alex Davis, Musical Director and bassist Blaise Sison and lead guitarist Nate Wingfield.
It's doubtful that anyone will be sitting down when Rick Derringer breaks into his well-known rock anthem, "Rock and Roll, Hoochie Koo." Forty plus years after its release, the song continues to be a staple on classic rock radio and was featured in several movies including The Spirit of '76, Rush, Stag, What A Girl Wants and the cult classic, Dazed and Confused. It's a little known fact that years before his success as a solo artist, Rick had a band at the age of 17 called The McCoys that had a #1 hit in 1965 called, "Hang on Sloopy." The song would eventually be knocked out of the top spot by The Beatles'"Yesterday." A year after its release, The McCoys would find themselves as the openers for the entire Rolling Stones American tour. Although "Rock and Roll, Hoochie Koo" was written and recorded a few years earlier with friend Johnny Winter, it would be Rick's solo version in 1973 that would propel him into the stratosphere of rock. In 1977, he would appear on the last Led Zeppelin North American Tour. In the years to follow, Rick would perform with such artists as Alice Cooper ("Under My Wheels"), Steely Dan ("Show Biz Kids" and "Chained Lightning"), Todd Rundgren, Richie Havens, Edgar Winter, Johnny Winter and Weird Al Yankovic among others. In 2011, Rick toured as a part of Ringo Starr & His All-Starr Band just prior to embarking on that year's Hippiefest tour. In recent years, Rick has performed on the popular Rock'n'Blues Fest tour that has included Edgar and Johnny Winter.    
The hits began for Mitch Ryder & The Detroit Wheels at the tail end of '65, with the release of their first hit single, "Jenny Take a Ride!". In 1966, they recorded and began to perform a medley featuring Little Richard's "Jenny Jenny" and Chuck Willis' classic R&B song, "C.C. Rider." The song would quickly enter the Top Ten charts, setting the stage for what was to come that year. Mitch Ryder & The Detroit Wheels would follow up their initial hit with two more in '66 including a rendition of the Righteous Brothers'"Little Latin Lupe Lu" and the song that would, ultimately, be their biggest hit, "Devil With A Blue Dress On/Good Golly Miss Molly." A year later, in typical Detroit fashion, Mitch and the band kept their pedal to the metal and delivered another Top Ten song called "Sock It To Me-Baby!" Shortly after his success with The Detroit Wheels, Mitch Ryder would experience a Top 40 hit as a solo artist with "What Now My Love." At the end of 1979, Bruce Springsteen would pay tribute to the band by performing the "Detroit Medley," a selection of the band's greatest hits including "Devil With A Blue Dress On/Good Golly Miss Molly,""Jenny Take A Ride!" and "C.C. Rider" for the triple live No Nukes album. In 1983, Mitch released an album titled, Never Kick A Sleeping Dog, produced by John Cougar Mellencamp that thrust him back into the spotlight with the Prince-penned song, "When You Were Mine." Mitch has recorded over two dozen albums in his illustrious career and continues to tour all over the world. Known for his incredible live show, Mitch is coming at you with all his hits in a night to remember.
If you're aware of such classic rock songs as "Come and Get It,""No Matter What,""Day After Day" and "Baby Blue," then you'll thoroughly enjoy the Hippiefest performance of  Badfinger featuring Joey Molland. A veteran of Hippiefests past, Molland returns with the music he helped make famous. At the end of 1969, Joey auditioned for a band called The Iveys that would soon be renamed Badfinger. As they say, the rest is history. From 1970 to 1972, the band would experience four consecutive worldwide hits. Joey departed in 1974, quickly forming another band called Natural Gas that would go on to tour with Yes and Peter Frampton. In the years to follow, Joey would perform with various incarnations of Badfinger in addition to putting out a few solo projects. Due to its use in the finale of the hugely popular TV show, Breaking Bad, "Baby Blue" has had a recent resurgence of sorts, being introduced to a whole new audience and generation. On March 31 of this year, a song Joey wrote years ago titled, "Sweet Tuesday Morning," was released on iTunes to benefit WhyHunger (www.whyhunger.org), a grassroots support organization started by the late, great Harry Chapin. Recorded by Mary Ramsey (10,000 Maniacs) and a new songstress by the name of Savannah, the song features Joey on guitar and harmony vocals.
We've said it before and we'll say it again...   
Bring your parents, your grandparents and bring the kids!
Great music and tie-dye never go out of style... no shoes, no shirt, no problem!
Peace, Love and Happiness.
See you there!  
Hippiefest Tour 2015   
July 9 - Fox Tucson Theatre in Tucson, Arizona
July 10 - Silver Reef Hotel Casino Spa in Ferndale, Washington  
July 11 - Crossroads KC at Grinders in Kansas City, Missouri (The Family Stone, Rick Derringer, Badfinger featuring Joey Molland and Peter Rivera)
July 12 - Tobin Center for the Performing Arts in San Antonio, Texas
July 25 - Tioga Downs Casino & Racetrack Grandstand in Nichols, New York (Felix Cavaliere's Rascals, Lovin' Spoonful, Rick Derringer and Badfinger featuring Joey Molland)
August 8 - Jackpot Junction Casino Hotel in Morton, Minnesota (The Family Stone, Rick Derringer and Mitch Ryder & The Detroit Wheels)      
August 13 - The Florida Theatre in Jacksonville, Florida
August 14 - Broward Center for the Performing Arts in Fort Lauderdale, Florida
August 15 - Ruth Eckerd Hall in Clearwater, Florida
August 16 - The Plaza Live Theatre in Orlando, Florida
August 20 - South Shore Music Circus in Cohasset, Massachusetts
August 21 - Cape Cod Melody Tent in Hyannis, Massachusetts
August 22 - NYCB Theatre at Westbury in Westbury, New York
August 23 - Count Basie Theatre in Red Bank, New Jersey
October 2 - Tarrytown Music Hall in Tarrytown, New York
October 3 - Rialto Square Theatre in Joliet, Illinois
October 4 - Genesee Theatre in Waukegan, Illinois
October 6 - Norfolk County Fair in Simcoe, Ontario, Canada (Rick Derringer, Mitch Ryder & The Detroit Wheels and Badfinger featuring Joey Molland)            
*Additional dates likely to be announced.
Individual Artist Websites are as follows:
The tour hits the Chicagoland area on October 3rd and 4th with shows at both the Rialto Square and the Genesee Theatres.  Stay tuned for updates.  (Not on our "Locals" list?  Drop me an email at forgottenhits@aol.com and we'll add you to our special mailing list of ticket and concert information for shows happening in and around the Chicagoland area.)

Hoping You'll Hang Out With Us Today!

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