Friday, August 19, 2011

The Friday Flash!

A few more odds and ends to round out the week ...


>>>I am delighted about my new affiliation with Internet station Oldies Your Way , which began with my debut show last week. The address of their Home Page is . "Ronnie Remembers" is on every Friday evening from 6 to 7 PM Eastern Time.  Each week I present one or two interviews. They may be older ones that are also available on my Radio Page or they may be ones that are not available publicly anywhere. I may eventually do world-premieres of interviews that will subsequently be posted on my Radio Page and I may also do live interviews.  (Ronnie Allen)

It's great to hear all of Ronnie Allen's CLASSIC interviews in one more place!

Of course, he is still a regular over at!

And Ronnie's got a brand new show debuting tonight ... and running EVERY Friday Night before his interview show airs ... here are all the details!

Hi Kent,
I hope that you will pass this on to your readers.
I am delighted that starting this Friday (August 19), from 5 to 6 PM Eastern time, I will be hosting a brand-new show on the Oldies You Way Internet station. 
It's called "Nutty but Nice."
As you can probably guess from reading the title and seeing the above image, my show will consist exclusively of novelty and comedy records.
I've been a fan and friend of Dr. Demento (AKA Barry Hansen) for close to 40 years. I have enjoyed listening to his shows and been introduced to several thousand records that I had never heard before.
Barry still does his show but it's only available on the Internet. These days his shows feature primarily recordings from the 1980s to the present. He has phased out many of the classic "demented" recordings which he used to play a lot that came prior to that decade. His emphasis is almost exclusively on "recent" dementia so-to-speak.
My "Nutty But Nice" show will be different from Barry's show in that most of what I play will be recordings from the 1940s through the late 1970s. In short, I will play many records that he would no longer play on his shows. I will on occasion play a "recent" one (1980s and later); for example, on my debut show which airs this Friday, I play "The Man Song" by Sean Morey which came out in 1998.
On his shows Barry often plays recordings that fit a specific "theme" and many of those are serious records ("non-Demented" ones, if you will) that are do not fall into the novelty or comedy category. In contrast, my show will feature only novelty and comedy records: there will be no "serious" ones!
I will not shy away from most controversial records. "Transfusion" by Nervous Norvus, "They're Coming To Take Me Away" by Napoleon XIV, "Lizzie Borden" by the Chad Mitchell Trio and "Shaving Cream" by Benny Bell (with vocal by Paul Wynn) are ones that I will play, even though many radio stations banned them. In fact, I play "Shaving Cream" on Friday's debut show. Yes, there are certain records that I will not play because of content (if in my judgment a very large group of people might be offended) but I won't go into details here.
In the grand scheme of things -- the universe of comedy and novelty records from 1940 through 1979 -- I will allow myself to play almost everything. And I will toss in a more recent one from time to time.
My debut show includes a recording by "Old Philosopher" Eddie Lawrence entitled "Old, Old Vienna" which to me is one of the funniest records I have ever heard. Also making the cut are "I'm A Little Busybody" by Jerry Lewis (how does he do it without breathing?), "Noshville Katz" by the Lovin' Cohens and Stan Freberg's delectable satire of Harry Belafonte's "Banana Boat (Day-O)."
Francis Albert Sinatra -- The "Chairman of The Board" -- did a recording with Dagmar which Mitch Miller forced him to do: I understand that he never talked to Mitch after that! Ah yes, "Mama Will Bark" is indeed on this debut show.
And so is Dickie Goodman, the singer! Yes, it's the same guy who did dozens of "break-in" records, some with Bill Buchanan but most on his own. In order to play his recording of "See Ya Later, Linda" and keep the show suitable for a "family" audience, I had to bleep out three portions of it. See if you can figure out what I bleeped out! "Linda" is from Dickie's unsuccessful LP called "My Son, The Joke," which was meant to be a raunchy parody of Allan Sherman.
Speaking of Allan, I also play a recording by Sandra Gould called "Hello Melvin (This Is Mama)." It was a parody of Allan's "Hello Muddah! Hello Fadduh!". Amazingly Barry Hansen never played Sandra's record on any of his shows. I think it's adorable. You may remember her as "Gladys Kravitz" on "Bewitched from 1966 through 1972. 
Also on my debut show this Friday at 5 PM Easten time are records by Tom Lehrer, Spike Jones and a lady with the last name of Miller who is not Jody and is not related to Roger.
My "Nutty but Nice" shows will include some well-known hit records and many lesser-known ones by artists both familiar and non-familiar to the masses. Expect to hear from the likes of Ray Stevens, the Coasters, Sheb Wooley (and Ben Colder), Weird Al Yankovic, Bob Newhart, the Playmates and Homer and Jethro on future shows.   
In short there are so many that I can choose from and I will look forward each week to putting together a new show. Your suggestions are indeed welcome: you can write to me at .
I hope you will join me for my debut show this Friday at 5 PM Eastern Time.
The link address once again is:   Oldies Your Way
By the way, immediately following my debut "Nutty but Nice" show will be my "Ronnie Remembers" show at 6 PM Eastern. On Friday I will be playing my interview with the Poni-Tails, the "Born Too Late" girls.
-- Ronnie Allen

I have just added a link to the Forgotten Hits website on the Oldies Paradise website.
I will also do everything I can to promote your site to our listeners.
I passionately believe that modern radio neglects so many wonderful hits from years gone by. Sadly, the result is that listeners are brainwashed into forgetting those great songs.
Oldies Paradise is my tiny bit of a fight-back against the system!
Out of interest you may like the attached promo that I wrote and produced for the launch of EKR, the first pan-European satellite rock station. I was Head Of Music on the station and even back then in 1997, I was very passionate about those lost classic songs!
All the best
Mark Stafford

Thanks so much for the mention, Mark ... and I just LOVE this promo!!!  (So true, so true!!!) It's funny because even now when radio IS starting to open up a little bit more again and play some of these "forgotten hits" on the air, even some of the BIGGEST hits sound unfamiliar because it's been so long since we last heard them.  The GOOD news is, the effort is there ... so I'm loving all this new exposure.  Thanks again!  (kk)

>>>How about trying to raise some interest in cover versions of pop and rock hits?  I don't necessarily mean original versions (Glen Campbell's "Turn Around, Look at Me," for instance, or Earl-Jean's "I'm Into Somethin' Good") -- but  simply other versions of well-known pop / rock material that also made the charts but are never played.  For instance, we all know Johnny Preston's "Running Bear."  But how often do you hear Sonny James' somewhat more rocking version?   Or his excellent cover of Roy Orbison's "Only the Lonely"?  Radio stations might play the Hollywood Argyles' "Alley-Oop," but how about the  Dyna-Sores' version, which puts a nice R&B edge on the song?  Some cover versions are simply mediocre wannabes, of course.  But many have a charm of their own: The Sandpipers' "Louie Louie;" Johnny Rivers' "Cupid;" The Strawberry Alarm Clock's "Good Morning Starshine." None of these is going to eclipse the original -- but aren't they worth hearing once in a while?  Ditto with Ray Charles' or Aretha Franklin's versions of "Eleanor Rigby" or Wilson Pickett's "Hey Jude." Something like ten versions of "Unchained  Melody" made the Billboard Hot 100, so why do we hear just one or two of them?  I know, I know --- it's hard enough to raise some interest in  genuine hits that have been forgotten, let alone forgotten covers.   But hey, I figure -- if Forgotten Hits can't do it, no one can.  (Henry McNulty)
>>>Unfortunately, we're having a hard enough time just getting radio to recognize some of the legitimate Top 20 Hits from the past 40-50 years ... no way they're gonna go for this idea!!!  (Sorry ... sad but true.)  Internet Radio might be interested in featuring some of these obscurities as a novel way to present a twin spin ... but by and large the reigns are SO tight on these play lists that there's no room to maneuver anything that hasn't made it past their "testing audience" ... which is why we keep hearing the same old / same old again and again and again.  Neat idea, 'tho ... maybe SOMEBODY on the list will give this some thought, drop us a line and let us know where and when to tune in and listen!  (kk)
You might get to hear some of these listed songs on Topshelf Oldies, which strives to play not only the hits, but the lower charting records, and non-charting songs that sound like they should have been hits.

Tom Diehl
What would be REALLY cool would be if somebody could take this idea and make it the "theme" of one of their shows ... and devote the whole program to "covers" and alternate versions like these.  Now that would be something we could get behind and help promote the heck out of ... in fact, our readers could even send in more of their suggestions to help fill out the program.  Anybody interested?  (kk)

Hello Kent -

How is everything with you?

Some songs that I remember I love to hear ...
Terry Jacks, Seasons in the Sun ... sad but cool tune ...

and Helen Reddy's Delta Dawn, a pretty cool tune also.

They both charted pretty well early 70's. Now those 45's had some meaning to them. Well, I just thought I would bring these tunes up for anyone out there who had them playing on their turntables.

Honestly, I hear "Seasons In The Sun" about as often as I need to.  (lol!)  Actually, it DOES still get some occasional airplay here ... and Jeff James (at Y103.9) even made a habit out of playing the B-Side to that record, "Put The Bone" in, whenever he got the chance!  (lol)

You don't hear ANY Helen Reddy on the radio anymore ... and it's really not fair ... Helen placed 15 songs in The National Top 40 between 1971 and 1977 ... and four of those went all the way to #1.  ("I Am Woman", 1972; "Delta Dawn", 1973; "Leave Me Alone", 1973 and "Angie Baby", 1974.)  Certainly ALL of these deserve at least SOME airplay these days!  Add in Forgotten Hits like "Peaceful", "Keep On Singing", "You And Me Against The World", "Somewhere In The Night", "Ain't No Way To Treat A Lady" and Helen's version of "I Don't Know How To Love Him" and you could offer your listeners some REAL variety on the dial.  (kk)


PHILADELPHIA (Aug. 18, 2011) – Worldwide fans of the legendary “Sound of Philadelphia” now have equal reason to look to the future as well as the past during this year’s 40th anniversary celebration of Philadelphia International Records (PIR), as the label launches globally its online radio station, delivers instant, round-the-clock access to the enormous catalogue of songs written and produced by KENNETH GAMBLE & LEON HUFF, and their partner, legendary producer, THOM BELL, topped by numerous pop #1 hits, R&B #1 hits, 100 gold and platinum records, Grammy winners and BMI songwriters' awards honorees, through the timeless recordings of Teddy Pendergrass, the O’Jays, Harold Melvin and the Blue Notes, Patti LaBelle, Lou Rawls, the Jacksons, Jerry Butler, the Spinners, the Delfonics, and dozens more. As a direct, digital pipeline to the vaults 24 hours a day, seven days a week, also will be an exclusive resource to an abundance of Gamble & Huff recordings for PIR that have not been available since their original release in the ‘70s on vinyl, cassette and 8-Track. also will be a new go-to portal for previously unreleased material from the vaults, promising to dig deep into the archives for songs, interviews and other recordings from the past 40 years. also will be available to all android and iPhone mobile devices and tablets by way of a new SHOUTcast internet radio app – entirely new ways of bringing this music to your fingertips. takes our historic catalogue further into the 21st century by digitally providing listening access to Sound of Philadelphia audiences to people of all ages and cultures around the world,” says Chuck Gamble, executive vice president of Philadelphia International Records. “Add to that the portability that today’s technology brings to every generation, and it’s never been easier to listen to the great music of Gamble, Huff and Bell at home, on the beach, in the park, at family reunions, in their workspace, or on elevators … anywhere and everywhere there is internet access.
Songs Gamble & Huff have written and produced together include the hits "Back Stabbers," "Love Train," "For The Love Of Money," "If You Dont Know Me By Now," "Cowboys to Girls," "Don't Leave Me This Way," "Enjoy Yourself," "I'm Gonna Make You Love Me," "Only the Strong Survive," “Expressway to Your Heart," "Me & Mrs. Jones," and  "TSOP" (better known as the "Soul Train" theme). Their songs comprise the most sampled and covered R&B catalogue in the world, by artists such as Jay-Z, Usher, Michael Buble, Mary J. Blige, T.I., 50 Cent, Jaheim and Avant. Gamble, Huff and Bell have recorded and collaborated with a galaxy of stars from the pop, rock, soul and jazz universes, including Michael Jackson and the Jacksons, Elton John, Lou Rawls, Teddy Pendergrass, Patti LaBelle, Harold Melvin and the Blue Notes, Aretha Franklin, Billy Paul, the Spinners, the Stylistics, the Delfonics, Dusty Springfield, Jerry Butler, Wilson Pickett, LaBelle, Archie Bell & the Drells, the Soul Survivors, Laura Nyro, the Trammps, McFadden & Whitehead, Phyllis Hyman and Grover Washington Jr.
Beyond playing music and other content from the vaults, programming also will include new interviews with artists and other members of the Philadelphia International Records family. Gamble & Huff will be hosting shows and personally conducting many of the interviews, some of which will be streamed on video from the studios at the TSOP Experience, adjacent to the historic Philadelphia International Records offices on Gamble & Huff Walk, the block of South Broad Street renamed in their honor last year. Additional programming plans include live concerts from the archives; devoting entire days, or day parts, to a particular artist, as well as various specialty shows and customized all-request shows selected by Mr. Gamble, Mr. Huff, members of the extended PIR family, guest DJs and you, the listener. Guest DJs from around the world also are being invited to host. Listeners requests are being accepted by email now at or through Twitter at @tsopsoulradio.
To join the Listeners’ Club and gain exclusive content, the ability to enter contests and other membership offers, sign up at
“ is as much a discovery process for us as it is for listeners young and old,” says Chuck Gamble. “We’re having loads of fun digging through our archives and uncovering the vast amounts of treasures in our vaults. We’re coming up with new content every day, and we can’t wait to share them with ‘people all over the world. We’ve always been proud to let people know that a Gamble & Huff song is played on the radio somewhere in the world every 13.5 minutes. But now, thanks to, a Gamble & Huff song is being played every 13.5 seconds for lovers of the Sound of Philadelphia!”
For more information on the careers of Gamble and Huff, please visit:

Hi Kent,

Wow! That pic with Brian Wilson is amazing! Loved reading about the show is St. Charles ... good for you!
Thanks Kent, and keep the good times coming!
Jim Shea
The whole experience WAS amazing!  A bit last minute ... but thanks again to Ron Onesti of The Arcada Theatre, Fred Vail and Jeffrey Foskett, we were able to get to the concert after all ... meet Brian backstage ... and watch the whole thing from the vantage point of front row seats!!! (It just doesn't get any better than that!!!)  I think this was the fourth time I've seen Brian ... and was by far his best performance.  I hope Ron will bring Brian back again ... he totally killed in that intimate setting.  (kk)

Kent ...

Got this one from Ron Smith's Oldies.

I know you like Brian Wilson, cause you took a picture with him. I think he should've asked Booker T & the M.G.'s for backup help on this one. You remember that one of the members of this group was Donald " Duck " Dunn.  (Sorry about that.)
Frank B.
Yes, Brian talked a little bit about this when we saw him in St. Charles a few weeks back.  Actually, it's the perfect mix ... and I can't wait to hear it.  One of the best known Beach Boys stories is how the melody to "When You Wish Upon A Star" inspired Brian's own "Surfer Girl".  (Listen to them and it's completely obvious!)  I can't wait to hear the end result ... reading this article only helps strengthen the anticipation!  (By the way, in addition to this, we're STILL supposed to get the long-delayed "Smile" album ... and then ... perhaps ... a full-blown, 50th Anniversary Beach Boys reunion LP.  Time will tell if either of these ever see the light of day ... but one can hope, can't we?!?!?)  kk
And this just in from our FH Buddy (and Endless Summer Quarterly Editor and Publisher ... as well as Beach Boys Examiner Reporter) David M. Beard: 

Brian Wilson is one of the great American composers of the last 100 years. The Southern California native, along with his brothers (Dennis and Carl), a cousin (Mike Love) and friend (Al Jardine), formed the Beach Boys while still in their teens. With Wilson as chief songwriter and arranger, the Beach Boys not only turned out dozens of hits, but changed music forever thanks to Brian’s innovative melodies and harmonies. The band’s Pet Sounds album (1966) is regarded as one of the greatest albums of all time.

Wilson continued to make great music after the Beach Boys, with 10 solo albums including his breathtaking Brian Wilson Presents SMiLE, which he began recording in the 1960s and finally completed in 2004 to thunderous critical acclaim and Top 20 chart success (as well as earning a Grammy®). 

Last year, Wilson made his Disney Pearl debut with Brian Wilson Reimagines Gershwin, which included his versions of great Gershwin tunes as well as two new songs (“The Like In I Love You” and “Nothing But Love”) fashioned from fragments given to Brian by the Gershwin estate. In the Key of Disney – Wilson’s new Disney Pearl collection of songs – brings together hits from animated classics from seven decades of Disney films.

The Beach Boys co-founder and musical living legend approached this new collection of timeless classics much like he did 2010’s Brian Wilson Reimagines Gershwin release; by carefully choosing from a vast songbook of recorded history.

Reflecting on the song selection, Wilson said, “Like every kid in America, I grew up loving Disney, especially the animated classics. The songs from those masterpieces were as much a part of my musical education as anything else. So it only made sense that I would want to put my spin on some of those truly great songs.”

In addition to producing the album, Wilson wrote all vocal arrangements and co-wrote arrangements for his band with music director Paul Von Mertens. Song selection was a careful process for Wilson, who chose from among every era of Disney films, to appeal to kids and adults of all ages.

“These days, I enjoy watching the classic Disney films with my own children and grandchildren,” says Brian. “It’s fun to watch them discover the magic, both in the stories and characters, as well as in the music. I made this album for them, just as much as for me and for my fans, and I hope everyone enjoys it.”

Songs on the album are: 

•   “You’ve Got a Friend In Me” (from “Toy Story”)

•   “Bare Necessities” (from “Jungle Book”)

•   “Baby Mine” (from “Dumbo”) *a doo-wop lullaby

•   “Kiss the Girl" (from “The Little Mermaid”)

•   “Colors of the Wind” (from “Pocahontas”)

•   “Can You Feel the Love Tonight?” (from “The Lion King”)

•   “We Belong Together” (from “Toy Story 3”)

•   “I Just Can’t Wait to Be King” (from “The Lion King”)

•   “Stay Awake" (from “Mary Poppins”)

•   “Heigh-Ho / Whistle While You Work” (from “Snow White”) [instrumental]

•   “When You Wish Upon a Star” (from “Pinocchio”)

Drawing on Brian’s genius for layered vocal harmonies and crisp pop arrangements, In the Key of Disney is a must for fans of the Beach Boys and Disney music. 

For more information on Walt Disney Records’ releases, please visit, become a fan at or follow us at For more information on Brian Wilson, please visit

Brian Wilson’s In the Key of Disney arrives in stores and at online retailers Oct. 25, and will be available in CD and digital formats.

© David M. Beard/All rights reserved
Like I said, I can't WAIT to hear Brian's arrangements and interpretations of these so familiar tunes!  David also reminds us that Brian performs "Listen To Me" on the forthcoming Buddy Holly Tribute album of the same name.  (Other guests include Ringo Starr, Stevie Nicks, Linda Ronstadt, Chris Isaack and Jeff Lynne ... so watch out for that one!)  You can subscribe to ALL of David's Beach Boys and Brian Wilson-related postings here:


I would like to comment on two things if I may. Each week in Sunday's FH there seems to be at least one or more comments from readers that instantly reminds me of a record or records that I have not heard on the radio or thought of in years.  
First, the passing of Billy Grammar ... this past Friday, August 12, Scott Shannon played as his fabulous forgotten 45 of the day, Grammar's GOTTA TRAVEL ON. It was good hearing that again on the radio. What a MONUMENTal record that was for Grammar. I always liked his followup, BONAPARTE'S RETREAT. I was curious about something so this morning I went on the internet to see what recordings Grammar had made through the years. To be honest with you, I was just familiar with the ones that crossed over from country to pop charts. I noticed on the internet he apparently released just one single song in 1969, that being JESUS IS A SOUL MAN. I haven't heard that song or thought of that record in years. In 1969, I believe on WB records, a singer by the name of Lawrence Reynolds had a version which was very big here in OKC.
Second, the group the Fifth Estate was mentioned. In 1967 their recording of DING DONG, THE WITCH IS DEAD made it to number one here in OKC. 1967! What a JUBILEE year that was for them.
Larry Neal
"Jesus Is A Soul Man" by Lawrence Reynolds has always been one of my favorites ... I think I've featured it three times now in Forgotten Hits, most recently back in February of this year when it was done in our "Today's Forgotten Hit" feature.  It did OK here in Chicago, too, ultimately peaking at #11.  (Johnny Rivers cut a version of this, too ... I believe it was released as a B-Side to his single "Into The Mystic", his cover of the Van Morrison song.)
Ken "Furvus" Evans has been a regular Forgotten Hits contributor for years now ... the band has reformed (after the death of Wayne Wadhams) and been working on a new album for the past two years.  (We even "sneak-peeked" a track a while back!)  "Ding Dong The Witch Is Dead" went to #13 here in Chicago ... and the B-Side to that record, "The Rub-A-Dub" made our Top 200 All-Time Favorite, Forgotten B-Sides list, too!  (It came in at #178)  Furvus is also pitching a screenplay about the band (so we need to check in with him and see how all of that is going!)  kk
In your reply it happened to me again. You mentioned Johnny Rivers' INTO THE MYSTIC. I think I will get that out tonight or tomorrow and play it. Here's what it reminded me of , Them's MYSTIC EYES on Parrot.
By the way, I don't know if you are capable of listening to the True Oldies Channel on Sunday evenings, beginning at 7 PM Central, but Scott Shannon's Sunday night show "Cruisin' America" is a good show. Now it's true that the five hours he's on he plays "oldies" you normally hear during the week, but he has scattered out throughout the show some of those really fabulous forgotten 45's. Now these fabulous forgotten 45's he plays throughout the show are those songs you and I are familiar with, but I can just imagine the normal person out there who catches them going somewhat "bonkers" if he happens to hear one.
I've hear really good things about "Crusin' America" ... and the real oldies fans out there seem to love it (and send Scott all kinds of requests.)  Glad to see he's struck on something that appeals to some of the "older" fans out there!  (kk)

Some interesting info and tidbits along with a couple of questions and comments.
While it maybe a matter of opinion, the first big pop hit rock and roll record was 'Sixty Minute Man' by Billy Ward and the Dominoes (1950 - 51). Bill Brown sang lead and you can hear Clyde McPhatter in the background.  Some think its 'Rocket 88' by Ike Turner.
Do you rank or assign a date to a record based on when it was released, or was first played, or first charted?  In other words, is 'Sixty Minute Man', released December 30, 1950, a song for 1950 or 1951?
Do you have any info on the 'Big Band' era ... or my friend Ben(n) Joe Zeppa (Topsy Turvy)?
FYI: I was a DJ from 1970 - 73 in Concord (KWUN) and got fired for playing racy oldies and
politely explaining them. Hank Ballard's (Annie) records were the last straw.
Bob Kurtz
Hi Bob, welcome aboard!  We've debated the correct date for tracking a record's peak performance several times before in Forgotten Hits.  As far as I'm concerned, it's the year where the record had the most impact. There are so many other things that factor into this.  The actual release date ... the date it debuted on the charts ... the date it PEAKED on the charts ... the fact that regional hits sometimes took quite a bit longer to break out nationally ... just WAY too many discrepancies to factor into the equation ... so I have always gone by the date when the record had its greatest impact and success. 
The example I most often cite is "I'm A Believer" by The Monkees.  Joel Whitburn's book shows it premiering on The Billboard Hot 100 Chart on December 10, 1966.  On December 31st, it reached #1 ... where it stayed for the next seven weeks.  Now Whitburn's books have always listed the record in the year that it peaked ... so TECHNICALLY "I'm A Believer" peaked in 1966 ... for all of one day!!!  (Even if you consider the fact that Billboard's charts often reflected "the week ending" date, that means it spent ONE of its seven weeks on top of the chart in 1966 ... the OTHER six weeks were all 1967.)  As such, I have always believed (yes, I'm A Believer) that "I'm A Believer" should rank as one of the biggest hits of 1967 ... and NOT as THE biggest hit of 1966, where NO other record managed to accomplish the feat of seven weeks at #1 ... because technically, neither did this one.
Even Billboard Magazine themselves broke the charts up that way.  Their year-end charts always reflected a record's chart performance during the time period of December 1st (from the year before) through November 30th of the current year.  Records working their way up the charts in December hadn't earned enough points to rank for that given year ... so they deliberately set things up to give them the time to compile the statistics and present an accurate year end chart showing.  (This became even MORE convoluted in later years when Billboard introduced the "frozen week" holiday charts ... but that's a whole 'nother story!)
However, since Joel Whitburn's books are considered the music bible ... and because HE lists "I'm A Believer" as the biggest record of 1966, this is the way history has been rewritten ever since.  You'll now find this statistic quoted virtually everywhere ... but I would argue that logically it just doesn't make any sense. 
As for the earliest rock and roll record, that's a debate that will NEVER be resolved. (We've got a reader who has traced references to rock and roll back to the early 1900's!!!)  A few months back, we tried to poll our readers to come up with a list of the most significant "Pre-Rock Era" songs ... records that we should all be aware of as they helped to create the music we now all know and love.  Unfortunately, the response was SO week, we never followed through with the series.  Eventually we may do some sort of a short recap ... and you'll find both "Rocket 88" and "Sixty Minute Man" on ... and near the top ... of that list ... along with early rock classics like "Good Rockin' Tonight" by Wynonie Harris and "Shake, Rattle And Roll" by Big Joe Turner and "Sh-Boom" by The Chords.  (You'll also find FOUR tracks by Louis Jordan in the Top 20 of that list!)  Sooner or later we'll get around to running something in this vein ... but our readers just seems so disinterested that I've never actually gone back to it. (kk)

Good choice for "Today's Forgotten Hit": TOOT TOOT by Rockin' Sydney ... I recorded that song onto one of my CD-Rs off a 45-RPM copy (on the EPIC label, if I'm not mistaken) a few years back ... and, yes, it DID get a lot of attention at the time (1985) ... pretty catchy for a "macho anthem".
Tal Hartsfeld
The track I posted is the Epic 45 version ... I tried to find a digital copy online but only came up with re-recorded live versions ... this is the way that I remember this song.  Why this never charted is beyond me ... they played the heck out of it at the time.  And it didn't make our local chart either!  (kk)

Great idea you had about a non-charting song as a FH. Wait a minute! Is that an oxymoron? Something that is true and false at the same time? If you can think of any others, add them to your list if you want.
It has always intrigued me here in OKC of records that went to number one especially, that
never even charted on the national charts. I remember the title of the song (My Toot Toot) but can't remember where I heard it here in OKC. I don't know about you and Chicago, but our top 40 radio station weekly survey began in August of 1958 and ended in up through the year 1979. So maybe for a time it was played here in OKC but I really don't know. I don't have a copy of either version.
You would have loved our Local Hits Series a few years back where we went around the country and spot-lighted songs that were HUGE, Top Ten Regional Hits ... yet never even made a dent on the national charts.  (Turned up some really good tunes along the way, too!) I'd love to do another one of these if folks on the list want to participate.  We'll just need background information on the songs and artists (and most likely a copy of the tune, too, so that we can feature it on the site) ... as well as any other chart information you can share.  It's always cool to see what other folks were listening to ... we've run all kinds of Top 40 surveys over the years where you know 90% of the tunes because they charted everywhere ... but we're blown away by that OTHER 10% that often ranked just as high as obscurities!
By the way, one way or another, we had local surveys that ran from the middle of 1956 right through to about 1985 ... so we were able to compile a pretty nice history of the Chicagoland charts along the way!  (kk)

You have done it again as usual. One of the great things about FH is the songs or artists and groups that are mentioned occasionally which triggers my mind or jogs my memory about other songs and or groups and artists. The case in point is Tuesday's FH.
I have not thought of singer Rusty Draper in years. He was originally from Tulsa, OK, I believe and made a lot of records for Hg back in the fifties. (a chemist knows what Hg stands for). The song in question, MIDDLE OF THE HOUSE, reminded me that Vaughn Monroe also had a version, which subsequently reminded me of one or two songs that Monroe had that I had not heard in years, one being SOUND OFF, later remade during the rock and roll era by R & B singer Titus Turner. Kind of like a snow ball effect. Keep up the good work.
Vaughn Monroe's version went to #21 nationally that same year (1956), placing it one spot below Rusty Draper's showing.  (As I recall, the recordings are pretty similar but I didn't actually get out the Vaughn Monroe version to compare the two.)  By the way, according to Joel Whitburn's book, Rusty Draper was born in Kirksville, Missouri.  The "Hg" thing threw me for a minute ... I don't remember ANY chemistry ... but a quick label check shows that Draper recorded for Mercury Records ... so now it all makes perfect sense!!! (lol)  Good one ... thanks, Larry!  (kk)

Great choice for Friday's FH. I am probably one of the few people who, when they hear the name Doris Day, think first of her records she made back in the fifties as opposed to those who think of her first as an actress. When I saw yourchoice, I played it and immediately went in and played the Shirelles 1963 remake which I thought of first thing when I saw Doris Days' song.
While I think MOST people would think of Doris Day first as an actress (due to her numerous romantic comedies and television series), I think it's unfair to dismiss her singing career ... especially since she had SO many legitimate hit records as a vocalist.  (Going all the way back to 1948 when she started charted regularly ... and she continued to do so through 1962.)  kk
Kent ...

Instead of thinking about retirement, Mick starts a new group. Now he's in two groups instead of one.  Where does he get the energy?
Frank B.

Lots of talk about Mick Jagger's new "Super Group", Super Heavy ... the line-up includes Josh Stone, Dave Stewart (of The Eurythmics), Damian Marley (son of Bob), and A.R. Rahman.  Obviously, this is something that's been in the works for a while now (and they did an excellent job of keeping things under wraps ... we were just first hearing about this project a week ago or so and now they've already had close to a million hits to their very first video!)  Honestly, I'm not quite sure how much influence Mick had on this track ... despite the fact that he seems to be garnering the most publicity and attention for his involvement, he shares the lead vocals with Josh Stone (who frankly out-sings him ... and has never looked or sounded better) ... and I've got to attribute the rap and reggae beat more to Marley and Rahman than anything else ... but it's not a bad track ... in fact, I'll admit to totally lovin' it (and have watched this clip four times already!)  I suppose Jagger forming a "super group" really shouldn't come as that big of a surprise ... since The Rolling Stones always copied The Beatles anyway, I guess it was always just a matter of time before Mick would come up with his own way of creating another Traveling Wilburys!!!  (kk)