Friday, March 11, 2016

This Weekend ...

We've been talking about it for months ... and now we're hearing commercials all over the radio for this historic show coming to The Arcada Theatre THIS SUNDAY, March 13th ... 
TOMMY ROE ... CHRIS MONTEZ ... AND A TRIBUTE TO THE BEATLES, recreating their 1963 UK Tour and playing ALL their greatest hits that came after.

Don't miss this very special concert event.

Here's our buddy Ron Onesti to tell you more about it ...

UK 63..The Tour That Changed Music Forever
Sunday, March 13 5 PM
The History-Making SHOW OF THE YEAR!!!

1962 was an incredible year for American bubble gum pop superstars Chris Montez and Tommy Roe. 
Chris released the million-selling smash hit "Let's Dance" and Tommy released a number one Billboard chart hit, "Sheila", both certified gold records. 
On March 9, 1963, both embarked on a 21-concert in 23 days tour of the UK. 
Liverpool locals "The Beatles" were added to the bill ... "Love Me Do" had already been a hit, "Please Please Me" topped the chart and their brand new release, "From Me To You", was gaining momentum. 
Then, on March 22, 1963, right in the middle of this UK tour, The Beatles first album "Please Please Me" was released, and Beatlemania officially began ... and this was the last time The Beatles were ever an "opening act" again!

Chriz Montez and Tommy Roe are certified Rock and Roll legends, back together to perform all their million-selling hits, and to recall the tour that changed music history forever, 
LIVE at The Arcada Theatre ... INCREDIBLE!

Tommy Roe's million selling hit songs include "Sheila", "Dizzy", "Everybody", "Heather Honey", "Hooray For Hazel", "Sweet Pea" and "Jam Up And Jelly Tight". 
Chris Montez's million selling hit songs include 
"Let's Dance", "Call Me", "The More I See You", "Some Kinda Fun" and "There Will Never Be Another You". 
Opening the show, The Cavern Beat Tribute to The Beatles, featuring that fateful setlist including 
"She Loves You", "Love Me Do", "I Want To Hold Your Hand", "From Me To You", "P.S. I Love You", 
"Twist And Shout", and others!

Tickets start at $20

We're hoping you can join us for this very special event.

Complete ticket information can be found on the OShows website ( or just click the "Buy Now" link above.  (And remember, Forgotten Hits Readers will receive a 20% discount by simply entering the code FHITS20 at checkout!)

Thursday, March 10, 2016

George Martin - Random Stream Of Consciousness

When you wake up in the morning and read a headline that says "The 5th Beatle Has Died" the educated mind immediately considers numerous possibilities ... 

Murray The K?  
No, he died YEARS ago

What about Billy Preston who shared label credit with The Fab Four when he worked with them on "Get Back" and what ultimately became the "Let It Be" album?
No, he's been gone for awhile now, too.

Pete Best?
Not likely ...
And Stu Sutcliffe (who actually WAS the fifth Beatle when the band had five members) died before the others achieved their worldwide success.

Over the years several people have CLAIMED to be (or have been designated as) The Fifth Beatle ... even their roadies Mal Evans and Neil Aspinall have been referred to this way at various times ... as has Brian Epstein, their manager (although not likely Tony Sheridan, who sang lead on their first single "My Bonnie" when The Beatles were still just a backing band) ...

The plain and simple fact is that the ONLY person who can legitimately lay claim to the "Fifth Beatle" title is Producer George Martin, who died on Tuesday at the age of 90.

After every other record company in London turned them down, Martin signed The Beatles to a contract with the Parlophone label, a division of EMI.  It hardly seemed the perfect fit on the surface ... Martin's experience was mostly in the comedy field (although The Beatles were familiar with his work as they were big Peter Sellers fans) and he was a good twenty years older than they were ... but somehow it worked.  (Martin remembered trying to single one of them out to be the "lead" at the time, as this is the way most groups presented themselves back then ... but realized that perhaps their greatest strength early on was the fact that all of them sang ... and sang very well together.)

As an ice breaker after their first full recording session, Martin asked The Fabs to let him know if there was anything they didn't like ... to which George Harrison (the so-called QUIET Beatle) replied "Well, for starters, I don't like your tie."  (Consider the ice officially broken!)

Martin also persuaded the band to consider changing drummers if they wanted to go further in their career ... a change that they had already been contemplating for some time.  Soon Pete Best was out and Ringo Starr was in.  (And then, of course, Martin famously hired a session drummer, Andy White, "just in case" Ringo couldn't cut it when The Beatles recorded their first single Parlophone single "Love Me Do" / "P.S. I Love You", delegating Starr to tambourine and/or maracas, and literally tearing his heart out in the process.)

A couple of months later, after recording their second single "Please Please Me" (a song previously rejected by Martin), George proclaimed, "Boys, you've just recorded your first #1 Record.)  Shortly thereafter they knocked out their first album (also titled "Please Please Me") in a single day, thanks to a thirteen hour marathon session.  It quickly topped the charts as did nearly every album and every single they released thereafter. 

In the studio, it was a true partnership in every way.  In effect, they learned from each other, especially once The Beatles progressed beyond the simple "Love Me Do" / "From Me To You" / "She Loves You" phase into a more sophisticated style of music.  (It was Martin who suggested a string quartet for "Yesterday", one of the most-recorded songs in history ... and when The Beatles recorded "In My Life" and needed an instrumental interlude, John Lennon said "Play something like Bach" and Martin did.)  He was always there to overdub an extra piano or make a suggestion ... and to honor their most unrealistic requests. ("I want to hear what my voice sounds like when I'm hanging upside down submerged in a pool of water with a tennis ball in my mouth", perhaps a bit of an exaggeration of a typical recording session Lennonism ... but not by much!) 

For the orchestral crescendo that ends "A Day In The Life", Martin had some of London's finest classical musicians bewildered and befuddled as they randomly raised each instrument from Point A to Point B in an otherwise completely haphazard fashion.  Again, somehow it worked!

In fact, in their constant pursuit of new sounds and innovations, The Beatles regularly challenged him in the studio to take them farther than they'd gone before.  When John Lennon liked the first half of one take of "Strawberry Fields Forever" and the second half of another, he told Martin to put them all together.  George explained that they were recorded at different tempos and in different keys ... to which Lennon replied "You'll figure it out" ... and he did.  (By speeding up the first track and slowing down the second, it brought both takes into the same key.  Martin insisted for the rest of his life that the "splice" of those two takes meeting together jumped out at him like a sore thumb even though nobody else listening to the record could ever detect it!)

I had the pleasure of meeting George Martin once.  After he published his memoirs "All You Need Is Ears" he went on a short tour of The United States to promote his book and play some studio outtakes and separated tracks and alternate takes recorded by The Beatles and we were fortunate enough to be there for one of these showings.  (Keep in mind that this was YEARS before the "Anthology" CDs came out ... and even with an extensive bootleg library like mine most of what Martin brought to the party was stuff that virtually NOBODY else in the world had ever heard before.)  One of those examples were the two separate takes of "Strawberry Fields Forever" which he used to illustrate how the "blend" was achieved.

He also did a brief Q&A with the sold out audience and even answered one of our questions about recording techniques then vs. the technology of the early '80's.  Afterwards we waited through the long line of fans coming up on stage to shake his hand and thank him for the incredible lifetime of memories he had helped to provide over the years.

Most recently his son Giles has been helping to restore and upgrade The Beatles' catalog, first working with them on their "Love" / Cirque du Soleil extravaganza which has been playing at The Mirage Hotel in Las Vegas for over ten years now.  (George knew his ears weren't what they used to be and wisely deferred to his son to helm the control board.)

He had a remarkable career and is probably one of the best known and most highly regarded producers of all time.  (He was knighted in 1996, a year BEFORE this honor was bestowed on Paul McCartney.)  Paul continued to work with Martin on several solo projects after the disbanding of The Beatles, perhaps most notably on his "Live And Let Die" James Bond Theme from 1973.  He also produced McCartney's "Tug Of War" and "Pipes Of Peace" albums as well as the soundtrack to the McCartney film "Give My Regards To Broad Street" in which he also appears.  (This means that George Martin was the man in the booth for the #1 Hit Singles "Ebony And Ivory" by Paul McCartney and Stevie Wonder as well as "Say Say Say" by Paul McCartney and Michael Jackson.)  He also produced several albums by the group America as well as releases by Seatrain, Celine Dion, The Little River Band, British Invasion Acts Gerry and the Pacemakers, Billy J. Kramer and the Dakotas and Cilla Black, the Shirley Bassey "Goldfinger" James Bond Theme, the Peter Frampton / Bee Gees "Sgt. Pepper's Lonely Hearts Club Band" film soundtrack and Elton John's tribute to Princess Diana remake of "Candle In The Wind".

An extraordinarly remarkable career.
Kent Kotal
Forgotten Hits

Wednesday, March 9, 2016

It's Been A Rough Year ... And We're Only 69 Days In!

My intention this morning was to write a short piece on legendary Radio Program Director John Rook.  I first got the news yesterday that he had passed away last week at his home in Idaho and it struck me hard because over the past nine years I had many conversations with John over the phone and, quite frankly, I was a bit surprised that this didn't play as a much bigger news story, especially here in Chicago where he made BOTH of our AM Top 40 radio stations (WLS and WCFL) the #1 stations in town.

But then I got up this morning to find the news that Beatles Producer Sir George Martin passed away yesterday at the age of 90.  Like I said, it's been a rough year so far ... and we're only 69 days in.

So today we'll remember John Rook ... and then tomorrow we'll salute George Martin.

My first contact with John Rook came when I contacted him back in 2007 for my lengthy profile of The Rock And Roll Hall Of Fame.

It seems that John was involved with the circulation of a petition calling for the induction of Pat Boone and yet, despite over 10,000 signatures, this went completely ignored by The Rock And Roll Hall Of Fame.  He asked for my number and we talked several times about this, the ways and means (and hidden agenda) of The Rock And Roll Hall Of Fame, his storied radio career, his friendship with Eddie Cochran ... his special bond with legendary disc jockey Larry Lujack ... John Rook was an INCREDIBLE story teller and had lived through SO many great events during what will always be remembered as the most exciting days of rock and roll.

It was during one of these conversations that he told me he was launching The Hit Parade Hall Of Fame.  The timing couldn't have been better ... I was able to break this story nationwide within the context of my Rock And Roll Hall Of Fame expose and first talked about this brand new organization on Jim Shea's morning radio show shortly thereafter.

The Hit Parade Hall Of Fame would have a committee of experts selected by Rook ... but it would ALSO take into consideration the vote of the public ... the music fans who grew up loving these artists and this music ... in fact, it was the votes of those fans that would have the greatest impact on the induction process ... which was COMPLETELY contrary to the way things were done at The Rock And Roll Hall Of Fame, who regularly told the fans (in a very in-your-face sort of way), "WE know music ... and you don't."

A friendship blossomed and we talked several times a year thereafter ... about virtually anything and everything.  It was a true learning experience for me ... and many of these conversations were almost done in a "father and son" sort of way.  Much of what he told me was strictly off the record ... but along the way he gave me a lot of advice as to how to improve Forgotten Hits, even running links and banners on his own website to draw attention to mine.  I met several people through John Rook who are still Forgotten Hits Readers, friends and associates to this day, not the least of which is Gary Theroux, who wrote and organized the original History Of Rock And Roll syndicated radio special.  I got the chance to meet Gary face to face over a Bakers Square breakfast a few months ago after probably hundreds of emails over the years.

Although it never got the recognition and attention it deserved, The Hit Parade Hall Of Fame was VERY dear to John Rook's heart.  He talked often about how he hoped it would one day exist in the form of a physical museum that fans could visit, much like what The Rock Hall has done in Cleveland.  I'm really not sure who would spearhead such a project today now that Rook is gone.

He tried to launch Hit Parade Radio on a nationally syndicated basis (with on-air personalities like Wink Martindale and Larry Lujack.)  That deal fell through (though there is still a link to listen to music by the inducted artists on The Hit Parade Hall Of Fame website.)

We almost lost John a few years ago when he had a heart attack ... but he wasn't ready to go and bounced back remarkably, just as sharp as ever, even poking fun at his own "almost demise".  Whether I agreed with him or not, John Rook was ALWAYS interesting to talk to. 

On countless occasions he told me how he wanted to name me to the Hit Parade Hall Of Fame Nominating Committee but couldn't because of my outspoken views on the failings of The Rock And Roll Hall Of Fame.  It was a Catch-22 situation for me ... as I knew I would never compromise my honest, gut-felt expression or soften my position on all the ways this organization has let down the fans over the past few decades.  I have never lost sight of what The Rock Hall could have been ... and SHOULD have been ... but it was sad for me, too, not to be able to partake in such an honor.

I AM happy and proud to report, however, that two new committee members were added as a direct result of my suggestions and conversations with John Rook ... Jerry Osborne and Scott Shannon now occupy seats on the committee and they couldn't be more deserving.

John vacillated a little bit on what he thought Forgotten Hits could be ... on one occasion he would tell me that it was the best music sheet out there today ... the attention to detail and the "from the heart" styling could make Forgotten Hits the next Gavin Report, he would say, referring to the very popular music bible sheet sent to radio stations in the late '50's and early '60's.  "You just need to get the right people to read it."

Then in the next conversation he would chastise me for being "too local" ... "you've got to give up your ties to Chicago if you ever want to make it" and focus on a more national scope.  "Some of the people you write about didn't do shit ... they were barely a blip on the radar.  Nobody gives a rat's ass about The Cryan' Shames or The New Colony Six.  In the scheme of things, they did NOTHING!"

But I stayed loyal to our local heroes (which I know drove him mad!) who received equal airplay alongside the biggest recording acts on the planet at the time ... on radio stations that John Rook himself programmed!!!  And, the truth of the matter is that these profiles, articles and interviews have proven to be some of our most popular over the years.  Along the way we've introduced thousands of music fans to GREAT music they may not otherwise have been privileged to hear back in the day.

And then out of the blue he'd do a complete turn-around.  When Jim Peterik of The Ides Of March asked me once if I had any idea who he might have met with at WLS that suggested the "call and response" treatment on their #1 Hit "Vehicle", I called Rook right away and he recalled the conversation nearly note for note that took place between himself, DJ Art Roberts, Peterik and one of the Warner Brothers execs, which we then shared with our readers.  Jim then included that story in his own biography.

For as long as I've known him (and, most likely, MANY years prior to that) John talked about writing a book about his life in radio.  It would encompass all he did along the way ... his childhood friendship with Eddie Cochran, his dabbling with an acting career, his stint as a broadcaster and then finding his niche as a program director that won him numerous awards.  He never really finished it ... but the best, heart of the matter stories can be found on his website

Please also visit The Hit Parade Hall Of Fame ... check out the artists who have been previously inducted and vote for your favorite nominees on this year's ballot. 

I feel bad that I didn't keep in touch with John more than I did ... he was always a pleasure to talk to.  A few years ago he sent me an email that just said "Call me".  Come to find out he had lost all of his contacts and he was rebuilding his address book.  We ended up talking for nearly 90 minutes.  (I've always been REAL bad about staying in touch with people ... there just never seems to be enough time to do so ... and then you find out you're OUT of time ... and there will never be another time.  Sad.

Before I learned of his passing I must have thought to myself three or four times, "I really ought to call John ... check up on him and see how he's doing".  Too late now.   

Thanks for the education, John ... I appreciate it ... and thoroughly enjoyed it.  Check in with me from time to time from heaven ... and let me know if they're playing any Cryan' Shames music up there.
Kent Kotal
Forgotten Hits 

Tuesday, March 8, 2016

Tuesday This And That

Cornerstones Of Rock:  
Got this update from the folks at WTTW / PBS after we ran our "Cornerstones Of Rock" revised release schedule last week ...   

Hi Kent - 
The Cornerstones of Rock CD / DVD and Cornerstones of Rock Original Recordings CD will be finished and ready to ship next week.  There was a production delay that we could not avoid and we greatly appreciate your understanding and patience. We’ll send your complete thank you gift package as soon as the product arrives to our warehouse. The product is scheduled to arrive to our warehouse on March 21st and should be to your home around March 28th. Again thank you for your patience.
If you or any of your readers have any questions please feel free to contact our Members Services department at or (773) 509-1111 ext. 6 during regular business hours.  
WTTW Member Services   

In other Cornerstones Of Rock news, we got this news release from FH Reader Tom Cuddy regarding Survivor ...

SURVIVOR: Vocalist Dave Bicker Has Quit 
This was his third stint with the "Eye of the Tiger" band. 
Dave Bickler has again left Survivor
The voice of their Rocky Three anthem "Eye of the Tiger" writes on Facebook, "Bittersweet news that I am no longer a member of Survivor.  There is no longer a place for me in the band. So I'll be moving on and direct all my energies to my solo project. And thank you for all your support." 
Bickler left the band on two previous occasions -- in 1983, when he was replaced by Jimi Jamison, and 2000, when he was fired. 
He'd signed on with co-founder Frankie Sullivan and Jamison to work in a new version of the '80s hit-makers, but tragedy intervened in 2014 when Jamison died suddenly. Since last fall, Bickler felt he'd been pushed aside in favor of newly recruited vocalist Cameron Barton.

Shame On Me!:
>>>Posted in two other places was the anniversary of Hall and Oates recording their #1 Hit "Rich Girl" ... ALSO on March 4, 1967!!!  (I don't think the two had even met yet by that point!!!)  Yep, RCA sat on that record for 20 years until the musical climate was right I guess.  (kk) 
Hi Kent,  
Actually, RCA sat on it for 10 years, not 20!  “Rich Girl” hit #1 in 1977.
Sorry, couldn’t resist J
Paul Haney
Record Research   
As a person whose jobs have included professional fact checking, I get the same chuckles and frustrations from bad facts as much as anyone. In reality -- if RCA  held the song -- it was only for 10 years -- otherwise this song was released in 1987. 
Rich Klein
I guess I should have done a little fact-checking of my own, eh?
For the record, Hall and Oates first met IN 1967, when each were performing in different bands, The Temptones (Daryl) and The Masters (John)  Gunfire broke out at a competition between the bands one day and Hall and Oates both ran for and met in the same elevator trying to escape the violence.  (We have run some early Temptones tracks before in Forgotten Hits ... good stuff!)
FH Buddy John Madara produced some of their earliest tracks while the duo worked in Philadelphia honing their skills.  Although all traces of John seem to have disappeared from their resume ever since, you can find these tracks here:

Beach Boys Evolution, circa 1965:
Bravo! Chet and Kent!
Your accurate history and keen insights tell the story of the amazing Beach Boys (and their music) well.
Often missing is an unheralded stepping stone from Summer Days (and Summer Nights) to Pet Sounds: The Little Girl I Once Knew. A glorious sound but an ignored single because Top Twenty was not good enough for the Beach Boys. Yet, it received a rave review from none other than John Lennon (read it here: One of Brian and the boys' best; unique instrumental juxtaposition, soaring harmony, and daring creativity (those three seconds of silence doomed the record with radio-play-worried program executives).
I remember waiting to talk with DJ Ron Britain in the offices of WCFL in Marina City (almost included in the next ChickenMan episode) listening to the live radio feed when the just released LGIOK came blasting out of the speakers. Chills.
Queue-up California Girls, then Little Girl I Once Knew, followed by Wouldn't It Be Nice. From one mountain top to another.

I am nearly certain that Chet was long-since gone as an NC6 roadie, Kent, but he’d have loved being with us when this shot (see attached) was taken and when Carl and Dennis rode with us, singing bits of tunes as the roadies drove us between gigs!  I use it in nearly all my Arbortech “real world” presentations so the attachment came from one given at the Powder Coating Show in 2014 --- St. Louis as I recall … and Mike Love actually posted it (sans names and PC Show promo of course) to his Facebook page.
Different topic …
Remember that “can show you but then may have to kill you” video of New Colony Six LIVE on the Lloyd Thaxton Show - Showcase ’68?  Well, guess what ... it has popped onto YouTube, released with a couple of added graphics (my copy is clean) but now you can see / hear it at your convenience --- at least as long as it remains available on the website: 

I was and still am totally psyched though surely do wish the original camera crew would have shown Gerry and Chuck more often than the few seconds they did.  This was nationally broadcast on the ABC network, Channel 7 here in Chicago “in the day” and you should note that both Pat’s and Ronnie’s mics were seemingly silenced so Pat could doodle with the maracas while I had to hold and not play the tambourine due to interference potential with the vocals.  Not sure why they limited us to two live microphones but Les did a killer job on the “Can’t You See Me Cry” harmonies – don’t ya think?     
This is a GREAT video clip, Ray ... obviously performed live on the show ... glad to see it finally see the light of day.  And I have ALWAYS loved that shot of The New Colony Six "in the showers" with The Beach Boys ... a magical time indeed!  (kk)

And, speaking of The New Colony Six, we also received THIS email last week ...

I saw Bob Wilson perform People and Me as a member of the New Colony Six (and I own the Trilogy album). 
Gerald Beimler 

Helping Out Our Readers:
Hello - 
There have been many reissues or repros 45's issued. My question is about the King label and, in particular, Charlie Feathers. Is there a sure fire way you can tell if a King 45 is a reissue / boot from the original? 
I appreciate your help. 
I've sent your inquiry on to Jerry Osborne and he has agreed to look into this for us.  Meanwhile, if any other Forgotten Hits Readers can shed some light on this, we appreciate the input!  (kk)  
This And That:
We can attest first hand as to how great Lou Christie's voice still sounds today.  We caught him at The Italian Fest last summer and he put on a GREAT show.
Here's a clip that was run in conjunction with an upcoming show ...

Graham Nash, who is coming back to Chicago in May for an appearance at The City Winery, is saying that Crosby, Stills and Nash are OVER, due to an on-going two year feud with David Crosby ...,+2016+Newsletter&utm_medium=email&utm_term=0_3a4dfe0b50-dea6d862b4-14691013&m=1

I had forgotten somewhat of that song you posted by Fred Parris and the 5 Satins, MEMORIES OF DAYS GONE BY.
I happen to have a copy of that record which was on Elektra. The record itself reminded me of similar records like the Penguins 1963 SONGS OF EL MONTE and a group called the Trojans from 1966 with a medley of like songs. There was a record in 1961 on Imperial records by a group known as the 3 Friends. They had a medley somewhat with a song called DEDICATED (TO THE SONGS I LOVE)
Unresearched and based solely on my memory, Cole Porter, who wrote the chestnut "In The Still Of The Night", was not pleased with the 5 Satins song title no matter HOW they spelled it. LOL. Those old guys just didn't get it. Richard Rodgers was very unhappy with the Marcels' rendering (pun intended) of Blue Moon. Lorenz Hart didn't live to hear it.
Have fun -
Wow, Kent ...
Not familiar with Daleks: The Blackstones?
Let's rectify that:
Both infectious songs were written by Jeff Boyan, later of Saturday's Children. In my opinion, these are two of the most overlooked Chicago "garage band" songs of the classic '60s era.
Mike Dugo

In the 1962 Episode Season 3 Episode 36 “Cavender is Coming”, “A Walk Through the Black Forest” is the back ground music at a swinging party.  
Yes, it's amazing how many places we've found sightings (hearings?) of this song since our piece first ran.  Obviously a VERY popular piece of incidental music ... which tells me it really should have been a much bigger hit ... if only based on familiarity alone!

Speaking of It Really Shoulda ... been a bigger hit ... the links we ran the other day for Rich Appel's annual IRS Countdown weren't always working properly ... so we're trying them again.  Be sure to cast YOUR votes for those songs you feel never really got their due when they were first released.  (kk)!blank/ltwpw!listening-guide/c1hd9 

Just for the record:
IT'S A CRYIN' SHAME by Gayle McCormick did get airplay in Detroit (on CKLW, to be exact.  I think in early 1972, if I'm not mistaken).  
Tal Hartsfeld

I was sorry to read of the passing of Gayle McCormick.  I interviewed her many years ago when the Smith album was released on cd.  She seemed very nice.  It may have been me that sent you "Its A Crying Shame".  That was a huge hit in Madison and Milwaukee when it was released.   
Keep up the good work.  I am still reading regularly but have been very busy with daily station chores.  My schedule is full this next weekend.  It would be a blast to see Chris Montez and Tommy Roe. 
Phil - WRCO

Thanks, Phil ... would have been great to finally meet you in person after being on your show so many times!  I think it's going to be one heck of a concert!  (kk) 
Looking for 2016 - 2017 dates on The Box Tops.
One of the most influential Rock Bands of the 60s & 70s return after a five year absence.
This is an excellent hi energy band.
Blue Eyed Soul from Memphis  / Original members Gary Talley (guitar / vocals) and Bill Cunningham (bass / vocals) are back!
Major hit records, include "The Letter" (#1 in US, UK, Canada & Australia), "Cry Like  A Baby", "Soul Deep", "Neon Rainbow", "Choo Choo Train", "A Whiter Shade Of Pale" and so many more!
The Box Tops are available as "An Evening With" or as part of "60's Spectacular" packages with Jay And The Americans, Paul Revere's Raiders, Tommy Roe, The Brooklyn Bridge, The Classics IV, Yardbirds, Badfinger Featuring Joey Molland, Alive N Kickin. Package can be catered to budget.  
Call me today to book The Box Tops.

 Sixties Music Legends The Box Tops Return!

Memphis, TN - From the mid 60's into the 70's, there was no finer blue-eyed soul group than THE BOX TOPS, from Memphis, Tennessee!

THE BOX TOPS recorded a string of hits including the worldwide #1 hit song, THE LETTER, and others including CRY LIKE A BABY, SOUL DEEP, NEON RAINBOW, CHOO CHOO TRAIN … and more.

After a five year hiatus, original bassist, BILL CUNNINGHAM, and original guitarist GARY TALLEY have teamed up with veteran music industry bandleader/manager RICK LEVY to bring THE BOX TOPS music back to waiting audiences.

THE BOX TOPS show will highlight their hit records, and equally important, Memphis music of the 60s, especially some of the songs that influenced the members as young teens growing up in such a musical hotbed. The show will be complete with horns, and promises great memories and music for all.

For more information:
 Current Box Tops Videos 

The Box Tops (Live)--The Letter--Shelbyville, Indiana 1-9-16

The Box Tops Live Indiana Grand Casino Shelbyville Indiana January 9, 2016

Cry Like A Baby / Choo Choo Train / A Whiter Shade Of Pale / Neon Rainbow / The Letter

The Box Tops on Tour 
Saturday January 9, 2016 
Indiana Grand Casino 
Shelbyville, Indiana  

Saturday January 23, 2016 
Grand Falls Casino Resort 
Larchwood, Iowa  

Friday January 29, 2016 
Potawtomi Casino Hotel 
Northern Lights Theater 
(with Felix Cavaliere's Rascals) 
Milwaukee, Wisconsin

 Saturday February 6, 2016  
Peabody Auditorium 
(w/ Lovin Spoonful, Gary Puckett, Dennis Tufano) 
Daytona Beach, Florida  

Saturday May 28, 2016 
The Cannery Casino Resort  
North Las Vegas, Nevada
Saturday September 24, 2016
Holly Springs Cultural Center
Holly Springs, North Carolina


Mitchell Karduna
Vice President,
Director Of Talent Representatives
Talent Consultants International, LTD. 
The Mill at Nyack
15 North Mill Street
Nyack, NY 10960
Phone (212) 730-2701 x 6
Fax (845) 359-4609


Saturday, April 16th, marks Record Store Day, 2016, celebrating the culture of the record store. Experience Hendrix L.L.C., in conjunction with Sony Music’s Legacy Recordings, is participating once more with a special vinyl LP reissue of the Jimi Hendrix Experience’s 1969 album Smash Hits. Carefully restored from the original analog master tapes, and featuring original poster and alternate cover art, Smash Hits includes timeless classics like “Purple Haze,” “Hey Joe,” “Red House,” “Fire,” plus eight more essential tracks that showcase the eclectic genius of Jimi Hendrix, forever cementing his status as a groundbreaking guitarist, songwriter and arranger.
Released in July, 1969, Smash Hits served a few purposes. It was the Jimi Hendrix Experience’s very first compilation album, originally conceived in 1968 by the group’s UK label as a vehicle to compile the group’s hit singles that had not yet appeared on the LP format.  Jimi’s original U.S. record label Reprise sought to create its own version (just as it did with the group’s 1967 debut Are You Experienced combining essential songs such as “Remember” and “Can You See Me” with popular favorites such as “Purple Haze” and “All Along The Watchtower.” It also introduced North American fans to his signature blues song “Red House.”  Recorded at De Lane Lea and Olympic Studios, the version of “Red House” that appears on Smash Hits derives from different sessions than the original take found on the UK version of Are You Experienced (recorded at CBS Studios). It was, thus, exclusive to this collection for the world at the time of release. 
Smash Hits proved immensely popular upon its release. The Experience was the highest grossing touring act in the world and the album came on the heels of the group’s largest ever U.S. tour.  The album has since served as a critical introduction to the Hendrix canon for successive generations of fans. 
This exclusive RSD version of Smash Hits will include a recreation of the poster that came with the original U.S. LP release, depicting band members Jimi Hendrix, Mitch Mitchell and Noel Redding dressed in western attire on horseback. The photograph, taken by Grammy-winning photographer Ed Thrasher at Warner Bros. film studios in Burbank, CA in early 1969, was initially intended as cover art for the package. Ultimately, the iconic multiple photo image montage by Dezo Hoffmann was decided as the U.S. cover. For the first time ever, Thrasher’s photo will finally grace the cover of Smash Hits, a mere 47 years after the plan was conceived. 
Having already provided art direction for all three U.S. Jimi Hendrix Experience studio albums, Ed Thrasher was no stranger to the band. During his 1964-1978 tenure as art director for Warner Bros./Reprise Records, Thrasher also created iconic sleeve art for Grateful Dead, Neil Young and the Beach Boys, and even helped design the label’s office headquarters. Having a penchant for wearing cowboy garb himself, it was Thrasher’s idea to pay homage to western cinema by staging an old west scene at the neighboring Warner movie studio lot. The image of Jimi, Mitch and Noel, decked out in boots and bandoliers and holding pistols has proven to be a lasting and influential cross cultural image for almost a half century. 
The first 5,000 units of this 150 gram vinyl package will be exclusively numbered for Record Store Day.
1)    Purple Haze
2)    Fire
3)    The Wind Cries Mary
4)    Can You See Me
5)    Hey Joe
6)    All Along The Watch Tower
1)    Stone Free
2)    Crosstown Traffic
3)    Manic Depression
4)    Remember
5)    Red House
6)    Foxey Lady
All tracks recorded October 1966 – August 1968