THURSDAY THIS AND THAT:
Once again we find ourselves playing MAJOR catch-up!!!
(We’ve missed a LOT these past two weeks with our 60 YEARS AGO TODAY postings …
So here is a bit of news, both old and new, in an effort to once again bring us
current!)
Today's edition is another All Day Sucker ... so you may want to put on another pot of coffee!!! (kk)
Have you been listening to Rewound Radio this week???
This is the week (between Christmas and New Year's) when they play back EVERY song that was nominated for The Top 77 Greatest Hits Of All Time.
You're not going to find better oldies variety than this ANYWHERE on the dial ... they play nothing but the best mix of oldies music all year long.
But it really comes to a head this last week of the year because these are the fans' votes.
Be sure to tune in before it's too late! (kk)
This one hurt ...
I have been a lifelong fan of The Smothers Brothers ...
Had all their albums ... LOVED their controversial TV show (and some of their latter day attempts to rekindle that flame) ...
And even though it had been awhile since the majority of society considered them to be "relevant" anymore, the mark they made on the comedy landscape was revolutionary.
Tommy Smothers passed away the day after Christmas.
Younger brother Dickie played the straight man to perfection (you know, Mom always liked him best) ... but the "edge" came from Tommy. They continued to see just how far they could push the envelope in the name of satire ... and their battles with the CBS censors were legendary. Still, how do you cancel one of the most top-rated shows on television? And yet they did it.
You'll see Tommy strumming and singing "Give Peace A Chance" with John and Yoko ...
And some of the bits are just priceless.
Here are three of my favorites ...
Legendary FM Jock Jim Ladd passed away last weekend … he was 75 and had a high profile, 50+ year career, during which time he interview just about every major rock and roll star and artist in the Classic Rock catalog.
The Sirius XM staff paid tribute to Jim’s outstanding career. (It is said that Tom Petty wrote “The Last DJ” about Jim Ladd.)
Ladd began his career at KNAC in Long Beach, California, in 1969, but would move on to famously host programs on KMET and KLOS, while also hosting a nationally syndicated show called Innerview, which is probably where most of us all over the country heard his work. He has been with Sirius XM for the past dozen years or so, appearing on their Deep Tracks Channel.
He is a voice you know … and he will be missed. (kk)
From Harvey Kubernik, who supplies much more background … and also interviewed Jim Ladd in 2010 …
You can't trace the history of FM rock radio without encountering Jim Ladd, one of its most energetic and passionate progenitors.
From the moment he encountered the microphone for the first time, Jim has focused his energy on entertaining and communicating via the FM airwaves. Never at a loss to combine meaningful music with substantive social and political issues, Jim has earned a well-deserved reputation as both pioneer and on air personality.
Ladd is a longtime fixture on KLOS-FM (95.5) Monday - Thursday 10 pm to 2 am and Sunday, 9 pm – 12 am.
Born in Lynwood, California, Ladd landed his first on-air assignment in 1969 at radio station KNAC-FM in nearby Long Beach.
Ladd has been heard on the Southern California radio airwaves for over 40 years. He held an initial stint on KLOS-FM (95.5) 1971-75 that was then followed by a venture to a floundering yet stimulating maverick station, KMET-FM.
Within a year, KMET became the#1 rated station in Southern California; in fact, for eight of the nine years he spent with the station, Jim was the #1 rated air personality in his time slot. These were the glory days of FM rock radio and KMET was the very pinnacle of the medium.
Ladd subsequently returned to KLOS-FM 1985-86, moved to KMPC on the AM dial from 1988-89, an audio residency at KLSX-FM 1991-95, before rejoining KLOS (95.5) FM again in 1998.
Jim has been the #1 rated nighttime rock personality many times in the 1998-2009 period in all of Southern California. In spring 2010, Ladd’s KLOS program still has the current #1 show at night.
He’s also contributed mightily to the resurgence of every station at which he's worked.
Jim first garnered national prominence as host of the hour-long nationally syndicated radio program "Innerview,” which aired weekly on over 160 stations nationwide for twelve years. Jim has done in-depth pieces with almost every major rocker in the music world, including: John Lennon, Alice Cooper, Pink Floyd, U2, Grateful Dead, Joni Mitchell, Stevie Nicks, Crosby Stills Nash &Young, The Eagles and Led Zeppelin.
In 1987, he accepted the invitation of Roger Waters (a founding member of Pink Floyd) to take part in the making of his solo album, “Radio K.A.O.S.” Playing himself as a rebel DJ on the album, Jim was also a featured performer on Water's highly touted world tour, as well as starring in all three MTV music videos.
Jim served as co-host of DIR Broadcasting Corporations' nationally televised pay per view concerts, which included The Who's history making 25th anniversary performance of "Tommy,” broadcast live from the Universal Amphitheater in Los Angeles.
In June of 1990, Jim flew to England to co-host the Westwood One worldwide radio satellite broadcast of "Knebworth 1990," an eleven-hour outdoor festival featuring Paul McCartney, Robert Plant, Jimmy Page, Phil Collins, and Pink Floyd.
Ladd was part of another truly historic moment in rock that year, as co-host for the Global Satellite Network's radio broadcast of “The Wall in Berlin." The largest theatrical rock event ever staged, it played to 300,000 people at the Berlin Wall, and was seen by a worldwide television audience of over a billion people.
Jim’s vocal work has also been utilized in major motion pictures such as: “Tequila Sunrise," “Rush,” "She's Out Of Control" and "Say Anything.” And more recently, provided a voice over for The Doors’ documentary, “When You’re Strange.”
In June of 1991, Jim Ladd published his first book entitled: “Radio Waves. Life and Revolution on the FM Dial” (St. Martin's Press). A candid, revealing, behind-the-scenes account of a life in FM radio, “Radio Waves” was released in paperback in May of 1992.
In August of 1992, Jim was the host for the worldwide broadcast premiere of Roger Waters long awaited solo album "Amused To Death," live from the studios of Q107 in Toronto Canada.
Ladd then went on to write and host “Headsets,” a series of nationally syndicated weekly radio specials for the Global Satellite Network. In addition, Jim went on to host the nationally syndicated television show “The Extremists,” a weekly program featuring profiles of the worlds most extreme athletes.
Jim was honored by being nominated by both “Radio and Records” and “Billboard” magazine, as “Rock Radio Personality of The Year for 1998.”
On November 21st, 2000, Jim Ladd was named “Air Personality of the Year” by The Los Angeles Music Awards.
This decade Jim was honored when Tom Petty and The Heartbreakers released their album “The Last DJ,” where Jim is credited as being the influence for the central character in the title song.
On May 6th, 2005, Jim Ladd received a star on the Hollywood Walk of Fame in recognition for the first thirty-eight years of his ground breaking radio career.
In 2007, on February 2nd, Jim was recognized for his contributions to broadcasting when he received the Media Arts Award from the Hollywood Arts Council.
Jim Ladd and Harvey Kubernik interview © 2010
Q: What song or band made you want to go into radio?
A: I was watching “The Tonight Show” when John Lennon and Paul McCartney were the guests in late 1967 or ’68. The regular host, Johnny Carson, was not on, and his substitute was Joe Garagiola. His first few questions were, ‘How come they call you guys the mop tops?’ ‘Why do you grow your hair long?’ ‘Which one is Ringo?’ He was so clueless. I loved Joe when he called sports and earlier was a baseball player. His questions impacted me to the point I was so pissed off. I didn’t know anything about media but I could recognize that you are blowing the chance of a lifetime. I’ve got questions for these guys. I want to hear what John Lennon and Paul McCartney has to say. So that impacted me a great deal and I swore that something should be done about that. And years later I got to start ‘Innerview.’
The other thing is The Beatles and The Doors. I always put The Beatles on their own shelf. But The Doors are the ones who really walked me into the rock ‘n’ roll lifestyle.
Their first album twisted my brain. I can visualize in my mind, I had been in the hospital with tuberculosis and I had gotten out after four months of isolation. I walked into my friend’s hippie apartment. I can see the turntable in my mind, and I’m listening to ‘Back Door Man.’ And I went, ‘Who’s that?’ And he said, ‘It’s a new band called The Doors.’ I sat down, lit up a joint and kept putting the album on over and over. I could not stop listening to it. Of course, when I got to ‘The End,’ that was it for me.
Q: You saw The Doors play live in 1970 at the Long Beach Arena. You still talk about it on the radio on occasion. You have never recovered from that experience.
A: I was waiting for that show. I was working at KNAC-FM. My mind was blown completely, and by that time they were doing ‘Morrison Hotel.’ I had been a Doors fan since the first album but never saw them. And I went there. This was the days before special effects, pyrotechnics. There was none of that. It was just this band on stage. And they were completely and utterly mesmerizing. It was also, to this day, the tightest band I had ever seen. Right before me, and I thought at the time I knew how to do a segue. They did a medley that would go from one song to another. And until Jim (Morrison) started singing, I didn’t realize it. They were that good.
Q: What were you like as a teenager?
A: I kind of was rutterless until The Beatles were on ‘The Ed Sullivan Show.’ And the moment that happened I knew I wanted to be involved in music.
I was in a band right after I saw The Beatles. A garage group. The English invasion blew my mind. Once I viewed The Beatles on ‘Ed Sullivan’ that moment my life changed. That was it. I went from listening to The Beach Boys to holy crap! ‘Something is really different now. The world has changed.’ There was not a lot of music in my house. I’d listen to The Beach Boys but then The Beatles, The Rolling Stones, The Jefferson Airplane. John Hammond, Jr.
I’m at my parent’s house, listening to this brand new thing called FM radio. A station called KMPX that I am tuning in from San Francisco. I hear ‘Back Door Man.’ And the DJ says, ‘That was John Hammond. Thank you.’ I was so taken with it I got in the car and drove up to Berkeley and found a record shop across the street from U.C. Berkeley and said, ‘I’m looking for this blues singer named John Hammond.’ ‘Oh yeah. We got him.’ So I go over to the record bin and the only thing I can find is this thing called ‘Big City Blues.’ But it’s a white guy leaning up against a motorcycle! In a leather jacket who looks like Mick Jagger’s younger brother. So I go up to the clerk, ‘Hey. I’m looking for a blues singer.’ I thought he had to be black. So, that’s how I got into the blues.
I had grown up on AM radio. KHJ, KYA. But this new FM radio thing was different. I am hearing albums and bands I had never heard of.
Q: Did you want to be a DJ? Was there a plan?
A: There was no plan. I wanted to be in a band. I thought I was going to be a cross between Jim Morrison and Bob Dylan. The problem is, I can’t sing. (laughs). God let me talk. He did not let me sing. And one day when I was driving to a band rehearsal, smoking some hash with a guy in the band, he says to me, probably because he wanted me to stop singing, ‘You know, you have a great speaking voice. Have you ever thought about being in radio?’ Never thought about it.
Next thing I know, I go to Long Beach Community College and took a class in radio and television communications. And I immediately fell in love with it. I liked doing it and seemed to have some sort of aptitude to do it.
In 1969 I’m living in a commune in Long Beach, directly across from the ocean in Crab Hollow, right down the street was KNAC. So I started to go there. And a guy, the late Don Bunch, was kind enough to kind of let me come in, empty the ashtrays, file records and hang out. It was a MOR (middle of the road) station. But at night they let him do rock. The station told him, ‘They are gonna do this underground radio thing. So get me an audition tape.’ So I said, ‘What’s an audition tape?’ So he explained to me what it was. I cut the audition tape and I’m sure, based on the fact that I had long hair, I was hired. Because they were gonna take the station to 24 hours of underground music. I got $1.65 an hour.
Q: Did you know at that moment there was more to being a DJ than time, temperature and announcing the records?
A: Immediately. I got the idea, from listening to other people, that I could take these songs and combine them in a way that would say something. That would tell a story that would be a narrative. And that’s what I started to do almost from the very first night.
Q: Did you then or even now, have a philosophy about doing radio?
A: The only philosophy that I promised myself and I try to stick to it this day, is give it everything I have every night. And to try and do something positive. Because I look at myself as being really lucky. Really fortunate. Don’t take it for granted. And you better go in there and deliver. When nowadays it’s even more important because it is the last free form show. So there's a lot of weight on me. If I’m gonna go into the station then that show better rock. And I better not phone it in.
Q: How does your nightly radio show come together?
A: I usually get up about 1:00 in the afternoon. I eat my first meal at about 5:00 or 6:00 and go to work. I come home and eat my second meal of the day and go to sleep around 5:00 am in the morning. ‘Cause it takes a long time to wind the adrenaline down.
Usually on my drive into the radio station that is where I think about what song I will play first. That’s always important and it sets the tone of that night’s show. What do I want to start with? Sometimes that will change four minutes before I go on air. I usually have an idea.
The nightly show I never do anything in advance. A blank sheet of paper at 10:00 pm. It’s all stream of consciousness. All live and I’m my own engineer. All the mixes are live I’m doing. I play vinyl. I play mp3’s
The preparation work comes in when I am going to interview somebody. That’s where the homework comes in. I spend an inordinate amount of time doing preparation for the interview.
Q: Where did the “on air editorial” raps begin that are woven around the music? Like when did this social messenger aspect of your radio work emerge?
A: It came from, and it is to this day, the Sixties ethic. Coming of age during the era of Dr. Martin Luther King, Jr., the Vietnam war protests, the women’s rights movement, gay movement, the movement to legalize marijuana, concerns about the environment. If you were in the Sixties, and you were serious about what was going on and paying attention, it became part of your person. Not your professional person. You as a human being and you had to be involved in the world.
Q: I remember 1972-1974 you were constantly discussing the Watergate crisis and those government hearings on the radio airwaves. Was that a tipping point for you to veer more into this political arena?
A: I saw Watergate as a direct threat to the constitution and America. It pissed me off. It also, by the way, I thought was one of America’s finest moments. Because watching the Watergate hearings, watching Richard Nixon, the President of the United States have to resign without a military coup, taught me that when push comes to shove, the constitution works. That was also a proud moment in American history.
Q: You have had some run-ins with station management over the decades.
A: I’ve been told to shut up constantly. I was hauled into the General Manager’s office at KMET and threatened I would be fired if I mentioned paraquat and the spraying of it on Mexican marijuana fields.
I was against the spraying of paraquat on marijuana fields. The other DJs as well. We ignored it and went about our business. And our business was to protect the listeners who may get a hold of some of this stuff and ruin their health.
I first heard DJ Pat “Paraquat” Kelley in the afternoon in a news report, and by the time I got to the station, there was a thing in our log book about writing our Congressman. A public service announcement. The program director was on our side.
So I went on the air and read it, played an appropriate song, the request line rings, and the guy says, ‘You know what, Jim? Rather than telling people to write to Congress, why don’t you have them call the White House.’ There was a public telephone line open 24 hours a day. I called the number and got the White House. I then announced later, ‘At midnight tonight, 3 in the morning in Washington, D.C., I’m going to give out the telephone number of the White House.’ We politely called them in masse to protest the spraying of paraquat on Mexican marijuana fields. This was the KMET audience.
Q: All through the 1970s, especially around the music, record business, and FM radio stations, marijuana was around the environment.
A: It was part of our culture. It was part of our daily life and routine. We smoked in the studio and on the air. In fact, when we moved into some new studios at Metro Media Square, Rachel Donahue, another DJ, God bless her, had the station with the architects build a vestibule that went between the air studio and the music studio. That was strictly a place where we could go to step in and light up. And they built it.
Q: I know we’re going back over 30 years, but did smoking marijuana impact or inform your radio work?
A: I don’t do this anymore, but back then I’d have a little ritual and go in and do the first half hour of the show and get my legs on the ground. And then I would go out and take a hit or two of pot and do the rest of the show. In the KMET days, a lot of people did it. Some had it. And it was part of the culture.
I also don’t have crazy stories about record company promo people leaning on me to play songs. I got a reputation really early that you don’t come and talk to me about your records. You certainly don’t come and talk to me if you are offering me something. The reason is that because I took this so seriously about my job.
And, if I’m playing a Bob Dylan song and my audience has to know I’m playing that song because of what it says. And for no other reason. So I never got any of that because I let it be known really quickly that the only reason I ever choose a song is because the song is advancing the set that I’m playing. I do not want any other thought in my mind except what is that song saying.
Q: Do you remember your first joint?
A: I do. I have a good story about that. I was in an apartment in Northern California, still living at home. I went over to this apartment to smoke my first marijuana cigarette. Somebody had one. We locked the doors, pulled the shades, went into the bedroom, so paranoid the cops would be busting in on this one little joint. We put on the album ‘Freak Out’ by Frank Zappa and The Mothers of Invention. Oh man…
Q: And many years later, Zappa is a neighbor of yours in Laurel Canyon and you talked to him a few times for your longtime “Innerview” series.
A: I went over to see Frank. I was in his house. He was a very bright guy. You really had to have your guns loaded. On that day, maybe the early ‘80s, it was common that I would pull out a joint and ask whoever I was interviewing if they wanted to smoke a joint. And Frank said, ‘I don’t do drugs. I don’t want drugs in the house. I have children here. What are you doing bringing drugs in my house?’ It completely put me back on my heels. I said I was sorry. It was his policy. I went back to my car, put it away and did the interview. He thought that was cool.
Q: How has FM radio changed the last 40 years?
A: That’s a big question. The answer is it began in April of 1967 when Tom and Rachel Donahue walked into a radio station in San Francisco that was so poor it could not pay its phone bill. They had an idea. They brought in their own albums. And from those humble beginnings a multi-billion dollar industry grew out of it. It went from people who did it strictly for the love of the art form, who saw that we needed a connection between the activists on the street, the musicians who were signing the songs about the issues the activists were doing, and we needed a way to combine those two things and broadcast it to the tribe. That’s where we came in. A lot of it was going to be fun and about parties. A lot of it was going to be serious about ending the war. The 45 single gave way to the album. The single might be a nice catchy love tune but on the album you might find a song about ending the war.
The nice thing about rock ‘n’ roll is that you can give me any subject you can think of that has to do with life and I’ll play you a set about that. Because rock ‘n’ roll has talked about it. Unlike swing or country music, rock ‘n’ roll deals with life, religion, sex, drugs, everything you can find. That’s where I was able to take a subject that was in the news that day that disturbed me, come on the air and talk about it and then play four or five songs that would expand the discussion.
Q: In 1980 the government voted to de-regulate the airwaves. There used to be a limit on how many radio stations a company could own. That changed. How did the new conglomerates, corporations and the expanded ownership impact radio then. The ramifications of this are still evident in 2010.
A: We were the canary in the coal mine. That was the worst thing that ever happened to FM radio and American media as well. Prior to President Ronald Regan, for the entire history of American broadcasting, going back to radio inventor (Guglielmo) Marconi, as soon as there was a Federal Communications Commission, they had what was called the 7 and 7 rule. That meant that one person or corporation could not own more than 7 radio and 7 TV stations. That’s all you could own in the country.
Then Ronald Regan comes along and has the brilliant idea of de-regulating radio. Now this came obviously from the lobbyists who got to the legislators.
And after Regan, and by the way, also President Clinton, who is to be held accountable for this. It was instead of American media and the airwaves being looked upon as the public trust, the public’s airwaves, it now became all right for large corporations to buy up as many radio and TV stations as they can get their hands on. And that is where the threat to the first amendment comes in because fewer and fewer people own more and more information outlets.
Q: Is it harder now to do your own thing on the radio?
A: It’s a great question and the answer is a definitive yes. Because every night when I go in, I am very aware that this is it. Because I’m the one carrying the torch. Now I didn’t ask the carry the torch. I just looked up one day and I was the last guy standing. So I’m really aware of that. One of the worse things that happened because of de-regulation was initially they didn’t give a shit about us. But once we started making money that’s when it got serious for the owners. They brought in consultants and these people who didn’t care about the music.
Q: Who is your nighttime audience? Years ago, and in 2010?
A: During the KMET era the audience was virtually the same age as me. People sat and really listened to the radio and followed along. And I knew whom I was talking to. As FM aged, and the audience aged, they got married, got mortgages, and now, thank God, I have those same people listening. Now they may not be able to give me as much time as they did then. But here's’ the kicker. Their kids are now listening. That is something I never thought I would live to see. A parent and a child would listen to the same music. That blew my mind.
Five years ago, a guy in a car called up with a request. And he said, ‘I’ve got my son who is 16. He wants to hear some Jimi Hendrix.’ I still have many people that call me who have been listening since KNAC. Now that’s extraordinary. I also have kids who are 16, 17 and 18 requesting Bob Dylan. That’s even more extraordinary. They know who The Beatles are and know their music inside and out. They love The Doors.
Q: Why do your listeners constantly demand The Beatles, Doors, Led Zeppelin, Rolling Stones, Tom Petty, Neil Young and U2. Like, why after 40 years do they keep requesting a lot of the same bands that are always a part of your sound rotation?
A: Because the music is that good. They wrote extraordinary songs that speak to people in a way that pop music does not. The Doors get inside of you. The Beatles get inside of you in a way pop music doesn’t. The Rolling Stones’ ‘Gimme Shelter.’ The difference with these guys is that they have a way of writing a song that became popular but at the same time it’s talking about breaking on through to the other side. ‘Not To Touch The Earth.’ ‘Ship of Fools’ from ‘Morrison Hotel” which talks about the human race dying out. This is stuff that is still applicable today.
A kid hearing The Doors’ ‘Peace Frog’ in 2010 for the first time is going to hear it different than I did because the Vietnam War is not raging. Or the 1968 Democratic Convention with people being beaten up in the streets. However, they are going to hear it in the context of their world. I can’t presume to know what that means. Today I can play that song in the context of today and make it work. So it is still relevant to me because even though it was written back then I can put it together with something new.
The only thing today’s kids are missing is context. I have to keep in mind that the songs says something to me but it may say something completely different to someone in the audience. So all I can do is play it in a way that says something to me and then how it is interpreted by them in the context of the set it may be different. If I put the songs together correctly people should recognize, ‘OK. Morrison is saying something in ‘Five To One.’ That’s why you have to listen to the lyrics when you listen to my show.
Years ago, the recordings of ‘Helter Skelter,’ ‘Peace Frog’ and ‘Gimme Shelter’ were warnings and they are reality now. Sometimes the particular or current issue drama will change but the human condition that causes them is the same. The thing that caused war in Vietnam or war in Iraq is war.
I have a lot of conservatives that listen to my show and I’m proud of that. I’m proud of the guy who comes up to me, and this has happened more than once, ‘Jim, I’ve been listening to you for more than 30 years and I’ve never agreed with one thing that came out of your mouth about politics. But I’ve listened for 30 years.’ Fantastic. Because we’ve reached some sort of dialog even though he’s a conservative and I am a liberal. I support Barak Obama. He’s only had a year. Look what he walked into.
You really have to understand that when I go after a specific topic like war, it’s about the policy of it. Not the soldiers. Of course I support the soldiers. Who wouldn’t support the soldiers? Thank God they are fighting for us.
Q: And you still play The Doors’ “Unknown Soldier.”
A: It might be more potent now because if you listen to that song it is written about a person, and that person’s war. So it’s any soldier at any time. Not just the Vietnam war. And when he sings ‘It’s all over. The war is over’ at the end. That’s because the soldier dies. And so for him, war is over. So that applies to any soldier in harm’s way.
Q: In summer of 1971 you announced the death of Jim Morrison.
A: I was at my parents when I got the word. So I went on the air and we were mourning his death when the story broke.
The one I remember most vividly is the passing of John Lennon. I went on the air that might and it was one of the most painful things I ever had to do. That was the most painful and memorable. To this day I have never spoken the names of the ass hole that killed him.
Q: Do you become the messenger when you have to announce deaths or traumatic events?
A: It’s not easy. It ain’t fun. You have to understand, like in the case of Lennon, KMET-FM instantly became the public wailing wall. When George Harrison passed recently, KLOS-FM became the public wailing wall. People were calling, first off, to hear it wasn’t true. And then they want spill out their emotions to you. And tell you how much they love John or George. When they first heard The Beatles. You have to be ready for that while you are doing the show and create this thing. They need to say it to somebody. And you happen to be the person because you are playing all this Beatles’ music.
These are songs that spoke to us in a very metaphysical way. And continue, too. That’s the key point. This isn’t dated music. Because they didn’t write the trendy shit. They were writing about the human experience. ‘Eleanor Rigby’ today will move somebody to tears. Even though it was written and not done in the context of time. I can play The Beatles or Doors and out it together with something new like U2 or Kings of Leon or Green Day. And make it work today. It’s not dated.
Q: How does advertising, sponsors, and promotions get integrated into your program? How do you incorporate these factors. The people who buy time.
A: At some point you have to come to the understanding that those commercials are paying my salary. They are also keeping the lights on and paying everyone’s salary. I have a much better relationship today with the sales staff than I ever had before. For one thing, the sales department are hipper than they used to be. They used to be a bunch of used car salesmen. Nowadays the sales staff grew up listening to radio. They appreciate the songs more, and they are bit more in tune to the ethic of the show. I try and work with them more than I used too. Now you realize they are doing a job to keep me on the air. So I’m trying to do what I am. Commercials have to come up at a certain time. Because KLOS has two breaks an hour, so I’m going to play around a half and hour of time and plan out a set I can get maybe two sets of songs or one really long set.
Back in the day it was prevalent for long songs to be played. I still do it. You don’t hear anyone else doing that. We all used to do it back then.
Every song that I chose, every segue that I do requires a multitude of decisions. Every time I play a song. I have to know what the song is going to say and will it advance the topic.
Q: You program different length records and tempos for the mix.
A: How does the song I am playing now end? Cold, fade out. How does the next song start? If it ends cold, and the next one fades up that ain’t gonna work. If it starts really loud and the other one is fading out, that ain’t gonna work. So I have to find songs that segue and have the lyrical content. And how long are they?
A: Here is what I do. Think of me as a musician who plays a guitar, It starts with a note. And those notes build a chord. And the chords build a song. I use completed songs in the same way.
After midnight I might go into AC/DC, then Joni Mitchell or Bob Dylan. Because the show has to have dynamics. Peaks and valleys. You do not want to be slamming heads for four hours. Maybe a Friday night more so. I want the show to take you to an emotional high, bring you down and contemplate the world for a moment. Think about the girl you lost or the one who got away. I’ve had hour discussions about God. The Rolling Stones have so many biblical references. Listen to ‘Beggar’s Banquet.’
I play them a lot. When they first came out I was at KMET. They were a new band. Second album came out and I was doing ‘Innerview’ at the time and needed a band that week. So Bono and The Edge came up to my house in Laurel Canyon, sat in my front room and I interviewed this new band. Which I knew very little about. But looking into their eyes I could tell these guys were the real thing and they were going to be around. And I was proven right. Bono, U2 as a band, and Bruce Springsteen, these guys are so heroic in the context that they could be sitting by the pool doing the best drugs in the world and never give a shit about anything. Yet they choose to do what they’ve done. I think they have not gotten anywhere near the due that they should with being the kind of people they are. I think these are great human beings. U2 fits right in.
Q: Neil Young.
A: For one thing, Neil Young never put on the spandex. He has been Neil Young from Buffalo Springfield to today. And he has followed his own path. He is his own man. He writes from the heart.
Q: Jackson Browne
A: He walks the walk and is so quiet about it. No one has done more benefits than Jackson Browne or Bonnie Riatt. Maybe CSN&Y. They do their business of making the world better.
Q: Led Zeppelin.
A: First off, they are probably the most popular FM rock act ever. They are that good. Listen to the music. I go deep catalog with them. The people who are in to be trendy or celebrities they don’t last. It’s the real musicians who last. Because they are really delivering. Zeppelin delivers on all those levels.
Q: Tom Petty
A: Again, the songwriting. Tom Petty & The Heartbreakers are one of the best bands I’ve ever heard on record or live. They are just that good. Benmont Tench, Mike Campbell, Tom Petty. They are some of the best musicians on the planet. That’s why they are asked to play on other peoples’ albums. I liked Tom Petty from the first album. It got to me at KMET. And I play ‘em every night.
Q: The Pretenders.
A: They always had an edge to them that I liked. Chrissie Hynde is always edgy and takes on subjects I’ve never heard before. I think Chrissie has a lot of guts.
Q: Bob Dylan.
A: Bob Dylan is the greatest wordsmith ever. End of discussion. The unique interpretation of how he delivers that is one of a kind. The songs are so good they are covered. Think of all the people who covered his songs. Because that’s how good those songs are.
When Dylan renounced being a protest singer and the voice of our generation. That hurt me and a lot of people. Now I know that was the smartest thing he ever did. Because if he hadn’t done that and gotten pigeonholed as a protest singer, we would have never gotten ‘Shelter From The Storm,’ ’Lady Lady Lay,’ or ‘The Groom’s Still Waiting At The Alter.’ He is so much smarter and more ahead of the curve than any of us. We just didn’t get it then.
I’m an artist. That’s what I try to do as well by his example. I don’t want to get stuck in the past. KMET is one of the proudest moments of my life but I don’t want to live off that story. I want to live off the show I did tonight. And the show I’m gonna do tomorrow. That’s where I live.
Q: You have hosted a blues hour.
A: I have a show on Monday called “Mojo Monday” and the first hour of the show every Monday is an hour of the blues. Muddy Waters, Willie Dixon, John Hammond, Paul Butterfield Blues Band, The Allman Brothers.
Q: You bring up global warming and potential nuclear destruction on your shift on occasion. You’ve also touted documentaries by Albert Gore and Michael Moore to the listeners.
A: I love Michael Moore. I believe that we should support those who are doing good work. It’s hard to do good work. It may look all glamorous but I don’t even want to think about the death threats he gets. I don’t even want to think about the negative stuff. I get bad stuff but yet he is doing brilliant work and should be supported.
Q: Is it too late to save the planet?
A: We are in the process of waking up. In the very nick of time. We are catching up. Here’s the problem. The people that the establishment calls the environmental kooks turned out to be right. We’re the ones who turned out to be right. That happens a lot in social movements. I supported Earth Day in 1970 and encouraged recycling. Others embraced it like (DJ) Cynthia Fox has always been a huge community force. She just doesn’t read the PSA she goes out there.
The news is out thanks to the internet. It takes a long time for big corporations who are started to build hybrid cars. Light bulbs that take less energy. Those of us who have been in the environmental movement for a long time are finally seeing it. We’ve been talking about it for 40 years. The point is never mind their motivations. Even if it’s just to make money or have a good PR campaign. As long as they are helping the planet then do it. Get it done. What we have to do sometimes is show these guys how they can make money in green. How do you make money and at the same time make the world a better place? That’s what we need to do. Make more money by being green. But do it.
Paul Haney tells us about another music-related passing …
Hi Kent,
Some sad news to report.
My friend, audio engineer / music archivist Mark Mathews passed away suddenly on Thursday December 14, 2023. He apparently suffered a massive heart attack while sleeping. He was only 58.
For several years, Mark worked tirelessly on many wonderful CD reissue projects for the Eric Records / Hit Parade label. He was a master at his craft and, more importantly, a genuinely nice human being. He was always willing to share his expertise with his fellow music collectors / chart nerds. His passing leaves a huge void in the oldies music community. I'm including a recent photo of Mark on his 58th birthday.
Here's a link to the Eric Records website. All of their releases (many including first-time stereo versions) are highly recommended.
ERIC RECORDS: Original Versions & the Highest Quality Sound
Just when you thought it was safe to go back in the water again ...
The Nirvana child pornography suit has reared its ugly head again.
An Appeals Court overturned an earlier decision to dismiss the case ...
So once again Spencer Elden, who was a four month old baby when he was photographed swimming nude in a pool, will try to collect some form of compensation for "the permanent harm" this experience has caused him his entire life ... you know, despite the fact that he has recreated the photo several times himself as an adult, looking for ANOTHER way to cash in on the band's riches.
We dismissed it as pathetic over a year ago ... and feel no differently now. HOW he is allowed to continue to pursue this is beyond me ... hopefully it will once again earn a quick dismissal. (I'm not going to run the photo again here today ... far be it from ME to be the one to cause this poor guy any more emotional distress!) kk
December 17th, 1963, is the date credited to disc jockey Carroll James of WWDC in Washington, DC, for playing “I Want To Hold Your Hand” for the very first time in America. (Numerous reports over the years credited James with being the first disc jockey in America to ever play a Beatles record … but we disproved THAT story ages ago!)
Ultimate Classic Rock ran a tribute to this very special date … after all, it was “I Want To Hold Your Hand” that launched Beatlemania here in The States … and NOT “Please Please Me” played ten months earlier by Dick Biondi right here in Chicago … that one went virtually unnoticed at the time.
But, if you take the time to read the article, you’ll see that we’re even given a bit of a back-hand credit for our efforts …
From an article by J.A. Bartlett …
WLS in Chicago charted “Please Please Me” for the weeks of March 8th and March 15th, 1963 (peaking at #35), before dropping it off. Some fairly exhaustive research at Kent Kotal’s Forgotten Hits establishes pretty clearly that WLS was the first station in America to play the Beatles, in late February, 1963, nearly a year before the outbreak of Beatlemania across the country.
KFXM in San Bernardino, California, charted it on the week of April 6th and again on charts dated April 27th, May 4th and May 11th. I don’t know about the weeks of April 15th and 22nd, but the April 27th survey shows “Please Please Me” in its first week on the chart, so I am guessing it probably didn’t appear.
WQAM in Miami got on it for the last two weeks in April.
KNUZ in Houston has it for the week of May 3rd.
KEWB in San Francisco charted it for the same week, although their chart date was shown as May 4th.
The most amazing tidbit of Kotal’s research claims that WFRX in West Frankfort, Illinois, was on “Please Please Me” in June, 1963. A 1997 article in the St. Louis Post Dispatch reported that George Harrison’s mother sent a copy to his sister Louise, who lived in Benton, Illinois (where George would spend three weeks on vacation in September, 1963), and she passed it along to a DJ at nearby WFRX. (In addition, New York DJ Murray the K claimed to have played the Beatles in late September, 1963.)
Most of the early survey citations list the song as “Please Please Me” by “the Beattles,” which was how the band’s name was spelled on the record. The release was on the Chicago label Vee Jay, and because a Chicago station would likely have paid special attention to releases on a local label, that’s more weight on the WLS claim to be first. Dick Biondi, who was on WLS in 1963 and is on WLS-FM today, has long claimed to have been the first DJ in America to play the Beatles, and there’s no reason to believe he wasn’t.
Regarding “I Want To Hold Your Hand,” Carroll James may have been first to play it on December 17th — or he may not have been. It shows up on surveys for WGR and WKBW in Buffalo for the week of December 27th, and on WABC for the week of December 31st, and it’s reasonable to assume, as was the case with WLS, that the stations played the song for a week or two before it appeared on their surveys.
>>>Four weeks later, “I Want To Hold Your Hand” will be the #1 Record in The USA. (kk)
Actually, THREE weeks later on the Cash Box Top 100 (in the issue with the WEEK ENDING date of 1/25/64.)
– Randy Price
Yeah, Cash Box really beat everybody to the punch with this one! It premiered a week sooner in Cash Box than it did in Billboard or Music Vendor as well.
You’ll see ALL of this unfold in the weeks to come in Forgotten Hits …
As we continue to look back 60 YEARS AGO TODAY! (kk)
For any doubters out there wondering if rock fans will accept seeing avatar versions of their favorites perform “live” in concert for all eternity, one need look no further than the first year stats for ABBA’s “Voyage” concert event.
Not even opening until May of this past year, it is said to have brought in over $410 MILLION in tourist revenue to the city of London in the past eight months. (Now that’s some SERIOUS Money Money Money … and, as we all know, that’s The Name Of The Game!
Do I wanna see it?!?! I Do, I Do, I Do, I Do, I Do … but I’ll wait for the touring version, which I’m sure will STILL cost a ridiculous amount of money … but a whole lot less than airfare, hotel accommodations and travel expenses. (kk)
As follow-up to the ongoing conversation about all these old songs riding high on the charts again, we're often hearing some of these that were recorded in Nashville and had our friends' parents playing as session musicians (Nashville's A-Team). One friend noted on her Facebook page that three of the top six on this week's charts include her father playing. He's no longer with us, but it has to be heartwarming to hear your father coming out of radios and other devices everywhere you go. We were driving just yesterday and heard two of these locally-produced big-time Christmas tracks, and I mentioned some of the musicians we were hearing making the tunes - none of whom became wealthy, just playing for scale in order to raise their families.
David Lewis
I don’t think anybody realized at the time that some of this music would last forever … certainly not the way it has. (Do you think Brenda Lee thought at age 13 she’d have a #1 Record with the very same recording she was making then 65 years later?!?! Especially when it never even charted the first two years after she recorded it!!!)
It’s amazing really … and VERY satisfying … even more so, I would imagine, for those who had anything at all to do with creating it, be it musicians, songwriters, prodcers, et al. A true testament to just how timeless and memorable it really is. (kk)
Thursday, December 21st, would have been Frank Zappa’s 83rd birthday …
So on Friday (December 22nd), we celebrated by offering A Token of His Extreme, streaming on Apple TV, YouTube and Amazon Prime Video.
Recorded on August 27, 1974 (which just happened to have been MY 21st birthday – lol – kk) at KCET TV Studios in Hollywood, A Token of His Extreme was a program that Frank Zappa created and originally was intended to be a TV special. It features a legendary extravaganza of live music by him and his five incredibly talented band members: George Duke, Napoleon Murphy Brock, Ruth Underwood, Tom Fowler, and Chester Thompson.
Timmy
Sirius XM has come up with some great tag lines over the years …
My new favorite (from their Classic Vinyl Channel) says: “We play music from the generation where ‘setting the record straight’ meant putting a penny on the tone arm.” (lol) kk
Look for the following artists to pop up on KRLA’s Countdown to 2024 on New Year’s Eve:
AIR SUPPLY, AMERICAN IDOLS RUBEN STUDDARD and CLAY AIKEN, BERLIN, BOWLING FOR SOUP, BRI BAGWELL, CHICAGO, MICKY DOLENZ, FOGHAT, 98 DEGREES, NIMESH PATEL and PAULY SHORE
Micky made a recent appearance on “Unscripted” …
https://ktla.com/la-unscripted/micky-dolenz-of-the-monkees/
Just got the book I won!!!
Thanx, Kent and to all involved ...
It's now alongside my Joe Cocker promo 45's.
Timmy
Just in time for Christmas!!!
Thanks for playing along … and thanks again to Mark Bego and David Salidor for providing prizes for our winners! (kk)
From The Rolling Stones’ new “Hackney Diamonds” album, this is one of my favorite tracks …
And they just issued a brand new video for it!
"Hackney Diamonds" returned to the #1 spot on the UK's Album Chart Christmas Week ... its second (non-consecutive) week on top. (kk)
From Timmy ...
And The National Enquirer is reporting (yes, you read that right!) that The Stones are traveling with a full medical team when they embark on their US tour next year.
Under the headline "Rolling Stones Med Team Ready To Start Them Up!," The Enquirer reports:
"Creaky Rolling Stones rockers used to be mobbed by gaggles of gorgeous groupies ... but for their upcoming tour, they're surrounding themselves with the best full-time medical team money can buy!
"The graying geezers are rewriting the tour rulebook, swapping booze and broads for a band of white-coated medics armed with blood pressure cuffs and prescription drugs to ensure the rock legends keep on rolling.
"Mick, Keith and Ronnie will have a combined age of 236 next spring when they hit the road again. Every precaution is being taken to make sure they complete the tour, including hiring a full time medical team to travel with the band.
"It's like a small traveling hospital. Entire hotel rooms will be emptied of furniture and replaced with medical equipment."
And Christmas hits aren't only doing well here in The States ...
For the first time EVER Wham's "Last Christmas" FINALLY hit #1 on the British Pop Single Chart ... it was first released in 1984. (Not quite Brenda Lee numbers ... but not too shabby either!) kk
Meanwhile, Cher set TWO British Chart Records this week ...
Her latest single, “DJ Play a Christmas Song,” shot to #20 (from #41), making Cher the first solo artist to land top 40 hits with new material in seven consecutive decades ... and, in the process, she also becomes the oldest female to snag a Top 40 Hit.
At 77 years, 7 months old, Cher surpasses the previous mark, set by Dame Shirley Bassey, who was 70 years and 4 months old when her single, “The Living Tree,” peaked at No. 37 in 2007.
Congratulations to Cher! What a way to end a year!!!
Actually, there has been LOTS of Cher press in the past week or so …
Here’s Billboard’s take on why she belongs in The Rock And Roll Hall Of Fame …
(Think it’ll ever happen?
If it’s going to, this would be the most likely time!) kk
Madonna is now telling fans that she was in a 48-hour, induced coma during her recent hospital stay for a bacterial infection. She told the story on stage during her recent appearance in Brooklyn as her friend Shavawn was in the audience. Shavawn was the one who found Madonna unconscious in her bathroom and rushed her to the hospital. Madonna says her friend saved her life … and she wanted her fans to know.
Madonna is putting on an exhausting, greatest hits show as part of her Celebration Tour. It hits Chicago on February 1st and 2nd … which is closer than you think! (lol) kk
Great Moments in Aviation History!
I just found out that earlier this month, December 2nd, 2023, the world record for the farthest flight by a paper airplane was broken by three young Boeing aerospace engineers when their paper aircraft flew a grand total of 289 feet, 9 inches, nearly the length of a football field!
Well, that certainly beat my Personal Professional Best of years ago just trying to get mine to fly across the WLS Studio while records were playing!
CB ( which stands for "Crash-Landing Boy!" )
I don't know why, but my eyes went right to it ...
Check out the mistake at #15!!! (kk)
Kent,
I did not know that this was "National Twins Day". I’ve got one for you though.
In 1962, there was a record that made our local top 40 radio survey. It was by a group called the Edward Twins, two sisters that had a song called SUGARTIME TWIST b/w NO MORE SUGARTIME. SUGARTIME TWIST was the "A" side of the record and all it was was the McGuire Sister's SUGARTIME put to a twist.
It was on the Twistime record label and
was distributed by Atlantic. Ever hear of that one?
And, you are right, of course, when you said that it's the background song that
gets your attention and not necessarily the product being sold. I could have
told you last week what the product was that was being plugged with the Dave
Brubeck tune TAKE FIVE being played in the background, but now for some reason,
I can't remember the product.
I heard one today and I may have heard it before, but the background music was LITTLE BITTY PRETTY ONE, not the Thurston Harris version, but the Bobby Day one. Also, the tune you posted by Teresa Brewer reminded me of the versions by the Sensations and the Happenings, 1961 and 1968 respectively.
At the beginning of today's FH, I thought the emphasis was going to be on HUMPTY DUMPTY at first instead of Fall. In CB's montage of songs, I thought there would have been HUMPTY DUMPTY HEART by Lavern Baker and also that same song title but different song by country artist Hank Thompson.
Have a Happy Holiday!
Larry
Hi Kent,
On November 17, 1983, I moved with my family to the Chicago area, where we temporary lived in Four Lakes Village (Naperville) and I started to enjoy Chicago Radio. On Christmas Eve, I discovered Solid Gold Saturday Night with Dick Bartley (from Chicago) and I taped this aircheck (~1 hour) on a Compact Cassette. I did not write down at what time I started taping, so the times may not be correct. But how much I enjoyed this great piece of oldies radio!
Have a merry Christmas and a wonderful 2024!
Kind regards
Ben Meijering (The Netherlands)
Dick Bartley was a legendary disc jockey here in Chicago whose programs were eventually syndicated all over the world … a nicer, more knowledgeable guy you’ll never find. (He has participated with Forgotten Hits from time to time over the years.)
I am SO glad you have been enjoying the sounds of Chicago Top 40 Radio for over 40 years now!
It’s funny because I remember when I was just a kid my grandparents would get these tapes of old radio shows from the ‘30’s and ‘40’s and listen to them all the time … because that was pretty much the extent of live entertainment in the comfort of your own home at the time in those pre-television days. Growing up, I often chose radio over television, just so I could hear all the latest and greatest hits, many of which were my favorites … and “personality radio” was the sound of the day … the deejays were just as much fun to listen to as the music!
This is why I am so thankful for the WLS WCFL Rewound Labor Day Weekend radio series these past few years … I still listen to them in the car from time to time (and often find them to be SO much better than most of the other listening options of today.)
Hope you and yours enjoy a wonderful holiday season … thanks so much for sharing! (kk)
My mother, who will be 100 years old in January, is from Chicago. She went to Van Stuben high school. What part of Chicago is that? North East section? Albany Park? In 1933 she saw FDR speak at Chicago Field.
Harvey Kubernik
Van Steuben High School was on the north side ...
We have featured it a couple of times now in Forgotten Hits for one very special reason ...
A photo of the main school entrance was featured on the Chuck Berry album SWEET LITTLE 16!!!
(Now how's THAT for a cool bit of trivia for ya?!?!?)
Wow ...
Tremendous data.
To think my mother walked into that building, immortalized by a Chuck Berry LP cover, and the subsequent impact of Chess label and the Rolling Stones on/in my life ...
My father was named Marshall, like Marshall Chess, and young Chess is a fellow Pisces. I am a big advocate of bio-regional influence on us. My father was a White Sox fan, Luke Appling his favorite player. Went to school with Chi-Town sports writer Jerome Holtzman. My mother liked a Cubs player named Lou Stringer, who also played for the Hollywood Stars PCL team.
HK
Walt Disney was right …
It’s a small world after all! (lol)
Holtzman was a big deal in the sports pages when I was growing up here. (I’m a lifetime Sox fan myself)
But VERY cool that Chuck Berry (who I believed always considered Chicago to be, at the very least, his second home) would want to capture that photo for his late ‘50’s album. (Thanks to FH Reader Mike Wolstein for pointing that out to us years ago!) kk
So sad to hear that Celine Dion’s battle with Stiff Person Syndrome has only gotten worse. (Her sister Claudette made the update in an interview picked up by CBS News.)
Last year around this time, Celine first disclosed that she was suffering from this rare disease that affects her muscles, said to affect about one in a million people. As such, doctors have been unable to come up with any kind of cure as there just haven’t been enough patients to do testing on. (Since the vocal cord is a muscle, it has affected Celine’s ability to sing and perform on stage.) It is sad to hear such a beautiful voice silenced.
As Celine said when she first made the announcement a year ago:
“Unfortunately, these spasms affect every aspect of my daily life, sometimes causing difficulties when I walk and not allowing me to use my vocal cords to sing the way I’m used to.”
She is still hopeful that something can be done that would allow her to perform on stage again … and so are her legions of fans. (kk)
From Tom Cuddy ...
https://ew.com/john-oates-talks-daryl-hall-partnership-amid-lawsuit-8420226
I just finished a book that I think some of your readers might like.
"TONITE, TONITE" - THE STORY OF THE ORIGINAL MELLO-KINGS was written By Neil Arena, their original baritone. Kent, please pass this information along as I’m sure some of your readers will like it.
This Song Brings Me Back To The Glory Days Of WCBS-FM's Top 500 Countdown.
For Years The Top 3 Songs Were Always The Same … #1 = "IN THE STILL OF THE NIGHT;” #2 = "EARTH ANGEL;" #3 = "TONITE, TONITE."
In Mount Vernon, New York, They Started Out As The "MELLO-TONES." When They Signed With "HERALD," They Became The "MELLO-KINGS."
Billy Myles Wrote "TONITE, TONITE." "SILHOUETTES" Was Written For The Mello-Kings By Bob Crewe & Frank Slay.
The Mello-Kings Were On The Road & Not Able To Get To The Studio In Time To Record "SILHOUETTES" … So It Became A #1 Hit For The Rays.
"CHAPEL ON THE HILL" Is Neil Arena's Favorite Song He Recorded With The Mello-Kings. It’s Also My Favorite One Of Their Songs, Although Not A Big Hit.
Everybody Thought They Were A Black Group. When They Got To The "APPOLLO" In New York, They Had To Sing To Prove They Were Really The Right Group.
They Had To Go To Murray The K's House & Sing For Him Before He Would Sign Them For His Show.
1975 = Lead Singer Bob Scholl Died In A Boating Accident While Scuba Diving In Long Island, New York.
Neil Says He Can't Figure Out What Bob Was Doing In Long Island ... There Were A Lot Of Closer Places He Could've Gone Scuba Diving.
FRANK B.
I read it and reviewed it in the newsletter. I really enjoyed the story. Fun read.
Glen
Fisher
Doo Wop Revival
Here is Glen’s newsletter review …
I just finished reading the Neil Arena book, Tonight, Tonight, The Story of The Original Mello-Kings. They recorded one of the all-time great Doo Wop ballads, "Tonight, Tonight." Despite it never getting higher than #77 on the national charts, it sold three million copies. The test of time has made it a classic.
The Mello-Kings were one of the few white groups who were stars on the chitlin' circuit, playing all the classic black theatres: The Apollo, the Howard, the Uptown in Philly and the Royal in Baltimore. Arena, the group's baritone, takes us through those exciting times while sharing some amusing stories of performing with some of the greats of the era, including Larry Williams and his Monkey and an unexpected crude greeting from Joni James. They did all this while juggling H.S. school with their recording, performing and touring.
It's a great read that I recommend you add to your list of books to read.
You can purchase the "Tonight, Tonight" book here.
Glen Fisher
We were talking recently about Billboard’s Year-End Ranking of The Biggest Hit for each year of their Hot 100 Pop Singles Chart.
Here is a link to the complete list: https://www.billboard.com/lists/year-end-hot-100-number-one-songs/#recipient_hashed=fa7e92da6f6e66bffcf0bcbf863670c6eb37d7159eb4d0ea1e44fecd5ec87eeb&recipient_salt=3a1d6b09af3b92ad7e38f8327cf18febeb049fd1c9a251b66957a07d9375735c
And, since some have commented on how sometimes these year-end tallies just don’t make logical sense (yeah, I’ll admit it … I’m one of them!!!), Billboard also published this explanation as to how the year-end charts are tabulated …
And, in a tie-in piece, Billboard ALSO listed the #1 Top Artist for each year, 1981 - 2023!
You can find THAT list here:
And here's a list of the Top 57 Best-Selling Albums of All-Time ...
All reaching sales of 12 million copies or more.
(Now these are facts and figures you just can't dispute ... nothing says "proven hit" like the actual sales to back it up!) kk
https://bestclassicbands.com/biggest-us-albums-all-time-sales-2-4-211/
For the final chart of the holiday season, Mariah Carey reclaims the top spot on Billboard’s Hot 100 Chart with “All I Want For Christmas Is You,” followed by Brenda Lee’s “Rockin’ Around The Christmas Tree,” “Jingle Bell Rock” by Bobby Helms, “Last Christmas” by Wham! and “A Holly Jolly Christmas” by Burt Ives … the Top Five spot all occupied by holiday fare.
Also in the Top Ten you’ll find “The Most Wonderful Time Of The Year” by Andy Williams, “Sleigh Ride” by The Ronettes and “Let It Snow, Let It Snow, Let It Snow” by Dean Martin.
“Underneath The Tree” by Kelly Clarkson (#11), “Feliz Navidad” by Jose Feliciano (#12), “Santa Tell Me” by Ariana Grande (#14), “The Christmas Song” by Nat “King” Cole (#15), “Christmas (Baby Please Come Home)” by Darlene Love (#18), “It’s Beginning To Look A Lot Like Christmas” by Michael Buble (#19) and “Jingle Bells” by Frank Sinatra (#20) give Christmas Music a 75% hold on this week’s Top 20.
“White Christmas” by Bing Crosby, “It's Beginning To Look A Lot Like Christmas” by Perry Como and The Fontane Sisters, “Here Comes Santa Claus (Right Down Santa Claus Lane) by Gene Autry, “Blue Christmas” by Elvis Presley, “Deck The Halls” by Nat King Cole, “Santa Baby” by Eartha Kitt, “Rudolph The Red-Nosed Reindeer” by Gene Autry, “Wonderful Christmastime by Paul McCartney, “Santa Claus Is Comin' To Town” by The Jackson 5, “Run Rudolph Run” by Chuck Berry, “Little Saint Nick” by The Beach Boys, “You're A Mean One, Mr. Grinch” by Thurl Ravenscroft, “Please Come Home For Christmas” by The Eagles, “Like It's Christmas” by The Jonas Brothers and “Happy Holiday / The Holiday Season” by Andy Williams take us thru The Top 50. (After that, we resume the normal popular music chart that’ll likely return right after the first of the year.)
Still, it’s nice to see SO many Christmas Classics and Holiday Favorites represented in The Top 50 once again this season. (30 of this week’s Top 50 Tunes are seasonal hits!) kk
A reminder from Bob Lind …
TO MY FLORIDA FRIENDS AND FANS (And those who may be down here early next year) …
By now, most of you already know that I'll be headlining the 2024 South Florida Folk and Acoustic Festival that runs the first week of February.
Here, as promised, is my follow-up, with more information.
I'll be closing the show on Saturday, February 3rd, scheduled to go on at 8 p.m.
You can get more specifics from my Website gigs page here:
I've also learned that I will be in some amazing company.
Local folk legend Amy Carol Webb will also be a featured act. And so will Ryc Ward, Dave Nachmanoff, Ellen Bukstel and scads of other top-notch artists.
The official flyer is attached.
More updates to follow … but for now, you're in the loop!
Hope to see a mess of you there.
Love to youse,
Bob Lind
I started reading your post today about the change of season and thought of a song from the NEW Long Ryders release I got a few weeks ago … so I thought I'd share it with you.
This is a GREAT LP/CD, imho.
Brad
You know, you study up on a band for sixty years and you live life right there, during “real time” to experience these events as they happen … and then, years later, you read and learn more about a few things that maybe weren’t as publicized or “hushed up” for a reason … but still, after SIXTY YEARS, you’ve got to be thinking “What else could I possibly not know?!?!”
And then an article comes out last week about a painting that’s about to go up for auction that was painted by ALL FOUR BEATLES, each taking one corner, and you’re like “HOW CAN THIS POSSIBLY BE?!?!?”
But it’s true … a painting done in 1966 when The Beatles were in Japan to play Budokan and were bored, stuck in their hotel room between shows (they did five in three days!), they just decided to “chill out” a bit and explore a little bit of creativity!
And, not only did each Beatle paint his own corner, they also personally signed their part of the painting!!!
Christie’s Auction House says the painting will go up for bid in February … and expects that it will fetch in excess of $600,000 … I wouldn’t be at all surprised if it went for TEN TIMES that amount. This is an ABSOLUTE, one-of-a-kind item that MOST people never even knew existed.
Now titled “Images Of A Woman,” Photographer Robert Whitaker, who was there when they painted it, says The Fabs were just relaxing in their hotel room, listening to tapes of songs that would ultimately become their “Revolver” album and each had a go of it. (John and Paul were both art students back in their Quarrymen days … and Ringo was also an artist and photographer … so it really seems only natural … but the fact that this is the ONLY time they collaborated on such a project may be the most amazing part.)
Always great for debate, Ultimate Classic Rock picks the Top 32 #1 Rock Songs of the ‘60’s. (While they explain their sources, MOST of the list still doesn’t make logical or mathematical sense … but like I said, it’s lists like these that are ALWAYS good to provoke a debate!) kk
Johnny Mathis Christmas Concert in Chicago
Tom Cuddy
60 YEARS AGO TODAY:
12/28/63 – Bobby Vee marries his wife Karen
