Monday, November 1, 2010

So Many Comments ... So Little Time!

Here are some of the topics that you guys wanted to talk about last week ...

I agree with the FH reader that claims ENGELBERT HUMPERDINCK was a darn fine singer! Nice operatic quality about his singing! Only after years of (me) collecting, has his songs appeared on various artists CDs - mainly Japanese ones! Though, I could have purchased his hits CD at Wal-Mart, but I demand finer sound quality!! Better than hearing radio shows playing obscure songs I never heard before!!
Jersey John

Here's a forgotten fact about Engelbert Humperdinck ... back in 1967 he once toured as a "special guest star" on a pop tour package that was headlined by The Walker Brothers and also featured Cat Stevens and Jimi Hendrix.
In 2007, Tempus Published released the book Legends On Tour: The Pop Package Tours of the 1960s.
The book offers two chapters on Engelbert Humperdinck. The first covers a Spring, 1967 tour that found Humperdinck on a package with The Walker Brothers, Cat Stevens and Jimi Hendrix.
"It was the pop tour to top them all, featuring four of the biggest and most diverse names in the music world," opens the chapter on this tour. "Rubbing shoulders for a month on the 25 gig UK tour in April 1967 were Engelbert Humperdinck for the ladies, Cat Stevens for the cool cats, Jimi Hendrix for the ravers, and topping the bill, heart-throbs the Walker Brothers."
"This was quite a shot in the arm for Engelbert, who was under fire from many quarters for daring to be the first artist for four years to keep the Beatles off the number one spot. Worse still, the Fabs' double A-side Penny Lane / Strawberry Fields Forever was considered possibly their best work, and Engelbert had pipped them with Release Me, known for its family appeal. Release Me sales were approaching the million mark running up to the tour and Engelbert was answering his critics with a modest charm offensive."
Engelbert said, "I'm not going to brag about beating the Beatles. They are, after all, so big that they don't need me as competition. I thought their material on the new single was first class. In fact, I was one of the first people to go out and buy Penny Lane. It's quite one of the best records they've every done. How they get their ideas I do not know. I'd love to have just a tiny piece of their genius for writing. Being kept out of the number one spot won't affect them in the slightest. The Beatles will never start going downhill."
Engelbert was in an equally generous mood when asked if he would steal the show ahead of the other big names. He replied, "I'm really a nobody yet compared with the Walker Brothers, who are monster names. I'm really excited about this tour, though. I shall have a four-piece backing group. Anyway, I won't be doing just ballads. There'll be beat as well. The bill does look a bit mixed. Still, it should give everybody a piece of everything."
The final chapter covers the Humperdinck tour late in 1967. "The days of the packaged pop tour were numbered," author Martin Creasy wrote. "In that autumn of 1967, many groups had enough of spending endless hours on coaches (buses) and even more hanging around theatres waiting, bored, for their 20 minutes in the spotlight ... However, singers like Tom Jones and Engelbert Humperdinck were bucking the trend." The Humperdinck package tour in the fall saw him on a mammoth 34 date tour in October - December of 1967. "The was cabaret, pure and simple." The package included comedians Terry Scott and Hugh Lloyd, female vocalists Anita Harris and Gigi Galon, The Trebletones and the Staggerlees, and television personality Lance Percival. "This was really a variety show."
"Humperdinck had the limelight to himself. Dressed in a tuxedo, he hit straight into Shake as the curtains parted, then relaxed into his ballads, selecting numbers like There Goes My Everything, Ten Guitars, Yours Until Tomorrow and If It Comes To That. He even picked up a boater for his own impression - of Frankie Vaughan. Then as the Band Of Men (his backup band) played Stripper he wound the women into a frenzy by removing his bow-tie and jacket to reveal a snazzy red-backed waist-coat, and launched into Place In The Sun and I Know before landing the coup de grace - Release Me."
There's more, along with some great pictures. Legends On Tour: The Pop Package Tours of the 1960s. Tempus Publishing. ISBN 978 0 7324 4275 4
(Posters from the archival library of the Jimi Hendrix Information Management Institute)
Ken Voss

We covered a little bit of the Jimi Hendrix / Engelbert connection in our Jimi Hendrix series a few years back. I always have to marvel at how much press was generated for Hendrix opening for The Monkees ... he opened for The Mamas and the Papas, too ... played with The Isley Brothers and Joey Dee and the Starliters! But Engelbert Humperdinck?!?!? Now THAT'S a mismatched set if I ever heard of one!!! (kk)
Click here: Forgotten Hits - Jimi Hendrix


Always enjoy reading the Sunday Comments as well as the others during the week.
In regards to Jimmy O'Neill hosting Shindig, here in OKC on 930 AM WKY, Jimmy was a DJ. I don't really remember what shift he held down, but his picture was on the very first WKY survey which had pictures of the announcers, that being the week of November 13, 1958. His picture appeared for the last time on the survey dated the week of March5, 1959.
Larry Neal / The Wax Museum

I just got through reading "Little Girl Blue," the Karen Carpenter bio. I consider it an excellent book -- and not just because I'm mentioned in it. The author's first rate investigative reporting shines through on every page, most of which I read with a lump in my throat. Of the several thousand celebrity interviews I have conducted over the years, my two-hour session with Karen and Richard in December of 1978 ranks as my favorite of them all. (The full transcript, with later additional comments from Richard, formed the core of my liner notes for the 3 CD box set "Carpenters: Their Greatest Hits and Finest Performances," which includes several previously unreleased recordings plus otherwise unavailable mixes.) Karen and I maintained eye contact through almost the entire interview -- and while I had done as much pre-session research as I could at that point, I wish today I had known a lot of the long-hidden details of her life which the book spells out in heartbreaking detail. Now I know what else she was saying in her phrasing, her inflections, her reactions and her eyes. I wonder how differently those two hours might have gone if Richard had not been there.
Gary Theroux
It's a VERY well done biography and you're right, quite emotional reading. To this day it's impossible to hear a Carpenters' song and not be moved to comment on what an incredible voice she had. (kk)

>>>There's a brand new "Best Of Joni James" CD set available through Collectors' Choice Music ... 2 CD's of ALL the hits. (Talk about your Forgotten Hits!!! Joni hit The National Top 40 thirteen times between 1952 and 1961 ... but when's the last time you heard ANY of them???) And, if you're a stereo junkie, you might be interested to know that Collectors' Choice Music also claims that Joni's 45 release of "There Goes My Heart" was also the very first stereo pressing EVER of a single! (kk)
That claim may or not be true, but why make it and then include only the mono mix on the CD??? In fact, "Little Things Mean A Lot" is the ONLY stereo track among this collection's 42 tracks, even though most of her late-'50s and '60s recordings were released on stereo LPs (and some on stereo 45s at the time). And, the CD doesn't include quite ALL of her hits ... her last top 40 single, her version of "My Last Date (With You)," is nowhere to be found (Joni had a total of 26 Billboard chart singles, including bubblers). Also missing: Her top 100 remake of Eddie Fisher's "I Need You Now" from 1960.
-– Randy Price

One of the reasons for Joni James' current obscurity was her arranger / conductor husband, the late Tony Aquaviva. As you know, Paul Anka managed to negotiate his contract with ABC Paramount Records in such a way that when he left the label in 1962 he was able to take all of his master recordings -- which he still owns to this day -- with him. Jo Stafford's arranger / conductor husband, Paul Weston, rigged the same deal for her, allowing Jo to walk away with all of her Columbia masters when she left that label. (The couple later reissued them on their own label, Corinthian, and made a small fortune licensing them out to others -- like me at Reader's Digest Music.) Tony worked Joni's deal with MGM Records in such a way that he and Joni were likewise able to walk away from MGM with all of HER masters as well -- except Tony was a tad more out-to-lunch than the others. Insisting that Joni was the world's most in-demand artist when she clearly wasn't even close, he insisted on a huge advance -- rumor has it, as high as a million dollars (!) -- before he would license out any of her tracks to any label for re-release. As a result of such insanity, all potential licensors (including me) simply stopped asking for Joni James material -- and, as tastes changed and the existing vinyl copies of her MGM releases wore out (or were discarded) at radio stations, the broadcast of Joni James' recordings eventually came to a dead stop. By the time Tony died in 1986, more than a quarter century had passed since Joni's last Billboard chart appearance and the demand for her product was essentially nil. Eventually some of her hits were reissued on a minor label cassette, but few noticed. In the late '90s, in programming a 4 CD box set, THE TOP TEN COLLECTION: THE EARLY '50s, I again tried licensing a couple Joni James tracks -- the most I could fit into the album's format -- through her then current lawyer. He insisted that I had to license at least four of her tracks for the set or it was no deal -- and since there was no room for four, THAT never happened either. I filled the two spots I had earmarked for Joni with tracks by other performers of the period. While I've never spoken to Joni herself, it's unfortunate that she allowed others to craft demands which either discouraged or obliterated the few chances offered to her to keep her music alive. It's nice to know that now a Joni James greatest hits CD is finally available, though. While hardly the finest female singer of her time period -- Jo Stafford was -- Joni was a legitimate major hit-maker in the early '50s. One has to wonder how much royalty money and residual fame Joni lost over the years due to the pompous, arrogant, self-destructive policies of her late husband and equally bubble-headed attorney.
Gary Theroux
We've just seen this SO many times over the years ... artists or record companies "over-valuing" this material and thus, in the process, cheating ALL of us out of it. It truly is ... and has always been ... a lose / lose situation ... absolutely NOBODY wins and soon (in MOST cases anyway) the artist loses ANY connection to the music scene and potential new fans discovering their catalog. It's really too bad ... but no matter HOW many times it happens, we still have idiots out there thinking that by letting this stuff sit in a vault somewhere they're creating a greater appeal and value to this merchandise. Look around, guys ... the Cameo / Parkway stuff, the Dave Clark Five Stuff, virtually ANYTHING Allen Klein got his hands on ... it all UNDER-performed once it was finally released ... artists AND record companies lost MILLIONS in untold royalties ... and the audience for this material dwindles more each and every day. But, just like radio programming the same 200-300 songs (ALSO eliminating SO many great songs and artists from the public's memory), they STILL think they know best. (kk)

We haven't run one of our "Collectors" pieces for a while ... but when one of our readers saw the email we received from Jerry Osborne the other day, he just had to ask ...
Jerry Osborne!!?? What happened to his Discoveries Magazine!!!?? I had the very first copy!!! Seems like no one is interested in collecting anymore!! Can't even find a CD Price Guide!!!
Jersey John
Didn't "Goldmine" and "Discoveries" finally merge a few years ago? Jerry is still doing his album and 45's price guides ... you know, for the REAL collectors out there ... here's a current link to his web page (and what's availble):
Click here: Rockin' Records
And it's bigger and better than ever!!!
And look at all the OTHER cool stuff he's got going!
Click here: Osborne Enterprises & Jellyroll Productions ... (360) 385-1200

Kent -
I cleaned up the “Vehicle” demo that Clark so graciously provided. It’s attached.

Here are a few other Ides of March items FH readers might like ...
1. The Ides of March explain about how they went to write "You Wouldn't Listen" from two songs from the 60's. This from their Lyons, Il. concert on 8/26/2001, so many may have already heard this story.

2. Early 1966 American Bandstand and once again, WLS coming to the aid of our local Ides buddies! Ron Riley pushing "You Wouldn't Listen" into the Spotlight Dance!!

3. A montage of a few things: First an early 70's PAMS WLS jingle featuring big brass, but also the rhythm guitar sound of "Vehicle". Then, Larry Lujack first playing "Vehicle" on WLS and HIS idea of where the sound came from. Gotta admit, he has a good point, as the Mauds had that same bluesy brass sound earlier, but Jim Peterik's solo vocal was a different sound for sure. Lastly, as I pointed out in my liner notes of "Synthesis" by the Cryan Shames, "Painter" was a less publicized song from that LP, but I felt it one of the upper half best on the LP. You'll note that the opening horn notes of "Vehicle" sound amazingly like the end horn lines from "Painter" recorded in 1968. Just by chance, I'm sure?
Clark Besch

We featured a "live" version of "You Wouldn't Listen" a few years ago where The Ides explained their inspiration ... always a concert highlight! As for these others, some interesting perspective ... makes you wonder, doesn't it? The Mauds definitely had that horn sound down by the time "Soul Drippin'" made the charts in 1968 but they just never quite got the national attention necessary to make their mark. They were also pretty much lumped into the Rhythm and Blues category (with heavy emphasis on the "blues") ... which is exactly the sound and the target audience they were going for at the time ... still are, for that matter! I think a little bit of pop success would have just been icing on the cake for The Mauds ... not exactly what they were shooting for but "Soul Drippin'" (written by Daddy Dewdrop, as we've pointed out a few times now) certainly deserved a better chart fate ... it's a great little rocker! As for Ron Riley phoning in his Ides recommendation to American Bandstand, that's the first time I ever heard about THAT!!! VERY cool! (Makes me want to know which Chicago acts were featured on "Where The Action Is" a week later when they broadcast live from Chicago! Anybody know for sure?) kk

Hey Kent ...

No 'whipped cream' but I spotted this on Ed Marimba's blog ...

Plenty of music items ...

He does an album cover of the 'day' ...

You gotta love those bootlegs. Especially those produced in foreign countries. They'll slap anything on the cover. Hey, in case you haven't heard, sex sells.

I heard the original cover had THREE girls hanging off him ... but the censors made him put his shorts back on !!!


OK, last call for this topic ... I think we've done it to death! If they ain't comin' out ... and they don't exist ... then let's just move on already!!! (kk)

>>>As for Bunny Sigler in stereo, I don't believe John Madara was even involved with the stereo mixing, or else wouldn't he have made sure the correct take of Let The Good Times Roll / Feel So Good would've been used on the LP? Yes, it's an alternate take on the stereo lp! (Tom Diehl)

ABKCO is the one who has a remake on their Cameo-Parkway (4) CD set. I'm sure what John Madara offers is the correct version. I have the original 45 and had the Stereo LP, and they match in content. And it wasn't like the LP sounded poor in Stereo, it sounded wonderful. It just seems so odd that ALL that is left of the ENTIRE Cameo-Parkway catalog is JUST what has been issued in the past. It makes absolutely no sense to me. I gather others took a lot (but, magically, the mono tapes weren't taken) - I can envision Cameo-Parkway is where everyone hung out. I'd like to do a radio show one day. But I refuse to play mono Cameo-Parkway material, since that has been heard since day one. Why bore people with redundancy. Thanks, Tom.
Jersey John

>>>Give ABKCO some credit ... there are two previously unreleased recordings on the Collector's Choice Music cd, Remember Me Baby: Cameo Parkway Vocal Groups Volume 1.

One unreleased recording by the Tymes (Did You Ever Get My Letter) which was also recorded by the Dovells under the name the Liverpools on Wyncote records (A Cameo / Parkway subsidiary), as well as an unreleased Dovells recording called Short On Bread that sounds like You Can't Sit Down revisited. If you bought all of the six CCM reissues earlier this year all at once, they sent you a free promo sampler to go with the set that included yet another unreleased recording, an Italian version of So Much In Love by the Tymes, which they say will never be reissued by them anywhere else ever.By the way, looking at the Collector's Choice Music website, I see that the new John Zacherle cd is being released in a week and next month there are two-fers by Dee Dee Sharp and the Dovells being released, as well as the previously available as a download-only Holiday Hits collection. Let them get this stuff out in mono first (or stereo, if it was indeed initially released that way), Jersey John, and then worry about them putting out stereo, alternate takes, etc later, OK??

Tom Diehl

Give ABKCO some credit? For what? Lying to me with their Sam Cooke CDs, claiming they were "remastered"? As I wrote elsewhere, only one song seems to be actually remastered, and that is "Saturday Night". That sounded the best I've ever heard it. And guess what, there is an Alternate Version of it, so, logically, that tells me they found the session tapes for that song.
I'm not getting any younger and I'm sure others would have loved to hear the Cameo - Parkway catalog, but some are now deceased, including the artists. The catalog is now being milked dry ... from Time - Life, Collector's Choice, and even Ace, UK. Who's next? Sadly, the Philly artists who did make the Cameo - Parkway catalog what is was got screwed. Their material has been bootlegged and they never received a cent of any royalties. You'd think ABKCO would have some decency. If I were the Judge, I would have given John Madara the rights to the entire Cameo - Parkway catalog. At least he seems reasonable with requests. Jersey John

In all fairness, although John was on the scene in a heavy-duty way during this era (as well as both before and after), he doesn't really have any RIGHTS to the Cameo - Parkway material. He was an independent producer who simply used their facilities from time to time.

Could he do a better job of packaging it? Sure, because he's a compassionate human being and recognizes what this music means to people ... and he's never forgotten the impact it had at the time ... but a judge wouldn't have awarded him ANYTHING simply because he wasn't a principal of Cameo / Parkway.

Quite honestly, if a company like Ace (who usually does a pretty thorough job with material like this ... or Bear Family, who's even better!) TRULY dug deep into the C/P catalog ... and by that I mean ALL of the masters, outtakes, alternate mixes, rehearsal material, etc, etc, etc. ... I think a pretty definitive collection could be put together. And, if they brought some of these guys back in as consultants ... and I believe that there are still enough of these knowledgeable people around to do so ... there's no telling what could turn up.

Unfortunately, Allen Klein held on to this material for FAR too long ... and you hit the nail right on the head ... the people who actually WANT it are becoming scarcer and scarcer. While this stuff sat in the vault, they ignored their greatest target audience! (kk)

>>>And then this from John Madara himself on the mono / stereo issue ... and a VERY special release!!! (kk)
>>>Please let Jersey John know that I'm putting the STEREO version of the Spokesmen CD together along with bonus tracks. I'm doing this for Jersey John as a special release.During the 60s we did do it in stereo, but the radio stations wanted MONO, and in the case with Cameo, all those multi track tapes have disappeared. I agree with John that a stereo mix sounds great, if the multi track tapes are available. (Philly John)

And I didn't have to use a girlie name! LOL

Many thanks for the Stereo edition with Bonus Tracks, whenever he can finalize it. If and when I do my radio show, I'll be sure to tell the world (and on my site) how nice and considerate John Madara is.
Jersey John

One final question ... OK, SERIES of questions ... from Jersey John ...
Regarding Let The Good Times Roll & Feels So Good (1967) - Bunny Sigler.Maybe John Madara (producer) can elaborate of Bunny Sigler's Top 40 Hit ... About how many takes to conclude?Is it a "live" recording, without overdubbing? Seems it.Who are the girl singers? The horn section?Where was it actually recorded?From the Stereo LP. I know it's the hit version since Bob Pantano (WOGL) would play the mono single.A great song!!!Since it didn't chart great, people are confused what is the actual hit, since a remake is also available:
Thanks, Sir Kent!


Jersey John

OK, let's see what John Madara comes back with ... and then we're officially done with this topic for now, deal? You and Tom can take your issues over to the Jello Rink and do your C/P wrestling there ... we just can't provide a forum here for any further debate (without the risk of alienating any uninterested readers!) Meanwhile, all of your points have been duly noted and (hopefully) some of the people who actually CAN make a difference will see this and some of this long-missing material will start to surface. (kk)
Hi Kent ...
Let me answer Jersey John's questions in order.
I don't remember how many takes it was but Bunny always got his performance on the first couple of takes.
It was a live session, no overdubs.
The girl singers were Valerie Simpson and two other girl singers.
The horn section was Artie Kaplan and Joe Grimm on sax Ernie Royal and Clark Terry on trumpet.
The session took place at Bell Sound studios in New York. I mixed it at Cameo Studios in Philly.
I have never heard a remake of the record I did with Bunny. I believe "Let The Good Times Roll" went top twenty on the national charts.
I hope this answers Jersey Johns questions
Your friend,
Philly John

And then this ...
Kent -
Check on the passing of Weldon McDougal ... he was a strong force in Philly R&B. He was responsible for a bunch of hit records. He was a great guy.
Facebook (8) Tribute to weldon Mcdougal

Photo attached (L to R): Billy Carlucci Weldon McDougal, myself and Billy Jackson

Weldon A. McDougal III, singer, musical producer, dies at 74 Philadelphia Daily News 10/29/2010

But first ... one more quickie on The Philly Sound from George Manney ...
Click the Link to view on YouTube:
Clips from the documentary in production, "Philly Pop Music, The Lost Pioneers".
A George Manney film - copyright 2004-2010.
Narration: Michael Tearson

For Screening Purposes Only. Not For Sale.
Philly Pop Music profiles the extraordinary and diversified Philadelphia musical community with rare and unseen interviews, archive footage & photographs.

In this clip are the following: The Orlons, Charlie Gracie, Connie Francis, Chubby Checker, George Thoroggod, Roger LaMay, Dick Clark, Bunny Gibson, Kenny Gamble, Joel Dorn, Larry Magid, Pat Martino, Michael Bacon, Dee Dee Sharp, Weldon McDougal, Barbara Mason, Joe Tarsia, Bunny Seigler, Earl Young, Frank Stallone, Grover Washington Jr., Lloyd Remick, The Soul Survivors, and Tommy Conwell.

THE LAST WORD: I asked John Madara to review the above correspondence prior to going to press with it ... I wanted to be sure that I had painted an accurate picture of the Cameo / Parkway situation at the time (and John's involvement with it.) I also wanted to let Jersey John (and any OTHER concerned readers) know that even the folks who WERE involved aren't particularly happy with the way the catalog has been handled. And then, as I stated earlier, we'll put this one to bed for a while. (kk)

Hi Kent ...
As you said in your story, I only did a few things for Cameo and that was when
Bernie Lowe and later Neil Bogart ran the label. I was an outside producer and was only involved with a couple of acts that we brought to the label.
I do know that they are putting together the old tapes (the ones they can find) for future release. If someone did take those old tapes, they could put together a real look at that period in Cameo's history.
A little history ... Cameo had a deal with EMI for distribution of product from Europe. One act that they turned down was the Beatles. Swan records did take "She Loves You", but Cameo could have had the Beatles. What a label they would have been!

(EDITOR'S NOTE: The earliest Kinks releases were on Cameo ... so was Pete Best, The Beatles' former drummer!) kk
Most of the labels have very little interest in the old product. The people that are working for the record companies today do not have a clue of outtakes, alternate mixes,etc. They take the multi-track tapes and mix them without the producer being there,changing the producers concept for the mix totally.

I can understand Jersey John's frustration ... things that we heard back in the 60s sound different because they are in the hands of people who just don't know
what they are doing.
Kent, I hope this helps.
Your Friend,

I was listening to Wet Dream,which I had never heard before ,when my husband said"You don't know that song, I do !" I was totally shocked.He doesn't know music at all-especially oldies! LOL

Kent --
Thanks for posting "Wet Dream" by Kip Addotta. That's also one of my favorites courtesy of Dr. Demento. The puns are super.

A long-time favorite of mine, too ... some of the most clever lyrics ever put to use (or is that ABUSE?!?!?) kk

Hi Kent,
I forgot to tell you ... I'm trying to get Kip Addotta interested in doing an interview for your Website with you if that's cool with you.
I saw that you were talking about his song "Wet Dream" and thought it would be fun for your readers.
All The Best,
Yeah, that WOULD be cool ... but now I gotta figure out what the heck to ask him!!! (lol) kk

Kent ...
My definition of a Wet Dream is a little bit different from the one you played in that song. LOL! I guess yours is probably the right one.
Frank B.
Or at least the more "politically correct" version ... within the context of our Forgotten Hits Family-Friendly web page! (lol)
[Yeah, right!!! Scroll down to see a topless picture of Joey Heatherton!] kk

With regard to "Crazy", the Mitch Miller combo with Bell Bottom Trousers brings to mind the Diane Renay version of Bell Bottom Trousers, which is found on her greatest hits CD. This song seems to be part of a trilogy with Blue, Navy Blue and Kiss Me Sailor. Diane's version is decidedly more upbeat than Mitch Miller's.
Bob Verbos,
New Berlin, WI.

In response to FH reader, Paul Evans, Charles Randolph Grean may very well have written Quentin's Theme ... I have no idea who wrote it, though I loved it.
However, the show that I believe Paul refers to is called "Dark Shadows". Didn't mean to nit-pick ... I just wanted to ask if anyone has that song and needed to get the right information across. Gonna try on line again but, I will appreciate any efforts! Thanks, Kent, for your hard work in getting all of this memory-stirring information out to us. Sometimes, when certain songs are mentioned on FH, I can remember back to exactly where I was when I heard them the first time. It can be a very moving experience!
Thanks again!
Look closely and you'll see that we, too, made the correction regarding the proper name of the television series ... QUITE popular for a couple of years as a daytime soap when they TRULY went off the deep end and created Barnabas Collins, a vampire WAY before "Twilight", "The Vampire Diaries", "First Blood" and so many of these other "newbies" that have come along to cash in on this craze. (In fact, other than "Drac" himself ... and maybe Grandpa Munster ... how many legitimate vampires can you name pre-"Dark Shadows" that ever made their mark ... get it ... on the public???)
As for "Quentin's Theme", we're featuring it again today. This was quite a big hit here in Chicago back in 1969 ... it went all the way to #3 in fact. Made The Top Ten in Cash Box Magazine (where it peaked at #8) but fell a little short in Billboard, peaking at #13. (This was one we ALMOST featured on Halloween ... but I decided to save it for THIS posting instead!) kk

>>>Lord Love A Duck! (kk)
(courtesy of Tom Diehl)

Kent -
I just finished reading your latest edition of Forgotten Hits.
I know this has been a “labor of love’ for you for several years however it screams BOOK! You have a wealth of stories that the rock public has never heard before. In these current economic times you will not get rich writing that book, but it will pay for itself.
So for crying out loud, get off the dime and take the challenge beginning today!
I know, you will immediately give me five reasons why you can’t do it right now.
I promise I’ll be at your first book signing!
Clark Weber
P.S. Perhaps you've already set the wheels in motion to write it ...
in that case, "atta boy!"
Are you kidding me?!?!? I practically write a book a week doing this!!! (lol)
(Actually, our mutual friend Steve Sarley recently told me that he started printing out all of my Forgotten Hits emails ... but once the pages outnumbered the Sistine Bible, he gave up ... and I think that was just one of our Sunday Comments Pages!!! lol)
Sure, I've thought about it ... kicked around a few ideas here and there ...
But you're right, the big thing is time ... and if I can't make money doing it, then what's the point. (Lord knows I've never made a dime doing it so far ... why expect anything now!!! lol)
Thanks for the VERY, VERY kind words, Clark ... it means a lot ... especially coming from someone who DID write a book. (And we BOTH know how long it took you to get around to doing that!!! lol) Seriously, I appreciate it, and it means a lot to me. (kk)

Kent ...
How about "Forgotten Hits: The Movie"???
You mentioned naming a driveway or alley after "Forgotten Hits" ... I think it would make a great name for a movie. A Senior Citizen murderer, who can't remember how many people he killed ...
You have a lot of contacts.
Do you know anybody who would want to finance our project? LOL!
Frank B.
P.S. Kent, have you ever done a series on my favorite group - Tony Williams & The Platters?
First the book ... THEN the movie ... isn't that the way this stuff usually works?!?!?!

Ironically, I've been talking with John Madara the past few years, trying to figure out how to get HIS movie idea off the ground ... a GREAT idea for a doo-wop era musical called "At The Hop" ... and (even with a few VERY big names tied to the project) we STILL can't seem to get the financing together. Tough economic times, to be sure ... and I still want to see "The Wrecking Crew" movie make it out into mass circulation one of these days, too! (Guess our "Forgotten Hits Film Project" will just have to wait ... hey, maybe one of the cable networks will pick it up!) kk
P.S. Nope, never did an actual spotlight feature on The Platters ... but I have noticed a new ad campaign that's using "Smoke Gets In Your Eyes" as their theme song! And personally, I LOVE their stuff! (kk)

Thanks for your effort to produce such a great website ... it's simply the best for us oldies guys!