In the 1960s, singer-songwriter Roger Salloom hung out in San Francisco with the likes of Janis Joplin and the Grateful Dead. His band opened for rising stars like Santana, Procol Harum and Van Morrison. He was on the same label as Creedence Clearwater Revival, and label honchos told him they thought he was going to be the household name.

It didn’t happen. Creedence took off instead. Santana grew huge. Salloom’s band released a critically acclaimed record, Salloom, Sinclair and The Mother Bear, that was named by the Chicago Tribune the Top Album of 1968. But through a quirk of fate, timing, the market, his character, or a combination of all four, Salloom’s career never took off.

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