Joel Whitburn is running a special May Day Promotion for his
Top Pop Albums book.
Thru tomorrow (May 26th), you can take $35 off
the normal sell price of $99.95 and pick up a copy for just $64.95!
(This is, without a doubt, one of his cornerstone
publications … so if you haven’t updated your own chart library in a while, NOW
is the time to take advantage of this great offer!
Joel Whitburn is
entering his 53rd year with his Record Research in the
most challenging economic climate ever for his small
business. So, to fight crippling inflation, supply scarcity, and
more, he's drastically dropping prices on our available top sellers with
these MAYDAYS super savings. This is your chance to pick up some of our
top books at their lowest prices EVER! For a few days, you
can get Top Pop Albums 1955-2016, our heftiest book, for less
than the cost of its production! So, order today!
Regularly $99.95; NOW $64.95 through 5/26/22
TOP POP ALBUMS 1955-2016 is
the go-to reference for the history of the album and CD. Chart
stats, album and artist facts, and a complete listing of tracks make up
each entry in this artist-by-artist compendium of every album to appear
on Billboard magazine's pop albums charts
from 1955-2016.
All the Album Chart Data!
Peak chart position
Chart debut date
Total weeks charted
Total weeks at #1, or #2 or #3
positions
Original record label and number
All
the Essential Album Info!
Index of every track with
indications on which albums it appears is below artist’s chart
discography - that's 100s of 1,000s of tracks!
NEW: Albums with 10 million plus
units sold are highlighted
Albums of major artists are broken
into sub-categories: Live, Greatest Hits & Compilations,
Christmas, etc.
Grammy Awards, Hall Of Fame,
National Recording Registry & Rolling Stone 500 information
shown under each honored title! Title notes providing details of
interest on many charted albums, such as guest artists, group
personnel changes or notable recording sites and dates
RIAA Gold or Platinum Record
Certification (includes total number of million units sold)
Symbols indicating special types of
albums, such as re-entries, reissues or remixes; 7″ extended play or
mini albums; or comedy, novelty, spoken word, foreign language,
Christmas, original cast, instrumental, live, compilation, greatest
hits, or movie or TV soundtrack albums
All
the Artist Info
Decade & All-Time Artist
Rankings plus Rock & Roll Hall of Fame Induction Years &
notable awards
New artist biographies chronicling
the lives and careers of hundreds of album artists who first charted
since last edition
Updates of previously published
artist biographies further researched for accuracy and reliability
Bold-faced names of artists mentioned
in the bios or title notes who have their own listings elsewhere in
the book
Something interesting about The Biggest Number 2 Songs of All Time Countdown
you had on 2-22-22 …
On the “Radio and Records” chart, “Waiting for a Girl Like You”
actually hit Number One for six (6) weeks, I believe.
What was your overall thoughts on the Radio and Records chart
credentials? The more I look at the Radio and Records charts, they seem
to make sense. As one example of many, I thought the other publications
(Billboard, Cash Box and, until April, 1982, Record World) gave way too much
credit for “Physical” by ONJ spending way too many weeks at the pole position
at the expense of “Waiting For A Girl Like You.”
I think R and R got this one right. Many more examples exist,
but the aforementioned one is the most pronounced. Thoughts?
Thank you for your time.
Eddie Spencer
There are some who believe Radio and Records was more intune with
what was really happening with radio airplay and requests at the time … while
publications like Billboard and Cash Box took a bit longer to tabulate their
results, meaning records typically climbed up the charts a little bit
slower.(This changed, of course, once
Billboard started allowing records to debut at #1.)
The other thing Radio and Records did (because they were so
airplay-based), was chart album tracks that were receiving a significant amount
of attention and airplay.(In hindsight,
maybe THEY were the ones who were ahead of the game before Billboard adopting
these practices when it came to physical downloads, streams and YouTube views
greatly influencing the chart positions.)As it stands right now, anything goes … it doesn’t matter anymore that you
can’t actually go out and buy an artist’s latest single … now every track on
their new album can (and likely will!) chart for the first week or two of its
release, greatly distorting the relative popularity of what’s really going on
on the charts … especially when viewed thru the rear-view mirror.
Radio and Records typically concentrated on the REAL Top 40 Hits of
the time – and, as such, was picked up as a radio station countdown format that
eventually even eclipsed Billboard’s Top 40 ranking.
“Physical” topped Billboard’s chart for ten weeks … but never even
reached the #1 spot in Radio and Records … and we all know that THAT ain’t
reality!!!This was one of the biggest
records of the decade.(It spent nine
weeks on top of the Record World chart and eight weeks at #1 in Cash Box … so
for Radio and Records to only show a peak of #2 greatly distorts reality.)
Should “Waiting For A Girl Like You” have been a #1 Record?Yes … and against any other competition, it
would have been … but when the three major trades give that kind of chart reign
to Olivia Newton-John (let’s face it, her hit was a MONSTER!!!), Foreigner
simply wound up on the wrong side of the old wrong place / wrong time equation.
(Radio and Records also had “I Can’t Go For That” by Hall and Oates
at #1 for eight weeks after Foreigner’s hit stepped down.How realistic do you think THAT scenario
really was?(It only logged in one week
at #1 in Billboard and Record World … and two weeks in Cash Box.EIGHT WEEKS in R&R???Sorry, but this seems a bit biased in
hindsight to me.)In fact, R&R gave
Hall and Oates THREE Number One Records that year, accounting for a total of 12
weeks on top of the charts.The
following year, they stayed at #1 for six weeks with “Maneater” … and had a
total of SIX #1 Hits on the Radio and Records charts overall.)
Foreigner NOT reaching #1 is one of those Rock And Roll tragedies
as it certainly performed like a #1 Record … but over the course of time we’ve
seen far too many outstanding records peak at #2 simply because they were up
against what would go on to be the biggest song hit of the year.(kk)
Me-TV-FM kicks off their annual Summer Of Me this Memorial
Day Weekend (the unofficial start of Summer), playing songs about summer, songs
with summer in the title, songs that evoke the mood of summer and songs that were
big hits during the summer.
It all kicks off at 7 pm on Friday … and you can tune in
here:https://www.metv.fm/
For OUR list of Summer Favorites (as voted on by The
Forgotten Hits Readers) as well as the biggest hits of EVERY Summer from 1955 –
1980, be sure to check out the OTHER Forgotten Hits Website here:
I can't believe I've never seen this before! Awesome! (kk)
For all you non-believers out there, here is more proof that
The Archies were WAY ahead of their time …
Check out this special 35th Anniversary video for
Rick Astley’s 1988 chart-topping hit “Never Gonna Give You Up”
Lots of buzz for the 50th Anniversary of Randy
Newman’s “Sail Away” album … I’ve already seen several spotlight features.(Here’s one sent in by FH Reader Scott
Paton):
And, speaking of 50th Anniversaries, Yes Drummer
Alan White will be sitting out the band’s summer tour due to health
reasons.The tour celebrates the 50th
Anniversary of Yes’ “Close To The Edge” album and will take them thru the UK,
Scotland and Ireland.
And Carrie Underwood had to miss
the American Idol finale this year because she had been exposed to Covid
19 through a member of her group.(kk)
The
City of London is honoring Jimi Hendrix with a prestigious Blue Plaque,
to be located at the Hard Rock Hotel in Marble Arch on June 10.
Experience Hendrix L.L.C., together with the Hard Rock Hotel London, will
unveil this permanent historical marker which commemorates Jimi’s last
London residence, known then as the Cumberland Hotel, before his untimely
death in 1970. As part of the festivities, there will be a screening of
the documentary Music, Money, Madness … Jimi Hendrix in Maui,
which received a Grammy nomination for Best Music Film last year. There
will also be an exclusive Q&A with Jimi’s sister Janie Hendrix, his
producer/engineer Eddie Kramer, and the film’s director John
McDermott.
This new honor is bestowed by the Nubian
Jak Community Trust (NJCT). Founded in 2006, NJCT is the only
commemorative plaque and sculpture scheme focused on memorializing the
historic contributions of Black and minority people of various ethnic
origins in Britain and beyond. The NJCT has since installed more than 62
commemorative Blue and Black Plaques throughout the UK, including those
celebrating the life and work of Bob Marley. The English Heritage
organization which oversees the original Blue Plaque in London, dates to
1866, and celebrates the links between notable figures of the past and
the buildings in which they lived and worked, and has similarly
celebrated Jimi Hendrix. The first Blue Plaque recognizing Jimi Hendrix
was unveiled in 1997 at his 1968-69 Mayfair residence. There is
also a Blue Plaque at that same address (25 Brook Street) commemorating
the fact that German-born composer George Frideric Handel
lived there from 1723 until his death in 1759. The Hard
Rock/Cumberland connection is manifested in the fact that Hendrix wrote
song lyrics on the hotel’s stationary that survive to this day and are
vaulted in the archives of Experience Hendrix.
PHOTO
With two Blue Plaques, Jimi Hendrix is
in rarified company of the few who have their name grace multiple Blue
Plaques. These notables include Mahatma Gandhi, Prime Ministers Lord
Palmerston and William Gladstone, and author William Makepeace
Thackeray
“I’m so proud of my brother Jimi and his
being honored again in London,” said Janie Hendrix. “His mission was to
spread love across the world through his music, and we continue to see
that come to fruition all these years later. Eddie, John and I all look
forward to interacting with people on June 10, whose lives were touched
by Jimi in London – a city that was so important to him and his career.”
Directed by John McDermott and produced
by Janie Hendrix, George Scott, and McDermott, Music, Money, Madness ...
Jimi Hendrix in Maui incorporates never-before released original
footage and new interviews with firsthand participants and key players
such as bassist Billy Cox, recording engineer Eddie Kramer, Warner Bros.
executives and several Rainbow Bridge cast members, as well as its
original director Chuck Wein. Their fascinating account tells the
definitive story about one of the most controversial independent films
ever made.
By the middle of 1970, Jimi Hendrix was
working on a follow up album to Electric Ladyland with his
bandmates Mitch Mitchell (drums) and Billy Cox (bass), headlining
festivals and arenas across the U.S. and building Electric Lady Studios
in Manhattan’s Greenwich Village. Completing this state-of-the-art
recording facility was proving to be a costly endeavor, so his manager
Michael Jeffery procured a $500,000 advance from Warner Bros. to fund the
remaining construction required to complete the studio. At those same
meetings, Jeffery convinced Warner Bros. executives to finance a film
called Rainbow Bridge that was to be shot in Maui, in exchange for
rights to its soundtrack album consisting of new Jimi Hendrix studio
recordings.
Inspired by Easy Rider and
directed by Warhol acolyte Chuck Wein, Jeffery’s film centered around the
idea of a “rainbow bridge” between the unenlightened and enlightened
worlds. It was envisioned to feature everything from surfing and yoga to
meditation and Tai-Chi and filmed without the aid of a script or
professional actors. It proved to be a rambling assemblage of hippie
excess and Jeffery grew concerned that his investment was being
squandered. The Experience was already booked to perform a concert in
Honolulu at the H.I.C. Arena on August 1, 1970. Chuck Wein, desperate to
feature Hendrix in some capacity within the film, devised a plan to film
a free ‘color/sound vibratory experiment’ on the lower slope of the
dormant Haleakala volcano. Word of mouth about a free Jimi Hendrix
concert led a few hundred curious Maui locals to the Baldwin cattle ranch
in Olinda where a makeshift stage was constructed, and the audience was
arranged by their astrological signs. The performance was a success
– the trio was at the height of its powers and played two sets flawlessly
against a stunning natural backdrop.
In the aftermath of his performance on
Maui, Hendrix would return to New York and his work at Electric Lady
Studios. He had no further involvement in Rainbow Bridge. He left
for Europe at the end of August to headline the massive Isle Of Wight
festival and begin a European tour. Tragically, he would die in London on
September 18, 1970.
The Cry Of Love, the
first posthumous album of Jimi Hendrix recordings, was issued in 1971 to
wide commercial and critical acclaim. Jeffery readied Rainbow Bridge
and its accompanying soundtrack to be the next release. Despite its
Hendrix association, the film was a commercial flop. Rainbow Bridge
confused moviegoers, many of whom were under the impression they were
going to see a concert film. A scant 17 minutes of haphazardly edited
Hendrix concert footage was used inthe final cut, and it
proved to be the film’s saving grace. Due to technical problems inherent
in the original recording of the Maui performances, Mitch Mitchell had to
overdub his drum tracks at Electric Lady Studios in 1971 just so those
performances could be featured. Music, Money, Madness… Jimi
Hendrix in Maui incorporates much of the unused footage in its
telling of this strange moment in pop culture.
The Blu-ray for Music, Money,
Madness… Jimi Hendrix in Maui is also contained in a package that
pairs it with The Jimi Hendrix Experience Live in Maui 2CD/3LP –
the complete audio recordings of both July 30, 1970 live performances.
Released by Experience Hendrix and Legacy Recordings, every second of
existing concert footage from that day is included on the Blu-ray.
According to Pitchfork, “Live in Maui has Hendrix performing the
near-miracle of elevating above an earthly debacle to offer a glimpse of
transcendence.”
“Director John McDermott highlights the
humor that’s so common when a few hangers-on and pied pipers bite off
more tabs than their brains can process. With Music, Money, Madness…
he lands somewhere between Spinal Tap, Cheech & Chong, and recent
surveys of the Fyre Festival fiasco.” – MOJO
“. . . an interesting snapshot of a
place in time and another era long since past, flush with nostalgia” – American
Songwriter
Hey, Kent!
You may be feeling a little
overworked and overwhelmed these days with the long hours you’re putting in at
your new job along with the long hours you put in with Forgotten Hits ( I’m
really impressed how you manage to succeed at both! ), but your creative mind
seems sharper than ever.
You had a Couple of Great Lines in
FHs Sunday:
RE: The picture of Johnny
Cash on the Water Tower when you said, “I thought we were just running the perfect streaming video!”
And ~~~
RE: The estimated time of six days
to complete building the Lego Globe when you asked, “Can you create the world faster than God did???”
So, continuing with the current FHs
Lego theme and VW Bus Theme, there’s this!
The Forgotten Hits Lego Bus!
Now, in closing, almost everyone remembers the Old "60s Vee-dub Bus” was not known for
its power!
Why when driving one back in the 60s and one came to a "Reduced Speed
Ahead" sign, even tho the Driver had the petal to the metal, they were already
going that speed!
And when coming to a hill, a driver would instinctively rock their body back
and forth to get any extra speed possible to make it up the hill!
And if they ever passed someone while
going up a hill, the Driver would flash them
a Big Grin and give them a High
Five Sign!
All this led me to wonder. What if you, Kent, had a Vee-dub Bus in Chicago back
then. In a Frigid Midwest Winter,
first you’d have to just try and get it started! Then, you’d have to scrape the
Frost off the Windows. Inside AND Out!
“Buhddin’ Buhddin,” Buddy!
See you in my Side Mirror!
