Saturday, August 14, 2021



Rewound Radio salutes the great Larry Lujack (SUPERJOCK!) this Saturday afternoon (THAT'S TODAY, PEOPLE!!!) from Noon – 3:00 (Eastern)  They’ll be airing clips of Larry from both WLS and WCFL.  You can tune in to Listen Live at  (Short notice, I know ... but SO worth it!!!)  kk


I believe Chuck Buell about Maggie May, but he did NOT get it charting on WLS for two months while it was already #4 on KRLA, so that part is odd. 

Personally, I loved it when it came with the intro on radio, but today, I find it boring and love "Reason to Believe."

Clark Besch

Rod had 45s???

Lately I have trouble relating to some of the articles in FH simply because at some point in time after 1968 I stopped buying 45s and only purchased albums.

For instance, I did not know that Rod Stewart was actually on 45s, but I purchased all of his early albums, especially with The Faces. In 1970 you could actually see Rod Stewart and the Faces at local regional bars as follows …


10/18/70: The Scene in Milwaukee with opening act Fuse. Ironically Rick Nielsen and Tom Peterson of Fuse are currently in a band that opens for a number of Rod’s upcoming shows this year. I attended this show.

[Yeah … I think they're calling themselves Cheap Trick these days! – kk]


11/3/70: Dewey’s in Madison, WI.


11/13/70: The Syndrome, Chicago, IL. Once again, I attended this show and it was one of the most remarkable shows I have ever seen. I don’t remember the location or the name of the venue. It appeared to be a classic old theater and there were a number of balconies, maybe three.  The shows were all excellent and this show was very well received. I am not sure of the exact number, but the band was called back for somewhere between five and eight encores. In 1970, an encore was not yet a scripted part of the show. The crowd had to demand it and the artist had to earn it. Rod played the final song laying flat on his back on stage as he was too tired to stand up.

Robert Campbell


Hi Kent,

I really enjoyed the "Maggie May B-side" story.  Seems to me I remember that happening with initial B-sides, Donovan's "Atlantis" and Lee Michaels' "Do You Know What I Mean," among others.  As proven so many times, the "ears" in the record company board rooms sometime miss the mark.  Another reason why we miss the under-rated influence of "Mom & Pop", grass-roots" radio.  It's okay if milk is homogenized, it's just not a good characteristic in the radio business.  Like money, power in the hands of the few isn't always a good thing for everyone.


Tim Kiley

There have been SO many instances where the record companies got it wrong when it came to picking the hits.  The deciding factor has ALWAYS lied with the public.  Thankfully, we grew up in an era where a disc jockey could flip a record at his on discretion and turn those “throw-aways” into huge hits.  (Steam’s “Na Na, Hey Hey, Kiss Him Goodbye” immediately comes to mind … as does one by our local buddies,, The New Colonoy Six.  The original intention was to “rock the band up a little bit” with “Come And Give Your Love To Me” after they scored with a couple of ballads … but the aforementioned Larry Lujack told the promoters they were plugging the wrong side of the record.  Sure enough, once they flipped it over, “Things I’d Like To Say” became the biggest national hit The New Colony Six ever had! 

This was also an era where both sides of a record could chart … sometimes independently of each other and other times as “tag-along” B-Sides.  It was a FAR more exciting time in radio … and in record buying, too.  (Who didn’t come home and play BOTH sides of their new 45’s to see if perhaps there was an undiscovered gem on there???)  You knew both sides of a Beatles 45 or an Elvis 45 were probably going to be great … but if nobody would have ever flipped the record over to see what Rick Nelson put there, “Hello Mary Lou,” “Waitin’ In School,” “My Bucket’s Got A Hole In It” and “It’s Late” might have never been heard!!!

You can find The Top 200 Biggest Two-Sided Hits of All-Time here …

And 200 more Fan Favorites here:

This has proven to become a VERY popular feature on Me-TV-FM where they play BOTH sides of the record back-to-back to remind you just what a “sound investment” record buying could be back then!  (kk)


Hey Kent ...

Great job sussing out the story of how "Maggie May" went from B-side to smash hit. We've updated the Songfacts entry with this new information. A music director in Chicago is certainly more likely to trigger this reaction than a DJ in Cleveland.

Be Well,

Carl Wiser



Hi Kent,

Congratulations: another thrilling, fun-packed edition of FH!

And ... I'm a bit confused re: the stories behind "Maggie May" and radio airplay. (This is of particular interest to me since I was MD at a top Baltimore FM at the time and "Maggie" was my choice, too.)

First of all ... I have the utmost respect for the dj's who grace the pages of FH ... yet … in looking through radio surveys from that time, I see some discrepancies.

"Maggie May" was a HB pick at KHJ on 8/18/71 and hit the (published) WLS survey at #27 on 8/30/7. (I can't find any summer '71 surveys for WMMS.)

By that time, quite a number of stations were already on it, including debuts at KJR on 7/31, WIXY (8/06), WQAM (8/07), KQV (8/10), and WRIT (8/11).

It was also ranked at #4 on KRLA on 7/06 and #1 on KCBQ on 8/20. Some stations ranked both Maggie May and Reason To Believe together, such as WMEX (#1 on 7/22) and WRKO (#1 on 8/12).

I'm sure that getting adds at powerhouse stations in Chicago and LA gave Maggie May a great boost in profile and sales … however, I do wonder about the earlier airplay elsewhere. Perhaps I misinterpreted the stories you printed.

Again ... no flaming intended ... just curiosity from another music geek.



We heard similar tales from others on the list … that “Maggie May” had already been charting (in some cases, for WEEKS) before it first hit the WLS Chart.  (I’m thinking this is why so many of the synopsizes that I read attributed the success of the B-Side taking off to the large number of jocks across the country who felt it was the stronger side … some of which, I’m sure, was based on strong listener response.

Who flipped it first?  Songfacts originally said WOKY … but that info was deleted after they went with Chuck Buell’s story after reading yesterday's edition of Forgotten Hits.

As for me, I’m not convinced WHO pushed for it first … but I DO have to admit that I cannot believe how quickly the bandwagon developed once this happens.  (Truthfully, it seems to really only be a matter of a few weeks, tops, before it did.)


A bit more digging on my end (based on the resources available to me here) shows that “Reason To Believe” premiered FIRST on the Billboard chart dated July 17th, 1971.  It showed up on the Record World and Cash Box charts a week later on July 24th.

“Maggie May” premiered on all three charts on August 14th … or three weeks later.  If KJR, WIXY, WQAM, KQV and WRIT were all already charting the record before the August 14th date (which really wasn’t all that uncommon … this kind of chart action is, after all, what inspires a record’s move up the national charts), then I’ve got to give kudos to ALL of these stations … despite the fact that WOKY, WMMS and WLS are not listed among them, yet all seem to lay claim to breaking the B-Side as the hit.  (This reminds me of our research years ago to determine who played the first Beatles record in America ... but that one was easier to calculate because we had documentation proving who was airing these records ... and when.  Here, we're just able to observe the result of DOZENS of stations making the switch, one right after the other.  I don't know that anyone could EVER prove who aired it first at this point!!!  Of course, this ALSO means that EVERYTHING we told you in this regard yesterday was wrong!!!  Lol)   

KRLA charting “Maggie May” at #4 on July 6th seems almost impossible … “Reason To Believe” (the intended A-Side) hadn’t even been released yet!!! So this one just doesn't make sense.  (Can someone produce a copy of the actual chart showing this?  All I've been able to find are retyped copies ... and that's not concrete enough evidence for me on this one.)  That being said, the song hitting #1 on WMEX on July 22nd and on WRKO on August 12th are also baffling facts, as Billboard didn’t first mention “Maggie May” until their August 14th Chart!

Even more incredibly, these tracks didn’t appear back home on the UK charts until September!!!  (Where you would think, if the record really DID break here in America first, the British radio stations would have selected the side proven to be the success here in America, and made “Maggie May” the automatic A-Side there, too … yet it premiered in Great Britain two weeks AFTER “Reason To Believe” first charted there on September 4th.  By the time “Maggie May” finally premiered on the British charts on September 18th, it was practically already a Golden Oldie here in America!  (lol)

I also see that it didn’t appear on the WCFL chart (WLS’ main competition here in Chicago) until September 9th … two weeks after its WLS debut on August 30th … which (based on documented charts) was NINE full weeks AFTER the record was first charting in LA.  (So Chuck Buell calling Ted Atkins at KHJ in August when WLS jumped on the record and KHJ immediately starting to air it would have meant he was already a good six weeks behind his competition at KRLA if “Maggie May” was already the #4 record in town on July 6th.)  I think we’re going to need a score card for this one!!!

This being said, Chuck Buell has the gold record thanking him for getting behind the record … so now you’ve gotta wonder how many gold records they handed out for “Maggie May!!!”

I checked one more source before putting this to bed for the night …

Which brings us right back to Square One!

VH1’s “Rock Stars Encyclopedia,” first published in 1996 states:

“Rod Stewart’s version of the Tim Hardin ballad, ‘Reason To Believe,’ peaks at US #62, but DJs (the first being in Cleveland, Ohio) flip the record over and ‘Maggie May’ becomes the airplay-friendly A-Side.”

So there you have it.

What, I don’t exactly know … but the truth is out there somewhere.  SO many stations jumped on “Maggie May” that it’s almost impossible to know who fired the first shot … but the fact that it was charting WEEKS before as an A-Side tells me that this had to happen earlier than we were originally led to believe … and I don’t know that we’re going to be able to pin that down definitively here.

That being said …

If ROD says Cleveland, then I think I’m going to have to go with Cleveland until proven otherwise.

However, that COULD be relatively easy to do if anybody out there can produce WMMS and KRLA Charts showing when "Maggie May" first appeared on their countdowns.  (kk)




Kent -

It continues to amaze me the incredible amount of time you spend in putting your blogs together. Unbelievable!!!!!!!

Johnny Holliday

I’m always blown away when I visit your Forgotten Hits site ...

Unbelievable man!  Huge undertaking ... Amazing content … Difficult to believe you find time to sleep at night.

You’ve captured the Greatest Days of the Rock Radio era.

Chuck Buell and I remain close ... we were a great team together ... and had so much fun and respect for each others’ on-air work. Good times for certain.  

You deserve a ton of accolades from your masterpiece work ...

Great to relive that era over and over again with a connection to Forgotten Hits.

And Thank you!

Kris Erik Stevens

Wow, thanks, guys …

To hear that from two such highly-respected on-air personalities makes me feel like maybe I’m doing something right here!!!  So thanks again … it means a lot.  (kk)


Despite the GREAT year 1971 had for music, those teen things keep it way down the list from 60's years for me overall.  I have a friend, John, who has the amazing decades-long collecting idea of getting EVERY song from the year 1971!  I have helped him some, but he has amassed an amazing group of songs from that year.  THAT is HIS year for sure and he worked at Billboard a year later.  You should contact him, Kent.  He reads Forgotten Hits.

As to the Eric Carmen MeTV-FM tribute, it is weird how he is shunned by radio these days and yet the Raspberries AND himself had AWESOME hits.

Somewhere I have on a personal taping off Lujack in the mid-70's where he makes fun of the Raspberries' Chicago concert by reading a newspaper clipping on the air about how kids "THREW things at the Raspberries" and then tongue in cheek chastised kids who did so. 

Clark Besch

I think very highly of virtually everything Eric Carmen was involved with … both with The Raspberries and as a solo artist … as well as the songs he wrote that were recorded by other acts.  (Shaun Cassidy did GREAT versions of “That’s Rock And Roll” and “Hey Deanie,” both Top Ten Hits in 1977-1978 … and how about “Almost Paradise” from “Footloose” by Ann Wilson of Heart and Mike Reno of Loverboy, ANOTHER Top Ten hit from 1984.  (In addition to writing hits for other artists, Eric also did some AMAZING covers of his own along the way.

I’d love to hear that Lujack bit … he did sarcasm better than ANYBODY!!!
(Be sure to check out the Rewound Radio spotlight feature we mentioned later today!  I’m sure Art Vuolo will be listening!!!)  kk

I will definitely be tuning in to hear that show.  There is SO much Lujack material out there!  I loved him.

Nick Digilio is the best thing that happened to radio in last two decades and I miss him on WGN, but he also did an incredible tribute to Larry Lujack upon his death while Nick was still a big star on WGN.  (I will send it to you under separate cover.)  I have been listening to Nick’s tribute again and I’ve gotta say that Nick Digilio was ALSO a great, great talent!  I miss him and wish WGN would get back on the air!



Got this great article that FH Reader Edward Kolodziej sent in from The Wall Street Journal (of all places!) celebrating the 50th Anniversary of “Who’s Next!” 

I had NO idea about all of the back story for what could have been Pete Townshend’s next Rock Opera, “Lifehouse.”  (I guess the 6-CD set spotlighting much of this unreleased music is long out of print … but Edward told me that you will see a copy pop up on eBay every once in a while … should you have an extra $300 to spend!!!)

All in all, a fascinating read.  You can check it out here:


Meanwhile, there seems to be a bit of controversy (all seemingly fueled by keyboardist Bobby Whitlock regarding who played exactly what on George Harrison’s recently rereleased first solo album, “All Things Must Pass.”  (And Whitlock isn’t pulling any punches!  Especially when it comes to fellow keyboardists Gary Wright, Billy Preston and Gary Brooker.)  He even gets in a dig about George’s wife Olivia and son Dhani, saying that “they weren’t there … they don’t know.”

The general consensus is that the credits as to who played exactly what has ALWAYS been murky at best … but essentially, between them, Eric Clapton and George Harrison put Derek and the Dominoes together for this album ... and these were their “warm-up” sessions!!!

(Which means that, effectively, Eric then went on to steal George’s band AND his wife with the release of their album “Layla!!!”)  kk


Stan Lark, longtime bassist for Jimmy Gilmer & the Fireballs, passed away on August 4th from cancer. Playing on all of their hit songs, from "Sugar Shack" to "Bottle of Wine" … and everything in between ... Stan Lark would play bass with the group from their beginnings in 1957, until he retired from touring in 2016.  RIP.

Ken Voss

People remember the BIG hits by The Fireballs but tend to forget that before Jimmy Gilmer moved up front and center and gave them their #1 smash “Sugar Shack,” the band had already been scoring instrumental hits on the charts with songs like “Torquay” (#34, 1959), “Bulldog” (#21, 1960) and “Quite A Party” (#27, 1961)  Their early instrumental recordings have been described as “TexMex meets Surf Music,” a description that probably isn’t too far off the mark.

The Fireballs came back strong in 1967 with their Top Ten Hit “Bottle Of Wine” (#7) and charted one last time in 1969 with “Long Green,” a song that only went to #43 nationally in Cash Box (and again, inexplicably 30 points lower in Billboard!) but was a #10 hit here in Chicago.

Formed in Raton, New Mexico in 1957, The Fireballs were produced by Norman Petty, who also handled many of Buddy Holly’s recordings at his famous Clovis recording studio.  (In fact, after Holly’s death, The Fireballs recorded new backing tracks to some of Buddy’s demo vocals from the vaults for an album in 1962, much to the chagrin of many Buddy Holly fans.)

It was at Petty’s urging that they brought singer / guitarist / pianist Jimmy Gilmer onboard in 1960, beefing up the lead vocals in their stage act.  Three years later, they recorded the biggest hit single of 1963, “Sugar Shack,” which topped Billboard’s Hot 100 Pop Singles Chart for five straight weeks.  Their next couple of singles also charted (albeit progressively lower):  “Daisy Petal Pickin’” (#15, 1964), which tried desperately to cash in on the “Sugar Shack” Cordavox sound) and then “Ain’t Gonna Tell Anybody” (#53, also 1964.)  After that, Gilmer pursued an (unsuccessful) solo career. 

Jimmy was born right here in Chicago in 1940 but was raised in Amarillo, Texas, before moving to Raton, New Mexico.  (Ironically, Gilmer himself would record a tribute to Buddy Holly solo album.)  He rejoined The Fireballs a couple of years later and was on their late ‘60’s hits, “Bottle Of Wine” and “Long Green” … but was not singled out as the lead singer.  Stan Lark would spend his entire adult life playing bass guitar for The Fireballs, retiring in 2016. (kk)

Back in 2013, the subject of The Fireballs’ hit “Bottle Of Wine” came up and I made the comment that I always thought the lead vocal sounded a lot like a Barry McGuire / New Christy Minstrels record.

Imagine my surprise when I got this FROM Barry McGuire!!!


Hi Kent,
Well, to be totally honest, the first time I heard Bottle of Wine, I really thought it was me singing it, too, but I couldn't remember recording it ... lol! And then when the song became such a mega hit, I really wished it had've been me that recorded it, but alas, here am I, alive, healthy and enjoying every minute of my life in my 75th year.  

Barry McGuire   
LOL ... this song ALWAYS sounded like a Barry McGuire / New Christy Minstrels song to me ... in fact, at the time I would have SWORN that that was YOU singing it!!! (Let's face it ... it didn't really sound like ANYTHING else The Fireballs had ever recorded ... but it put the band back in The Top Ten for the first time in four years!)  
Quite honestly, by 1968, The New Christy Minstrels sound wasn't in keeping with the so-called "hit" sound of the day ... yet this record seemed to borrow HEAVILY from your tried-and-true musical schoolbook and became a monster hit in the process.  Always great to hear from you ... thanks, Barry! (kk)

“Bottle Of Wine” was one of those records that felt completely out of place with all the heavy rock that was now saturating the airwaves in 1968 … yet stood out immediately and fell IN place because of the tremendous amount of diversity that was on The Top 40 Charts back then.  It was the “Anything Goes” ‘60’s … and ALL of this great music was played side-by-side, no matter what it sounded like and somehow it all just fit.  (kk)

Mike Finnigan, a keyboardist, vocalist, and session musician who performed with an impressive array of artists including Buddy Guy, Bonnie Raitt, Crosby, Stills & Nash, and Jimi Hendrix, has died. He was 76.

A source close to Finnigan’s family said he succumbed to kidney cancer on Wednesday morning (August 11th) at Ceder Sinai Medical Center in Los Angeles.

A native of Ohio, Finnigan attended the University of Kansas on a basketball scholarship. He started to perform professionally when he was 19, relocating to Wichita to perform with The Serfs, which started as a house band at a local nightclub.

In 1969, he joined the Serfs in recording their only album, 1969’s “Early Bird Cafe” and toured with the group.

During a trip to New York City, Finnigan landed a gig as a session musician with Jimi Hendrix as he was in the studio recording the legendary album “Electric Ladyland.”

In 1972, Finnigan partnered with Jerry Wood to form Finnigan and Wood, releasing just one album “Crazed Hipsters.”

Finnigan’s other collaborations in the 1970s included performances with Dave Mason, Big Brother & The Holding Company, and Peter Frampton, as well as Jim Kreuger and Les Dudek, with whom he formed the band Dudek, Finnigan, and Krueger.

Finnigan later partnered with Dudek and singer Cher to form the band Black Rose, which performed around Los Angeles as an independent act before signing with Casablanca Records.

They released only one album, the eponymously named Black Rose, which also featured Gary Ferguson, Warren Ham, Rocket Ritchotte and Trey Thompson. However, the album gained little traction with fans and the group parted ways the following year.

Through the 1980s, Finnigan was a much sought-after musician, recording on multiple albums with Crosby, Stills & Nash, including “American Dream,” and “After The Storm,” as well as with artists such as Joe Cocker (Hymn for my Soul).

He also provided keyboards for the legendary blues and soul singer Etta James for more than two decades.

More recently, he recorded with Tracy Chapman, Joe Cocker, Buddy Guy, Tower of Power, Rod Stewart, Leonard Cohen, Keb ‘Mo, Taj Mahal, Bonnie Raitt, Eric Burdon, Kara Grainger, and the Zen Blues Quartet, among others.

Finnigan’s performances with Taj Mahal and the Phantom Blues Band earned him not one but two Blues Music Award (formerly W.C. Handy Award) and he was nominated twice more in the ‘Pinetop Perkins Piano Player’ category in 2013 and 2014.

In addition to his music, Finnigan was an outspoken political commentator and a regular contributor to the blog Crooks and Liars.

Finnigan is survived by his wife of more than 50 years Candy Finnigan and their two children.

The Serfs, Jerry Hahn Brotherhood and all.  Tough loss for us midwest rockers.



Just heard about this one …

New Biography Examines the Tragic Life of Jan Berry, a Pioneering Record Producer whose Music with Jan & Dean helped Establish the West Coast Sound in the late 1950s and Early 1960s. 

A new book from an award-winning author chronicles the highs and lows of the hard-driving, fast-living Jan Berry. From the birth of Rock ‘n’ Roll to major chart success while still in high school, from the peak of fame with “Surf City” to the prophetic nightmare of “Dead Man’s Curve,” Jan’s life story is compelling and brutal. 

In Dead Man’s Curve: The Rock ‘n’ Roll Life of Jan Berry, author Mark A. Moore taps his years of research to illuminate the complexities of Jan’s dual life — from grueling hours in Hollywood’s finest recording studios, road gigs, and personal appearances to navigating his way through college at UCLA and medical school at the California College of Medicine. 

“Jan Berry was a driven, self-assured controller,” says Moore. “Intellectually, from an early age, he was on a plane well above most of his peers. As part of a cadre of close-knit musicians and producers who defined the nascent California Rock scene, Jan made sure things went the way he wanted them to go, socially and creatively. His demeanor and personality drew those around him like moths to flame. His closest friends and creative associates marveled at his abilities, acknowledging him as a ‘good guy’ they liked working with and being around who could also be strict and demanding.” 

Headstrong and charismatic, Jan thumbed his nose at authority, made his own rules, and lived his life on the edge. His candle burned brightly at both ends, fast meeting in the middle. In April 1966, at the height of his music career and during his second year of medical school, his world crumbled in an instant. After gaining a reputation as one of the best music arrangers and producers in Hollywood, with 16 Top 40 hits as an artist (including seven Top 10), and more than 20 chart records as a songwriter to his credit, Jan suffered brain damage and partial paralysis in an automobile accident that nearly killed him. He was 25 years old. 

“After Jan’s car accident,” says Moore, “his ego remained intact, but his personality changed. He became more pliant. In the early days of the post-accident era, he suffered profound depression. His mood ranged from hostile and belligerent to an eagerness to please. He suffered from a severe impulse disorder that constantly threatened his musical renaissance and the best efforts of those trying to help him. He struggled to acknowledge his new limitations but as the years progressed, he kept striving to better himself musically and personally. His left-brain injury eroded his ability to communicate, resulting in bouts of rage and frustration. Yet his knowledge of and capacity for music remained intact, including his ability to read and write pitch notation. His residual capacity for music gave him a lifeline, something to live for, to help pull himself out of the darkness.” 

In Dead Man’s Curve: The Rock ‘n’ Roll Life of Jan Berry, Moore reveals Jan's story in-depth for the first time, based on extensive primary source documentation and supplemented by the stories and memories of Jan's family members, friends, music industry colleagues, and contemporaries. Highlights include: 

·   Jan’s rebellious youth, garage studio, and breakthrough in the music industry. 

·   Stories behind the music of Jan & Arnie and Jan & Dean, including Berry’s work with Joe Lubin, Herb Alpert, and Lou Adler. 

·   Jan’s tenure as a contract artist, songwriter, music arranger, and record producer for Nevins-Kirshner Associates and Screen Gems-Columbia Music. 

·   His production work with the Wrecking Crew, the cream of the crop of Los Angeles studio musicians. 

·   Firsthand insight from Dean Torrence, Brian Wilson of the Beach Boys, Joe Lubin, Arnie Ginsburg, Lou Adler, Bruce Johnston, Hal Blaine, Don Altfeld, Jill Gibson, Kim Fowley, music engineers Bones Howe and Lanky Linstrot, Artie Kornfeld, P. F. Sloan, Steve Barri, various Wrecking Crew musicians, and many others. 

·   Jan’s writing, arranging, and producing for artists outside of Jan & Arnie and Jan & Dean. 

·   Road stories. 

·   Jan & Dean’s ill-fated film and television projects—scuttled by the kidnapping of Frank Sinatra Jr., a train collision, and the ultimate wipeout. 

·   Jan’s personal life and workload in college and medical school. 

·   His influence on his peers in the industry. 

·   Details of his car accident, rehabilitation, and learning to walk and talk again. 

·   His musical renaissance in 1967. 

·   Heartaches and triumphs on the long road back from Dead Man’s Curve. 

·   Jan’s solo career in the 1970s. 

·   Paul Morantz’s 1974 Rolling Stone article and a behind-the-scenes look at the 1978 Jan & Dean film Deadman’s Curve. 

·   Performing and touring with Jan’s solo band Aloha in 1977 and ’78. 

·   His drug abuse and a nostalgic but troubled touring reunion with Dean Torrence. 

About the author: Moore has been researching Jan Berry’s life and career for more than 20 years. He served as consulting historian for “Jan & Dean: The Other Beach Boys” on the A&E network’s Biography series (2002). His book The Jan & Dean Record was published in 2016. His other published works on the subject include liner notes for Carnival of Sound (Rhino Handmade 2010), the Capitol Records digital reissues of the original Jan & Dean catalog (2011), Second Wave (Jan Berry Memorial Edition, Rainbo 2004), and various articles in Dumb AngelEndless Summer Quarterly, and the official Jan Berry website. 

The book came out earlier this week (August 9th) and should be quite the read!  (Watch for a future review here in FH)  kk

Harvey Kubernik remembers The Rolling Stones and “Exile On Main Street” …

Ringo Starr’s got another new EP coming out.  This one (called “Change The World”) will be released on September 24th but is available for preorder now.

More details (and a sneak-peek of the title track) here:

On the second page of that Billboard section Clark linked to at WorldRadioHistory are articles on the long-lost cartridge-TV industry, precursor to VCRs.

Last week on Kotaku, an eBay seller had an authentic Cartrivision TV console!

No carts to play on it, though ... humidity RUINS them!

--Bob Frable 

Legendary Vocalist ENGELBERT HUMPERDINCK Makes The Audience Swoon On Concert Album TOTALLY AMAZING!

He is one of music’s most captivating performers of his generation - or any other generation, for that matter. A vocalist who shines in the spotlight delivering passionate performances each and every time he steps on stage. He is Engelbert Humperdinck and now an outstanding concert album from 2005 is being reissued with a simultaneous release on Blu-ray, DVD and - for the first time ever - on glorious vinyl! This will mark the first new vinyl released by Humperdinck since the 1990s! Totally Amazing is an extraordinary musical document that showcases a performer well into the fifth decade of his career, with countless shows under his belt, and still treating every song, every note as if it was the most important he had ever sung! The set list includes several of the songs that would become synonymous with Enge including “Quando, Quando, Quando,” “The Last Waltz,” “Spanish Eyes,” “Release Me” and many more. For a small preview of the delights in store, the opening track from Totally Amazing, a breezy, cool-as-an-ice-cube-in-a-whisky-glass version of “‘S Wonderful,” has been released on all digital platforms.

Stream “‘S Wonderful”:

Totally Amazing will be available on digital, in Blu-ray/CD and DVD/CD combo packages, and on a deluxe 2LP metallic gold vinyl housed in a gorgeous gatefold jacket!

Speaking about the project, Engelbert says “What goes around comes around…like a fine vinyl album! It has been a number of years since I had a vinyl LP album out, but gratitude & thanks to Brian Perera & Cleopatra Records for re-releasing Totally Amazing as a fan favorite collectors’ vinyl plus the companion DVD & CD. I also really look forward to the upcoming months when I am back on tour, domestically & internationally, & be able to see all of my fans again!”

Order the Blu-ray/CD or DVD/CD combo:

Order the Vinyl:

Pre-order/pre-save the digital:

Be sure to catch this living legend live and in person at a concert venue near you!

NYCB Theatre at Westbury - Westbury, NY - October 01, 2021
Foxwoods Casino - Mashantucket, CT - October 02, 2021
Chevalier Theatre - Medford, MA - October 03, 2021
Mayo Performing Arts Center - Morristown, NJ - October 06, 2021
State Theatre - Easton, PA - October 07, 2021
Harrah's Resort Atlantic City - Atlantic City, NJ - October 09, 2021
American Music Theatre - Lancaster, PA - October 10, 2021
La Mirada - La Mirada, CA - October 22, 2021
Starlight Bowl - Burbank, CA - October 23, 2021
Philharmonic Hall - Liverpool, ENGLAND - October 31, 2021
Music Hall - Aberdeen, SCOTLAND - November 03, 2021
Alhambra Theatre - Dunfermline, SCOTLAND - November 04, 2021
02 City Hall - Newcastle, ENGLAND - November 06, 2021
Bridgewater Hall - Manchester, ENGLAND - November 07, 2021
Corn Exchange - Cambridge, ENGLAND - November 09, 2021
Symphony Hall - Birmingham, ENGLAND - November 10, 2021
Regent Ipswich Theatre - Ipswich, ENGLAND - November 11, 2021
Norwich Theatre Royal - Norwich, ENGLAND - November 13, 2021
City Hall - Sheffield, ENGLAND - November 14, 2021
Bournemouth Pavilion Theatre - Bournemouth, ENGLAND - November 16, 2021
Anvil Theatre - Basingstoke, ENGLAND - November 17, 2021
De Montfort Hall - Leicester, ENGLAND - November 20, 2021
Waterside Theatre - Aylesbury, ENGLAND - November 21, 2021
Agua Caliente Casino Rancho Mirage, CA - December 04,2021
San Jose PAC - San Jose, CA - December 05, 2021
The Villages - The Villages, FL - February 25, 2022
Ruth Eckerd Hall - Clearwater, FL - February 27, 2022
Van Wezel Performing Arts Hall - Sarasota, FL - February 28, 2022
Sunrise Theater - Ft. Lauderdale, FL - March 02, 2022
Sunrise Theatre - Ft. Pierce, FL - March 03, 2022
Beau Rivage - Biloxi MS - March 05, 2022
House of Culture (Kulttuuritalo) - Helsinki, FINLAND - April 06, 2022
Kleine Olympiahalle - Munich, GERMANY - April 08, 2022
Lucerna-Velky Sal - Prague, Czech Republic - April 10, 2022
Haus Auensee - Leipzig, GERMANY - April 11, 2022
Tempodrom - Berlin, GERMANY - April 13, 2022
Musical Dome - Cologne, GERMANY - April 14, 2022
Friedrich-Ebert-Halle - Hamburg, GERMANY - April 16, 2022
Kursaal Ostend - Ostend, BELGIUM - April 18, 2022
Muziekgebouw Eindhoven - Eindhoven, Netherlands - April 19, 2022
Gleneagle INEC Arena, Co - Killarney, Kerry, IRELAND - April 22, 2022
Glasgow Royal Concert Hall - Glasgow, SCOTLAND - April 24, 2022
The London Palladium - London, ENGLAND - April 25, 2022

In a career spanning over 50 years, Engelbert has generated sales in excess of 140 million records, including 64 gold albums and 35 platinum, four Grammy nominations, a Golden Globe, and stars on the Hollywood Walk of Fame, Las Vegas Walk of Fame, and Leicester Walk of Fame. He has performed for the Queen four times, several presidents and many heads of state. He has recorded everything from the most romantic ballads to movie theme songs, disco, rock, and even gospel. His unique voice has charmed millions of fans around the globe.

However, it’s not just the voice, but the man himself, with his endearing sense of humor and self-deprecating jokes. Engelbert has managed to strike a new chord with a younger generation, appearing on MTV several times. Engelbert exploded on to the music scene with The Beatles and the Rolling Stones. The shy handsome man catapulted almost instantly to world icon. He became great friends with Elvis and the two legends often performed each other’s songs. His first single in the charts was “Release Me,” which went into the Guinness Book of Records for achieving 56 consecutive weeks on the charts. It was No. 1 in 11 countries.

The following decades saw Engelbert constantly touring the world to sell-out crowds. Engelbert takes great pleasure in every moment on stage. Engelbert’s music has transcended time and his voice still continues to reach out to people now – serving to transport and inspire, to embrace and to provoke feelings and emotions…ingredients that are no doubt the essence of his long-lasting success. Engelbert was just awarded the Honor of Member Of The Most Excellent Order Of The British Empire (MBE) by Her Majesty The Queen in the Queen’s Birthday Honors List 2021.

Track List:
1. 'S Wonderful
2. Am I That Easy To Forget
3. The Last Of The Romantics
4. A Man Without Love
5. After The Lovin'
6. Too Young
7. You Make My Pants Want To Get Up And Dance
8. A Chance To Be A Hero
9. There's No Good In Goodbye
10. Honky Tonk World
11. The Last Waltz
12. Someobody Like You
13. Cry
14. Totally Amazing
15. Quando, Quando, Quando
16. I Wish You Love
17. Spanish Eyes
18. Love Me With All Your Heart
19. Release Me
20. My Way
21. Columns Of Gray

This week Stevie Nicks announced that she was cancelling all of her scheduled dates for 2021 … while meanwhile, The Eagles added a show in Seattle “for fully vaccinated fans” only.  (Here at home, we’ve gone back to wearing masks … TOO many vaccinated people are still catching this new strand of the virus.  Hopefully, they’re hard at work at “booster” shots to keep us all safe … ‘cause this is just CRAZY!!!  (kk)

Did you see the Field Of Dreams game between The Chicago White Sox and The New York Yankees???

Just beautiful … and thrilling to watch as the first place Sox blew their game-long lead, only to come back in the bottom of the ninth to win with a two-run, walk-off homer.

Makes me want to watch the movie again.  (And how totally fitting that The White Sox be the first major league team to take the field???)  kk

From Chuck Buell …



Is THIS just too cool?! 

My Brother-in-Law and Sister-in-Law’s Fancy-Schmancy Beaver Creek Colorado Ski Country Condo has a Throne IN their Master Shower! 

How crazy convenient!



OK, OK, this might just be a reflection of the porcelain potty directly across from the shower, but when I first saw this, I thought this could turn out to be a Great Bathroom Designer idea!

CB ( which stands for “Commode Boy!’ )


Chuck also sent us this mega-cool video of a performance from The Apollo Theater where 24 year old Megan Piphus showed off her ventriloquist act on a program hosted by Steve Harvey.  (You know that old saying, “Don’t quit your day job???”  Well, Megan is a Real Estate Financial Analyst ... and maybe she makes big bucks doing her regular gig, I dunno … but I think she could be making MEGA bucks up there on the stage!)
Now ventriloquism is a lost art form, to be sure … and the fact that this girl has been practicing and perfecting her art since the age of nine is really quite amazing.

But above ALL of this, just LISTEN to this girl’s voice!!!  Absolutely amazing!
She’d be a shoo-in to qualify for ANY of the multitude of singing competition shows that are airing today … but she’s doing this with her teeth clenched and her mouth closed!!!

You gotta see it … and HEAR it … to believe it!  (kk)


Here’s someone Chuck Buell has come across that he hopes you’ll enjoy!

She’s Megan Piphus, a 24 year old Real Estate Financial Analyst from Atlanta, who’s brought along a couple of her Friends to show you that 

to sing great Forgotten Hits, it takes more than an average dummy!


And, now that his broken bones have healed, it looks like Chuck is becoming a little bit more health conscious …


Even though it’s been extremely hot around here lately, I took up jogging late yesterday afternoon.


Not by choice.


The Margarita Truck didn’t see me trying to flag it down and I had to chase it a couple of blocks!




And then this …


I shared with you the other day how I involuntarily took up jogging for a moment.


Then yesterday as I was looking at the menu at a fast food joint while thinking about that jogging moment and how lots of people exercise that way, it dawned on me ~~~


Isn't it interesting how much "Exercise" and "Extra Fries" sound the same?!!