Saturday, August 12, 2023

Another Anniversary! (who knew???)

Today, August 12th, is an Official Forgotten Hits Holiday!  A Day Off for Forgotten Hitters everywhere!  

For today is NATIONAL VINYL RECORD DAY, a day to acknowledge Thomas Edison’s invention of the phonograph in 1877, a critical moment in History without which could have very well prevented the creation years later of Kent Kotal establishing Forgotten Hits!

Altho his original first recording has been lost, in a later year, Edison did recreate for posterity his rendition of what is generally credited as being the very first recorded Forgotten Hit, “Mary Had a Little Lamb!”


But revolving back to 1877 at 160 RPMs, the spinning speed of Edison’s Sound Recording Cylinder, to a recently uncovered weekend event a short time after his first historical recording, a lesser-known historical event was discovered when Edison got some of his inventor buddies together in his barn and formed the first known garage band, “Thomas Edison and His Men in Rotating Cylinders!” The featured song they played and sang most of the day? An improved and revised version of his first recorded song!


OK, I might have made the last part of the story up but still . . .


CB ( which stands for “Cylinder Boy!”


For those of you out there keeping score, this is Chuck Buell's THIRD post for the month of August!  (Thanks, Buddy, for helping to fill some of the gaps when I just can't pull things together in time!)


If you scroll back to August 1st, you'll find Chuck's piece on recorded music rockin' in outer space ...


The very next day, he reminded us all about The First Day Of School ... along with a quick education on the #2 pencil.


And now today, a salute to vinyl records ... and Thomas Edison's discovery and invention as to how to record your voice for others to hear.


In fact, I suppose that if I were a clever enough person, I might even suggest that you could "bookend" this little CB triolgy as ...


SPACE ... The Vinyl Frontier


but I'm just not that guy!!!


(I know, I know ... that's pretty bad ... 


So just grab your Portable, Handheld, User-Friendly, No Batteries Required, Word-Processing Device from article #2 ... and pretend I never said it!)


[thanks, Chuck!]


P.S.  In the middle of all of these dedicated posts, you'll also find CB's review of the Rod Stewart concert he attended last week with his son!  

That's an Ooga-Chucka-Lotsa-Chucka Buell on display of late!  (kk)

Friday, August 11, 2023


We are so excited to be able to tune and listen to Rewound Radio's WLS / WCFL Rewound Labor Day Weekend again this year.  (The 2nd Annual, I might add!)

I had the chance to talk with Ted Gorden Smucker, who is deeply involved in pulling this whole thing together.

kk:  Hi, Ted!  I don't know if I can even convey my excitement in hearing this year's edition of the WLS / WCFL Rewound Labor Day Weekend radio special.

TED:  Every day we are getting emails and texts asking about the 2023 WLS/WCFL Rewound, coming up in just a few weeks.  The excitement from last year's event has helped us in acquiring "new to the market" airchecks of WLS and WCFL programs from contributors that are enjoying having some of their treasures on display on an internationally heard station such as Rewound Radio.  

kk:  I know last year you were able to program over 70 hours of Chicagoland radio memories ... and being somewhat involved for the first go 'round, I know you were constantly editing and changing just what would make the cut right up to the moment the show went on the air!  Thanks to other readers who recorded segments of the weekend, I was eventually able to hear the whole thing ... and there were some real gems along the way.

TED:  We are planning on having an entirely new show this Labor Day weekend, meaning that our hopes are that we will not be repeating any of the shows from 2022.  But please understand that a couple may sneak in from a year ago, if we can't find a replacement show for a well known DJ, but we're still looking.

kk:  Well, you guys had a couple hundred of hours of air checks to sort thru the last time around ... and I know we were both hoping that WLS / WCFL Rewound 2.0 might be able to offer more from the real competition days of the mid-to-late '60's ... but also that these tapes were much scarcer to find ... and, in many cases, not as up to par in quality.  (I must say that overall the quality aired last year was exceptional, especially given the age of these tapes.  Hats off to the "clean-up crew" behind the scenes that made sure Rewound Radio was offering the best-sounding material available.)  It had to be difficult trading off between the two stations throughout the long weekend, making sure both radio stations were equally represented on the air.  This probably forced some weaker WCFL memories into the mix, just to keep pace with the vast decades of material available from WLS.

TED;  You're right ... the first year we did this, we tended to focus on the battle between WLS and WCFL, and gave each station equal time.  However, in reality, the WCFL Top 40 years only totaled about 11 years, while WLS spanned from the beginning of the 60s, and ran well into the 80s.  So naturally, there are many more WLS airchecks out there than there are from WCFL, and many more jocks to feature, too.  So in 2023, the mix will tend to be a bit stronger for WLS, since there is much more availability and variety in WLS programming, spanning over 25 years.

kk:  Well I, for one can't wait.  When does the whole thing kick off this weekend ... and let's make sure folks out there know how and where to tune in and listen.

TED:  The big weekend begins on Saturday Morning, September 2nd, at 6am ET / 5am CT, and will run well past midnight on Monday night.  Bill Shannon has been acquiring and cleaning airchecks with me since last year's event was completed.  

kk:  I know several Forgotten Hits Readers were able to submit airchecks from their own personal libraries ... what is the process in determining what is good enough to air?

TED:  The quality of the shows will vary, from Good to Great to Fantastic. Here is how we manage the airchecks ...

We use the following factors in determining what we can air in our playbacks ... not necessarily in this order ... but these are all the things we look at in putting together the weekend:

The DJ and name recognition

Audio quality of the Unscoped Aircheck

Length of aircheck

The date of the aircheck

The music mix during the show

Newscasts and Spot Load

Announcer’s length of time at WLS and/or WCFL

Did the aircheck run the previous year?

kk:  I know that between us we were able to round up quite an impressive list of jocks for last year's show, most of whom recorded brand new promo spots to help publicize the show.  I think the word of mouth was so good last year that any jock who DIDN'T participate was probably knocking on your door to make sure they were included this time around!  (lol)

TED:  We were excited that we have had a number of former DJs promoting the event with us last year, and this year we have added even more ... and not just jocks, but some of the news people have joined us to talk about our Labor Day Weekend extravaganza.  Listen to and you will hear some very recognizable voices, including Charlie Van Dyke and Lyle Dean.  We even plan to share a couple of “inside radio” stories from some of these notable personalities.  We want to thank all the air talent for lending their ‘pipes” to the cause and our Production Director, Steve Brelsford, for putting these all together for us again this year. 

In fact, here is a picture of Lyle Dean, me and Fred Winston from a lunch we had this summer.  I wanted to thank them both for their participation.

kk:  We will DEFINITELY be listening!!!  Thanks again for your time, Ted ... we are more than happy to help get the word out again this year regarding this very special radio event.

TED:  Looking forward to having everyone on board for another three big days, coming up over the holiday weekend.   As our friend Fred Winston says, “See you soon.”

Ted also sent us a number of links to share of the promos that the jocks have recorded to help promote the WLS / WCFL Rewound Labor Day Weekend radio special.  

Here are a few right now!  (kk)

Charlie Van Dyke:

Lyle Dean:

Chuck Buell:

Kris Erik Stevens:

Fred Winston:

Thursday, August 10, 2023

Thursday This And That

Another Rock Icon has left us …

Robbie Robertson of The Band died on Wednesday (August 9th) at the age of 80, after a long illness.

Robertson was The Band’s principle songwriter (he wrote their early chart hits “The Weight,” #46, 1968, “Up On Cripple Creek,” #25, 1969 and “Rag Mama Rag,” #44, 1970 … as well as the Joan Baez #1 cover of “The Night They Drove Ole Dixie Down.”) The Band was a fixture of the Rock And Roll Cool Kids Club, especially after hooking up with a now-electric Bob Dylan in the late ‘60’s and early ‘70’s.

Their Martin Scorsese film “The Last Waltz” captured The Band performing their swan song in concert with a literal “Who’s Who” of guests … Ringo Starr, Eric Clapton, Neil Young, Neil Diamond, Joni Mitchell, Van Morrison, Bob Dylan and others.

With Robbie’s passing, the only living original member today is Garth Hudson. (kk)

You can read Billboard’s tribute here:

And Harvey Kubernik’s interview with Robertson here:

Also leaving us this past week was David LaFlamme, leader of It’s A Beautiful Day, who recorded the rock classic “White Bird.”  He was 82.

It’s A Beautiful Day was a bit of an “art rock” band in the late ‘60’s, pushing the limits of the ever-expanding world of what was now passing for rock and roll.  As lead singer and violinist (a concept totally new to the rock and roll genre at the time), they brought an element of sophistication to their long-winded jams and became a popular act on the west coast … and in San Francisco in particular.

Although it was all over FM radio at the time (and well into the next couple of decades), “White Bird” was never really a pop hit.  (It bubbled under in all three trades, ultimately peaking at #110 in Cash Box and Record World and at #118 in Billboard.)  It’s not on most Classic Rock playlists anymore … yet OUR readers remember it fondly enough to have voted it into the #763 position on our TOP 3333 MOST ESSENTIAL CLASSIC ROCK SONGS OF ALL TIME list.  LaFlamme also cut a solo version of their signature tune that actually did a little better on the charts (#85) when it was released in late 1976.  (kk)

Congrats to The Zombies, who finally (after sixty years!) now own their back catalog.

And it’s a precious commodity, as many of these songs still resonate today.  (“She’s Not There,” “Tell Her No” and “Time Of The Season” have literally never been off the radio since they were first released in the ‘60’s.  “She’s Not There” and “Time Of The Season” both became #1 Hits (in 1964 and 1969 respectively) while “Tell Her No” peaked at #6 in 1965.  Their album “Odessey & Oracle” is considered a rock classic by critics, well ahead of its time in 1967.

In this article sent in by FH Reader Tom Cuddy, Ashley King in Digital News tells us …

The Zombies Acquire the Rights to Their 1960s Catalog

 By Ashley King

 August 8, 2023

The Zombies, one of the pioneer bands of the “British Invasion” during the ’60s, has acquired the rights to their classic 1960s recording catalog, including hits like “She’s Not There” and “Time of the Season.”

Psychedelic pop-rock legends and 2019 Rock & Roll Hall of Fame Inductees, The Zombies, have acquired the rights to their classic recording catalog of the 1960s. The deal includes their hits like “She’s Not There,” “Tell Her No,” and “Time of the Season,” as well as their 1968 album Odessey & Oracle — an oft-featured entry in publications’ “best albums of all-time” lists, including Rolling Stone.

With a new partnership between the four surviving original members of the Zombies, singer Colin Blunstone, keyboardist Rod Argent, bassist Chris White, and drummer Hugh Grundy, along with Helen Atkinson, the widow and estate trustee of late guitarist Paul Atkinson, the band secured their catalog rights from Marquis Enterprises, the independent UK production company with whom they signed as teenagers in 1964.

Zombies Partners LLP will house the band’s shared interests in their recordings, merchandise, and life rights, to be overseen by Chris Tuthill and Cindy da Silva of The Rocks Management in New Jersey, which has managed the group for the past decade.

“It is so gratifying to feel that 60 years later, our music still has relevance, and we are now in the position to own our own recordings,” said keyboardist Argent.

The band’s first incarnation enjoyed only a short period of recorded content before parting ways in 1967 due to a “perceived lack of success.” Public interest in their harmony-laden recordings increased over the following decades, boosted by prominent film, television, and advertising placements. These have included a global Chanel campaign starring Keira Knightly (“She’s Not There”), Disney’s movie “Cruella” (“Time of the Season”), and the final scene in the series finale of “Schitt’s Creek” (“This Will Be Our Year”).

The Zombies boast well over 3 million monthly listeners on Spotify, and more than 3.5 million people have used their Shazam app to identify “Time of the Season” alone. Physical reissues of their music regularly appear on vinyl sales charts.

The announcement comes on the heels of the film festival premiere of Hung Up On a Dream at Austin, TX’s SXSW in March. The new Zombies documentary is slated for public release later this year, following the band’s unusual six-decade journey to becoming part of the 2019 Class of the Rock & Roll Hall of Fame alongside Janet Jackson and Radiohead. The film is directed by musician and filmmaker Robert Schwartzman and co-produced by Schwartzman’s Utopia Films, The Ranch Productions, and Tom Hanks’ Playtone.

Also at SXSW, the recording lineup of The Zombies debuted their latest album, Different Game, followed by a five-week UK tour in the spring and a North American leg on sale for October.

More on the 40th Anniversary of “Breakfast With The Beatles” …

>>>Just a reminder that 42 years ago today was the launch of MTV (August 1, 1981.)  Until then, we would hear the music. With the launch, we finally got to see the artists. Initially the videos were mostly footage of “live” performances, but creativity came about very quickly in the videos. And the rest is music history.   (Gary) 


Those 1979-84 years of MTV were just awesome!  In the beginning, my brother (an electrical engineer) had these two satellite dishes in his back yard in 1979 and I could go over and watch pay per view fights and football games live for free including the announcers commentating during the commercials -- which was very funny sometimes.  Granted, the shows were also snowy sometimes. 

Best was that he got MTV early on and I could have him tape songs on BETA and I could watch at home first two years.  Lots different from when they got on all the cable outlets by ‘81 or so.  Back then, artists like Andrew Gold and lots of pop stuff were on all the time.  It was still great thru at least ‘84, I think. 

My next radio show in two weeks will have a few of those early days MTV gems I loved in it, too.

Clark Besch

And, speaking of up-coming radio shows …


On 8/16/2023 Dr. Bop Is Re-Playing The Show I Programmed For Him from 8 – 11 PM Eastern on REMEMBER THEN RADIO (WRTR.NET)

On 8/22/2023 You Can Hear The Show I Programmed For Ken Kojak's "1960's JUKEBOX REVUE."  It airs from 8 - 11 PM Eastern on REMEMBER THEN RADIO (WRTR.NET)

Kojak Came To My House With All Of His Equipment. This Time I Programmed The Music & Co-Hosted The Show.

We Talk About The Music Before Playing The Songs. Double-Sided Hits. We Play Both The A & B Side.



Here’s a great cheat sheet for you, Frank …

The Top 200 Biggest Two-Sided Hits Of All-Time!

Of course, if you just happened to mention Forgotten Hits … you know, even by accident … that’d be ok with me!  (lol)  kk

And tomorrow we’ll have another update for you on the much-anticipated Second Annual WLS / WCFL Rewound Labor Day Weekend coming up on Rewound Radio … including a couple of new promos recorded by some of the jocks whose vintage air checks you’ll be able to hear again all Labor Day Weekend long.  (kk)

Drummer Carl Palmer has a new show on the road called:  “ELP – Welcome Back My Friends: The Return Of Emerson, Lake and Palmer”

From the announcement:

Welcome Back, My Friends: The Return of Emerson, Lake & Palmer reunites members of this legendary supergroup through modern technology.

As the sole survivor of the band, drummer Carl Palmer continues to keep ELP's legacy alive.  He and his current group will take the stage alongside two massive video walls featuring the late Keith Emerson and Greg Lake in concert.  The live footage was filmed at London's Royal Albert Hall in 1992 and digitally remastered.

Imagine the unmistakable voice of Greg Lake, the keyboard wizardry of Keith Emerson and the phenomenal drum work of Carl Palmer together again.

Don't miss this rare concert featuring great music, great memories and the most epic songs of the rock era.

It hits The Genesee Theater here in Waukegan later this year.  (kk)

From Mike Wolstein …

 (Ain't it the truth!!!) kk

Tuesday, August 8, 2023

Tuesday This And That

Hi Kent,

Just a quick correction to your post this morning ...

"Don't Stop 'Til You Get Enough" did indeed hit #1 in Billboard (and the other two trades as well).

Paul Haney

Record Research

Thanks, Paul … pointed out by a couple of other astute FH Readers, this has since been corrected … definitely an error on my part.  (kk)


It would be really interesting if all three chart makers would release their criteria for song success. Then we could see the mathematical equations behind each of them. OR WOULD WE? The fact that this has never been made public leads me to believe that other factors (personal gain, politics, personal likes/dislikes) are involved. Soooooooo ... use them as guides, not gold.


That’s exactly right.

All three trades measured sales but like thru different retailers (although you know there had to be some overlap.)  This is where the twenty point discrepancies make no sense at all.  Some of these “sales” were rack-jobber figures, meaning how many copies of a single a distributor SHIPPED … but not necessarily how many of those copies were actually sold (and how many were returned a week or two later.) 

Certainly radio airplay and listener requests were both big factors, too … which is how most of the local charts were measured at the time.  The bigger the station, the bigger the rank.

But we have also heard far too many stories over the years of situations like “Place a full page, $10,000 ad in our magazine next week and your record will jump up twenty spots with a bullet” … so who really knows.

This is why for my money, the Super Charts are the most accurate representation of the popularity of this music at the time … because they take into account the research of all three trade publications, meaning the maximum amount of sales and airplay research possible.  It helps to level the playing field, if you will, between all of the information out there.  (They’re not without hiccups, though … for example, because “Good Vibrations” didn’t make it to #1 in all three trades at the same time, it didn’t make it to #1 on the Super Charts at all … and we all know better than that.)  Still, when assembling such a project you have to accept the chart data as it existed at the time … it’s nobody’s place to “rewrite chart history” here … and even my pointing out some areas where Billboard’s information wasn’t perhaps as accurate as it could have been / should have been is solely based on the performance of these records in both of the other two trade publications AND the weekly charts we have analyzed from all over the country throughout the years.

At best, it’s fodder for discussion …

At worst, it’s just a few more head-scratchers to think about.  (kk)


I just freaked out when I read your comment about "Itsy Bitsy Teenie Weenie ... " being the first record you bought with your own money ...

I was visiting some friends in Miami Beach with my mother when it hit the airwaves around July of 1960, and it was just about all you'd hear on the radio all day long.  I'd estimate that it was played about 15 times a day on the local rock 'n roll station (WCKR), and after a while it became kinda boring.  But as soon as I got back home, I went over to Little Al's Records in Albany Park and bought a copy.  I still have it; it's on the Leader label (pre-Kapp), and it was also MY first record purchase!


Funny, my copy was on the Leader label, too … and I’ll betcha I’ve seen more Leader singles over the years than Kapp labels!

In my original “First 45’s” post, I mentioned how much I enjoyed the other side of this record, to … “Don’t Dilly Dally, Sally!”  (I played the B-Side of EVERY 45 I bought!!!  You just never knew what you were going to find there.)

Apparently I wasn’t the only one.

When we ran our poll of The Top 200 Favorite, Forgotten B-Sides, “Sally” came in at #125 with 136 votes!  (kk)


The Results Are In –

Dr. Bop's "BEST LEAD SINGER" As Voted On By His Listeners = The Late, Great Johnny Maestro.

Why Isn't He In The Rock & Roll Hall Of Fame?

By The Way, Your Chicago Buddy Dennis Tufano Told Cousin Brucie He's Going To Be Inducted Into California Hall Of Fame.


That’s great to hear.

The Buckinghams were the first local band to be inducted into The Illinois Rock And Roll Hall Of Fame a couple of years ago … so Dennis has THAT honor under his belt as well.  They deserve it … out of all of the bands that experienced success here in the ‘60’s, The Buckinghams garnered the most national attention, making appearances on The Ed Sullivan Show and The Smothers Brothers Comedy Hour, just to name two of the biggies!

Their hits “Kind Of A Drag,” “Don’t You Care,” “Mercy, Mercy, Mercy,” “Hey Baby, They’re Playing Our Song” and “Susan” all made The National Top Ten … and “Kind Of A Drag” went all the way to #1.  No other group from this area attained that kind of success during this era … and Dennis Tufano sang all of ‘em!

As for Johnny Maestro, he absolutely belongs in The Rock And Roll Hall Of Fame.  Everything he lent his voice to turned to solid gold.  He should be nominated and inducted in the Performer Category, hands down.  (kk)

New photos posted by Mark Dawson of The Grass Roots show the addition of Joey Molland last night to the Happy Together Tour. Everything else was the same as Kentucky. So it looks as if he was an addition to the tour with Little Anthony being the one missing for those two dates. Just passing on interesting info. No secret meanings coming from me at all.



After adding a second show in Sydney, Australia, Paul McCartney announced five new dates in Brazil … the 2023 “Got Back” World Tour has begun!  (kk)


After fifty years, Yoko Ono has left The Dakota, the home she shared with John Lennon until his death in 1980 … and has lived in for the 43 years since. Reports say that although she has no plans to return to the city, she has yet to list the property for sale.  Ono, now 90 and not in the best of health, reportedly moved out in March of this year and settled into the 600 acre farm / ranch that she and John purchased decades ago.  (kk)


The Fest For Beatles Fans takes place this weekend at the Hyatt Regency O’Hare Hotel in Rosemont with a stellar line-up of guests slated to appear, including a performance by “The Lads From Liverpool”:  Billy J. Kramer, Terry Sylvester and Joey Molland who, as we just learned above, pinch-hit for Little Anthony during a Happy Together performance this past weekend.


Also onboard are Pattie Boyd, Bruce Spizer, Jude Southerland Kessler, Kenneth Womack, Tom Frangione and more.


Complete details here:

Monday, August 7, 2023

NOT #1 in Billboard

There are a number of times over the years where I felt that, for one reason or another, Billboard missed the boat in properly reporting the #1 Record in the Country.

This becomes especially evident when you see the other two major trades reporting their findings differently ...

Not to mention all of the charts we've seen over the past two decades from all over the country showing us what songs were most popular from city to city. 

Since this discussion was inspired by the 65th Anniversary of Billboard's Hot 100 Pop Singles Chart, let's start our recap there ... August 4th, 1958 ... and carry on through the end of 1980.

"Poor Little Fool" by Ricky Nelson was the first #1 Record to top Billboard's new Hot 100 Chart ... 

Yet, incredibly, it never made it to #1 on either of the other two trade publications, Cash Box and Record World!  Instead, they were reporting that "Patricia" by Perez Prado was still the Number #1 Record in the Country.  It spent four weeks on top of the charts in both of these magazines, while only topping Billboard's pre-Hot 100 Chart for a single week earlier in July.

I do believe that, because of all the hype built around Billboard's new chart launch, their chart was likely the most accurate ... but after their next #1 Record (" Nel Blu Dipito Di Blu [Volare])" topped all three charts, Billboard's next two #1 Hits, "Little Star" by The Elegants and "Bird Dog" by The Everly Brothers, failed to top the charts in the other two trades.  Both of those records peaked at #2 in Cash Box ... "Little Star" also peaked at #2 in Record World (then called Music Vendor) while "Bird Dog" topped out at #3.  Kinda makes you wonder what "inside track" Billboard had to see things differently.

Incredibly, in 1959 Santo and Johnny's "Sleep Walk" only topped the chart in Billboard.  They got that one right as far as I'm concerned.  Several years ago, you guys voted it as your All-Time Favorite Instrumental!

In 1961, Ferrante and Teicher topped the chart in both Cash Box and Music Vendor ... but stopped at #2 in Billboard.

Here's one that doesn't make any sense ...

In 1962, Joey Dee and the Starliters went to #1 in Billboard for three consecutive weeks, yet never made it that far in either Cash Box or Music Vendor.  They had either "The Twist" by Chubby Checker or "Duke Of Earl" by Gene Chandler in the top spot, both of which also went to #1 in Billboard.  As far as I can see, Joey Dee absolutely deserved his #1 status ... for at least a week, if not three.

Later that year, Tommy Roe earned his first chart-topper with "Sheila" in Billboard ... but this record didn't get that far in the two other trades.  They both said that Little Eva's "The Loco-Motion" did better.

In 1963, Billboard denied Allan Sherman the top berth with his classic hit "Hello Muddah, Hello Fadduh."  It deservedly topped both of the other charts ... there was no record more popular at the time ... this thing was EVERYWHERE!  (Billboard showed it #2 for three weeks.)

At year's end, The Kingsmen were cheated out of THEIR deserving #1 Hit, "Louie Louie."  (I think the fact that this was banned in so many markets probably hurt them in Billboard ... but that doesn't excuse them holding Bobby Vinton's "There! I've Said It Again" at #1 for four weeks when it only spent a week or two on top everywhere else.)

Worse yet, as Beatlemania invaded The States in January, February, March and April of 1964, Billboard peaked "Twist And Shout" at #2, despite it hitting #1 from coast to coast ... AND in both Cash Box and Record World.

I think "Last Kiss" by J. Frank Wilson and the Cavaliers also deserved a #1 earning in Billboard ... it topped the chart in both of the other trades

In March of 1965, "My Girl" by The Temptations only topped the chart in Billboard.  I've gotta say that they nailed this one ... how could this record NOT be #1 in the other two publications?  (It peaked at #2 in Cash Box for two weeks ... and #3 for three weeks in Record World.)

A few months later, "Wooly Bully" by Sam the Sham and the Pharaohs earned enough points to be declared The Record of the Year in Billboard despite never making it to #1!  (It only topped the Record World chart.)  I think The Four Season's hit "Let's Hang On" deserved the #1 nod in Billboard, too, rather than holding The Byrds' "Turn Turn Turn" there for another week.  This was another record that showed up at #1 all over the country and topped the other two trade charts.

The same could be said for "Barbara Ann" by The Beach Boys ... it was #1 everywhere ... except Billboard.

Another novelty hit that failed to hit #1 in 1966 was Napoleon XIV's "They're Coming To Take Me Away, Ha-Haa!"  This one skyrocketed to the top of the charts in both Cash Box and Record World ... but again was banned on a number of stations ... and quickly fell from grace after just a few weeks.  (Billboard pegged it at #3.)  I would suggest that "Sunny" by Bobby Hebb probably also deserved a #1 nod ... the cross-over appeal of this track got it played on every radio station on the dial ... hard to believe Billboard was the only publication not to recognize it as a #1 Hit.


Jumping ahead to 1967, we see that "Kind Of A Drag" by The Buckinghams only topped the charts in Billboard ... it likely deserved one of those weeks at #1 ... but the other one probably should have gone to "Georgy Girl" by The Seekers ... that's another one that was #1 from coast to coast (as well as in Cash Box and Record World.)


"Something Stupid" by Nancy and Frank Sinatra spent four weeks at #1 in Billboard ... but only a week or two in the other trades.  That's because they had The Monkees' hit "A Little Bit Me, A Little Bit You" ranked at #1 ... which is where it belonged.  There was NOBODY hotter than The Monkees on the charts at this moment in time.


Frankie Valli's big solo hit "Can't Take My Eyes Off You" also deserved #1 status in Billboard ... it topped the other charts but only came in at #2 on The Hot 100.


"To Sir With Love" by Lulu holding down the #1 spot for five weeks seems a bit extreme ... it only spent three weeks there in the other trades.  This would have allowed The Association's hit "Never My Love" to reach #1, which it did literally everywhere else.  I would have liked to have seen The Cowsills reach the top with their '60's classic "The Rain, The Park And Other Things."  It hit #1 in Cash Box only.


1968 offers up a couple of crazy situations ...


"Dock Of The Bay" stayed at #1 for four weeks in Billboard ... and never topped either of the other music trade charts!  Now how can THAT be?!?!


Once again, it was The Monkees who fell victim to this gross misrepresentation.  Their hit "Valleri" was #1 for two weeks in both Cash Box and Record World.  "Young Girl" by Gary Puckett and the Union Gap also topped both of those charts for a week during Redding's reign.  Four months later, their hit "Lady Willpower" also spent a week at #1 in the other two trades.  (Puckett never had a Billboard #1 Hit ... and that's just wrong!)


There's no denying how big a record "Hey Jude" was for The Beatles ... 


But nine weeks on top of Billboard's chart denied Mary Hopkin (an Apple labelmate no less!) a well-deserved #1 with her first hit, "Those Were The Days."  (She got it in the other two trades.)  "Hey Jude" only topped Record World's chart for four weeks (incredibly, it was only #1 for ONE week here in Chicago ... which isn't right either!)  Cash Box ranked it at #1 for seven weeks ... the other two weeks were awarded to Hopkin.


The year ended with another out of balance situation ...


Marvin Gaye stayed at #7 for seven weeks in Billboard with his version of "I Heard It Through The Grapevine" ... it spent five weeks on top of Cash Box's chart ... but only ONE WEEK at #1 in Record World.  They started off 1969 with "I'm Gonna Make You Love Me" by Diana Ross and the Supremes at #1 for three weeks.  Cash Box ranked it there for a week ... and it deserved at least that much.


"Build Me Up Buttercup" spent two weeks at #1 in both Cash Box and Record World ... there's no doubt that Billboard got this one wrong!  


There's no question that "Aquarius / Let The Sunshine In" by The Fifth Dimension was a monster hit ... buy another hit from that same musical, "Hair" by The Cowsills, also deserved #1 status.  It got it in both Cash Box and Record World ... but not in Billboard.


And now we've hit the point where we have to address the fact that Creedence Clearwater Revival never had a #1 Billboard hit ... yet topped either or both the Cash Box and Record World charts three times with "Proud Mary" (RW), "Bad  Moon Rising" (RW) and "Lookin' Out My Back Door" (CB and RW).  All of these records peaked at #2 in Billboard.


Elvis' big comeback hit "In The Ghetto" also should have topped Billboard's chart ... it topped the others, but was aced out by Henry Mancini's #1 Hit "Love Theme from "Romeo and Juliet," which also topped the other two charts for a week.  That second week on top in Billboard denied Elvis another #1 notch on his belt buckle.


"I Can't Get Next To You" was another Temptations #1 Hit in Billboard only. 


Jumping ahead to 1970, the first obvious oversight is Norman Greenbaum's "Spirit In The Sky," another tune that topped both the Cash Box AND the Record World chart for two weeks.  Billboard pegged it at #3 for three weeks instead.  This is another tune that we have seen at #1 on Top 40 radio charts from all over the country, including both WLS' and WCFL's from right here in Chicago.


"Bridge Over Troubled Water" by Simon and Garfunkel topped Billboard's Hot 100 Pop Singles Chart for six weeks ... two and three weeks longer than it did in the other trades ... but their follow up hit, "Cecilia," failed to reach the summit in Billboard, despite logging a week on top in both Cash Box and Record World.  Incredibly, it only peaked at #4 in Billboard .  "Spill The Wine" by Eric Burdon and War, the previously mentioned "Lookin' Out My Back Door," "Candida" by Dawn and "We've Only Just Begun" by The Carpenters are others that topped the other charts but failed to do so in Billboard.  (CCR was kept out of the top spot by Diana Ross' "Ain't No Mountain High Enough, which spent three weeks at #1 in Billboard, despite only topping the chart for a single week in the other publications.)


1971 offered up more situations where a record reached #1 in both Cash Box and Record World but failed to hit the top in Billboard.  The best examples include "Lonely Days" by The Bee Gees (a deserving #1 if there ever was one), "Doesn't Somebody Want To Be Wanted" by The Partridge Family and "It Don't Come Easy" by Ringo Starr.  And how did "Imagine" by John Lennon only peak at #3 in Billboard?  That's Lennon's signature tune!  (If Billboard had gone along with the trend and findings of the other publications, all four former Beatles would have had #1 hits in 1971.  George Harrison kicked off the year with "My Sweet Lord" on top of the charts ... and Paul McCartney earned his first solo #1 record in September with "Uncle Albert/Admiral Halsey."


1972 anomalies include "Precious And Few" by Climax, "Daddy Don't You Walk So Fast" by Wayne Newton, "Long Cool Woman In A Black Dress" by The Hollies, "Everybody Plays The Fool" by The Main Ingredient, "Nights In White Satin" by The Moody Blues and "I'd Love You To Want Me" by Lobo, all of which topped both of the other major trade charts that year.  And I'd have to throw in with Cash Box on "Burning Love" ... it should have been Elvis' last #1 Record. (Think about that for a second ... we've already offered up TWO more tunes that could have been part of Elvis' legacy.) Instead, it only achieved #2 status.  The Moody Blues were kept out of the #1 spot by Johnny Nash's "I Can See Clearly Now," #1 for four weeks in Billboard ... but only for a single week in the other two trades.


A couple of notable exceptions from 1973:  "Live And Let Die" by Paul McCartney and Wings ... #1 in both Cash Box and Record World ... but only #2 in Billboard.  "Shambala" by Three Dog Night, "Goodbye Yellow Brick Road" by Elton John and (much as I hate to admit it) "Heartbeat, It's A Lovebeat" by The DeFranco Family all spent time at #1 in the other trades ... and deservedly so ... but not in Billboard.


Moving ahead to 1974, the only tunes that hit the top in the other publications but not in Billboard that I feel were worthy of their #1 status would be "Don't Let The Sun Go Down On Me" by Elton John and "When Will I See You Again" by The Three Degrees.  An over-stated Billboard #1 would have to be "The Way We Were" by Barbra Streisand, #1 for only one week in Cash Box and Record World, but #1 for THREE weeks in Billboard ... and maybe "I Can Help" by Billy Swan and "Kung Fu Fighting" by Carl Douglas, #1 for just a week everywhere else, but two weeks on top in The Music Bible.


1975's most obvious choice would have to be "Jackie Blue" by The Ozark Mountain Daredevils ... but Dickie Goodman's novelty hit "Mr. Jaws" also topped both of the other charts.


"Baker Street" by Gerry Rafferty has come up in these pages before.  LOTS of stories circulating around that it was kept out of the top spot in Billboard for fear of losing Andy Gibb's performance at a Billboard Convention Event if "Shadow Dancing" were no longer the #1 song.


A couple of songs that seem a bit out of balance include:


"Three Times A Lady" by The Commodores (#1 in Billboard for 2 weeks, but #1 in Cash Box for four and #1 in Record World for FIVE weeks!


"Boogie Oogie Oogie" by A Taste Of Honey = 3 weeks (BB), 3 weeks (CB) and just 1 week (RW)


"Kiss You All Over" by Exile = 4 weeks (BB), 2 weeks (CB) and 3 weeks (RW)


"Hot Child In The City" by Nick Gilder = 1 week (BB), 3 weeks (CB), 4 weeks (RW)


Looking back, this makes for a pretty substantial list.


Our Super Charts correct some of these mistakes/oversights ... but you can't rewrite history ... leaving complaining after the fact to be our only recourse!  (lol)  kk