New Year's Resolution (aka To See ... Or Not To See)

As expected, I got quite a few responses to my new outlook on life regarding artists performing their work live in concert.  (And, as you'll see, some hit a little "closer to home" than others!)

Here are a few that I have received so far ...

Your recent column on bands carrying on without the original members really gave me cause to think long and hard about this subject.  We see a lot of shows ... at least one or two per month ... and typically would steer clear of some of these more "suspect" acts when it comes to just who was really up there on stage ... but the more I thought about it, the more I see that you're right ... there are less and less "originals" out there every day ... and there's really nothing we can do about that.  If we want to hear this music, we may have to amend our way of thinking to allow this to happen.  I, too, will watch concerts from this new perspective this year because I think you're right ... it may be time to set all of that aside and just enjoy the music.

George K.

It has probably become evident that I am supporting bands where all original artists (or most) are gone. Actually, I have said as much. I have been taking each group on its own merits. Teaching has shown me the power of recreating a moment and seeing music live. 

Now, I also fought here in the NE for the Truth In Music Law. I believe in it, and I want those who ARE originals to benefit from its merits. I also want the music to go on in live performances where there is no one interested or left from the “original” (many bands also changed people even during their prime) to bring it to us live. Like Kent, if I don’t like something, I will call it out. At the very least, I will only comment when asked, or make a sour face upon hearing the name. 

I know the effect of music on my life, my children’s lives, my student’s lives. Let the music go on!

Shelley J Sweet-Tufano

I was also a big supporter of the Truth In Music Act and covered it extensively when it was first being proposed and put into practice.  (Bowzer, the organizer behind this movement, was a frequent Forgotten Hits contributor back then and we watched with pride as more and more states across the nation put it into practice.)

But even that is getting harder and harder to monitor these days.  Let's face it, you're not going to see an original Drifter anymore ... or a Coaster ... yet groups far younger than those originals would be today continue to perform and delight audiences.

Today, it isn't about being an original member anymore ... in far too many cases, it's become about who has the legal right to use the name.  How is it even thinkable that anyone other than Randy Bachman or Burton Cummings can perform as The Guess Who?  The management team that owns the rights to The Shangri-Las' name can put ANY three girls they want to up on that stage each night ... including three DIFFERENT girls every single night if they choose because LEGALLY every one of them can perform as The Shangri-Las.

To a degree, that has also become the case for The Little River Band, who we have taken to task repeatedly for misuse and misrepresentation of the name.  (This is made that much more frustrating because the members of the REAL Little River Band are still around ... yet can't go out and perform THEIR hits as such because somebody else owns the legal right to do so.)  Imagine their pain and frustration when these guys (all but one of whom was never even officially IN the band) go out and sing the songs they wrote and made famous.  It's gotta be the most frustrating, helpless feeling an artist can have.  (kk)   

Kent, 

I disagree with your assessment of bands that have no original members, but still call themselves the Grass Roots, the Raiders, Little River Band, whatever. 

It's slightly different in the case of Gary Puckett, Tommy James, Peter Noone and others in that it's not much different than a solo performer, who has to have a backing band. 

To me if a band has no original members, it's a cover band. The musicianship can be superb, the singing can be top notch ... but it's no different than a cover band that you can go to any bar in Chicago, or any metro area, and see.

I don't care what each individual member's name is. If I'm a fan, I know, and if not, oh well. 

Frankly some bands needed to retire long ago, and that includes a few music icons, as well as third and fourth tier entertainment acts. I don't blame them for touring when they're 70 ... what else can they do? ... go out and be a Walmart greeter? I can see it now, "Hey aren't you so and so?" Or, worse yet, "Didn't you used to be so and so?" Someone get a gun right now and put me out of my misery.  

I'm lucky ... I've seen pretty much everyone I've ever wanted to see. (Never wanted to see the Beatles. One day I'll go and incur the wrath of everyone in FH-land and explain why.)

Let's be real here ... many of us are on the north side of 60 (70?) and you are right, the Woodstock Generation is over. We're just eleven days into 2019 and we've already learned about the passing of at least a half dozen performers ... and it seems that in the last couple weeks, the snowball is gathering momentum. 

The last concert I saw were Micky and Mike of the Monkees, last summer. Mike looked like he was going to die on stage. When all was said and done, I paid almost $100.00 a ticket. It was fun seeing them, but not $100.00 worth of fun, and that was with half the members. 

I'd go see Peter, Tommy, and a host of others in concert again, but not at these ticket prices. If I'm gonna pay that kind of money to see someone, it had better be a two hour show, and easy in and out. I'm not wasting an hour, like Shelley did, looking for a parking spot. (Shelley get your money back!)  idn't that happen to you, Kent, at a Billy Joel concert several years ago? 

Some performers I've only wanted to see once and did. At this point in my life, I have no desire to see anybody with 20,000 of my closest friends, even if I have free tix. Maybe I'm still stuck in the 60s, but to me, it's about the music ... but in 2019, I gotta think Frank Zappa was right when he said "We're Only In It For The Money."  

The following is a Jack Rant #1 of 2019. All rights reserved.

Jack Levin

Yes, I missed a Billy Joel show (one of THREE times I had tickets to see him and was unable to attend) due to an incredible 2 1/2 hour traffic jam that wouldn't allow me to park at the venue ... so I can absolutely relate to Shelley's recent woes.  (One advantage these days, perhaps, is Uber ... although if you can't get there, you can't get there ... however perhaps you can get close enough to get dropped off and not have to deal with the parking situation on top of all your other frustrations that night!!!)

We have seen so many of the same artists time after time that I welcome the opportunity to catch somebody new.  Case in point ... we've been to a couple of Ambrosia shows these past few years.  I've always loved their music and Frannie has, too ... but the major key to their success was the guy who wrote and sang all those hits, David Pack, who, until last weekend, we had never seen live before.

Much of the original hit-making group is still intact ... so they are most definitely by all definition "Ambrosia" ... but when the chance to catch David Pack as part of Jim Peterik's World Stage show came up, we weren't about to miss it ... A) Because we just love him ... and B) ... and this is a VERY important "B" these days ... because this is likely the last chance we'll ever have to do so.

These days (as we have all learned far too often recently) if you get the chance to see somebody live, go ... because you may not get another chance to do so.  I will always regret never seeing Tom Petty live ... I love his music but just never took the time to buy the tickets ... and now he's gone.

There are far too many other acts out there in the same situation.  Like you, I've seen almost everyone I've wanted to see ... and I've been both electrified and disappointed ... but at least I got to see them.

So my advice of the day is ... go.  If there is someone you always wanted to see, go ... while you still can.  And enjoy the show.  And celebrate the gift of music they gave you.  (kk)  

Hi Kent,

Thank-you for addressing, with your New Year's Resolution, such an important point concerning the music of our time and its current presentation.  I am sure I am not the only one with which your article on the subject truly resonated.  Thank-you for calling attention to the ever-expanding elephant in the room.  It is something that has been crossing my mind repeatedly as of late.  

Yes, we love the music and memories they trigger, and certainly we respect the gifted artists that put their musical reputations on the line night after night and year after year, whether it be a prestigious high profile performance, a county fair, or a smokey casino, many times never knowing the sonic logistics of what they will be dealing with in terms of staging let alone the moody vocal cords that come with age.  

They are the ones that deal with the double edge sword of fame and notoriety.  With the rose comes the thorn.  Yes, they are the center of attention for the innumerable good songs and perfect notes but also for the notes we realize that aren't as easy to hit anymore.  I'm sure it's a difficult decision for an artist that still loves what he is doing and still enjoy the fame, attention, and money that comes with being blessed with talent.  And, at the same time having to make the decision of when is it time to "get out of the ring."  I guess like any decision concerning retirement, "only you know when it's time."  But if you are like Tony Bennett and you are 92 and still delivering a quality product, that time may be never. 

Peace,

Tim Kiley

From Chuck Buell ... 

Hey, Kent!  

Great Review / Editorial / Commentary on “Today’s Yesterday’s” tribute groups and their music re-creations, and acknowledgement of the DNA lineage of some of those tribute groups’ members, but more importantly, the quality of their dedicated performances.    

I agree that if their solid efforts to re-create a group’s “sound” results in an accurate, respectful and entertaining presentation, then they should go for it.  

Despite the fact that Glenn Miller died nearly 75 years ago in 1944, one group, “The Glenn Miller Tribute Orchestra” continues to present their music today just as it was heard during World War II.

Fast forward 75 years from now to 2094.  Might those then who were not around in the mid-1960s to have heard the original see a great Ed Sullivan impersonator call out, “The Beatles! Let’s bring them on!” as a special tribute group breaks into “All My Loving?!” 

CB (which stands for “Commendation Boy!”)

Glenn Miller's Orchestra (billed by that name) has played The Arcada Theatre several times now ... and they still draw in a crowd who love that music.

Let's face it ... there were Elvis impersonators out there while The King was still alive and performing himself!  There have been Beatles tribute bands for decades now, since the '70's.

Everybody knows what they're getting when they go to these shows ... and they just want to have fun and enjoy the music.  The fact that so many of these tribute acts can put on a flawless show is testament to both their talent and love and respect for these artists.

Our motto has always been "buyer beware" ... if you're not sure, do your research ... but what we've found more and more recently is that the average fan really doesn't care ... they just wanna hear the music.  I suppose at some point EVERY '50's, '60's and '70's band will be a "tribute band" ... it's inevitable ... but how else will this music survive if somebody isn't out there sharing it with the people?  We cannot let this music fade away ... we just can't.  (kk)

Yes, but who will be your date to the faux Little River Band show?

I agree with you ... up to a point.  If a band bills itself as a cover group, I have no problem with that.  If they are like The Grass Roots or Little River Band, passing themselves off as at least the majority of the real deal, then nope.  (And don't even get me started on Ambrosia!)

Mrs. K.

Here are my thoughts on all of that ...

Paul Revere asked his Raiders to carry on without him ... to keep this music out there.  There is no higher tribute than that, coming from the man himself ... and, so as not to mislead anybody, they now call themselves "Paul Revere's Raiders" ... not much unlike, I guess, Glenn Miller's Orchestra.  There is no implication that Paul or Glenn are gonna be there ... everybody knows they're deceased ... but again their music lives on through these new performances ... and I think people as a rule are happy with that and find it acceptable.

My understanding is that it was a similar situation with The Grass Roots ... Rob Grill asked the remaining members to carry on and his widow both embraces and endorses their continued performances.  (Now in the case of Rob, I think part of this may have also been as a means to financially take care of his family once he was gone ... and had left them with enormous medical bills.)

I went thru a period where I didn't feel they should, in good conscious, call themselves The Grass Roots ... but the fact that Rob Grill's family can accept it (and encourage it) allows me to do so as well.  (Besides, they do a GREAT job of performing these hits ... and pay the utmost respect to their music.)

The Little River Band is more of a gray area for me because of the circumstances of how the use of the name was wrangled away from ALL of the original members and is now controlled by basically a management company.

However I will say this ... if only as an explanation as to why I'd like to see them again ...

The first time we went we were angry and bitter about the deception as to who these guys really were.  And, in the middle of the concert, we got a text from our daughter Paige, telling us that she had just been awarded the lead in "Cabaret" down at ISU ... an AMAZING feat in her freshman year in college and her very first audition ... so needless to say, we were distracted and excited for other reasons.  In fact, we left early so that we could congratulate her.

But what I DO remember about that concert is that those guys sounded pretty good ... they nailed the original sound of the band with good musicianship and excellent harmonies, the driving force OF The Little River Band.

So my reason for wanting to see them again is simply that ... setting everything else aside ... can we just sit back, listen and enjoy what they are presenting on stage?  My guess is that listening objectively we'll come away from it thinking "They're pretty damn good."  

Yes, the circumstances suck ... and I genuinely feel for the original guys, some of whom I have communicated with during our own tirades on this topic ... but if legally this is the way it is, we have no choice but to accept it.  We can choose not to go ... we can choose not to endorse it or give it any attention or credibility at all ... simply ignore its existence ... or we can go and listen objectively and see if we might just enjoy a night of good music that we love, presented in a respectful way.  (In which case I would you that you would still be my date!)

Perhaps the BEST example I can give as the final word on this subject is this ...

Without question one of the best concerts we have EVER seen together has got to be The Alan Parsons Project shows at The Arcada Theatre.  Each and every one has completely blown us away ... yet, other than Alan, there is not one single original member up there with him creating this incredible show.

Now Alan's a genius ... he orchestrated his band's success throughout their hit-making career ... but he also hired a ton of guest vocalists to get the sound he wanted ... and changed players regularly.

Still, the group of musicians we have seen have put on nothing short of a stellar performance each and every time.  It's not because of Alan's singing ... he rarely if ever sang on record ... or his keyboard playing or his guitar playing, both of which are used to minimal effect in concert, more as "filler" than anything else.  It is instead his incredible ability to put together a sound that is almost dream-like in concert.  And we both know that we will go see him again each and every time he performs here.

And even Alan is respectful enough to acknowledge that these are not the original guys up there, especially since the death of his dear friend and lead vocalist Eric Woolfson, who passed away nine years ago.  As such, he refers to this new venture as "The Alan Parsons LIVE Project" ... for me, it's just an extension of what he's always done so well.  If we can accept this, then we have to cut some of these other groups some slack.  (And really, that's all I was sayin'!)  kk

 

Tuesday This And That

Found this great clip while working on our 1969 series ...

It comes from the short-lived television show "Music Scene," hosted by David Steinberg, with frequent appearances by Lily Tomlin and the comedy troupe, The Committee.

The program presented the top hits each week as determined by Billboard Magazine in countdown form ... and this one's a classic.  (Watch for more as we continue our Fifty Year Flashback Salute to 1969!)



Interestingly enough, this concept predates Casey Kasem's American Top 40 by about a year ... but you can go back to the early '50's and find programs like "Your Hit Parade" doing the exact same thing.  (We have ALWAYS loved countdowns!)

"Your Hit Parade" became a bit embarrassing when rock and roll started to make its way on to the pop charts ... here you had the most bland, middle-of-the-road singers trying to "cover" the latest hits of the day by the likes of Fats Domino, Little Richard and others.  (Of course Pat Boone built his early career doing the very same thing ... and very successfully, too!) 

Speaking of Pat Boone, Pat's wife of 65 years (they were married the year I was born!) passed away last week.  Pat and Shirley had been together since they were 16 years old ... and married at the age of 19.  Shirley was 84 when she passed.

Always a deeply religious man, Pat released a statement that said "We lived a wonderful, blessed life together for 65 years.  I've parted with my better half for a little while … but we don't die, we just move on to another place, and today was moving day.  She's changed her address is all and moved to a different mansion that I expect to join her in one day. I'm very confident of that.

Forgotten Hits campaigned extensively for Pat's induction into The Rock And Roll Hall Of Fame many years ago.  He was the "safety link" that brought rock and roll into the homes of Americans from coast to coast, bridging the gap between parents and teens by making the exciting new sounds of rhythm and blues acceptable to both (although truth be told, most of the kids were still listening to the original R&B Artists behind their bedroom doors!)  We are sorry for Pat's loss.  (kk)  

You may have featured this film from years past, but here’s a look at 1968 at the Big 89 with John Rook running things.  This film makes WLS sound like an MOR station to my ears … what do you think???

https://www.youtube.com/watch?v=_MbprXsdL6k

I couldn’t agree more … WLS didn’t sound ANYTHING like this in 1968-1969 … clearly developed for the advertisers and not the 18-49 demographic that was actually listening to the station.  (Honestly, I don’t think anybody OUR age would have been inclined to listen to the station based on this boring clip!)

There is absolutely nothing upbeat about it … and only spotlights morning man Clark Weber, where as Rook’s motive at the time seemed to be a more “youth oriented” line up like the additions of Chuck Buell and Kris Erik Stevens.  (Scroll back and look at our Sunday Survey post for further evidence of this.)  Art Roberts, of course, was a mainstay of Chicago radio … and Larry Lujack was posting numbers like nobody else was seeing at the time.  It almost seems like the whole premise was devised to lure in an older demographic advertising base … which makes very little sense to me if the key listeners wouldn’t be interested in buying the products these advertisers would have to offer.  The whole thing just seems completely off-kilter to me.  (kk)

Early reviews suggest Otherworld Cottage published another winner with Travis Pike's new memoir, "1964-1974: A Decade of Odd Tales and Wonders"

The first galley review for Pike's "1964-1974 A Decade of Odd Tales and Wonders" appeared online in the U.K. on Andy Pearson's "Fear and Loathing Fanzine," reporting that "[Pike] may not be the best known name from the Beat music era of the Sixties, but his tale is unique, intriguing and very well-told …" and concludes, "I wholeheartedly recommend this book to anyone with a real interest in Beat music and great stories!" Click on the link above to read a complete pdf reproduction of that review or visit fearandloathingfanzine.com.
Lenny Helsing posted a review of Pike's new book in the Winter 2018 issue of "Ugly Things" magazine, in which he submitted, "Travis' '60s story plays out with a superb run of home gigs by Travis Pike's Tea Party, before a move to California proved their undoing. The group's hopelessly obscure 45 "If I Didn't Love You Girl" would be rediscovered in the late 1980s through the "Sixties Rebellion" and "Tougher Than Stains" garage compilations, and is proving popular once more through the London mod scene … Odd Tales is a thorough exploration of Travis' world in the '60s, and beyond. It's a dramatic, fun and dynamic reflection detailed through narrative, poetry, rhyme and the many lyrics included."
In the February, 2019, issue of "Goldmine" Magazine, Lee Zimmerman's Four-Star review reports "[Pike's] name and reputation may still reside below the surface of general public awareness, but … he's created a veritable cottage industry consisting of numerous albums, books and other output reflecting his prodigious talents as a singer, songwriter and storyteller … It is, in every sense, a remarkable reservoir of craft and creativity."
In the book review section of U.K.'s "Shindig!" magazine's January, 2019, issue, Lenny Helsing submitted a Four-Star review stating, "If unfamiliar with the adventures of Travis Pike, now is your chance to read up on who, what and why … Pike's legend is solidified by some unbelievable YouTube footage where he and the Brattle Street East are playing their hearts out … in 1966 Boston, performing the insanely cool, "Watch Out Woman," and concluded "Hundreds of photos and other promotional images accompany the text, plus lyrics and a superb Harvey Kubernik interview which illuminates further Pike's ongoing journey. A Fascinating read."
And speaking of Harvey Kubernik, Glendale, California-based "Record Collector News" in its December – January issue featuring Kubernik's article on "The Beatles The White Album," also posted, in an Unsung Musicians section, his article titled, "Travis Pike: Renaissance Man," introducing Travis Pike and his new book, to that periodical's readers.
Kubernik, in his December 19, 2018 "Cave Hollywood" article on Travis Pike wrote, "I have worked with Travis Pike on my books chronicling The Beatles and The Doors, and he oversaw the layout and design of "Inside Cave Hollywood. The Harvey Kubernik Music InnerViews and InterViews Collection VOL 1," published by "Cave Hollywood." Now he's published "1964 – 1974: A Decade of Odd Tales and Wonders," a revised and much expanded memoir of the first ten years of his prodigious and prolific career in music. Having pulled together the Afterword to this new book, I can tell you it's a deeper exploration of that era, with many more visuals and artifacts - and I should know. I pulled together the Introduction to his 2013 memoir, "Odd Tales and Wonders: 1964-1974, A Decade of Performance" (no longer in print).
For Harvey Kubernik fans, on January 13, 2019 cavehollywood.com will proudly present Kubernik 's 10,000 word multi-voice narrative story on Johnny Cash. To stay up-to-date on Harvey's properties, visit Kubernik's Korner regularly.
Pike's "1964-1974: A Decade of Odd Tales and Wonders" is available in Trade Paperback, online and download versions on Amazon.com.

I had the pleasure to receive an advance copy of Travis Pike’s book and feel just awful that I wasn’t able to get a review posted in a more timely fashion.  (LOTS going on here at Forgotten Hits as you can see by our steady stream of posts and on-going look back at 1969 … throw in all the holiday activities between Thanksgiving, Christmas and New Year’s and I simply found it impossible to keep up.)

That being said, I have to agree that Travis has put together a very interesting recap of his life in the late ‘60’s and early ‘70’s, recapturing several of what I can only describe as “near brushes with fame” along the way … never quite making it to the point where his would be known as a household name … yet never really giving up on his dream and passion of making it in the music business.  (Thanks to his father, he also dabbled in film … and was even able to combine the two thanks to some soundtrack recording!)

It’s told from an interesting perspective that you don’t always see in rock biographies … he recounts numerous occasions and opportunities where he lived several “close but no cigar” moments … which keep the reader riveted to keep reading to see what other life experiences he had along the way.

I found it to be an enjoyable reading experience and thank Travis again for sending me an advance review copy.  Again I apologize for the delay in finally keep my end of the bargain!  Thank you, Travis.  (kk)

And, speaking of recent rock and roll memoir releases …

Hi Kent …

Hope you have a great year.

Heres a blurb you might want to put in your Forgotten Hits newsletter …

RICK LEVY, BOX TOPS manager and guitarist’s memoir HIGH IN THE MID 60s was Crossroad Press' best-selling title for December!

It’s a great read about life in the music business and finding and keeping ones

passion alive.

Rick has played with Herman’s Hermits, Tommy Roe, Jay and the Techniques and more.

https://www.broadwayworld.com/bwwmusic/article/Music-Industry-Veteran-Rick-Levy-To-Release-New-Memoir-20190107

You can get a personally signed copy for only $15.

Simply paypal Rick thru levy17@bellsouth.net (with your name and address), and he will  sign and send a book to you directly in the USA.  (Please add $25 for overseas shipping.)

THANKS!
RICK

I've known Rick for a long time now and envy the life he's been able to live.  

Here is another guy who has been able to live out his life-long dream of making music.  He has shared the stage with SO many great entertainers over the years and, as such, I have to admit that his book left me wanting more.  It just seemed like there were SO many more stories he could have told.

I like the fact that he stays true to his roots ... and still seems to savor his time spent with The Limits on an equal par with those spent entertaining HUGE audiences as the musical director for such artists as Herman's Hermits, Tommy Roe, The Box Tops and more.

I just felt a little cheated.  In some ways, the book almost feels as if it was written ten years ago.  The attention to detail seems to stop there ... where as the past ten years have GOT to be the most exciting years of Rick's life.  He has toured the world during this time and played to landmark audiences along the way.  I cannot help but hope that a sequel is forthcoming ... because those are the stories and experiences that will turn us wannabe rockers on our ear.  (kk) 

Ultimate Classic Rock (one of my favorite websites, by the way) ran a story last week exposing current Queen front man Adam Lambert's cameo in the Freddie Mercury biopic "Bohemian Rhapsody" ... but of course WE told you guys that three months ago!!!  It's a nice nod of recognition ... but truly a "blink and you'll miss it" moment where you'd never recognize him in the first place.  Still, a pretty cool gesture by Brian May and Roger Taylor.  (kk)

http://ultimateclassicrock.com/adam-lambert-bohemian-rhapsody-cameo/?utm_source=sailthru&utm_medium=referral&utm_campaign=newsletter_15675062

Hey, Kent ... 

I wanted to let you know about two new posts to my Pray For Surf website:  

My interview with the author of "Why The Beach Boys Matter": https://prayforsurfblog.blogspot.com/2019/01/interview-why-beach-boys-matter-with.html

And my Pray For Surf podcast with Mark Dillion ("Fifty Sides of the Beach Boys"): "The Beach Boys' Heroes & Villains (not the song), Part 2": https://prayforsurfblog.blogspot.com/2019/01/the-beach-boys-heroes-and-villains-part.html

Surf's Up!

Phil

 

And perhaps a solution to our latest "Helping Out Our Readers" song mystery (???)

 

>>>A friend has asked me about a song called Spiral, or Let's Do The Spiral. There's a few on You Tube called Spiral, but she says it's an early 60s tune.  (Jack)

The Elegants did a tune as a B-Side called "Spiral," replete with dance groove, so this is the one that comes immediately to my mind. It's the way-cool B-Side of their 1961 single on the United Artists label, "Happiness."  It is also on youtube.  Just move the playbar to 2:22 to get past "Happiness" then you will hear "Spiral". 

https://www.youtube.com/watch?v=Nx8IPr6rBQw  

As for the reader seeking the song about John, well, that one is more of a challenge.  I have a 45 in my collection by the Kiwis, from the summer of 1967 titled "John".  It sounds influenced by the Kinks "A Well Respected Man" lyrically but there is no line about wanting to change his name. It is also on youtube:  https://www.youtube.com/watch?v=3VFHFbqdqaA

Mike Markesich

 

The Elegants did a song called Spiral - think it was a dance - like The Twist.

David Cousins 

I think the Elegants tune is probably the one Jack is looking for ... Jack, can you please confirm?  I would love to chalk up another "mystery solved" to our collective belt.  (If you read the comments below this clip, one writer talks about meeting Vito Picone at a Doo-Wop concert, who then showed him the dance steps to "The Spiral"!!!)

I'm not quite as confident about the "John" song.  (kk)  

 

Kent,

Reader Thom said he didn't remember hearing In-A-Gadda-Da-Vida here in OKC on KOMA and or WKY. This is FYI: 

IGDV made its initial appearance on WKY's Star Survey for the week of September 12, 1968. It was on the survey for a total of seven weeks peaking at #5 for the week of October 3, 1968. Its last appearance was on the survey for the week of October 24, 1968. 

As for your 50 year flashback, I am with you if you decide to go into the 1970's maxing out at maybe 1972. 

Also, Jack asked you if you were aware of a song called SPIRAL. This is a new one on me. Would you believe the first thing that came to my mind was Rod McKuen's 1961 song OLIVER TWIST which was done on the Spiral Record label. Just the opposite.

Larry 

 

And a new challenge ...

 

I did a bit of digging on this one myself last night but couldn't come up with anything concrete.  Maybe some of our "insiders" can give us the scoop ... or know of a way we can contact Sandy Posey (???) kk 

 

Hi, Kent - 

Today's installment mentions Chips Moman and his Memphis Studio, which brings up a mystery I've been trying to solve for years.

Sandy Posey's big hits - Single Girl, Born a Woman, etc., feature a piano line that I would have bet my bottom buck was supplied by Floyd Cramer.  To me, the "slurring" of the notes provides that "country" sound reminiscent of Cramer, of whom I am a big fan.  

I've written to numerous folks who I felt might be able to tell me who the actual pianist is - but never got a definitive answer.  I can't locate the info on any of Posey's material.  Maybe one of your readers can supply that info.

Thanks much,

Mike Wolstein

 

More later in the week as time permits.  (Yes, I've fallen WAY behind again!!!)  So please check back often.

 

1969: ELVIS IS BACK

By 1969, Elvis was ready to reclaim his throne. 

The 1968 Comeback Television Special put him right back up on top ... fans wanted more and Elvis was ready to give it to them. 

After not touring for twelve years, the next stage of the comeback kicked into motion ... Elvis would return to the stage in Las Vegas, playing to sold out houses for the next several years as well as taking his act on the road again. (Truth is, Elvis had bombed in Vegas back in the mid-'50's ... but it was a different time ... and a different crowd ... back then. By 1969, the world was ready for Elvis again ... and he looked and sounded as good as ever.)

1968 gave him his first Top Ten Hit in over three years when "If I Can Dream," one of Elvis' most powerful readings, went to #9 in Cash Box Magazine. It was the grand finale of his Singer Television Special and showed Elvis at his strongest. 1969 would be even kinder.

Elvis knew that it was important that they keep this momentum going ... he had the world's ear again ... and his next batch of recordings HAD to continue to hold their attention. As such, it was decided that Elvis would return to his roots and start recording in Memphis again. The tracks recorded during these sessions would fill his next two albums ... and are considered to be among the best of his entire career. 

He would hit The Top 40 FIVE more times in 1969: "Memories" (also from his TV Special) peaked at #24, "In The Ghetto" topped The Cash Box Chart in the spring, "Clean Up Your Own Backyard" (from one of Elvis' last contractually-obligated movies) peaked at #25, "Suspicious Minds" returned The King to the top of the charts with what has gone on to become one of his most enduring hits (we must still hear it four or five times a day fifty years later!) and he ended the year with a two-sided hit climbing the charts, "Don't Cry Daddy" / "Rubberneckin'", which would peak at #6 in early 1970.

And the string didn't end there ... 1970 also saw "Kentucky Rain", "The Wonder Of You", "I've Lost You", "You Don't Have To Say You Love Me" and "I Really Don't Want To Know" all of which would keep Elvis on the radio and in The Top 40. In 1972, he'd have has last chart-topper when "Burning Love" went to #1 on The Cash Box Chart.

1969 was a KEY year in Elvis' comeback ... the triumphant return to Vegas ... and a major presence on the pop charts was all The King could ever have hoped for. He was fit and trim and in excellent voice. In 1973 he would film his "Aloha From Hawaii" television special looking and sounding as good as he ever did. Hard to believe that just four short years later he would be gone.

But Elvis is STILL big business today ... tours of Graceland, merchandise and re-releases of his material account for hundreds of millions of dollars of income each and every year. His music will live on forever, long after all of us are gone.

***

When Elvis decided to go back to Memphis to record his new material after the TV Special, it was with the full intent of becoming a vital force in the recording world again. 

Although he had hit Billboard's Pop Chart over 40 times between 1963 and 1968, only ONE of those records made The Top Ten after "Bossa Nova Baby" reached #8 in the Fall of '63 ... and THAT track ("Crying In The Chapel", #3, 1965) had actually been recorded back in 1960!!! 

Although Elvis released some pretty good material during this period (my personal favorites include "It Hurts Me," #29, 1964; "Such A Night," #16, 1964; "Ain't That Loving You Baby," #16, 1964 ... but also recorded back in 1958 and then resurrected for re-release; "Easy Question," #11, 1965; "Love Letters," #19, 1966; "Big Boss Man," #38, 1967 and "Guitar Man," #43, 1968), it was no longer music of the times. Between The British Invasion and the heavier sounds of the mid-to-late-'60's, Elvis' music was considered passe ... and recording all those lightweight movie soundtracks didn't help. (Of course, ONE of those movie hits, "Viva Las Vegas" has gone on to become one of Elvis' signature tunes ... but when it was first released as a single back in 1964, it only reached #29 ... in fact, the B-Side of that record ... Elvis' version of the Ray Charles tune "What'd I Say" ... performed better on the charts and became the official A-Side in the process!!!)

But he tore up the TV Screen when he did his Singer Television Special in 1968 ... the world saw a raw side of Elvis that they hadn't seen in a long, long time ... an image that did NOT come across in his films. As soon as his contractual obligation was over (his last film, "Change Of Habit", co-starred Mary Tyler Moore as a Nun, who fell in love with a heavy-side-burned Doctor Elvis!), Elvis knew it was time to get back to where he once belonged. (Beatles-pun intended!!!)

The Memphis Studio run by Chips Moman had put together an incredible string of hits in the mid-to-late '60's and they felt that they could work their magic with Elvis, too, if he'd be open to the idea. For perhaps the first time in his career, Elvis put his foot down with regards to The Colonel and recorded HIS kind of music on HIS terms. For the first time, he pushed the envelope ... by recording a song like "In The Ghetto," Elvis was traveling down a road he hadn't traveled on before ... a "Message Song" ... and it caused a fair amount of dissension among his crew of advisors and hangers-on. At least three or four times, Elvis was talked in and out of recording the song, a ground-breaking hit for songwriter Mac Davis. In fact, at one point Moman decided to cut the tune with football great Roosevelt Grier instead, thinking that it might hold more impact coming from a black entertainer. In theory, it COULD have been Grier's break-through hit. Finally, after much deliberation, Elvis insisted that he would cut the record himself and, in the process, he scored his first #1 Record in seven years.

Also recorded at that session was "Kentucky Rain," a song that wouldn't be released as a single until early 1970. It peaked at #10 and gave Eddie Rabbitt a kick-start in his own musical career.

But the song that REALLY made the difference was "Suspicious Minds".

Incredibly, the song had just been released a few months earlier by its songwriter, Mark James, and made absolutely NO impact on the charts. In that Chips Moman had produced that record, too, he already had a pretty good idea as to what he wanted to do with Elvis' version. Actually, the arrangement remained pretty faithful to the original ... but there was magic in the studio that night and, after just four takes, EVERYONE present knew that they had just cut a #1 Record.  Elvis was back, baby!  (kk)

YA GOTTA WONDER: Chips Moman and his staff of cracker-jack studio musicians had put together quite an impressive string of hits over the years prior to Elvis deciding to record at American Studios in Memphis ... nearly a hundred in all, from the early hits of The Box Tops on through recent recordings by Aretha Franklin and Dusty Springfield (who cut her legendary "Dusty In Memphis" album there, ALSO released in 1969) ... so when Elvis decided that HE wanted to record at Chip's studio, it forced Moman to cancel or re-schedule a number of other previously booked engagements ... including one with Neil Diamond. Is it just a coincidence that one of the tracks Elvis recorded during these sessions was Diamond's "And The Grass Won't Pay No Mind"??? Or was this "part of the deal" to get Neil to reschedule his sessions? Or maybe it was just Elvis' way of saying "Thanks."

(According to Ernst Jorgensen, who documented ALL of Elvis' recording sessions in his EXCELLENT book "Elvis Presley: A Life In Music - The Complete Recording Sessions" this was, indeed, a deal struck between Diamond and Moman ... the unknown factor is whether or not Elvis knew anything about it!)

It is also a little bit surprising to hear that, despite the tremendous results of Elvis' sessions here, he never returned to record at American Studios again. (After four National Top Ten Hits ... "In The Ghetto," "Suspicious Minds," "Don't Cry Daddy" and "Kentucky Rain" ... TWO of which went all the way to #1 and completely rejuvenated his recording career ... you don't go back to the studio and producer who did all of this for you??? That seems just a little bit odd, doesn't it???)

The truth is, this may have had more to do with some of the politics and arguments going on behind the scenes than anything to do with a lack of respect for the success of the music. When Moman refused to give up any share of the publishing for the songs he brought to the sessions ("Suspicious Minds" in particular) ... a common practice for pretty much everything that Elvis recorded, giving Elvis and The Colonel a piece of the action ... it pretty much killed any chances of these two working together again. 

Reportedly during one heated exchange, Chips told them to take a flying leap ... and threatened to block the release of any of this new material, telling The Colonel that he could just chalk it all up to being just one VERY expensive demo session. Bottom line was Moman was holding his ground and was NOT giving up ANYTHING in the way of publishing. After the dust finally settled, he reportedly told The Colonel, "Don't EVER come back to this studio again"... and after that exchange, they didn't! 

ELVIS 1969:









And, just for fun, both the Elvis and the Mark James versions of "Suspicious Minds" ...

January 13th, 1969

Tommy James takes over the top spot with "Crimson And Clover," a track that WLS secretly recorded when Tommy visited the station several weeks before.  (Tommy heard them playing it on his way to the airport, shortly after he left the station ... and was none to happy about it!!!)

Tommy James  always did very well on the WLS Chart ... and this one will stay at #1 for three weeks.  (He had previously topped the WLS Silver Dollar Survey with his hits "Hanky Panky," "I Think We're Alone Now," "Mirage" and "Mony Mony" ... and will reach #1 again later this year with "Crystal Blue Persuasion.")

Interesting to see a couple of '50's artists making their way up the chart this week as Elvis Presley's latest, "If I Can Dream," climbs from #19 to #14, and Paul Anka's remake of "Goodnight, My Love," sits at #18, a jump of eight places from #26 the week before.

Also note the push for a young audience by way of younger DJ's with the plug for frequent Forgotten Hits Contributor Chuck Buell's program.  (You'll find this campaign particularly interesting when you read our Tuesday This And That page next week!)

Also happening this week in '69:  

January 7^th – Scaffold, a British Music and Comedy Group that included Paul McCartney’s younger brother Michael (using the stage name Mike McGear) hit the #1 Spot on the British Pop Singles Chart with the novelty tune “Lily The Pink.”  The track includes background vocals by Elton John and Graham Nash and Jack Bruce of Cream playing bass.

January 8th - Elvis turns 34

January 10^th – George Harrison walks out of a recording session for what would later become The Beatles' “Let It Be” album and film, announcing that he is quitting the band immediately.  (George was frustrated that so much time was being spent on Lennon and McCartney tunes with little consideration being given for the music that he was writing … and the fact that Paul was becoming especially domineering in the studio.)  Some of George’s musical backlog would wind up on next year’s solo release, “All Things Must Pass” … the first album by a solo Beatle to hit #1 on the US Albums Chart. (When Harrison left, John Lennon reportedly quipped “Well, we could get Eric Clapton” … a reference to George’s friend who helped out on The Beatles’ White Album by playing guitar on George’s track “While My Guitar Gently Weeps.”  Ironically, Lennon WOULD take Clapton with him when he played with The Plastic Ono Band at Toronto’s Peace Festival later that year.) 

January 12^th – The first Led Zeppelin album (titled simply “Led Zeppelin”) is released in the United States.  The band had recently changed their name from The New Yardbirds to Led Zeppelin after Keith Moon of The Who said that their heavy metal, progressive rock sound would go over like a lead zeppelin.  (Keith was wrong … Led Zeppelin would dominate the charts for most of the ‘70’s.)

Also on this date … The New York Jets beat The Baltimore Colts in Super Bowl III  (By the way, Anita Bryant sang The Star Spangled Banner for this event!)   

Later tonight, The Chambers Brothers perform a medley of "I Can't Turn You Loose," "People Get Ready" and "Time Has Come Today" on The Ed Sullivan Show.   

January 13^th – Elvis Presley begins recording what will become known as “The Memphis Sessions” at American Studios, under the watchful eye of Chips Moman, a move that will help to turn his career around.  The albums “From Elvis To Memphis” and “Back In Memphis” will come from these sessions. Hot on the heels of his comeback television special in December, and looking at his career with a newly minted fierce determination, Presley in poised for his return to the pop charts and the Las Vegas stage.  These sessions will produce two #1 Singles, “In The Ghetto” and “Suspicious Mind” along with the Top Ten Hit “Kentucky Rain.”  (This is the first time Elvis has recorded in Memphis since he left Sun Records back in 1956.)  This new era will also mark the end of Elvis' cheesy movies ...  by all accounts, The King Is Back!

WATCH FOR OUR SPECIAL ELVIS FEATURE TOMORROW IN FORGOTTEN HITS!