I just found out about this last night … but we lost another Chicago rocker last month …
Fred Glickstein, one of the founding members of The Flock,
who had a couple of Chicago chart singles in the mid-60’s (“Can’t You See I
Still Love You,” #22, 1967; “Are You The Kind,” #23, 1967, and my personal
favorite … a song that absolutely should have been a Top 20 National Smash,
“Take Me Back,” #12, 1967) passed away after a long illness on August 28th.
The Flock embraced ALL styles of music and became a popular club attraction …
And then they added an electric violin and became one of the first art rock / avant-garde / progressive bands, finding success all over the world. (And they toured and played with everybody, selling out concert halls all over Europe while leaving their humble Chicago beginnings behind.)
I’ve known Fred for many, many years … as a musician, a friend, a peer and, at one point, even a customer of sorts. (Fred worked for many years at The Hadley School For The Blind, a spot we often did printing for and made deliveries to.)
From his online obituary …
It is with a heavy heart but a light spirit that we announce the passing of Frederic Stephen Glickstein - or, as he was known to those who loved him, Fred or Freddie. Born on March 6, 1947, in sunny Miami, FL, Freddie brought joy and laughter to the world until his peaceful passing on August 28, 2023, in Evanston, IL.
Freddie was a man of many talents. He was a singer and songwriter, most notably with The Flock, a Chicago-based band that toured America and Europe in the swinging 60's and 70's. Eventually he took his love for words and music and transitioned into a career as a librarian for the Hadley School for the Blind in Winnetka, IL, from 1984 through 2017. As Freddie might quip, "I went from rocking the stage to rocking the Dewey Decimal System."
Freddie was a dedicated family man, survived by his beloved wife, Bobbie, their children Jennifer (partner Rich Miller) and Jeremy (wife Samantha Turner) - and his pride and joy, grandson Max Turner-Glickstein. Freddie loved his family as much as he loved a good joke, and that's saying something.
Educated at Eugene Field School, Sullivan High School, Wright Junior College, and Illinois Teachers College, Freddie was a lifelong learner. He had a passion for reading and writing stream of consciousness poems and stories, and was always eager to learn new words and languages. He was also a food enthusiast, both in the kitchen and at the table. He enjoyed watching TV - especially comedy and cooking shows, Jeopardy, and the History Channel.
Freddie was a funny, interesting, and creative man. He had a knack for turning the ordinary into the extraordinary with his unique, weird, and witty sense of humor. He loved making others laugh and was always the life of the party. As one of his favorite comedians, Robin Williams, once said, "You're only given a little spark of madness. You mustn't lose it." Freddie certainly never lost his spark.
Freddie's life was a song, filled with laughter, love, and a dash of the unexpected. He brought joy to everyone he met and left a lasting impression with his humor and creativity. As we mourn his loss, we also celebrate his life - remembering him not with tears but with laughter, just as he would have wanted.
Fred Glickstein, you were a rock star, a librarian, a foodie, a joker, a husband, a father, a grandfather, and a friend. You were a man who lived his life to the fullest - always with a joke on your lips and love in your heart. As we say goodbye, we remember the laughter, the music, and the love that you brought into our lives. You will be sorely missed, but your melodies will play on in our hearts.
In lieu of sending flowers, please consider donating to Hadley (formerly Hadley School for the Blind) in Winnetka, IL in Fred's memory.
He loved being of service as the school's librarian, providing the braille books and books-on-tape to the blind and visually impaired students all over the world.
https://hadley.edu/donate/support-hadley
You can read our interview with Freddie ... and take a look back at the incredible career of The Flock ... via this link ...
https://forgottenhits60s.blogspot.com/2010/03/flock-part-1.html
https://forgottenhits60s.blogspot.com/2010/03/flock-part-2.html
https://forgottenhits60s.blogspot.com/2010/03/flock-part-3.html
https://forgottenhits60s.blogspot.com/2010/03/flock-part-4.html
https://forgottenhits60s.blogspot.com/2010/03/its-flockin-finale-to-our-forgotten.html
On November 19th, they’re holding a tribute / remembrance to Freddie that will also act as a fundraiser to help out his family. Ticket proceeds will fuel the donations.
More info below …
Sunday, November 19th, at Hey Nonny in Arlington Heights
3:00 pm (Doors Open at 2:00 pm) – This Is An All Ages Show and Tribute
A Tribute to Fred Glickstein – Local Rock Hero
About the Artist
Please join us in an afternoon tribute to Fred Glickstein, a founding member of Chicago’s Flock. From 1965 – 1975, Fred was extremely active in the music scene both across the U.S. as well as Europe. He was multi-talented, playing guitar, keyboards, and trumpet as well as being a great vocalist. He wrote much of the music and lyrics for the Flock which covered many 45 RPM records as well as several albums recorded on Columbia and Mercury Records.
Live music and presentations will be performed by:
DINOSAUR EXHIBIT – Jerry Smith (Flock), Mike Flynn (Mauds), Quent Lang (Mauds), Howard Levy (Bela Fleck and the Flecktones), Jamo Van de Bogert (The Allman Bros.), Don Laferty (Tabasco Sound Kitchen), and Mitch Goldman (Mitch the lip and Side Hustle)
Scott May (Ides of March)
The Cave Dwellers – Gary S. Goldberg, Bruce Gordon, Rick Sorci, Joe Dex, and Scott Newton
Joe Gagliardo – (One of the Boyzz)
Dean Milano (Co-founder of the infamous rock & roll dinners), Greg Easterling (Radio Personality), George Aparo, and many more.
We will also have several people sharing their special stories regarding Fred and the impact he left on them and the Chicago music scene.
All net proceeds will be donated to the Glickstein family.
Ticket Type Price (public sale starts Friday, 9/29, at 10 am)
Bistro Bar - B $40.00 (+ $8.45 service fee per ticket)
Bistro Seating $25.00 (+$5.60 service fee per ticket)
Premier - Bistro $40.00 (+ $8.45 service fee per ticket)
Seating at high top tables along the windo with great stage view. Full food service is available at these seats before and during concerts; you do not need a dining reservation if ou have Premier Seats! We'll do our best to keep your part all at one table, but it isn't guaranteed
Cabaret - Bistro $25.00 (+ $5.60 service fee per ticket)
Seating at cocktail tables arrayed close to the stage with four seats per table. Servers offer drinks and limited snacks at these seats. (If you would like to have dinner before the show, make a reservation in the Gastropub!)
Venue Bar Seat $40.00 (+ $8.45 service fee per ticket)
NOTE: LOW TICKET ALERT!
ADD TO CART The ticket code is TRIBUTE
All sales are final; no refunds
· 224-202-0750
10 South Vail Avenue, Arlington Heights, Illinois 60005
After the passing of David McCallum, we mentioned that he hosted the popular music program “Hullabaloo” …
And then just that fast, FH Reader Gary Maurer sent us this link to share where you can actually watch it!!!
https://thetvdb.com/series/hullabaloo/episodes/81613
This from Harvey Kubernik, regarding The Big T.N.T. Show, which McCallum hosted …
The Big T.N.T. Show and The T.A.M.I. Show out on Blu-ray DVD
By Harvey Kubernik © 2023
Fans of classic rock and soul rejoiced when the legendary concert Steve Binder-directed film T.A.M.I. Show made its DVD debut on Shout! Factory in 2009. It subsequently shipped to retail outlets as a Blu-ray, along with its long-lost — and much requested — follow-up, The Big TNT Show, directed by Larry Peerce, on December 2, 2016, as part of the 2-disc Blu-ray set T.A.M.I. Show / The Big T.N.T. Show Collector's Edition, issued from Shout! Factory. The Big T.N.T. Show was also released as a stand alone DVD on the same day.
The package contains all the bonus features from the T.A.M.I. Show DVD, plus new interviews with The Big T.N.T. Show performers singer Petula Clark, MFQ's Henry Diltz and the Lovin' Spoonful's John Sebastian. The product is mastered from a High-Definition transfer.
The Big T.N.T. Show was filmed in Hollywood on Sunset Blvd. on November 29, 1965, and stars some of the biggest recording artists of the day, including the Byrds, in their original line-up of Gene Clark, David Crosby, Chris Hillman, Michael Clarke, and Roger McGuinn, who perform two # 1 hits, “Mr. Tambourine Man” and “Turn! Turn! Turn! (To Everything There Is A Season.”)
Originally billed as a companion piece to The T.A.M.I. Show after that culture-shifting success, The Big T.N.T. Show holds up as an essential time capsule from its day.
David McCallum, a rising star appearing in the new TV series The Man from U.N.C.L.E., was tapped to emcee. Footage also includes shots of the Hollywood haunts Chateau Marmont, Ben Frank’s coffee shop, the Knickerbocker Hotel, and The Trip nightclub.
Don Randi was the musical director for The Big T.N.T. Show. It was produced by Phil Spector, and directed by Larry Peerce, initially distributed in 1966 by American International Pictures.
Peerce in 1964 had directed the groundbreaking drama One Potato, Two Potato, a study about an interracial marriage between white divorcee, played by Barbara Barrie, who earned the Best Actress award at the Cannes Film Festival in 1964, and a black office worker portrayed by Bernie Hamilton. The One Potato, Two Potato screenplay was written by Oriville H. Hampton and Raphael Hayes, was nominated for Best Original Screenplay at the 1964 Academy Awards.
In 1969, Peerce directed the acclaimed Goodbye, Columbus, an adaptation from the Philip Roth novel. He then directed Two Minute Warning in 1976. The movie starred Charlton Heston, John Cassavetes, David Janssen, Jack Klugman, Martin Balsam, Beau Bridges, Gena Rowlands, Brock Peters, Walter Pidgeon and Joanna Pettet. Former professional football players Frank Gifford and Joe Kapp, as well as poet/actor Harry E. Northup are in the cast.
The Big T.N.T. Show set location at the Moulin Rouge on Sunset Blvd. was where scenes of the Ross Hunter-produced and Douglas Sirk directed Imitation Of Life motion picture starring Lana Turner, Sandra Dee, Susan Kohner, Juanita Moore and John Gavin, were lensed. The venue would eventually become The Aquarius Theater.
Many girls in my Los Angeles junior high school homeroom class were invited to attend, while us boys were encouraged not to attend as seat-fillers.
“The then King-Of-All-Media-in-waiting Phil Spector not only fully launches action with the ultra Modern Folk Quartet's ‘This Could Be The Night’ – setting composer Harry Nilsson's career on its way in the process,” underscores writer and archivist Gary Pig Gold, “not at all coincidentally – but stuck all the way round to produce the T.N.T. to boot; glimpse his ivories right beside righteous Joan Baez f'rinstance.
“Uncle Phil also graciously allowed Ronnie out to front her fabulous Ronettes ... while keeping both ears keyed onto Ike and especially Tina Turner too, you can bet.
“Meanwhile, a still freshly-flying Byrds were counseled backstage by no less than Roger Miller to stick to their countrypolitan guns, Petula Clark can be seen serenading Sky Saxon (as a somewhat dejected F. Zappa sulks elsewhere within the Moulin Rouge), and ingenious-as-ever Ray Charles adds full frug to his American International Ingredients for Soul. Dump into the gloriously mono mix Donovan, Diddley, Illya Kuryakin and a positively scene-stealing – thanks to Canucklehead-in-residence Zal Yanovsky, naturally – Lovin' Spoonful and, lighting its stick and letting off one brash bang indeed, The Big T.N.T. Show in many ways somehow even managed to one-up its big T.A.M.I. brother!”
During The Big T.N.T. Show, Ray Charles gives a rousing performance of “What’d I Say” and “Let the Good Times Roll.” A sultry performance by the Ronettes on “Be My Baby” is met with impassioned screams from the audience; the Lovin’ Spoonful perform their Top 10 hits “Do You Believe in Magic?” and “You Didn’t Have to Be So Nice;” and Bo Diddley delights the crowd with “Bo Diddley” and “Hey, Bo Diddley.”
To close the show, the Ike & Tina Turner Revue give an electrifying recital, spotlighting “I Think It’s Going to Work Out Fine” and “A Fool in Love.”
Also on the stage at the tapings, were Petula Clark, performing her No. 1 hit “Downtown;” Roger Miller, playing his biggest hit, “King of the Road;” Donovan, opening his set with Buffy Sainte-Marie’s “Universal Soldier;” and the reigning queen of folk, Joan Baez, reflecting the continuing popularity of the genre as the Vietnam War escalated. Phil Spector also played piano for Joan Baez’s rendition of the Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.” Don Peake's guitar augmented the duo of Phil and Joan. .
Donovan would remain in Hollywood after the taping, and would record "The Trip," "Season of the Witch" and "Celeste" at the Columbia studios on Sunset Blvd. later sequenced into his Sunshine Superman album.
In my 2007 interview with Donovan, he recounted his 1965 visit to Hollywood.
“LA TV was a bit different from British Telly, but the elements were the same. Hollywood A Go Go, Shindig! and other little TV Shows had the three dancers, and I had the shades on. Gypsy and I were smiling at it all and the craziness. On the street, of course, the girls, still in bobby sox and pony tails and the guys in plaids, shorts and crew cuts, that was to change. We were treated like visitors from another planet ... The British Invasion … but the Planet we were from was Planet Bohemia, and soon it would change the way youth saw so-called reality.
"In May of 1966, I played a week at The Trip club on Sunset. All Hollywood turned up. New pals. I met The Mamas and The Papas and Cyrus Faryar, who played the wonderful electric violin on 'Celeste' when I recorded it in CBS Studios."
Performing to the side of the stage in between acts, but not seen in The Big T.N.T. Show film, were the Modern Folk Quartet. A group of songwriter/producer Chip Douglas, future Lovin’ Spoonful member Jerry Yester, rock photographer Henry Diltz, and songwriter/musician Cyrus Faryar, with session player “Fast” Eddie Hoh on drums. The band closed the evening with the show’s Harry Nilsson-composed theme song “This Could Be The Night.”
“The MFQ was working with Phil Spector during the year of 1965, and we were scheduled to have a slot on The Big TNT Show," mentioned Henry Diltz in a 2010 conversation inside his photography studio. "However, we just ended up playing live at various locations between the acts and stage set ups.
"After February, 1964, the Beatles changed everything. They took our Everly Brothers harmony and put it together with that skiffle music and came up with a new joyful thing. As folk musicians in early 1964 when we heard and saw them on The Ed Sullivan Show. They had an electric bass. We had a stand-up bass. We now wanted to make joyful music and we needed to get an electric bass and trade in our upright bass. So did every other folk group like the Byrds and then Buffalo Springfield."
At The Big TNT Show, the Byrds played a three songs, including two Bob Dylan-penned tunes, "Mr. Tambourine Man" and "Chimes of Freedom."
In 2007, I interviewed Roger McGuinn and Chris Hillman of the group about their 1965 spot on The Big TNT Show.
"The Byrds do Dylan," underlined Chris Hillman. "It was a natural fit after ‘Mr. Tambourine Man’ was successful. Roger (then Jim) almost found his voice through Bob Dylan. In a way. Literally voice through Bob Dylan in a sense. And then we start doing some Dylan stuff. ‘Chimes of Freedom.’ Great song."
"Dylan’s stuff is brilliant," stated McGuinn. '"Chimes of Freedom’ we did earlier at Ciro’s nightclub, and to this day it’s still in my own repertoire. I think it’s a great song. I love the poetry and imagery of it, you know, and it has some political feeling, but it is ambiguous. You can read whatever you want into it. I coined the term that he was the 'Shakespeare of Our Time.' It was like knowing Shakespeare here. Dylan was carrying on Kerouac and Ginsberg. The baton had been passed. I remember Ginsberg said 'I think we’re in good hands.'
"We sang together well. I give the credit to [David] Crosby. He was brilliant at devising these harmony parts that were not strict third, fourth or fifth improvisational combination of the three. That’s what makes the Byrds’ harmonies. Most people think it’s three-part harmony, and it’s two-part harmony. Very seldom was there a third part on our harmonies."
Frank Zappa, Sky Saxon, Mary Hughes, Rodney Bingenheimer, Joey Paige, Johnny Legend and Ron and Russell Mael [later of Sparks] are shown on screen in The Big T.N.T. Show audience.
"I went to the taping. There was an open-door policy,” volunteered Bingenheimer, now a deejay with Sirius/XM. “I might have gotten tickets at Wallichs Music City on Sunset and Vine.
“Phil Spector was around. Backstage there was food and all the cool bands from the Sunset Strip were there. This was the event of the sixties in a theater with a revolving stage.
"I spent some time with David McCallum. We talked about music. His father was a classical musician in England. I was introduced to Donovan. And I sat in the middle of the audience when he sang on a stool. It was cosmic!
"The Ronettes were amazing. I loved Ray Charles. To this day, his LP, Ray Charles Sings Country and Western is one of my favorites,” he happily confessed.
"We were watching this mind-blowing show in color but we knew the movie from it was going to be in black and white. What was really nice about the whole thing, and this what Hollywood was like during 1965-1967, was that many of the acts at the show hung out in the lobby and talked to fans and signed every autograph. It was incredible.
"Man, I have been waiting a long time for this official retail release."
“We did The Big T.N.T. Show with Phil,” offered keyboardist Don Randi in a 2008 interview with me. “And, on all our dates, we all could read, except maybe a few of the guys who were brought in as players and specialists. All the guys could always read chord charts. That’s for sure. I had Barney Kessel and Don Peake on The Big T.N.T. Show.
“My guys in the studio could play live anywhere," acknowledged Randi. "They were capable musicians. The Big T.N.T. Show was fantastic because of Phil. And he gave me the opportunity, ‘cause otherwise I could have taken another date. But when Phil calls, he was ‘first call’ for me. If I were going to do something else, many times I would move things around to accommodate him.
Randi’s principal stagehand was Robert Marchese, a record producer, who later won a Grammy for producing the first live Richard Pryor comedy album from Doug Weston's Troubadour club.
Marchese had previously engineered some sessions for Spector and Randi. In January, 1964, Marchese and Spector schlepped out to the Long Beach Civic Auditorium to watch a Rolling Stones concert, supported by the Byrds.
Guitarist Don Peake, formerly with the Everly Brothers 1961-1963, and heard on many Spector 1964-1966 recording sessions, along with backing singer Marilyn McCoo, future member of the Fifth Dimension, were in the Ray Charles band.
"While filming with Spector and Joan Baez, we took a break and went outside the Moulin Rouge," reflected Peake in 2023. "We were walking back after a quick meal and noticed that the big thick front glass doors were opening and closing in time to bow to Bo Diddley's rhythms, because he was pumping so much air."
>>>WAY back in the mid-'60's my father worked for a printing company that printed a lot of those collectible bubble gum cards that you used to be able to buy ... including The Man From U.N.C.L.E. set. I used to have a full press sheet showing every card in the series hanging on my wall in my bedroom ... which would be quite a valuable collectors' item today I would imagine … but of course I didn't save it.
(We had the Outer Limits press sheet hanging up there, too!) kk
Yep, Kent ... those press kits would not only be valuable, but bitchen to have!
If we only woulda kept all that kind of stuff ...
After I lost my original collection, I recollected my KHJ Boss 30's (KHJ/AM 930 radio top 30 survey sheets) & still have those today!
I have a friend, who during his adult years, bought & read every Man From UNCLE paperback books ... (Too much for a growing youth to waste time on).
T
The second single from The Rolling Stones’ new “Hackney Diamonds” album will be their collaboration with Lady Gaga and Stevie Wonder. Video for “Sweet Sounds Of Heaven” will be available beginning on Thursday (9/27) kk
Niles Rodgers and Chic have reunited for a series of shows, opening up for Duran Duran.
The set list performed during their preliminary tour includes:
Le Freak (Chic hit 1978)
Everybody Dance (Chic hit 1978)
Dance, Dance, Dance (Yowsah, Yowsah, Yowsah) (Chic hit 1977)
I Want Your Love (Chic hit 1978)
I’m Coming Out / Upside Down (Diana Ross hits 1980/1980)
He’s the Greatest Dancer / We Are Family (Sister Sledge hits 1979/1979)
Like a Virgin / Material Girl (Madonna hits 1984/1984)
Modern Love (David Bowie hit 1983)
Get Lucky (Daft Punk hit 2013)
Let’s Dance (David Bowie hit 1983)
Good Times (Chic hit 1979 / Rapper’s Delight (Sugarhill Gang, hit 1979)
[Every one of these songs was produced by Niles Rodgers]
In October, the group heads to Australia for a series of appearances there. (kk)
Wanna hear everything Thom Bell produced for The Spinners?
Well, now you can!
We told you about the new live album coming out featuring Jimi Hendrix performing live at The Hollywood Bowl in 1967 …
But FH Reader (and Hendrix authority) Ken Voss tells us that there are actually TWO major Hendrix new releases coming our way …
Live at the Hollywood Bowl – August 18, 1967
On November 10, 2023 - Live at the Hollywood Bowl August 18, 1967 will be released on CD, vinyl and digital formats.
This will certainly be an essential addition to any Hendrix collection as this early U.S. performance by the Jimi Hendrix Experience has never seen the light of day, either commercially or on any unauthorized bootleg.
At the same time, it will be interesting to hear how Eddie Kramer and Experience Hendrix have cleaned up the concert tape and made it representative of the band as Noel Redding had commented of the performance, “We died a death at the Hollywood Bowl,” and even Jimi commented on stage when they came out and were getting laughed at by the laid-back California folk crowd, “If you’re going to laugh, at least laugh in key.”
As the new release is said to include the band’s introduction and as they break into the opening number “Sgt. Pepper’s Lonely Hearts Club Band,” it will be interesting to see if those Hendrix comments are included in the release.
The complete set list includes “Killing Floor,” “The Wind Cries Mary,” “Foxey Lady,” “Catfish Blues,” “Fire,” Like a Rolling Stone,” “Purple Haze” and “Wild Thing.”
As a teaser to the release, Experience Hendrix offers up a sample of what we’ll hear with “Killing Floor” https://jimihendrix.lnk.to/HollywoodBowl1967PR
The performance comes only two months after the Experience’s explosive debut at the Monterey Pop Festival.
But, as noted in the press release for Live at the Hollywood Bowl, “the immediate prosperity the band enjoyed in the UK was not replicated stateside. Their first two US singles were flops – ‘Hey Joe’ didn’t chart at all and ‘Purple Haze’ only reached #65 – and Are You Experienced wouldn’t be released domestically until late August.”
After Monterey, the Experience had been vying for dates in the U.S. Bill Graham gave them a week at the Fillmore in San Francisco. Then they tagged in as an opening act for The Monkees, an abominable tour that was thankfully cut short as the Experience pulled out after just seven dates.
In a scramble to book dates after that debacle, John Phillips of the Mamas and The Papas, who co-produced the Monterey Pop Festival and having befriended the band, invited the Experience to open for them at the Hollywood Bowl on August 18 giving them the chance for exposure. The bill was also to include Electric Flag, but they cancelled with another California “Flowers in Your Hair” folk artist Scott McKenzie filling in.
The majority of the crowd had purchased tickets months in advance to see The Mamas and The Papas and were wholly unfamiliar with Hendrix, resulting in the audience laughing at the band’s appearance as they took the stage, and later booing during the show.
Guitarist Brian Ray, who’s worked with everyone from Paul McCartney to Etta James in his career, was in the audience. “The audience was there to see The Mamas and The Papas. They haven’t heard o Jimi Hendrix.” Even Ray at the time said, “I’d never heard of Jimi Hendrix, and he couldn’t be more opposite of The Mamas and The Papas as an act, culturally, physically, in every possible way he was the opposite.”
Continuing, “Here comes these guys and there’s only three of them on stage and they have these afros and these wild, ornate, very theatrical clothes. Jimi proceeds to shred, and it’s loud but it’s musical, and then it becomes physical. He starts playing the guitar under his leg, and now it’s behind his back, and now he’s playing it with his mouth, and now he’s on the ground on his knees and he’s like humping it, and it, to me was mind blowing.”
While Ray, as a guitarist, understood it, “I wouldn’t say the audience response was quite the same as the response I was having…the audience was like (soft clapping) and they were trying to figure it out.”
Paul Getchell was in the audience and recalls in an interview published in Eyewitness: The Jimi Hendrix Concerts 1967-1968, “Since the other better-known performers were in the folk/pop vein (The Mamas and The Papas, Scott McKenzie), there were a lot of people in the audience who were more into that bag and not into heavy psychedelic music. My recollection is that the Jimi Hendrix Experience reception was lukewarm at best. Some people actually booed; most simply sat around; not too many seemed to be getting into his trip.”
Still, there were those that did get it.
Michelle Phillips, the only surviving member of The Mamas and The Papas, first saw the Experience at Monterey. “We had never heard of him,” she remembers. “I had absolutely no idea what to expect. And when I saw him perform I was mortified. I had never seen anything like this, I’d never seen anybody treat their instruments like this.” Backstage at the Hollywood Bowl literally weeks later, Phillips was won over by Jimi Hendrix. “I absolutely loved him. He was a gentleman, he was lovely, he was funny.” In the release liner notes she softened her view of “rock and roll theatre” which was somewhat antithetical to the more stayed and pitch-perfect folk tradition of The Mamas and The Papas.
As a companion to this release, Monterey Pop To The Hollywood Bowl is a new mini-documentary which details Jimi Hendrix's tumultuous journey upon his return to the US in June 1967, through August of that year. Featuring new interviews from The Mamas & The Papas vocalist Michelle Phillips, longtime Paul McCartney guitarist Brian Ray and others, the impact of Hendrix's Hollywood Bowl performance by eye witnesses is discussed, and is placed in historic context. https://youtu.be/P-IRA5UrZ7g
Ironically, this date was the last performance of The Mamas and The Papas. And a year later the Jimi Hendrix Experience would return to the Hollywood Bowl as headliners.
You can listen to a sample of Hollywood Bowl release with “Killin’ Floor” and place a pre-order at https://jimihendrix.lnk.to/HollywoodBowl1967PR
November 10, 2023 - Paris 1968
With Experience Hendrix giving us the 1967 Hollywood Bowl concert on November 10, they now have doubled up, announcing the release of Paris 1968: Live at the L’Olympia Theatre on the same day. The difference to consumers is that Hollywood Bowl is being released on that day in both the U.S. and U.K. through regular distribution access methods in all formats (vinyl, CD, streaming), while the Paris release is exclusively on vinyl and exclusively through Amazon.
The Paris concert first saw the light of day in 1991 when it was part of the Reprise 4CD box set Stages.
It has also been previously released on the Dagger label on CD back in 2009 as part of Live 1968 Paris * Ottawa (Dagger 02517 79178) that also featured three songs from a concert in Ottawa in 1968.
All nine songs from the 1968 Paris concert are included. The set list features “Killing Floor,” “Catfish Blues,” “Foxey Lady,” “Red House,” “Drivin’ South,” “The Wind Cries Mary,” “Fire,” “Little Wing” and “Purple Haze.”
With this release, fans will once again question Experience Hendrix for their decision of using a photograph from a 1968 Houston concert on the cover when it is known that many photos from the 1968 Paris show exist.
Just in time for Christmas, you can pre-order the release at https://jimihendrix.lnk.to/Paris1968PF
Download all attachments as a zip file
Tom Cuddy sent us this link to an article about The Royal Guardsmen ..
When Snoopy Ruled the Music Charts: The Story of “Snoopy Vs. the Red Baron”
https://bookriot.com/snoopy-vs-the-red-baron/
Barry Winslow, an original member of the band, has been on our Forgotten Hits List for years now … and has shared many memories with our readers.
But this is an affectionate look back at a gimmick that certainly had its place in the sun …
AND at the top of the pop charts!!!
“Snoopy Vs. The Red Baron” topped the charts here in Chicago .. and also made it to #1 on The Record World Chart. (It peaked at #2 in both Billboard and Cash Box.)
Follow up singles also did quite well …
“The Return Of The Red Baron” hit #14 in 1967 and “Snoopy’s Christmas” made The Top Ten in Cash Box later that year. The novelty had worn off a bit by election time, 1968 … “Snoopy For President” fizzled out at #85. (For those of you reading this who may not have been born yet in 1968, he didn’t win. Actually, I voted for Pat Paulsen that year!!!) kk
And this just in from our “Serves Him Right” Department, also courtesy of Tom Cuddy …
Jann Wenner Book "The Masters" Debuts on Amazon Best Seller List at Number 6,769 After Disastrous Interview
My entry into that category of Terrible Songs would have to be this one …
Unknown Oldie but ... more than 15 seconds may be
dangerous. ;-)
Mike
A closing smiler from Timmy …
I’ve listened to this twice and Head Cleaner is the worst band ever!
