Noted music journalist David Fricke conducted a great interview with the remaining Rolling Stones on the eve of their new tour … their first ever without Drummer Charlie Watts …
Having now seen the final cut, Ringo Starr is calling the new Peter Jackson “Get Back” film “a six hour masterpiece.” (I know I can’t wait to see it!!!)
It’ll premier on November 25th and run for three consecutive nights on Disney+. (Wonder how many new subscribers THIS has generated?!?!) kk
As many of you good folks will know, this Englishman has a special interest in Studio B in Nashville, especially regarding the musicians.
Pat and I were fortunate enough to know Kittra Moore, who is married to the man The King Elvis Presley himself called The King!!! Sadly at the age of eighty nine, just weeks short of the big nine-0, the bass player extraordinaire ,who played on over 17,000 recordings, has joined Elvis.
Big Bob died on the 22nd of September. If you have any doubt about his class, just listen to Elvis singing Fever from the Elvis Is Back album, Roy Orbison’s Dream Baby or Roger Miller’s King of the Road.
I am told that at two o'clock in the morning the phone rang. Bob answered it and Roger Miller excitedly said, “Quick - I've got to record this song now. Meet me at the studio.”
On his arrival, Bob asked “Where is everybody else?” and Roger said, “It’s just you and me” … hence why there is only a bass and a guitar on King of the Road.
It has always been a pleasure of mine to have met Bob and Kittra at their home in Nashville and we even enjoyed a meal there with them and the fact that I shook hands with the man who had on more than one occasion shaken the hand of Elvis has never been lost on me.
Sleep well, big
More Moore here …
(I had to be careful not to string THREE “mores” together … or everyone out there would have thought I was doing a piece on The Andrea True Connection!!!) kk
That’s also Bob’s bass you hear playing on the hit recordings “Crazy” by Patsy Cline, “Help Me Make It Through the Night” by Sammi Smith, Kenny Rogers’ “The Gambler,” Brenda Lee's hits "I'm Sorry" and "Rockin' Around The Christmas Tree," the #1 Marty Robbins hit "El Paso," Conway Twitty's "Hello, Darlin'," Elvis’ hits "It's Now or Never," "Little Sister," "Are You Lonesome Tonight?" and hundreds of other recordings that changed the course of pop and country music. (He even scored his OWN Top Ten Hit in 1961 with the instrumental hit “Mexico!”)
Most definitely a member of Nashville’s A-Team of studio musicians, Bob’s contribution to both country and pop music will live on forever. (kk)
"Shakedown Cruise" is COOL, even if the story really isn't about what happens aboard one. The term officially refers to when a vessel is "broken in," but the song sounds more like a case of getting "Shanghaied." (Kids, look both of 'em up.)
A #27 Hit in 1979 … when’s the last time you heard it?!?!?
(This is one of those that completely escapes your consciousness due to a COMPLETE lack of airplay SINCE 1979!) kk
>>>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. (kk)
As noted in Joel Whitburn's Top Pop Singles book, "I Sold My Heart To The Junkman," while credited on the 45 to The Blue-Belles, was actually recorded by The Starlets, a completely different vocal group.
– Randy Price
I kinda thought I might get called out on that one.
The Blue-Belles were obviously recording at the same time, but I guess a label decision to put their name on this record caught everyone by surprise ... including both of the girl groups involved!
Here’s a brief description of what I found …
In their 16 years together, LaBelle developed from a fairly conventional Sixties Girl Group, complete with sequined gowns, buffants and polished choreography into a band with a unique space queen look, an idealistic political consciousness and an individual gospel tinged funky rock and roll sound. Yet they might not have had a career if it had not been for another group.
Around the same time that Patti LaBelle and the Blue-Belles were signed to Newton Records, another female quartet, The Starlets, were on tour due to the success of their single "Better Tell Him No." While in Philadelphia for some one nighters, they were convinced by Harold Robinson, a used car dealer, to come to his studio and record a few sides. Out of that session came "I Sold My Heart to the Junkman."
Whether the Blue Belles heard the recording before its release isn't known, but when Newton Records released the Starlets' recording in late 1961 / early 1962 the name on the label was The Blue-Belles. By June, the record was #15 Pop and #13 R & B, giving the Blue Belles their first hit without ever being in the studio.
It goes on to say …
Their first actual recording didn't fare as well. Their second "real" release, a ballad "Go On," gave an indication of things to come, and their harmonies on "Cool Water” indicated that they could sing better if given better material.
The Blue Belles’ third single of 1963 met those qualifications as Patti, through the melody of "Down the Aisle," accompanied by the Blue Belles' angelic sounding higher than high warbling went to #37 Pop and #14 R & B, setting the stage for the group to sing big ballads and old standards.
In January, 1964, they released Rodgers and Hammersteins' classic "You'll Never Walk Alone," which went to #34 on both the Pop and R & B charts. What "Down The Aisle did to establish the group, "You'll Never Walk Alone" did to establish Patti as one of the most powerful and distinctive vocalists ever.
--History Of Rock
>>>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. (kk)
The 1970 single release of "Solitary Man" was the exact same version released on the Bang 45 in 1966. Later versions / mixes were LP tracks.
– Randy Price
In case someone didn't mention it yet …
The Moody Blues’ "Nights In White Satin" was first released in January, 1968. Scattered national airplay but a #5 hit on our man Clark Besch's fave station KLMS in April!
Original 1968 pressings show the writer credit incorrectly as “Redwave"
(!) and play a shorter edit version.
It was then re-released in June/July of 1972 with the now-familiar longer version.
And on rerelease it went all the way to #1. (The initial single only managed a #93 showing in ’68, proving again that it was just YEARS ahead of its time. The fact that The Moody Blues’ album “Days Of Future Passed” was recognized as revolutionary when it was first released in 1967 (completely eclipsed by “Sgt. Pepper” and even The Monkees’ 30-something week reign at the top of the album chart) only serves to further prove the point. (kk)
>>>When I read your story yesterday that mentioned Alice Cooper, it reminded me of this pic from ad for a beer I never heard of, about 9 or 10 years ago. Scary. ;-) Mike
Sol beer is a cheap Mexican import, kind of like a Corona knock off and is more prevalent in the Phoenix / Scottsdale area, which is where Alice lives. I had one at the Parada Del Sol Festival and would not go out of my way for another, although that is a good ad.
Point / Counterpoint … and then we’re done with this …
One aspect of Forgotten Hits that I enjoy is our ability as members to freely post our personal opinions as related to the subject at hand. Unfortunately, the recent post by Mr. Paul Haney concerning me infers otherwise.
I was stating my OPINION ... a generic rendering of the folks who comprise the Billboard music chart staff as "a bunch of smarmy no-nuthins" when it comes to understanding pop music's past. Does this equate to a borderline libelous statement?
Um ... no - it is my opinion.
It is also my opinion, Mr. Haney, that the nonchalant attitude you mentioned of "just ignore it" or "apples to oranges" brush-off is unacceptable as a qualified response to the way Billboard looks back at their comparisons regarding pop chart history. This is just what I was getting at with my original generic comment.
The political landscape we wallow in day after day and persistent influx of PC ideology is clouding a freedom that once existed here in the U.S.A. Very sad. I did not identify (or do I know) any person who happens to work in the Billboard chart department BY NAME.
I simply wrote my comment, based upon the lackadaisical (definition: carelessly lazy), "so what" attitude that permeates (some might even say "pollutes") a lot of the younger generation when it comes to examining history in a proper fashion to provide an accurate historical context of the subject. Billboard Magazine commits (if I may employ modern vernacular) an EPIC FAIL here.
I need not cite further … just re-read Kent's recent assessment in FH that are SPOT-ON.
It would be highly beneficial if SOMEBODY at Billboard addressed and fixed their recent published historical distortions. But, then again, does anyone employed there care enough? I doubt it.
I'm only a year older than you, Mr. Haney, BTW.
That’d be like asking The Rock And Roll Hall Of Fame to own up to the error of their ways for the past quarter century and make things right by way of a mass induction of all of those deserving artists who have been overlooked for so many years. While we have been advocating this for just as long … a “catch-up” induction ceremony of some sort … it isn’t something that is ever likely to happen, no matter WHO they put in charge of this whole thing.
And honestly, it’s only going to get worse as more and more “new” acts become eligible for induction based on the 25 year rule. (I ask again … what lasting impression or significant change or advancement did these artists make to even justify inclusion on the ballot? And what will be the proven lasting power of most of these acts. 50+ years later The Guess Who are still a significant force in the history of classic rock … their catalog has lived on for decades and new fans are being won over on a daily basis as they discover this music for the first time. (Not to mention the fact that The Rock Hall has been HIGHLY prejudicial when it comes to including Canadian acts inside their hallowed halls.) At this rate, Drake will get in before The Guess Who do! And that’s just a flat out insult to guys like Randy Bachman and Burton Cummings (not to mention a complete outrage to ANY fan of rock and roll, all of whom know better when it comes to this band’s worthiness.)
Billboard COULD easily pacify most of us if they’d just stop making these ridiculous comparisons that have absolutely nothing to do with each other. Like I said, I can live with the new methodology … it makes perfect sense and may be the only way to truly measure how music is absorbed today. But the line for this method was drawn many, many years ago … and to continue to mislead fans of ALL music goes completely against everything Billboard has ever stood for. It’s a shame … it’s embarrassing … and it’s insulting. Hmm … maybe they really ARE more like The Rock Hall than I thought! (kk)
UPDATE: By the way, on a positive note (say what?!?!), this week Billboard is reporting that Drake (with his well over 100 chart hits) has now peaked at EVERY position on Billboard’s Hot 100 except 31, 43, 46, 59, 66, 77, 93, 96, 98 and 99, bringing the tally to 90 out of a possible 100. (When one considers that 51 of those peaks were outside The Top 40, you gain some perspective as to just how lasting these hits have been.) And six of his nine Top Ten hits from last week have already fallen out of The Top Ten, much as we said they would. (kk)
Meanwhile, congratulations (again!) to Earth, Wind and Fire who, on September 21st, experienced more than a million and a half streams and downloads for their rock and soul classic, “September.” (It’s kind of become the National Anthem of September 21st, mentioning the date in the lyrics and sparking revitalized sales for the past 43 years. Even more amazing is the idea that another million and a half people had to stream it … what, after all this time, you still don’t OWN a copy???)
How crazy significant is this run?
Well, that’s about 200,000 more streams than the song had LAST September 21st, 2020! And, it’s about FIVE TIMES as many streams as it had the day before (on September 20th!) WTG, guys … your track is the very definition of “timeless and memorable music.” (kk)
UPDATE: Could it end up charting again next week? Anything’s possible … and it HAS happened before. Meanwhile, I wanna know how it is that ABBA’s new single hasn’t charted here yet in The United States. PR says that over four million people downloaded it within the first weeks of its release … how is it possible that those kind of sales haven’t registered on Billboard’s “most accurate” representation of popular music? Factor in YouTube views (22 million for “I Still Have Faith For You” and another 11 million for “Don’t Shut Me Down”) makes me just a bit suspicious about what kind of accuracy Billboard is really representing. (kk)
You can check out our FH Buddy Bob Lind for a brief concert on his Facebook Page this Sunday …
To those of you on FaceBook who might have missed my last post:
I will be live (sort of) this Sunday, September 26th, at 2 p.m. Eastern to sing a couple songs and promote an online concert that I'll be doing in November.
Stop by and watch if you're a-mind to. I haven't played for an audience in more than two years. I need the fresh meat.
Love to you,
I was surprised to hear you talk of Tom Goodell today. I used to chat with him every few months on the phone in the 70's and 80's but not since! Glad he is still gathering all the "alltime hits" surveys today. That was his specialty then and apparently still is! Hi Tom!
And Chuck Buell sends this follow-up as “A Sign Of The Times” …
I shared with you a Sad Sign of the Times a week or so ago ~~~
Here's my followup to that!
He also complimented us on our most recent CB moniker …
Gotta give you credit …
HA! "(Cabbage Boy!)” … You're getting pretty good at this!
CB (which stands for "Conceding Boy!")