Two ‘70’s legends …
Chuck Negron (formerly of Three Dog Night) and Mark Farner (formerly of Grand Funk Railroad) …
Sharing the stage at The Arcada Theatre.
Good seats are still available …
kk …
Robert Parker, who scored a 1960s hit with "Barefootin'," has died.
I always liked "BAREFOOTIN."
Frank B.
Here’s my favorite "BAREFOOTIN" video …
FLASHBACK: 1/23/1986 – from Ron Smith's Book (Eight Days A Week) –
Ron's book reminds us how it was at the beginning, when they did it right.
1986 - Elvis Presley's Rock & Roll Hall of Fame Induction Ceremony
FB
Some more Rock And Roll Hall Of Fame random thoughts … and a very nice compliment … from long-time Forgotten Hits Reader Tim Kiley …
Hi Kent,
I hope you, Frannie, and your family are having a great year!
For those of us that grew up on Top 40, I think we will continually be disappointed by a lot of the R&R Hall Of Fame picks. They certainly aren't all reflective of the "hits." You remember these cats in your early days, I know I do. You don't convince the "cool" people that are grooving to the Band's "Music From Big Pink" or the Grateful Dead that, despite his commercial success and being one of the world's nicest people, Tommy Roe is ever going to see the light of day in the R&R Hall Of Fame do you?
The Hall is not solely of the "AM" crowd … they are also of the early "FM" crowd. Do you really think all the commercially successful Top 40 artists are ever going to see daylight in that Cleveland building? Guess Again!
If you think the Hall reflects mainstream music, it does not, nor does it reflect chart position, sales, or commercial success. Despite the voting, I’m guessing that when it comes to the "lightning round," it is merely the opinions of the powers that be. The Grateful Dead weren't a big Top 40 band, any more than Whitney Houston fits into Classic Rock Radio. The challenge the Hall has, is to walk the tightrope of linking music formats that have been separated over time, in hopes of trying to satisfy the masses and maintain credibility to keep the turnstiles whirling. And as a result, their "offensive factor" generally runs pretty high.
They are trying to satisfy the Top 40 crowd and the early FM "cool" crowd at the same time. So, if you are looking for a co-tangent we call customer satisfaction, it isn't always there.
Yes, there are plenty of headscratchers … and some glaringly obvious oversights. T-Rex over the Guess Who? Let me repeat that phrase "glaringly obvious."
But apparently the Rock And Roll Hall Of Fame subscribes to the mantra: "I don't care if people are giving us good OR bad press, just so they are giving us press!"
On another note, I don't know Larry Neal personally, but I will tell you this … this guy knows his shit.
I used to listen to him on Sunday nights on KOMA. I am certain he could tell you not only the complete history of the Oklahoma City radio and music market, and also quote not only the hits, but a whole hell of a lot of the "Bubbling Over Top 200!” And, probably what kind of gas Buddy Holly used to burn in his ‘57 Chevy! This gentleman is a true radio and music aficionado. It's people like that, that not only read and patronize Forgotten Hits, but certainly add to the credibility of your publication. Forgotten Hits not only features famous artists, agents, producers, road-managers, promoters, et al, but also people that have spent their lives from day one with their ear glued to a transistor, buying 45's at a little music store, and standing outside of a control room watching air-personalities work their magic! Sound familiar? Bet it does to you and me, and a good 99 percent of your readers!
Peace,
Tim Kiley
Tim - I passed your kind words on to Larry Neal, who had this to say in response …
Kent,
Thank you very much for the forwarding of this nice note from Tim Kiley.
Tim’s right about one thing ... I do know my shit.
Now if I could just know at least as much about the music, I'd be OK.
Larry
More Larry …
Hi Kent:
My family was living just outside Oklahoma City from the late summer of 1961 through the summer of 1963.
My brother and I got into SERIOUS radio listening - and following the charts - just before that move to Oklahoma, and continued it with a vengeance for the two years we were there. And it got more serious with us after we then moved to San Antonio in the summer of 1963.
We collected surveys back then, but they're all long-gone now, sadly.
However, we've been trying since then to figure out EXACTLY what songs were on the TOP 50 of WKY the FIRST week we got a chart from that station. It would have been end of August / start of September of 1961.
If you could put me in touch with this guy who has copies of those surveys, maybe we can finally resolve our long argument about EXACTLY what songs were on it.
"Michael" by the Highywamen was #1 and "The Astronaut" by Jose Jiminez was #2. I think "The Mountain’s High" was #3. Beyond that, my brother and I can come up with 35-40 songs we're sure were on the chart that week. A long-standing dispute we'd like to finally settle.
The Bobby Comstock record mentioned, "Garden of Eden," was a big hit a few months later that year. I searched for that one for years after I started serious collecting 45's. I finally found a copy sometime in the mid 1990's.
Thanks again for all the labor of love you've pit into 'our music' for all these years.
Brad
I asked Larry if he could dig out a copy of that chart so that we could share it with you and the rest of our readers … here it is …
The story came out last week that Ozzy Osbourne is suffering from Parkinson’s Disease. As of right now, there are no plans to cancel, postpone or amend his tour, scheduled to kick off on May 27th in Atlanta. (Ozzy appeared with his wife Sharon to discuss his diagnosis … who said that it’s important for her husband to be on stage and feel the love from his fans. "It just means so much to him, what he does. He loves to perform. It is the air that he breathes, and this is the longest he's ever been home. And it's time for him to get back on the road because he's driving me mad.") Coincidently, Osbourne is set to release a new studio album on February 21st. (kk)
I think it would be cool to have a Bubblegum countdown. I grew up with it and even tho it is not my FAVORITE type of music, it is up there with all the rest.
To examine what IS bubblegum … that is tougher. So many things I think of.
I have attached articles that might help.
The earliest I can find for the use of bubblegum as a genre might be this from Record World, January, 1967.
I don't consider the subject here, "It's Now Winter's Day," as a bubblegum song. It was well before I used or knew the term. Certainly, Tommy has done lots of bubblegum and would soon be back in the hit groove with such, but THIS song is just a nice pretty ballad.
I think bubblegum started in 1967 and the Monkees’ continued success story.
Had the Monkees gone away, we might not have a "bubblegum era." Certainly, their two-sider in the Summer of Love, 1967, "Pleasant Valley Sunday" / "Words" are NOT bubblegum and really the earlier songs were not what I would call such either. Their teen idol TV antics helped the music become such when "Daydream Believer" DID sound more of what would become bubblegum. BUT, before that we were getting the right "sound" with the Cowsills' "The Rain, The Park & Other Things," Tommy James' "Getting’ Together," "Ding Dong the Witch is Dead," "Snoopy" and even the New Colony 6's "Treat Her Groovy." The Cartoon Archies were still to come.
Wikipedia throws bubblegum music into a 1967-72 era. I would think that might be close to the best era to deal with, if not even leaving 1967 out of the mix. Certainly, Buddah had their mix going in ‘67, but I consider their first BUBBLEGUM hit as "Simon Says." I NEVER considered "Green Tambourine" as bubblegum because it is just a cool pop hit without the "Levine" sound Buddah generally had. 1968-72 really seemed the right era for the THEN-named "Bubblegum" Era.
I think radio had lots to do with the new genre name.
1968 was when LPs and underground music became a huge, newly accepted force and AM and FM started to divide loyalties. AM Top 40 stuck to the kids and bubblegum age sounds, while FM took to young adult more "cerebral" music. FM had slower, deep voiced, mellow DJs while AM got the usual high, upbeat, fast talkers still in our ears. They had the happier bubblegum kid stuff and acted as such.
FM stations dealt with the problems of the day and just plain odd and unusual artists and sounds. They did connect on music at times, leading to huge hits usually. Artists like the Beatles and even Tommy James could cross both levels in 1968 and later years, but usually there was a pretty even line as to who played what between the radio dials.
Many artists I would NOT consider bubblegum get the label, so it's still a situation of who is talking about it.
My girlfriend was from the Partridge Family era and upon hearing the Cryan’ Shames' "I Wanna Meet You," she thought IT was bubblegum, but I don't think that way. STILL, I think it'd be a cool idea to do a Top 200 Bubblegummers for those of us who liked the genre and the era is now 50 years ago.
I’ve attached a few items you may find interesting …
5-13-1967 - Record World calls the new Dino, Desi & Billy 45 bubblegum, but no mention of it for "Ding Dong."
5-13-1967 - Record World calls the new Dino, Desi & Billy 45 bubblegum, but no mention of it for "Ding Dong."
12-28-1968 - Kal Rudman gives a good commentary on 1968 as new for bubblegum and underground music.
4-26-1969 – Record World - Mike Curb takes bubblegum by the horn! Don Kirshnir got the Archies going by then, too.
3-22-1969 – Record World (two parts) tells the Kasenetz-Katz story to that point
7-14-1969 – RPM, Canada's version of Billboard, gives us the fear of the 45 going away due, in part, to bubblegum!
Another thing about the late 60's bubblegum artists is that many were fake bands OR hired bands to go out and play the hits made in the studio by Joey Levine and others. The Archies and Ron Dante or Chicago's own Dunwich label doing the Hardy Boys 45s are good cartoon band examples as well as the Banana Splits (whatever type of sports mascot thing they were.) Buddah went so far as to BUY band names and record songs under their names such as the Shadows Of Knight ("Shake" is oddly enough NOT bubblegum) and Freddy & the Dreamers.
Below, RPM of Canada had comments in the July 21, 1969 magazine about both current Tommy James and Ohio Express careers. At that time, both were going well using bubblegum type producers. Despite both being heavily successful in 1968, they had ideas for their futures but only one succeeded.
Tommy made the decision to produce his own material starting with "Do Something to Me" and was riding a big wave of non-bubblegum hits. As mentioned below, the Ohio Express talk about a new direction, too, but those band members that were in London were likely NOT on any Ohio Express records and just "a band" doing the songs. Despite getting Graham Gouldman on the new 45, "Sausalito," as lead vocalist, it failed. It's a GREAT tune, however.
Let's give Tommy James credit for not only reinventing his sound, but also becoming a new success doing it while most bubblegumers failed.
Clark Besch
Top 200 Bubblegum Tunes??? I was thinking more like a Top 20 … otherwise we’re going to have to let EVERYBODY into the running for simply having a feel good pop song! It’s not really the kind of countdown that can include a bunch of undiscovered gems … not if we want radio to jump on board.
Let’s see what other kind of feedback we receive in the next week or two. We have readers who were original 1910 Fruitgum Company and Ohio Express members … let’s see what THEY have to say about the whole idea! (kk)
Meanwhile, here’s another interesting topic … if not the other extreme!
While we begin our dissection of “What Is Bubblegum Music,” I received this PR release from FH Reader Billy James asking the question: “Is Prog Rock Really Progressive?”
Since I can’t say that I’ve ever really been a fan, I'm not the one to judge, but looking over the list of names of artists interviewed for this new project, I have to say that they meet my overall criteria, which is (typically) if I have either never heard of them … or can’t pronounce their names … they are likely Prog Rock Artists. (lol)
Still, I do believe that there is a segment of our audience who would appreciate an open discussion such as this so I wanted to at least pass the information along so that you knew how and where to check it out. (kk)
Is Prog Rock Really Progressive? A New Book Discussing the Progress in Progressive Rock Music
Is Prog Rock really progressive anymore? How do the current Prog bands feel about the genre and its legacy? Do they feel that there is progress in the music they perform? Different Prog artists/bands are being interviewed and answer five questions about the current status of the Progressive Rock and its culture. This exploratory research focuses on exploring the present and the future of a music genre that survived through the years due to its innovative nature.
While most of the previous Prog books focus on historical facts of the genre, this journalistic effort is a self-criticism of the genre through the looking glass of modern and active Prog musicians. The book starts with an introduction to Prog Rock by VIAJERO INMÓVIL Records (Argentina) and the rest of the material is divided into chapters that include the musicians’ answers to the following discussion themes:
1. What is progress in Progressive Rock?
2. Is Progressive Rock really progressive?
3. Accepting other music genres as progressive music
4. Next step for the progress of Progressive Rock
5. Technology and Progressive Rock
The participating Prog artists/bands that are being interviewed: Aisles, Anubis, Ant-Bee, EchoTest, Evership, Karakorum, Kotebel, Life After Mars, Light Freedom Revival, Lars Eric Mattson, Liquid Orbit, Magenta, Mouth, Process of Illumination, RTFACT, Robert Berry, Seven Impale, Soul Enema, Sproingg, Terra Collective, Time King, Wobbler, Yang.
The book was written by Vasileios Yfantis, who has also authored other thematic books on Punk, Metal and music technology. Next plans for Vasileios Yfantis include the release of a Prog musical album in 2020 and a new book on melodic rock scheduled for release during the early 2021.
Product details
Paperback: 119 pages
Publisher: CreateSpace Independent Publishing Platform (January 11, 2020)
Language: English
ISBN-10: 1548614416
ISBN-13: 978-1548614416
Book Distribution
Paperback version: https://www.amazon.com/Prog-Rock-Really-Progressive/dp/1548614416/
E-book version: https://www.amazon.com/gp/product/B083RK8N59
About the author
Vasileios Yfantis has been working in the music industry for more than 20 years as a freelance music journalist. Moreover, he holds two Master Degrees in Information Technology and he is a PhD candidate in University of West Attica in Greece. Vasileios has presented conference papers in both Europe and Africa. The main areas of his research interests feature: Musicology, Marketing, Information Communications Technology, Digital Entertainment Industry.
While most of the previous Prog books focus on historical facts of the genre, this journalistic effort is a self-criticism of the genre through the looking glass of modern and active Prog musicians. The book starts with an introduction to Prog Rock by VIAJERO INMÓVIL Records (Argentina) and the rest of the material is divided into chapters that include the musicians’ answers to the following discussion themes:
1. What is progress in Progressive Rock?
2. Is Progressive Rock really progressive?
3. Accepting other music genres as progressive music
4. Next step for the progress of Progressive Rock
5. Technology and Progressive Rock
The participating Prog artists/bands that are being interviewed: Aisles, Anubis, Ant-Bee, EchoTest, Evership, Karakorum, Kotebel, Life After Mars, Light Freedom Revival, Lars Eric Mattson, Liquid Orbit, Magenta, Mouth, Process of Illumination, RTFACT, Robert Berry, Seven Impale, Soul Enema, Sproingg, Terra Collective, Time King, Wobbler, Yang.
The book was written by Vasileios Yfantis, who has also authored other thematic books on Punk, Metal and music technology. Next plans for Vasileios Yfantis include the release of a Prog musical album in 2020 and a new book on melodic rock scheduled for release during the early 2021.
Product details
Paperback: 119 pages
Publisher: CreateSpace Independent Publishing Platform (January 11, 2020)
Language: English
ISBN-10: 1548614416
ISBN-13: 978-1548614416
Book Distribution
Paperback version: https://www.amazon.com/Prog-Rock-Really-Progressive/dp/1548614416/
E-book version: https://www.amazon.com/gp/product/B083RK8N59
About the author
Vasileios Yfantis has been working in the music industry for more than 20 years as a freelance music journalist. Moreover, he holds two Master Degrees in Information Technology and he is a PhD candidate in University of West Attica in Greece. Vasileios has presented conference papers in both Europe and Africa. The main areas of his research interests feature: Musicology, Marketing, Information Communications Technology, Digital Entertainment Industry.
Now here’s a hell of an add to your music collection …
ABKCO Music & Records launches a year-long celebration leading up to the 90th anniversary of Sam Cooke’s birth with the January 24th release of The Complete Keen Years (1957 – 1960) CD Box Set and has also announced a series of eight vinyl editions, including several Tracey Limited titles back in print on vinyl restored with original artwork. The release date was chosen because it is the closest Friday to Cooke’s actual January 22nd birthdate.
Following the expiration of his RCA Victor contract in 1963, Sam Cooke established Tracey Limited, his own label, which assigned distribution rights to RCA for a finite period of time. Tracey was Cooke’s way to assert both artistic commercial control over his own recordings and to better realize his far-reaching musical ambitions. He was one of the first recording stars, black or white, to command this kind of control, the most noteworthy other example at the time being Frank Sinatra. The first album released through Tracey were Sam Cooke At The Copa and Ain’t That Good News.
On April 3rd, Sam Cooke At the Copa and Ain’t That Good News will be back in print on vinyl, and also available for the first time on vinyl, Keep Movin’ On, the critically acclaimed compilation that was first issued on CD nineteen years ago. Keep Movin’ On, a late career overview released in 2001, was titled after a song which, at that time, had never before been released. The album was lauded by Rolling Stone as “an indispensable collection” but has never been available on LP until now. Its 23 tracks are offered on two 180 gm vinyl LPs housed in a gatefold package with the original essay by Peter Guralnick intact.
Listen to the track “Keep Movin’ On” on Spotify:
Sam Cooke At The Copa, first issued in October of 1964, is the audio document of Cooke’s triumphant stand at New York’s leading nightclub and offers insight into his easy going but totally focused performing style in front of a sophisticated audience. The New York Times review noted of Cooke’s Copacabana performance fifty-five years ago, “It may surprise that he has dignity, humility and feeling to go with a strong voice. In the years to come, more will be heard of Mr. Cooke. His is a talent that can grow.” Despite Cooke’s tragic and untimely death before the end of that year, the review’s prophesy has been borne out by the masterful performances heard on At The Copa that include “Nobody Knows You When You’re Down and Out,” “Frankie and Johnny,” “Try A Little Tenderness,” and the hits “Twistin’ The Night Away,” “You Send Me” and “(I Love You) For Sentimental Reasons.” Of special note is Cooke’s version of Bob Dylan’s “Blowin’ In The Wind” that reflected the struggle for civil rights that was underway at that time. Dylan’s song inspired Cooke to write his like-themed masterpiece, “A Change Is Gonna Come.”
Ain’t That Good News was originally issued earlier in 1964 via Tracey Records. It was to be the star’s final studio album released during his lifetime and, as such, finds Cooke at the apogee of his pop-soul career with the title track going to #1 on the Cash Box R&B chart. The album’s folk tinged “Meet Me At Mary’s Place” was the inspiration for “Mary’s Place,” the Bruce Springsteen song heard on his 2002 album The Rising. Also featured is “Good Times,” which the Rolling Stones were inspired to record and include on the band’s Out of Our Heads album as a tribute to Cooke after his passing while “Another Saturday Night” went Top 10 on Billboard’s Hot 100. The album provided the original context for the still resonant “A Change Is Gonna Come” that went on to become a musical beacon during the struggle for civil rights. Upon his election as 44th President of the United States, Barack Obama paraphrased the song’s key lyrics before a massive crowd of supporters at Chicago’s Grant Park declaring, “It's been a long time coming, but tonight, because of what we did on this day, in this election, at this defining moment, change has come to America.”
Also planned for 2020 the individual component albums of The Complete Keen Years (1957 -1960) are also being released as vinyl LPs alongside the CD box set. Sourced from newly discovered master tape reels, these albums, pressed on 180 gm vinyl, feature restored original art and the original tune stacks as when first released. They include Sam Cooke, Encore, Tribute to The Lady, Hit Kit and The Wonderful World of Sam Cooke, essential titles in the Sam Cooke vinyl library.
Also planned for 2020 the individual component albums of The Complete Keen Years (1957 -1960) are also being released as vinyl LPs alongside the CD box set. Sourced from newly discovered master tape reels, these albums, pressed on 180 gm vinyl, feature restored original art and the original tune stacks as when first released. They include Sam Cooke, Encore, Tribute to The Lady, Hit Kit and The Wonderful World of Sam Cooke, essential titles in the Sam Cooke vinyl library.
ABOUT ABKCO ABKCO Music & Records, Inc., is one of the world’s leading independent entertainment companies. It is home to iconic music catalogues that include compositions and recordings by Sam Cooke, The Rolling Stones, Bobby Womack, Eric Burdon, The Animals, Herman’s Hermits, Marianne Faithfull, The Kinks as well as the Cameo Parkway masters by such artists as Chubby Checker, Bobby Rydell, Clint Eastwood, The Dovells, ? &The Mysterians, The Orlons, Dee Dee Sharp, Charlie Gracie, and The Tymes. Releases on ABKCO’s SAR Records include albums by L.C. Cooke, The Soul Stirrers, Billy Preston, Johnnie Taylor, and The Valentinos and more. ABKCO Records latest release is The Rolling Stones Let It Bleed (50th Anniversary Edition). ABKCO is active on many fronts, including the release of critically lauded soundtracks, compilations, reissues from its catalog, film, commercial placement of its master recordings and music publishing properties in all media. One Night in Miami…,ABKCO’s latest theatrical production, received a nomination for the 2017 Olivier Award for Best New Play and is being adapted as a Major Motion Picture. ABKCO Films next release is Alejandro Jodorowsky’s Psychomagic: A Healing Art. ABKCO’s latest TV production is The Durrells in Corfu, based on Gerald Durrell’s book The Corfu Trilogy.
www.abkco.com www.facebook.com/abkco www.instagram.com/abkco www.twitter.com/abkco
Always a HUGE Sam Cooke fan, I just may have to pick this collection up for myself! (And I absolutely LOVE the idea that the birthday celebration is going to continue throughout the year … who knows what other kinds of goodies may still be to come!) kk
Here’s another awesome box set coming …
THE ALAN PARSONS PROJECT: AMMONIA AVENUE Limited Edition Deluxe Box Set To Be Released March 27, 2020
3CD / 1 Blu Ray / 2 X 12-Inch Vinyl Limited Edition Deluxe Box Set
**ALL PRE-ORDERS WILL BE ENTERED INTO A DRAW TO WIN ONE OF THREE DOUBLE VINYL TEST PRESSINGS **
• A DELUXE LIMITED EDITION BOXED SET OF THE CLASSIC ALBUM BY THE ALAN PARSONS PROJECT
• NEWLY REMASTERED & REMIXED FROM THE ORIGINAL MASTER TAPES BY ALAN PARSONS
• FEATURING 3 CDs, 1 BLU-RAY DISC (NTSTC/ REGION FREE) & 2 x 45 RPM 12-INCH VINYL IN GATEFOLD SLEEVE
• FEATURING AN ADDITIONAL 53 BONUS TRACKS DRAWN FROM ERIC WOOLFSON’S SONGWRITING DIARIES, STUDIO SESSION OUT-TAKES AND STUNNING NEW 5.1 SURROUND SOUND & STEREO MIXES FROM THE ORIGINAL MULTI-TRACK MASTER TAPES BY ALAN PARSONS AND THE PROMOTIONAL VIDEOS OF ‘DON’T ANSWER ME’ & ‘PRIME TIME’
• INCLUDES A LAVISHLY ILLUSTRATED BOOK WITH NEW ESSAY FEATURING RECOLLECTIONS FROM ALAN PARSONS, THE WOOLFSON FAMILY, DAVID PATON & IAN BAIRNSON, A REPLICA POSTER & A REPRODUCTION PRESS KIT FOLDER.
Esoteric Recordings is proud to announce the release of a new re-mastered limited edition deluxe expanded boxed set of the classic album AMMONIA AVENUE by THE ALAN PARSONS PROJECT.
First released in February, 1984, AMMONIA AVENUE was the seventh album by THE ALAN PARSONS PROJECT, the brainchild of composer, musician and manger ERIC WOOLFSON and celebrated producer and engineer ALAN PARSONS. The inspiration for the album title came from a visit Woolfson had made to the ICI Chemical plant in Billingham, England after meeting ICI chairman Sir John Harvey-Jones on a flight from New York. Upon visiting the plant, Eric Woolfson noticed a long street called Ammonia Avenue, devoid of people and trees and dominated by miles of pipes.
The album sessions featured the contribution of musicians such as Ian Bairnson (guitars), David Paton (bass), Stuart Elliott (drums) with Eric Woolfson playing keyboards and lead vocals on four of the album’s nine songs. Colin Blunstone, Chris Rainbow and Lenny Zakatek also provided lead vocals on the remaining songs. AMMONIA AVENUE would become one of the biggest selling albums for THE ALAN PARSONS PROJECT, attaining gold status in many European countries and the USA. The album featured such classic compositions as DANCING ON A HIGHWIRE, SINCE THE LAST GOODBYE and the stunning title track. AMMONIA AVENUE also spawned the hit singles ‘DON’T ANSWER ME’ (a Top Ten hit throughout Europe and in the USA) and ‘PRIME TIME’.
• A DELUXE LIMITED EDITION BOXED SET OF THE CLASSIC ALBUM BY THE ALAN PARSONS PROJECT
• NEWLY REMASTERED & REMIXED FROM THE ORIGINAL MASTER TAPES BY ALAN PARSONS
• FEATURING 3 CDs, 1 BLU-RAY DISC (NTSTC/ REGION FREE) & 2 x 45 RPM 12-INCH VINYL IN GATEFOLD SLEEVE
• FEATURING AN ADDITIONAL 53 BONUS TRACKS DRAWN FROM ERIC WOOLFSON’S SONGWRITING DIARIES, STUDIO SESSION OUT-TAKES AND STUNNING NEW 5.1 SURROUND SOUND & STEREO MIXES FROM THE ORIGINAL MULTI-TRACK MASTER TAPES BY ALAN PARSONS AND THE PROMOTIONAL VIDEOS OF ‘DON’T ANSWER ME’ & ‘PRIME TIME’
• INCLUDES A LAVISHLY ILLUSTRATED BOOK WITH NEW ESSAY FEATURING RECOLLECTIONS FROM ALAN PARSONS, THE WOOLFSON FAMILY, DAVID PATON & IAN BAIRNSON, A REPLICA POSTER & A REPRODUCTION PRESS KIT FOLDER.
Esoteric Recordings is proud to announce the release of a new re-mastered limited edition deluxe expanded boxed set of the classic album AMMONIA AVENUE by THE ALAN PARSONS PROJECT.
First released in February, 1984, AMMONIA AVENUE was the seventh album by THE ALAN PARSONS PROJECT, the brainchild of composer, musician and manger ERIC WOOLFSON and celebrated producer and engineer ALAN PARSONS. The inspiration for the album title came from a visit Woolfson had made to the ICI Chemical plant in Billingham, England after meeting ICI chairman Sir John Harvey-Jones on a flight from New York. Upon visiting the plant, Eric Woolfson noticed a long street called Ammonia Avenue, devoid of people and trees and dominated by miles of pipes.
The album sessions featured the contribution of musicians such as Ian Bairnson (guitars), David Paton (bass), Stuart Elliott (drums) with Eric Woolfson playing keyboards and lead vocals on four of the album’s nine songs. Colin Blunstone, Chris Rainbow and Lenny Zakatek also provided lead vocals on the remaining songs. AMMONIA AVENUE would become one of the biggest selling albums for THE ALAN PARSONS PROJECT, attaining gold status in many European countries and the USA. The album featured such classic compositions as DANCING ON A HIGHWIRE, SINCE THE LAST GOODBYE and the stunning title track. AMMONIA AVENUE also spawned the hit singles ‘DON’T ANSWER ME’ (a Top Ten hit throughout Europe and in the USA) and ‘PRIME TIME’.
This deluxe edition comprises 3CDs, a Blu-Ray disc (NTSC / Region Free) and vinyl edition of a new stereo mix of AMMONIA AVENUE as two 12-inch 45rpm discs (cut at ABBEY ROAD STUDIOS). The set has been newly re-mastered from the original master tapes under the supervision of ALAN PARSONS and features an additional 53 bonus tracks drawn from ERIC WOOLFSON’s song-writing diaries, studio session out-takes and stunning new 5.1 surround sound & stereo mixes from the original multi-track master tapes by ALAN PARSONS plus the promotional videos of ‘DON’T ANSWER ME’ & ‘PRIME TIME’.
This stunning set also houses a lavish illustrated book with a new essay with unseen photos and features recollections from ALAN PARSONS, the WOOLFSON family and from musicians IAN BAIRNSON and DAVID PATON. It also includes a reproduction poster and a reproduction press kit folder. This deluxe edition of AMMONIA AVENUE is the definitive treatment of a special album.
This stunning set also houses a lavish illustrated book with a new essay with unseen photos and features recollections from ALAN PARSONS, the WOOLFSON family and from musicians IAN BAIRNSON and DAVID PATON. It also includes a reproduction poster and a reproduction press kit folder. This deluxe edition of AMMONIA AVENUE is the definitive treatment of a special album.
DISC ONE: CD
“AMMONIA AVENUE” ORIGINAL STEREO MIX –
NEWLY RE-MASTERED
1. PRIME TIME (2020 RE-MASTER)
2. LET ME GO HOME (2020 RE-MASTER)
3. ONE GOOD REASON (2020 RE-MASTER)
4. SINCE THE LAST GOODBYE (2020 RE-MASTER)
5. DON’T ANSWER ME (2020 RE-MASTER)
6. DANCING ON A HIGHWIRE (2020 RE-MASTER)
7. YOU DON’T BELIEVE (2020 RE-MASTER)
8. PIPELINE (2020 RE-MASTER)
9. AMMONIA AVENUE (2020 RE-MASTER)
BONUS TRACKS
10. DON’T ANSWER ME (EARLY ROUGH MIX)
11. YOU DON’T BELIEVE (DEMO)
12. SINCE THE LAST GOODBYE
(CHRIS RAINBOW VOCAL OVERDUBS)
13. SINCE THE LAST GOODBYE
(ERIC GUIDE VOCAL – ROUGH MIX)
14. YOU DON’T BELIEVE (INSTRUMENTAL TRIBUTE TO THE SHADOWS)
15. DANCING ON A HIGHWIRE / SPOTLIGHT (WORK IN PROGRESS)
16. AMMONIA AVENUE PART (ERIC DEMO VOCAL)
17. AMMONIA AVENUE (ORCHESTRAL OVERDUBS)
DISC TWO: CD
ERIC’S SONGWRITING DIARIES
1. PRIME TIME (ERIC’S SONGWRITING DIARY 1)
2. ONE GOOD REASON (ERIC’S SONGWRITING DIARY 1)
3. ONE GOOD REASON (ERIC’S SONGWRITING DIARY 2)
4. ONE GOOD REASON (ERIC’S SONGWRITING DIARY 3)
5. ONE GOOD REASON (ERIC’S SONGWRITING DIARY 4)
6. SINCE THE LAST GOODBYE (ERIC’S SONGWRITING DIARY)
7. DON’T ANSWER ME (ERIC’S SONGWRITING DIARY)
8. DANCING ON A HIGHWIRE (ERIC’S SONGWRITING DIARY 1)
9. DANCING ON A HIGHWIRE (ERIC’S SONGWRITING DIARY 2)
10. DANCING ON A HIGHWIRE (ERIC’S SONGWRITING DIARY 3)
11. AMMONIA AVENUE (ERIC’S SONGWRITING DIARY 1)
12. AMMONIA AVENUE (ERIC’S SONGWRITING DIARY 2)
13. AMMONIA AVENUE (ERIC’S SONGWRITING DIARY 3)
14. AMMONIA AVENUE (ERIC’S SONGWRITING DIARY 4)
15. DON’T TAKE CHANCES WITH ME (ERIC’S SONGWRITING DIARY)
16. YOU’LL BE SURPRISED (ERIC’S SONGWRITING DIARY)
17. WISH I WAS MILES AWAY (ERIC’S SONGWRITING DIARY)
18. TOBY’S THEME (ERIC’S SONGWRITING DIARY)
19. AMELIE’S THEME (ERIC’S SONGWRITING DIARY)
DISC THREE: CD
STUDIO BONUS TRACKS
1. AMMONIA AVENUE RADIO ADVERT
2. PRIME TIME (ERIC WOOLFSON DEMO VOCAL ON ROUGH MIX)
3. PRIME TIME (MUSO’S EXPERIMENTING)
4. LET ME GO HOME (ROUGH BACKING TRACK)
5. ONE GOOD REASON
(ERIC WOOLFSON VOCAL WITH ROUGH MIX)
6. ONE GOOD REASON (ROUGH BACKING TRACK)
7. SINCE THE LAST GOODBYE (ROUGH BACKING TRACK)
8. DON’T ANSWER ME (ERIC WOOLFSON VOCAL WITH ROUGH MIX)
9. DON’T ANSWER ME (MUSO’S EXPERIMENTING)
10. DON’T ANSWER ME
(BACKING TRACK – BEFORE PHIL SPECTOR
TREATMENT AND ALTERNATIVE SAX SOLO)
11. DANCING ON A HIGHWIRE
(ERIC WOOLFSON DEMO VOCAL ON ROUGH
BACKING TRACK)
12. YOU DON’T BELIEVE
(ALAN PARSONS DEMO VOCAL ON ROUGH MIX)
13. AMMONIA AVENUE
(ERIC WOOLFSON DEMO VOCAL WITH
ORCHESTRAL ROUGH MIX)
14. AMMONIA AVENUE (CHRIS RAINBOW BACKING VOCALS)
15. AMMONIA AVENUE (INSTRUMENTAL SECTION ROUGH MIX)
16. AMMONIA AVENUE (ERIC WOOLFSON PIANO TAKES)
17. AP 1 (PREVIOUSLY UNRELEASED BACKING TRACK)
DISC FOUR: BLU RAY
5.1 SURROUND SOUND MIX (2019) &
HIGH RESOLUTION STEREO REMIX (2019)
BY ALAN PARSONS
1. PRIME TIME
(5.1 SURROUND MIX / NEW STEREO MIX)
2. LET ME GO HOME
(5.1 SURROUND MIX / NEW STEREO MIX)
3. ONE GOOD REASON
(5.1 SURROUND MIX / NEW STEREO MIX)
4. SINCE THE LAST GOODBYE
(5.1 SURROUND MIX / NEW STEREO MIX)
5. DON’T ANSWER ME
(5.1 SURROUND MIX / NEW STEREO MIX)
6. DANCING ON A HIGHWIRE
(5.1 SURROUND MIX / NEW STEREO MIX)
7. YOU DON’T BELIEVE
(5.1 SURROUND MIX / NEW STEREO MIX)
8. PIPELINE
(5.1 SURROUND MIX / NEW STEREO MIX)
9. AMMONIA AVENUE
(5.1 SURROUND MIX / NEW STEREO MIX)
THE PROMOTIONAL VIDEOS
1. DON’T ANSWER ME (PROMOTIONAL VIDEO)
2. PRIME TIME (PROMOTIONAL VIDEO)
45 rpm 12” VINYL
“AMMONIA AVENUE”
THE NEW STEREO REMIX
BY ALAN PARSONS
(2 x 45 RPM 12-INCH)
SIDE ONE
1. PRIME TIME
2. LET ME GO HOME
3. ONE GOOD REASON
SIDE TWO
1. SINCE THE LAST GOODBYE
2. DON’T ANSWER ME
SIDE THREE
1. DANCING ON A HIGHWIRE
2. YOU DON’T BELIEVE
SIDE FOUR
1. PIPELINE
2. AMMONIA AVENUE
To pre-order:
https://www.cherryred.co.uk/product/the-alan-parsons-project-ammonia-avenue-3cd-1-blu-ray-2-x-12-inch-vinyl-limited-edition-deluxe-box-set/
1. SINCE THE LAST GOODBYE
2. DON’T ANSWER ME
SIDE THREE
1. DANCING ON A HIGHWIRE
2. YOU DON’T BELIEVE
SIDE FOUR
1. PIPELINE
2. AMMONIA AVENUE
To pre-order:
https://www.cherryred.co.uk/product/the-alan-parsons-project-ammonia-avenue-3cd-1-blu-ray-2-x-12-inch-vinyl-limited-edition-deluxe-box-set/
Our FH Buddy Harvey Kubernik tells us about a new Laurel Canyon documentary set to premier on EPIX TV on May 31st. (Harvey served as a consultant on the film)
The two-part documentary (Part Two will air the following Sunday, June 7th) was directed by Alison Ellwood, and features an intimate portrait of the artists who created a music revolution through a wealth of rare and newly unearthed footage and audio recordings.
Featuring all new, original interviews with Jackson Browne, Don Henley, Michelle Phillips, Graham Nash, Linda Ronstadt, Bonnie Raitt, Roger McGuinn and more, the uniquely immersive and experiential docuseries takes us back in time to a place where a rustic canyon in the heart of Los Angeles became a musical petri dish.
“Laurel Canyon” is executive producedby Frank Marshall, The Kennedy/Marshall Company; Daryl Frank and Justin Falvey, Amblin Television; Craig Kallman and Mark Pinkus, Warner Music Group; Alex Gibney, Stacey Offman and Richard Perello, Jigsaw Productions; and Jeff Pollack. The film is produced by Ryan Sufferin, The Kennedy/Marshall Company, and Erin Edeiken, Jigsaw Productions.
And here’s another documentary you may be interested in …
Which also has a brand new, interactive book!
Award Winning Documentary “MELODY MAKERS The Bible of Rock 'n Roll” Companion Interactive Apple Book Now Available
Featuring ERIC BURDON (The Animals), IAN ANDERSON (Jethro Tull), YES (Steve Howe, Chris Squire, Alan White), DAVE COUSINS (The Strawbs), JUDY DYBLE (Fairport Convention), Nazareth (PETE AGNEW & DAN MCCAFFERTY) and STEVE ABBOTT (UK Decay)
In tandem with the theatrical and home entertainment release of the film MELODY MAKERS (December 17. 2019) comes the release of the Melody Makers Companion Apple Book. An immersive experience, this interactive book takes users through the rise of Melody Maker magazine through a series of rock trivia games, photo puzzles, embedded interviews, and a photographic gallery full of Barrie Wentzell's Legends Series from his iconic rock photographic archive (1965-1975). The book is a robust partner to the film that offers viewers an added music history experience. The book was “invented” - designed, curated and created - by Canadian filmmaker, and film festival producer Leslie Ann Coles.
For more information:
http://www.melodymakersmovie.com/ibook
https://books.apple.com/au/book/melody-makers/id1471754506?mt=11&app=itunes
MELODY MAKERS is not just another music doc. It chronicles the birth of music journalism and the world’s oldest and longest standing seminal music magazine; Melody Maker. Through a series of interviews from artists (Ian Anderson/JETHRO TULL, Eric Burdon/THE ANIMALS, Alan White, Steve Howe and Chris Squire/YES, among others) and journalists of the time, the film tells the true story of the rise and fall of the world’s most influential music publication and uncovers an era of tremendous creative freedom.
At the heart of the story is Barrie Wentzell, Chief Contributing Photographer of Melody Maker Magazine (1965-1975) and his iconic photographic archive of legendary musicians during the birth of the rock 'n roll era, who along with his journalist colleagues gained unprecedented access to bands and musicians that would go on to become the legends of rock n' roll. Wentzell's photos are the touchstone of this documentary as the photographer and others recount the many untold stories from behind the pictures. Barrie recalls a Peter Townshend telling him about an idea he had for a rock opera when Tommy was a concept. Melody Maker journalist, Chris Charlesworth recalls when the magazine tried to expand into the US market without paying off the mobsters who controlled magazine distribution in key cities such as New York, and PR Keith Altham shares an anecdotal story about a publicity stunt gone awry involving the notorious drummer, Keith Moon and a hovercraft.
Beyond the visual stories told, Melody Maker includes interviews ERIC BURDON (The Animals), IAN ANDERSON (Jethro Tull), YES (Steve Howe, Chris Squire, Alan White), DAVE COUSINS (The Strawbs), JUDY DYBLE (Fairport Convention), Nazareth (PETE AGNEW & DAN MCCAFFERTY) and SEVE ABBOTT (UK Decay); journalists CHRIS WELCH, CHRIS CHARLESWORTH, ALLAN JONES (Senior Editor UNCUT Magazine); ALAN LEWIS; and other notable subjects PETER WHITEHEAD (filmmaker Charlie My Darling), ROGER DEAN (artist), JEFF DEXTER (DJ/ Promoter), KEITH ALTHAM (PR for The Rolling Stones, The Who) and GLEN COLSON (Stiff Records) to name a few.
http://www.melodymakersmovie.com/ibook
https://books.apple.com/au/book/melody-makers/id1471754506?mt=11&app=itunes
MELODY MAKERS is not just another music doc. It chronicles the birth of music journalism and the world’s oldest and longest standing seminal music magazine; Melody Maker. Through a series of interviews from artists (Ian Anderson/JETHRO TULL, Eric Burdon/THE ANIMALS, Alan White, Steve Howe and Chris Squire/YES, among others) and journalists of the time, the film tells the true story of the rise and fall of the world’s most influential music publication and uncovers an era of tremendous creative freedom.
At the heart of the story is Barrie Wentzell, Chief Contributing Photographer of Melody Maker Magazine (1965-1975) and his iconic photographic archive of legendary musicians during the birth of the rock 'n roll era, who along with his journalist colleagues gained unprecedented access to bands and musicians that would go on to become the legends of rock n' roll. Wentzell's photos are the touchstone of this documentary as the photographer and others recount the many untold stories from behind the pictures. Barrie recalls a Peter Townshend telling him about an idea he had for a rock opera when Tommy was a concept. Melody Maker journalist, Chris Charlesworth recalls when the magazine tried to expand into the US market without paying off the mobsters who controlled magazine distribution in key cities such as New York, and PR Keith Altham shares an anecdotal story about a publicity stunt gone awry involving the notorious drummer, Keith Moon and a hovercraft.
Beyond the visual stories told, Melody Maker includes interviews ERIC BURDON (The Animals), IAN ANDERSON (Jethro Tull), YES (Steve Howe, Chris Squire, Alan White), DAVE COUSINS (The Strawbs), JUDY DYBLE (Fairport Convention), Nazareth (PETE AGNEW & DAN MCCAFFERTY) and SEVE ABBOTT (UK Decay); journalists CHRIS WELCH, CHRIS CHARLESWORTH, ALLAN JONES (Senior Editor UNCUT Magazine); ALAN LEWIS; and other notable subjects PETER WHITEHEAD (filmmaker Charlie My Darling), ROGER DEAN (artist), JEFF DEXTER (DJ/ Promoter), KEITH ALTHAM (PR for The Rolling Stones, The Who) and GLEN COLSON (Stiff Records) to name a few.
BIOGRAPHY
Leslie Ann is thrilled to launch her debut feature documentary MELODY MAKERS with the enhanced Apple Book made possible with the generous support of Telefilm Canada’s Marketing and Promotions Program. As the executive producer and director of LA Coles Fine Art Films she is currently engaged in a wide variety of works which include theatrical features, non-scripted TV, documentaries, shorts and interactive digital media. Her company is committed to producing films and cross platform projects that combine art, entertainment and social justice. Coles is a Women In the Director’s Chair alumni, and a recipient of three CTV Banff Fellowships for original series. Founder of the Female Eye Film Festival (FeFF) in 2001 to address gender parity in the film industry, she has executive-produced 46 short films directed by at risk female youth through the Young Filmmaker Development Workshop (YFDW), a program established under the auspices of the FeFF. In her capacity as Festival Director for the past 17 years, she oversees the rigorous evaluation and selection of independent films for FeFF from over 2,500 entries every year. Intimately familiar with the local and international filmmaking community since 2001 with the inaugural festival and her debut multiple-award-winning film “In The Refrigerator: Spirit of a Haunted Dancer,” Leslie Ann’s strength is her ability to creatively strategize projects and determine market potential during the development process, always with a critical understanding of a film’s milieu, be it social, cultural, or art-focused.
MELODY MAKERS will see a limited theatrical release on November 29, 2019 at the Arena CineLounge Sunset, 6464 Sunset Blvd, Hollywood CA, followed by the Apple iBook on the same day and the DVD Release on December 17, 2019.
MELODY MAKERS, English, Color, Stereo, 5.1 HD, 78 min., Canada
“A cinematic love letter to late British weekly music magazine Melody Maker — captures a vital passage in 20th century music history.” - Kim Hughes, Original Cin
“This cheerful history of the music weekly Melody Maker has enough inside dope to maintain interest.” - Adrian Mack, The Georgia Straight
“Whimsically titled Melody Makers leans heavily on Barrie Wentzell, chief photographer from 1965-1975, both for his recollections and his amazing collection of images.” - Chris Knight, The National Post
“Melody Makers is charming, informative, and highly entertaining.” - Andrew Parker, The Gate
“The narrator-less film rattles along to the extent that I couldn’t believe it was over, so enthralled was I by the anecdotes, analysis, pictures and film of such an extraordinary ten years of music.” - Martin Webb, A New Day
“The tunes and the images, combined with countless inspiring and entertaining first-hand recollections brilliantly resurrect a time that produced some of the most remarkable artists that have ever lived.” - Amy Balog, 60’s Today
FESTIVAL AWARDS FOR MELODY MAKERS
WINNER Best Music Documentary, 18th Bare Bones International Film Festival 2017
WINNER Best Documentary, 8th Fort Myers Film Festival 2018
WINNER Best International Documentary, 16th Garden State Film Festival 2018
WINNER Audience Choice Award, Hot Springs Women’s Film Festival 2018
WINNER Gold Award Best Documentary, Spotlight Film Festival 2018
WINNER Best International Documentary, Color Tape Film Festival 2018
WINNER Best Documentary, Meraki Film Festival 2018
WINNER Best Director, Borderlands Film Festival 2018
WINNER Best Feature Documentary, Nice IFF 2018
WINNER Best Documentary, MedFF 2019
To purchase “MELODY MAKERS The Bible of Rock 'n Roll” documentary: https://www.amazon.com/Melody-Makers-Ian-Anderson/dp/B07WGJKDNK/
Leslie Ann is thrilled to launch her debut feature documentary MELODY MAKERS with the enhanced Apple Book made possible with the generous support of Telefilm Canada’s Marketing and Promotions Program. As the executive producer and director of LA Coles Fine Art Films she is currently engaged in a wide variety of works which include theatrical features, non-scripted TV, documentaries, shorts and interactive digital media. Her company is committed to producing films and cross platform projects that combine art, entertainment and social justice. Coles is a Women In the Director’s Chair alumni, and a recipient of three CTV Banff Fellowships for original series. Founder of the Female Eye Film Festival (FeFF) in 2001 to address gender parity in the film industry, she has executive-produced 46 short films directed by at risk female youth through the Young Filmmaker Development Workshop (YFDW), a program established under the auspices of the FeFF. In her capacity as Festival Director for the past 17 years, she oversees the rigorous evaluation and selection of independent films for FeFF from over 2,500 entries every year. Intimately familiar with the local and international filmmaking community since 2001 with the inaugural festival and her debut multiple-award-winning film “In The Refrigerator: Spirit of a Haunted Dancer,” Leslie Ann’s strength is her ability to creatively strategize projects and determine market potential during the development process, always with a critical understanding of a film’s milieu, be it social, cultural, or art-focused.
MELODY MAKERS will see a limited theatrical release on November 29, 2019 at the Arena CineLounge Sunset, 6464 Sunset Blvd, Hollywood CA, followed by the Apple iBook on the same day and the DVD Release on December 17, 2019.
MELODY MAKERS, English, Color, Stereo, 5.1 HD, 78 min., Canada
“A cinematic love letter to late British weekly music magazine Melody Maker — captures a vital passage in 20th century music history.” - Kim Hughes, Original Cin
“This cheerful history of the music weekly Melody Maker has enough inside dope to maintain interest.” - Adrian Mack, The Georgia Straight
“Whimsically titled Melody Makers leans heavily on Barrie Wentzell, chief photographer from 1965-1975, both for his recollections and his amazing collection of images.” - Chris Knight, The National Post
“Melody Makers is charming, informative, and highly entertaining.” - Andrew Parker, The Gate
“The narrator-less film rattles along to the extent that I couldn’t believe it was over, so enthralled was I by the anecdotes, analysis, pictures and film of such an extraordinary ten years of music.” - Martin Webb, A New Day
“The tunes and the images, combined with countless inspiring and entertaining first-hand recollections brilliantly resurrect a time that produced some of the most remarkable artists that have ever lived.” - Amy Balog, 60’s Today
FESTIVAL AWARDS FOR MELODY MAKERS
WINNER Best Music Documentary, 18th Bare Bones International Film Festival 2017
WINNER Best Documentary, 8th Fort Myers Film Festival 2018
WINNER Best International Documentary, 16th Garden State Film Festival 2018
WINNER Audience Choice Award, Hot Springs Women’s Film Festival 2018
WINNER Gold Award Best Documentary, Spotlight Film Festival 2018
WINNER Best International Documentary, Color Tape Film Festival 2018
WINNER Best Documentary, Meraki Film Festival 2018
WINNER Best Director, Borderlands Film Festival 2018
WINNER Best Feature Documentary, Nice IFF 2018
WINNER Best Documentary, MedFF 2019
To purchase “MELODY MAKERS The Bible of Rock 'n Roll” documentary: https://www.amazon.com/Melody-Makers-Ian-Anderson/dp/B07WGJKDNK/
>>>I don’t know that any of The Beatles really stayed in contact with Jimmy Nicols (or Pete Best for that matter) over the ensuing 58 years. (kk)
kk …
It seems like they could afford to treat him a lot better than they did.
FB
Two of the biggest music stories circulating this week featured the passings of two musical non-celebs who were known for just doing their thing. (Several readers sent in mentions of these so we thought we would share them with the group.)
Over the years, numerous performers have stated that they would prefer to die on stage than ever give up their dream. Well THIS guy literally did exactly that!
And then …
Hi Kent,
This death notice appeared in the Milwaukee Journal-Sentinel on Sunday, January 19th. I admit I never heard of this man, but it appears he was well known in the music industry. Perhaps your readers would be interested. Attached are copies of the death notice. If you want an easier to copy to read, you can see this notice on JSonline obituaries.
Bob Verbos
Kent:
Thank you so much for the latest mention in Forgotten Hits. I am very happy about the strong reception that my "Rocket Man" book is receiving, and I really appreciate your ongoing support.
Rock on Mr. Kotal!!!
Cheers,
Mark
Thank you so much for the latest mention in Forgotten Hits. I am very happy about the strong reception that my "Rocket Man" book is receiving, and I really appreciate your ongoing support.
Rock on Mr. Kotal!!!
Cheers,
Mark
My pleasure! I don’t know how you keep crankin’ ‘em out … but please don’t ever stop!!! (And please keep us posted about this new television venture based on your “Eat Like A Rock Star” book!!! This is something our readers will surely want to check out!) Thanks, Mark! (kk)
>>>1970: January 23rd – While testifying at the Chicago 7 trial, singer Judy Collins is denied permission to sing her testimony (kk)
For real???
Ed
For Real!
One of Defense Attorney William Kunstler’s tactics was to play up the adverse effect The War in Viet Nam was having on our country ... in effect, attempting to put the war on trial as a means of justifying the actions of the so-called conspirators. (For the record, all seven were acquitted of conspiracy.)
When Judy Collins took the stand, Kunstler asked her to sing “Where Have All The Flowers Gone” from the witness stand … but the judge (Julius Hoffman, no relation to Abbie Hoffman, who was one of the 7 … after Bobby Seale was dismissed) wouldn’t allow it.
Collins wasn’t the only musicians called to testify … Arlo Guthrie, Phil Ochs and Country Joe McDonald were also on hand, as were Norman Mailer, Allen Ginsberg, Timothy Leary and The Reverend Jesse Jackson. Graham Nash was inspired to write his hit “Chicago” after watching the trial (and the chaos) unfold.
Aaron Sorkin has been filming “The Trial Of The Chicago Seven” here in Chicago for the past several months, commemorating these events. (The film is now in post-production.) Jeremy Strong (“Succession,” playing Jerry Rubin), Sacha Baron Cohen (Ali G, playing Abbie Hoffman), Frank Langella (playing Judge Hoffman) and Michael Keaton (playing Ramsey Clark) all have starring roles (and daughter Paige appears as an extra in one of the riot scenes!) The film is scheduled to open on October 7th … so yeah, we’ll be there!!! (kk)
Some factual tidbits …
England Dan & John Ford Colley (changed later to Coley) started playing together in a rock & roll band prior to Southwest F.O.B. Originally known in Dallas as the Playboys 5 (an unreleased recording, captured on an acetate from Boyd Recording Studios has surfaced, not mentioned in the website), they changed the name to a hipper sounding Theze Few in 1966:
Also, a current Campbell's soup TV ad features a re-recording containing the chorus from the 1966 single, "Hungry, Hungry, Hungry" by Jimmy Gilmer & The Fireballs. Somebody is pretty hep musically speaking in the creativity department!
Mike Markesich
A couple of videos to wrap things up today …
Here’s a nice moment for Ron Dante, 50+ years ago.
"Carry Me Back" #7?????
Clark Besch
And I just HAD to feature this one … man, I love this song!!! (kk)
