Hey Kent –
I have been running a series of "One Hit Wonder" games in our chatroom for the last several months. I think I have done seven or so by now, and have more coming.
I have several hundred artists who had just one TOP 40 hit, although a number of those are known basically for ONE song (Like "96 Tears" for ? and Mysterians.)
I just started reading your list in today's posting and, not to be too nit-picky, but the Tokens had several other TOP 40 hits ... “Tonight I Fell In Love,” “He's In Town,” “I Heart Trumpets Blow” and “Portrait Of My Love” are four that were all BILLBOARD TOP 40 hits.
What
constitutes a "One Hit Wonder" artist is obviously open to debate.
I
can even think of one where a guy was a "One Hit Wonder" twice ... because
he changed his name on the label. (Johnny Cymbal and Derek were the same
guy.)
I
will read through the entire list you posted but won't send any more
'discrepancies' unless you wish me to.
Keep
up the good work, as always.
Brad
The definition of “One Hit Wonder” certainly HAS
changed over the years. Way back when,
it meant one Top 100 Hit!!! Then it
became one Top 40 Hit … and then even that became a bit more relaxed because so
many artists were earning a second Top 40 Hit (many of which remain in
obscurity), simply due to the success of their first BIG hit, prompting radio
stations to immediately add their new release to their play lists, only to have
it fizzle out a few weeks later. Now I
almost seems to be a case of one big recognizable hit and if a few other
“throwaways” happen in between, so be it.
While I would agree with you that The Tokens
definitely DID have more than one Top 40 Hit (“Tonight I Fell In Love” was
actually a pretty big one, peaking at #12 earlier the same year that “The Lion
Sleeps Tonight” put them on the map permanently), I think a lack of respect by
radio has made these other titles seem so obscure. (When’s the last time you heard ANY of your
mentioned tunes on the radio … anywhere?!?!)
Meanwhile, “Lion” has been used in countless movies,
tv shows, advertising spots, etc. Kids
two years old today know it well enough to sing along!
(One minor note:
“He’s In Town” did not make The Top 40 on any of the national charts …
it peaked at #43 in Billboard, which was its best showing ... but the others
were all legitimate Top 40 Hits … and are pretty good records in and of
themselves.)
Speaking of artists who have multiple One Hits, I
always reference Jay Ferguson (“I Got A Line On You” with Spirit, “Run Run Run”
with Jo Jo Gunne and “Thunder Island” as a solo artist, although he, too, had a
follow up Top 40 Hit that nobody remembers called “Shakedown Cruise” … go
ahead, sing a few bars!) … and then the incomparable Tony Burrows, who sang the
uncredited lead vocals on FIVE One Hit Wonders:
“Beach Baby” by First Class, “Love Grows (Where My Rosemary Goes)” by
Edison Lighthouse, “United We Stand” by The Brotherhood Of Man, “Gimme Dat Ding”
by The Pipkins and “My Baby Loves Lovin’” by White Plains. I don’t know that ANYONE will ever top THAT
record. (Not even Drake!) kk
Hi
Kent,
After
reading Mike Markesich's comments in your Monday blog, I feel that I must
respond.
First
of all, I've been closely following the Billboard charts ever since I was 8
years-old in 1974. Things have certainly changed in those nearly 50
years. But the charts have always been evolving since Billboard started
publishing them on a regular basis, starting in 1940. That said, I'm not
happy to see artists charting 20+ songs from one album in one week. But
that's the world we live in nowadays. I have several friends currently
working in the Billboard chart department and to use childish insults and
calling them "smarmy, musical history no-nuthins" is not only wrong,
it's also borderline libelous. They are doing their best to incorporate
all aspects of the music business into their charts.
In
case your readers don't know, streaming accounts for 84% of music industry
revenues these days! How can Billboard ignore this? The answer is,
they can't.
Let's
face it, the days of going to the record store and purchasing the latest hit
single are long gone. I miss those days as much as most of us, but they
aren't coming back. If you don't like how Billboard compiles their
charts, then don't follow them. Honestly, if I wasn't working at Record
Research, I probably wouldn't pay much attention to today's charts. But
then again, today's pop music isn't made for my generation, just as the stuff I
listened to as a kid wasn't aimed at my parents.
As for
comparing the different eras, it's just not as feasible as it used to be.
Even comparing the 1960s to the 1980s is tough, because of how fast the charts
were turning over. For instance, The Beatles never had a single spend
more than 19 weeks on the Hot 100! As far as Billboard making comparisons
between the eras, that's up to them. They have to generate content.
I just take it with a grain of salt, as I think most do. They are good
people just trying to do a job. Besides, the Record Research books will always
be around to remind future generations of the historical facts.
Paul
Haney
Record
Research
Speaking only for myself here, I have absolutely NO
problem with the way Billboard compiles their data today. They are very upfront about it and, as you
point out in your email, I don’t know any other method(s) they could possibly
use in this day of downloading and streaming.
It is, I’m sure, the most accurate measurement possible of what people
are really buying and listening to.
But what eats at me is that a publication of this
stature … one that knows better than any of us “lay folks” buying the music …
should NOT be comparing chart data side by side when the method in collecting
that data (and the criteria for compiling that data) has absolutely NOTHING in
common with one another. That’s my big
sticking point … and yet they continue to do so as if one era has anything at
all to do with another … because they simply don’t.
I get it that they have to base their charts on
SOMETHING … and if streaming accounts for 84% of music revenue today, then so
be it … use that as your chart basis (and they acknowledge that they do.) But to counter your statement that “the days
of going to the record store and purchasing the latest hit single are long
gone” only furthers my point … agreed, it doesn’t work that way anymore … so
why are they comparing the two? To me,
that’s like saying, “Well, you know the Concord Jet flies a lot faster than
that plane The Wright Brothers built.” Ummm … yeah … but other than the fact
that they were both eventually able to get airborne, what’s the comparison
based on?
As such, I do exactly as you suggest … and ignore the
current Billboard Charts … I don’t even look at them anymore (until a headline
like “Drake passes The Beatles” shows up all over the media and then I feel
that I have to step in and clarify the point.) And THAT’S why I’m afraid history will forever
be distorted by the misrepresentation of these facts. Because whereas I am right now ONLY
interested in the new Record Research book profiling Billboard’s chart hits
from 1955 – 1989, my fear is that THAT will be the book music historians are
throwing away a decade from now because its measurement of pop music was too
antiquated for our modern methods of doing so … and that’s just wrong.
Are we truly to believe that Drake right now possesses
90% of the “hit market” because of his nine Top Ten Hits. Is this reflected in any way by what radio is
playing today? Does anybody REALLY hear
14 Drake songs per hour? Is any radio
station really programming that way to reflect what listeners “really want to
hear?” Of course not. And even if we reduce that number down to 21%
based on his Hot 100 domination, are you hearing THREE Drake songs per
hour? (Now you might hear three Michael
McDonald songs an hour if you tune in to Sirius XM’s Yacht Rock station … but
even a station like Chicago’s The Drive at their very worst might play 17
Aerosmith and 17 Led Zeppelin songs a day.)
Back in the day, however, when The Beatles first captured
our attention, it was not at all uncommon to hear radio stations play 8-10
Beatles songs per hour. I know, because I
was there listening at the time … and it was COMPLETE saturation, pure and
simple … and, incredibly, listeners were still calling in asking for more. If Billboard wants to compare eras side by
side, a point like this should be made. And
many of those were album tracks, because fans just couldn’t get enough. Had all those titles been allowed to chart at
the time, they, too, would have racked up a hundred chart hits in 1964 … and album
were much shorter then, too! (As it is,
they managed to place 34 titles in The Hot 100 in 1964 alone.)
Much the same happened when Elvis hit our
consciousness … but Billboard doesn’t even look at his first 34 hits because
they predate the day they changed the name of their weekly survey.
The Rock Era has ended, folks. It probably REALLY died around 1980, perhaps
in part due to The Disco Era and the tapering off of The Classic Rock Era. As such, leave it alone and let it stand on
its own as a “moment in time.” DON’T be
trying to lump today’s trend of bleeped-out lyrics into the same category and
compare them as such … because it ain’t even close. (kk)
FH Reader Tom Goodell sent us a list of The Top 100
Instrumental Hits of the ‘60’s as counted down by Ron Parker on Sirius XM’s
‘60’s Channel …
I was curious to see how it compared to our OWN list of
Instrumental favorites. (The truth is, we actually have TWO lists of
Instrumental Favorites … the mathematical ranking by actual chart performance …
and then a SECOND list of Your All-Time Instrumental Favorites as voted on by
The Forgotten Hits Readers.)
You can find copies of BOTH lists on our other Forgotten Hits
Archival Website …
Forgotten
Hits - Top 40 Instrumentals, 1955 - 1979
Still,
you’d think if we were all ranking the same songs on the same charts, there
wouldn’t be any big discrepancies here … yet there are.
For
starters, 7 of our Top Tens are common tracks (although only numbers 1 and 2
match exactly) Songs that made our Top
Ten but missed theirs include “Exodus” (#3 FH / #12 SXM); “Tequila” (#6 FH /
and didn’t make the SXM list at all?!?!
Now THAT’S gotta be an mistake!) and “Wipe Out” (#7 FH / #37 SXM)
doesn’t quite compute either, being that this song charted TWICE and reached
The National Top Ten both times.)
The
three songs that made THEIR Top Ten but didn’t score as high on our chart are
“The Poor People Of Paris” (#3 SXM / #13 FH); “Moonglow and Theme From
‘Picnic’” (#8 SXM / #20 FH) and “Last Date” (#10 SXM / #18 FH)
Glaring
omissions (on both ends) include “A Fifth Of Beethoven,” “Melody Of Love,”
“Rise” and “Love’s Theme.” By the same
token, I don’t know how WE missed “Grazing In The Grass,” “Soulful Strut,” "Classical Gas" or
“The Entertainer.”
And,
as if all of this isn’t bad enough, then we got THIS list from MSN’s Music News
sheet … The
20 best instrumental songs of all time (msn.com)
Although
not necessarily ranked in any specific order, the list skews heavily (pun
intended) to the classic rock side of things, overlooking the major POP
Instrumental Hits that most charts like these are based on.
As
we’ve learned over the years, you’ll NEVER get everybody to agree to anything
when it comes to these rankings. (Put three
people together and you’ll likely have a hard time agreeing on where to go for
lunch!!!)
Still,
always a fun topic to share … and just odd that these all came up at the same
time! (kk)
Hey
Kent -
The
"Maggie May" discussion got me thinking of another case of
"radio station rediscovery." Back in 1989, "When I'm With
You" by Sheriff went to #1. The song was first released in 1983 and
stalled at #61, but years later, radio stations put it in rotation like it was
a new song, and this time it took. The group had long since broken up and
didn't re-form, although two members formed Alias, which had a minor hit called
"More Than Words Can Say."
Be
Well,
Carl
Wiser
Songfacts.com
A few others that I’ve always taken note of …
[NOTE: All
peaks below are according to Billboard]
Moving Pictures – “What About Me” … kind of the
opposite effect … #29 in 1983 and then #46 in 1989
Benny Mardones – “Into The Night” … #11 in 1980 … and
the right back to #20 in 1989. (Tracks
like the above-mentioned “Wipe Out” had a similar resurgence … #2 and #9 … and,
of course, “The Twist” by Chubby Checker, which actually went to #1 TWICE!!!
How about Hall and Oates’ first chart hit “She’s
Gone?” Yes, it was released in 1974 by
their old label, Atlantic Records, and stalled at #60 … but then, after “Sara
Smile” hit The Top Five, Atlantic rereleased the exact same recording and
watched it go all the way to #7. (Neil
Diamond’s “Solitary Man” had a similar fate … when first released by an unknown
Neil Diamond, it stopped at #55. But
then, after Neil scored a dozen Top 40 Hits and jumped to Uni Records, Bang
added some horns and rereleased “Solitary Man” in 1970, only to see it climb to
#21.
And finally (although there are certainly more!), how
about Aerosmith’s first single “Dream On?”
It essentially tanked when it was first released in 1973, peaking at
#59. But then, after “Sweet Emotion” hit
The Top 40, Columbia Records released it again (in its album long form version)
and the song went to #6. (Derek and the
Dominoes’ “Layla,” short edit, peaked at #51 … but then the rereleased LONG
version went all the way to #10!) I
guess you just never really know … but in all of the cases shown above, these
proved to be lasting songs. (kk)
I have had good response
to our show ... all positive feedback except a couple that did not like Brown
Sugar being number one! Thanks again for your help.
Phil
As you know, “Brown Sugar” won by a SUBSTANTIAL lead
… it was also your #1 pick and my #10 pick … so in this case, I would have to
say that the majority have definitely spoken.
(kk)
Update on the Fugees in NYC
Reports: Pier 17 rooftop,
South Street Seaport.
--BF
Kent,
The Biondi Bash show was a killer! Thanks to Pam's (and LOTS of other folks')
hard work, the Biondi film should be sewn up and on the air soon.
And a HUGE thanks to Ron Onesti, who donated the
use of his theater ... incidentally, he really did a great job re-doing the
theater! It's nothing like it was a few years ago. You have to see a show
there in order to appreciate it!
4 hours and 10 minutes of great oldies from
Chicago groups, and even Felix Cavaliere, who ended the show with some roaring
rock and roll. My ears are still ringing. ;-)
Mike Wolstein
While
the big news Genesis-wise is their reunion tour, most of the focus seems to be
on how much pain Phil Collins is in.
We
already knew he wouldn’t be drumming … but two shows in and he’s already saying
that this is the last one … that he won’t do this again because of the amount
of pain he is in.
I
get it … and maybe more consideration should have been given to this upfront
before making such a huge commitment and heightening the excitement of hundreds
of thousands of Genesis fans keen on seeing the band one last time. (I’ve NEVER
seen them … but would have LOVED to have gone to this show!)
Obviously,
we hope Phil can weather thru all of this, even if it means singing from a
chair. (I’m hearing that Mike Nesmith is
pretty much doing that during The Monkees reunion tour as well.)
Let’s
face it … our music heroes are all getting older … and experiencing the same
aches and pains all of US do as we continue to go up in age. Why so many still want to go thru the grueling
ordeal of all the travel (and now risk of Covid) is beyond me … but like Micky
Dolenz has said many times, “They pay us to travel. Most of us would go up there and sing for
free.” As more and more artists move
thru their 70’s (and some now approaching their 80’s), one cannot help but
wonder how many more reunion (and farewell) tours we’ll see. (kk)
Hi Kent:
Here is some interesting news from Gordon Anderson at
Real Gone Music regarding Record Store Day on Black Friday (November 26th.)
I'm forwarding the press release to you in case you
want to let your blog readers know about it. Also, I attached the front cover
for you.
Santi Paradoa
The Shangri-Las - The Best Of The Red Bird And Mercury Recordings
Can you believe there hasn't been a legitimate Shangri-Las collection issued on vinyl since, well, forever?! At least not since the advent of the CD era. But we're making up for lost time with this one -- when it comes to Shangri-Las compilations, this one's (sorry) the leader of the pack!
Twenty-five
tracks newly remastered by Eliot Kissileff from tape sources, presented in
a 2-LP set pressed in (vroom! vroom!) clear with black
"tailpipe exhaust" vinyl, and housed in a gatefold jacket with a
4-page insert. Liner notes by Shangri-Las expert John Grecco featuring his
personal reminiscences of such legends as producer "Shadow" Morton,
engineer Brooks Arthur, and band manager Larry Martire and rare photos complete
the best-looking Shangs package ever released.
"Remember
(Walkin' In The Sand)" (the "Oh No" song of TikTok fame),
"Leader Of The Pack," "Give Him A Great Big Kiss," "I
Can Never Go Home Anymore" ... all your faves, sounding better than they
ever have before!
Remember (Walkin' In The Sand) *
Leader Of The Pack *
Give Him A Great Big Kiss *
Out In The Streets *
Give Us Your Blessings *
Never Again *
The Train From Kansas City *
Heaven Only Knows *
I Can Never Go Home Anymore *
Long Live Our Love *
What Is Love?
Maybe
What's A Girl Supposed To Do?
The Dum Dum Ditty
Right Now And Not Later
Sophisticated Boom Boom
He Cried
Dressed In Black
Past, Present, And Future
Paradise
Love You More Than Yesterday
The Sweet Sounds Of Summer
I'll Never Learn
Take The Time
Footsteps On The Roof
* denotes stereo
A special edition of the new Paul McCartney lyrics
book is being made available through assorted bookstores here in The States as
well as the UK.
Paul has personally signed 175 copies … and you can
try your luck at obtaining one by contacting any of these outlets …
Rush fans can enjoy The Director’s Cut of their film
“Cinema Strangiato” in the comfort of their own homes. Your online screening ticket is available via
the link below for only $15 … and is good from October 1st thru
October 10th.
Rush:
Cinema Strangiato - Director's Cut At Home Edition • Stellar Tickets
I loved
the close in today's FHs!
Some of these things are more clever and spot on than others … so Lettuce say this is one of those!
CB
(Cabbage
Boy … sorry, I just couldn’t resist!!!
Lol) kk
Sarah
Dash, an original founding member of LaBelle, died on Monday (September 20th)
Ironically,
she had just shared a stage with Patti LaBelle two days before.
The
two (along with Nona Hendryx) first enjoyed success together back in 1962 as
The Blue-Belles when their hit single “I Sold My Heart To The Junkman” climbed
to #12 on the pop charts. (Cindy
Birdsong, who would leave the group in 1967 to replace Florence Ballard in The
Supremes, was also an early member.)
A
couple of minor Top 40 Hits followed (“Down The Aisle,” #29, 1963 and “You’ll
Never Walk Alone,” #34, 1964 … but then it was nearly a dozen years before they
burst through again with their smash, #1 Hit, “Lady Marmalade” in 1975.
Patti
LaBelle made the following statement when she first heard of Sarah’s death:
“We
were just onstage together on Saturday and it was such a powerful and special
moment. Sarah Dash was an awesomely
talented, beautiful and loving soul who blessed my life and the lives of so
many others in more ways than I can say. I could always count on her to have my
back. That’s who Sarah was … a loyal friend and a voice for those who didn’t
have one. She was a true giver, always serving and sharing her talent and time.
I am heartbroken, as I know all of her loved ones and fans are. But I know that
Sarah’s spirit and all that she has given to the world live on. And I pray that
her precious memory brings us peace and comfort. Rest in power my dear sister.
I love you always!”
More
here: https://www.hollywoodreporter.com/news/music-news/sarah-dash-labelle-lady-marmalade-dead-1235017460/
kk
…
Lenny
Dell, Lead Singer of The Dimensions, has died.
1960
= "OVER THE RAINBOW" (#16)
1963
= "MY FOOLISH HEART" (#87)
https://www.facebook.com/photo/?fbid=1171707656651075&set=a.112550015900183
FB
Wow! Talk about your television diversity!!!
I got this email yesterday (Wednesday, September 22nd), celebrating “This Day In TV History”:
Maverick (in 1957),
The Man From U.N.C.L.E. (1964), Charlie’s Angels (1976), Family Ties (1982),
Full House (1987), Family Matters (1989), Baywatch (1989), Friends (1994), The
West Wing (1999), Lost (2004), Veronica Mars (2004) and NCIS: Los Angeles
(2009) premiered
Johnny B (Jonathon
Brandmeier) has been tapped to host this year’s Radio Hall Of Fame Awards
Ceremony, held here in Chicago on October 28th. Sadly, there aren’t any of our Top 40 Era
Jocks on the list this year … and apparently once again a very deserving Bob
Stroud didn’t make the cut. (kk)
kk
…
This
Saturday (9/25) Bob Miranda, Lead Singer of The Happenings, visits with Cousin
Brucie.
You
Know What That Means, Kent?
Cousin
Brucie Will Be Able To Play "SEE YOU IN SEPTEMBER" --- In The Month
Of September.
If
He Waited One More Week, I Couldn't Say That.
FB
This is a transcript of an article from
yesterday’s Phoenix newspaper which provides some unique insight into some
early 70s rock history. The story reminded me of our local Shaw Street Smakers
softball team which consisted of several players from Fuse and Nazz. The Smakers
only played one game, 50 years ago last June, and defeated the local Police
Department 8-7. I have heard that there were quite a few games across the
country played under the same format at the time. Unfounded rumor has it that
we were the only team that actually won the game.
Robert Campbell
'We go back a long way':
How the Monkees' Micky Dolenz and Alice Cooper became Vampires
Ed Masley - Arizona Republic - Published 7:00 a.m. MT Sep. 18, 2021
Micky Dolenz is, in theory, on the phone with a music reporter from
Phoenix to talk about the Monkees Farewell Tour he launched a few days earlier
with Michael Nesmith. But first, he'd like to ask a couple of questions.
"You're calling from Phoenix?" Dolenz asks. "You
know my friend Alice?"
His friend Alice, of course, is Alice Cooper, the shock-rock
pioneer with whom he formed a celebrity drinking group known as the Hollywood
Vampires in the '70s. Other members included Keith Moon, Harry Nilsson, Bernie
Taupin, Ringo Starr and John Lennon.
Micky Dolenz on the Monkees' proper place in music history:
"As you know, we go back a long way," Dolenz says.
"When I first moved to Laurel Canyon, he was living across the street in a
rented place. He wasn't Alice yet. He was Vince, as you know. But then he
became, of course, Alice, and we became just really good friends." Cooper
eventually moved into what Dolenz recalls as a beautiful house right next door
to his. "I don't know why or how but we just got along," Dolenz says.
"We never worked together. It was all about friendship and
camaraderie."
Both the Monkees and Alice Cooper were theatrical It may have been
that they were kindred spirits of a sort. "I think a little of it may have
been that Alice, as you know, was and is a theatrical act, like the Monkees
were. We're theatrical. Like Kiss. Or the Who. It was Broadway. Alice is
probably one of the greatest Broadway theatrical rock stars ever. And the
Monkees were essentially theatrical. So that's probably one of the reasons we
got along." At a certain point, that friendship gave way to the Hollywood
Vampires.
"Alice and I kind of started it," Dolenz says. "To
most people, they describe it as a drinking club. But it actually started as a
softball team."
They'd get together on the weekends and play softball games for
charity. "We got into kind of a league thing with other record companies
and we'd play the fire department or the police department," Dolenz says.
"We'd go to boys schools and camps for underprivileged kids and we'd play
softball. That's how it started. And Alice came up with the name, of
course." They even had their own team jerseys with big red V's.
"Alice tended to be the pitcher," Dolenz says. "Peter Tork, who
was probably the best baseball player on the team, he would play left field. I
was not that great. I would play first base, usually." Lennon never
played, but he would show up at the games and definitely show up at the bar.
The membership was relatively fluid, if you will.
But first, a new teen center Hollywood Vampires membership was
fluid …
"We'd have all kinds of different people come through,"
Dolenz says. "But then after the game, we would go to the Rainbow (Bar and
Grill) and party." In an interview with the Quietus, Cooper said, "It
was sort of a last man standing drinking club. And we would sit there every
night waiting for what Keith Moon was gonna be wearing ... Is he gonna be
Hitler or is he gonna be Queen Elizabeth?"
To this day, there's a Hollywood Vampire plaque on the wall at the
Rainbow listing Dolenz and other members with Cooper as president and Moon as
Vice President. Cooper and Dolenz have stayed friends through the years.
In 2019, Dolenz was among the featured guests at the annual
fundraising bash for Alice Cooper's Rock Teen Center at Las Sendas Golf Club,
where he belted out "Last Train to Clarksville" and "I'm a
Believer," playfully telling the crowd, "If you know the words, don't
sing along; it puts me off."
"We learned to play golf simultaneously from my dearly beloved
ex-wife, Samantha (Juste), who passed away," Dolenz recalls. "Her
father, who lived with us, and her mother, he was a good old English duffer is
the term they use. He played golf. And he taught me and Alice how to
play."
Cooper, of course, went on, as Dolenz says, "to almost be a
pro." And Dolenz? "I haven't played recently, really," he says.
