BITS AND PIECES - NEWS ABOUT YOUR FAVORITE ARTISTS By Michael McDowell

WHERE THE ACTION IS: His legacy began in 1956 as a session guitarist on the G-Clefs' Ka-Ding-Dong single. He ultimately went on to become one of rock and roll's absolute masters, with an enormous legacy that has few peers. Editor / Publisher Michael McDowell salutes the late, great FREDDY CANNON, who passed away on 17 July at age 89  (Click on above image to enlarge).

LET ME SHOW YOU WHERE IT''S AT:

REMEMBERING FREDDY CANNON

(1936 - 2026)

 "Stop! Wait a minute!!"

Those words were spoken to a pick up band on stage, in the middle of a club show some years ago. The band had been assembled at the last minute by area musicians to back a visiting rock and roll pioneer and visionary.

While the band itself was comprised of capable musicians, apparently some among their number were unfamiliar with the intricacies of the material at hand. As such, the rock and roll pioneer halted their performance in mid-number and put them through ad hoc rehearsal paces in order to render the material as intended.

The rock and roll pioneer in question was composer, vocalist, guitarist, producer, arranger and Revere, Massachusetts native, Frederick Anthony Picariello Junior, professionally known as Freddy Cannon. A relentless perfectionist on stage and in the studio, Cannon recorded a number of rock and roll's definitive masterpieces.

During his formative years in neighboring Lynn, Massachusetts, Cannon became an accomplished guitarist. Among his earliest triumphs was providing the lead guitar work on the G-Clefs' 1956 Pilgrim label signature single, Ka-Ding-Dong. 

Cannon made his own recording debut in March 1958 for the Hot label as one third of the vocal trio, the Spindrifts. Their Cha Cha Do / Belinda single was soon picked up for national distribution by ABC Paramount. Cannon also played guitar for those sessions.

Cannon soon after signed with the Swan label, where he recorded a most impressive array of singles. They include Tallahassee Lassie, Jump Over, Palisades Park, Way Down Yonder In New Orleans, Transistor Sister, Twistin' All Night Long (a summit meeting with Danny And The Juniors) and the utterly stupendous Buzz Buzz A Diddle It.

Upon signing with Warner Brothers in 1964, Cannon's hot streak continued unabated. His Warner Brothers debut, Abigail Beecher was followed in rapid succession by such first rate releases as Let Me Show You Where It's At, The Dedication Song, Run For The Sun, Maverick's Flat, a first rate cover of the Doors' 20th Century Fox and his career defining  anthem, Action. 

A switch to the We Make Rock And Roll Records label in 1968 resulted in a two-fisted rendition of Bill Haley And The Comets' Rock Around The Clock, as well as a like minded take on Frankie Ford's Sea Cruise. A series of one-off projects followed throughout the 1970s and into the 1980s, culminating with his extraordinary 1981 collaboration with the Belmonts on their monster classic Let's Put The Fun Back In Rock And Roll single. 

It was during that productive period that Blitz Magazine - The Rock And Roll Magazine For Thinking People first pubished an extensive interview with Freddy Cannon. That exchange led to a collaboration between Blitz Magazine and Cannon that resulted in the 14 Booming Hits anthology for Rhino Records in 1982. 

Cannon continued to record and tour prolifically well into the twenty-first century. In 2002, Blitz Magazine got together for lunch with him in the San Fernando Valley on several occasions. His intense charisma remained undiminished at that point, with members of the restaurant's staff repeatedly affording him the red carpet treatment upon his arrival.

By the 2020s, health concerns had forced Cannon to retire to his Tarzana, California home. He suffered a major setback in September 2024 with the passing of his beloved wife, Jeanette. And during the evening of the seventeenth of July 2026 came the tragic news that Freddy Cannon had in turn passed away, bringing to a conclusion one of the most extraordinary legacies in rock and roll history.

Freddy Cannon would have celebrated his ninetieth birthday in December. Memorial services are pending. 

TOO MUCH HEARTSICK FEELING:

REMEMBERING THE TURTLES'

MARK VOLMAN

(1947 - 2025)

"Twelve bucks for the Crossfires? I wouldn't give you twelve cents for it!"

The scene was the monthly record swap meet in Hollywood, California in late 1980. Blitz Magazine - The Rock And Roll Magazine For Thinking People was on hand as an exhibitor, with recent issues of the magazine and a rich variety of 45s and albums available for sale.

Business was brisk that morning. So much so that several of the more collectible items (of which the Crossfires' 1964 One Potato Two Potato / That'll Be The Day single on the Lucky Token label was one) that had been on display at Blitz Magazine's exhibit had sold in short order. 

As such, Editor / Publisher Michael McDowell reached underneath the exhibit table to retrieve a few items from stock to replace the ones that had been sold. Concurrently, two of the convention's attendees stopped at Blitz Magazine's exhibit to say hello and to peruse inventory. It was at that point that one of them made the above observation about the Crossfires single. Editor / Publisher McDowell looked up to find none other than Crossfires cofounders Mark Volman and Howard Kaylan greeting him with big grins. Each was also carrying large bags full of 45 and LP acquisitions from other vendors. 

Volman and Kaylan were both avid record collectors. Over the course of the next half hour, they were eager to share their wealth of knowledge about some of the morning's acquisitions, as well as a few of the highlights of their time as the Crossfires. 

By 1965, the Crossfires had changed their name to the Turtles. They made their debut for the White Whale label that summer with their sublime (and definitive) rendition of the Bob Dylan-penned It Ain't Me Babe, and as a result were catapaulted to center stage in short order. That October, as their follow up single, Let Me Be was garnering similar accolades, the Turtles released their debut White Whale album, It Ain't Me Babe. 

To say that the album exceeded expectations would be gross understatement. Augmented by an ambitious and spirited cover of Kenny Dino's Your Maw Said You Cried in deference to their roots, the It Ain't Me Babe album boasted an extraordinary level of creativity and assertiveness via such hard hitting material as Let The Cold Winds Blow, Wanderin' Kind, Last Laugh, A Walk In The Sun and a thought provoking interpretation of the Kingston Trio's It Was A Very Good Year (also recorded by Lonnie Donegan, Chad And Jeremy and the Modern Folk Quartet) that preceeded the high drama Frank Sinatra rendition by several weeks. The It Ain't Me Babe album remains one of the folk rock hybrid's definitive masterpieces.

For the Los Angeles native born Mark Randall Volman, that change in direction from the Crossfires to the Turtles necessitated a bit of revision of his personal musical mission statement. A mutli-instrumentalist whose gifts in that respect were well suited to the garage and surf rock leanings of the Crossfires, the transition to the Turtles found Volman increasingly directing his attention towards developing and perfecting the band's impeccable gifts for vocal harmony. 

To be certain, that vision remained a work in progress throughout the band's second album. You Baby / Let Me Be largely expanded upon the direction of the first album via such memorable tracks as Down In Suburbia and Pall Bearing Ball Bearing World. 

But as 1966 continued, the singles Outside Chance and Grim Reaper Of Love found Volman's gift for rich vocal harmony bearing fruit in abundance. The release of their signature single, the monster classic Happy Together in early 1967 forever cemented their legacy in that respect. 

The resultant Happy Together album and its ambitious mix of the introspective (Like The Seasons) and the visionary (Rugs Of Woods And Flowers) helped sustain the momentum as the band found itself in transition. During that season, bassist Chip Douglas was recruited by the Monkees to produce their landmark Headquarters album. Drummer Don Murray eventually found himself replacing Ron Wilson in that capacity in the Surfaris. And Leaves co-founder Jim Pons came on board to reinforce the band's unwavering commitment to musical diversity. 

Through it all, Volman's vocal gifts, quick wit and commanding stage presence helped catapault the Turtles to an even higher level with a rapid fire series of tracks that (in some cases) defy categorization. They include She's My Girl, Sound Asleep, Can't You Hear The Cows, Umbassa The Dragon and The Story Of Rock And Roll. The Turtles arguably reached their finest moment in that respect in late 1968 with the country rocker, Too Much Heartsick Feeling. Volman's counterpart harmonies therein are nothing short of absolute, utter perfection.

At that Hollywood record convention in 1980, Volman mentioned that the one Turtles release that he (for whatever reason) did not have in his archives was their 1969 Turtle Soup album. Blitz Magazine presented him with a gift copy of the album that morning. 

By the early 1970s, the Turtles had gone on hiatus for a season. Volman and Kaylan took on the stage names the Fluorescent Leech And Eddie (later abridged to Flo And Eddie) and joined forces with the Mothers Of Invention at group front man Frank Zappa's behest. Volman and Kaylan were prominently featured on the group's Just Another Band From L.A. album, appeared in Zappa's motion picture 200 Motels and persevered for a season as Flo And Eddie for Columbia. 

Interest in the Turtles remained strong for the remainder of the twentieth century. Rhino Records undertook a long term reissue process with them that in part saw the release of many heretofore unavailable Crossfires and Turtles tracks. In turn, Bob Irwin's Sundazed label kept the band's White Whale albums in print (initially in the CD configuration) with a generous helping of bonus tracks. 

In the 1990s, Volman returned to the world of academia. He graduated as class valedictorian from Loyola Marymount University and pursued a graduate degree there in 1999. He eventually became a Professor at Los Angeles Valley College and Nashville's Belmont University, teaching a wide variety of subjects from the music business to theology. 

Concurrently, Volman pursued his love for music well into the twenty-first century. He and Kaylan headlined for years as the Turtles in the annual Happy Together tours. After ill health forced Kaylan's retirement in 2018, Volman persevered as the Turtles with legendary Detergents, Archies and Cuff Links co-founder and front man, Carmine "Ron Dante" Granito. 

Sadly, Volman was diagnosed in 2023 with Lewy's Body Dementia. Nonetheless, he bravely forged ahead, performing with Dante in the Happy Together tour one last time in the spring and summer of 2025.

Tragically, Volman's courageous fight came to an end on the morning of 05 September, as he succumed to complications from the disease. Tributes poured in immediately from many of his esteemed musical colleagues.

"I'll always remember his humor, kindness and that incredible voice that helped give us so many timely songs with the Turtles", said Monkees drummer Micky Dolenz.

"We had a lot of great times over the years".

Blues Magoos guitarist Peppy Castro concurred.

"The Magoos and the Turtles were constantly thrown together", he said.

"We were on the same bills. It spawned a lifetime friendship. They inspired the Blues Magoos' version of Tobacco Road".

Mark Volman's survivors include his daughters Sarina Marie and Hallie Rae, as well as his former wife, Emily. Volman was 78.

DAVE EDMUNDS

SUFFERS

CARDIAC ARREST

On the morning of 29 July, beloved rock and roll giant Dave Edmunds suffered major cardiac arrest at home. According to his wife Cici, a nurse edministered CPR to the 81 year old Edmunds, although he passed away in the arms of his wife.

However, Edmunds was transported to a nearby medical facility, where he was intubated and miraculously revived. Nonetheless, the medical staff has advised that there may be brain damage and memory loss. It was also said that Edmunds would not survive another cardiac incident.

Dave Edmunds' 1977 Get It! album for the Swan Song label was Blitz Magazine - The Rock And Roll Magazine For Thinking People's decisive pick for Best Album of the Decade of the 1970s. He is widely admired as one of rock and roll's absolute masters. 

Cici Edmunds has stated that she welcomes prayer and words of encouragement for both herself and her husband of forty years. Blitz Magazine - The Rock And Roll Magazine For Thinking People will report any further developments.

COMO UN ADIOS:

REMEMBERING

LOS PAYOS'

JOSE' MORENO HURTADO

(1944 - 2025)

By decade's end, the rich diversity that had characterized the musical landscape of the 1960s had begun a slow but steady decline into what visionary composer Michael Nesmith would soon astutely refer to as the Grand Ennui. 

Thankfully, there was still much to be found in the way of groundbreaking musical work in 1969. Artists as diverse as Johnny Cash, the Archies, the MC5, Steve Lawrence And Eydie Gorme, Funkadelic, Harry Nilsson and the Friends Of Distinction all turned in career highlights that year. 

However, one unlikely and unique single by a highly ambitious trio from Seville, Andalusia made such an impact during that year, that it ultimately drew high praise from Blitz Magazine - The Rock And Roll Magazine For Thinking People as part of a mutli-disc tie for Best Single of 1969. 

That single, Maria Isabel became an instant classic, as well as the signature single for the band, Los Payos. Comprised of Eduardo Rodriguez Rodway, Luis Javier Moreno Salguero and Jose' Moreno Hurtado (endearingly known as "Josele" to his bandmates), Los Payos brought a healthy and inspired dose of relentless optimsim into an increasingly despondent musical landscape with that single (their third for the Hispavox label). 

Therein, the three protagonists endeavored to gain the attention of the song's main character, only for her to dismiss them out of hand as they took it all in stride. That landmark moment was captured on a sublime black and white video in 1969. Renowned composer, guitarist and vocalist Jose Feliciano was inpsired by Maria Isabel to the degree that he recorded his own rendtion of it for his El Fantastico! album in 1970. 

Over the next several years, Los Payos added to their impeccable legacy with such first rate singles as Pequena Anita, Un Tipo Raro, Senor Doctor and Vuelve Junto A Mi before calling it a day in 1976. Meanwhile, Rodway had cofounded the highly influenial band, Triana in 1974, while Salguero concurrently made his mark in the like minded Alameda. 

In turn, Hurtado went on to enjoy a long and prolific career in comedy. Hurtado eventually worked for a season as a sports commentator on the radio program, El Pelotazo. He also became a record producer, primarily directing his attention towards up and coming artists. 

Towards the end of the twentieth century, Los Payos reunited to reprise Maria Isabel before a highly appreciative television audience. Sadly, that reunion proved to be short lived. 

Tragically, Hurtado had suffered from various health concerns in recent years. He succumbed to a lingering illness on 18 July.

"Rest in peace, dear colleague Josele", said Rodway.

"I will never forget (you) and the times lived, as well as the work we did together. My condolences to family and friends".

Memorial services for the beloved musical visionary were held at the Cemeterio de San Fernando in Seville on 20 July. Hurtado was 81.

EXPLOSIVE:

BABE CELEBRATES

CAREER SPANNING BOX SET

By Michael McDowell

As Bill Deal And The Rhondels once astutely observed, nothing succeeds like success. 

In principle, when the Netherlands vocal trio Babe first joined forces as a group in 1979, that success was predicated on a tried and true mission statement that had been successful on multiple occasions for such like minded vocal groups as the Pixies Three, the Shangri-Las and the Secrets. Basically, a behind the scenes group visionary would compose the material and produce the results, with the vocalists (who were generally at the virtuoso or near-virtuoso level out of necessity, in order to meet the stringent demands of the material) rose to the occasion accordingly for optimum results. 

In Babe's case, the behind the scenes visionary was Peter Koelewijn. The trio was initially comprised of Rita van Rooy, Monique Hagemeyer and Gemma van Eck.

Upon signing with Philips in 1979, Babe hit the ground running. One first rate single followed another, including Wonderboy, Please Me Please Do, (Never Listen To A) Bouzouki Player and The Drunken Sailor. 

Although Babe enjoyed considerable acclaim throughout much of Europe straight out of the gate, that acclaim came at a price. By 1980, Monique Hagemeyer opted to exit the group. She was succeeded by Margot van de Ven, who had already established a formidable recorded legacy as part of the Cees En Monique duo with Cees de Wit. Cees En Monique recorded nine superb singles for the Telstar and Killroy labels. 

Gemma van Eck followed suit in 1981 by opting to follow her long held dream of a solo career. In her place came the great Marga Bult, who had made her recording debut in 1970 with her otherworldly Twee Witte Duiven single as Marga for MCA. Two solo 45s for MCA followed, as did a brief stint with the band Tulip. 

And that is where Bill Deal And The Rhondels' maxim reached fruition.

Initially, Koelewijn's vision was to sustain and/or build upon the momentum generated by Babe's original line up. To that effect, he continued to supply the trio with sublime material that combined rich, inventive lyricism with lavishly scored melodies that rank among the best in all of music. 

But what Koelewijn and perhaps Babe themselves did not anticipate at the onset was just how well this revised mission statement would succeed on an aesthetic level. Rita van Rooy, Margot van de Ven and Marga Bult were arguably among the most accomplished vocalists in all of music. In turn, Bult's remarkable flair for the dramatic provided the icing on the cake.

The revised trio immediately clicked both personally and professionally, and went on to establish one of the most formidable recorded legacies of the twentieth century. One A+ original release followed another, including Indian Habits, (Don't You Ever) Shop Around, Boomerang, Explosive, Dolly The Doll, Shocking, Tommy Is A Winner, Hot Shot and Wanna Do (What Mama Said), along with superb covers of Cab Calloway's Minnie The Moocher and the Exciters' Tell Him, plus a stunning interpretation of John Newton's 1779 Gospel standard, Amazing Grace. 

By far, chief among those triumphs was their 1982 Carerre label single, Together In Love Again. Inspired by the best work of their like minded predecessors, Together In Love Again raiseed the bar to unprecedented heights and set the absolute standard of excellence within the genre. Together In Love Again was subsequently saluted by Blitz Magazine - The Rock And Roll Magazine For Thinking People as one of the best singles of the decade of the 1980s.

Despite those many accolades, Rita van Rooy, Margot van de Ven and Marga Bult decided to call it a career in 1986. A bit of renewed solo success followed for Bult as Marcha. She then went on to establish an equally formidable legacy in nursing and medical research. 

Most encouragingly, the van Rooy, van de Ven and Bult line up of Babe has remained close and continues to meet on a regular basis. The trio has done occasional live reunion appearances in the interim, but most disconcertingly has not yet returned to a recording studio.

However, a most promising recent development may well provide a bit of answered prayer in that respect. 

The CD-Licious label is widely regarded as being among the leading lights amongst companies specializing in the reissue of classic material, with first rate collections by Patricia Paay and the dream duo of Luv' co-founder Jose Hoebee and Unit Gloria alum Bonnie Saint Claire to their credit.

In May 2026, CD-Licious took the most welcome step of releasing the first comprehensive box set of Babe's formidable recorded legacy. The three disc Babe: The Complete Collection includes the beloved group's entire recorded legacy, along with heretofore unissued live tracks, rarities and an impressive rendition of the Four Seasons / Frank Sinatra standard, I've Got You Under My Skin.

"We like it very much", said Bult.

"There is finally this beautiful CD album box".

Multiple television appearances followed upon its release.

"We laughed a lot and we had so much to tell each other", said Bult.

"How nice is that?"

Margot van de Ven concurred.

"What a party again with my Babe girlfriends", she said.

"So much fun!"

Indeed, featuring as it does the all too rare attributes of fun, heart, technical perfection and the cerebral, Babe: The Complete Collection continues a standard of excellence that can (in terms of like minded vision and purpose) be traced as far back as the work of the original vocal supergroup, the Heidelberg Quintet in the early 1910s. A solid contender for Best Reissue / Anthology of the year.