re: IN PASSING:
While trivial, it was ironic that Annette passed away on fellow Mouseketeer Darlene's birthday
Steve Davidson
While trivial, it was ironic that Annette passed away on fellow Mouseketeer Darlene's birthday
Steve Davidson
While I always admired Annette and all that she stood for throughout her career, MY favorite was always Cheryl. I'll never forget when she turned up later as Wally's girlfriend on "Leave It To Beaver"!!! In fact, I think she may have done a Dick Van Dyke episode, too!
(Just checked out imdb.com ... actually she did a whole lot of work!!!)
Sad to hear that she passed away a few years ago. (kk)
We lost Richie Havens this week. Richie only had one big hit on the pop charts (his cover of the George Harrison / Beatles song "Here Comes The Sun", #15, 1971) but is probably best remembered for kicking off the Woodstock concert in 1969.
Woodstock singer Havens, 72, dies of heart attackApr 22, 5:25 PM (ET)
By MESFIN FEKADU
We lost Richie Havens this week. Richie only had one big hit on the pop charts (his cover of the George Harrison / Beatles song "Here Comes The Sun", #15, 1971) but is probably best remembered for kicking off the Woodstock concert in 1969.
Woodstock singer Havens, 72, dies of heart attackApr 22, 5:25 PM (ET)
By MESFIN FEKADU
NEW YORK (AP) - Richie Havens, who sang and strummed for a sea of people at Woodstock, has died of a heart attack Monday, his family said in a statement. He was 72.
Havens, a folk singer and guitarist, was the first performer at the three-day 1969 Woodstock Festival.
He returned to the site during the 40th anniversary in 2009.
"Everything in my life, and so many others, is attached to that train," he said in a 2009 interview with The Associated Press.
Havens was born in Brooklyn. He was known for his crafty guitar work and cover songs, including his well-received impersonation of Bob Dylan's "Just Like a Woman."
The singer's website said he had kidney surgery years ago and that he never recovered enough to perform concerts like he used to. Havens performed at Bill Clinton's presidential Inauguration in 1993. He has released more than 25 albums. His last album was 2008's "Nobody Left to Crown."
"I really sing songs that move me," he said in an interview with The Denver Post. "I'm not in show business; I'm in the communications business. That's what it's about for me."
A public memorial will be planned for a later date.
http://www.richiehavens.com
Chrissy Amphlett, the lead singer of the Divinyls, whose hit song "I Touch Myself" made the group an international success, died at her New York City home on Sunday. She was 53 years old.
"Christine Joy Amphlett succumbed to the effects of breast cancer and multiple sclerosis, diseases she vigorously fought with exceptional bravery and dignity," her husband, musician Charley Drayton, said in a statement.
"Chrissy's light burns so very brightly. Hers was a life of passion and creativity. She always lived it to the fullest. With her force of character and vocal strength, she paved the way for strong, sexy, outspoken women," he said.
In 1980, Amphlett formed the Divinyls with musicians Mark McEntee and Jeremy Paul. The band would go on to release six albums between 1982 and 1996. In 1991, the single "I Touch Myself" topped the charts, reaching No. 1 in Amphlett's native Australia and No. 4 in the United States.
A talented actress, Amphlett also played Judy Garland in the original production of The Boy from Oz, World News Australia reports.
In 2007, Amphlett announced she had been diagnosed with multiple sclerosis. Then in 2010, she revealed she had also been diagnosed with breast cancer.
Russell Crowe – who starred opposite Amphlett in 1998's Blood Brothers – Tweeted his condolences on Monday.
"Dear Chrissie, The last time I saw you was in the Botanic Gardens, loving life and reciting verse. That's how I'll remember you, your boy, R," he wrote.
Storm Thorgerson, Pink Floyd album designer, dies
Havens, a folk singer and guitarist, was the first performer at the three-day 1969 Woodstock Festival.
He returned to the site during the 40th anniversary in 2009.
"Everything in my life, and so many others, is attached to that train," he said in a 2009 interview with The Associated Press.
Havens was born in Brooklyn. He was known for his crafty guitar work and cover songs, including his well-received impersonation of Bob Dylan's "Just Like a Woman."
"I really sing songs that move me," he said in an interview with The Denver Post. "I'm not in show business; I'm in the communications business. That's what it's about for me."
A public memorial will be planned for a later date.
http://www.richiehavens.com
Chrissy Amphlett, the lead singer of the Divinyls, whose hit song "I Touch Myself" made the group an international success, died at her New York City home on Sunday. She was 53 years old.
"Christine Joy Amphlett succumbed to the effects of breast cancer and multiple sclerosis, diseases she vigorously fought with exceptional bravery and dignity," her husband, musician Charley Drayton, said in a statement.
"Chrissy's light burns so very brightly. Hers was a life of passion and creativity. She always lived it to the fullest. With her force of character and vocal strength, she paved the way for strong, sexy, outspoken women," he said.
In 1980, Amphlett formed the Divinyls with musicians Mark McEntee and Jeremy Paul. The band would go on to release six albums between 1982 and 1996. In 1991, the single "I Touch Myself" topped the charts, reaching No. 1 in Amphlett's native Australia and No. 4 in the United States.
A talented actress, Amphlett also played Judy Garland in the original production of The Boy from Oz, World News Australia reports.
In 2007, Amphlett announced she had been diagnosed with multiple sclerosis. Then in 2010, she revealed she had also been diagnosed with breast cancer.
Russell Crowe – who starred opposite Amphlett in 1998's Blood Brothers – Tweeted his condolences on Monday.
"Dear Chrissie, The last time I saw you was in the Botanic Gardens, loving life and reciting verse. That's how I'll remember you, your boy, R," he wrote.
Storm Thorgerson, Pink Floyd album designer, dies
The man behind one of the most classic album covers of all time has died.
The U.K.'s Telegraph reports that Storm Thorgerson, the English graphic designer who created Pink Floyd's "Dark Side of the Moon" died Thursday, according to his manager. He was 69.
A statement released by Thorgerson's family said, "His ending was peaceful and he was surrounded by family and friends. He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003."
Pink Floyd's David Gilmour said in a statement: "The artworks that he created for Pink Floyd from 1968 to the present day have been an inseparable part of our work."
Gilmour continued, "We first met in our early teens. We would gather at Sheep's Green, a spot by the river in Cambridge and Storm would always be there holding forth, making the most noise, bursting with ideas and enthusiasm. Nothing has ever really changed. He has been a constant force in my life, both at work and in private, a shoulder to cry on and a great friend...I will miss him."
A statement on the Pink Floyd's website said: "We are saddened by the news that long-time Pink Floyd graphic genius, friend and collaborator, Storm Thorgerson, has died. Our thoughts are with his family and many friends."
This year marks the 40th anniversary of the release of Floyd's "Dark Side of the Moon." In addition to being Floyd's longtime collaborator, Thorgerson also designed the covers for Led Zeppelin's 1976 "Presence" album and 1979's "In Through the Out Door." Through the years, he designed artwork for Phish, Styx, the Cranberries, Muse, Genesis, Black Sabbath and Peter Gabriel.
In 2010, he told BBC News, "People pay me for my thoughts and my dreams. I think in that sense I'm very fortunate."
He's survived by his mother Vanji, his son Bill, his wife Barbie Antonis and her two children Adam and Georgia.
-- submitted by Bill Hengels
re: THIS AND THAT:
Regarding the IRS list - Glad to see several great Beach Boys songs that underwhelmed the Top 40 getting their due recognition ... plus California Nights, Mr. Dieingly Sad, Opus 17, Hazy Shade, 12:30 ...
The U.K.'s Telegraph reports that Storm Thorgerson, the English graphic designer who created Pink Floyd's "Dark Side of the Moon" died Thursday, according to his manager. He was 69.
A statement released by Thorgerson's family said, "His ending was peaceful and he was surrounded by family and friends. He had been ill for some time with cancer though he had made a remarkable recovery from his stroke in 2003."
Pink Floyd's David Gilmour said in a statement: "The artworks that he created for Pink Floyd from 1968 to the present day have been an inseparable part of our work."
Gilmour continued, "We first met in our early teens. We would gather at Sheep's Green, a spot by the river in Cambridge and Storm would always be there holding forth, making the most noise, bursting with ideas and enthusiasm. Nothing has ever really changed. He has been a constant force in my life, both at work and in private, a shoulder to cry on and a great friend...I will miss him."
A statement on the Pink Floyd's website said: "We are saddened by the news that long-time Pink Floyd graphic genius, friend and collaborator, Storm Thorgerson, has died. Our thoughts are with his family and many friends."
This year marks the 40th anniversary of the release of Floyd's "Dark Side of the Moon." In addition to being Floyd's longtime collaborator, Thorgerson also designed the covers for Led Zeppelin's 1976 "Presence" album and 1979's "In Through the Out Door." Through the years, he designed artwork for Phish, Styx, the Cranberries, Muse, Genesis, Black Sabbath and Peter Gabriel.
In 2010, he told BBC News, "People pay me for my thoughts and my dreams. I think in that sense I'm very fortunate."
He's survived by his mother Vanji, his son Bill, his wife Barbie Antonis and her two children Adam and Georgia.
-- submitted by Bill Hengels
re: THIS AND THAT:
Regarding the IRS list - Glad to see several great Beach Boys songs that underwhelmed the Top 40 getting their due recognition ... plus California Nights, Mr. Dieingly Sad, Opus 17, Hazy Shade, 12:30 ...
Phil
Some GREAT tracks on the list this year ... if I would have given this a bit more thought, I, too, would have voted for "Shame Shame" by The Magic Lanterns, "Morning Girl" by The Neon Philharmoic, "Friday On My Mind" by The Easybeats, "My World Fell Down" by Sagittarius and several others that ranked high on the final list. (Instead I just voted for all of our Chicagoland Local Heroes ... who scored very well on the list, too ... The New Colony Six had two songs make The Top 25 ... and local hit "You've Gotta Be Loved" by The Montanas, Top Ten last year, managed to hold on at #67. (I would have voted for local hit "Walk Tall" by The Two Of Clubs, too, had I spent more time on this.)
It's fun to listen to the countdown playback because you get to hear some GREAT tracks that just don't get played on the radio much anymore. Radio needs to pay more attention to surveys like this as they show what the REAL music fans out there want to hear. How bad would it be to feature 20 or 30 of these tracks spread out over a week or two to break up the monotony of playing the same old same old time and time again? (kk)
I have often felt that YouTube was no more than Napster was with video. TOTALLY illegal airing of music. I could not figure out how there was any difference. Napster got shut down with lawsuits and all that. Meanwhile, YouTube gets praised and even collects big time advertising! I have to say that MANY MANY of my friends just go to YouTube for music. WHY buy the stuff when you can download the video or music for free often in digital now from YouTube? SO, finally, a publishing company makes a "deal" with YouTube. OK, that would mean money transferring hands. WHERE is this money to go? 34,000 have viewed the Cryan Shames' "It Could Be We're In Love" and 53,000 have visited for "Sugar & Spice" as their largest amount, but their other songs (including LP cuts) have been downloaded 1000's of times, too. The Ides' "Vehicle" has well over a million views. Survivor's "Eye of the Tiger" is over 28 million views! The Buckinghams' "Kind of a Drag" is nearing 2 million. The Shadows of Knight's "Gloria" has been viewed over 100,000. The New Colony 6's "Things I'd Like to Say" over 200,000. American Breed's "Bend Me Shape me" is at 600,000. Cheap Trick's "The Flame" is at 5 1/2 million and Styx's "Lady" is at 3 million.
Even lesser big sellers have been "viewed" a lot! Some of these and their BEST seller (viewer?):
Flock "Clown": 50,000
HP Lovecraft "At the Mountains of Madness": 160,000
Riddles B side "Its Not For Me to Say": 5000
Aliotta, Haynes & Jeremiah - Lake Shore Drive: 43,000
Aorta - Strange: 11,000
Many more lesser known Chicagoland acts are getting listened to that otherwise would not find their vinyl accessible to the world! YET, shouldn't they get something for it?
To add insult to injury? An upload of "Eye of the Tiger" showing all the lyrics as the video had 26 million views. Where's the publishing royalties going for that? This looks to be put up by an individual who has put up many lyrics to songs videos. Are the lyrics correct? Has anyone checked them? Are they like the one I found that had Osmond Brothers listed in the "Life is a Rock" lyrics where they actually sang "Ides of March"???
Anyway, here's what happened this week and responses afterward from me and others on the Both Sides Now site:
Universal Music Publishing And YouTube Reach International Music Licensing Agreement
Universal Music Publishing (UMP), and YouTube announced a new agreement which establishes terms of use for the music in videos distributed by YouTube throughout 127 countries including Europe, the Middle East, Africa, and Asia. The deal facilitates greater transparency, coordination, and data-sharing between the organizations while ensuring equitable compensation for rights holders who are entitled to a share of the platform's revenues.
The deal encompasses all types of YouTube videos that feature music, including user-generated content.
The agreement is entered into via an initiative, which works to create a unique and comprehensive platform of joint technical and operational resources for multi-territorial music licensing across all forms of media, which includes this deal with YouTube.
The music of UMP's songwriters and composers who are affiliated with collecting societies will remain subject to licensing arrangements made by those societies.
Zach Horowitz, Chairman & CEO of Universal Music Publishing Group said: "Universal Music Publishing is pleased to have concluded this agreement with Youtube through DEAL for the proper remuneration of the artists we are privileged to represent. The digital market can only flourish if artists receive fair remuneration delivered through efficient and innovative licensing solutions. We are proud to be at the forefront of that effort."
"Thanks to partnerships such as this, YouTube is proving to be a launchpad for both established artists and the next generation of music talent around the world. We're delighted to have reached an agreement, which, alongside our existing collection society deals covering over 40 countries, is great news for artists, songwriters, composers, and the music industry as a whole."
The question that I posted:SO, I will ask the question I wanna know. Does this mean that artists like the Ides of March or the Cryan Shames get royalties for songs when they are downloaded or played on youtube? Where does the money go when it gets to Universal???
Responses on the Both Sides Now website:
1. A good question. I know a great many artistes want to know the answer to that since if Robert Fripp's case is anything to go by - along with other artistes he knows - they won't be seeing a single penny.
Universal as Fripp discovered are very adept at "losing" royalty calculations. He asked legally for all the figures from downloads and sales. They "couldn't find" any. They'd er... "lost" them. When Universal violated Fripp's contract after inheriting it from Sanctuary, they were notified they had breached it. Their reply? "You can't expect us to read all the contracts we inherit" - so with the acquisition of a large chunk of EMI and their contracts, the future is not good for a great many artistes. And artistes who will want to contact UMG and query statements and contracts, they're gonna need good expensive lawyers because UMG respond by hiring expensive lawyers to block any attempt for them to acquire the desired information.
So ... the money is partly going to lawyers to block artistes from getting what is owed to them.
2. I do believe the money from Universal goes to ASCAP (American Society of Composers, Authors and Publishers) in the US and to The Society of Authors, Composers and Publishers of Music (SACEM) in the EU for these organization's qualified members.
3. ASCAP, BMI and SACEM distribute royalties to songwriters, not to the artists who recorded the songs.
4. Immaterial (as to comment: "You can't expect us to read all the contracts we inherit"). They're bound by the contract whether or not they read or understand it.
Even lesser big sellers have been "viewed" a lot! Some of these and their BEST seller (viewer?):
Flock "Clown": 50,000
HP Lovecraft "At the Mountains of Madness": 160,000
Riddles B side "Its Not For Me to Say": 5000
Aliotta, Haynes & Jeremiah - Lake Shore Drive: 43,000
Aorta - Strange: 11,000
Many more lesser known Chicagoland acts are getting listened to that otherwise would not find their vinyl accessible to the world! YET, shouldn't they get something for it?
To add insult to injury? An upload of "Eye of the Tiger" showing all the lyrics as the video had 26 million views. Where's the publishing royalties going for that? This looks to be put up by an individual who has put up many lyrics to songs videos. Are the lyrics correct? Has anyone checked them? Are they like the one I found that had Osmond Brothers listed in the "Life is a Rock" lyrics where they actually sang "Ides of March"???
Anyway, here's what happened this week and responses afterward from me and others on the Both Sides Now site:
Universal Music Publishing And YouTube Reach International Music Licensing Agreement
Universal Music Publishing (UMP), and YouTube announced a new agreement which establishes terms of use for the music in videos distributed by YouTube throughout 127 countries including Europe, the Middle East, Africa, and Asia. The deal facilitates greater transparency, coordination, and data-sharing between the organizations while ensuring equitable compensation for rights holders who are entitled to a share of the platform's revenues.
The deal encompasses all types of YouTube videos that feature music, including user-generated content.
The agreement is entered into via an initiative, which works to create a unique and comprehensive platform of joint technical and operational resources for multi-territorial music licensing across all forms of media, which includes this deal with YouTube.
The music of UMP's songwriters and composers who are affiliated with collecting societies will remain subject to licensing arrangements made by those societies.
Zach Horowitz, Chairman & CEO of Universal Music Publishing Group said: "Universal Music Publishing is pleased to have concluded this agreement with Youtube through DEAL for the proper remuneration of the artists we are privileged to represent. The digital market can only flourish if artists receive fair remuneration delivered through efficient and innovative licensing solutions. We are proud to be at the forefront of that effort."
"Thanks to partnerships such as this, YouTube is proving to be a launchpad for both established artists and the next generation of music talent around the world. We're delighted to have reached an agreement, which, alongside our existing collection society deals covering over 40 countries, is great news for artists, songwriters, composers, and the music industry as a whole."
The question that I posted:SO, I will ask the question I wanna know. Does this mean that artists like the Ides of March or the Cryan Shames get royalties for songs when they are downloaded or played on youtube? Where does the money go when it gets to Universal???
Responses on the Both Sides Now website:
1. A good question. I know a great many artistes want to know the answer to that since if Robert Fripp's case is anything to go by - along with other artistes he knows - they won't be seeing a single penny.
Universal as Fripp discovered are very adept at "losing" royalty calculations. He asked legally for all the figures from downloads and sales. They "couldn't find" any. They'd er... "lost" them. When Universal violated Fripp's contract after inheriting it from Sanctuary, they were notified they had breached it. Their reply? "You can't expect us to read all the contracts we inherit" - so with the acquisition of a large chunk of EMI and their contracts, the future is not good for a great many artistes. And artistes who will want to contact UMG and query statements and contracts, they're gonna need good expensive lawyers because UMG respond by hiring expensive lawyers to block any attempt for them to acquire the desired information.
So ... the money is partly going to lawyers to block artistes from getting what is owed to them.
2. I do believe the money from Universal goes to ASCAP (American Society of Composers, Authors and Publishers) in the US and to The Society of Authors, Composers and Publishers of Music (SACEM) in the EU for these organization's qualified members.
3. ASCAP, BMI and SACEM distribute royalties to songwriters, not to the artists who recorded the songs.
4. Immaterial (as to comment: "You can't expect us to read all the contracts we inherit"). They're bound by the contract whether or not they read or understand it.
Clark Besch
>>>This past Wednesday on American Idol one of the top five finalists, Amber, sang the song Without You. Everyone kept giving credit to Mariah Carey for her song. Even though it only went to number 3 here in the states, it was mentioned that it was one of her biggest hits over the entire globe. At the end of her critique of Amber, Mariah mentioned that she needed to thank Harry Nilsson for writing such an amazing song. I am a bit surprised that she is not aware that even though Harry Nilsson was an amazing songwriter and is associated with making that song a number one hit, he did not write that song. Tom Evans and Pete Ham of Badfinger wrote it. (Phil - WRCO)
>>>Don'tcha just love it! So basically she just misinformed about 12 million people that night ... hopefully she'll come back and make a correction to her erroneous statement ... but I doubt it! As an artist, Mariah should know better ... especially since she's cowritten quite a few of her own hits. (kk)
Hi Kent -
Hi Kent -
Just a note about the comment screw -up from Mariah Carey on
"Nillson writing Without you"!!!!!
Please find attached a voice drop from friend of my radio show - Bob Jackson of Badfinger
In the show he now does as part of the Fortunes Bob does a fantastic version of the song and pays tribute to the CORRECT writers Peter Ham & Tom Evans
I am copying Bob your newsletter and he may wish to comment further
I find it astonishing that a real coc-up like this is allowed to go out to 12 million viewers and no apology!!!
Regards -
Geoff Dorsett
Here's the Pete Ham demo version ... along with the original recording by Badfinger as featured on their "No Dice" album. Interesting as it shows what Tom Evans' contribution was once Pete brought this back to the rest of the band to learn. (kk)
Hi Kent
Further to the note about Mariah's "gaff"
See reply from Bob Jackson of Badfinger here ... please publish to your readers.
Regards
Geoff
Hi Geoff,
Thanks for keeping the faith.
This is a particularly bad time for the Mariah gaff ... see this:
Further to the note about Mariah's "gaff"
See reply from Bob Jackson of Badfinger here ... please publish to your readers.
Regards
Geoff
Hi Geoff,
Thanks for keeping the faith.
This is a particularly bad time for the Mariah gaff ... see this:
www.abayoflife.com/.../swansea-musicians-play-tribute-concert ...
Perhaps you could do your best to spread the word ... less than a week to go.
Perhaps you could do your best to spread the word ... less than a week to go.
Thanks mate,
Best wishes,
Bob
Best wishes,
Bob
Well, we'll certainly do OUR part to help get the word out there! Thanks, guys! (kk)
I finally checked out the Red Skelton videos. Great stuff. I especially liked the nine minute montage of clips. I also found the Rolling Stones on Mike Douglas which aired a couple of months before Red Skelton. Mark
Aren't they fantastic? These clips need to come out!!! (kk)
I finally checked out the Red Skelton videos. Great stuff. I especially liked the nine minute montage of clips. I also found the Rolling Stones on Mike Douglas which aired a couple of months before Red Skelton. Mark
Aren't they fantastic? These clips need to come out!!! (kk)
A couple of weeks ago, I tried to get an update from Felix Cavaliere as to how The Rascals Reunion was going ... but I never heard back. Now Tom Cuddy has just sent me an interview that Felix did with WOR's Mark Simone ... here you go! (kk)
>>>Joe Klein mentioned a promo Ken Levine produced for "Septic Singovers." While doing some disk-to-digital transfers for a friend, I came across an electrical transcription of this promo and I've attached an mp3 of it to this email. I hope you enjoy it! (Dave Berges / WQAM 1971-1979)
>>>We've featured some of these custom intros over the years ... however, I wasn't aware of a campaign to make them atrociously annoying!!! (lol) kk
>>>Regarding SEPTIC SINGOVERS, as I believe you know, this was a parody of the Joey Reynolds package that took hold for a short time in, like 1969 or 1970 to the best of my recollection. Ken Levine and a couple of his pals produced it. I helped with a bit of editing and post production and then had the "rainbow colored" discs pressed up for Ken. Hell I hadn't even graduated from high school yet! I think I have one or two records left, probably in mint condition, but god knows what box they are buried in. I bet Ken still has the original analog tape master. You may want to contact him and find out. (Joe Klein)
I became familiar with "Septic Singovers" one day in 1975 in Ken Levine's apartment after we'd watched a "Honeymoonmers" episode and discussed its comedy construction. Ken pulled a small stack of copies of the record out and both gave me a copy and played one. At the time, Ken and I were working at KIIS in Los Angeles, which at that time was running a side venture called The KIIS Broadcasting Workshop. A couple of principals from the Columbia School of Broadcasting, Bill Anderson (no, not the country singer) and Phil Trout, had sold KIIS on the idea of teaching broadcasting to a small select group of students right there in the station -- which at that time was located on the Sunset Strip in the Playboy Building. I had joined the staff from KSRF; Ken from B-100 in San Diego, where he'd gained notoriety as loopy DJ Beaver Cleaver (a/k/a "Mrs. Cleaver's Beaver"). I liked Ken right away; we shared the same love for absurdist humor and, of course, working as goodtime radio hosts. We also had similar ambitions -- to ascend in the world of television comedy -- although I was more interested in performing and Ken in writing. Ken and his writing partner, David Issacs, fell into writing spec scripts (unsolicited and unpaid submissions) for various TV sitcoms and I vividly recall seeing the stars in Ken's eyes on the day he told me that'd actually sold one, "Movin' On Down," to "The Jeffersons." I got to sit next to Ken at the taping of that episode, which the existing "Jeffersons" writing staff had heavily reworked. Every once in a while Ken poked me and whispered, "I think I recognize one of our lines." After that breakthrough, though, Ken and David went on to write and produce episodes of "M*A*S*H," "Cheers," "Frasier," "The Simpsons" and many other top quality sitcoms (plus feature film scripts). We've both authored books and while as TV writers I earned an Emmy nomination, Ken won a full-fledged Emmy -- plus a whole lot of other awards -- so he's STILL ahead of me. While remaining one of the sharpest and wittiest comedy writers in TV history, in recent years Ken's built himself a second career as a play-by-play sports announcer (the subject of his first book). He also teaches the fine art of sitcom writing to small groups of students who enroll in his Sitcom Room course in Los Angeles. (see http://www.sitcomroom.com/ ) I wish Ken and I were collaborating today!
>>>Regarding SEPTIC SINGOVERS, as I believe you know, this was a parody of the Joey Reynolds package that took hold for a short time in, like 1969 or 1970 to the best of my recollection. Ken Levine and a couple of his pals produced it. I helped with a bit of editing and post production and then had the "rainbow colored" discs pressed up for Ken. Hell I hadn't even graduated from high school yet! I think I have one or two records left, probably in mint condition, but god knows what box they are buried in. I bet Ken still has the original analog tape master. You may want to contact him and find out. (Joe Klein)
I became familiar with "Septic Singovers" one day in 1975 in Ken Levine's apartment after we'd watched a "Honeymoonmers" episode and discussed its comedy construction. Ken pulled a small stack of copies of the record out and both gave me a copy and played one. At the time, Ken and I were working at KIIS in Los Angeles, which at that time was running a side venture called The KIIS Broadcasting Workshop. A couple of principals from the Columbia School of Broadcasting, Bill Anderson (no, not the country singer) and Phil Trout, had sold KIIS on the idea of teaching broadcasting to a small select group of students right there in the station -- which at that time was located on the Sunset Strip in the Playboy Building. I had joined the staff from KSRF; Ken from B-100 in San Diego, where he'd gained notoriety as loopy DJ Beaver Cleaver (a/k/a "Mrs. Cleaver's Beaver"). I liked Ken right away; we shared the same love for absurdist humor and, of course, working as goodtime radio hosts. We also had similar ambitions -- to ascend in the world of television comedy -- although I was more interested in performing and Ken in writing. Ken and his writing partner, David Issacs, fell into writing spec scripts (unsolicited and unpaid submissions) for various TV sitcoms and I vividly recall seeing the stars in Ken's eyes on the day he told me that'd actually sold one, "Movin' On Down," to "The Jeffersons." I got to sit next to Ken at the taping of that episode, which the existing "Jeffersons" writing staff had heavily reworked. Every once in a while Ken poked me and whispered, "I think I recognize one of our lines." After that breakthrough, though, Ken and David went on to write and produce episodes of "M*A*S*H," "Cheers," "Frasier," "The Simpsons" and many other top quality sitcoms (plus feature film scripts). We've both authored books and while as TV writers I earned an Emmy nomination, Ken won a full-fledged Emmy -- plus a whole lot of other awards -- so he's STILL ahead of me. While remaining one of the sharpest and wittiest comedy writers in TV history, in recent years Ken's built himself a second career as a play-by-play sports announcer (the subject of his first book). He also teaches the fine art of sitcom writing to small groups of students who enroll in his Sitcom Room course in Los Angeles. (see http://www.sitcomroom.com/ ) I wish Ken and I were collaborating today!
Gary Theroux
Now how's this for a series of instant answers??? Kent ...
Now how's this for a series of instant answers??? Kent ...
Wild Wayne played "Lollipop" by the The Chordettes ... made me think of your daughter's group. Anything new to report?
The group (The Saxonettes) per se seems to be over ... but three of the girls shared the role of "The Narrator" on last week's performance of "Joseph And The Amazing Technicolor Dreamcoat" and I can tell you that it was nothing short of incredible ... GREAT show with some amazing harmonies ... a total treat to watch (and that's not just a proud parent talking ... ALL of the girls were outstanding.)
Phonographic Memories ... Is that X-Rated?
It ALMOST was!!! I had a whole piece written and then killed it at the very last minute ... figured it was the best thing to do!
Watched Neil singing "Sweet Caroline" in Boston, I think the beard is new. Looks like he put on a few pounds. During an interview he said that he wrote the song in a Memphis, Tennessee motel.
I think Neil looks GREAT in the beard ... an EXCELLENT look for him. (He had a tough time keeping up with the lyrics but I think that's because of the echoing delay on the speakers / sound system ... but it was done for all the right reasons and I salute him for that ... even if he wrote that song in a Memphis, Tennessee motel room fantasizing about a young Caroline Kennedy!)
Having a Senior Moment ... can't remember if I already told you this story. Don Imus, Imus In The Morning, was talking about what a great guest Paul Anka was. This lead to him talking about some of
his worst guests. Van Morrison was one. Worst of all time was that Bethany, from the housewives show.
Paul Anka has been doing a LOT of press in support of his new book ... which I picked up a week ago and still haven't read a single page of! (I am anxious to read it though ... sounds pretty incredible)
Money Songs ... Did you think about "Greenback Dollar" by The Kingston Trio?
Sure did ... and featured it at 7 am ... scroll back and check! (Monday, April 15th)
Frank B.
The group (The Saxonettes) per se seems to be over ... but three of the girls shared the role of "The Narrator" on last week's performance of "Joseph And The Amazing Technicolor Dreamcoat" and I can tell you that it was nothing short of incredible ... GREAT show with some amazing harmonies ... a total treat to watch (and that's not just a proud parent talking ... ALL of the girls were outstanding.)
Phonographic Memories ... Is that X-Rated?
It ALMOST was!!! I had a whole piece written and then killed it at the very last minute ... figured it was the best thing to do!
Watched Neil singing "Sweet Caroline" in Boston, I think the beard is new. Looks like he put on a few pounds. During an interview he said that he wrote the song in a Memphis, Tennessee motel.
I think Neil looks GREAT in the beard ... an EXCELLENT look for him. (He had a tough time keeping up with the lyrics but I think that's because of the echoing delay on the speakers / sound system ... but it was done for all the right reasons and I salute him for that ... even if he wrote that song in a Memphis, Tennessee motel room fantasizing about a young Caroline Kennedy!)
Having a Senior Moment ... can't remember if I already told you this story. Don Imus, Imus In The Morning, was talking about what a great guest Paul Anka was. This lead to him talking about some of
his worst guests. Van Morrison was one. Worst of all time was that Bethany, from the housewives show.
Paul Anka has been doing a LOT of press in support of his new book ... which I picked up a week ago and still haven't read a single page of! (I am anxious to read it though ... sounds pretty incredible)
Money Songs ... Did you think about "Greenback Dollar" by The Kingston Trio?
Sure did ... and featured it at 7 am ... scroll back and check! (Monday, April 15th)
Frank B.
Kent ...
First song under a minute to ever make the Top 10.
Frank B.
Click here: ‘Ding-Dong! The Witch Is Dead’ Reaches No. 2 On U.K. Charts, Gets Censored By BBC Fo Thatcher Diss « WCBS-FM 101.
First song under a minute to ever make the Top 10.
Frank B.
Click here: ‘Ding-Dong! The Witch Is Dead’ Reaches No. 2 On U.K. Charts, Gets Censored By BBC Fo Thatcher Diss « WCBS-FM 101.
>>>I'm surprised that I don't see the Delta Rhythm Boys mentioned more when folks talk about Doo Wop influences. They were great. (bspro)
Hey, Kent!
First, thanks for posting my article. Even if one person sees rock 'n' roll history differently as a result, it's worth it.
We do have a GREAT CD called 'The Jive Is Jumpin': RCA & Bluebird Vocal Groups, 1939-1952' that contains The Delta Rhythm Boys, Cats & The Fiddle, The Four Vagabonds, Steve Gibson & The Red Caps, and some others. There are 22 tracks on it with a few tunes from each artist, but I DO want to get full CD's of some of the groups represented (we already have a 2-CD set of Steve Gibson & The Red Caps). Anyway, bspro is right - The Delta Rhythm Boys WERE great.
Just a thought: It drives me nuts when people say "vinyl's better than CD's". Personally, I'm not saying that vinyl DOESN'T sound better - I just don't care. Also, I hardly think that every piece of vinyl sounds better than its CD counterpart. I would also put any Bear Family CD up against any piece of vinyl. But getting to my point: as a great lover of old(er) music, there's FAR more of it available on CD than on vinyl, and to me that's more important than sound quality, although the remastering process has greatly improved in the last 10, 15, 20 years.
Ed
Hi Kent -
This may not qualify as it was released in 1979 (barely 70's) but "Pilot of the Airwaves" never gets played. And even though it wasn't released in the 50's or 60's when night time radio was still king for rock and roll, this song captured the emotion of staying home and requesting a song to be played and getting to hear it from a DJ you never met but who "seemed like a friend to me".
Steve Davidson
http://www.youtube.com/watch?v=SGKrgJZhpzk
I featured this one a long time ago ... never one of my favorites but a Forgotten Hit to be sure. ("Pilot Of The Airwaves" was a #12 Hit (and a One Hit Wonder) for Charlie Dore in early 1980. (kk)
You mentioned that the Loop there in Chicago did a money theme also this past Monday. Those two capitalized words Loop and Chicago reminded me of a record out of 1967 by a group known as the Chicago Loop called WHEN MY BABY WANTS GOOD LOVIN' (SHE COMES TO ME). Originally done by the Coasters I believe. Always did like their version however.
Thanks for posting CARRY ME BACK by the Rascals. You are right, I haven't heard that one on the radio in eons.
Larry
You mentioned that the Loop there in Chicago did a money theme also this past Monday. Those two capitalized words Loop and Chicago reminded me of a record out of 1967 by a group known as the Chicago Loop called WHEN MY BABY WANTS GOOD LOVIN' (SHE COMES TO ME). Originally done by the Coasters I believe. Always did like their version however.
Thanks for posting CARRY ME BACK by the Rascals. You are right, I haven't heard that one on the radio in eons.
Larry
Ironically, I played The Coasters' version of "(When She Wants Good Lovin') My Baby Comes To Me" this past week ... proof again that great minds think alike. While never a hit for The Coasters (this was the B-Side to their 1957 Hit "Idol With The Golden Head"), the Chicago Loop version made it up to 30 here in Chi-Town. "Carry Me Back" has always been one of my favorite under-played Rascals tracks ... it's got a real gospel feel to it. (kk)
Hearing "The Story in Your Eyes" by the Moody Blues really annoys me. It's one of the great songs of all time. The Foo Fighters just made it into the RnR Hall of Fame and the Moody Blues, who have been producing quality music like this for over 40 years are disdained. AAARGH!!!
Dube
Hearing "The Story in Your Eyes" by the Moody Blues really annoys me. It's one of the great songs of all time. The Foo Fighters just made it into the RnR Hall of Fame and the Moody Blues, who have been producing quality music like this for over 40 years are disdained. AAARGH!!!
Dube
The Moody Blues rank right near the top of our Most Deserving and Denied Artists list ... up there with Chicago and The Guess Who. One cannot help but wonder if The Rock and Roll Hall of Fame will EVER get it right. (Taking nothing away from The Foo Fighters ... as an awful lot of people seem to like them ... but "greatest of all-time"??? I dunno about that ... I mean this IS what a Hall Of Fame is supposed to be about, right???) kk
re: BEATLES-RELATED:
>>>I still can't resist calling this Beatlefest ... I'll never understand why they changed the name!!! (kk) Kent,
It certainly would help shorten my typing time if they just went back to Beatlefest.
re: BEATLES-RELATED:
>>>I still can't resist calling this Beatlefest ... I'll never understand why they changed the name!!! (kk) Kent,
It certainly would help shorten my typing time if they just went back to Beatlefest.
Let me answer your ??'s on why Peter Noone was at Beatle...whatever you wanna call it. Peter has been asked several times before, but has not been able to appear. As a fan and friend of The Beatles, he had some funny stories about his interactions with the Fab Four, as well as insight into the British Invasion and how Britain was 'ripe' for all that happened following the Blitzkrieg of World War II. He also performed with Liverpool; doing some Herman's Hermits songs and a couple Beatle tributes. As always, he was a 'Magician' onstage.
Oooooh Kent,
What I loved about watching those two clips was the excitement (albeit disguised as embarrassment at times) of both George and Paul watching themselves. How great to hear them say that they were 'good songs'. It was an exciting time in my life and in the world, and it brought tears of joy to my eyes to see both of these giants enjoying the initial thrill AGAIN.
Shelley J. Sweet-Tufano
Yes, I was especially pleased when I found those two clips ... and just had to share them. It would have been VERY cool to see Peter Noone performing at Beatlefest (whatever!) and sharing those British Invasion stories. He and I have talked at some length about those early days and how it was all perceived back at home while The Beatles were paving the way over here for all things British to invade our shores! Hearing him tell those stories up close and personal ... and then getting a concert thrown in to boot ... had to make for one hell of a night! (kk)
I'm not sure what we're trying to prove -- or disprove -- with this tape.
It's not Dick debuting the Beatles on American radio. But it is him playing them during the five weeks or so that WLS had them on their playlist.
Let's look at the four songs (bearing in mind that WLS played songs for two or more weeks BEFORE they debuted on the charts):
Mecca - Gene Pitney: debuted week of 3/22 (4 weeks played by then -- WJJD debuted it 3/11)
Don't Be Afraid, Little Darling - Steve Lawrence: debuted 3/15 (4 weeks played by then -- WJJD debuted it 3/4)
Please Please Me - The "Beattles": debuted 3/8 (3 weeks played by then)
Mr. Bass Man - Johnny Cymbal: debuted 3/8 (4 weeks played by then -- WJJD debuted it 2/4!)
We know that each of these songs was being played in early March. But every one of them could have played the last week in February. In fact, since "Please Please Me" only spent two weeks on the survey (and three weeks on the air before that), chances are it was gone by 3/22. The only time all four songs could have played on the same show by my admittedly-imperfect reckoning would have been from approximately 2/22 to 3/21.
There are splices before all the songs (to my ears) so this is not unedited. Therefore all four songs probably didn't play in order. Dick's show, I'm told, was the place where new music was played so it's not unusual that he would have played them all at one point. But probably not in-a-row.
So what we have is tape reportedly from late February that could be from early March of 1963 that shows Dick playing the Beatles -- probably still before anyone else. Pretty cool historically, no matter what.
I'm not sure what we're trying to prove -- or disprove -- with this tape.
It's not Dick debuting the Beatles on American radio. But it is him playing them during the five weeks or so that WLS had them on their playlist.
Let's look at the four songs (bearing in mind that WLS played songs for two or more weeks BEFORE they debuted on the charts):
Mecca - Gene Pitney: debuted week of 3/22 (4 weeks played by then -- WJJD debuted it 3/11)
Don't Be Afraid, Little Darling - Steve Lawrence: debuted 3/15 (4 weeks played by then -- WJJD debuted it 3/4)
Please Please Me - The "Beattles": debuted 3/8 (3 weeks played by then)
Mr. Bass Man - Johnny Cymbal: debuted 3/8 (4 weeks played by then -- WJJD debuted it 2/4!)
We know that each of these songs was being played in early March. But every one of them could have played the last week in February. In fact, since "Please Please Me" only spent two weeks on the survey (and three weeks on the air before that), chances are it was gone by 3/22. The only time all four songs could have played on the same show by my admittedly-imperfect reckoning would have been from approximately 2/22 to 3/21.
There are splices before all the songs (to my ears) so this is not unedited. Therefore all four songs probably didn't play in order. Dick's show, I'm told, was the place where new music was played so it's not unusual that he would have played them all at one point. But probably not in-a-row.
So what we have is tape reportedly from late February that could be from early March of 1963 that shows Dick playing the Beatles -- probably still before anyone else. Pretty cool historically, no matter what.
Ron Smith
Couldn't agree with you more ... and kind of my point on this as well. The tape has clearly been edited and while Dick Biondi usually DID play the new releases first on WLS because he show was the top-rated one on the station, it is EXTREMELY likely that he would play these four new, unproven songs in a row at ANY point in time. They just didn't do that well overall on The Silver Dollar Survey.
"Mecca" ultimately peaked at #6 ... but not until April! The Steve Lawrence track also peaked in April (#13) as did "Mr. Bass Man" by Johnny Cymbal (#16). The "Beattles" only spent two weeks on the WLS chart and were gone after the 15th of March, making it even more unlikely that this tape is from Februrary.
But, like you, I agree, that it's a GREAT piece of Chicago radio history. I would LOVE to know what else this guy has in his collection. (Now HERE'S a guy who ought to be selling airchecks at the Chicagoland Record Shows!!!) kk
Kent,
Kent,
I truly believe this to be authentic WLS, 1963. For one thing, Biondi sounds like he did in his early 60's stint, which is different than his other stints in Chicago radio. Second, Biondi was gone from WLS by 1964. Third, as a taper myself on reel to reel, I often taped over songs after they got old or I bought them. On this tape, he could easily have the recordings out of order because he bought songs and later taped over them. He probably DID NOT tape over the Beattles song because he did not buy it then. We even went to putting a slip of paper to mark where a song we wanted to be sure to KEEP started ahead of a "tape over" song. That way, if the new song we recorded ran longer than a song to get rid of, we could decide in time to cut the new recording off OR continue taping and give up the song we had wanted to keep. Biondi playing this in 63 on WLS here sounds authentic!
Clark 60's RADIO TAPEING EXPERT Besch
I'm not disputing that it's from 1963 ... I'm just pointing out the tape is heavily edited and stating that it is HIGHLY unlikely that these songs aired in this order at the time, back-to-back-to-back-to-back. I think it's a GREAT piece of radio history, proving again that Dick Biondi and WLS Chicago were the first station in the nation to go on the air with The Beatles ... that alone is historic in its own right. I dispute the claim that this is the FIRST airing of a Beatles song in America, simply because of the timing. It'd be great to get this guy on the list to hear his story. If we can figure out a way to contact him, please point him in my direction ... have him read our ten year old article about "Who Played The First Beatles Record In America" and, more importantly, let's find out what else he has hidden away in his "vault" ... 'cause the quality of this track is really clear. (kk)
re: THE FORGOTTEN HITS BOOK
CLUB:
Just finished Howard Kaylan's book. Great
reading. After you read a fair amount of rock autobiographies you start seeing a
lot of cool tie ins.
Jack (Rock And Roll Never
Forgets)
The way I heard it (years ago) ... THE TONITE SHOW THEME ... Johnny Carson insisted on a co-writing credit for the song. I'm pretty sure it was in name (and money) ONLY! A pretty shrewd move by Johnny (who could call the shots) and HALF worked out okay for ANKA. I believe the same happened with EVERGREEN. Does anyone really believe Streisand co-wrote ONE song with Paul Williams? And an Oscar winner at that? Any contributions had to be minimal, confirmed by the look on Williams' face when receiving the award with her.
The way I heard it (years ago) ... THE TONITE SHOW THEME ... Johnny Carson insisted on a co-writing credit for the song. I'm pretty sure it was in name (and money) ONLY! A pretty shrewd move by Johnny (who could call the shots) and HALF worked out okay for ANKA. I believe the same happened with EVERGREEN. Does anyone really believe Streisand co-wrote ONE song with Paul Williams? And an Oscar winner at that? Any contributions had to be minimal, confirmed by the look on Williams' face when receiving the award with her.
GARY
Scanning through Paul Anka's new book (in which he
mentions "The Tonight Show Theme" several times), I don't see anything in there
about him having to share song-writing credits on this tune. (Actually, as I
recall several years ago we shared a clip showing that the melody was not, in
fact, a brand new piece of music that Paul had written exclusively for Johnny
Carson's program ... it was something he had been playing around with for quite
some time ... in fact, it even had lyrics at one point.) Nevertheless, I'm sure
he earned a pretty penny over the years for this one ... it aired five times a
week for over 25 years!!! I remember talking to Bobby Hart about this and the
theme he and Tommy Boyce wrote for "The Days Of Our Life" ... it proved to be
quite lucrative for them over the years. (kk)
re: RECENT AND UP-COMING SHOWS:
HI KENT >>>
re: RECENT AND UP-COMING SHOWS:
HI KENT >>>
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PLEASE REMIND FANS OF THESE UPCOMING SHOWS
>>> AN EVENING WITH TOMMY ROE:
APRIL 27 >>> RAMSHEAD ON STAGE
>>> ANNAPOLIS, MD
APRIL 29 >>> BB KINGS
>>> NYC
MAY 3, 4, 5 >>> EPCOT >>> DISNEY WORLD >>> FLOWER POWER SERIES HERE'S GREAT SHOT: Rick Levy / TOMMY ROE / Lee Brovitz on stage 
Another reminder to anyone who will be in
Central Florida on the last weekend of April.
They tell me there are still some tickets
left for the Villa ConRoy House Concert in Orlando this
coming Sunday, April 28th. This is a prestigious concert series and there's a
built-in audience so I'm sending this to remind you Lind friends / fans to be
sure to reserve early. Odds are good it will sell out.
Bill and Eli Perras will open the show and
I understand they're great.
Here's the info.
The best way to reserve is to call Sheila
at 407-679-6426.
Also, I'll be doing the ON THE
FLIPSIDE radio show live with Java John between 6 p.m. and 8 p.m.
on the night before (Saturday, April 27th).
To hear the show, just go to www.wfit.org. Up at the top right of the screen you'll see a little icon that
says "Listen Live." Click on it and there I'll be gabbing, strumming and
singing.
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