Saturday, July 25, 2015

The Sunday Comments ( 07 - 26 - 15 )

re:  Me-TV-FM (and Radio In General These Days):  
I have to disagree with you about Me-TV FM playing Peter Allen's "The More I See You". I have loved his version ever since they played it on WBBM-FM back in the 70's. There is no way that is a bad song to play and I hope they continue to do so. I still have my 45 of it ... and it's on my iPod and I think their listeners should continue to hear it from time to time.  
I sure hope Neal Sabin also does not listen to you about "Themed Programs & Features". Please no, I don't want it! As a matter of fact, I don't want anything else like traffic and weather forecasts. And, do I dare say ... I don't even want DJ's! I just want the music they are playing and a super light commercial load. I think they are doing a great job playing so many of the forgotten songs we have talked about here for years. I am really happy they are also playing all the great songs from our Chicago groups. Although I have not heard Jamestown Massacre's "Summer Sun" ... maybe we will hear it sometime.  
I agree there are a few artists I seem to hear too much of. It seems like every time I'm listening while driving I will hear an Abba song or something by the Bee Gees. But even when they play something I don't care to hear, I still don't change the dial because I know in three minutes the next song will start and I'll probably like it. I NEVER change the dial anymore. But let's face it, if I did change the dial I'm sure I would just run into a long commercial block on some other station followed by some old tired worn out song. I'm sticking with Me-FM TV.  
Mike Hartman
As Neal Sabin pointed out to me after my initial comments ran, Peter Allen's version of "The More I See You" DID chart on the Adult Contemporary Charts, reaching #38 in 1976.  (It didn't make The Top 100 on ANY of the national pop charts however, so it is hardly what I would consider a "recognizable" hit.  Regardless, I still can't stand it ... it sounds like it is falling apart from start to finish.  And, since they're already playing the DEFINITIVE version of this song (by Chris Montez) there is NO reason to balance things out by playing such an inferior version ... it's not that strong or identifiable a song.  (Don't get me wrong ... I LOVE the Chris Montez version ... and always have ... the station also plays "Call Me" by Chris ... and should really consider adding "Time After Time", another long-overlooked gem from the same genre.)  This same philosophy holds true for the Jose Feliciano version of "California Dreamin'" that they play WAY too often ... if you're going to play more than The Mamas and the Papas' version ... which I'm not even sure is really necessary since that version is SO great all on its own ... at least play an alternate version by somebody who made some noise with the record ... like The Beach Boys or America ... or even Barry McGuire, who recorded the song FIRST with The Mamas and the Papas providing the background vocals!  At least THOSE versions are interesting and have a built-in connection with the audience.  
Then again, it really all comes down to trade-offs ... let's face it, there are only so many songs they're going to play ... and I'd give up ANYTHING by Peter Allen in order to hear Jamestown Massacre's "Summer Sun" instead.  In fact, that is one they ABSOLUTELY should be playing in semi-regular rotation ... it was a HUGE hit here in Chicago ... and it's a GREAT song ... with a GREAT summer feel ... and is absolutely deserving of repeated spins on the station instead.  
The idea of just music is fine ... it's iPod programming ... and I have enjoyed the extended "launch" of music only ... but what makes it FEEL like a radio station ... and SOUND like a radio station ... is those annoying interruptions.  Hey, I hate commercial blocks as much as the next guy ... but I understand that this is what pays the bills.  If the Xfinity TV station can give out the traffic and weather reports non-stop, why can't the radio station do it in a much more appropriate setting ... when people are actually out IN their cars!!!  For drive time traffic to and from work, weather and traffic reports are essential ... I hate the idea that I have to turn off the GREAT music being played on Me-TV-FM just to hear about traffic back-ups on my way in to work.  There is NO reason they couldn't do quarterly hour, 1-minute updates ... which would give the station more of a "live" feel to it, too ... like somebody is actually THERE paying attention, rather than just some pre-programmed robot.  It establishes an audience connection.  
Same for the deejays ... not necessarily all day ... but hire some TRUE talent who not only appreciates this great music but can be entertaining in the four or five break-ins per hour.  Maybe just a morning guy with a decent sense of humor who can give news, weather and traffic updates for the drive into work ... then go back to the automated programming for the work day.  
Or schedule some "appointment radio" throughout the day.  How about an all-request lunch hour ... where listeners can actually phone in something interesting and creative (unlike the other stations in town who offer a similar feature ... but then continue to feature only the same 200-300 songs they're already playing all day long anyway. I've actually heard deejays tell the caller "We don't have that song in our library"!!!  Heck, John Records Landecker used to do an early morning request show and, if he didn't have the record on hand, he made sure he DID have it the very next day.)  
Why wouldn't something like a "Historic Chicago Countdown" work once a week ... or even two hours a day?  (Another excuse to play something NOT on the play list)  Or daily updates of something like Gary Theroux's "History Of Rock And Roll" segments?  How about picking a Featured Artist of the Day (which would then give the station an excuse to play something by that artist every hour, topped off with a Top Ten Countdown of that artist's biggest hits every night at 6:00 or 10:00, mixed in with a couple of "extras" that "just missed the countdown" or key album tracks.  Again ... appointment radio that folks will make a point to tune in and listen for.  
I would LOVE to take a crack at fine-tuning the play list ... eliminate some of the music that is causing the majority of listeners to push the button (or, at the very least, schedule those tracks into the airplay rotation they deserve ... once or twice a year, these songs will still provide the "wow factor" they're going for ... four or five times a week is just downright annoying.)  
Once again, I'd like to offer my assistance ... send me the play list and I will send you back 20-50 suggestions and modifications to road test each week ... then you can evaluate if our goals match and we're getting closer to building the perfect radio station.  
Like I keep saying, they are doing almost everything right ... and have won over their audience by featuring tracks that have been absent from the airwaves for decades.  Now we just need to do a little more fine-tuning to take this to the next level!  (kk)

See, here's exactly what I'm talking about ...    

Beautiful Lobby - Empty Studio ... Radio in the Millennium ... 

(Remember the days when kids listening to the radio couldn't WAIT to get a job like that ... many even set up "pretend radio studios" in their bedrooms and basements, just to emulate their heroes heard up and down the dial.  What on earth is going to inspire ANYBODY to pursue a career in radio today?  Yes, Mom, I can't wait to program the computer to play all the music ... or, if I'm fortunate enough to actually get on the air, give out the time and temp three or four times an hour ... and then be told to keep my mouth shut the rest of the time.)  Ah yes ... the DREAM job of a lifetime! (We grew up on "personality radio" ... where the deejays were often as popular as the recording artists themselves.  Today you sometimes have to wonder if ANYBODY is minding the store!)  kk   

Hi Kent,  
Thought you might like this article by a guy who's been in radio a very long time.  
Ashley, PA

I have a story to tell about consultants and it involves radio and the other involved the 500 songs we are forced to listen to ad nauseam. Before I moved away from Chicago, I would participate in music surveys a couple times a year. If you've never been invited to one, the concept is simple. You hear a snippets of songs, essentially the chorus, or the part you're most familiar with, and are then asked to mark in a little box if you like it a lot, somewhat, neutral, somewhat dislike it, or it sucks. And darn if it isn't the same 500 songs we've all grown to become bored with. No surprises in the bunch. Hey, but it was 50 to 100 dollars in my pocket and free food.  
In 1976 I became affiliated with WZRD radio Chicago 88.3 FM. At first it was a closed circuit radio serving Northeastern Illinois University and known as WRNE. When it came time to petition the FCC to be able to broadcast locally, the station had to change their call letters as WRNE belonged to a station in New England. Well, various call letters were tossed about at a staff meeting, with some being rejected because it wouldn't fly with either the school administration, the FCC, or it was already taken. Finally, after much debate and much foreign substances being passed about, one staff member woke up from his stupor from underneath the table long enough to volunteer "WZRD ... wizard, man!" in his best Tommy Chong impression, and then promptly passed out again. This got everyone excited and not one station, commercial, or non-commercial had the call letters. The FCC approved it and, almost 40 years later, WZRD still lives. But wait, there's more!  
Maybe a year or two later, a station in Philadelphia contacted us and wanted to know if we would give up the call letters. Apparently their "consultants" had built a huge campaign around the WZRD call letters. They looked at the FCC listings of COMMERCIAL stations and saw nothing. So they were all set to pull the trigger when the FCC told them their application was rejected because a 10 watt non-commercial station in Chicago had the call letters. So they wrote us a lovely letter offering us a lot of money if we would give up WZRD. The vote was unanimous ... NO! The Philly station had to settle for WZZD. I've had surveys from them, don't know if I still do, but I laughed my ass off when I first got them, as I knew that had to be the station. 
The moral of the story is, WTF do consultants know?  
Those radio survey polls are a complete joke and waste of time ... I've done several of them, too ... and you're absolutely right ... all they do is ask you about the songs they're already playing anyway.  The list is SO weighted toward what they're currently doing that they leave absolutely NO room for improvements or surprises to be added.  And, even though they ask you which songs you're sick of, they continue to play them all anyway!!!  So what's the point?  Just to be able to tell people that you polled your audience?  It's a complete waste of time ... and the very reason radio is in the crapper the way it is today.  
Not long ago we talked about how radio stations don't even use call letters anymore.  We've got The Loop, The Drive, The Mix, B-96, K-Hits, She-FM, Me-TV-FM, My-FM, The Lite, Y-103.9, The River, The Fox, The Zoo, Jack-FM, Bob-FM, and dozens of others all over the country.  Back in the day stations like WLS, WCFL, WIND, WMAQ, WGN and others ruled the airwaves ... today it seems to be the least important connection to their identity ... and their audience.  The times, they have a-changed ... and not necessarily for the better.  (kk)

re:  Helping Out Our Readers:   
>>>I interviewed Kathy Linden earlier this year. She did something that I feel is quite unusual ... but I am not sure if she is the only one to ever do this. I am hoping that someone here would know the answer and, if there are one or more other examples, provide the specifics.  Kathy Linden had this 1959 Felsted single: "You Don't Know Girls" b/w "So Close To My Heart."  "You Don't Know Girls" charted in Billboard but not in Cash Box. It peaked in  Billboard at #92.  The flipside "So Close To My Heart" charted in Cash Box but not in Billboard. It peaked in Cash Box at #84.  Can any of you come up with another example where one side of a record charted only in Billboard  but not in Cash Box AND its flipside charted only in Cash Box but not in Billboard?  By "charted" I mean Top 100 or better. Bubbling Under and Looking Ahead do not count. For the sake of what I ask here, please pretend that there is no such thing as "Bubbling Under" or "Looking Ahead." Also please exclude  any Record World / Music Vendor charts and also please exclude any entries listed as "coat-tail" recordings in Joel Whitburn's publications. I find it hard to believe that Kathy Linden is the only example of this happening -- with BOTH conditions applying (one side charted only in BB: the flipside side only in CB) but I guess it could be. 
Thanks in advance for the research and feedback.  (Ronnie Allen) 

Hi Kent,  
A very interesting question by Ronnie Allen regarding songs where one side only hit in Billboard and the other side only hit in Cash Box.  
There is one example I can think of that exactly matches the Kathy Linden example that Ronnie cited:  

“Kool's Back Again” by Kool & The Gang peaked at #80 in Cash Box, while the flip side, “The Gang's Back Again”, peaked at #85 in Billboard.  
There are a couple more that may qualify under Ronnie’s criteria (if one totally ignores the Bubbling Under / Looking Ahead charts):  
“It’s For You” by Cilla Black peaked at #79 in Billboard (but only hit #105 in Cash Box), while the flip side, “He Won’t Ask Me”, peaked at #91 in Cash Box (and didn’t chart at all in Billboard).  
“There’s Nothing Like Love” by Jackie Wilson & Linda Hopkins peaked at #95 in Cash Box (but didn’t chart at all in Billboard), while the flip side, “I Found Love”, peaked at #93 in Billboard (but only hit #136 in Cash Box).  
Those are ones that I remember from working on the Comparison book.  There may be some others, but it seems like it was a pretty rare occurrence.  
Paul Haney 
Record Research
Joel's Chart Comparison Book would be the IDEAL place to look for these types of chart oddities ... readers can pick up a copy of this invaluable book here:     

Bill Oakley's efforts and list are quite admirable. It would be nice to see the years posted next to each entry however. Maybe that's something that could be added later. 
Having that information would tell us whether the vocal or instrumental came first and thus what kind of creative juices were flowing at the time.  
Example: Lonnie Mack's instrumental treatment of Chuck Berry's composition of Memphis came four years after Berry released it as the B side of Back in the USA ... and was a much different kind of effort than the one that created the vocal version.  The same can be said of Grazin' in the Grass based upon the instrumental of the year before (1968) by Hugh Masekela vs. the vocal arrangement made by The Friends Of Disinction.  They were both great efforts with great with results, as were the originals, but we true music lovers want to be in touch with how things like that happened, don't we?   
Bill Fortune 
I would use the "Soulful Strut" instrumental hit by Young-Holt Unlimited as a similar example to the Barbara Acklin vocal version released as "Am I The Same Girl".  However, I also believe that Swing Out Sister took this song to brand new heights when they released THEIR vocal version of "Am I The Same Girl" in 1992.  (kk)

Whew! I'm huffing and puffing now. I just finished scrolling through reader Oakey's compilation of the (at his latest count), 311 instrumentals and their vocal counterparts.   Song #199 HEARTS OF STONE, the group the Charms  can be added, I believe, to the vocal side. Song #225 LOVESICK BLUES, was also vocally recorded by Frank Ifield, his follow-up to I REMEMBER YOU. Song #241 WATERBOY by Don Shirley, made it to #1 here in OKC. Song #262 WORK SONG was done vocally, I believe, by Trade Martin on RCA. 
I have made a copy of this list, Kent, and will add it to my paper files here at home pertaining to this music that you, your readers and I love. I don't know if it can be added to the list but I always liked Percy Faith's instrumental version of Little Peggy March's I WILL FOLLOW HIM. Maybe now Bill can compile a list of all the answer records that have come out through the years. (LOL). 
For Jeff's information, SUNDAY BARBECUE was written by Ira Cook / Mort Greene and T.E.F. was backed up by the Cliffie Stone band. Got that directly off the 45. 
Mentioning the songs which were done primarily of one whistling, reminded me of Dave Baby Cortez' followup to THE HAPPY ORGAN and I am talking about THE WHISTLING ORGAN. One final thing about the instrumentals and their voice counterparts ... I will be trying to find a lot of them (vocals) online and listen to them and to see what they sound like.  

re:  New Releases:  
We just caught wind of a new release by Buzz Cason, who wrote the timeless pop classic "Everlasting Love” ... and has worked with everyone to Elvis Presley to Johnny Cash to Carl Perkins to Buddy Holly’s Crickets.

Here are all the details:   

(August 21, 2015)  
New York, NY (July 9, 2015)-- Rockabilly Hall of Famer Buzz Cason is proudly releasing his new studio album Record Machine on August 21, 2015. This is his second album to be released via Plowboy Records.  
Touring the US and the UK was just a small portion of the incredible year Buzz had in 2014. In July, the Country Music Hall of Fame honored him as part of their “Poets & Prophets” series, and Cason’s then recently-released album Troubadour Heart was enjoying chart success and heavy airplay on Americana Radio.  
Following this, Buzz hunkered down at his famed Creative Workshop studio with engineer Joe Funderburk to begin pouring his soul into Record Machine.  
Buzz Cason notes in the opening title track, which is a love letter to his record player, that he’s “got Rock ‘N’ Roll, R&B, and everything between … on my record machine,” and it shows in the breadth of the songs that follow. Record Machine is an eclectic mix of Americana sounds, dosed with rock, folk, rockabilly, and even a touch of reggae, with his loosened-up remake of George Jones’ “She Thinks I Still Care,” which was originally written by Buzz’s good friend Dickey Lee. The other ten original tracks visit different moods and stories, from the stripped-down acoustic skip of “Don’t Worry Mama” and the whiskey-soaked bar room confessional “Dodgin’ Bullets,” to the lonely ballad “Just My Dreams,” the upbeat bounce of “Follower,” and the rockabilly swing of  “Memphis Friday Night” and “Overload.”  
The album also features a few cameos by Nashville-based duo Steelism, who are featured on “Record Machine,” “She Thinks I Still Care,” and “Wait On Your Love,” as well as Sugarcane Jane’s Anthony Crawford (“Woe Is Me,” “Just My Dreams”), and Buzz’s son Parker Cason, who co-wrote “Record Machine” and played on several tracks.  "Record Machine is special to me and hopefully it will be a positive experience for the listener,” says Buzz. “The record is a slice of my musical life, incorporating emotions and thoughts of recent times as well as just fun times recorded in the studio. Once again I have the support of extremely talented players and writers on this set of songs … [Guitarist] Anthony Crawford plays a key role in the record as well as the guys from my band contributing on several tracks ... As the title cut says: From the first time I heard a needle hit vinyl: ‘I've been in love with music ever since that day!’ ” 
And quite the love affair it’s been! With a career six decades rich as a performer, songwriter, and publisher, Buzz Cason has touched upon every facet of the music industry, as well as influenced countless musicians and fans. Coined as “The Father Of Nashville Rock” by Alamo Jones of Sirius XM’s “Outlaw Country,” this Americana / Roots Rock singer-songwriter has created songs that have gone on to live beyond the genre, from the classic “Everlasting Love” (co-written with Mac Gayden), which has been recorded by U2, Gloria Estefan, Robert Knight, and Carl Carlton, and has charted in every decade since its inception, to “Soldier of Love” (co-written with Tony Moon), which has been recorded by The Beatles, Pearl Jam, Marshall Crenshaw, and Arthur Alexander. To this day, Buzz is the only songwriter credited with cuts by The Beatles, Pearl Jam, AND U2. 
As a producer, Buzz left his stamp on Jimmy Buffett’s Down To Earth and High Cumberland Jubilee albums (he also co-wrote a few songs), and he even produced Buddy Holly’s former band The Crickets, and toured England with them as their singer. He’s sung back-up for Elvis Presley, Willie Nelson, Kris Kristofferson, John Denver, Kenny Rogers, Roy Orbison, George Jones, and Leon Russell, and was even the voice of Alvin of the Chipmunks!  
The music legacy continues on with the release of Record Machine
Buzz Cason will tour this year in support of Record Machine, with some solo dates, and some shows with his band The Love Notes. Tour dates to be announced soon.  
Plowboy Records is helmed by Eddy Arnold's grandson Shannon Pollard, along with professor, author and country music expert Don Cusic. The label was established to promote the legacy of Eddy Arnold and to provide a home for projects that focus on American music regardless of genre. Visit the label online at or 
Track List:  Record Machine / Don’t Worry Mama / Woe Is Me / Follower / Just My Dreams / Dodgin’ Bullets / No Word From You / Overload / Memphis Friday Night / She Thinks I Still Care / Wait On Your Love  

Greg Lake's Legendary 1981 Performance At the Hammersmith Odeon In London To Be Issued On CD & Vinyl  
Los Angeles – Purple Pyramid Records will be releasing legendary Greg Lake's live album from the Hammersmith Odeon in London, November 5, 1981, featuring guitar hero Gary Moore on CD and vinyl! The concert recording features ELP and King Crimson classic tracks such as “Lucky Man”, “Karn Evil 9”, “21st Century Schizoid Man” and “In The Court of The Crimson King”, as well as songs from his critically acclaimed first solo album from 1981. As a founding member of King Crimson and Emerson, Lake & Palmer, Greg Lake has been a major force in music for over 40 years. He has long been considered a legendary voice and musical powerhouse whose impact changed the landscape of rock and roll. Many simply refer to him as “The Voice”.
The Greg Lake Band made its live debut on one of the biggest stages available to it, the annual Reading Festival in England in August 1981. Much of the set was new to the audience – Greg's first solo album would not be released for another month. But the band received a wild reception regardless, and there were enough old favorites on display to ensure the fans remained happy…including the show opener “Fanfare for the Common Man,” truly one of the most effective showstoppers ever to have opened a concert.
The band's full tour kicked off in October. Purposefully, Lake demanded smaller venues, the theaters and universities that truly represented a refreshing change from the monster domes he'd visited the last time he hit the road in 1977 with ELP. The string of shows launched in Wales, at Aberystwyth University, then moved onto Cardiff University, Dunstable Queensway Hall, Norwich University, Liverpool Royal Court Theatre, Newcastle Mayfair, Glasgow University, Edinburgh Playhouse, Sheffield Lyceum, University of Kent Canterbury, Birmingham Odeon, Leicester Polytechnic, Bournemouth Winter Gardens, Exeter University, St Austell Cornwall Coliseum, Crawley Leisure Centre and, finally, London's Hammersmith Odeon.
It was not an extravagant performance - no lasers, no levitating keyboards, no priceless Persian carpets. The myths and legends that surrounded ELP when they toured were all firmly locked away. The Greg Lake Band toured like a band, and on stage they simply took up their positions and played. Brilliantly.
That last date on the tour is where this disc was recorded, in front of 2,000 fans who now had every note of Greg's new album memorized, and the rest of the set firmly entrenched in their DNA: the snatch of “Karn Evil 9” that eased out of the opening “Fanfare”; “Love You Too Much,” the song Lake co-wrote with Dylan in what remains another of the tantalizing collaborations of the age; “Retribution Drive” and “The Lie” from Greg Lake. “21st Century Schizoid Man” and “The Court Of The Crimson King,” from Lake’s stint with King Crimson, wrapped up the evening in positively rhapsodic fashion, and, finally, “C'est La Vie,” from ELP's Works. (The version of this track included on the CD is taken from a show in New York City 1981)
“A single night at the tail end of a single tour, alive with promise, bristling with presence. And welcoming back some new friends, too” - Dave Thompson, writer
Tracks:   Medley: Fanfare For The Common Man / Karn Evil 9 / Nuclear Attack / The Lie / Retribution Drive / Lucky Man / Parisienne Walkways / You Really Got A Hold On Me / Love You Too Much / 21st Century Schizoid Man / In The Court Of The Crimson King / Bonus Track: C'est La Vie (Live in NYC 1981) /
To purchase:
Pre-order the CD:
Pre-order the Vinyl:
Pre-order the digital:
Greg Lake's official website:
re:  This And That:  
Hey Kent, 
Thanks for the heads up on the Zombies tickets.  I got 17th row, just left of center. If you are ever going to see the Zombies, this is the time."Odessey and Oracle" is one of the top albums of the sixties and four of the five original members will be together to play the entire album for this special show.Out of all the shows you let us know about, this may be the one that will be the most important.  Forgotten Hits fans should make the trip to Star Plaza as it's acoustics and comfort level are first rate.  I saw Yes there with my 11 year old daughter, Ashley, about 15 years ago, and the sound was awesome.This show is guaranteed to be one of the concert highlights of 2015.I thought your readers would like to know. 
By the way, I first saw the Zombies live at the Abbey Pub in Chicago a long time back, when they first reformed.I was in the balcony of this small place waiting for the show to start and I turned around and, to my surprise, was Jim Peterik.  We shared our love of the Zombies and of course, I told Jim I was a big Ides fan as well.  I bet he's going to try and make this Odessey and Oracle show!  After the show I was able to meet Colin Blunstone and Rod Argent and they were two of the nicest people I ever met. 
Don't miss this concert!  It will be one of the best 60s shows you have ever seen.
PS. They will be appearing in Milwaukee as well, for Northern Illinois/Wisconsin folks. 
Bill Mulvy 
Not only is Jim Peterik a Zombies fan ... but he and The Ides Of March will be sharing the stage with The Zombies on next year's Moody Blues Cruise!!!  

Check out the complete details below!  (kk)    

Wow!  Check out THIS cruise line-up!!! 
The Ides of March have been added to the 2016 Moody Blues Cruise  
Now THIS would be one heck of a cruise to take! 
The Moody Blues 
The Zombies 
Christopher Cross 
Rare Earth 
John Waite 
The Ides Of March 
Randy Hansen 
and The Nelsons ... 
With more acts to be added! 
The cruise departs Miami, Florida, on February 26th (what a GREAT time to get away for the winter!) and features four days and four nights with stops in Key West and the Bahamas.  More details via the link above ... and several sections are already sold out!  Better act fast for this one.  (And congratulations to The Ides for making the line-up this year!)  kk

I have just now finished today's FH.  What a great day to start off with THE MIGHTY CLOUDS OF JOY.
In posting the song today by Sandy Posey reminds me of occasionally through the years I have often wondered  whatever became of artists like her. Where are they and what are they doing now.
You mentioned the passing of songwriter Wayne Carson and his posting of the Willie Nelson tune. When I saw that he had passed away in FH, I don't know what it was, but I immediately thought of a song he wrote in 1968 called MR. BUS DRIVER, which was recorded by Bruce Channel on Mala Records. Not a big record nationally nor locally here in OKC, but I always liked it. Songwriting credit on the record gave the name of Wayne Carson Thompson.
It was mentioned that July was the month for drummers Ringo Starr and Louie Bellson. Just a couple of days ago I was wondering what ever happened to Sandy Nelson and of course, I know that Cozy Cole has passed away.
Kent, I don't really like to tell you that you made a mistake in FH, but that  picture of supposedly Ryan O'Neal and Ali McGraw can't possibly be them. That picture shows two people that are of grandparents' age. (LOL) 
Larry Neal
Yep ... sad but true ... but quite a few of you out there have gotten older.  (lol)  Came as quite a shock to me.  (Of course Ryan O'Neal has stayed in the public eye somewhat between issues with his kids and the battle that ensued after the passing of Farrah Fawcett ... but Ali MacGraw has been out of the limelight for quite some time now ... so THAT one came as a bit of a shock!) 
As far as I know, Sandy Posey is still alive and well.  She charted four times on The National Top 40 back in the mid-'60's, hitting #12 THREE TIMES in Billboard with great tracks like "Born A Woman", "Single Girl" and "I Take It Back" (#12, 1967).  (Those records all fared a little better on the Record World Charts, with "Born A Woman" reaching #9, "Single Girl" hitting #10 and "I Take It Back" peaking at #11.)  Her other Top 40 Pop Hit was "What A Woman In Love Won't Do, which reached #31 in both Billboard and Record World in 1967. 
In addition to scoring a couple of his own hits:  "Teen Beat" (#4, 1959); "Let There Be Drums" (#7, 1961); "Drums Are My Beat" (#29, 1962), Sandy did quite a bit of session work, too, appearing on the hits "Alley Oop", "To Know Him Is To Love Him" and "A Thousand Stars" amongst many others.  In 1963 he lost part of his right leg in a motorcycle accident ... but he continued to play the drums for many years afterwards.  He, too, is still with us, although BOTH Sandys have been out of the spotlight for quite some time now.  (kk)

Got this link from FH Reader Tom Cuddy about a brand new Billy Joel interview ...

Teen idol Donny Osmond has to go in for vocal cord surgery, forcing the postponement of several upcoming concert events including (I'm sure) his stay here in Chicago at The Paramount Theatre with sister Marie.  We've seen Donny several time over the year and his voice is still as clear and pure as ever ... so we wish him the very best of luck (and a speedy recovery) from this very necessary surgery.  We'll let you know once new dates have been rescheduled.  (kk)

A personal loss for us again this week as Mitch Aliotta of the Chicago cult-favorite band Aliotta, Haynes and Jeremiah passed away on Tuesday, July 21st.  Many, many moons again our band opened for a show for these guys at some type of local coffee house appearances ... and Mitch dated one of my very best friends from high school for years.  With John Jeremiah passing away a couple of years ago, that leaves only Skip Haynes as the surviving memory of the trio who gave us the FM Rock Classic Staple "Lake Shore Drive." 
Several years ago, Skip recorded a special "Forgotten Hits" version of this tune, which I've always held a special place in my heart for.  He also explained the complete origins of the song on our website here:

Many may not know that Mitch Aliotta was the original bassist of Chicago's Rotary Connection, the band that launched the career of Minnie Ripperton.  Ripperton worked as a receptionist for the famed Chess Record Label ... and after Chess Founder Leonard Chess heard her sing, he recruited members of the local group Proper Strangers, along with some of his regular studio session musicians ... AND The Chicago Symphony Orchestra (!) ... to record Rotary Connection's first album.  Although never a huge national success, the group enjoyed tremendous popularity here in Chicago and throughout the midwest, thanks to the incredible vocals of Ripperton and the eclectic mix of music laid down by the band members.  (kk)   

Kent ...
Imagine how much money they would've made if Jerry Garcia was still alive.
Frank B.

It's a big week for concerts here this week in Chicago ... we've already got FOUR shows lined up!!!

Sunday - Tony Orlando is appearing at The Arcada Theatre.  We saw Tony several years ago and it was one of the best shows I've seen.  He had a KILLER band at the time that just blew me away.  Hoping for a similar experience this time around.  (Would love to talk to Tony, too, before or after the show if it's possible.)

Tuesday Night - It's back to The Arcada to see Graham Nash.  Graham has only scheduled NINE stops on the US leg of his current tour ... and The Arcada is one of them ... so this should be a VERY special evening of music.  (I've been a lifetime fans of Graham's work with The Hollies, Crosby, Stills and Nash and all of his solo ventures ... but have never seen him perform live before ... so this will be a real kick for me!)

Thursday - The Chicago Experience (who lit up the stage at The Arcada during The Marty Grebb Benefit Concert a few months ago) will be performing an outdoor show in Rosemont Thursday night from 7 - 9:30 pm.  We missed them the last time around as we were out of town ... but I am REALLY looking forward to experiencing the COMPLETE Chicago Experience this Thursday Night!

Friday - Daryl Hall and John Oates light up the RiverEdge Park Stage in Aurora for another outdoor concert.  Frannie and I have been Hall and Oates fans FOREVER ... and have both seen them several times in the past ... but never together ... so this should be a very special night for us as well.  (Now if we can just keep it under 90-degrees and push the rain off until the weekend!!!)  kk