Funnily
enough, we’ve taken the exact OPPOSITE approach in regards to this LP.
Some
months ago, we invited readers to see if they could pare this two disc set down
to one incredible 16-track LP. (For
decades, critics and fans alike have complained that there was “too much
filler” … and that a much stronger album could have been made had The Beatles
been a bit more selective and discriminating in their choices ... kind of the ultimate "less is more" theory, I guess.)
Beginning
on Monday, October 1st, we’ll start to share some of your thoughts
and comments on this matter.
So
if you’d like to be included, you need to get me your submissions by this
weekend. (I’m sure our series will spark
much new commentary as well … so we may be sharing some of your amended “track lists” for
some time to come!)
Hop
on the Beatles bandwagon. Should The
White Album have been held to a single CD of all strong tracks? Don’t miss your chance to vote and weigh in on
this subject now!!! (kk)
Speaking
of which …
The
announcement had no sooner been made than big-time rock publications like
Rolling Stone Magazine and Ultimate Classic Rock began weighing in with their
opinions. (Hey, this is a really big deal!!!)
Ultimate
Classic Rock decided to rank the original 2-LP set “from worst to best” …
That
being said, THEIR Top 16 tracks would be (in rank order, not programming
order):
1.
While
My Guitar Gently Weeps
2.
Helter
Skelter
3.
Revolution
1
4.
Happiness
Is A Warm Gun
5.
Blackbird
6.
Dear
Prudence
7.
Back
In The USSR
8.
Sexy
Sadie
9.
Julia
10.
Everybody’s
Got Something To Hide Except Me And My Monkey
11.
I’m
So Tired
12.
Yer
Blues
13.
Ob-La-Di,
Ob-La-Da
14.
Mother
Nature’s Son
15.
Glass
Onion
16.
I
Will
Their "dream album" is very
heavy on John tracks (9 of the 16 cuts are John songs) … Ringo isn’t
represented at all (although I can’t rank “Don’t Pass Me By” or his vocal on
John’s “Good Night” that closes the original album as being release-worthy
either, despite the on-going “one Ringo track per album” rule.
By the same token,
George is only given one track here, too … and even though it’s ranked as the
BEST track on the LP, I found ALL of George’s White Album compositions to be
very strong and entertaining cuts.
“Everybody’s Got
Something To Hide Except Me And My Monkey” wouldn’t make my Top 20 … and I
think “Glass Onion” is highly overrated … especially at the expense of tracks
like “Birthday” (probably strong enough to have been a single ... or at least the album opener so that "Back In The USSR" could have been), “Why Don’t We Do It In
The Road,” “Savoy Truffle,” “Martha My Dear,” “Piggies,” “Rocky Raccoon” and
“Cry Baby Cry.” (How they ranked tracks
worse than “Revolution 9” is beyond me, too!!!)
But that’s what
it’s all about!!! Get clever … get
creative … I’ve said before, ONE way to get the LP down to 16 tracks is to
release tracks like “Back In The USSR” and “Ob-La-Di, Ob-La-Da” and maybe even
“Birthday” as singles … and stick some of those borderline “oh so hard to eliminate” tracks on
those releases as flip-sides.
Meanwhile, Rolling
Stone tells us about the best NEW tracks we’ll discover as we make it thru the
now over 100 potential choices …
Of all the alternate takes, “Good Night”
is the one that will leave most listeners baffled why this wasn’t the version
that made the album. Instead of lush strings, it has John’s finger-picking
guitar and the whole group harmonizing on the “good night, sleep tight” chorus.
It’s rare to hear all four singing together at this stage, and it’s
breathtaking in its warmth. “I do prefer this version to the record,” Martin
admits. (He won’t be the last to say this.)
Can’t wait!!! (kk)
And, if you happen
to have any money left in your pocket after you buy the new White Album Deluxe
Edition, you might want to check out this new Eagles box set coming out in
November …
As complete a set as you're ever going to find! (kk)
Hi Kent:
Good morning! I wanted to thank you for the mention of our
one-hit wonders feature and Olivia’s birthday in “The Sunday Comments.”
It was quite a pleasant surprise as I read your blog with my cup o’ joe
this morning.
By the way, thanks to the live stream for 99.1-2 Milwaukee, anyone
can listen online to a station that is nearly identical to 87.7 MeTVFM in
Chicago. Our playlists are virtually the same, as is the imaging on both
stations. So, one-hit wonders and Olivia’s birthday (and every feature we
do in Chicago) will also be on 99.1-2’s stream. (The one feature which
won’t be offered in syndication, naturally, will be our popular “Hometown
Favorites” salute to Chicago-born artists.)
Like all Entercom stations, 99.1-2 is available online through the
(free) Radio.com app. If you do a search at Radio.com for MeTVFM, it
should come up.
Thanks, Kent …
Enjoy your week.
Rick
That’s
great news, Rick … I was kinda hoping that this might be the case. Will have to check it out … it’ll be the next
best closest thing to the REAL thing … but will also give listeners across the
country the opportunity to get a feel for what “The ME Sound” is all about. (And who knows … all this new word of mouth just might allow you to pick
up a few more syndicated stations!) I
appreciate the heads up.
kk
You
can listen live here, 24/7: https://player.radio.com/listen/station/me-tv-fm
UPDATE: I listened for nearly 14 hours on Tuesday
(“One Hit Wonder Day”) and it was FANTASTIC!!!
Listeners are encouraged to give this link a shot … it’ll give you the
chance to listen to the Me-TV-FM experience that we have been talking about for
nearly three years now. You’ll find
nothing else quite like it on your radio dial.
(kk)
Hey Kent,
Great work as usual!
I wanted to keep you in the loop regarding a Musical History Time Capsule
we are dedicating in Cool Scoops on October 14th @ 1pm.
I will attach all the posters and paper work describing the event.
Peace, Pal!
Paul Russo / Cool Scoops
Hi Paul!
Long time, no talk!
This sounds like an AMAZING
event! Hopefully some of our East Coast
Readers can make it out to your VERY cool shop and take part in all the
festivities. (Wish we could be there,
too!) kk
Hi Kent –
Thank you for letting me know about Mark Lindsay … he is
great guy … please let him know that I’d like to get in touch with him.
I think it would be a great idea for artists to have an
insurance plan … it’s a hard game and most of us love what we do. It’s not all about the money.
Give my regards to Tommy James, too … he’s another great
guy … loved his book.
Take Care –
Billy J. Kramer
I have passed your message along to both Mark Lindsay and Tommy James. Thanks, Billy! (kk)
When I originally read that passage in the Tommy James book,
I thought I remembered listening to Lujack saying that, on my way home from
work, that afternoon. Now I'm thinking, “So that's what he was talking about
then!”
The Killer was indeed in town for Riot Fest last weekend,
or at least he was scheduled to appear. There's an ad in the 9/18 issue of
Illinois Entertainer.
Jack
Kind of a dirty, underhanded trick …
but it paid off … WLS got an exclusive and helped to break the record. It’s a true testament to Tommy’s talent that
the take he didn’t think was finished yet was good enough to go all the way to
#1!
He didn’t stay mad for long …
eventually he agreed to an exclusive WLS Pressing of “Crimson And Clover” that
was distributed through the station!
(kk)
Speaking of Tommy James, we got this
email the other day …
Dear Kent,
I am part of Tommy James' team - writing to thank you for
the wonderful blog post on his Branson concert. However, the live
concert link to FullConcert.com is a scam, so I would like to
request that you delete that asap, please.
Many thanks - we look forward to being in touch!
Best,
Bonnie
AURA ENTERTAINMENT
I just took it down … actually, I
tried to view it before I even posted it but I wasn’t willing to go thru the
whole process of signing up required prior to viewing … but figured other Tommy
fans might be.
Consider it taken care of. Thanks, Bonnie! (kk)
Another slammer review
from Shelley!
And to those who
silently wonder, wasn't there someone named Ham with Colin in Men At Work … and
is Warren Ham, who was in Ringo's band related to him?
There was ... but Greg
Ham died in 2012 … and he and Warren (a Texan by birth) were not related.
Bob Frable
The other day we told you about next
year’s Disco Cruise.
This is one of the best cruise ship
line-ups we’ve ever seen … and that's coming from a guy who is hardly a fan of disco!!! But I have to admit that these guys have pulled out all the stops in putting this whole thing together.
And now comes word that The Soul
Train Cruise has expanded THEIR line-up, too … they’ve just added even MORE
top-notch entertainers to the mix!
Check this out …
Heatwave, BT Express, Meli’sa Morgan, The Dazz Band and Minister / Award-Winning
Entertainer Clifton Davis Join Smokey Robinson, Gladys Knight, George Clinton
and More
January 20 - 27, 2019
From Ft. Lauderdale to the Dominican
Republic, Puerto Rico and Half Moon Cay
The 2019 Soul Train Cruise
adds five legendary entertainers to its superstar lineup as Heatwave, BT Express, Meli’sa Morgan, The Dazz Band and Clifton Davis join Smokey
Robinson (in a special appearance on 1/23/19), Gladys Knight and more when it sails through the Caribbean from
January 20 - 27, 2019. George Clinton,
in one of his final performances before he retires, The Ohio Players, Stephanie Mills, Morris Day & The Time, The Chi-Lites featuring Marshall Thompson, Bloodstone,
New Birth, Evelyn “Champagne” King, Ray, Goodman & Brown, Al McKay All
Stars performing the music of Earth,
Wind & Fire and Jacob Lusk
(a tribute to Luther Vandross),
along with Cruise Host Tony Cornelius,
The Urban Guerilla Orchestra, co-host Angela Stribling of Pillow Talk, co-host Jerry Wells, original Soul Train Dancer Cheryl Song, The Soul Train Cruise comedy club presents A.J. Jamal and Kivi Rigers
and music executive Chuck Gamble
will also spend the week with fans, delivering the vacation experience of a
lifetime. In all, over 50 concerts will play throughout the Soul Train Cruise
as it departs from Ft. Lauderdale and sails to the Dominican Republic, San
Juan, and the beautiful private island of Half Moon Cay on Holland America
Line’s luxurious Nieuw Amsterdam.
“When we were invited to join the 2019 Soul Train Cruise, we
were just as excited about performing for fans as we are about watching all of
the other concerts onboard,” says Eugene Phillips of Heatwave. “The amount of
star power on this cruise is ‘mind blowing.’” Formed in 1975, Heatwave are best
known for their string of funky dance hits, “Boogie Nights,” “The Groove Line,”
“Mind Blowing Decisions” and the classic ballad, “Always and Forever.”
Singer, producer, actor and longtime Christian minister Clifton
Davis will also join the Soul Train Cruise to lead a series of special gospel
and worship events, including:
A praise and worship concert honoring the Rev. Dr. Martin Luther
King Jr.
A gospel service backed by The Urban Guerrilla Orchestra
A tribute concert honoring the Queen of Soul, Ms. Aretha
Franklin “Gospel music is such an integral part of our lives, and the Soul
Train Cruise producers have taken great steps to make sure the voyage is
enriched with the music and the messages of faith,” says Davis. “I am grateful
and humbled to be a part of bringing this experience to everyone on the ship.”
The ultimate experience for classic R&B and soul fans, The
Soul Train Cruise brings seven days of nonstop Love, Peace and Soul through
more than 50 live performances and over 25 celebrity interactive events
including parties at the pool, a Gospel Hour, live interviews, cocktail
receptions, Q&A sessions, dance classes with the original Soul Train
dancers, wine tasting, costume parties and so much more. The cruise will take
place aboard the Holland America Line Nieuw
Amsterdam, a luxurious ship that features an array of premier dining, lounges
surrounded by panoramic views, a world class spa and salon and elegant
staterooms.
Cabin prices
start at only $1,900 per person and include access to all of the major
concerts, gourmet meals, 24-hour room service and daily events. Further
information is available at www.soultraincruise.com or
by calling 844-266-7685.
From Tom Cuddy, courtesy of The
Premiere Radio Networks:
DENNIS DeYOUNG: Writing with Jim Peterik
Two of Chicago 's leading rock and roll natives are working together for the first time.Jim Peterik of The Ides of March and formerly of Survivor has been writing and recording with Styx's former frontman Dennis DeYoung.
Peterik is surprised it took so long for the guys to finally come together. Peterik will be the primary collaborator on DeYoung's upcoming solo album.
"We've been circling each other for 40 years. Finally, the stars aligned, and I've been working hand in hand with Dennis on his new album."
Jim Peterik has teamed with Dennis DeYoung on eight songs and is also assisting him on studio work.
"Obviously, he's still writing things on his own, but we've come together on about eight songs so far -- very excited. Then he has about at least four on his own. You know, Larry Millus of The Ides and I are doing the work at my studio. You know how that goes? Now, he's starting to add his band members to the demos, flushing them out, making them more of a band thing."
With Peterik also planning an album of his own, we had to ask if DeYoung makes a contribution.
Jim Peterik says Dennis DeYoung reciprocates and is recording a song for Peterik's upcoming solo album Winds of Change.
"The answer is probably, 'Yes.' You know, he is so focused right now on his album. I am supposed to be turning in Winds of Change like in two weeks. And we're working furiously on that one song that's going to be the Dennis De Young song."
The two have been working together for awhile now … and the results should be pretty interesting. (Peterik brings an edge to his music that is too often missing from DeYoung’s work … I think it should make for an interesting and exciting collaboration.)
In hindsight, it’s almost unthinkable that the two have never worked together before. (Actually, I think Dennis DeYoung WAS on an Ides Of March track a few years ago … but these two premier songwriters working together should make for a whole new sound.) kk
kk …
For subscribers in the
New York area, like me …
Premiere: "Buddy Holly : Rave On"
Thursday (10/4) - 9:00 PM
Saturday (10/6) - 1:30 AM,
4:30 PM and 11:30 PM
Sunday (10/7) - 1:00
PM
Wednesday (10/10) - 3:00
AM
PBS / WNET / 13
FB
That’s a WHOLE lotta Buddy!!! I’m sure it’ll be on all over the country if
this is the premier … check your local listings to see when it might be airing
in your area. (kk)
And, also from Frank B, this note
about a guy who very possibly could be Bobby Darin’s son …
kk:
Do you know about this
book?
"Who Did You Say
Your Father Was?" by Sam Tallerico.
Sam was adopted. In
2009 (at the age of 51 years old), he decided to search for his parents.
His mother was Lillian
Sweet, a waitress. She died.
The search for his
father led him to Bobby Darin. Early in his career Bobby was appearing in the
Detroit area. He met Lillian and they had a one night stand. She became
pregnant, had a baby boy and put him up for adoption.
Sam contacted all the
friends and Bobby Darin family members he could find. His goal is to meet
family members. He said he's not
interested in claiming any money from the estate.
At the time of Bobby's
death, he knew nothing about his other son. Bobby's will leaves everything to
Dodd. When Sam contacted Dodd, Dodd answered him with a lawyer letter, telling
him to never contact him again.
We were discussing
this book on the Bobby Darin Fan Club page. Some people say Dodd should meet
with Sam. Others say he shouldn't.
The best part is that
author of the book Sam Tallerico, joined the conversation and answered our
questions. (I think Dodd is following his lawyer’s advice.
Frank B.
This whole story sounds very familiar
to me … in fact, I’d be willing to bet that YOU were the one who told me about
it a few years ago. (Digging thru the
archives now to see what I can find.)
My immediate reaction is, if he
doesn’t want any money from the estate, then what’s his real mission here with
writing the book and hanging out on the Bobby Darin Fan Club page? It just all seems a little suspect to me.
Then again, if he’s been able to
prove Bobby’s parentage through blood or DNA tests, then yes, he should be
allowed to tell his story.
Obviously, Bobby was never a part of
this guy’s life … and to bring it all out now (at the age of 51) seems just a
little bit odd to me. What stories can he possibly have to tell, having been no part of or had any connection to Bobby and his extended family?
Have you read the book? Does he offer concrete evidence backing up
his claims?
It’s probably not something I would
read because he shared absolutely ZERO time with Bobby in his life … so what
story does he really have to tell other than the possible connection? To me, that’s a chapter at best … or perhaps an
in-depth interview to cover his story as the two never interacted and likely
never even met. (Actually, that might be something that I'd be interested in doing.)
Now if Bobby
acknowledged the birth of a son … and took care of this Lillian Sweet in this regard … then that’s
an entirely different story … and one that might be worth hearing about. But if Lillian is dead … and Sam just started
his search at the age of 51 and never even saw or met his father or mother … I guess I’m just not
feelin’ it!!!
And I AM going to do some digging …
because the more I review this, the more I swear we’ve covered this ground before … and
if we have, and it still hasn't made much of a dent on the oldies news front, that just tells me that NOBODY is interested in hearing “the back
story” … or it would have come out by now!
(kk)
UPDATE #1:
OK, here’s what I found …
You first sent this to me about
three or four months ago … (I swore there was something much earlier … maybe
when the book first came out in 2016??? … but if it there was, I can’t find it.)
'60's FLASHBACK:
kk:
Do you know about this book?
If you wrote about it, I don't remember
it.
I also read that since the book was
written Sam’s and Bobby’s DNA match.
Frank B.
I’ve read at least six or seven different books on
Bobby Darin’s life and none of them have ever mentioned this guy. That’s not to say it couldn’t be true … Bobby
certainly had his flings … but it’s just odd to hear it coming up now, all
these years later. (Keep in mind,
Bobby’s been dead for 45 years now!)
Also the fact that the book’s been out a year but is
just now getting some notice makes me wonder … I’m just trying to decide if I’m
curious enough to read it. (Honestly,
what can he add to the story? He never
knew his father so can’t offer any insight there. Kinda sounds like one of those stories you’d
find on Ancestry.com or Lisa Kudrow’s “Who Do You
Think You Are” television program (which is actually quite good, by the
way!) kk
UPDATE #2: It
looks like Amazon, in their promotion for Sam’s book, is wondering several of
the same things that I mentioned …
In 2009, adult adoptee Sam Tallerico underwent a search for his birth
mother. In the process, he was led to believe that his biological father was
the actor/singer Bobby Darin. This book asks the following questions: When did
the author find out he was adopted? How does an adult adoptee go about learning
the identities of his biological parents if the records are sealed? What
rights, if any, do adult adoptees have when it comes to viewing these files?
What led the author to believe that he was the son of Bobby Darin? Did the
author do a Dna test? Was his birth mother able to verify his paternal
parentage? Does he have any siblings? How have Bobby Darin's family and friends
addressed this news? What's been the reaction from the deceased singer's fans?
Why don't any current biographies (at press time), either online or in print,
acknowledge the author's connection to Bobby Darin? Finally, just what drove
the author to pen this memoir? And what does he hope to gain as a result of its
publication?
Overall, some pretty favorable reviews … most of which
play down the Bobby Darin connection in favor of a more “this is an adoptee’s
discovery journey” angle. Read more … or
order your copy … here:
Different Sam ...
>>>Welcome
aboard, Sam ... I think you're gonna like it here. (And you're
right ... you've got a WHOLE lotta catching up to do!!!) But take your time ... and enjoy the
journey. Feel free to comment whenever and wherever you see fit.
(kk)
Thank
you for your warm welcome. Now that I’ve
done some serious browsing around your magnificent website, you may be sorry that you did! (lol)
I don’t know.
Right
off the bat, one of the things that I'm afraid I must take issue with are some
of the songs that were considered as instrumentals in your Top 50 Instrumentals,
1955 - 1979 list.
For
example, Fly, Robin, Fly by Silver Convention from 1975 is really not an
instrumental as far as I'm concerned since a female chorus is singing "Fly
Robin fly" and "Up, up to the sky" throughout the song. So
technically, that song is NOT an instrumental.
And
neither is The Sound Of Philadelphia by MFSB for the same reason. I would
also disqualify Pick Up The Pieces by the Average White Band because they chant
"Pick up the pieces" during the breaks. Sorry, but to me, that
disqualifies that song as a complete instrumental.
Also,
in Van McCoy's The Hustle, they yell "Do the hustle" in the song, so
as far as I'm concerned, that song should be disqualified as well.
I
don't even consider Ray Charles' version of One Mint Julip a complete
instrumental because he sings, "Just a little bit of soul now" in one
of the breaks.
With
Topsy Parts I and II by Cozy Cole, he speaks the words "Topsy Part 1"
and "Topsy Part 2" before the music actually starts, and there is no
talking or singing in the music itself, so I still consider that song an
instrumental. I even have a bit of a problem considering Tequila by the Champs a true instrumental because they say the word "Tequila" throughout the song, but it's just a single word, and everyone else considers it an instrumental so I guess it really is.
instrumental. I even have a bit of a problem considering Tequila by the Champs a true instrumental because they say the word "Tequila" throughout the song, but it's just a single word, and everyone else considers it an instrumental so I guess it really is.
Now,
in the case of Telstar by the Tornados, the group is simply humming along with
the organ melody in the last verse, and if a group just hums or whistles but doesn't
actually sing any words, then that still
makes it an instrumental in my book.
makes it an instrumental in my book.
There
is also humming in Johnny Maddox's 1955 instrumental The Crazy Otto as
well. I love that song. That brings back lots of childhood
memories from around Christmas of 1963, when my Dad's brother, my Uncle Fred, gave me his entire single collection, whose earliest song was Shrimp Boats by Jo Stafford from 1951 … and he had songs up to and including the very end of 1957 like Oh Julie by the Crescendos and, somehow, three copies of Jingle Bell Rock by Bobby Helms.
memories from around Christmas of 1963, when my Dad's brother, my Uncle Fred, gave me his entire single collection, whose earliest song was Shrimp Boats by Jo Stafford from 1951 … and he had songs up to and including the very end of 1957 like Oh Julie by the Crescendos and, somehow, three copies of Jingle Bell Rock by Bobby Helms.
Unfortunately,
it was the Crew Cuts’ version of Sh-boom that was in his collection and not the
much better Chords’ version.
In
fact, there wasn't really any R&B in that collection although, thank God,
he had Fats Domino's and not Pat Boone's version of Ain't That A Shame in his collection.
There
was lots of Elvis, Johnny Cash, Buddy Holly and the Crickets, the Everly Brothers,
Diana by Paul Anka, the Chas McDevitt Skiffle Group with Nancy Whiskey's
version of Freight Train, although I know that Rusty Draper also recorded
it.
There
was also some country music in the collection as well, like Indian Love Call by
Slim Whitman and Please Pass The Biscuits by Gene Sullivan as well as a country
version of the Whiffinpoof Song, of which my parents had Bing Crosby's 1940's
version of on a 45.
Anyway,
I learned a lot about fifties music at a very early age thanks to that
collection of my Uncle Fred's.
Now, on to another matter.
Now, on to another matter.
I
read with great interest your Best Of The Rest, Part 1 list containing the top
ten summer hits of the years 1955 through 1962. In a way, I wish you
could have done a top fifty for each of those years like you did with 1963
through 1970. However, I realize that that would be a heck of lot of work
for the people that compile the information and put these lists together for
you. It's just that the earliest days of rock and roll, especially the
fifties, is what personally interests me the most. In fact, it would have been really interesting
to check out the songs that appeared on the Billboard R&B charts during the
three months of June, July and August of 1955, because those charts would have
contained a lot more exciting material on them that was much closer to rock and
roll than the pop charts of the time. It would have been even more
interesting to check out the local Chicago charts for that time, because there
was a snappy little number that was out in the summer of 1955 that was probably
a pretty big R&B hit locally since it was released on Chicago's own Vee Jay
label. The song I'm talking about, of course, is At My Front Door by
Chicago's own El Dorados. I just bet that Al Benson probably played the
hell out of that song in the summer of 1955 on WGES in Chicago, which seven
years later, on September 1st, became a real winner when they
changed their call letters to WYNR … and, for a couple of years, they were a
top forty station.
But
trying to compete with 50,000 watt WLS with only 5,000 watts on 1390, they
never had a chance, and only two years later, in 1964, they became an all news
station.
Anyway, I know that comparing 1955 pop charts with R&B charts is like comparing apples and oranges, but it is this aspect of fifties music that I love and am inspired by the most.
Well Kent, those are just some of my thoughts for what they're worth.
Anyway, I know that comparing 1955 pop charts with R&B charts is like comparing apples and oranges, but it is this aspect of fifties music that I love and am inspired by the most.
Well Kent, those are just some of my thoughts for what they're worth.
Anyway,
you take care, and thanks so much for the warm welcome.
With warmest regards from Canada,
With warmest regards from Canada,
Sam
Ward
It took a little bit of digging but
I found Joel Whitburn’s criteria for designating a song as instrumental
status. Of course, this is up for debate
… and you’ll see that no less an authority on instrumentals than Duane Eddy
even challenged him at one point on his methodology.
But when we put it to our readers to
come up with THEIR list of instrumental favorites, we followed Joel’s rule of
thumb. (I get some of what you’re saying
… TSOP and Silver Convention, for example … but to not consider “Tequila” an
instrumental simply because of the uttering of the song’s title I think is
being over the top critical!) kk
Here is what Joel told us back in
2009 when this series first ran:
My definition of an instrumental, which I designate in my books with
an [I] symbol, is a song that is two minutes or longer with less than 30
seconds of vocals. I have allowed a few exceptions ... however, I try to keep
that as my basic rule. I think that the MFSB song “TSOP” certainly qualifies as
an instrumental because it’s a 3-1/2 minute song and the first actual vocals
(not the “du-du’s) aren’t heard until the 3 minute mark. And, the Grammys
agreed with that reasoning, giving it an award for R&B Instrumental. On the
other hand, although the first 1:19 of “Moon River” is an instrumental, the
final 1:23 is sung by a chorus. “Fingertips, Pt. 2”, I do not show as an
instrumental because Stevie Wonder’s vocals are heard for 70 seconds,
interspersed throughout the approx. 3+ minute song.
On an interesting aside note, my good friend Duane Eddy took exception to my rule, saying that his four chart hits that have vocals by The Blossoms (The Rebelettes) were all instrumentals. Despite his prodding, I still do not classify them as instrumentals. “Boss Guitar”, for instance, features 70 seconds of vocals. Anyhow, opinions probably vary greatly as to what really constitutes a true instrumental recording. I’ve had responses from customers who’ve asked me why I designate “Topsy II” with an [I], when the first thing heard is a spoken word, or why “Tequila” has an [I] when the last thing heard is a spoken word. So, I give them my explanation as shown above and some agree and others don’t. I guess that’s all part of the fun in being passionate about your personal record archive.
Joel
On an interesting aside note, my good friend Duane Eddy took exception to my rule, saying that his four chart hits that have vocals by The Blossoms (The Rebelettes) were all instrumentals. Despite his prodding, I still do not classify them as instrumentals. “Boss Guitar”, for instance, features 70 seconds of vocals. Anyhow, opinions probably vary greatly as to what really constitutes a true instrumental recording. I’ve had responses from customers who’ve asked me why I designate “Topsy II” with an [I], when the first thing heard is a spoken word, or why “Tequila” has an [I] when the last thing heard is a spoken word. So, I give them my explanation as shown above and some agree and others don’t. I guess that’s all part of the fun in being passionate about your personal record archive.
Joel
If you haven’t taken a look at this
list in a while, here’s the link so you can review it once again …
We’ve had a few DeeJays on the list
base special programming around this countdown over the years … and it always
gets a good response. (Some of the
stations have even polled their own listeners in order to determine what THEIR
favorites are … a great programming tool when you’re putting together your
radio station play lists … I mean, after all, how many instrumental can you
really play during the course of a week?!?!?)
Obviously, STILL a hot topic with
our readers as more and more people continue to discover our site … which means
a special program like this has got “legs” … why don’t you consider some of our
specialty readers’ polls for some of YOUR station’s weekend programming? You'll find all kinds of great ideas on the other Forgotten Hits website! (kk)
Hi Kent,
Around about 1966 I was in a garage band and we covered a
great song that was a regional hit in the NY - NJ area. All I can remember is
the first line of the lyrics and what I recall about the title. The first line
was “You’ve been talking to my girl and I don’t want you to” and I believe the
title contained the word “talk”. I’m hoping you or one of your readers can help
me identify the song and the artist.
Thanks,
Frank Jeckell
Founding member of the
1910 Fruitgum Company
PS This summer we celebrated the 50th anniversary of our
Billboard #5 hit 1, 2, 3, Red Light
I suck at lyrics … but I’ll betcha
somebody out there will know this one.
And congratulations on the Big 5-0 …
1968 was a GREAT year for bubblegum music … and you guys were the leaders of
the pack! (kk)
Great
info, Kent!
Keely
Stahl
Personal
Assistant to Jerry Blavat, the Geator with the Heater
Man, I would LOVE to have Jerry share some of his incredible stories and memories with our readers from time to time! Thanks for the note! (kk)
Hi Kent,
Great to read your
column all the time. So sorry to hear about Gene Cornish and Mark
Lindsay, two of my childhood heroes. Were there any better songs than those early Raiders
rockers or anything by the Rascals??? Hopefully Gene will be back playing
with Felix and Carmine Appice soon.
Regarding Sirius XM
and it’s 60’s and 70’s channels, I, too, feel they are missing a ton of
music. Why have a paid-for oldies stations when I can hear the exact same
tunes on my local oldies terrestrial station?? For example, beyond the
Lovin’ Spoonful’s “Do You Believe In Magic” and “Summer In The City,” there are
also “Six O’Clock,” “She’s Still A Mystery,” “Darlin’ Be Home Soon,” “Money” and others
that all charted quite high in the charts. THAT’s what they should be
playing on these channels. Go a little deeper than the same old, worn out
tunes that we hear everywhere! Dumb. I would love to program these channels.
(As an aside, does anyone remember “Full Measure” by the Lovin’ Spoonful?
Great tune … and it was the B side of “Nashville Cats” that I also started to
hear on the radio once in a while back then. It seemed like it was
gaining some airplay momentum. Amazing song, this one sung by Joe Butler
I believe.)
The Deep Tracks
channel is frustrating also, although they are much truer to their intended
goal than others. I want to hear deep album cuts and you’d be surprised
how many times I hear a hit single on there (often by the Beatles, who already
have their own channel!) We aren’t expecting to hear “hits” when
you’re channel is all about “deep tracks”.
Ah well, we complain
but there is a ton of great music available today that we could never
have heard without today’s technology.
Keep up the great
work!
JC3
I
stand by what I said earlier … if we’re going to PAY to hear dedicated stations
like this, then I believe the listeners deserve SOME input into what these
stations program … otherwise, they’re going to continue to lose listeners. You’ve got to EARN our business … WE’RE the
customers … and, as we all know, the customer’s always right. (Or they’ll go elsewhere to be better
appreciated.) Right now I find it VERY
unlikely that I’ll renew my Sirius XM subscription when it comes due in
December … and that’s a downright shame because this is the kind of service I
should absolutely enjoy on a daily basis.
Click
on that Me-TV-FM link above … and you’ll hear an INCREDIBLE variety of music
FOR FREE. Same thing with Rewound Radio
who, I believe, EXCELS at this whole oldies programming thing … and you get a
nice mix of ‘50’s, ‘60’s, ‘70’s and ‘80’s in the process. (kk)
Wow, Buddy ... I still don't know how you keep up ... but I know the
readers are grateful you do.
readers are grateful you do.
Great read ... some sad ... and some glad.
Well done, mi Amigo, well done.
Stay well and be blessed, my friend.
Barry
Stay well and be blessed, my friend.
Barry
Everytime
I read an issue I ask the same question:
How
does he do it?
Needless
to say, thanks for all you do … it means a lot.
But
the question bares repeating:
How
does he do it?
Continued
success,
Jim
Nowoc
