A big outdoor show called the British Invasion was held at Philadelphia's JFK Stadium. The concert featured The Troggs, Pink Floyd and The Who, among others.
The second act on the bill was Pink Floyd. They came on right after the opener whose name no one would remember at this point. As if on cue the skies started to light up when Pink Floyd took to the stage. While it was the perfect backdrop for the very spacy set that Pink Floyd mesmerized the crowd with, it soon turned into a major lightning and rain storm.
This is a copy of the US release of “Sweet Talkin’ Woman” that's different in many ways than the UK single release. The US release was on February 12, 1978. The UK release wasn’t until wasn’t until October 7, 1978. The US version had a different mix and was 10 seconds shorter than the UK version. The US version had a different flip side. In the UK the “B” side was “Bluebird is Dead” while in the US it was “Fire on High”. The US single didn’t reach the same level on the charts as the UK single.
While “Sweet Talkin’ Woman” was a hit (reaching 17 on the Billboard charts), in the long term “Fire on High” had more staying power. When fans call to request it they never know the name of the title. After we play it on the air, we often get calls from people who want to know the name of the song. Since “Fire on High” is an instrumental record, it is often very funny to listen to callers try and hum the song!
It was in 1961 during the so-called “Folk Revival” that Judy Collins first surfaced. That same era produced several artists like Tom Paxton, Dave Van Ronk, Joan Baez, Phil Ochs and Eric Andersen... and most notably Bob Dylan. Folk performers often never went beyond being folk heroes.
Although she is still associated with folk music, Judy Collins's biggest hits were more pop than folk. Her biggest hit was a song from a Broadway musical. Very few of her songs were written by her, but that beautiful Judy Collins soprano voice gave the songs a very unique quality. That talent earned her more than one Grammy Award over the years.
One of the hits for Judy is pictured above as part of our 45’s feature. “Chelsea Morning” was written by Joni Mitchell and it was the second time that Ms. Collins had a hit covering the member of the Rock and Roll Hall of Fame. In fact, Judy Collins had more success with Joni’s songs than Joni did.
Frequently in radio and television on air people “name drop” by saying they are good friends with artists that they hardly even know. There are very few people that are truly friends of mine in this business. You do spend some time with “stars” as they pass through, but that doesn’t make you friends.
One of the few exceptions for me is my relationship with the group Ten Years After. My exposure to this extremely exciting live band came during the school break during the summer of love 1967. I took advantage of the time off and spent it in London.
One of my first stops while there was the world famous Marquee Club in London. The club is well known as the launching pad for many rock groups including superstars like The Rolling Stars, The Who , Yes, Pink Floyd, etc. Among those who performed there that summer was Ten Years After. You couldn’t help but be blown away by their musical abilities. At that time Ten Years After didn’t have a record out to take back to the states to show people back home just how sensational they were.
Billy Joel’s single “Goodnight Saigon” was taken from his album called THE NYLON CURTAIN that was produced by the great Phil Ramone.
“Even Now” by Bob Seger and the Silver Bullet Band came from a huge album called THE DISTANCE.
Oddly, neither one of these singles were big hits.
“Goodnight Saigon” may have been too heavy in its lyrical content. It was the story of Marines bonding and just looking for a way to survive in Vietnam.
While Bob Seger’s album THE DISTANCE made it to number 5 on the Billboard charts, “Even Now” didn’t come close to becoming a hit single. One other oddity about THE DISTANCE is that it was the very last album that was also released in 8 track form. Bob insisted on it, thinking that some of his fans might still only have 8 track players.
With the sad news of the recent passing of Frank Zappa’s widow Gail, I thought this would be an appropriate time to display the “Valley Girl’s” single.
Gail Zappa, who was born in Philadelphia, was not only a staunch supporter and protector of Frank’s music, but also fought hard to protect the rights of all recording artists.
As the head of the Frank Zappa family trust, she gave permission to release some unearthed material by the legendary rocker, but she fought hard to stop people from using his music or name to promote concerts or other events.
Hope you enjoy looking at my collection of radio and music memorabilia. It spans many decades with radio stations from many cities, states and even a foreign country.
As you would expect, the collection includes the radio stations that I worked at, however, you might not believe that I have actually visited every single one of these stations that are in the collection.
Keep coming back as I will be adding more items as I uncover them from storage.
Over the years I have been fortunate to see hundreds of concerts. I was able to do this because those of us in the business get passes to almost all the shows.-or at least we used to. Things have tightened up over the years with the changes in the record and concert business.
Out of those many concerts I have tried to narrow it down to the top ten. It wasn’t easy. There were many great concerts that I left out. I also stayed away from the BIG concerts at places like the stadiums, where they were more like events than enjoyable shows.
In the mid to late 60’s and a little beyond, clubs started to spring up all over the Philadelphia area. There were The Main Point, The Trauma, The Bijou Café, The Theater of the Living Arts, The 2nd Fret. The Artist Hut, The 2nd of Autumn, The Magic Theater and The Focal Point.
Some had semi known nationally artists perform, but most were mainly for local talent that were springing up at that time. Bands like Elizabeth, Noah’s Ark, The Nazz, Thunder and Roses, The Mary Jane Company. The American Dream, Sweet Stavin’ Chain, Woody’s Truck Stop (at one time Todd Rundgren was the lead guitarist) ,Good News (featuring Kevin Bacon’s brother) ,High Treason and Edison Electric were able to build a local following and get record contracts in large part because of these clubs.
Some years ago I started writing a screenplay that I never did finish. Perhaps I should. The story took place in the future where CDs, DVDs and records were all a things of the past. All of the so-called music was done through computers and other devises. No longer did anyone go to concerts, they just looked at holograms in the comfort of their own homes. Music was no longer taught in the schools. There was no need since the computers did everything. You didn’t have to sing on key or tune your instruments, the computers did it all for you.
The hero of the story was a teenage boy who one day while going through some old stuff in the attic of his home discovered some things that his mother had stored there some time ago when her father died. What he found were a bunch of old CDs and DVDs that his grandfather had when he was a teenager that had rock music on them. This music had died some time ago and the boy was totally unfamiliar with it. It was real rock music played with real instruments and the boy feel I love with it. I will leave it there and maybe I will go back and finish the story.
That was the very question I asked when I was working for Arista Records and Clive Davis signed D.L. (David) Byron onto our label. The year was 1979 and I first heard D.L. at a staff meeting with Clive. In seconds I got why Clive signed him.
Where did he find him? Clive didn’t have to go far. David had moved up to New York City (Where Arista Records was based) from South Jersey in 1971 to get serious about his music career. At first he didn’t get any closer to a record deal than working in a record store. Eventually his songwriting got the attention of E H Morris who hired him as a staff writer. From there it was open mike nights and the word got around the city.
If I had to name only one person as the most interesting that I have met during my many years in the media, it would have to be Captain Beefheart. His unique talent and equally unique personality has attracted many writers to write books and articles about a musician who never had a hit record. Most of these writers had nothing but praise for the most advent garde of all rock musicians.
When I first met the artist turned rock musician then back to artist, he came to Philadelphia on one of his rare concert tours. In an interview with Frank Zappa I had already been told that Captain Beefheart was in Zappa’s words “the most fabulous man alive”. In the same interview he stated that “you have no idea what is going on in that man’s head”.
The first thing that got your attention when talking to Beefheart was his voice. What a fabulous voice he had. His voice had an unheard of range. It has been said that he was hard to record because his voice was so powerful that it blew out even the best of mikes.
Back in 1972 when I was programming the music at WIBG, an album came across my desk by a group that immediately caught my attention. It wasn’t their music that first got my attention. It was not only the name of the group, but the name of the album that peaked my interest prior to even hearing one note.
Who calls themselves Big Star when no one has ever heard of you? Not only that, but their LP was called NUMBER ONE RECORD. These guys were either really good and they knew it, or they were just kidding themselves or us.
As it turned out neither of these options were totally true. They actually named themselves after a huge store sign in their hometown of Memphis. The sign is on the album cover. I am sure they thought they were good, but a number one album they never were.