Update: We're solidly at 2/3 of our goal tonight. We're getting really close. I am so knocked out and humbled by all the support that's come in the last 24 hours, I can't tell you how great it is to know the Archive stands a good chance of being saved and Newstalgia stands a good chance of being here for you. But please don't stop just yet - we're still a ways off. Even with 1/3 left to go it can still not happen. If we can keep this going a little long, and if you can donate whatever you can, whatever amount you feel comfortable with. I'm not asking for millions, I'm just asking to take the lien off and keep the site on. We can do this - we're doing this - you're doing this. I am beyond grateful.

Diving into the 70's tonight for a concert featuring 70's icons Mott The Hoople, recorded at The Santa Monica Civic Auditorium on April 12, 1973.

I remember this concert really well. I was sitting somewhere near the front. Ian Hunter had a cold and his voice was a little shot. But Mott The Hoople were one amazing band and this was at a time they were just hitting mass popularity. With such classics as All The Way To Memphis and All The Young Dudes (which are included here) just recently released, they were riding the crest of a very big wave.

This is the whole set - all 90 minutes worth. Crank it up and enjoy.

Pretend it's 1974.

During the waning days of Top-40 AM radio in 1968, one song stands out in my mind as never being identified, always used as either lead-in to the news, lead out to a commercial or somehow dropped into the middle of a set virtually unnoticed. Yet somehow it wound up being the song that would often repeat in my head, usually around three in the morning, and always followed with "what the f**ck is the name of that song?"

At first I thought it was one of those oddball instrumentals by The Who (remember Waltz For A Pig, the b-side of Substitute by The Who Orchestra?), since there was a prevalent French Horn in the song and Pete Townsend was going through his French Horn phase (The Overture to Tommy) I figured maybe it was yet another Who masterpiece masquerading as the flip side to something.

And it wasn't until years later that I heard the song again and found out it was by Raymond Lefevre and His Orchestra - a big hit in Europe, racing up the French charts and an instrumental version of a song originally written by French Ian Hunter look-alike, Michel Polonareff.

Since 1968 the song had been hijacked by the "Beautiful Music" format of 1970's FM and turned into something of a Middle-of-the-road classic. And, truths to tell, the song did straddle the worlds of Bland and Pop pretty well for a long time.

But Raymond Lefevre was no slouch or anonymous hack. He was a first rate film composer with an impressive list of credits and he was a widely respected musician and arranger who was much in demand in French music circles.

But, as I suspect a number of you who remember hearing this song over and over and not knowing the name of it or who did it, here's the answer to your sleepless nights: Soul Coaxing (Ame Caline - in french) by Raymond Lefevre and His Orchestra.

Another of life's elusive questions is answered.

And the world of Pop Music spins quietly and deceptively on.