From Our Collection

In celebration of our tenth anniversary, Colorado Music Hall of Fame has launched, From Our Collection, a monthly campaign showcasing a unique item from our museum collection.

Artifact: 1961 Hit Parade Listing – KIMN Radio

From the late 1950’s to the early 1980’s, KIMN was the dominant Top 40 music station in Denver. KIMN’s roots began in 1922 with the creation of station KFEL and continued until 1954 when the call letters became KIMN, the last three a designation for “Inter Mountain Network.

The KIMN song survey also began life in 1954 with a simple “Top 10” positions. At that time there were no “boss jocks”, “KIMN Countdowns” or the issuing of weekly “Nifty Top Fifty” survey sheets. The survey contents were based on Denver area record sales, listener requests, and plays on music coin machines.

KIMN’s methodology for selecting its weekly top hits quite often led to some rather obscure music being played. Their playlist also highlighted the popular local rock n’ roll bands of that era, such as the

Astronauts, Daniels, Fogcutters, Moonrakers, Soul Survivors, and others. The station had several nicknames including the Denver Tiger, Boss Radio, and 95 Fabulous KIMN.

In 1978, KIMN changed their format to more “adult contemporary” music. By the 1980’s, FM radio was moving the AM stations from the past aside. By 1987, the once proud and ferocious KIMN Tiger had fallen to a lowly 15th position in the Arbitron Ratings with only a 2.7 audience share. The dreaded day arrived on April 26th, 1988. At precisely 12 noon, KIMN 950 AM, the Denver Tiger, went silent. In its place, KYGO AM 950 “All Country” emerged.

The image is of an original KIMN Hit Parade list for the week of May 10, 1961. The list contains the top 50 songs being played on KIMN for that week. #1 on the list was Travelin’ Man / Hello, Mary Lou by Ricky Nelson. Some other well-known artists on the list that week include Elvis Presley, Connie Francis, Roy Orbison, the Shirelles, Neil Sedaka, Brenda Lee, and Pat Boone.

Some of the lesser-known artists that week were Johnny Dankworth, Ral Donner, the Roomates, Janie Grant, the Frogmen, the Paris Sisters, and B.Bumble & The Stingers.

The back page of the survey that is mentioned on the listing promotes the “POGO POGE TEEN DANCE” held every Saturday evening at Denver’s Mammoth Gardens, now known as the Fillmore.

joe-walsh

1972 The Village VOICE ad for Joe Walsh and Barnstorm

After leaving the James Gang and moving to Nederland, Colorado, Walsh formed Barnstorm in 1972. The band included Joe Vitale, a drummer and multi-instrumentalist from Ohio, and bassist Kenny Passarelli from southern Colorado. Their self-titled debut was the first album to come out of Jim Guercio’s new studio at Caribou Ranch. At Caribou, the recording studio was still not in full operation, which gave Walsh, Passarelli and Vitale the opportunity to create an entirely new sound that incorporated both the hard rock and creativity of all three.

With the release of “Rocky Mountain Way” in June of 1973, Joe Walsh and Barnstorm created one of Colorado’s most iconic tribute songs. In 1974, Barnstorm disbanded and Walsh continued as a solo artist. Even though the trio’s tenure was relatively short, their impact and originality propelled all three members’ careers to heights that rivaled the Colorado peaks where they recorded their music.

This original newspaper ad from New York’s The Village VOICE, dated October 5, 1972, is for a week of concerts by Joe Walsh (“… one of the finest guitarists in the world”) and Barnstorm at Paul Colby’s Bitter End in Greenwich Village. It describes Joe’s first solo album with Kenny Passarelli and Joe Vitale. According to Vitale’s book Backstage Pass, opening night at the Bitter End was “our first on the road show of our first tour”. The ad ends with a suggestion to buy the album for $3.77 because “it is totally enjoyable…”

Soundtrack LP “The Way West” by Serendipity Singers

2013 Hall of Fame inductee Serendipity Singers was a nine-member, folk-oriented group. From its origins on the Front Range, the act moved to New York City in hopes of landing a recording contract, and signed with Philips Records. After releasing six albums, a Hot 100 single and a single that made the Adult Contemporary Charts, the Serendipity Singers appeared on television shows ranging from Hollywood a Go-Go to The Dean Martin Show, The Tonight Show and Shindig!

CMHOF has several Serendipity Singers artifacts in its collection including: An original motion-picture soundtrack album for the United Artists film The Way West, released in 1967. The group is featured on three songs on the album, including the title track and the finale. The music for The Way West was considered the last classic Western movie score written until John Barry’s music for Dances with Wolves appeared two decades later. The title track from the album was released as a single but did not chart. The group released one more LP for United Artists in 1968, Love Is a State of Mind, which was the Serendipity Singers’ final album to feature original members of the group.

2016 Hall of Fame inductee Paul Whiteman’s Lobby Card

Paul Whiteman was born in Denver, Colorado, in 1890. He enlisted in the Navy during World War I, and his musical abilities resulted in the Navy putting him in charge of his own band. In 1920, he moved to New York, where his first recording sold more than two million copies, making Whiteman an instant star.

CMHOF has several Paul Whiteman artifacts in its collection, including an original Lobby Card from the MGM musical Strike Up the Band starring Mickey Rooney and Judy Garland, and featuring Paul Whiteman and His Orchestra. In the movie, Jimmy (Rooney) and girlfriend Mary (Garland) want to take part in Paul Whiteman’s high-school band contest, but they can’t afford the entry fee. By chance they meet Whiteman in person, who ends up lending them the money.

Lobby Card and Japanese 45 RPM record from The Astronauts

The Colorado Music Hall of Fame artifact collection includes a Lobby Card and Japanese 45 RPM record from The Astronauts, 2012 Hall of Fame inductee. The Lobby Card featured is from Great Britain and depicts The Astronauts in the 1964 movie Surf Party. It was created by a film studio and intended for display outside movie theaters in a special glass display box.

In 1964, The Astronaut’s record company discovered that the act had a growing fan base in Japan. A Japanese 45 RPM record was released in April 1964 with the songs “Movin’” (retitled “Over the Sun” and “Baby Let’s Play House.” It hit #1 in Japan, where the band enjoyed its greatest success, outselling the rival Beach Boys.

Elizabeth Spencer’s circa 1910 Postcard and Diamond Disc Record

After she signed an exclusive contract with inventor and businessman Thomas Edison’s company, Spencer’s “dramatic soprano” was heard on numerous studio recordings, participating in solos, duets, trios, quartets and choruses. Having made only phonograph cylinders, Edison decided to add a disc format to his product line in order to compete with such rivals as the thriving Victor Talking Machine Company. The majority of Spencer’s best work was on the Diamond Disc, which reproduced the quality of her singing with greater accuracy.

We have several Elizabeth Spencer artifacts in our collection, including a 1914 Diamond Disc recording of “Somewhere A Voice Is Calling” by Spencer and Vernon Archibald. The other side of the disc contains the song “A Perfect Day” by the Metropolitan Quartet. Diamond Discs were expensive––the record sleeve shows a price of $1.50, which is equivalent to about $39 today.

In addition to the Diamond Disc, we have an original postcard from the early 1910s advertising Spencer’s appearances at Churchill’s, which at the time was New York City’s elite restaurant located in Times Square. The three-story terracotta brick building could seat up to 1,200 diners and employed a staff of over 300. The musical entertainment was often provided by Maurice Levi and his Orchestra, with Spencer on vocals.

Oxygen Tank and Mark from Caribou Ranch

Recording artists came to the Caribou Ranch near Nederland not only for seclusion and scenery, but also for the unique sound that could be produced there. Sound engineer and physicist Tommy Dowd attributed this sound to the thin air at the Ranch’s altitude of 8,600 feet.

That altitude would have a negative effect on some artists, though, so Jim Guercio, Caribou Ranch owner, equipped the studio with an oxygen tank, the one featured in our collection. In July 1974, Elton John invited John Lennon to visit the Ranch for four days, as part of his eighteen-month “lost weekend” with May Pang. In a 2008 Rocky Mountain News article about the Ranch, May Pang shared this memory about the altitude:

“I was not prepared. I don’t think John was prepared. In the recording studio, I said, ‘John, what’s this?’ He said, ‘That’s an oxygen tank.’ I didn’t understand that the air was so crisp and thin that you might need it.”

According to Guercio, while the two were recording, John Lennon would desperately grab for the oxygen tank tube after each take.

Captain Fantastic Pinball Machine

Barry Fey’s Captain Fantastic Pinball Machine

This pinball machine was inspired by the 1975 movie Tommy, and includes a representation of Elton John, as his character in the movie, playing pinball. The name Captain Fantastic came from the title of Elton John’s 1975 autobiographical song and album, Captain Fantastic and the Brown Dirt Cowboy. The lyric “From the end of the world to your town” appears at the very top center of the backglass.

Barry Fey, one of rock music’s most prolific and successful promoters, wrote about how he and Bruce Springsteen played pinball on this machine in his 2011 book, Backstage Past:

“At last, they get to the party and everybody’s having a good time. Bruce and I are playing pinball and one of his sycophants is rooting him on, ‘Get him Boss! Get him Boss!’ I looked at him and said, ‘I beg your pardon. This is my house. I’m the f***in’ boss.’ I cleaned Springsteen’s clock, but it wasn’t really fair. I had home-field advantage because I played a lot on that machine; a ‘Captain Fantastic’ version given to me by Elton John.”