By Michelle Charles - Summit FM Development Director

Our Member Spotlight this month shines on Youngstown listener (90.7 FM) Barry Carroll. Barry is part of the Gold Guitar Club and has been a member of the Summit FM since 2020. You also may have heard him on the airwaves because he is one of our Summit FM 330 Artists! 

Barry is originally from Boone County, KY but now resides in New Middletown with his wife Tonya. He has been a musician most of his life but started writing songs in his mid-fifties when he met Michael Estok at Court Street Recording. 

I asked Barry a few questions so we can learn a bit more about him. 

What was your first live concert? Bob Seger at Riverfront Coliseum in Cincinnati, OH 

What is an artist that you discovered on the Summit FM? Canfield, OH native JD Eicher 

What is your favorite band of all time? Led Zeppelin, because they made me lean toward the more mystical side of life 

What is your favorite movie?  Forrest Gump 

What book are you reading right now? Jayber Crow by Wendell Berry 

What is one thing most people don’t know about you? I took my first stab at songwriting while living in a state park in Topeka, KS but put it aside until my mid-fifties. 

By Dave Swanson - Summit FM Contributor

"Yes, I'm going to be a pop star. Oh mama, mama see me, mama, mama see me I'm a pop star" - Cat Stevens 1970 

Pop stardom, that fickle mistress of temptation for youngsters, and record companies, never subsides. It may mutate over time, take slightly different shapes and disguises, but pop stardom is usually a sudden downpour as opposed to a torrential rain. 

The idea of the 'pop star' sort of began with Frank Sinatra, as the 'bobbysoxers' of the day were all in a tizzy at the ace crooner who was too adult and talented to be fully cast in that role. Ever since then, from Elvis Presley to the Beatles and beyond, pop musicians and performers were often thrust into the role of 'pop star.' 

Once record companies and managers did their homework, they realized there was a lot of money to be made by having a reasonable facsimile in the spotlight, with musical ability being an afterthought. Bobby Rydell, Fabian and so on would 'fit the suit' of the era, with the Monkees being the ultimate conclusion as of 1966. Assembled to star in a television show, the Monkees were a product of outside sources, assembled to satisfy the constant Beatles craving among the youth. 

One thing the elders didn't count on was, the Monkees were real people with actual talent and ideas. Cutting any puppet strings early on, the TV band became a real band (another story for another time I’ll gladly tell ya about!) Musical supervisor of the TV show, Don Kirshner, vowed that would never happen again, and ultimately came up the Archies, a cartoon 'musical group' who, of course, couldn't talk back. 

The idea of the kid who fit the suit and became the pop star was used over and over again. In 1970, the advent of the Partridge Family thrust 20-year-old David Cassidy into the pop spotlight as lead singer of this fictitious band. Cassidy could certainly sing and though he had aspirations as a guitarist, he never shook the ship, playing the role he was cast in and selling millions of records along the way. It wouldn't be until post-Partridge time that he would pursue a more serious musical adventure, working with everyone from members of the Beach Boys, the Turtles and America to guitar hero Mick Ronson. 

Toward the end of the decade, David's half-brother, Shaun, was molded into the role of pop star. Riding high with the television series, 'Hardy Boys Mysteries,' he recorded a pair of albums for Warner Brothers Records, both of which, full of the most saccharine laced pop songs, hit the Top 10.The next two LP's did next to nothing and by 1980 Shaun was old news in the pop star world. It was then that he decided to try to salvage some kind of musical career by jumping in the deep end of the pool. 

Enter Todd Rundgren, producer extraordinaire, ace songwriter and musician to save the day. The idea was to move Shaun into the new era with new sounds to ride the 'new wave.' The first step was Todd enlisting his own band, Utopia, to be Shaun's backing band. The second idea was to pick the material. 

Select cover songs were chosen, David Bowie's Glam-era classic 'Rebel Rebel,' Ian Hunter's 'Once Bitten Twice Shy,' and one of the more interesting choices, David Byrne's 'The Book I Read,' which first appeared on the Talking Heads 1977 debut. The album's highlight may just be 'So Sad About Us' from the Mod-era of the Who (also covered by the Jam). Throughout, Utopia proves to be a wise choice as backing band.

Interestingly, this musical shapeshifting wasn't all that far of a reach. "I was 15 or 16 years old and hanging out with Iggy Pop and the New York Dolls.," Cassidy explained to Yahoo News in 2020. "I had no business being in any of those places at my age, and I lived to tell the tale, and I am grateful for that." See photographic proof courtesy of the book 'Please Kill Me - The Uncensored Oral History Of Punk' by Legs McNeil and Gillian McCain. 

"I'd been listening to rock n roll ever since I can remember; "Da Do Ron Ron" was the first single I ever bought," Cassidy told Trouser Press magazine upon the album's release. "I had enjoyed the album Todd did for Grand Funk, but I really wasn't familiar with what he had been doing with Utopia. Todd gave me a list of records to familiarize myself with, some of them great, some of them terrible, but all material he thought I should know." 

The bulk of the album was Rundgren originals including one of the album's best moments, 'Cool Fire,' co-written with Cassidy. Chalk it up to new technology in uncharted waters or merely adopting the kitchen sink approach, Rundren's knack for connecting with an artist in production style was off base here. Most of the album, save for a couple songs, is weighed down with gimmicky, overdone synth moves and a general sense of "new" which tended to work against the songs. 

"Overall, my attitude toward music has changed," Shaun continued. "I used to have to like the songs or the way the performer would sing. Now, I'm more interested in commitment." 

Ultimately, the album bombed, despite a handful of positive reviews, and effectively ended Cassidy's 'pop star' career. Looking back at this wild experiment some 43 years later it's clear this was a brave, yet failed, move by Cassidy to try to claim his own ground. Even though Todd's production choices were questionable, the blame lies in the changing times and the hangover created by most every 'pop star' during their time in the spotlight. 

By Chad Miller - Summit FM Music Director

What's everyone been listening to out there? So much new music coming at us, so little time! However, these songs that might fly under the radar to most are what I've been diggin' these past few weeks!

Like what you hear? Please email me at chad@thesummit.fm and let me know what you think!

By Dave Swanson - Summit FM Contributor

Roaming out of the great wide open that was the Drive By Truckers, Jason Isbell set his sights on a meaningful solo career right out of the gate. Sometimes with his band, the 400 Unit, sometimes without, Isbell has continued to grow as an artist, for many, setting the standards for the whole Americana movement. 

Taking cues from the history of folk and country as well as the ragged glories of Neil Young, Steve Earle, R. E.M. and others, Isbell covered a lot of ground on his previous eight albums and truly cements that approach on his new album 'Weathervanes,' this week's Summit Essential Album. 

Isbell has the ability to mine familiar terrain without succumbing to cliche, a common downfall of any genre, especially 'Americana.' He can make the new sound like an old friend and make the old friend seem like a new acquaintance, not a simple task. As is often the case with his writing, Isbell sings of the everyday trips and flips of life on 'Weathervanes.' 

One of the album's highlights, 'Save The World, ' faces the struggle of the fragility of life in 2023. Referencing mass shootings throughout, he points out how difficult it is for most of us, admitting we don't have all the answers and that we may fall apart at any given moment. Heavy stuff well stated. "Strawberry Woman,' Miles,' 'Vestavia Hills' and 'Volunteer' provide other highlights while 'This Ain't It' is begging for a long jam at the end. Maybe in concert! 

'Weathervanes' was just released two months ago and has already jumped up to No. 12 on the Billboard charts, and No. 1 on the Indie album chart. Jason has been busy as of late. In addition to the new album, he was the subject of a recent HBO documentary about his life and career, 'Jason Isbell: Running With Our Eyes Closed.' 

The man is all consumed by his craft. In the new documentary, he makes the observation, "Once you learn a song, your mind is not focused on creating, your mind is focused on recreating. You know, you can only create something once, and if the tapes not rolling, you're shit out of luck!" 

So, enjoy this 'Summit Essential!' Having a new release in this feature isn't all that common, but neither is this album! 

The four original Clarks members, Scott Blasey (vocals, acoustic guitar), Rob James (6 and 12-string electric guitars, vocals), Greg Joseph (bass, vocals), and David Minarik (drums, vocals) first met while students at Indiana University of Pennsylvania (IUP) in the late ‘80s. The Summit has been a strong supporter of The Clarks since their debut album in 1988. 

With a highlight reel that includes the Late Show with David Letterman, The Simpsons, and others, The Clarks are enjoying their time together as a band now more than ever.  “It’s one big extended family,” says guitarist Rob James.  “Dave’s son Noah plays on our albums, and with us live, so saying that isn’t just a metaphor, it’s fact!”  Singing and playing new songs from the band’s 2022 EPTracks and their 2018 full-length Madly In Love At The End Of The World has rekindled a fire in The Clarks’ sometimes broken, sometimes mended hearts. 

The Summit FM reminds you that the best way to support the musicians you love is by buying merch directly from the artist!

Visit https://clarksonline.com for more information.

Wellness can be achieved by virtue of completing a journey and maintain a lifestyle. But it can also be magnified by our ability to appreciate and be thankful for the things that we already have! Summit Wellness continues to hum the melody of connection between feeling good and feeling grateful!Gratitude is a monthly feature contributed by Matt Anthony, Digital Media Producer and on-air host for the Summit FM. Matt reflects on instances where we might uncover more ways to appreciate what’s in front of us, and how those instances might contribute to our overall health and well-being. 

By Matt Anthony - Summit FM Contributor

When will they construct a statue for Cameron Crowe?

In my formative music-appreciation years, I dove-tailed my prodigious vinyl-buying sprees (or at least being as financially irresponsible as one can be while working as a stock-boy at a supermarket) with a subscription to Rolling Stone. For nearly 3 decades, I was a dedicated member of the club. In my early years, I would race to my attic-lair with the latest edition, slam the door shut, pop Be-Bop Deluxe on the turntable, and devour the stories and the scoop behind the artists with whom I was having a love affair, as well as those who, because of lack of funds, probably wouldn’t make it into my cantaloupe crate.

Greil Marcus. Ben Fong-Torres. Charles M. Young. These were magical names, as lustrous and wide-reaching, at least for me, as Jimmy Page, or Ginger Baker, or Chris Squire. How in the heck could they string a series of dependent clauses together in such a way as to capture the raw essence of the latest Ian Hunter album with such elegance and honesty and grit?

I would also include the name of ‘Cameron Crowe’ in that litany.  His reviews and profiles were just as enthralling as any offered inside Jann Wenner’s creation. Those days in the late 70’s and early 80’s poring over his handiwork in my attic hideway or hidden inside my algebra notebook while in study hall at St. Thomas Aquinas were as important to me as any album. (and for that I’m eternally grateful.)

Cameron Crowe seemed to understand me. Me, the chubby, anxiety-filled kid who couldn’t hit the curveball but who could play air-guitar, note-for-note, to the first Boston, Dire Straits, or Sex Pistols album. And while I might not have always agreed with him or his opinions, I respected his penchant for revealing his version of the truth, in all its brutality. 

So, you can probably surmise that I’m also a fan of his work as a screenwriter and a director, hence the petition for posterity in bronze.

Fast Times at Ridgemont High. Say Anything. Singles. His ability to inject just the right amount of rock-sensibility into a storyline is something that has always resonated with me. It’s why Almost Famous will always (and, believe me, I’ve had numerous loud, late-night discussions about this choice!), at least for me, rank in my top-20 movies of all time, posing beautifully right next to The Godfather Part II, Goodfellas, Ordinary People, and The Sting.

Not too terribly far down in that list also sits Jerry Maguire. And while I wouldn’t place it next to Shawshank Redemption or The Usual Suspects or Das Boot or Star Wars, necessarily, I would, though, include a miraculous scene from this 1996 film. In it, Jerry has just landed Frank ‘Cush’ Cushman as a client, the soon-to-be number 1 quarterback pick in college football. Since striking out on his own, it’s, by far, the biggest conquest in his company’s young life.  

After leaving the Cushman property in his rental car, he scans the radio dial, looking for the appropriate compliment to go with the celebration. Because, really, aren’t we all just looking for the song that just…fits?

At that moment, The Stones weren’t cutting it. Juice Newton? Nope. Gram Parsons wasn’t quite right, either. And then, in a breathtaking moment of satori (or serendipity, take your pick), all the forces of perfection merged into a brilliant ball of total bliss.

Free Fallin’. Tom Petty.

Is there anything better than choosing, finding, or stumbling upon, maybe by accident, the consummate song for the moment? It’s as if all the forces of the universe nodded their head in perfect symmetry. And since there are no words to describe that elation, the only thing left to do is to scream the words of that song as loudly as you can.

I’ve felt that elation. And…I’ve felt that sense of loss.  Because sometimes that perfect song is also the perfect complement to something that may have gone awry. Something bad. Something precarious. Something devastating.

And that’s what makes us feel like Jerry Maguire. I’m grateful for having ‘the song’ there, with me, for the most celebratory of times. And for those times that are mired in despair, when nobody can understand the pain and angst that I’m experiencing…except the artist who created that song, or the artist who created that film.

So, thank you, Cameron Crowe. Thank you for reminding us to be grateful for the song. Because sometimes nothing else can sum it up better. 

By Dave Swanson - Summit FM Contributor

As we wander and stumble through 2023, one can't help but think back to 'simpler' times now and again. Those of, or over, a certain age will remember times free of irony, a plague of the 21st century. Things could stand or fall as they were, no hidden joke or subtext behind things.

When Tiny Tim burst into living rooms across America in the spring of 1968, via the popular Laugh-In show, people had no idea what to make of this long-haired troubador as he sincerely delivered his music to the masses.

Born Herbert Khaury in 1932, Tiny was the most unlikely pop star to pop into pop music. He was fascinated and enthralled by music from a young age, learning violin, mandolin and the ukulele before he was a teen. He would spend his entire life learning about the music he loved,  eventually becoming a walking encyclopedia of music from the earliest days of sound recordings up through the 1930s, much of which would make its way into his repertoire over time.

After dropping out of high school and living in New York City,  he tried to break into show business, playing various nightclubs and theaters, Using a variety of stage names, his act was going nowhere until noting that one of his favorite artists, Rudy Vallee, sang in falsetto style. Once he incorporated that into his act, he started getting noticed. At this time, he also started to change his appearance from cliche crooner to the utterly unique persona he created as Tiny Tim. Gone were the slicked back hair and stylish suits, replaced by shoulder length locks and often garish wardrobe. This was the very early 60s mind you, well before the Beatles haircuts were an issue, Tiny's was already twice as long.

After gaining some acceptance with the Greenwich Village crowd, Tiny began to attract attention. In 1963 he landed a bit part in 'Normal Love,' an experimental film by Jack Smith which would ultimately have an influence on Andy Warhol and others. In 1966, he briefly signed to Blue Cat Records, an offshoot of Red Bird, to release the single 'April Showers' b/w 'Little Girl,' a song based on Leadbelly's 'In The Pines' and also known as 'Where Did You Sleep Last Night' which will ring a bell with a few Nirvana fans out there. He was thanked in the sleeve notes to the 1966 classic 'Freak Out' by Frank Zappa & the Mothers Of Invention. A few more years spent paying his dues would eventually lead to his signing with Reprise Records in 1967.

Released in April of 1968, 'God Bless Tiny Tim' was an album like no other. Produced by Richard Perry, fresh off producing 'Safe As Milk,' the debut album by Captain Beefheart, it quickly became a surprise hit following appearances on the show Laugh-In as well as the Tonight Show. Perry, by the way, would go on to produce albums by Nilsson, Barbra Streisand, Carly Simon and others. That first album is almost like  a stage production opening with 'Welcome To My Dream' segueing into 'Tiptoe Through The Tulips,' a song written in 1929 that Tiny would take into the Billboard charts hitting No.17.Theatriclal numbers like 'The Viper' and Irving Berlin's 'Stay Down Here Where You Belong' sit side by side pop tunes like 'Strawberry Tea' and 'Living In The Sunlight, Laughing In The Moonlight' a 1930 hit for crooner Maurice Chevalier, better known to later generations via SpongeBob SquarePants.

The album also features 'The Other Side,' a song warning of melting icecaps and climate change 50 years ago, and, 'Fill Your Heart,' a song written by folksinger Biff Rose and songwriter Paul Williams and later covered by David Bowie on his 1971 album 'Hunky Dory.' It stands as one of the most captivating , unique, and yes, odd albums ever to become a genuine hit. "I like him" Frank Zappa said in a 1968 interview. "I like his record too. I listened to it. It's got some weird stuff on it. That's the way he really is. He's old enough to be your father. He's really out of question. Any person who carries around a ukelele in a brown paper bag can't be all bad."

His appearance on te Tonight Show is a great snapshot of the times. Johnny Carson gave Tiny a solid block of over 15 minutes to perform and chat. Carson seems confused, intrigued, appreciative and slightly nervous all at the same time by not only his musical performance but by his offbeat personality. In trying to keep up with hip lingo of the day, Carson introduced him as a 'flower child' before Tim entered, ukelele in hand, to perform 'Tulips' for the late-night TV audience.

The pair talked music, and show business with Carson trying to find common ground. When asked if he was married, the audience sort of expectorates a collective laugh as Carson somewhat slyly smiles, Tiny nervously laughs and says "Marriage is a wonderful thing but I couldn't get married because I love all the beautiful girls." The thought between Carson and studio audience was, of course, that Tiny Tim was gay but he was not. He would later marry his first wife live on the Tonight Show in 1969 with an audience of nearly 50 million viewers.

During that time frame, he recorded with the Beatles, Bob Dylan, the Band, and others, as well as playing the legendary Isle Of Wight Festival in 1970 alongside the Doors, the Who, Jimi Hendrix, Miles Davis, Jethro Tull, and countless others.

Two more albums for Reprise would follow without a trace, the second following a similar format to the debut with the third and final being a children's album. As the decade ended, so did Tiny Tim's time in the spotlight. He would never, however, leave the party, continually knocking on that show biz door trying to get back in. A 45 about the Gas shortage in the late 70s called 'Tiptoe To The Gas Pumps' gained a drop of publicity, and he would now and again turn up on talk shows. Check out his stunning 1979 appearance on the Tonight Show for the most incredible version of 'Do You Think I'm Sexy?' ever! In later years several appearances on the Howard Stern Show kept him within reach.

True to form, Tiny Tim died onstage during a performance on November 30, 1996. He had suffered a heart attack two months earlier, and had been ill, but didn't want to let down his fans. Sadly, to this day, he is still thought of as a novelty act to be laughed at, when the truth is, he was a national treasure with his vast knowledge of the American Songbook and beyond, long before there was any mass interest in such things.

"This is not the day of the ordinary or run of the mill,": sidekick Ed McMahon chimed in on the Tonight Show appearance, "and he is certainly not ordinary or run of the mill." Of course, he was odd, but that's who we should celebrate! The odball! Conformity is easy, unless you're an oddball, then it is incredibly difficult. Tiny Tim was the real deal. He was not some manufactured 'weirdo' or 'character,' he was simply his own creation, which is really what life is all about...isn't it? 

God Bless Tiny Tim indeed! 

During August, The Summit FM is highlighting the extraordinary feeling of well-being and satisfaction that people experience while being philanthropic. This could be as simple as donating clothing, volunteering your time, or leaving your fortune to your favorite non-profit. 

The generosity of regional foundations, local businesses, and generous donors fuels our public radio station. That feeling of joy is mutually beneficial! People's motivation for philanthropy can vary - altruistic intentions or, in many cases, a deep belief in the nonprofit's mission. Regardless of the underlying reasons, philanthropic actions generally result in positive outcomes for both the recipients and the givers.

In the words of Winston Churchill, “We make a living by what we get, but we make a life by what we give.”

For more information on how you can participate, contact your regional community foundation. Here are two of our favorites:

By Dave Swanson - Summit FM Contributor

One of the most unlikely success stories in all of the rock and roll fables is that of Dire Straits. Formed in 1977 by brothers Mark and David Knopfler along with drummer Pick Withers and bassist John Illsley, Dire Straits slipped out of the British music scene during punk rock's heyday there, without having anything to do with the rowdy rebels taking over the music scene.

Dire Straits' approach to music was more refined, but not slick and there was something very special about the way Mark Knopfler could make his guitar soar. With a sound like no one else, they stood out in the crowd and were suddenly signed and released their debut in 1978. Their first single, the classic 'Sultans Of Swing' became a Top 10 record across the globe. Incredibly hard to ignore, it jumped out of the radio propelling the band to seemingly instant success.

In 1979 they followed up with Communique, a less than stellar offering which failed to maintain their foothold on radio and in record stores. They also had a personel shift at this time as David Knopfler left the band. A big rebound came along the following year with their third LP, the majestic 'Making Movies,' (still arguably their finest hour). Though they had ceased to burn up the singles charts, the LP sold in big numbers, going Gold and Platinum all over the world.

In 1982, they took a left turn with 'Love Over Gold,' a darker album with longer songs. Opening with the 14 minute 'Telegraph Road' the shortest tune clocked in at 6 minutes, and though the album sold fairly well, they had yet to find their way back into the grasp of the public at large.

In between 'Love Over Gold' and the next album the music business had a seismic shift with the rise of MTV. Though far from being 'sex symbols,' Dire Straits would make the most of the new medium with a catchy song, a clever video to go with it, and a little help from a guy named Sting.

Released in the spring of 1985, their fifth album, 'Brothers In Arms,' was, in many ways, the culmination of everything Dire Straits had been working toward since that first album, but re-assembled in a different era. The album's first single, 'So Far Away,' did well but it would be the next one that set a fire even the band never saw coming. 'Money For Nothing' became a number one hit in nearly every corner of the world and the cleverly a mostly animated video ran seemingly non-stop on MTV

Knoplfer conceived the video by observing the new channel. "One of the things about MTV that struck me was that it was influencing children, seriously. Nine year olds were into this. I saw a little boy in my head like Peter Pan flying across the landscape right up into this window, and a TV light," Knopfler said in an interview with 'In The Studio. "And they were running these ads 'I Want My MTV' and you'd see the Police, or somebody, saying 'I want my MTV' so I stole some notes from 'Don't Stand So Close To Me' for which Sting's publisher demanded 20 percent and that's why he gets a co-credit."

'Walk Of Life' would follow and find itself in the Top 10. The album sat atop the UK charts for 14 weeks, the U.S. for 9, and stayed at No. 1 for 34 consecutive weeks in Australia, ultimately going on to sell over 30 million copies. It would another six years before the next Dire Straits LP, 'On Every Street,' which would also be their last. 'Brothers In Arms' was an unexpected smash and yet, everything Knopfler and company had been working toward since the start. It remains one of the bands most popular albums and though Knopfler would never come close to its sky-high popularity, he has carried on to have a remarkable career to this day.

"You've really got to want to do it, you’ve just got to be quite single-minded about that, and soldier on and laugh it off" Mark Knopfler added. "And if you haven't got a sense of humor about it, then you are dog meat in this."

By Dave Swanson - Summit FM Contributor

People are always full of bright ideas, aren't they? Especially those in the business of distracting the general public from reality. From ‘Cop Rock’ to ‘New Coke,’ the roads are littered with questionable decisions. One large blunder took place on July 28, 1978 with the release of the film, 'Sgt. Pepper's Lonely Hearts Club Band.'

At the dawn of the decade the most significant rock and roll band in history were no more, as the Beatles called it a day. Although their four individual solo careers would roll on, the public wanted more. They wanted the Beatles! Each member would receive the obvious "when is the band getting back together?" grilling at every corner, usually played off in playful, polite and non-committal fashion.

Throughout the 70s, a handful of Beatles compilation albums were issued along with the constant presence of solo material, there was a lot to appease Beatles fans. In 1976 concert promoter Sid Bernstein made an offer of $230 million dollars for a one-off reunion concert. Bernstein had previously promoted the Beatles in the US upon first arrival, The offer was declined.

In a wonderful sarcastic move, Saturday Night Live producer Lorne Michaels made a counter offer on live television shortly thereafter. "NBC has authorized me to offer you a certified check for $3,000," going on to joke about how they could divide it anyway they wanted, “If you want to give Ringo less, that's up to you." As the story goes, Paul was in NYC visiting John at the time and upon seeing this they briefly thought about going over the NBC studios, but opted to stay in.

With no reunion happening, ideas were floating here and there as to how to satisfy this Beatle withdrawal. Enter music impresario Robert Stigwood, manager of the Bee Gees (arguably the biggest pop group of the late 70s) who had arrived at the idea of a movie based, in part, on the Beatles' 'Sgt. Pepper's Lonely Hearts Club Band' album, complete with star studded cast.

Never mind that said album, though undeniably classic, had no narrative, plot or concept to base anything on, that didn't seem to faze Stigwood and Co. They had another secret weapon! Alongside the Bee Gees would be Peter Frampton, arguably the biggest solo rock act at the time. How could this fail?! The better question was, how do you kill the careers of two of the biggest pop acts in the world with one shot? 

By 1978, the Bee Gees and Peter Frampton were at the top of their game, selling millions of records, faces on magazine covers everywhere and sold-out concerts across the globe. The sky was the limit, and they reached it, with nowhere to go but down.

A few years earlier, Stigwood had produced a Broadway adaptation of Sgt. Pepper's. The movie took the stage production as a starting point with the plot, what little there was of one, told via a variety of Beatles songs – not just Sgt. Pepper's tracks. Beatles producer George Martin even served as the movie's musical director, conducting, arranging and producing the soundtrack. But even that couldn't save things.

In Hindenburg-like fashion, the story unfolds. George Burns stars as the film's narrator, telling the tale of Billy Shears (Frampton) and band (Bee Gees). The beloved actor even serenades us with his rendition of 'Fixing a Hole.' Things head quickly downhill from there. There's no dialogue in the movie other than Burns' narration, so it's up to a number of Beatles classics to tell the story of the Lonely Hearts Club Band, whose instruments are stolen by the evil B.D. Brockhurst (played by Donald Pleasance).

Steve Martin portrays Dr. Maxwell Edison (owner of one deadly silver hammer), The plot sickens as Alice Cooper checks in as the Sun King to deliver a freaked-out take on "Because." Aerosmith show up as the Future Villain Band to battle it out with the Lonely Hearts Clubbers. Between watching Frampton duke it out with Steves Martin and Tyler, not to mention the scene where robots sing 'Mean Mr. Mustard,' it's a stamina test for one's brain to say the least.

Most of the interpretations of Beatles classics are simply terrible. And cameos from Curtis Mayfield and Heart do little to help the situation.

Against all odds, the film's soundtrack album was a hit, reaching the Top 10 platinum status. Aerosmith and Earth, Wind & Fire even managed to score Top 40 hits with ‘ Come Together’ and ‘ Got To Get You Into My Life’ respectively.

The fate of the film, however, was nowhere as bright. Released on July 24, 1978, it was not surprisingly slammed by critics and fans. It might be easy to point fingers for this wreckage, but the fact is, both the Bee Gees and Frampton were caught up in a soulless music-industry machine - ironically,  just like the one the movie's heroes fight against in the film. Though it was a simple case of overkill and over exposure, the movie was merely the sour cherry on top. It did manage to help topple the careers of the Bee Gees and Frampton, for a moment anyway, both of whom faltered greatly following this debacle.