Hope you all enjoyed your long, three-day weekend ...
AND NOW IT'S TIME TO JOIN US FOR A BOUNTIFUL EDITION OF TUESDAY THIS AND THAT!!!
Bruce Springsteen has postponed some more shows ... this time due to "vocal issues" ... as part of his current European Tour.
Four shows thus far have been affected: Marseille in France, Prague in the Czech Republic and two shows in Milan, Italy.
The official statement released by Springsteen's camp says:
Following yesterday’s postponement in Marseille due to vocal issues, further examination and consulting has led doctors to determine that Bruce should not perform for the next ten days. With this in mind, additional postponements are required for Airport Letnany in Prague (originally scheduled for May 28) and San Siro Stadium in Milan (originally scheduled for June 1 and 3). New dates for these shows will be announced shortly. Those wishing a refund will be able to obtain it at their original point of purchase. Bruce is recuperating comfortably, and he and the E Street Band look forward to resuming their hugely successful European stadium tour on June 12 in Madrid at the magnificent Civitas Metropolitan.
This tour has been plagued by health issue-related delays since it first launched a year ago. (The Boss even got Covid along the way.)
Hopefully everybody is feeling better soon ... and he can get back to it! (kk)
>>>5/26/64 - Marianne Faithful recorded the first song that Rolling Stones Mick Jagger and Keith Richards ever wrote together, "As Tears Go By." (kk)
Are you sure that's accurate? Gene Pitney released the Jagger-Richards song "That Girl Belongs To Yesterday" in January, 1964. It had to have been written at least six months before "As Tears Go By" … that must have been the first song they wrote together.
Randy Price
According to Andrew Loog
Oldham, The Stones’ Manager at the time, he locked the two of them in a room
and told them they weren't coming out until they had written something together
... and "As Tears Go By" was the result. (Actually, they wrote it as “As Time Goes By”
… but knowing that this was the title of the song that played such a big part
in the film “Casablanca,” Oldham changed the title to “As TEARS Go By” … and
that’s the way it was sung from that point forward. He even took a cowriting credit for doing so!!!)
Andrew knew that in order to compete, The Rolling Stones had to create their own material … they couldn’t just keep recycling old blues and R&B tunes and stand a chance of holding their own on the pop charts … so he literally FORCED them to write together. But “As Tears Go By” didn’t really fit The Stones’ MO either … they weren’t really doing ballads yet … so they gave it to Marianne Faithfull to help launch her career … which it did. It became her biggest hit. The Rolling Stones would release their own version a year later … and score a #3 US Hit (in Cash Box.)
All things considered, it’s pretty amazing really ... not a bad first effort! (kk)And, speaking of The Rolling Stones, they continue to mix up their set list as they cross America on tour. For the first time, "Tell Me Straight" from the "Hackney Diamonds" has been performed, giving Keith Richards as many as THREE lead vocals in the set, which must be an unprecedented amount!
In addition to "Shattered" being added (as we told you the other day), they have now also performed "Doo Doo Doo Heartbreaker" from "Goats Head Soup," 'Bitch" from "Sticky Fingers" and their old standard "Midnight Rambler" from "Let It Bleed."
I think it's exciting not knowing just what you may hear at a Stones concert, circa 2024 ... and it's got to be a lot more fun for the band as well! (kk)
Anyone notice that Elvis had THREE top 40 chart records this week in '64 while Beatlemania was so hot? Two on one 45 and the other had the top 40 hit plus his version of "Suspicion," which was at 33 by Terry Stafford. Elvis wasn't dead in 64, but he WAS snowed under.
Clark Besch
Besides the two-sided hit split between #'s 25 and 31 ("Viva Las Vegas" and Elvis' version of "What'd I Say"), The King was also at #34 with "Kiss Me Quick" on RCA's Gold Standard label.
And the flipside of THAT record was Elvis' original version of "Suspicion," now a HUGE hit for Elvis-sound-alike Terry Stafford, released to cash in on some of THAT sales momentum. (It didn't work.) kk
George Harrison’s son Dhani joined Eric Clapton on stage last Thursday Night (May 23rd) at Royal Albert Hall to perform his father’s “Give Me Love (Give Me Peace On Earth),” sung by Clapton and the old Slowhand stand-by “Before You Accuse Me.”
Clapton and Harrison remained best friends, despite ultimately sharing the same wife. (kk)
Michael McDonald has been all over the talk circuit promoting his new book, written with comedian Paul Reiser.
Tom Cuddy sent us this recent, entertaining exchange …
Michael McDonald,
Silken-Voiced Yacht-Rock Icon, Talks About Writing His Life Story With Paul
Reiser (Yes, That Paul Reiser)
https://www.gq.com/story/yacht-rock-icon-michael-mcdonald
And FH Reader Timmy tells us …
Doug Ingle, the lead vocalist, organist and primary
composer of the band Iron Butterfly, has died at the age of 78.
The rocker’s passing was confirmed by his son, Doug Ingle Jr., via social
media.
"It's with a heavy heart & great sadness to announce the passing of my
Father Doug Ingle. Dad passed away peacefully [Friday] evening [May 24] in the
presence of family,” he wrote. "Thank You Dad for being a father, teacher
and friend. Cherished loving memories I will carry the rest of my days moving
forward in this journey of life. Love you Dad".
Released in June 1968, In-A-Gadda-Da-Vida became a multi-platinum triumph,
spending 81 weeks in the U.S. Top 10. The album is best remembered for its
title track, a sprawling explosion of psychedelic rock – written by Ingle –
which originally lasted over 17 minutes in length. The radio version of the
song, trimmed down to a tidy three minutes, became a Top 40 hit and remains one
of the most influential tunes of its era. In the decades since its release,
"In-A-Gadda-Da-Vida" has been covered by everyone from Slayer to The
Simpsons.
Iron Butterfly soon found themselves touring with some of the ‘60s greatest
acts, including the Doors, Cream, the Who, Buffalo Springfield and Janis
Joplin. Ingle’s group was booked to play the legendary Woodstock festival in
1969, but ended up getting stranded at New York’s LaGuardia Airport.
Iron Butterfly released two more studio albums during Ingle’s tenure, 1969’s
Ball and 1970’s Metamorphosis. They were never able to match the commercial
success of In-A-Gadda-Da-Vida or its title track.
Iron Butterfly broke up in 1971, but reunited three years later. Ingle did not take part and was not involved in their two later LPs.
Shortly after his time in Iron Butterfly, Ingle discover that mismanagement and unpaid taxes had left him in serious debt.
“I was a child among men,” Ingle later recalled to the Los Angeles Times. “I was dealing with people who were competent but not necessarily (working) in my interest. I took the luxury of playing ostrich. I didn’t involve myself at the business level at all. I just went out and performed. It was, ‘Isn’t life great?’ Then everything crashed down. I still maintain life is great, but now I base it on something (real) rather than wishful thinking.”
Ingle was forced to sell his home and most of his possessions to pay off debts. He spent several years managing a recreational vehicle park in the Los Angeles National Forest.
In 1978, Ingle rejoined Iron Butterfly and toured with the band. He would continue to do so throughout the ‘80s and ‘90s. Ingle officially retired from performing in 1999.
(It just doesn't sound right at only three minutes, does it???) kk
Long lost and forgotten Lou Christie tracks from the late ‘60’s have been collected on a new compilation called “Gypsy Bells: Columbia Recordings, 1967.”
In fact, 13 of these 19 tracks have never before been released, sitting in the vault for the past 57 years. (The CD also includes five bonus remixes)
Lou has long been a friend of Forgotten Hits … and I couldn’t help but wonder how he felt about all of these tracks finally being released.
You’ll find a great review and exploration of these tracks here:
Much like they did with Pete Ham’s demos, Y&T Music is now releasing home recordings made by Tom Evans, Ham’s counterpart (and sometimes writing partner) in Badfinger.
Badfinger Legend Tom Evans Rare Home Recordings “I Am Myself” Available On Y&T Music June 5, 2024!
“I Am Myself” is a collection of never-before-heard home demo recordings by Liverpool’s Tom Evans, bassist and co-lead singer of the iconic power pop group Badfinger. It will be released as a limited-edition CD by Y&T Music and available on all streaming platforms on June 5, 2024 to celebrate what would have been Tommy’s 77th birthday.
Like his Badfinger bandmate Pete Ham, Tom Evans was a prolific songwriter; he gave the quartet many of their greatest ‘deep cuts,’ including “Money,” “It’s Over,” “Believe Me” and “Blind Owl.” Evans and Ham co-wrote “Without You,” which went to No. 1 for both Harry Nilsson and Mariah Carey, and is considered by many to be one of the greatest pop ballads of all time.
He sang lead on “Come And Get It,” Badfinger’s smash hit debut, written and produced by Paul McCartney; his soaring tenor voice made “Maybe Tomorrow,” recorded for the Beatles’ Apple Records when they were still calling themselves The Iveys, an international sensation.
Among the 21 tracks on “I Am Myself,” two went on to be recorded by The Iveys/Badfinger: “Fisherman,” and “No Escaping Your Love”.
Performed mainly on acoustic or electric guitar, with frequent vocal and instrumental overdubs, the album’s freewheeling musicality, lyrical playfulness and clever song-construction showcase Tommy’s songwriting talents at an early period in his musical career.
“I Am Myself” came to be after a long review of material. While reviewing Iveys demo recordings, Tom Brennan discovered that there was more than enough material of Tom Evans’ solo recordings to put together a robust album. Before Brennan could even present the idea, mastering engineer Kevin McElligott proposed the idea of a Tom Evans solo album. McElligott felt strongly that the time was long overdue for Tommy’s demos to have a formal release: “Such a supremely talented singer/songwriter who struck an emotional chord within so many. I felt a real strong responsibility to Marianne, Stephen and the Badfinger community to bring these songs out sounding as best they can. This is just the beginning of hopefully many more releases. It’s an honor for me to sit down and work on these tracks. I do hope everyone enjoys this release.” Everything just came together like it was meant to be. Badfinger historian Dan Matovina made the initial digital transfers. The recordings were then compiled & edited by Tom Brennan, and restored & mastered by Kevin McElligott.
Stephen and Marianne spent time listening to these songs during the process of putting this project together, as well as contributing photos to this album. Tim Boyle gave permission to use some of his pictures for this project and was excited to hear about a new Tommy album, as he is an Evans family friend and worked closely with the band as a booking agent and an assistant for many years.
Released with the full support and cooperation of the Evans Estate, “I Am Myself” is a limited edition of 1,000 CDs. An art print of a rare early photo of Tom is included.
Earlier in 2024, Y&T Music issued “Gwent Gardens,” a collection of unreleased demo recordings by the late Pete Ham.
“I AM MYSELF” TRACK LISTING:
1. Hello
2. I Am Myself
3. Our First Night Together
4. Water Lily
5. Goldfish
6. How Does It Feel (original demo)
7. Honey Lovin’ Ways
8. Uncle C
9. I Should Have Loved You (original demo)
10. Fisherman (original demo)
11. Dancing Girl
12. I Don’t Want The Bother
13. Handsome Malcolm
14. In My World Of Yesterday
15. No Escaping Your Love (original demo)
16. Good Times Together
17. The Leaves
18. Stay By Me, Baby
19. A Simple Song
20. Wine, Women And Song
21. I Am Myself (reprise)
To purchase: https://www.amazon.com/I-Am-Myself-Tom-Evans/dp/B0D49ZFQ7X/
For more information:
https://www.badfingerlibrary.com/
https://www.youtube.com/@TomEvansSolo
www.ytmusiconline.com
Little Steven says he’s afraid Classic Rock is going to disappear …
Licensing fees are just too expensive for movie makers to consider their use anymore. (I don’t know about that … I’ve noticed recently that our classic tunes are all over tv … I’ll sometimes hear as many as three of “our tunes” during just one commercial break!)
Anyway, here is what Steven Van Zandt of Bruce Springsteen’s E-Stree Band has to say on the topic …
“Right now, because the record industry is dead, there’s no more record sales other than Taylor Swift and Beyonce. Films and television shows have become the best way for recording artists to make money. However, even that has become problematic because musicians have upped their licensing fees in order to survive.
“You got a bunch of whatever, 25 year-olds with a song list with a number next to it, so if you want to make a movie or TV show, you ask for the song, they look at the number and they charge you that number, which is always high because there's no other income.”
According to Ultimate Classic Rock, because classic rock music offers material that’s recognizable to a wide swath of listeners, it's often the most-licensed genre of music. However, Van Zandt believes the filmmakers will pull away from classic rock in the face of soaring licensing costs, thus removing an important avenue for songs to be exposed to new listeners.
“This is a real problem. And I think 10 years from now, 20 years from now, it's going to be a problem because all this music is going to die if it's not promoted and heard. It's going to be like, Motown who? Rolling Stones who?”
Van Zandt suggested law changes around licensing music as a compromise to keep filmmakers and musicians happy. He then noted how different the modern landscape is compared to when the E Street Band and Bruce Springsteen got started.
“When we got started, music in movies was free. It was free. Martin Scorsese didn’t even ask for permission to put [the Ronettes’] ‘Be My Baby’ in Mean Streets because it was free. And people thought of it as promoting the records. Nobody’s promoting the records anymore.”
Van Zandt says shows like the popular series Stranger Things can bring new attention to classic tracks. The guitarist insisted such licensing is vital for classic rock's continuing survival.
“When our generation goes, who’s going to know about this stuff?”
Van Zandt’s interview was done with Bill Maher on Club Random, as reprinted in Ultimate Classic Rock, which we have quoted from here.
Personally, I feel the exact opposite …
I think Classic Rock Music will live on forever simply BECAUSE of its constant use and relatability in television commercials, movies and TV shows. It’s literally EVERYWHERE these days. And I’m always blown away when some creative advertising agency digs deeps and pulls out a hidden gem of a track and finds a way to resurrect it again.
I think Classic Rock is stronger than ever! (kk)
I mean, you guys had no difficulty at all in selecting your Top 3333 All-Time Favorite and Essential Classic Rock Songs a few years ago …
https://classicrockessentials.blogspot.com/2019/10/the-top-3333-most-essential-classic.html
No matter WHAT generation you grew up in, your life was touched and enriched by the music of Richard and Robert Sherman.
The Sherman Brothers wrote the scores to dozens of Disney films ... and their work even branched out and spread to the pop charts as well.
A VERY flattering piece commemorating their work can be found at the link below.
Mentioned are the entire score to the hit film "Mary Poppins," as well as the bulk of "The Jungle Book," "The Parent Trap," "The Aristocats" and "Bedknobs and Broomsticks."
In addition, The Sherman Brothers wrote music for the Winnie The Pooh shorts, "Chitty Chitty Bang Bang," "Charlotte's Web" and the Disneyland classics "It's A Small World" "The Tiki Tiki Tiki Room."
Their pop credits include "You're Sixteen" by Johnny Burnette and Ringo Starr, "Let's Get Together" by Hayley Mills (from "The Parent Trap"), "Tall Paul" for Annette Funicello and the incomparable "The Monkey's Uncle," sung by The Beach Boys in the film of the same name.
Yes these, and many, many more. (Check out the list via the link below)
https://theseconddisc.com/2024/05/26/in-memoriam-richard-m-sherman-1928-2024/
Thought that this might be something to display ... lots of music stuff here. So sad to hear of Bill Walton's passing this weekend ... hope you got the chance to see him play against the Bulls.
Harvey K
Bill Walton
by Harvey Kubernik
© 2002, 2024
I first really met Basketball Hall Of Famer Bill Walton in 1970 when he had just entered UCLA from Helix High School in San Diego and I was attending West Los Angeles Junior College, before I graduated from San Diego State University. No, it wasn’t near a basketball court, but standing in line for a Traffic concert at The Santa Monica Civic Auditorium. It was hard not to ignore a six foot eleven inch guy with red hair who wanted to talk about the Grateful Dead, Doors, and the Rolling Stones.
At the time, Bill might have been asked to leave his college dorm for playing his music too loud.
I recall also attending a 1971 Neil Young UCLA concert at Royce Hall with Bill and his Bruin teammate Greg Lee. I saw Walton and his Bruin frosh team play a bunch of basketball games at Pauley Pavilion, leading the team to a perfect 30-0 record. He didn’t drive. He had a bike on campus.
We would chat at the UCLA Research Library and around various rock concerts 1970-1974, and we rarely discussed basketball. Music was his fuel food before games on the hard wood.
Walton used to play Bob Dylan albums before his Bruin games. I went to a practice one afternoon, and there was Walton reciting to himself Dylan’s “I Shall Be Released” around the free throw line. In college and professionally, he was a better than average big man at the charity stripe. Before games he would play albums for hours in a ritual that must have reinforced his desire to express himself and win in the process. This was before our Walkman society. He’d blast sounds and move to the swirling organ of Doors’ Ray Manzarek; he’d smile and comprehend the soft acoustic playing of Neil Young. He’d want to hear “Franklin Towers” one more time from the Dead. He’d analyze the album credits to the Rolling Stones’ Let It Bleed constantly. The record player needle always seemed to be stuck on the “Midnight Rambler” track.
I wasn’t an athlete, but Bill knew I knew basketball and rock music, and he brought me to meet the legendary UCLA basketball coach John Wooden at his condo in Encino, Ca.
I also wasn’t an avid Grateful Dead fan or tape collector. I saw them a handful of times, and interviewed Jerry Garcia once. Over the decades if I bought seats to a music event, Walton would often be in my row.
Walton learned that passing is really the rebellious act. He explained to me that the best passers are also the best shooters. That is an instruction I apply to the articles and books I do, especially when I choose to document in the multi-voice narrative. I lead the fast break and pass the action, implementing a team, instead of making the expedition strictly about myself. And, other voices are heard and felt. We all score.
I attended a Bob Marley and Wailers Santa Monica Civic Auditorium show with him in the ‘70s. We sat together at a 1984 Springsteen Sports Arena show. Bill’s contract with The L.A. Clippers provided him with tickets for Sports Arena concerts. He was happy I was writing about music, “’cause you feel it.”
It’s really a fascinating and unique experience viewing a basketball game on TV with Bill. It was obvious that he knew the players on the screen as well as the refs, the executives, the owners, and the equipment people. He’s just as opinionated in real life just as he is behind the microphone. He is a student of the game of basketball. The teachings of UCLA basketball coach John R. Wooden influence him constantly.
Bill Walton was a three-time All-American all three years he played varsity ball, during which the UCLA team compiled a record of 86-4. The #1 draft choice of the Portland Trailblazers in 1974, his professional career was stunted by frequent injuries, but he did manage to lead Portland to an NBA title in ’77 and was the league’s MVP the following year. As a member of the Boston Celtics’ ’85-’86 champions, he was winner of the NBA’s prestigious Sixth Man Award. He also played for the San Diego/L.A. Clippers ’79-’85.
He might be the only basketball player to have won two championship rings each at the high school, college and NBA levels.
I was one of the names he thanked and acknowledged in his book Nothing But Net (Hyperion) published in 1994.
In 1993, HITS magazine asked me to interview Bill Walton about his life and journey inside basketball and his passionate links to rock ‘n’ roll. His tastes tend to lean toward “classic” rock, and Walton also enjoys classical music.
We talked in an apartment in Westwood, a mile from UCLA, and I later drove him to the Los Angeles Sports Arena where he was working a Clipper’s game on TV. Naturally, I stayed for the event and sat with Dr. Timothy Leary, a friend of Bill’s. We later all went out to eat at Le Dome after the game.
Q: What are some of the similarities between the Grateful Dead and a basketball team?
A: Creativity, team, work, speed. You don’t know what’s gonna happen from one moment to the next. It’s not scripted. The Grateful Dead are like a basketball team in that the guys who stir the drink are different every day and there’s a tremendous inter-team competition. I’ve seen it be Bob Weir or Mickey Hart, Danny Ainge or Scott Wedman. Basketball teams play in many of the same arenas as the Dead do. It’s really fun when I go to a game now as an announcer and the security guards and ushers will stop me and say, “Bill, what are you doing here? The Dead aren’t playing tonight.”
The Celtics always teased me about being a Deadhead. Naturally, none of them had ever been to a Grateful Dead show. So, one night, I took Kevin McHale and Larry Bird to a Dead gig in Boston for my birthday. Afterwards, some of the band and crew came over to one of the Celtics’ practices. Mickey Hart even wears a Celtic warm-up jacket in the video of the Dead’s “Touch Of Grey.”
Later in the season, the Dead were going to play outside Boston, and I talked to the guys and they made special arrangements so the team could be seated in an area near the stage for the show. Just about the whole Celtics team came, even Chief (Robert Parrish), but Danny Ainge’s wife wouldn’t let him come. There was a moment when Jerry Garcia looked over at Larry Bird and started to play, like “This is how we do it,” and they went on to jam for four hours. It was a magic moment for me because the Grateful Dead have been such a huge part of my life for over 20 years, and I think my friends and teammates finally got it.
When I played in Portland, I was friends with the some of the PA announcers at the Coliseum. I would bring Dead tapes and cassettes to be played before the game. When we came out for the warm-ups, they’d play “Truckin.” When I was in Boston, the organist at the Garden learned to play a bunch of Dead songs.
Q: How would you compare Jerry Garcia and Larry Bird?
A: Brilliance in performance is the main similarity. Commitment. Passion for work. Jerry Garcia is not one of those guys who sits around thinkin’, Gee .. I just can’t wait for this to be over.” He just wants to work everyday. For people like Garcia and Bird, there’s never enough. A lot of guys wish there were 82 games each season and some wish there were 50. Garcia and Bird both have the hunger, desire and creativity to never be satisfied. They will always believe they can do it better. The real beauty of Garcia and Bird is that when they see somebody else has gotten it done, they come back the next time better than ever. I just saw Jerry’s first show after a long hiatus and, at 50, he is playing better than ever.
Q: Does the increasing use of rock music during basketball games affect the players?
A: Music has a big role in the game. It creates and atmosphere. When you pipe in that loud pounding bass drum and rock music, you’re talkin’ like Spinal Tap said, “To 11.” Music gets the fans going and great home crowds help your performance. The crowd knows it has a role in helping the team win. You can’t put a number on it. No matter how far you’ve gone, they can take you farther. My own jukebox is wired to my home stereo system, with Neil Young, Bob Dylan, the Rolling Stones and the Grateful Dead all plugged in.
Many years ago, Chet Coppock, a good friend of Forgotten Hits and a legendary sportscaster here in Chicago, was doing color commentary during a Bears game at Soldier Field and before the game he texted me to let me know that he and his fellow sportscasters were discussing that morning's edition of Forgotten Hits before the game.
I was completely blown away ... here these guys are already on the air ... on tv no less ... about to call the Bears game ... but before things got started, they were debating some of the comments made in that morning's edition. (I wish I had documented which specific issue he was referring to.)
But to top it off, DURING the game he continued to text me questions and comments about the posting! He had all the guys chiming in ... these sports nuts who were every bit as big music fans! (And Chet himself was a GIANT in that regard ... he went to more shows than I did ... and early on, in his college days, even roadied for The New Colony Six!)
Anyway, I've never forgotten not only how good it made ME feel that day ... but how satisfying it was to know that what we had written had provided enough food for conversation to carry them thru the game!!! (kk)
HELPING OUT OUR READERS:
I will run your inquiry and see what we get back - but my past experience shows very little response on the WJJD side.
kk
I didn't know that there was a Billboard ad [for the Tobin Matthews record] that showed a portion of WLS #3!! That's crazy!!! But it also tells us that #3 surely existed IN SOME FORM.
Frank
Chicago Tribune August 9, 1962
WJJD banned rock n roll, switched to a new good music format and darned if General Manager Boyd Lawler didn't install an I.B.M. electronic brain to plan the daily record, hour by hour.
Looks like a REAL ANSWER, at last! Mystery solved.
(I'm amazed that somebody happened to have the article!)
So, I guess WJJD made enough impression on me in my youth, that I can vividly remember Top 40 on them though it ended in 1962. YAY, this was just getting real strange ... the true answer is that they had Top 40 *AND* MOR periods between 1960 and 1965.
So I'm a little surprised that I remember them quite THAT well - enough to have made me think that I was surely listening to them with Top 40 in at least 1963, if not even 1964. Apparently not, and most likely I just ignored them after summer 1962, but the memory persisted.
My personal development from (say) early 1962 to the beginning of 1965 was a massive gulf of time, though after this many decades that previous gulf has shrunken almost to a singularity, lol.
But, then, I also have vivid memories of Dick Biondi on WLS, and he was gone in Spring, 1963. For me, radio was a BIG DEAL.
Frank
Absolutely we're still going to run it ...
Some great radio history for all to share.
(And besides, we're still looking for those long-missing WLS and WJJD charts!!!) kk
