Tuesday, April 23, 2019

Tuesday This And That

The loss of Chet Coppock is devastating!
On behalf of The Buckinghams and I, we are terribly saddened.
We all know how much Chet meant to Chicago sports with all that he accomplished. I always loved his outspoken shoot from the hip, take no prisoners, straight forward attitude.
Being the giant Bears fan that I am, I always enjoyed talking to him and listening to his input on the Bears.
Not too long ago we judged “Kids Rock” at The Hard Rock in Chicago and had a chance to sit together and talk for a few hours. As much of a sports authority that he was, he really knew music, especially the Chicago bands of the 60’s. I always looked forward to seeing him at one of our shows, especially the "Cornerstones Of Rock.” He was one of our biggest supporters and was to be on the new board of the “Chicago Rock & Roll Hall of Fame.”
All I can say, Chet, is that we will miss you. It is a feeling of tremendous loss.
Carl Giammarese
The Buckinghams 

I’m sorry to hear about the loss of your good friend, Chet Coppock. 
My argument with him over “Seven Little Girls” was done in good humor and I enjoyed the give and take that it provided.
He knew his “stuff”!
Paul Evans 

Man, so sorry to hear about Chet.  
We pray for God's peace for the family.
Later my friend.
Barry Winslow

Hi Kent –
I am here in China and most news is now blocked from the USA but the one bit of news I was able to get was about Chet Coppock.
I was in shock when I heard the news. I had talked to him just two weeks ago about a new show I was putting together and, as always, he was excited to be a part of it.
I got to know him over the years and was invited to all his book signings, which was a great chance to meet so many famous people and legends of the Chicago Bears. He was my kind of person and I think the reason I got along so good with him was because he is like me and not afraid to tell it like it is.
A sad moment for all in the sports and music world. He went out of his way to help others and I was thrilled to see his excitement when his daughter got married just a few weeks back. I could feel his emotion and was so happy for him.
He worked many shows with my brother, who is a wrestling announcer and my nephews who are pro wrestlers. A lot of family ties with Chet.
The first person I called was Ray Graffia and I could feel his pain also.
Let us all remember Chet.
Rocky Colletti 
Wow, I had forgotten about his daughter’s wedding.  The night we went to dinner at Lou’s, he was telling me how he had to go out of town the following weekend for his daughter’s wedding.  Thank God he was able to be there for this final family gathering.

Here is a picture from the ceremony …

I haven’t heard anything in the way of funeral arrangements yet … I so want to go and pay my respects but fear that it all may turn into a media circus.  I encourage everyone to respect the wishes of the family in this regard.  (kk) 

Hi Kent:
Very sad news about Chet Coppock for sure. I remember listening to him back in the '80's on his Sports Talk shows. Enjoyed his blurbs on Forgotten Hits. Even though I didn't agree with him all the time, he was always interesting.
Ken Freck

Frannie had done some digging over the weekend, locating the news of Chet Coppock’s fatal car accident as it appeared in the local papers as it happened.  Monday Morning I saw that Robert Feder had updated his posting with much of this same information … so since it has already been written in a concise and informative way, I’ll just run his recap here …

Robservations on the media beat: 
Devotion to Accuracy Department: Initial media reports on the death of legendary Chicago sportscaster Chet Coppock Wednesday contained incorrect information on the date and location of the traffic accident that claimed his life.
At 1:04 p.m. on April 6 Coppock was a passenger in a 2004 Lexus traveling southbound on a highway in Okatie, South Carolina — 14 miles west of Hilton Head Island — when it crossed the median and struck a 2018 Land Rover traveling northbound, according to police reports. The Land Rover then stuck a 2019 Chevrolet traveling in the same direction. Coppock, all three drivers and a passenger in the Chevrolet were injured. The driver of the Lexus was identified as Amy Louise Williams, 50, a former Chicago TV producer from Hammond, Indiana, who now lives in Charleston, South Carolina. Coppock, 70, died of multiple injuries 11 days later at Memorial University Medical Center in Savannah, Georgia. (I have updated my original post to include the correct information.) 
-- Robert Feder

Hello Kent,
I was wondering if your memory is good when it comes to rock clubs around the Chicago back in the era.
I have a cousin, Al Dawson, who was one of the many drummers for the Cryan’ Shames and now lives in New Mexico.
He was a Chet Coppock fan when he lived here. When I sent him the sad news about Chet, there was an "on a happier note" portion of his email. Here's a cut and paste of the paragraph that asked some good questions:

As long as I have your attention … the other day I was having a conversation with someone about the Cellar and the other "teen" clubs in and around Chicago in the '60s and '70s and I was having trouble remembering most of the names, other than the New Place and Blue something or other.
Didn't Dex Card have a bunch of clubs? Do you know of any list of clubs from then? There was one in Wisconsin that was on an old chicken farm and had a tree growing through the stage. The Shames played there with the Who but again, I can't remember the name (old man memory and all that).

I already answered the easy one about Dex's Wild Goose clubs. But since I grew up in the city, I didn't become as familiar with as many of the suburban clubs as someone like you or Al. If you can fill in some of the blanks he's drawing, please let me know.
Hope you had a Happy Easter.
I was too young for the clubbing scene back then ... but I'll betcha between the artists on our list and the readers we can come up with one heck of a list.  What say you, folks???  (kk)  

After I recounted my conversation with Freddy last Friday, I got a few immediate responses that I wanted to share …
If you would like to send Get Well Wishes and words of encouragement to Freddy Cannon, just drop me a line and I’ll be happy to pass them along.  (kk) 

Dear Freddy,
You are a true legend of Rock and  Roll.
I would rush home from school to see you perform on American Bandstand and Where The Action Is.  I remember one of the regulars on AB, Carmen Jimenez, said that she was your number one fan!!!
I have a juke box in my basement and have "Tallahassie Lassie" and "Way Down Yonder In New Orleans" in it.  I could listen to them every day.
Freddy, you have a great style of your own and thank you so very much for all the entertaining hours you have given me and all your other fans.
Now we want you to write a book about your career!!!  And keep up with the art work.
Do you have it posted on a web site? I would love to get one to hang with my other Rock and Roll collectibles!!!
Stay Healthy and Happy. One closed door opens another! 
And who gave you the nick name “BOOM  BOO0M”?!?!?!
Love You, Freddy,  
Carolyn - Westchester, IL

In the early 60's when I was a kid, I used to sit on my rockin’ horse and watch American Bandstand in the afternoons. I was 3, 4 and 5 years old, and always especially loved it when Freddy Cannon was on. I bought Palasades Park because of the times I heard it on Bandstand.
I got to meet him once in the 70's when he was playing with Bobby Vee and Del Shannon in my home town of Grand Forks, North Dakota.
Later on, a band I was playing and singing with was managed by the same guy that did a lot of bookings for many of the 60's era groups. His name was Dave Hoffman … and  he had nothing but great things to say about Freddy.
Freddy's records are some of my go to oldies when I want to remind myself where Rock and Roll came from.
Hang in there, Freddy. 
You are one of my first influences. You really know how to ROCK!!!  
Bill Scherer

I was sorry to read that Freddy Boom Boom Cannon will not be singing anymore.
I want to say thank you, Freddie for all your great music.
One of my favorites is Palisades Park.  Hearing that song will always make me feel the thrill of summer, the joy of being a young kid with the world in front of me, and the fun of being at the amusement park with my friends and family.
For Chicagoans, our Palisades Park was Riverview.
Oh … those glorious days of our youth …
Thanks for being part of our precious memories, Freddy.
Pam Enzweiler-Pulice
Director of The Dick Biondi Film 



From the Svengoolie Crew!  A video is attached!

We love you Freddy!!!!

Both Glen Fisher and Sonny Maxon repeated your talk with Freddy " Boom Boom " Cannon about his illness. Both gentlemen mentioned you by name and gave credit to Forgotten Hits for breaking the story.
Certainly not a story I was happy to break … I know this has been heartbreaking for him.  All he has ever done is sing for the fans … he’s devoted his whole life to entertaining … so this is a VERY tough pill to swallow for sure.  All the more reason who want to share the outpouring of love from his fans … so please, continue to send your encouraging words and we’ll pass them along to Freddy.  (kk) 

Well, Kent, I for one would sure love to see that two-hit wonder list.
If I could only get all those chart books in a form that a blind guy could read, or even a web site for that kind of stuff, I'd probably try and make that list.
I think it would be an interesting one for sure.
I’ve been thinking about it for twenty years … I suppose at some point I should just sit down and DO IT!!! (lol)
Of course, every waking moment these days is spent tabulating votes for our Classic Rock Essentials List … but in addition to this being an extremely interesting list to post and share, I think it has all the makings of a killer specialty weekend radio series … so I’m gonna have to find the time somewhere to get it done.  (But I’m going with MY definition of a Two Hit Wonder … meaning two memorable Top 40 Hits that were undeniable hits.  So stay tuned … (just don’t hold your breath!!!  Lol!)  kk 

>>>Also on this date (April 16, 1969), Johnny Cash films a live concert episode at The Ryman Auditorium for what will be his new television series.  You can also catch Johnny on The Kraft Music Hall this evening, where he performs "Folsom Prison Blues."  (And what a GREAT way to tell people about your brand new TV show!!!)  kk
Except he couldn't say much, as they were on different networks, NBC for "Kraft" and ABC for the new one ... and likely neither were fond of promoting an artist whom, at the time, was under contract to Columbia Records (then owned by CBS)!  
--Bob Frable
LOL … all good, valid points!!!
I honestly don’t know (as I don’t recall watching much of The Kraft Music Hall back in the day!!!  Lol), but I think this may have been an instance of at least MENTIONING it, which was a fairly common practice on forums such as talk shows airing on competing networks.  Johnny Cash scoring his own TV show would have been big news.  (kk)  

UPDATE:  Remarkably, I found the entire program on YouTube … it actually airs as a Johnny Cash Special.  (Peggy Lee was also a guest, performing her big comeback hit “Is That All There Is.”)  Since Johnny hosted the entire program, I don’t know that there would have been a chance for him to “self-promote” … it came across as its OWN episode of what would become “The Johnny Cash Show.”  And, since he was just first taping what would eventually be an episode of his new series that same day, maybe it was a bit premature to promote something that you couldn’t actually watch yet.
If you’re interested, you can catch the entire program (split into six chapters) here … (it’s kind of an Americana-themed salute to old folk songs, trains, travel and the like, making Peggy’s performance of “Is That All There Is” seem a little bit out of place.  That being said, her voice is simply beautiful throughout the program and shines on every number she performs.)  :  https://www.youtube.com/results?search_query=johnny+cash+kraft+music+hall+1969 





APRIL 18, 2019 


Singer / songwriter Al Green is embarking on a US tour that starts in Austin Texas, on April 24th and concludes May 9th in Los Angeles at the Greek Theatre. He doesn’t come around too often so check him out if you can.  

The last time I caught Al Green was at the Greek Theatre in 1974. David Bowie was in attendance. We were both impressed by Green and his band. A short but potent set of tunes was displayed in front of us at this famed venue. 

Today, Reverend Al Green dedicates his time to his ministry in his hometown of Memphis, Tennessee. 

With a highly successful recording and touring career that spans over five decades, Al Green’s musical roots originate in Memphis, but he has made an undeniable and lasting impact on music and musicians around the world from R&B, Soul, and Pop to Blues and Gospel. 

Throughout his career, he has earned a long list of hit albums and singles starting with his breakthrough release Al Green Gets Next To You in 1970 featuring his first Top 10 hit single “Tired of Being Alone,” and 1972’s Let’s Stay Together which reached No. 1 on the Top R&B Albums chart and No. 8 on the Billboard 200 with the title track hitting No. 1 on both the Hot 100 and Top R&B charts concurrently.

Green continued his chart success with back to back hits including 1972’s platinum selling album I’m Still in Love With You, 1973’s Call Me, featuring the hit single “You Ought To Be With Me,” 1973’s Livin’ For You, 1974’s gold selling Al Green Explores Your Mind and 1975’s Al Green is Love, all hitting No. 1 on Billboard’sTop R&B chart plus the Top 20 R&B hit albums Full of Fire (1976) and 1977’s Have A Good Time. 

In 1975, Al Green released his platinum selling collection Al Green’s Greatest Hits which reached top 20 on Billboard’s Top 200 and No. 3 on the Top R&B chart, and packed with hits including “Let’s Stay Together,” “Call Me (Come Back Home),” “How Can You Mend A Broken Heart” and “Tired of Being Alone.”  

In the 80s, the now Reverend Al Green returned to the music he was raised on, and for the next decade, he focused on Gospel music. His first Gospel album was The Lord Will Make A Way. His fans followed his new path and he continued his chart success with 1983s I’ll Rise Again, which hit No. 4 on the Top Gospel Albums chart, garnered a Top 10 hit album with Trust In God, and 1987’s Soul Survivor, reached No. 1 on the Top Gospel Albums. 

He returned to pop music with I Can’t Stop (2003) and 2008’s Lay It Down, put Green back on the pop meter with a No. 9 and No. 3 on the Top R&B chart. 

Al Green continues to receive praise and accolades most recently being celebrated in Washington D.C. at the Kennedy Center Honors in 2014. In 1995 he was inducted into the Rock And Roll Hall Of Fame. 

In 2018, he recorded and released “Before The Next Teardrop Falls,” his first single in almost 10 years. 

Rolling Stone magazine listed him as one of the 100 Greatest Artists of All Time while the music site Pitchfork proclaimed Al Green as “The Greatest Living Soul Singer.” Behind Al Green’s ascension in the 1970’s hit parade was the hands-on addition of Hi Records producer/bandleader/trumpeter Willie Mitchell who since the mid-‘60’s veered the label into state-of-the-art R&B recordings. 

Al Green, Don Bryant, Ann Peebles, Willie Jackson, O.V. Wright, Syl Johnson, Otis Clay, Bill Black and many more were part of the Hi Records stable, launched in 1956 initially as a rockabilly and instrumental label. 

Mitchell and his band provided the musical entertainment at several New Year’s Eve parties for Elvis Presley at his Graceland home in Tennessee. The Beatles on a 1964 U.S. tour stop met Mitchell at his Royal Studio when the Bill Black Combo opened a show for them. 

In 1968 Mitchell had his own instrumental top 40 single in the U.S. charts “Soul Serenade” on the Hi Records label. It was a cover of a jazz tune penned by King Curtis and Luther Dixon initially cut by Curtis in 1964 for Capitol Records. I saw Mitchell and his band in Orange County at a Disneyland stage in the late sixties. 

The timelessly sensual groove of soul singer Al Green and the Hi Records Memphis sound has been released, re-packaged and downloaded for years. 

For those seeking an introduction to Green’s catalog or a compilation of his hits, seek out a four- CD set The Immortal Soul of Al Green. 

There’s also a three-CD package Hi Times: The R&B Years focused on a magical era with church-soaked vocals and soaring falsetto leads underlined by the almost-mathematical production work of Willie Mitchell and the Hi Rhythm Band featuring Charles Hodges organ, Leroy Hodges bass, Mabon “Teenie” Hodges guitar, drummers Howard Grimes and Al Jackson Jr. with assistance of trumpeter Wayne Jackson and saxophonist Andrew Love of the Memphis Horns. 

In 2009, the Fat Possum label licensed the Hi Records catalog. 

“Ann Peebles’ smoky voice really got the blood boiling,” volunteered Paul Body, an L.A. based drummer/writer.  

“I remember the first time I heard ‘I Can’t Stand The Rain’ during the fall of ’73. It really knocked me out because it sounded so mysterious. It sounded like she was channeling Ma Rainey. It was way too bluesy for the soul station back then but it was a huge hit. I saw later and she was a juke joint hot with the Hi band pumping the groove behind her. 

“I was there that night at the Troubadour club when John Lennon was yelling out what he would like to do to Ann Peebles. Although he was rude and crude I knew where he was coming from. 

“All I can say about Al Green and Teenie Hodges is that they wrote ‘Love and Happiness,’ one of the all-time groove songs. Man, that thing just smoked. It might have been the best song that they ever wrote together. I remember listening to it up the Russian River thirty odd years ago and it blew the roof off the pad. 

“I saw Teenie Hodges once in person and he was a small cat but he could make that soul music rumble. He didn’t strangle a guitar like a lot of guys did back then. He caressed it just like a woman. 

“Those early Al Green and Willie Mitchell things were so locomotive. Some of the time they sounded like a southbound train and other times they percolated like hot coffee,” suggested Body. 

“Willie Mitchell had the coolest drum sound happening,” Paul reinforced. “Have to give Al Jackson, Jr. and Howard Grimes their props. They were the engine that made that groove happen. Marvin Gaye and Stevie Wonder got all the glory in the 70’s but Willie and Al had the soul, blood and guts. Without them the 70’s would have been the early ‘50’s.” 

“I first became aware of Willie Mitchell,” added multi-instrumentalist Chris Darrow “like most people, through Al Green and Ann Peebles records. In my estimation ‘I Can’t Stand The Rain’ is one of the most perfect records ever made. The driving grooves and the dark, yet effective, tonality really got to me. 

“However it was the album Total Explosion, by Syl Johnson, a great overlooked singer, who really turned me on. He was a funkier, a more raw version of Al Green, who played the harmonica. I think his raspy voice and harder approach got to me more than the prettier Al Green records. But it was always the rhythm section that set the tone of the Hi Records albums.” 

Since the late seventies, Mitchell worked with Rod Stewart, Solomon Burke, Buddy Guy and My Morning Jacket at his Memphis-based Royal Studios. 

The facility was the site of several sessions for Stewart’s Atlantic Crossing solo LP and Keith Richards’s debut solo album Talk is Cheap that is now being reissued March 29th with six bonus selections. 

In the May 2001 issue of MOJO magazine, writer Robert Gordon described the Hi Studio which was built as a movie house in 1915 and converted in 1957 to Royal Studios when it became the home of the Hi Records label and the Hi Rhythm Section. 

“The Hi Studio is located in an old movie theatre, the Royal. The control room used to be in the projection booth but has moved to the back of the studio floor, which still slopes. They began with a two-track machine and by the time they were done with Al Green’s hits, they’d linked four together, wired so that only two machines-four tracks-could record simultaneously. Willie Mitchell was innovative and exacting, and achieved his multi-layered sound with antiquated equipment.” Mitchell favored RCA ribbon microphones. 

Since Willie Mitchell’s 2010 death, Marc Ronson and Bruno Mars recorded the smash hit “Uptown Funk” at Royal Studios. Engineer Lawrence “Boo” Mitchell, Willie’s son, won a Grammy for his work on “Uptown Funk,” while Ronson produced the bulk of his Uptown Special in 2015 at Royal. Robert Plant, Paul Rogers, Elton John, and Snoop Dogg have cut tracks in the fabled room. 

In 2004 I conducted a phone interview with Willie Mitchell in Memphis, Tennessee. 

In my conversation with Mitchell, we discussed his landmark recording and production career, Hi Records, and life in the studio with his most important talent vocal discovery the former Albert Greene, pka Al Green. 

A small portion of our interview was quoted in author Jimmy McDonough’s book Soul Survivor: A Biography of Al Green. 

HK: Where were you born? 

WM: Ashland, Mississippi. My parents moved to Memphis when I was three. I studied music at Melrose High and then Rust College. Before I went to college, there was a Memphis musician named Onzie Horn, whom I lived with for a while when I was 16. He showed me the Schillinger system (a music method) he had learned in Chicago. He studied with Billy Strayhorn and Quincy Jones. 

Q: You were around Hi Records for years before they let you get close to the recording console. 

A: I had done an album with O.V. Wright, Eight Men and Four Women which became a huge R&B smash for Don Robey and Duke/Peacock Records. Then they sent me Bobby “Blue” Bland and I did an album with them. Then more people began to come. Charlie and Inez Foxx and I would always say to Joe, ‘I don’t like the sounds I’m getting out of this place. We can do better than this.’ 

I told them I wanted to run the board. For my first session, I cut “Soul Serenade,” which turned out to be a big R&B and pop record. King Curtis had had a pretty good hit on it. I said “we’re gonna do it funky and simple.” It became a huge hit. 

Then we started working with Ann Peebles. A trumpet player, Gene “Bowlegs” Miller, brought her up to me and said, “Willie, this girl has a good voice.” I told him, “All she needs is material.” So we went into the studio with her and the first record went around 100,000. She became popular on the blues and R&B market. This was before Al Green. 

Q: There is almost a mathematical production style and the way you employ sparse instrumentation on many of the recordings we’ve heard the last 30 years. I know the Schllinger system involved music notes as mathematics. From listening to these Hi Records recordings, I noticed you used big, semi-jazz chords in your charts. 

A: When I began work with Al Green, I applied some of those different things. Especially on “I’m Still In Love With You.” You’ll find lots of those big chords there. I used freak chords on “Let’s Stay Together.” 

Al would come to the house and eat and sleep. My wife cooked for him. I used to play him records and say, “Listen to the notes and how they are posted.” In fact, Al and I used to spend as much as 10-15 hours a day just studying. 

Q: How did you first meet Al Green in 1968? 

A: We were booked in Midland, Texas. It was a real hot day. 109 degrees in the shade. It was a huge club that seated 2,500 people. When I pulled in, Al Green came up to me and said, ‘Hey man, I’m stranded here. Could I sing a couple of songs? You could give me enough money to get me back home to Michigan.’ So I let him and Al starts singing a Sam & Dave song when we were going over what songs we were gonna do. I was gonna give him $50.00. 

Then he starts singing and I told my brother, “Hold the band a minute.” I said, “Come over here, kid. Man, you got a great voice. Why don’t you go back to Memphis with me? We got a little label called Hi Records and we can cut some records.” And he said, “Well, how long will it take for me to be a star?” I told him about 18 months. He said, “I don’t have that long.” 

So we played the gig that night. I was really amazed at his voice. The way he sounded. The way he delivered a song. So after the gig, we were packing up the bus and a car had blocked the driveway and we couldn’t leave. We were sitting there ready to go. 

So there’s a knock on my window. “Hey man, you said it would take 18 months for me to become a star.” I said, “Somewhere in that area.” He said, “Nah. I’m not going.” Then the car in front of me got started and we went to pull out and he said, “Yeah, I’m going.” 

So he came to Memphis. We are about ten minutes from Memphis, about to cross the bridge and he says, “I have to go back to Grand Rapids, Michigan…I‘m gonna need some money.” “Uh-oh. Here it comes.” ‘To get myself straight in Grand Rapids so I can come back and work, I’ll need $1,500.00.” That was big money in 1969. So I said, “O.K. kid, I’m gonna give you this money. Now go back, straighten yourself out and come back.” 

He was real cocky, but I liked his attitude. I put him on the bus and three months later, I would think, “That little…took my money and I don’t even have an address or phone number with his name.” 

Then one night, we played a college in Louisville, Kentucky, came home at 6:30 a.m. and somebody starts bangin’ on the door and Al Green is standing there. I let him in and showed him where he needed to go. He said, “‘Don’t you remember me? I’m Al Green.” I had forgotten him. He had my money. I got him an apartment, but he was getting frustrated. 

He cut a version of the Beatles’ “I Want To Hold Your Hand.” We came up with a thing called “You Said,” which did about 100,000. I wasn’t satisfied with that. I said, “We’re off on a Sly Stone groove and we’ve got to find our own thing.” 

Q: What was the initial session like in 1970? 

A: He was singing too hard. I told him he had to soften down. Then we cut a version of the Temptations’ “I Can’t Get Next To You.” that did about 700,000. It showed that he was still singing hard but he had such command. That sort of launched him into getting some gigs. Then we started cutting an album, Green Is Blue. He was up in Detroit and brought in this song, “Tired Of Being Alone.” And when I heard the song, I knew that was gonna be it. 

It hung around February to July and we sold about 900 of ‘em. And I said, “I can’t be this wrong. This song was gonna be a hit.” So I went to Atlanta, Georgia to radio station WAOK. I sat with the DJ and the record busted there. We did 30,000 the first week. I called back to Memphis at WGIA, who I dropped the record already and told them, “We got somethin’ goin’ on.” Then I went to New York and all hell broke loose. It ended up doing 1.5 million. I told Al, “You’ve been singing hard.” 

Q: I always heard that when Al was in England on his first tour, you really developed your own sound for him at that point back home. 

A: When Al was in England, I came up with the melody for “Let’s Stay Together.” When he came back, we would stay at the piano from 9 in the morning until 11 at night. Just a piano and a tape recorder and he’d sing. In 15 minutes, all the lyrics were down for “Let’s Stay Together.” I was getting’ hot. I wanted 500,000 copies pressed on “Let’s Stay Together.” They thought I was crazy. The record came out on Monday and by Thursday it was gold. Then, “Call Me.” 

Q: What were Al Green’s greatest strengths in the recording process? 

A: The main thing is, Al could sing in tune. Once he got a hook on a song, it was hard to beat him. The song was dead. We had six years of nothing but gold and platinum records with Al. Then we finally hit with Ann Peebles’ “I Can’t Stand The Rain.” That was good. Did some really good stuff with Syl Johnson. We did the rhythm tracks, Al Green or whoever would sing their part, and we’d build from that. 

Q: I’m amazed listening to the drum sounds on your productions, with Al Jackson’s pulsating drums and Howard Grimes on conga. The songs still jump out of the radio. 

A: Al Jackson was my drummer until his death. Howard Grimes had cut for Stax, recorded with Rufus Thomas and still worked with me. Every time I cut Al Green, I would have both Howard and Al on hand to play.  

This is big news as Al Green virtually NEVER tours … 

If you get the chance to see him, go!  (I know Frannie’s always been a really big fan.)  Unfortunately, this a VERY short tour of only six cities … and Chicago isn’t one listed as one of the stops.) 

HOWEVER … It looks like they are continuing to add dates to the itinerary … 

And Chicago has now made the list! 

So the very latest tour dates are shown below: 

04/24 – Austin, TX @ Bass Concert Hall 

04/26 – Irving, TX @ The Pavilion at Toyota Factory 

04/28 – New Orleans, LA @ New Orleans Jazz & Heritage Festival 

04/30 – Sugar Land, TX @ Smart Financial Centre 

05/03 – Atlanta, GA @ Fox Theatre 

05/05 – New York, NY @ Radio City Music Hall 

05/07 – Chicago, IL @ The Chicago Theater 

05/09 – Los Angeles, CA @ The Greek Theater

Billboard Magazine is reporting another new record eclipsing chart records established by The Beatles and The Monkees back in the ‘60’s.
BTS, the South Korean pop group has just scored their third #1 album on The Billboard Top 200 Chart with the release of “Map Of The Soul: Persona,” which racked up the equivalent of 230,000 album units for the week ending April 18th.  (So how come I’ve never heard of BTSmania??!?!)

Billboard explains it this way …

As previously reported, BTS collects its third No. 1 album on the Billboard 200 chart with Map of the Soul: Persona. The set launches with 230,000 equivalent album units earned in the U.S. in the week ending April 18, according to Nielsen Music – a career-best week for the South Korean pop group in terms of units earned.
The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units. Units are comprised of traditional album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). The new April 27-dated chart (where Persona enters at No. 1) will be posted in full on Billboard's websites on April 23.
Some acts take years to accumulate three No. 1 albums, but for BTS, the group needed just under 11 months, starting with its first No. 1, Love Yourself: Tear (June 2, 2018-dated chart), continuing through its second No. 1, Love Yourself: Answer (Sept. 8, 2018), and now with Persona (April 27, 2019).
The last act to score three No. 1s faster was Future, when he logged his first three No. 1s in just six months and three weeks, with DS2 (Aug. 8, 2015); What a Time to Be Alive, with Drake (Oct. 10, 2015); and Evol (Feb. 27, 2016).
Notably, before Future’s feat, the ensemble cast of the Fox TV series Glee notched all three of its No. 1 soundtracks in just one month and three weeks in 2010. Glee: The Music — The Power of Madonna, bowed at No. 1 on May 8, 2010 and was quickly followed by the chart-topping Glee: The Music, Volume 3 — Showstoppers (June 5, 2010) and Glee: The Music — Journey to Regionals (June 26, 2010).
It’s uncommon for any act to tally three Billboard 200 No. 1s in less than a year. How rare? Before BTS, the last traditional group (excluding the Glee ensemble, whose multiple cast members rotated) to log three leaders within such a quick span was the Beatles in 1995-96, when the band’s archival releases Anthology 1, Anthology 2 and Anthology 3 all debuted at No. 1 in a stretch of 11 months and a week (between Dec. 9, 1995 and Nov. 16, 1996).
The last group to collect three No. 1s at a faster pace than BTS was the Monkees in 1967, when the quartet reached No. 1 with More of the Monkees (Feb. 11, 1967), Headquarters (June 24, 1967) and Pisces, Aquarius, Capricorn, and Jones LTD. (Dec. 2, 1967) in just nine months and three weeks. (Dates mark each album’s first week at No. 1.) 

Of course I’m sure all of you out there rushed out to buy those three albums by Future (who???) and the Glee cast (three albums released during the same month?!?!) … so this new BTS achievement (huh???) comes as no surprise to all you savvy collectors on the list. I feel quite confident that all three of these artists will be remembered LONG after the careers of The Monkees and The Beatles have faded from memory.  (Or, at the very least, they’ll end up as the answers on some new edition of Trivial Pursuit cards!)  kk 

Wow! 20 Years! 
Forgotten Hits has become a staple of my morning reading with that first cup of coffee. I will breeze through the Tribune, and then read Forgotten Hits. It is how I have to start my day. 
Thank you so much for your interesting and informative writing. It is loads of great memories, too! 
May you have many more years of success. 
Carl Giammarese 
The Buckinghams  

This one’s for all of our Ohio Readers (or anybody willing to make the trip out to visit what I am told are two BEAUTIFUL theaters) to see THE NELSONS …
Rick Nelson’s sons Matthew and Gunnar Nelson.
We have tickets to give away to TWO different shows … 
September 6th at the Marathon Center for the Performing Arts in Findlay, Ohio …
And September 7th at The Lorain Palace Theatre in Lorain, Ohio
Both shows start at 7:30 pm.
Register now to win a pair of tickets to one of these shows. (AGAIN … PLEASE DO NOT ENTER TO WIN TICKETS UNLESS YOU CAN ABSOLUTELY ATTEND ONE OF THESE EVENTS) 
And, as a reminder, this week we’ll close down the drawing to win either a copy of Davie Allan’s new CD, “Retrophonic 6” or the brand new World Stage CD, which will be released this Friday, April 26th.  (Keep watching these pages for news about the new Ides Of March CD, too!)
Just drop me an email at kk@forgottenhits.com … and let us know which contest you are entering.  GOOD LUCK!