"I was raised by a toothless, bearded hag". Jumpin' Jack Flash.

Someone on my Facebook feed posted a YouTube video of a band from Buffalo called The Road, performing the song Love-itis, which I didn't think was as good as the version by Toronto band Mandala. (I also preferred Mandala's version to the one by the J. Geils Band). However, in his FB post, the guy mentioned another version by the song's writer, Harvey Scales, and his band The 7 Sounds. I found the original on YouTube and, wow, Harvey's vocals are just incredible and this is now my favourite version.

 

The writer, who seems grammatically challenged at times, didn't comment on the funniest moment at the Hall of Fame induction. After Mike Love's rant, Dylan came up to accept his award and said "I'm glad Mike Love didn't mention me." 

Lorne wrote:

By the time of that Maple Leaf Gardens show, Eric Carmen had reached the Billboard top 40 four times as a solo artist from 1976 to 1977 along with four times with the Raspberries prior to that -- and this included reaching #2 with "All By Myself" and #5 with "Go All The Way". On the other hand, Billy Joel had only reached the top 40 twice, and this had been about three years before -- and despite how well-known "Piano Man" has become over the years, it only reached #25 when it came out. Over the course of the following year Joel would certainly become the bigger act, but in December 1977 I would think that Carmen would have been the headliner.

Could be, but  I guess the question remains was Carmen even at the Gardens on Dec. 1, 1977? I certainly would have gone  if that was the case. By all accounts Joel played the Gardens as part of his The Stranger tour on Dec. 1, but who knows who opened (or closed) the show. Joel and Carmen were to play another show in Philadelphia five days later but I read on one site where Carmen backed out and was replaced by Walter Murphy (!).
 

So that means there are zero original members on their Farewell Tour. I still can't figure out why people shell out big bucks to see what is essentially a tribute band. Hopefully, they'll get their well-deserved entry into the R&RHOF, and Jones and original singer Lou Gramm will be on hand for the ceremony..

This is really sad. I had the good fortune of seeing Melanie here in a Toronto club when she was touring behind an album called Arabesque in 1982. That record is really good, particularly her cover of the Troggs' "Anyway That You Want Me", and I recall enjoying every moment of the the show. R.I.P.

mroldies wrote:

Lorne wrote:

This composition is listed in The Library of Congress Catalog of Copyright Entries for January - June 1956 on p. 367, so that might provide some corroboration for this release being the first. 
https://www.google.ca/books/edition/Catalog_of_Copyright_Entries/ry0hAQAAIAAJ?hl=en&gbpv=1&dq=%22magnante%22+%22accordion+boogie%22&pg=PA367&printsec=frontcover

I found that "discogs.com" link too.
So when you additionally found that the entry in the "Catalog of Copyright Entries" gives the same year, it is confirmed.
Charles Magnante gramophone records are probably quite rare, that's why his recordings are not even on the Internet and we can't hear them.They are only written about.
 

There seem to be quite a few videos on YouTube that claim to be authentic Magnante recordings. There's even one live video form 1946.

 

Lorne wrote:

The caption should read "REPRISE RECORDS' NEW GROUP", not "REPRISE RECORD'S NEW GROUP". 

I missed that one, and the error I saw wasn't an error...it was another case of me reading the thing too quickly. I thought it said the DJ was second from right, rather than the second beard from the right.

Chad went on to form Brave Belt with Randy Bachman, and that band evolved into BTO after Chad left. Brave Belt had a terrific single in 1972 called "Dunrobin's Gone" (written and sang by Chad) which charted on CHUM in Toronto. I also remember hearing a previous single called "Rock And Roll Band", but I can't find it on any chart.

Burton Cummings and Randy Bachman were two key members of The Guess Who, as they co-wrote most of their hits and Cummings sang them all. Now the pair are suing the current version of the band that has only one original member, drummer Garry Peterson, alleging that they are duping the public with the replacement members. The problem is that former bassist Jim Kale owns the band name and has authorized its use. According to him, he could send a bunch of trained monkeys on the road under that name and while that's despicable, I think he just might win the court battle. Here's the link to the story in Rolling Stone, but if you're restricted from reading it, Burton has posted it on his Facebook page.       https://www.rollingstone.com/music/music-news/the-guess-who-founders-sue-band-false-advertising-trademark-1234863424/

I'm curious as to what this entails. Nash was a co-writer on three or four Hollies hits and he wrote a handful of hits for both C,S,N and C,S,N & Y, but exactly what is his "catalogue"? Seeing the names of Joe Cocker, Cher and Dean Martin suggests that their catalogue consists of songs with their vocals, and not necessarily song writing or publishing rights. But in Nash's case does this also include songs on which he sang harmony or played acoustic guitar? If that's the case C,S & Y would have some of the rights to the same catalogue so who decides who gets what?

He wrote some great tunes, and he'll be remembered at every Buffalo Bills game when they play Shout, which has been the Bills' touchdown song for as long as I can remember. I wonder if they'll pay some sort of tribute to him at Sunday night's game.

Thanks for that, I'll check out the album. I'm a big Steve Miller fan and I had the good fortune to meet him at a press gathering before his Toronto show in the fall of '77. I read that he was an avid flatfish angler so I bought him a flatfish lure and, being a bit of an artsy, I painted on it a replica of the mask from "The Joker' album cover. He liked it. I reviewed his show and titled the piece "The King Is Dead, Long Live The King".
https://ibb.co/XxPxkMn

Just a couple of points of clarification, the writer says "After CCR's contentious breakup in the early 1970s for financial reasons, Fogerty left behind bandmates Doug Clifford (drums), Stu Cook (bass guitar) and his own late brother, Tom (rhythm guitar),".
John didn't leave brother Tom behind, as he had already left the band before their final album "Mardi Gras". A little nit-picky maybe, but it could have been made clearer. Also, I hardly think the band broke up for financial reasons as they were doing quite well at the time. What really broke them up was the fact the bass player and drummer, who were mediocre songwriters and singers at best, fought Fogerty for equal time on "Mardi Gras". That's why that record was such a stinker and Fogerty decided to pack the band in. 
Finally, I'm not sure why Forbes is bragging about landing an interview with a performer who rarely grants same. I've talked to him a couple of times over the years so  he's not that inaccessible.

I read the Wikipedia entries for both Noble and The Horse and I have two queries. First, "The Horse" is an instrumental version of the 45's A-Side "Love Is All Right", so why didn't the B-Side have the same title? The A-Side is credited to Cliff Nobles, so why isn't the B-Side just credited to The Company since Cliff wasn't on the recording. One other observation, Cliff tried to cash in on the single's success by putting out another song called "Pony The Horse", but that one went directly to the glue factory. https://www.youtube.com/watch?v=zPafp_FUtSk