They've been talking about it for years now, but boy, there sure has been a LOT of fuss lately about whether or not Ed
Sheeran pinched the melody of Marvin Gaye’s hit “Let’s Get It On” to use in his
own chart-topper “Thinking Out Loud.”
Personally, I never really heard the similarity (but this isn’t
the first time Sheeran has been accused of “borrowing” from other tunes to create his own music …
consciously or not.)
Then I saw this clip this morning and thought, “Wow …
it sounds more like it than I thought it did!
Maybe they’ve got a case!”
https://www.youtube.com/watch?v=B9rBN4UtkWQ&t=9s
But as it turns out, that case was thrown out of court later that same
day, stating that the songs were NOT strikingly similar. A Manhattan jury deliberated for three hours
before siding in favor of Sheeran in this highly publicized case. (kk)
Hello Mr. Kotal:
Here is something you have probably never heard regarding Gordon
Lightfoot and his song, “The Wreck of the Edmund Fitzgerald.” It is an interview done by Tom Mischke, a
former radio host on AM1500 in the Twin Cities to a gentlemen that is an expert
on the sinking of the Fitzgerald. The
clip is a bit long, but the runup to the interview is worth listening to. The Interview starts at about 7:40.
What makes it fun is that Tommy sings the interview questions to the man using
the song from Gordon Lightfoot and the guy just goes along with it. Take
the time and listen to it.
Here is the link: https://www.youtube.com/watch?v=hv4yMUKBOX8
And it is about time and many congratulations to Al Kooper for
being inducted into the R&RHOF. Long overdue for him. Now, if
the Hall would only finally wake up and induct Blood Sweat and Tears, Paul
Revere and The Raiders and so many other ignored groups, and of course Ed
Sullivan, they could probably redeem themselves.
Keep up the good work and again, CONGRATULATIONS TO AL!
Pete Heger
Tom Cuddy sent us this trailer to the new Donna
Summer film we mentioned the other day …
https://www.youtube.com/watch?v=xQXInltKe8E&ab_channel=HBO
Honestly, I hope the movie’s better than this trailer would
indicate! I have been looking forward to
seeing this and the trailer is pretty watered down. Surprising since it’s Donna’s daughter who
made the documentary.
(That doesn’t mean I won’t still watch it … I’m just
a little less excited about it right now!)
kk
He also sent us this …
The 50 Best Music Documentaries and Concert Films Ever
https://www.vulture.com/article/best-music-documentaries-ever.html
I dunno … I’m a music guy … AND a movie guy … and I’ve
only seen ten of these … and can probably think of about fifty others that I’d
put on my list … but to each his own.
(For more suggestions, be sure to check out Harvey Kubernik’s “Docs That
Rock” book!) kk
https://www.amazon.com/DOCS-THAT-ROCK-MUSIC-MATTERS/dp/1892900092/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=1683253985&sr=1-1
FH Reader Frank B loaded us up with goodies this week
…
Zoletta
Lynn Taylor Was A Contralto Singer For The Platters From 1954 - 1964.
On
April 30, 2007, She Died Of Complications Of Pneumonia In Riverside,
California.
"HE'S
MINE" Was The Platters’ Only Billboard Hit She Sang Lead On.
It
Debuted On The Chart 4/6/1957, Peaked At #16 And Stayed On The Chart For 23
Weeks.
No,
I'm Not Going To Talk About The Frankie Lymon Story.
A
Week Ago Last Saturday, Cousin Brucie Interviewed Kenny Vance.
Did
You Hear About His New Documentary "HEART & SOUL?"
Check
Out The Trailer On You Tube.
Kenny
Said It's Very Difficult To Get Financial Backing For An Independent Project.
Nowadays,
These Streaming Services Make Their Own Movies & Concerts.
So
What Kenny Is Doing Is Traveling Around & Appearing At Festivals.
"HEART
& SOUL" Won An Award At A New Jersey Festival.
He
Also Appeared At Two Florida Festivals, Trying To Raise Money For National
Distribution Of His Documentary.
This
Tuesday Night from 8 – 11 PM on Remember The Radio …
IT’S
KOJAK’S 1960's JUKEBOX REVUE --
Spotlighting
Frankie Valli's Birthday + Artists That Started Their Careers At Apollo
Theater.
I
Just Started Reading "THE MAN WITH THE GOLDEN EAR: DON KIRSHNER.”
CHAPTER
ONE = "SPLISH - SPLASH" ( One Guess:
Who's This About? )
Early
In Their Careers, Don Kirshner ( Lyrics ) & Bobby Darin ( Music ) Were
Songwriting Partners.
Connie
Francis Recorded One Of Their Songs: "MY FIRST REAL LOVE."
This
Was Two Years Before "WHO'S SORRY NOW." The Song Didn't Make The
Charts.
It
Wasn't The First Break All Three Of Them Were Hoping For.
Don
Says There Was A Spark Between Connie & Bobby Right From The Start … You
Could See They Liked Each Other.
4/16/1958
= Bobby Darin Recorded " SPLISH - SPLASH. "
In
Order To Simulate The Sound Of Dripping Water, The Sound Engineer (Tom Dowd)
Started The Recording Off By Rapidly Clicking His Index Finger Against A Dixie
Cup. I Didn't Know That --- Did You?
That's
All I Got For Now.
FRANK
B.
I’ll have to
pick up that Don Kirshner book …
I’m reading
all about his time spent launching The Monkees right now in Andrew Sandoval’s
“The Monkees Day By Day” book. You’ll
have to tell me about your books slant on these events when you get to that
part.
Oh, and by
the way, I LOVE the “Why Do Fools Fall In Love” / Frankie Lymon Story movie …
betcha I’ve watched it thirty times!!! (lol)
kk
By the way,
if you enjoy these ‘50’s artists, you’ll just LOVE this clip that Clark Besch
sent in … an entire “Coke Time” show starring Pat Boone, Bobby Darin, Annette,
Paul Anka, Edd “Kookie” Byrnes, Bob Denver (as Maynard G. Krebbs) and Anita
Bryant.
https://www.youtube.com/watch?v=auwZSm78Emo
I love this quote offering songwriting advice from Stephen
Bishop’s book “On And On”:
It always helps me to
have a title before writing a song. Having a title to your song is like having
half the song written because it gives you an idea of where you want to go. I
try to have lyrics that are interesting, unusual, and unpredictable.
If you get an idea for a song, and it’s going well,
you’re making significant progress. You should spend all night working on it
even if you have to go to work the next day. Who cares? You will have a song.
I’ve always been lucky with melody. I try to keep all my songs with their own
melodies for each one to be unique. I’m fortunate that I don’t have many songs
that sound alike.
I’m entirely
self-taught. I started writing songs at fourteen years old. I found the best
way to get an idea of how good a song was, was to play it for as many of my
friends as possible and get their opinions. If you read my book, you'll know
that Paul Simon gave me advice on one of my biggest songs. He said he didn't
like my song “Separate Lives,” the title or anything really. So, I guess
friends are not always right.
And
how about this very pompous remark from Davy Jones, given during an interview
with Penny Valentine that ran in “Disc” and “Music Echo” over the Christmas
holidays in December of 1966 … before The Monkees’ tv show had even premiered
in England:
“The reason for the group’s great success is just a matter of
timing. We happened to be what the
public wanted at the time we were formed.
The Beatles are tired and on the way out, right? Not everyone wanted to go on listening to
Herman’s Hermits singing about Mrs. Brown or the Rolling Stones singing dirty
songs. There was nobody to take over and
then we came along and just hit it lucky.
And we try to give the kids something.
I don’t know whether it’s enthusiasm or what it is. Our act is different from most.”
A
pretty bold statement when one considers that The Beatles had just released
“Revolver,” considered by many to be their crowning achievement as recording
artists … and still had “Sgt. Pepper” and “Abbey Road” yet to come … and that
The Rolling Stones would go on to achieve the title of The World’s Greatest
Rock And Roll Band, STILL touring to sold out mega-audiences sixty years
later. (And I think our buddy Peter
Noone is still doing all-right, too!
Lol)
That
quote just really surprised me. (kk)
From
Tom Cuddy …
Smokey
Robinson turns seductive with new album 'Gasms' …
https://www.nhregister.com/entertainment/article/smokey-robinson-turns-on-the-seduction-with-new-17925134.php
>>>I
enjoyed most of my conversation with Bobby Rydell … although I had to prod him
along every now and then, trying to get him to give me enough to run a full
week’s worth of copy … but also pointing out that NOBODY else was going to give
him this kind of attention. Although he
pushed back (and at one point actually told me not to contact him again! lol)
he then later brought up the “excellent interview in Forgotten Hits” during
OTHER interviews he was doing at the time to promote the book … so I figure he
couldn’t have hated me THAT much!!! (kk)
kk:
Congrats
On That Bobby Rydell Interview.
How
Can Anybody Piss-Off A Mild-Mannered Guy Like Bobby Rydell?
You
Must've Asked Some Probing Questions (?)
If
I Ever Become Famous, My Pal Kojak Gets The Interview …
NOT
YOU.
Sorry.
FB
When Bobby
came seeking publicity for his new book, he pretty much allotted each
interviewer fifteen minutes to ask their questions. Because I knew his PR Guy (a Forgotten Hits
Reader for many years), I told him I wanted to do something much more in-depth
than any of these other sources were going to do.
Give an
interviewer fifteen minutes and they’re all going to ask the same questions …
which I would think would be just as boring for Bobby as for the readers seeing
the same quotes again and again and again … so I got him to give me 45 minutes
instead … and that formed the bulk of the week-long series we ran in Forgotten
Hits.
As a result
of that conversation, however, additional questions needed to be asked for
further clarification … Bobby wasn’t too happy with that … so I had to remind
him that we were doing a FAR more in-depth piece than anyone else was going to
do … and promote the heck out of this very special one week feature … at which
point he reluctantly agreed.
Sure enough,
before our piece came out, I saw half a dozen other interviews with Bobby, all
virtually identical and every single one of them telling the world how he was
“his generation’s Justin Bieber” … it was like they all just took the same
template and signed their own names to it.
That’s when I knew ours was going to be a stand-out piece … because we
were going to show ALL phases of Bobby’s career … and portray him in the proper
light and context. (Of all the
Philadelphia Teen Idols, Bobby was by far the most talented … the guy could do
ANYTHING!)
And I feel we
achieved what we set out to do … I am very proud of the end result, which all
can still read here: Forgotten Hits - Bobby
Rydell
As for
“probing questions,” I only asked one in half-jest. I remember hearing a radio interview that he
and Ann-Margret had done (fairly recently … in the last ten years or so) to
promote the anniversary of “Bye Bye Birdie” and Bobby asking her, “Why didn’t
we ever get married?”
Bobby’s book
was squeaky-clean, maintaining his image as the cute and friendly boy next door
… but the guy was a teen idol, for God’s sake, and had women throwing
themselves at him on a regular basis. As
an actor, he also got to work with any number of beautiful Hollywood
starlets. I asked him to “dish some
dirt” on at least SOMETHING to help convey the REAL lifestyle of an
entertainment superstar … but he refused … said he wasn’t going there. I felt it was a noble move in respect for his
wife. Knowing now (as you told us) that
it was Bobby’s wife who encouraged and ultimately convinced him to write the
book, this makes even more sense now.
Once again, I was just looking for SOMETHING that the other trades would
have missed … especially since none of this was ever really touched on in his
book.
I am very
proud of the fact that Bobby would go on tell other interviewers about the
great piece that Forgotten Hits did on him, something unheard of when trying to
make another interviewer feel special and the center of attention … so I think
he came to feel those few extra minutes were worth it. We even got Ron Onesti to book him at The
Arcada Theatre, where he appeared with a small orchestra ... and gave away a
few free tickets to a couple of FH Readers to boot! Unfortunately, Bobby used his time on stage to
salute The Great American Songbook rather than focusing on his own long string
of hits … which I found very disappointing … and when I went to meet him after
the show, he barely even acknowledged knowing who I was … which is something
I’ve always been warned about when meeting your heroes. (Bobby wasn’t really of my era … and I can’t
say that I was ever really a fan … although I have come to love many of his
recordings over the years … but I can certainly appreciate the great music he
gave us and what a great entertainer he was … all of which I tried to convey in
our piece. It was especially fun hearing
him talk about some of his earliest releases, all of which bombed, before he
finally clicked with Cameo Records.)
Anyway, I,
too, had always been told that he was one of the nicest guys in show business
that you could ever possibly meet … and I’m hanging on to that as the proper
benchmark as I truly do believe that that was the standard he set for himself
with his audience. I think he may have
felt at times that I had overstayed my welcome, so to speak, from an
interviewers perspective … but all I know is that OUR interview and week-long
piece on Bobby Rydell blew EVERYONE ELSE’s pieces away … and I can live with
that! (kk)
(me and
Bobby)
https://forgottenhits60s.blogspot.com/2016/11/bobby-rydell-concert-review.html
https://forgottenhits60s.blogspot.com/2016/06/bobby-rydell-comments-and-testimonials.html
https://forgottenhits60s.blogspot.com/2022/04/bobby-rydell.html
Timmy C sent us
another great Whisky A-Go-Go pic, this time showing “The Cream” up on the
marquee. (It still cracks me up that
this is the way the band was originally known … because by the time of their
first album, it had already been shortened to simply Cream, which is the way we
all remember them today … but I’ve seen all kinds of British ads over the years
referring to them as The Cream as well.)
kk
The other day
we posted a link offering an AI version of The Beach Boys’ legendary “Smile”
album …
Now we’ve
heard AI-constructed clips of John Lennon and Paul McCartney, each being added
to one of the other’s solo tunes … and while it’s obvious they’re not real,
they’re also not bad. (I especially like
this version of John’s “Grow Old With Me,” which sounds downright classical
with this incredible string arrangement.)
Interesting
that people are STILL trying to put The Beatles back together, 53 years after
they split up! Lol (kk)
Of course
these new creations aren’t for everybody (and the REAL fans of these artists
probably won’t like them at all) …
Like this
from Clark Besch after he heard an AI creation of Paul McCartney (and The
Beatles) covering The Beach Boys’ classic “God Only Knows” …
How do people think THIS Artificial
Intelligence sounds like McCartney and WHY are they preying on HIM
anyway? It doesn't sound anything like Paul.
https://www.youtube.com/watch?v=XFV7k3n_LN0&t=25s
This whole AI thing for fake music versions
this week is beyond horrible now. We need laws passed over this!
Clark Besch
I, for one, am already tired of it ... you'll hear a good moment hear and there but this is akin to rewriting history ... and not even featuring the actual artists themselves when doing so. I don't know that I'll be listening to very many more ... burned out in under a week! (kk)
Hi Kent,
You had a great discussion going
on about songs that were shortened for radio play and it made me think of quite
a few. The big one is “Light My Fire.”
I remember the first time I heard the long version on the radio it was
like “Hey what, where did this extended music come from?” I think it was
one of the first hits that this happened to. I think I remember reading
that the Doors did not want it shortened but when the record company played
them the edit, they were ok with it.
I got the same feeling when I
heard the longer version of “All Right Now” by Free. Another verse!
Same with “Black Magic Woman.” The instrumental that continues after the
edited version is sooo good.
Another was the short version of
“In A Gadda Da Vida,” which surely is a tune that can’t be truncated, but they
did it and I suppose it might’ve helped steer people to the full side version
of the album. The single works but it’s hardly like the full version.
“No Time” but the Guess Who is
another one. The extended guitar solo on their Canned Wheat album is
another mind blower when you’ve only heard the single version. That ended
up on the next album, American Woman.
In a reverse of this, I believe
(and someone may correct me here) that “Crimson and Clover” was actually a
single first (as we all know it) and then they made an extended version for the
album to make it “heavier.”
“Radar Love” and “Green Eyed Lady”
both were shortened for radio. The great organ solo was cut from the
latter.
Steely Dan’s “Do It Again” had a
shorter version, but I’m not sure if it gets played anymore.
“Make Me Smile” and “25 or 6 to 4”
both got cut just before some great guitar from Terry Kath.
“Sky Pilot” by the Animals had
some psychedelic bombast cut for its shorter version, as did “Whole Lotta Love”
and “Susan” by the Buckinghams. (Imagine
that the Buckinghams had a single shortened!) To this day when I hear
these songs, I wonder which one I’m hearing as it goes to the normal edit
spots.
“Time Has Come Today” by the
Chambers Brothers … another one that I was blown away by when I first heard the
long version.
I’m sure there’s more … I’ve heard
that “My Sharona” got cut, but not sure if I’ve heard it.
Those were great times that we
grew up in and these quirks and musical inconsistencies made it even more fun!
Cheers!
Jim
There were a ton of them once FM Radio started
becoming the preferred listening choice in the early ‘70’s. A lot of times the record companies would
shorten a song in the hopes of getting it airplay … keep in mind, this was back
in the era where a three minute single was about the most you could hope to get
on the air.
Some of these shortened singles are so familiar
to me now after all these years that I actually prefer them to their longer, unedited
album counterparts. (And every once in a
while I’m still amazed when I hear a long version I didn’t know existed … the
last time that happened, it was “Black Betty” by Ram Jam. But I think that’s a record that makes a strong
case for the idea that too much of the same thing does NOT make for a better
song!)
And yes, you are correct … Tommy James and the
Shondells went back into the studio to try and lengthen “Crimson And Clover” because
that was the sound that was selling in the FM/underground market at the
time. (I have NEVER liked the longer
version of this song … and I never will … this single was absolutely PERFECT
just the way it was! They didn’t need to
go out and try to get all “heady” just to keep up with the Joneses!) kk
Kent,
Sam said he didn't know anything about
Robert Q.Lewis and his answer to the Rosemary Clooney song. As some of
your readers will write in, Robert Q. Lewis was a panelist on a lot of game
shows back in the day and also was the M.C. of a couple. Now in 1958 on MGM Records,
he had a song called (I LOVE THAT) LITTLE GREEN GIRL. However, the flip was a
song called SANTA CLAUS JR. which I played on my special Christmas shows when I
had them.
Larry Neal
More from Sam below ...
Hi
there, Kent,
I
must admit that it was a real rush to see those songs up on your blog, songs
that I was really happy to be able to share with your FH readers.
There's
something else that I thought I'd share with your FH Readers, since Dickie
Goodman's name has come up lately.
One
night back in October of 2006, I got bored, so I decided to take apart Dickie
Goodman's
most successful charted record in Billboard, Mr. Jaws from 1975, and substitute
the song fragments that he used with my own song fragments. Of course, Dickie
Goodman limited the songs he chose to records that had been out in the spring
of 1975, but I didn't stick to that criteria at all. Instead, I just
thought about the questions he asked, and came up with answers that I thought
might be somewhat better, and at the same time rather humorous. So, this
is my version of Mr. Jaws,for
what it's worth. (You'll notice that I used a bit of April Steven's 1951
song Don't Do It in this version.)
Although
I am glad to have that early April Stevens recording from 1951, I am missing
quite a few other of her early selections, and I would love to find decent mp3
recordings of the following songs by her, all recorded between 1950 and 1953:
No!
No! No! Not That!
Black
Lace
The
Sweetest Day
Later
Perhaps (Not Now)
End
Of Desire
Put
Me In Your Pocket
The
Tricks Of The Trade
Roller
Coaster
Dreamy
Melody
Gimme
A Little Kiss, Will Ya Huh?
And
So To Sleep Again
Aw
C'mon
I
Love The Way You're Breaking My Heart
Meant
To Tell You
That
Naughty Waltz
I
Like To Talk To Myself
Treat
Me Nice
Hot
Tamale
How
Could Red Riding Hood (Have Been So Very Good)
You
Said You'd Do It (Are You Gonna?)
April
Stevens could have remained in obscurity as that hot, passionate sounding woman
that could not be possibly played on the air if she didn't end up having a
little luck after her first several records which were all recorded on very
small labels. For example, Don't Do It was recorded on the Society
label. One of my buddies at the Oak Hill School for the blind in Hartford
Connecticut had it on a 78.
Anyway, luckily for her, Henry Rene learned about her, and thought she would be
just perfect for a very romantic song called I'm In Love Again, not the Fats
Domino song obviously. The song was certainly very sultry, but not
sexually explicit.
Henry
Rene recorded for the RCA record label, which put April Stevens on a major
record label. Obviously, Henry Rene loved recording sultry women, because
in addition to recording I'm In Love Again by April Stevens, his orchestra also
backed up Eartha Kitt on her 1953 recording of Santa Baby.
But you're right, Kent, Don't Do It is certainly one of the most sexually
explicit records of the time, and to think that the NBC Network banned Tony
Martin's 1951 song I Get Idea simply because of the line, "When we are
dancing and you're dangerously near me, I get ideas, I get ideas."
Well, obviously April Stevens already had those ideas, she wasn't just getting
them. She certainly would have taken Billy right in that car with no
hesitation if the pill had been around back then. I mean, that was a
thing to consider. After all, rubbers broke. It was certainly a very
different time than today, that's for sure.
Have you ever heard the out-takes of Dean Martin and Jerry Lewis for their
movie, The Caddy? It seems mild today, but in 1953 when it was secretly
being bootleged and passed around to Hollywood disc jockeys and movie mogles,
well, it was absolutely shocking. The "f" word was a lot more
shocking in the early fifties than it is now.
Also,
if anyone is interested, I have a few other pre Chipmunks David Seville songs
that I can share with you folks as well. Of course in 1956, David Seville
recorded an instrumental called Armen's Theme, which I believe charted in
Billboard, and probably on quite a few local radio stations as well.
Take
care, and keep on rocking,
Sam
Ward
Anybody out there able to help Sam out with his April
Stevens “Want List”?
Drop me a line if you’ve got MP3’s to share … and also if
you are looking for any other David Seville-related recordings from the ‘50’s
and ‘60’s.
Thanks! (kk)
Another closer from CB …
"Like sands through the hourglass so go
the days of our lives!"
And yesterday, May 4, was a Big Day! I do hope “May
the Fourth” was with you!
Now today, May 5, is Cinco De Mayo, and I would like to introduce
you to my Friend, an Unofficial Representative of this day today ~~~
"May the Fifth of Mae Be With You!" - cb
CB ( which
stands for oh “Carlos-Buelly” Wan
Kenobi!
What's that you say???
You've got another Shelley Sweet-Tufano Concert Review all queued up and ready to go???
Yeppers ...
And you'll see it posted right here tomorrow morning.
Have A Great Weekend, Everybody!!! (kk)
