It was fun being guest music expert on Phoenix community radio 1480 KPHX about The Jersey Boys film focusing on the music history of Frankie Valli and The Four Seasons. I grew-up with family legends related to Frankie Valli and The Four Seasons.
“Breakthrough Entertainment” travels back in time to December 1963 in honor of the release of the new musical biopic “Jersey Boys” with actor Jason Kappus, who portrays Bob Gaudio in Las Vegas’s stage production of the show, and DJ Michael Swerdloff, AKA, DJ Mystical Michael, whose family members were friends with Frankie Valli and the Four Seasons. Other guests include “Ping Pong Summer” writer/director Michael Tully, “50 to 1” filmmakers Jim Wilson and Faith Conroy and Dean Martin tribute artist Drew Anthony while other films featured include “The Grand Seduction,” “The Fault in Our Stars” and “22 Jump Street.”
The most famous DJ ever, Casey Kasem, is about to finish this life. It is possible that today is his last day with us. For those who do not know who Casey Kasem is, I have included plenty of information and history below.
Before I get to his public history, I would like to speak briefly about my personal history with Casey Kasem. When I was a child growing up, there was nothing more fun than listening to Casey Chasm and the American top 40. There were two radio voices that I remember as a child, one of them being Casey Kasem and any other being Cousin Brucie. The former was national and the latter was local to the New Jersey and New York City area. I can remember many road trips down to the Jersey shore every summer listening to Casey Kasem as if he was part of our family. I have to admit, a significant part of my knowledge base of music history comes from listening to Casey Kasem. Along with his kind and gentle voice, him and his team took the time and effort to research and share with listeners about the songs and artists on the top of the charts each week. We did not have Internet then, so listening to good radio DJs and reading the liner notes on albums was our primary source of information about the music industry. Casey Kasem was a leader in bringing knowledge of the music industry directly to the American pop music audience.
Casey Kasem The Most Famous DJ EVER; Sadly in his Final Countdown
Here’s what Casey Kasem sounded like in healthier days back in the 1980’s
Casey Kasem The Most Famous DJ EVER
“Kemal Amin “Casey” Kasem (born April 27, 1932) is a retired Americanmusician, disc jockey, radio personality and actor, best known for being the host of the music radio programs American Top 40, American Top 20 and American Top 10 from 1970 until his retirement in 2009, and for providing the voice of Norville “Shaggy” Rogers in the Scooby-Doofranchise from 1969 to 1997, and again from 2002 until 2009.
Kasem, Don Bustany, Tom Rounds and Ron Jacobs founded the American Top 40 franchise in 1970, hosting it from 1970 to 1988 and from 1998 to 2004. Between January 1989 and early 1998, he was the host of Casey’s Top 40, Casey’s Hot 20, and Casey’s Countdown. Also beginning in 1998, Kasem hosted two adult contemporary spin-offs of American Top 40,American Top 20, and American Top 10. Kasem retired from AT20 and AT10 on July 4, 2009 and both shows ended on that day.
In addition to his radio shows, Kasem has provided the voice of many commercials; has done many voices for Sesame Street; provided the character voice of Peter Cottontail in the Rankin/Bass production of Here Comes Peter Cottontail; was the voice of NBC; helps out with the annual Jerry Lewis telethon; and provided the cartoon voices of Robin in Super Friends, Mark on Battle of the Planets, and a number of characters for the Transformers cartoon series of the 1980s. In 2008, he was the voice of Out of Sight Retro Night which aired on WGN America, but was replaced by rival Rick Dees. After 40 years, Kasem retired from his role of voicing Shaggy in 2009, although he did voice Shaggy’s father in the 2010 TV series, Scooby-Doo! Mystery Incorporated.” Wikipedia
As an adult I did not listen to Casey Kasem much. My music tastes changed as did the style of DJ on radio I appreciated. However, my respect and admiration for Casey Kasem never dissipated. Early in my career as a radio DJ, Casey Kasem was one of my role models. I am grateful for those rides to the Jersey shore listening to American top 40 with Casey Kasem.
DJ Mystical Michael – Rhode Island DJ and Boston DJ
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Iggy Azalea Tops Hot 100 With ‘Fancy,’ Matches Beatles’ Historic Mark by Gary Trust
“As the Australian rapper rises 2-1 with ‘Fancy’ and 3-2 as a guest on Ariana Grande‘s ‘Problem,’ Azalea joins the Beatles as the only artists to rank at Nos. 1 and 2 simultaneously with their first two Hot 100 hits
It’s a fab week for Iggy Azalea, who earns a chart honor not achieved since the Beatles swarmed the U.S. in early 1964. The Australian rapper crowns the Billboard Hot 100 with her debut hit “Fancy,” featuring Charli XCX (2-1). As Azalea also rises 3-2 as the featured artist on Ariana Grande’s “Problem,” Azalea joins the Beatles as the only acts to rank at Nos. 1 and 2 simultaneously with their first two Hot 100 hits.
Action abounds on this week’s Hot 100, including climbs into the top 10 for Nico & Vinz and Jason Derulo, while “Fancy” additionally takes over atop the Digital Songs chart, so let’s dive into our weekly look at the numbers behind the Hot 100’s top 10 and more.
Iggy Azalea, Charli XCX – Fancy (2014 Billboard Music Awards) Video
Iggy Azalea adds a chapter to the Hot 100’s record book by achieving a feat that the Beatles last earned on the Feb. 22, 1964, chart. That week, the Fab Four’s debut pop culture-changing smash “I Want to Hold Your Hand” held at No. 1 and “She Loves You” lifted 3-2. The songs had debuted the weeks of Jan. 18 and 25, 1964, respectively, and soared to the chart’s top two spots after the band made its landmark appearance on “The Ed Sullivan Show” on Feb. 9, 1964.
(Incredibly, “Hand” and “Loves” would hold the top two rungs for six weeks, with “Hand” on top for four frames before they swapped spots. On April 4, 1964, “Loves” fell 1-3 and “Hand,” 2-4, so, that week, the Beatles would have to settle for a consolation prize: the group locked up the April 4 list’s entire top five, the only time an act has monopolized the region in the Hot 100’s 55-year history.)
Flash-forward 50 years to March 22, 2014, when Iggy Azalea’s “Fancy” bowed at No. 88. On the May 17 tally, Iggy Azalea launched her second entry, as Grande’s “Problem” roared in at No. 3. (The same week, Iggy Azalea’s “Work” entered at No. 88; the cut climbs 77-63 this week.)
Iggy Azalea Work Video
Expanding beyond only artists’ first two Hot 100 hits placing up at Nos. 1 and 2 in the same week, Iggy Azalea is the 15th act to double up at those ranks with any two titles. Iggy Azalea’s the first since Pharrell Williams did so for five weeks last year as featured on Robin Thicke’s “Blurred Lines” (also featuring T.I.) and Daft Punk’s “Get Lucky.” She’s just the third woman to rank at Nos. 1 and 2 concurrently, following Mariah Carey (Sept. 10, 2005) and Ashanti (five weeks, 2002).
Iggy Azalea additionally becomes only the fourth solo female rapper ever to top the Hot 100. Lauryn Hill was the first, having taken her debut solo hit “Doo Wop (That Thing)” to No. 1 for two weeks in November 1998. (She had first made her mark with the Fugees.) In 2001, Lil’ Kim led for five weeks with Christina Aguilera, Mya and P!nk on “Lady Marmalade,” while Shawnna assisted Ludacris on “Stand Up,” which topped the Dec. 6, 2003, chart.
Notably, a pair of other prominent female rappers have yet to reach the Hot 100’s summit. Among her nine top 10s, Missy Elliott climbed to No. 2 twice: for 10 weeks in 2002 with “Work It” and for seven frames in 2005 as a guest on Ciara’s “1, 2 Step.” Nicki Minaj has also tallied nine top 10s, reaching No. 3 twice, both in 2011: as featured on Britney Spears’ “Till the World Ends” and with her own “Super Bass.” This week, Minaj debuts at No. 47 on the Hot 100 with her new single “Pills N Potions.”
(Honorable mention to Blondie, who, led by frontwoman Debbie Harry, is widely regarded as scoring the Hot 100’s first rap No. 1, “Rapture,” in 1981.)
Not to be lost in the celebration of Iggy Azalea’s new Hot 100 leader, Charli XCX likewise lands her first No. 1. In her sole prior visit, the U.K. pop singer/songwriter peaked at No. 7 a year ago this month as featured on Icona Pop’s “I Love It.”
Until this week, the last time that at least two solo women had teamed for a Hot 100 No. 1? Rihanna and Britney Spears sent “S&M” to the top of the April 30, 2011, chart. That title marked the first all-solo female No. 1 collab since “Lady Marmalade” nearly 10 years earlier. (The last pairing of only two solo women at the summit prior to “Fancy” and “S&M”? Brandy and Monica, who fought their way to No. 1 for 13 weeks in 1998 with “The Boy Is Mine.”)
(One other fun fact regarding the coronation of “Fancy”: the new Hot 100 is dated June 7, 2014. That makes for a perfect birthday present for the soon-to-be 24-year-old Azalea, who was born on June 7, 1990.)
How did “Fancy” fly to the Hot 100’s top spot? The song surges by sweeping the chart’s top Digital, Streaming and Airplay Gainer awards (for the second time in four weeks). It rises 2-1 on Digital Songs with a 44 percent gain to 336,000 downloads sold, according to Nielsen SoundScan. Aiding the song’s advance? Azalea and Charli XCX performed it on the Billboard Music Awards on May 18, the day before the latest sales tracking week began on May 19. “Fancy” spends a second week at No. 1 on Streaming Songs (14 million U.S. streams, up 66 percent, according to Nielsen BDS) and reaches the Radio Songs top five (7-5; 104 million, up 23 percent).
Ariana Grande, Iggy Azalea – Problem (Billboard Music Awards) Video
“Problem,” meanwhile, pushes 3-2 on the Hot 100, also with gains in each of the chart’s three metrics. It dips 1-2 on Digital Songs after spending its first three weeks at No. 1, but grows by 15 percent to 284,000. Grande likewise sang the song on the Billboard Music Awards (after Azalea performed “Fancy”; Azalea returned to the stage to join Grande for “Problem”). It slips 2-3 on Streaming Songs (10.4 million, up 39 percent) and bounds 16-10 on Radio Songs top 10 (73 million, up 30 percent), where it’s her first top 10 hit; her debut single, “The Way,” featuring Mac Miller, reached No. 12 on Radio Songs last year.
As she competes with herself (and Grande) at No. 2, Azalea handily lands the Hot 100’s top spot, as “Fancy” (up 46 percent) boasts 28 percent more overall chart points than “Problem” (up 25 percent).”
What a great accomplishment for the young artist Iggy Azalea. Regardless of what you think of her music, this is a unique experience and needs to be acknowledged.
DJ Mystical Michael Rhode Island DJ and Boston DJ
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20 hit songs meant for other singers is taken from an article in Billboard last year. It is interesting to look at some of the songs that pop stars chose to pass on that became hits for other artists.
Last week, Nicole Scherzinger revealed in an interview that she had the opportunity to record “We Found Love,” the Calvin Harris-produced dance smash that became the biggest hit of Rihanna’s thriving career, but let the chance slip through her fingers. “I passed on ‘We Found Love,'” Scherzinger admitted to Notion Magazine. “I’ve got the demo of that song and I was busy at the time.”
Surprisingly, this occurrence is not at all uncommon in the music world: the past half-century is littered with examples of iconic pop songs that were originally intended for someone else to perform. Imagine a world in which Britney Spears is singing “Umbrella,” Hillary Duff scored a monster hit with “Since U Been Gone” and Paris Hilton asked “Don’t Cha” instead of Scherzinger’s old group, the Pussycat Dolls. Strange to consider, isn’t it? But some of these missed opportunities were pretty close to becoming reality.
Check out these 20 instances of smash songs originally intended for other artists, and let us know which one is the most mind-blowing to consider in the comments section below.
“Telephone”
Turned Down By: Britney Spears
Recorded by: Lady Gaga
For those who love comparing Britney Spears and Lady Gaga, this one is a doozy: Gaga originally wrote “Telephone” to be included on Spears’ “Circus” album, but after the pop superstar rejected it, Gaga saved the track for later inclusion on her “Fame Monster” release. A demo of Spears singing the track supposedly leaked online in 2010, but we’re unlikely to ever hear Spears’ polished take on the song.
“Disturbia”
Turned Down By: Chris Brown
Recorded by: Rihanna
Months before the 2009 Grammy Awards, Chris Brown co-penned an electro-pop jam that was considered for the deluxe edition of his “Exclusive” album. Brown opted to record “Forever” instead, and gave “Disturbia” to his girlfriend Rihanna, who turned it into another No. 1 hit on the Hot 100. Brown could have easily turned Brian Kennedy’s propulsive beat into a radio hit of his own, but the track just sounds cleaner with Rihanna out in front.
“Friends in Low Places”
Previously Recorded By: Mark Chesnutt
Made Famous By: Garth Brooks
While Brooks claimed in the liner notes of “The Hits” that “Friends in Low Places” was originally held for him, Mark Chesnutt, who enjoyed a run of success in the early 90s, also recorded the song. His version appears on his 1990 debut “Too Cold at Home” — released only a month after Brooks’ “No Fences” — and was the B-side to his 1991 single “Broken Promise Land.”
“Rock Your Body”
Turned Down By: Michael Jackson
Recorded By: Justin Timberlake
Imagine, if you will, that Michael Jackson’s final album was comprised of Neptunes-produced bangers like “Rock Your Body” instead of the uneven fare of 1999’s “Invincible.” And imagine that Justin Timberlake’s solo debut was not blessed with tracks like this ubiquitous dance-starter. MJ passed on “Rock Your Body,” and a number of other “Justified” songs, before the tracks went to JT, sending us into an alternate pop universe that still resonates today.
“Since U Been Gone”
Turned Down By: Pink, Hillary Duff
Recorded By: Kelly Clarkson
Dr. Luke and Max Martin originally teamed up to give P!nk another hit, and when she reportedly turned it down, they reached out to Hillary Duff. But the story goes that Clive Davis convinced the producers to give the song to Clarkson, who fashioned it into the centerpiece of her “Breakaway” and helped it sell 2.6 million downloads, according to Nielsen SoundScan.
“N—as in Paris”
Turned Down By: Pusha T
Recorded By: Jay-Z & Kanye West
Hit-Boy’s bonkers beat on the “Watch The Throne” hit could have been the property of the former Clipse member, but even he doesn’t know if it would have turned out as irresistible as Jay and Ye made it. “I tell people all the time that I don’t know if I would’ve attacked it that way,” he said in a 2011 interview, “which means the record might not have been as special once I got on it.”
“Gold Digger”
Turned Down By: Shawnna
Recorded By: Kanye West
“Gold Digger” became one of Yeezy’s biggest hits to date, but would the Jamie Foxx-assisted “Late Registration” jam topped the Hot 100 if it had been recorded by Chicago rapstress Shawnna? After she passed on the beat, West rewrote the hook to accommodate a male perspective, and struck, er, gold.
“S.O.S.”
Turned Down By: Christina Milian
Recorded By: Rihanna
In a hits-packed career, “S.O.S.” still stands out for Rihanna: the infectious dance track spent three weeks atop the Hot 100, notching the Barbadian star her first number one single. Christina Milian, who infamously passed up the chance to record the track, certainly could have used the smash single — her last mainstream hit was “Dip It Low” in 2004, and she hasn’t released an album since 2006, the same year that “S.O.S.” reigned on the radio.
“Umbrella”
Turned Down By: Britney Spears
Recorded By: Rihanna
Back in 2007, a full-fledged Britney Spears comeback was far from assured, after a series of personal meltdowns prevented the pop superstar from once again reaching greatness. Legend has it that “Umbrella” writer/co-producer The-Dream offered the song to Brit as a way to engineer a return to the throne, but that her management nixed the track, which eventually went to Rihanna and became a No. 1 record. It’s not hard to imagine Spears’ voice on the track, but it’s impossible to think how a lack of “Umbrella” would have changed Rihanna’s career.
“Nothin’ On You”
Turned Down By: Lupe Fiasco
Recorded By: B.o.B.
Before B.o.B and Bruno Mars linked up to perform the song that would serve as a breakout to both, “Nothin’ On You” was originally offered to another Atlantic hip-hop artist, Lupe Fiasco. Apparently the label rejected Fiasco’s version of the track, which made the rapper reach a breaking point. “It was less about the bruised ego but more the audacity of it. It was mentally destructive,” he said in an interview after the song’s release.
“…Baby One More Time”
Turned Down By: TLC
Recorded By: Britney Spears
This is one denial that seemed to work out for all parties involved: Max Martin’s pop track was originally offered to TLC for their “Fan Mail” album, but the R&B group rejected the song, which eventually served as Spears’ debut single. Without “…Baby One More Time,” Spears perhaps does not arrive in such a huge way; meanwhile, TLC packed “FanMail” with hits like “No Scrubs” and “Unpretty,” and the album was eventually nominated for album of the year at the Grammy Awards.
“How Will I Know”
Turned Down By: Janet Jackson
Recorded By: Whitney Houston
Whitney Houston’s No. 1 hit on the Hot 100 stands as one of the artist’s most iconic tracks — but it could have sounded a lot different with Janet Jackson at the helm. Songwriters George Merrill and Shannon Rubicam reportedly approached Janet’s management team with a demo, but a swift decline forced them to look elsewhere. Thanks in large part to Clive Davis, Houston was given the track and turned it into a behemoth.
“Whataya Want From Me”
Turned Down By: P!nk
Recorded By: Adam Lambert
Adam Lambert’s biggest hit to date could have ended up on “Funhouse” by P!nk, who co-wrote the track with Max Martin and Shellback before delivering it to the “American Idol” runner-up. P!nk eventually recorded her own version of “Whataya Want From Me,” complete with the exact same arrangement, and placed it on her “Greatest Hits… So Far!!!” compilation in 2010 — but Lambert’s rafter-reaching vocals still score the victory in a side-by-side comparison.
“Toxic”
Turned Down By: Kylie Minogue
Recorded By: Britney Spears
Britney’s 2004 smash won the pop star her first Grammy and has sold 1.9 million downloads since its release according to Nielsen SoundScan, but the seductive song could have been a logical sequel to Kylie Minogue’s “Can’t Get You Out of My Head.” “I listened to a snippet of it in the record company offices and decided against it,” Minogue said in a 2008 interview. “It’s like the fish that got away. You just have to accept it.”
“Holiday”
Turned Down By: Mary Wilson
Recorded By: Madonna
The unstoppable “Holiday” was passed around to Phyllis Hyman and then to Supremes founding member Mary Wilson before it came to Madonna, who guided the track to a No. 16 peak on the Hot 100 and gave the upstart singer her first taste of the chart. How would the song have sounded with an R&B backbone? The world will never know.
“I’m A Slave 4 U”
Turned Down By: Janet Jackson
Recorded By: Britney Spears
The Neptunes’ slinky pop track was almost given a completely different context: instead of becoming the sexually charged lead single of her more adult “Britney” album, “I’m A Slave 4 U” almost ended up as a game-changing single for Janet Jackson, who passed on the opportunity to record the song. That’s right: if Janet opted to take on “Slave,” maybe Britney NEVER dances with a python on the VMAs stage!
“Thinkin Bout You”
First Recorded By: Frank Ocean
Famously Recorded By: Bridget Kelly
Ocean’s record of the year Grammy nominee was originally written for Roc Nation artist Bridget Kelly, but in 2011, Ocean leaked his own demo of the track on his Tumblr page. Fast-forward one year, and the vulnerable slow jam is featured on both Kelly’s “Every Girl” EP (under the title “Thinking About Forever”) and Ocean’s best-selling “Channel Orange” LP. Both versions are worth hearing, but Ocean’s personal cut still lingers with fans, years after that Tumblr post.
“Call Me”
Turned Down By: Stevie Nicks
Recorded By: Blondie
Disco producer Giorgio Moroder originally asked Fleetwood Mac’s lead songstress to help compose lyrics and deliver vocals for his latest dance confection, but when contractual issues prevented the collaboration from happening, Moroder turned to Debbie Harry, who co-wrote “Call Me.” Nicks scored a huge hit two years later with “Edge of Seventeen,” but could she have guided “Call Me” to its No. 1 spot on the Hot 100, as Blondie did?
“Don’t Cha”
Turned Down By: Paris Hilton
Recorded By: The Pussycat Dolls
The salacious single was originally offered to both the Sugababes and Paris Hilton before ending up with the Pussycat Dolls, who used the track as the lead single from their 2005 debut album “PCD.” Hilton’s 2006 debut LP “Paris” never scored a hit on the level of “Don’t Cha,” and could have used the track as an introduction to her short-lived sonic style.
“Let’s Get Loud”
Turned Down By: Gloria Estefan
Recorded By: Jennifer Lopez
“Let’s Get Loud” was originally written by Estefan and Kike Santander for the Latin-pop superstar to use for herself, but the song was eventually passed to Lopez, who turned it into one of the biggest hits from his 1999 debut “On the 6.” The song, which has sold 413,000 downloads according to Nielsen SoundScan, surely could have worked for Estefan as well, but helped catapult Lopez to a new level of fame.
The song I am the most curious about is Michael Jackson performing “Rock Your Body”, could have been interesting. Is there a song in particular of the 20 Hit Songs Meant For Other Singers that you would have liked to hear?
Rhode Island DJ and Boston DJ
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It is on this day in 1961 that the first girl group ever achieved a #1 single. The Shirelles reached the top of the HOT 100 with “Will You Love Me Tomorrow” written by Gerry Goffin and Carole King. Carole was eighteen when she co-wrote this hit single. The Shirelles were from Paterson, NJ and signed a record deal after being noticed performing at a talent show at their high school.
Surprisingly, The Spice Girls are the greatest selling pop band in the UK since The Beatles. Surprising in a different manner is the absence of The Dixie Chicks. I wonder if the fact that they are not a typical ‘girl group’ and are actual musicians and writers that they are omitted from the ‘girl group’ genre.
It is interesting to note, The Supremes due to the fact of when they were at the height of the success it took 29 albums to reach sixth place on the list where-as The Spice Girls only recorded three studio albums. Clearly if The Supremes were at the peak of the popularity today they would be far and away the best-selling girl group ever. This illustrates how much the music industry has changed in the last twenty-five years.
When I was living in South Korea, there were several very popular girl groups. Young ladies idolized them and considered them role models. The most famous at the time were The Wonder Girls. The rise in popularity outside of their native countries of J-Pop and K-Pop has introduced listeners worldwide to the various girl groups that head the charts in Japan and South Korea. As a side note, these stars are rarely found drunk, drugged, naked or breaking the law as young females celebrities are in The USA.
