Great to see Jo Jo Gunne making such a showing on this WAAY Alabama Top 40 Chart ... well, actually Top 35!!! This was a big hit here in Chicago, too, where it went all the way to #2 on our WCFL Chart. (Nationally, it peaked at #27.)
Looks like Bread's hit "Diary" has been renamed for all the Alabama Dairy Farmers and Bobby Goldsboro's latest, "California Wine," sits just outside The Top Ten in the #11 position. (The best this song could do nationally was to "Bubble Under" at #108 ... so that's quite a showing!) Goldsboro was raised in Alabama ... so that may have a little bit to do with it!
We find a few more surprises as we make our way down the chart ...
"Life And Breath" by Climax makes another appearance at #23 ... and "Baby Blue" by Badfinger, a #1 Hit a couple of weeks ago in Kansas, now sits at #28.
I'm not familiar with "Goodbye Forever" by Soundation ... that one never charted nationally at all so possibly a local hit ... and WAAY is charting the Ben Atkins version of "Day By Day" ... which also never made the national charts.
[19 Billboard Hot 100 singles, 1964 – 68, and three RIAA-certified
gold singles]
Most American teenagers who were British Invasion
fans in the mid-1960s likely are unaware that the group known initially as
Herman and the Hermits had dissolved long before reaching the shores of
America.
The Hermits originated in Manchester, England, as an outgrowth of a
group called the Heartbeats, which originally was named the Cyclones and
consisted of guitarists Karl Green and Alan Chadwick, bassist Alan Wrigley, and
drummer Steve Titterington. When the group’s vocalist failed to show up for a
gig, 15-year-old Peter Noone filled in and joined in 1963 using the name Peter
Novak. The Heartbeats became Pete Novak and the Heartbeats until Peter changed
his stage name to Herman after band members said he resembled Sherman in the
“Mr. Peabody” segment of the TV cartoon The
Bullwinkle Show. He misheard the name as Herman and adopted it.
The band broke up within the year, but its
manager, Harvey Lisberg, decided to salvage the group by consolidating
it with another band. He sought out a group called the Wailers, which included
members Barry Whitwam and Derek Leckenby. Herman and the Hermits stabilized in
the spring of 1964 with lead vocalist Peter Noone, lead guitarist Derek “Lek”
Leckenby (who died of non-Hodgkin’s lymphoma in June, 1994), rhythm guitarist
Keith Hopwood, Karl Green on bass, and drummer Barry “Bean” Whitwam.
Lisberg then booked some time for the reconstituted
band in a recording studio. He sent a demo of the recording to Mickie Most,
producer of hits for the Animals and the Nashville Teens. Most had previously
auditioned the prior version of the Hermits and was unimpressed, but he was
interested in recording the new group. “Mickie liked the new sound,” said
Whitwam. “It was a lot better musically.”
In July, 1964, Most brought the band into the studio
to record “I’m Into Something Good.” In September, the song spent two weeks at
No. 1 on the British charts ... and by October of ’64, after its release in the
States on MGM, “I’m Into Something Good” earned the No. 13 spot in America on
the Billboard Hot 100 singles chart,
which was already crowded with “British Invasion” acts. And the band
streamlined its name to Herman’s Hermits.
While many British groups were striving to sound like
Buddy Holly, the Everly Brothers, Muddy Waters, Bo Diddley and other American
recording artists, for five years Herman’s Hermits turned out hit after hit,
with a repertoire that included early 1900s music-hall flavored ditties,
capitalizing on their Manchester dialect.
Their extensive catalog ranged from their take on prior
American hits (including the 1957 Rays’ hit “Silhouettes,” Frankie Ford’s 1959 tune
“Sea Cruise,” Sam Cooke’s 1960 single “Wonderful World” and Ernie K-Doe’s 1961
hit “Mother-In-Law”), to contemporary pop hits (“Just a Little Bit Better,” “This
Door Swings Both Ways” and “Museum”) to melodious and sophisticated ballads —
notably, “Listen People,” “East West” and one of their signature songs,
“There’s a Kind of Hush All Over the World.”
Herman’s Hermits have made an enduring imprint on popular
music.
How the Hermits differed
“Herman’s Hermits was different from all the other
groups. Nobody was doing songs with English accents like ‘Mrs. Brown, You’ve
Got A Lovely Daughter.’ We went to a place where no one else wanted to go. So
the perception might be that we were just one of those bands from the ’60s.
Well, we were, but the reason that we sold 50 million records is because we
didn’t attempt to compete with the Beatles, or the Stones, or anybody else. We
made our own style.”
— Peter Noone, lead singer
The mayhem of concerts
“We’d rehearse and try to play well, and then we’d go
on stage and no one could hear a damn thing we were playing. And the PA systems
were rubbish. We didn’t have things like monitors in those days, so you
couldn’t even hear what you were singing. We must have been singing out of tune
because we could only hear the screaming and the mayhem out there.”
— Karl Green, bass guitarist
The boredom of life on the road
“The thing that was difficult in those days was we
were not sort of just holed up in L.A. or New York with people running around
after us, or doing three months here and six months there. We were just on the
road, which is fairly boring, just workaday stuff. And it’s more the boredom
that gets to you. It’s difficult to cope with because you’ve got all the booze
that you can drink and all the rest of it. I suppose the saving grace for most
of us, we were young enough to actually get through it and write it off. So
it’s not the easiest thing to get thrown on you if you’re 18, but for whatever
reason, I don’t know, we seem to have come out the other side in reasonable
shape.”
— Keith Hopwood, rhythm guitarist
How stardom affects friendships
“Stardom really doesn’t affect you individually. It
affects your friends more than anything. You go back into the local bar and
have a drink and your friends all seem to be saying ‘you’ve changed’ because
you can afford to buy a drink and they expect you to buy them one. Your friends
sort of disappeared slowly. And you really didn’t make any, because you were
always on the road. You’d make friends with other bands, then, who were in the
same situation.”
— Barry Whitwam, drummer
Herman’s Hermits in 1965
From left to right: Keith Hopwood, Derek Leckenby, Peter Noone, Karl Green and Barry Whitwam
I have spent a fair amount of time talking with Peter Noone over the past twenty years ... and he has shared quite a few stories with our Forgotten Hits Readers.
An early interview we did with him in 2005 - 2006 was picked up by the British Music Magazine "The Beat" ... you can find some of the highlights and excerpts here: Forgotten Hits - Forgotten Hits Interviews Peter Noone
The Herman's Hermits Hit List:
1964 - I'm Into Something Good (USA - #7 Cash Box / #13 Billboard / UK - #1)
1965 - Can't You Hear My Heartbeat (USA - #1 Cash Box / #2 Billboard / did not chart in Great Britain)
1965 - Silhouettes (USA - #4 Record World / #5 Billboard / UK - #3)
1965 - Mrs. Brown, You've Got A Lovely Daughter (USA - #1 in all three trade publications / Incredibly, this song was NOT released as a single in Great Britain!!!)
1965 - Wonderful World (USA - #4 / UK - #7)
1965 - I'm Henry The VIII, I am (USA - #1 in all three trade publications / Incredibly THIS song was not released as a single in Great Britain either!!! BOTH of Herman's Hermits' biggest US hits failed to chart back home in Jolly Ol' England)
1965 - Just A Little Bit Better (USA - #6 Record World / #7 Billboard / UK - #15)
1966 - A Must To Avoid (USA - #6 Cash Box / #8 Billboard / UK - 6)
1966 - Listen People (USA - #3 in all three trade publications / UK - did not chart in Great Britain)
1966 - You Won't Be Leaving (Did not chart in the USA / UK - #20)
1966 - Leaning On The Lamp Post (USA - #7 Record World / #9 Billboard / UK - did not chart in Great Britain)
1966 - This Door Swings Both Ways (USA - #8 Record World / #12 Billboard / UK - #18)
1966 - Dandy (USA - #5 / UK - did not chart in Great Britain)
1967 - East, West (USA - #12 Record World / #27 Billboard / UK - #37)
1967 - There's A Kind Of Hush (USA - #3 Cash Box and Record World / #4 Billboard / UK - #7)
1967 - No Milk Today (USA - #29 Record World / #35 Billboard / UK - #7)
1967 - Don't Go Out Into The Rain (USA - #13 Cash Box / #18 Billboard / UK - did not chart in Great Britain)
1967 - Museum (USA - #21 Cash Box / #39 Billboard / UK - did not chart in Great Britain)
1968 - I Can Take Or Leave Your Loving (USA - #20 Record World / #22 Billboard / UK - #11)
1968 - Sleepy Joe (USA - #51 Record World / #61 Billboard / UK - #12)
1968 - Sunshine Girl (USA - #66 Record World / #101 Billboard / UK - $8)
1969 - Something's Happening (USA - #102 Record World / #130 Billboard / UK - #6)
1969 - My Sentimental Friend (USA - #105 Record World / did not chart in Billboard / UK - #2)
1969- Here Comes The Star (did not chart in the USA / UK - #33)
1970 - Years May Come, Years May Go (did not chart in the USA / UK - #7)
1970 - Bet Yer Life (did not chart in the USA / UK - #22)
1970 - Lady Barbara (did not chart in the USA / UK - #13)*
*Note: This release was billed as Peter Noone and Herman's Hermits, an issue that became a bit of a stickler point legally a couple of decades later
It’s a
very special Saturday Night bonus edition of FORGOTTEN HITS!!!
(Guess
that makes this our SATURDAY EVENING POST!)
Why not
check it out while listening to Phil Nee’s THOSE WERE THE DAYS Program, also airing
tonight from 6 pm till Midnight (Central Time) on WRCO.
Phil’s
guest tonight will be TOMMY ROE, who’ll be talking about his brand new album as
well as some of the highlights of his incredible career.
You can
listen to it all ... SATURDAY NIGHT LIVE ... here: https://wrco.com/
***
Fact is, we've been jammin' here lately!!!
So much so that we've had to put together this special edition just to catch up a little bit!
Just in case you haven't been able to check us out of late, this week alone we've already run our Weekly 1972 Coast-To-Coast Survey on Monday (spotlighting South Dakota this time), a series of GREAT concert photos sent in by Tom Cuddy ... featuring everyone from Dionne Warwick to Frankie Valli with several others thrown in between) ... on Tuesday, a spotlight feature on The New Colony Six on Thursday, another EXCLUSIVE page from Henry Diltz's journal on Friday ... and, earlier today a couple of vintage Phil Nee interviews with Dick Clark and Steve Allen (!!!)
And we're not quite finished yet ...
Sunday will bring you our next monthly "Insights Into" feature provided by Jeff March and Marti Smiley Childs, this time spotlighting Herman's Hermits (for all you Noonatics out there!), followed on Monday by our own monthly Sweet 16 feature, coming around full circle by Tuesday with our next Coast-To-Coast survey, this time from Alabama.
(And I'm sure by then we'll have LOTS more comments to run!!!)
There is ALWAYS something going on in Forgotten Hits!!! So be sure to check us out. (If you haven't already done so, why not bookmark this page and make us part of your daily routine!!!) kk
Here we go ...
Great piece
on my ALL-TIME FAVORITE group, The New Colony Six!
I actually
received a surprising call last week from original NC6 drummer, Chis James. He
called to offer me an extra ticket he had to the Illinois Rock 'N' Roll Hall of
Fame Event, in which The New Colony Six were being inducted. Unfortunately, due
to personal circumstances, I had to pass on taking Chic up on his very generous
offer. Anyway, Chic and I chatted for over an hour, in which he relayed many
stories about his years with the New Colony. During our conversation, I asked
Chic what his favorite New Colony Six record is that he was involved with
during his years with the group, and he immediately replied, "Things I'd
Like to Say."I have to admit that
I didn't expect that answer, since that for some reason, I figured that he
would have chosen one of the group’s "Centaur / Sentar label Era"
tracks. Chic did say though that two of his fave Sentar-era tracks are "Woman"
and "The Power Of Love."
Just goes to
show that each group member has their own favorite song, or songs.
Jerry
Schollenberger
I tried to send Chic a link to today’s
piece but the email I have for him must be out of date as it bounced back.Hoping that Ray was able to contact a few of
the others and let them know to check it out.(kk)
Kent –
How cool was today’s edition?
Thank you immensely for the mentions ... an entire FEATURE!
Note that what I shall write below may turn out to be primarily, if not
entirely, reflections on what Ronnie wrote.
I am especially upset and initially sending this to reflect the
error in RR’s crediting Pat with Prairie Grey. Why wounded? Well,
first off, not at all with Ronnie as it surely could have been interpreted as
McBride’s but because of this next paragraph ... WHICH I LITERALLY ONLY FOUND
OUT THIS MORNING DUE TO YOUR POSTING AND RR’S COMMENTS!
Unbelievably, after all these years, I only just now looked up
credits for the song that CHUCK and I wrote to find that Billy Herman was given
writer’s credits along with Chuck. Mr. Jobes provided the music – we
joked that he and I would “mult” our voices and sing the lyrics as a faux choir
but that never happened. However, if you listen closely, my lyrics
originally went right along with Chuck’s chords. Maybe one day, if I can
find / make the time, I will sing it to you the way it was originally intended
to be recorded. Anyway, I wrote those lyrics, which were some of my fave
ramblings, and McBride had absolutely nothing to do with the song other than to
speak my lyrics, reading them from the handwritten sheet on which I wrote
them.
Why Pat?
His voice was deeper than mine, being in a squeaky tenor range, and
seemingly his added a level of sincerity and drama to them according to Pete
Wright and/or Howard Bedno – management at the time, so I agreed. Unsure
how many bucks this cost me since it was also the “B” side to “Barbara, I Love
You,” but how could I have possibly missed this a gazillion (your word, Kent)
years ago?
I affirm the combo of comments about “Can’t You See Me Cry” relative
to the filming, which was down in San Antonio, TX, at the Hemisfair Theater or
was it Theatre, which had been built for the 1968 World’s Fair as I recall, but
could have been a Texas State Fair and probably more likely that this is the
case. Anyway, and hopefully not redundant, the TV Director let me play
the tambourine during rehearsals before the audience was allowed in but when we
went LIVE, since it messed up my lead vocal microphone pick-up, he said he
loved the way it looked but I couldn’t play it and made me hold it.
Hence, customarily, whenever I send the video link from YouTube, I share that
fact with folks since I still find myself vey lame-looking AND it shook my confidence
enough that I can hear this reflected at least a wee bit in my voice. Oh
well!!!!!! BTW, I have a clean copy of that video somewhere, meaning no
Revolver TV images and others added by those who originally posted it to
YouTube, but had to sign a document forbidding me sharing it since it somehow belonged
to ABC TV.
Finally, regarding this topic, as to the acoustic version, (copy
attached hereto if I can find it, KK) I absolutely respect and understand RR’s
thinking about the more current arrangement we have used at times, but this was
my pre-teen love song written for having been rejected by a real girl, T.M.,
whose name I have shared from the stage at live concerts over the years but
never found her present or at least never knew if she was there ... hence,
Bruce and I thought that the plaintive nature of its lyrics can be heard and felt
more strongly if done with less instrumental backing.
Mention of other postings from musical shows, as much as it is truly
embarrassing, you could have shared the link to NC6’s (pre-Ronnie joining the
band) embarrassment on “Kiddie-A-Go-Go”, our very first television appearance ...
on local Chicago TV. It was formerly out there but maybe had to be taken
down for whatever reason. Anyway, we lip-synced to “I Lie Awake” as I
recall and a female portraying a clown introduced us to a sea of dancing (or
trying to dance) little, meaning far short of even pre-teenage, kids.
Will end this here, but first, wanted to share this with you.While very poorly scribbled down, I took a
photo of a list I made after spending much of at least one weekend long ago
scouring the ARSA website, where miscellaneous contributors send radio surveys
that track folks’ records’ chart positions. Presumably legible enough to
at least share with you, ‘tis attached!
Can you believe I never knew I got ripped as lyricist on one of my
personal all-time fave tunes, co-written with Chuck?
Arrggghhhh!!!!!! I may write him about this, as we have stayed in touch,
most recently over the IL R&R Hall induction; he’s not coming north for the
event, but is still around though did finally retire as a piano-playing &
song-singing artist for FL nightclubs and restaurants these last >45 years,
performing in/around Naples if my memory is working --- retired either this or
last year.
Ray
WILD
about the song copyright!Glad we could
get the ball rolling for you on that … I wonder if there’s some type of back
royalties that you might be entitled to (???)
[Remember
… Forgotten Hits always gets their 10% share!But then we’ve probably got to give something to Ronnie since HE’S the
guy who called it a Pat-song in the first place.]
It’s
funny because I DO remember you (quite a long while ago) sharing the original
lyrics with me … and I believe we even kidded about how the opening and
recurring notes sounded like the Channel 5 News was coming on TV!(lol)[Hey, why not … as you yourself pointed out, “I Lie Awake” is
essentially “Rhapsody In Blue” with a garage band beat!]
Glad
you liked the piece … and congratulations to ALL the 6-ers out there being
inducted into The Illinois Rock And Roll Hall Of Fame next month.You guys deserve it …
First
local band to break thru on the charts … and then racked up 19 hits … more than
all of the OTHER groups combined!!!WTG!(kk)
Looks like we’ve got another Cornerstones
update to bring you …
A couple
of days ago the daily schedule for Summerfest was released and they now have
the Cornerstones show starting at 4:30 and not 3:30 on Saturday the 25th.
4:30
p.m. - Cornerstones of Rock,
Uline Warehouse
Robert
Campbell
Hi Kent -
What a great story about the New Colony Six
and their song "Summertime's Another Name For Love."Too bad there isn't much information about
the writing of that song.
I have ALL of the New Colony Six Albums and
all of them have great songs on them! From Handy Man, Barbara, I Love You,
to Marmaduke, etc. ... Beatle albums were the same way.
That was an era when they had fun … hearing
their songs on the radio, doing different gigs, record hops and concerts ...
Maybe Maggie, who loved Summertime's Another
Name For Love, recognized that song as the beginning of summer and what it
brings.
I felt that way when a group called The Jaimes
came out with the song "It's Summertime, Summertime!!" LOL
Long live the New Colony Six ... they have
always been my Favorite Group!
Carolyn
The first time I ever met Ronnie Rice was at one of those
Hillside Record Collectors shows.I had
a table and he came by asking for a copy of “Yummy Yummy Yummy.”Naturally, I recognized him right away (this
is back in the ‘80’s when he was performing regularly all over the city at
places like Lawrence of Oregano and such) so I told him, “No, sorry, I don’t
have that one … but I DO have a bunch of these New Colony Six albums that I
can’t get rid of!!!”
He sat down next to me at the table and hung out for over an
hour, signing anything and everything for anybody who came by.(I’ve still got the NC6 albums he signed for
me … even the one he wasn’t on!!!Lol)
Certain songs spark certain people … and I think you’re
right … Maggie probably heard this at just the right moment in time for it to
have an impact on her.
Again, the people who were creating all this great music
back then at the time were so wrapped up in the moment, they never DREAMED that
50-60 years later people would still be listening to their tunes … or how much
of an impact it would make on some of them.(And that’s the coolest thing about music … it’s whatever YOU want it to
be!)kk
Kent,
The comments you posted in regards to feelings brought out by "I Will
Always Think About You" and others touched my hot spot, too.
In the early 70s, I was seeing a young lady who I believed was going to be
"the one". However, I was battling family problems and some
severe personal issues that were eating at me quite fiercely. I ran away
from her, which, over the years, has proved to be the biggest mistake I ever
made.
So, now when I hear that tune, it gets me all misty, for obvious reasons.
And, to make matters worse, whenever I hear "Amie" (the Counting
Crows version, which I feel is MUCH better than the hit version), it tears me
apart.
Music is damned powerful stuff.
Mike
So sad …
A tearful and obviously heartbroken Ashley
Judd revealed to Diane Sawyer Thursday Morning on Good Morning America that her
mother took her own life “with a weapon.”
"Because we don't want it to be part
of the gossip economy, I will share with you that she used a weapon; my mother
used a firearm.So that's the piece of
information we are very uncomfortable sharing, but understand that we're in a
position that if we don't say it, someone else is going to." (kk)
Last week we told you about the newly
revised edition of Ronnie Spector’s biography coming out.(It is a GREAT read!!!)
And now, here comes a bit more
information from Tom Cuddy …
In the weeks
before her death at the age of 78, Ronnie Spector finalized the newly revised
“Be My Baby: How I Survived Mascara, Minkskirts, and Madness,” her acclaimed
memoir originally released in 1990.She
died of cancer in January.
Now, as the 2022
edition arrives on May 3rd, an audiobook version narrated by Rosie
Perez is set to follow on June 7th.
“It’s a
tremendous honor to be narrating the audiobook for ‘Be My Baby,’” Perez shared
in a statement.“I have admired Ronnie
throughout my life.It is a privilege to
be able to bring her courageous and groundbreaking story to life in the audio
format for the first itme.It was an
honor to have met her and our talks will forever stay with me.”
Borrowing its
title from the acclaimed 1963 Ronettes single, “Be My Baby” chronicles
Spector’s impactful role as the group’s lead singer, as well as her abusive
marriage to Phil Spector.
The revised
edition keeps the focus on the legendary singer, though, her postscript
avoiding any extensive comment on her former husband’s 2003 arrest, subsequent
murder conviction and 2021 death.
(from Rolling Stone Magazine)
More great press for the Micky Dolenz
Celebrates The Monkees Tour …
Unfortunately,
I missed my chance to see it when it passed thru Joliet a few weeks ago … but
hopefully with rave reviews like this, Micky will be back to do this show
again.(kk)
Set
1:
(Theme From) The Monkees (from The Monkees, 1966)
Last Train to Clarksville (from The Monkees, 1966)
Saturday’s Child (from The Monkees, 1966)
Different Drum (from Mike Nesmith’s And The Hits Just Keep on Comin’, 1972)
Michael Nesmith Tribute Video
Papa Gene’s Blues (from The Monkees, 1966)
She (from More of the Monkees, 1967)
Mary, Mary (from More of the Monkees, 1967)
Let’s Dance On (from The Monkees, 1966)
Davy Jones Tribute Video
Look Out (Here Comes Tomorrow) (from More of the Monkees, 1967)
Sometime in the Morning (from More of the Monkees, 1967)
A Little Bit Me, a Little Bit You (single, 1967)
The Girl I Knew Somewhere (b-side of A Little Bit Me A Little Bit You, 1967)
For Pete’s Sake (from Headquarters, 1967)
Randy Scouse Git (from Headquarters, 1967)
Pleasant Valley Sunday (from Pisces, Aquarius, Capricorn & Jones Ltd, 1967)
No Time (from Headquarters, 1967)
Set
2:
Porpoise Song (Theme From “Head”) (from Head soundtrack, 1968)
I’ll Spend My Life With You (from Headquarters, 1967)
Take a Giant Step (from The Monkees, 1966)
Me & Magdelena (from Good Times, 2016)
Peter Tork Tribute Video
Can You Dig It? (from Head soundtrack, 1968)
That Was Then, This Is Now (from The & Now, 1986)
Valleri (from The Birds, The Bees and the Monkees, 1968)
(I’m Not Your) Steppin’ Stone (from More of the Monkees, 1967)
Goin’ Down (from Pisces, Aquarius, Capricorn & Jones Ltd, 1967)
Daydream Believer (from The Birds, The Bees and the Monkees, 1968)
Encore:
Listen to the Band (from The Monkees Present, 1969)
I’m a Believer (from More of the Monkees, 1967)
And
you know we’re never going to pass up an opportunity to sing the praises for
the great music of 1967 …
Which
is why we’re running this Best Classics Band piece again, even though we’ve
probably run it at least a couple of times before …
Yes, it was Tiffany, not Debbie Gibson, who
did those mall tours.
Funny story - as the fascination and stardom
began with Debbie, I got a call from one Dick Gersh, then one of the most
prestigious PR-people around, inviting me to lunch at The Friar's Club. This
call was most interesting as years before, I had tried to contact him, possibly
even to work for him. He never responded to my call.
We set a date, met, sat down ... and the very
first thing he asked was "When did Debbie start doing those mall
tours?"
Clearly, he didn't do his homework ... and,
yes, lunch was terrific!
btw: Debbie and Tiffany were always friendly.
The much discussed and written about feud ... was erroneous. They even did a
movie together with a cameo by current client Micky Dolenz. I actually took a
great photo of the two of them together, when we were all at a Michael Jackson
show in LA. As we entered the private sanctum where Jackson was, Marlon Brando
(in a wheelchair no less) was leaving!
Here's a shot of Tiffany, Debbie and NKOTB at
Westbury Music Fair that I took.
David Salidor
The original batch of Animals albums produced by Mickie Most
(which saw a special vinyl release a short while ago) are now also becoming
available with bonus tracks.(And yet
STILL no single mix of their first big US hit, “House Of The Rising
Sun!!!”Wouldn’t you think that would
have been a first priority when putting this set together?I mean, this is the track that launched the
band!!!)
Still, it looks like an outstanding collection … so I just
may have to pick this up regardless.(I
do have a digital copy of the single … and it’s really a shame … because while
it leaves out the “one foot on the platform” verse … which I never really cared
for anyway … it ALSO, unfortunately, leaves out the incredible organ solo that
helps to make the song as recognizable as it was.)
I have told the story before that this is one of those songs
that absolutely blew me away the very first time I heard it.Despite growing up in Chicago, home of The
Blues to many an aficionado, I had never heard ANYTHING like this before.And to think that it came out during The
British Invasion was even more amazing.I was hooked … and have loved virtually every version of this song that
has come along since … and there have been PLENTY!!!
Faithful
Reproductions of First 18 Vinyl Singles & E.P.s Includes
Landmark Hits “Satisfaction,” “Get Off Of My Cloud,” “Time Is On My
Side”; Comes With 32-Page Book and Ephemera
ABKCO Records will release
The Rolling Stones Singles 1963-1966 on June 10th in
celebration of the group’s 60th anniversary this year. The
limited-edition set includes reproductions of the first 18 7”
vinyl singles and extended play records by “The World’s Greatest
Rock ‘n’ Roll Band,” as originally released by Decca and London
Records. The tracks are all remastered by 12-time Grammy
Award-winning engineer Bob Ludwig. The set, replete with
period-correct picture sleeve art, will also come with a
32-page book with extensive liner notes by Stones authority
Nigel Williamson, as well as rare photos and ephemera plus a
set of five photo cards and a poster, all housed in a
hard-shell box. A companion second vinyl box set in the series,
The Rolling Stones Singles 1966-1971, will be released next
year.
Before they were thought of as one of the rock era’s
quintessential album bands, the Rolling Stones began their
recording career in 1963 with a slew of singles that captured
the energy and excitement created by the classic lineup of Mick
Jagger, Keith Richards, Brian Jones, Charlie Watts and Bill
Wyman. Their version of Chuck Berry’s “Come On” backed with a
cover of Muddy Waters’ “I Want To Be Loved” kicked it all off,
and was quickly followed up with “I Wanna Be Your Man,” a song
written by John Lennon and Paul McCartney for the Stones to
use, before being recorded by The Beatles themselves. London
Records, their US label, quickly withdrew the single on “moral
grounds” due to the illicit implications of the B-side “Stoned”
(credited to Nanker Phelge – the songwriting pseudonym for the
entire band). None of the songs from these first two singles
appeared on any of their albums.
The Rolling Stones Singles 1963-1966 follows the group’s shift
away from covers in favor of originals, due in large part to
Jagger and Richards developing into one of the most
accomplished powerhouse songwriting duos of their generation.
Of the nine US Top 40 hits contained within the set, all but
one are Jagger/Richards compositions. These include “(I Can’t
Get No) Satisfaction” and “Get Off Of My Cloud,” which were
number one hits on both sides of the Atlantic. This collection
includes the US and UK versions of both these singles, which
feature different sleeve art and B-sides. The sole Top 40 cover
is “Time Is On My Side,” (written by Jerry Ragovoy and notably
recorded by Irma Thomas). The single in this collection is the
lesser-known version which features an organ intro. Another
rarity that never made it onto an album in any form is “Sad
Day,” the US B-side of the 1966 hit “19th Nervous Breakdown.”
Three extended-play (E.P.) 7” records are included in The
Rolling Stones Singles 1963-1966, all of which were originally
UK-only releases. These are The Rolling Stones (not to be
confused with the album of the same name) and Five by Five
(recorded at Chicago’s famed Chess Studio at 2120 South
Michigan Avenue), both released in 1964, as well as 1965’s Got
Live If You Want It! – the first of many live records by a band
that to this very day is known as an explosive concert
attraction.
ABKCO Records is home to the entire catalog of The Rolling
Stones from 1963 to early 1971. This includes the albums The
Rolling Stones, England’s Newest Hit Makers, 12 X 5, The
Rolling Stones No. 2, The Rolling Stones, Now!, Out of Our
Heads, December’s Children (And Everybody’s), Aftermath, Got
Live If You Want It!, Between the Buttons, Their Satanic
Majesties Request, Beggars Banquet, Let It Bleed and Get Yer
Ya-Ya’s Out! The Rolling Stones in Concert. ABKCO Films is home
to Charlie Is My Darling - Ireland 1965 and The Rolling Stones
Rock and Roll Circus.
The Rolling
Stones Singles 1963-1966 tracklist:
“Come On”
(originally released June 1963)
Side A: Come On
Side B: I Want To Be Loved
“I Wanna
Be Your Man” (originally released November 1963)
Side A: I Wanna Be Your Man
Side B: Stoned
The
Rolling Stones E.P. (originally released January 1964)
Side A:
Bye Bye Johnny
Money
Side B:
You Better Move On
Poison Ivy
“Not Fade
Away” (originally released February 1964)
Side A: Not Fade Away
Side B: Little By Little
“Tell Me”
(originally released June 1964)
Side A: Tell Me
Side B: I Just Wanna Make Love To You
“It’s All
Over Now” (originally released June 1964)
Side A: It’s All Over Now
Side B: Good Times, Bad Times
Five by
Five E.P. (originally released August 1964)
Side A:
If You Need Me
Empty Heart
2120 South Michigan Avenue
Side B:
Confessin’ The Blues
Around and Around
“Time Is
On My Side” (originally released September 1964)
Side A: Time Is On My Side
Side B: Congratulations
“Little
Red Rooster” (originally released November 1964)
Side A: Little Red Rooster
Side B: Off The Hook
“Heart Of
Stone” (originally released December 1964)
Side A: Heart Of Stone
Side B: What A Shame
“The Last
Time” (originally released February 1965)
Side A: The Last Time
Side B: Play With Fire
Got Live
If You Want It! E.P. (originally released June 1965)
Side A:
We Want The Stones (Live)
Everybody Needs Somebody To Love (Live)
Pain In My Heart (Live)
Route 66 (Live)
Side B:
I’m Moving On
I’m Alright
“(I Can’t
Get No) Satisfaction”
(US version,
originally released June 1965)
Side A: (I Can’t Get No) Satisfaction
Side B: The Under Assistant West Coast Promotion Man
“(I Can’t
Get No) Satisfaction)”
(UK version,
originally released August 1965)
Side A: (I Can’t Get No) Satisfaction
Side B: The Spider And The Fly
“Get Off
Of My Cloud” (US version, originally released September 1965)
Side A: Get Off Of My Cloud
Side B: I’m Free
“Get Off
Of My Cloud (UK version, originally released October
1965)
Side A: Get Off Of My Cloud
Side B: The Singer Not The Song
“As Tears
Go By” (originally released December 1965)
Side A: As Tears Go By
Side B: Gotta Get Away
“19th
Nervous Breakdown” (US version, originally released February
1966)
Side A: 19th Nervous Breakdown
Side B: Sad Day
Kent,
Regarding your Sunday Bozo pic, that’s a good picture, but that is Mark And
Brian from KLOS in LA, shot during one of their birthday shows that often went
way overboard. The Bozo is Brian Phelps and your doppelganger is Mark Thompson.
Listened every day when they went satellite up and down the west coast.
KEITH
BRODKORB
Good to know … thanks, Eagle-Eye
Keith!!!
(I mean, I KNEW it wasn’t me …
or at least I THOUGHT it wasn’t me … as I have absolutely NO recollection of
any event that would have allowed this to happen!Lol)
Me with Bozo The Clown???
Nope ... that never happened.
Me and Svenghoolie???
Now that’s a different story!
Me and Wili E. Coyote??? Yep, that happened, too! (kk)
>>>Three
of my absolute favorite songs of the year 1967 were out right now, and I really
loved these three songs, even though at least one of them was not a huge
hit.
The
three songs I am thinking about are Live by the Merry-Go-Round, Girls In Love
by Gary Lewis and the Playboys and I Could Be So Good To You by Don and the
Goodtimes. Come to think of it, I could add Sunshine Girl by Parade and
Pay You Back With Interest by the Hollies to that list. One sub-genre of
rock that I've basically just learned about which I find I really like a lot of
the songs from, is Sunshine Pop. A small radio station in Laconia, New
Hampshire, WEMJ, was playing a song in June of 1967 that was interesting.
It was called February Sunshine and the group was called Giant Sunflower.
The song didn't do that well, but they had a much bigger hit once they changed
their name to Rose Garden with Next Plane To London in the fall of '67.
(Sam)
I’ve got no problem with Sunshine Pop … in fact, I have an
entire series of CD’s built around this genre …
And check this out ...
FH Reader has even put together a short Sunshine Pop
Spotify Playlist for you to enjoy … read on …
Hi Kent –
Please tell Sam that I've put
together a public Spotify playlist -"Sunshine Pop by Clive."As it contains dozens of mostly Forgotten
Hits of 1967, you may enjoy it, too!
Clive Topol
Awesome, Clive, thanks!!!I will definitely be giving this one a spin!(kk)
Checking with our friends over at The Fest For Beatles Fans, they have continued to stock-pile orders for the new Beatles "Get Back" DVD and BluRay ... but (although expected shortly) no official release date has yet to be announced.
Apparently some "unofficial" copies did get out into the marketplace ... but LEGAL copies of these discs have never been authorized ... so maybe this also marks the anniversary of the first Beatles / Get Back bootlegs as well! (kk)
Cameron Crowe’s “Almost Famous” is being made into a
musical.
While the film used the actual classic rock tracks of the
day to illustrate its timeframe, new music for the stage musical is being
composed by Tom Kitt.(OK, that’s a
little scary … he’s the guy that wrote the music for the stage musical “Sponge
Bob Square Pants”!!!I’m not sure
there’s a rocker in the line-up!)
Anyway, plans are moving forward for a Broadway debut later
this year.(kk)
This just in ...
Also airing tonight on WABC (courtesy of Frank B) ...
COUSIN BRUCIE (6 - 10 PM) = Little Peggy March
TONY ORLANDO (10 PM - Midnight) = Mike Love
All times Eastern
Stage/Screen Icon ANN-MARGRET And Country Legend MICKEY GILLEY Come Clean With Their New Single SPLISH SPLASH!
As the music world continues to mourn the
loss of the much-loved prince of urban country, Mickey Gilley, who
passed away earlier this month, a bit of sunshine has come to Gilley’s
legion of fans as they will once again hear Gilley’s voice on a
wonderfully fun and vivacious duet with the legendary star of stage and
screen, the great Ann-Margret!
Last year, Gilley and Ann-Margret
recorded a brand-new version of the Bobby Darin classic “Splish Splash”
for Ann-Margret’s much anticipated solo album. In true
the-more-the-merrier fashion, the two singers were joined by another
country legend and cousin to Gilley, Linda Gail Lewis, on piano as well
as rockabilly revivalists The Rockats, featuring guitar hero Danny B.
Harvey who produced the track. Together, this eclectic group turns back
the clock to a time when country, stage musicals, and early rock n’ roll
could all jump in the same tub for some good old fashioned clean fun!
“Splish
Splash” has just been released as a digital single to all music
platforms as well as on a on a special limited edition 7” vinyl in your
choice of BLUE or PINK, set to be released on July 29.
Watch
for Ann-Margret’s forthcoming album that also features guest
appearances by Bobby Rydell (who co-starred with Ann-Margret in Bye Bye
Birdie), Blondie’s Clem Burke, Wrecking Crew member Don Randi, and more!
And here's the latest in the recent series of animated Ella Fitzgerals videos ...
Cool ... but OOOOOOH ... that last note!!! (kk)
UNRELEASED
LIVE CONCERT OF ELLA FITZGERALD PERFORMING SONGS FROM HER BELOVED
IRVING BERLIN SONGBOOK WITH A FULL ORCHESTRA AT THE HOLLYWOOD BOWL
RECENTLY DISCOVERED IN NORMAN GRANZ’S PRIVATE COLLECTION
FULL PERFORMANCE MIXED FROM ORIGINAL ANALOG TAPES BY GRAMMY AWARD-WINNING PRODUCER GREGG FIELD FOR RELEASE AS ELLA AT THE HOLLYWOOD BOWL: THE IRVING BERLIN SONGBOOK
ANIMIATED VIDEO FOR “PUTTIN’ ON THE RITZ” DEBUTS TODAY
AVAILABLE JUNE 24 VIA VERVE RECORDS/UMe
On August 16, 1958, just a few months after Ella Fitzgerald recorded her now-classic album, Ella Fitzgerald Sings The Irving Berlin Songbook, The First Lady Of Songperformed selections from that album live at the Hollywood Bowl to an adoring, sold-out crowd. Conducted and arranged by Paul Weston,
who also arranged and conducted the studio sessions, this concert
marked the only time that Ella performed these iconic arrangements live
with a full orchestra.
Widely
considered her greatest achievement, Ella’s Songbook records, with
peerless renditions of the best songs by America’s greatest composers,
are the cornerstone of the Verve catalog and the undisputed standard for
jazz vocal recordings. At the inaugural Grammy Awards, her Irving
Berlin album won Ella her first Grammy for “Best Vocal Performance,
Female,” and was also nominated for “Album Of The Year.” Aside from the
lucky audience at the Hollywood Bowl that night, it wasn’t generally
known, until the discovery of these tapes, that Ella had ever performed
any of the Songbook arrangements in concert, let alone that such a
pristine and sonically sumptuous recording existed.
On June 24, Verve/UMe will proudly release the full, never-before-released 15-song performance, aptly titled, Ella At The Hollywood Bowl: The Irving Berlin Songbook, on
CD, vinyl, limited edition yellow splatter vinyl, and digitally. This
landmark record, discovered in the private collection of producer and
Verve Records founder Norman Granz, marks the first
time a live Songbook has been released from Ella. It is also significant
in that it captures the only time Ella worked in concert with
arranger-conductor Paul Weston. And, although she performed regularly at
the Hollywood Bowl, this is the first full-length concert by Ella from
this iconic venue to be released (notably, Ella was featured prominently
on Verve’s Jazz At The Hollywood Bowl album, recorded and
released in 1956, the year Granz formed the label). The live tracks were
mixed from the original ¼” tapes by Grammy Award-winning producer and
musician Gregg Field who played drums for Ella in her
later years. The album is rounded out with insightful liner notes about
the concert and Ella’s Songbook series by noted author and music critic,
Will Friedwald.
Ella At The Hollywood Bowl: The Irving Berlin Songbook is available to pre-order now and is being previewed with a lively rendition of “Puttin’ On The Ritz.” The song debuts today, accompanied by an animated video, directed by Alberto Baroni, that cleverly brings the song and Giulia Pelizzaro’s dynamic album art to life.
While
Ella’s live appearances had evolved over the years from her early big
band years where she primarily sang in ballrooms with the Chick Webb
Orchestra to supper clubs, theaters and concert halls, she mostly stuck
to a nightclub format of performing a selection of songs accompanied by a
trio. This performance at the Hollywood Bowl was incredibly unique for
her. As Friedwald reveals in the liners, “But to come on stage – with a
full orchestra – and essentially sing the contents of a studio album,
well, nobody did that. Not Sinatra, not Tony Bennett, not Miles Davis,
nor any of the other key innovators who contributed to the development
of what came to be known as ‘the concept album.” Friedwald continues,
“so exactly why did Fitzgerald and Granz choose to face this particular
music and dance in this singular fashion? We may never know, but the
logical answer is that the songbooks were proving to be such a major
component to her burgeoning career that… Fitzgerald and Granz were
determined to do something special in honor of the ongoing series.”
And
special it was. Across 15 songs, Ella and the orchestra performed
dazzling arrangements of some of Irving Berlin’s best-known songs
including the classic ballads “How Deep Is The Ocean” and “Supper Time,” Hollywood tunes “You’re Laughing At Me” and “Get Thee Behind Me Satan,” and swinging up-tempo numbers “Cheek To Cheek,” “Top Hat,” “I’ve Got My Love To Keep Me Warm,” “Heat Wave,” and “Puttin’ On The Ritz.”
The concert pops with an electricity not found on the studio recording
as Ella feeds off the energy and enthusiasm of the crowd, whose applause
and adulation bookend each song.
The
Hollywood Bowl, which is celebrating its centennial this year, loomed
large in Ella’s life. She made her Bowl debut alongside Louis Armstrong
in 1956 at a star-studded program, which was released as the double LP, Jazz At The Hollywood Bowl.
Ella holds the rare distinction of having sold out the Hollywood Bowl
in each of five decades, from the 1950s through the 1990s. Aside from
headlining numerous times, Ella, who lived in LA for much of her career,
also performed as part of the annual Playboy Jazz Festival; her last
appearance was a couple years before her passing in 1996. Read more
about Ella and her history with the Hollywood Bowl here: https://www.hollywoodbowl.com/about/watch-and-listen/bowl-history-spotlight-ella-fitzgerald
The
voice of Ella Fitzgerald, the songs of Irving Berlin, the timeless
arrangements of Paul Weston with a orchestra at the Hollywood Bowl, Ella At The Hollywood Bowl: The Irving Berlin Songbook is the pinnacle of American song – live and like never before.
ABOUT ELLA FITZGERALD
Dubbed
"The First Lady of Song," Ella Fitzgerald (1917-1996) was the most
popular female jazz singer in the United States for more than half a
century. In her lifetime, she sold more than 40 million albums and
received most every honor a performer could dream of winning, including
the Kennedy Center Honor (1979), the National Medal of Arts (1987),
France's Commander of Arts and Letters (1990), the Presidential Medal of
Freedom (1992) and 13 Grammy Awards. In 2007, the United States Postal
Service honored Fitzgerald with a postage stamp.
In
her six-decade long career, the Queen of Jazz recorded more than 200
albums and roughly 2,000 songs, making her the most recorded female –
and the second most recorded – performer in history. Among those
recordings are works with some of history's greatest musicians and
legendary songwriters.
Fitzgerald's
distinct style has influenced multiple generations of singers and her
work transcends generations and musical genres. She had an extraordinary
vocal range and flexibility and possessed a preternatural gift for
pitch, rhythmic sense and flawless diction. Immensely versatile, she
could sing it all from jazz and bebop to ballads, swing, pop and rock.
With an unparalleled ability for mimicry and “scat” singing, Fitzgerald
also produced melodic lines that put her in the category of great
instrumental improvisers. Her voice was flexible, wide-ranging, accurate
and ageless.
She passed away due to complications from diabetes, dying in her Beverly Hills home on June 15, 1996.
The
Ella Fitzgerald Charitable Foundation was created and funded in 1993 by
Ella Fitzgerald in order to fulfill her desires to use the fruits of
her success to help people of all races, cultures and beliefs.
Fitzgerald hoped to make their lives more rewarding, and she wanted to
foster a love of reading, as well as a love of music. In addition, she
hoped to provide assistance to the at-risk and disadvantaged members of
our communities - assistance that would enable them to achieve a better
quality of life. The Board of Directors of the Ella Fitzgerald
Charitable Foundation seeks to continue Ella Fitzgerald's goals by
making charitable grants serving four major areas of interest: Creating
educational and other opportunities for children; fostering a love and
knowledge of music; including assistance to students of music the
provision of health care; food, shelter and counseling to those in need
and specific areas of medical care and research with an emphasis on
Diabetes, vision problems and heart disease.
ELLA AT THE HOLLYWOOD BOWL: THE IRVING BERLIN SONGBOOK TRACKLISTING
1. The Song Is Ended
2. You’re Laughing at Me
3. How Deep Is the Ocean
4. Heat Wave
5. Suppertime
6. Cheek to Cheek
7. Russian Lullaby
8. Top Hat White Tie and Tails
9. I’ve Got My Love to Keep Me Warm
10. Get Thee Behind Me Satan
11. Let’s Face the Music And Dance
12. Always
13. Puttin’ on the Ritz
14. Let Yourself Go
15. Alexander’s Ragtime Band
Hi Kent -
I was looking over
your Top 3333 Classic Rock Favorites list and noticed that in position 1050,
you have listed "Houses Of The Holy" by Led Zeppelin as being from
their album of the same name. I don't find it there, but instead on their
album "Physical Graffiti", which would also change the year to 1975.
Ed #1
It appears you are correct!
(How weird is that??? Wow … I
can’t believe that none of the THOUSANDS of Led Zeppelin fans who have asked
for copies of this list and continue to make them one of the most listened to
and requested classic rock acts on the planet have never pointed this out
before!!!)
I had to do some research of my own
because it just didn’t make sense. However, in reading up on it, it looks
like the song was recorded for the album it was named after, but then stuck it
on the shelf and released on the next LP instead. (I guess they really
liked the title! lol)
The album reference list and release
dates came from musicologist Dann Isbell, so I will let him know this as well
so that he can update his records while I fix this immediately on our print
out.
Anybody interested in a copy of the
complete list (whether it be to update your own records or just to have it on
hand) should drop me an email at kk@forgottenhits.com and we'll get one out to
you. (Because the list is essentially an Excel Worksheet, you ARE able to
update this on your own ... if you're so inclined.)
