Twilight Zone – A Piano In The House

★★★★  February 16, 1962, 1962 Season 3 Episode 22

If you want to see where we are…HERE is a list of the episodes.

A Piano in the House is not a well known episode but one of my favorites. It flies under the Twilight Zone radar. The episode highlights two things rather well…cruelty and justice. Fitzgerald Fortune played by Barry Morse is a despicable and sadistic theater critic who thinks he is above everyone. He buys a magic player piano that has the ability to reveal peoples inner selves and uses it to humiliate his wife (Joan Hackett) and many of her friends.

This one does show the artificial nature of everyday human interactions. The ways we will go to hide things about ourselves when with other people. I could relate to this one. Working in IT in the early days…I knew people like Fitzgerald  Fortune who thought all the end users were idiots.

This show was written by Earl Hamner Jr. and Rod Serling

Rod Serling’s Opening Narration: 

Mr. Fitzgerald Fortune, theater critic and cynic at large, on his way to a birthday party. If he knew what is in store for him he probably wouldn’t go, because before this evening is over that cranky old piano is going to play “Those Piano Roll Blues” with some effects that could happen only in the Twilight Zone.


Theater critic Fitzgerald Fortune is looking to buy a different sort of gift for his wife’s birthday. In a curio shop, he buys an old player-piano. It’s delivered to his home, and when he starts it up, it has a strange effect on his manservant, a normally dour man who breaks into mirthful laughter. When he plays another song, this time for a guest, the man breaks down and admits he’s in love with Fortune’s wife Esther. He decides to have fun with his party guests that evening but Esther decides to turn the tables on him.

Rod Serling’s Closing Narration:

Mr. Fitzgerald Fortune, a man who went searching for concealed persons and found himself in the Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Barry Morse…Fitzgerald “Jerry” Fortune
Joan Hackett…Esther Fortune
Don Durant…Gregory “Greg” Walker
Muriel Landers…Marge Moore
Philip Coolidge…Throckmorton
Cyril Delevanti…Marvin (the Butler)

Fanny – Last Night I Had A Dream

The vocals on this song won me over when I heard it. Keyboard player Nickey Barclay nails the vocals on this song. She goes from 0 to 100 and she turns into a Janis Joplin. It builds up slowly and then Barclay wails the vocal while June Millington breaks out on the slide guitar at the end to a huge crescendo. The drummer Alice de Buhr does a really cool rhythm pattern for this song…

There have been a few all female rock bands (not enough) but this one…to me is the most talented one I’ve heard. They were not a “girl group”…they were a full fledged rock band. They didn’t have the pop song to take them over the top but for what they did…they didn’t need it.

The live version I have on the Midnight Special is much better than the studio cut. This song was written by Randy Newman and it has such wonderful lines in it.

I saw a vampire, I saw a ghost
Everybody scared me, but you scared me the most
In the dream I had last night

From all the clips I’ve seen of Fanny live…their live sound just wasn’t caught in the studio and they were much better live. BTW…love the eye-shadow or glam-shadow (thanks Vic)…what ever it is…another reason to love the seventies.

Last Night I Had A Dream

Last night I had a dream
You were in it, and I was in it with you
And everyone that I know
And everyone that you know was in my dream
I saw a vampire, I saw a ghost
Everybody scared me, but you scared me the most
In the dream I had last night
In the dream I had last night

In my dream

Last night I had a dream
Scared me before you know I woke up screaming
Saw all of my in-laws and whole lot of outlaws
In my dream
I saw the wolfman Jack and saw the mummy too

In the dream I had last night
In the dream I had last night
In that dream

It started out in a barnyard at sundown
And everyone was laughing
And you were lying on the ground

You said, “honey, can you tell me what your name is?”
“Honey, can you tell me what your name is?”
I said, “damn damn what your game is”

You know what my game is

In the dream I had last night
In the dream I had last night

I saw a vampire, I saw a ghost
Everybody scared me, but you scared me the most
In the dream I had last night
In the dream I had last night

In the dream I had last night, in my dream
In the dream I had last night, in my dream

Last night I had a dream
You were in it, and I was in it with you
And everyone that I know
And everyone that you know was in my dream
I saw a vampire, I saw a ghost
Everybody scared me, but you scared me the most
In the dream I had last night
In the dream I had last night, in my dream


Buzzcocks – Harmony In My Head

Happy Monday everyone! Everything that I’ve heard by them is loud, catchy, aggressive, and with a power pop hook. I listened to the Buzzcocks in the 80s with some friends that owned some imports. I hoped they would break in America but never did.

The Buzzcocks crossed pop with punk. The Go-Go’s have said they were a huge influence. Jane Wiedlin said: “our favorite band, the band that we always tried to emulate was the Buzzcocks, who had that great pop song done in a punky style.”

Grunge bands admired the Buzzcocks also. Pearl Jam  invited the band to open US shows for them in 2003, including the Buzzcocks’ first ever appearance at New York’s Madison Square Garden. Nirvana invited them to open dates on their last ever European tour, in early 1994.

Steve Diggle wrote this song and did the lead vocals on it. He said the “harmony” in the song is the sound of the crowd when they played.

To get the right sound for the song, Diggle smoked 20 cigarettes to get the gruff sound of the vocals. The song peaked at #32 in the UK charts in 1979. The song was just released as a single not an album.

They released 3 albums, 6 non-album singles, and broke up in 1981 after a dispute with their record company. They reunited in 1989 and released 6 more albums. Pete Shelley continued to play with the band until his death of a heart attack in 2018. The band still continues to tour with Diggle.

Steve Diggle: “I was reading James Joyce’s Ulysses, which is a heavy book but it had a lot of cinematic imagery – so ‘Harmony’ wasn’t a linear story like pop songs are. The Arndale Centre had just been built and it gave me a real sense of alienation. I wanted to walk down the street and hear the percolation of the crowds – that was the ‘harmony.’ Life was never going to be sweet and nice and it’s not always doom and gloom. The ‘Harmony In My Head’ was the sound of the crowd. That’s how real life is.”

From Songfacts

When Buzzcocks played their first concert, Steve Diggle was their bassist, but founding frontman Howard Devoto’s departure prompted the band to reshuffle, with Pete Shelley becoming lead vocalist/guitarist and Diggle moving from bass to guitar and co-vocalist.

Diggle also had a few early co-writing credits and contributed chords and choruses to “Promises” shortly after Pete Shelley’s “Ever Fallen In Love (With Someone You Shouldn’t’ve).” “Harmony In My Head,” which reached #32 in the UK, is probably Diggle’s best known song.

 Engineer Alan Winstanley recalled to Uncut: “‘Harmony’ is interesting as it’s the only one Steve Diggle sings – it doesn’t have that Pete Shelley sweetness – but when he comes in on the chorus it really changes it. Then off Steve goes again with his growly voice.”

Released as a standalone single on July 13, 1979, the song spent six weeks on the UK singles chart, peaking at #32.

Harmony In My Head

Whenever I’m in doubt about things I do
I listen to the high street wailing sounds in a queue
Go out for my walking sailing social news
Don’t let it get me down I’m long in the tooth

When I’m out in the open clattering shoppers around
Neon signs that take your eyes to town
Your thoughts are chosen your world is advertising now
And extravagance matters to worshipers of the pound

But it’s a harmony in my head
It’s a harmony in my head

The tortured faces expression out aloud
And life’s little ironies seem so obvious now
Your cashed in cheques have placed the payments down
And there’s a line of buses all wait to take you out

But it’s a harmony in my head
It’s a harmony in my head
It’s a

It’s a harmony in my head
It’s a harmony in my head
It’s a harmony in my head
It’s a harmony in my head

Whenever I’m in doubt about things I do
I listen to the high street wailing sounds in a queue
I go out for my walking sailing social news
Don’t let it get me down I’m long in the tooth

‘Cause it’s a harmony in my head
It’s a harmony in my head
It’s a harmony in my head
It’s a harmony in my head

In my head, in my head

Twilight Zone – Kick The Can

★★★★ 1/2  February 9, 1962 Season 3 Episode 21

If you want to see where we are…HERE is a list of the episodes.

This one is a borderline classic. What I get out of it is the idea that old age is just a state of mind. Being young is more about the willingness to take risks and having a sense of adventure rather than just playing it safe. Ernest Truex plays Charles Whitley who finds the secret of staying young. The pure joy that Truex shows is infectious. He appeared in the earlier Twilight Zone…What You Need.

I find it interesting in the contrasting dynamic between playful Charles Whitley and the stereotypical grouchy old man Ben Conroy played by Russell Collins. Charles moves around care free while Ben worries about everything and is determined to be a “get off my lawn” old man. This one is a little slower to develop but a great episode.

One character actor I do want to mention that appears in this episode is Burt Mustin. He doesn’t have a big part but Mustin seemed to be everywhere on 50s- 70s tv shows. Burt Mustin

Kick the Can was remade in the Twilight Zone movie with Scatman Crothers and it was one of the best stories they had in the movie.

This show was written by George Clayton Johnson, Rod Serling, and Richard P. McDonagh

Rod Serling’s Opening Narration: 

Sunnyvale Rest, a home for the aged – a dying place and a common children’s game called kick-the-can, that will shortly become a refuge for a man who knows he will die in this world, if he doesn’t escape into – The Twilight Zone.


Charles Whitley is an elderly resident of Sunnyvale Rest, a home for the aged. It’s not a happy place and Charles’ hopes of moving in with his son David are dashed when he’s told they can’t take him in. He wistfully recalls his youth where they played kick the can and didn’t have a worry in the world. His close friend Ben Conroy begins to worry him when Charles suggests all you have to do is wish it, and you can be young again. Ben is worried his friend will end up in the loony bin but it’s Ben who is in for a surprise.

Rod Serling’s Closing Narration:

Sunnyvale Rest, a dying place for ancient people, who have forgotten the fragile magic of youth. A dying place for those who have forgotten that childhood, maturity, and old age are curiously intertwined and not separate. A dying place for those who have grown too stiff in their thinking – to visit – The Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Ernest Truex…Charles Whitley
Barry Truex…Charles’ son
Russell Collins…Ben Conroy
John Marley…Mr. Cox
Burt Mustin…Carlson
Earle Hodgins…Agee
Hank Patterson…Freitag
Marjorie Bennett…Mrs. Summers
Lenore Shanewise…Mrs. Densley
Eve McVeagh…Night nurse
Anne O’Neal…Mrs. Wister

Three Dog Night – The Family Of Man

When I was around 10 years old …with help from mom, I ordered Three Dog NIght’s greatest hits off of a commercial on television. When I got it I wore it out and zeroed in on this song (and Celebrate). This is an environmental song…probably one of the first that I heard or least paid attention to. The message is really good.

I think the writers were influenced slightly by “It’s All Too Much” a Beatle song that George Harrison wrote. That is why I think I liked it so much…it sounded familiar. To be truthful about it…I thought this post was going to be a Three Dog Night “deep cut” (yea people would line up for that)…I had no clue it was a hit…of course being on the greatest “hits” should have clued me in. I just never heard it on the radio.

The Family of Man is a song written by Paul Williams and Jack Conrad, produced by Richard Podolor. It was on their 1971 album, Harmony.

The Family of Man peaked at  #12 in the Billboard 100, and #5 in Canada.  The album Harmony peaked at #8 in the Billboard Album Charts and #11 in Canada in 1971. So it just missed being a top 10 hit and was a top 5 hit in Canada.

Three Dog Night were huge in the seventies. They had 3 number 1 songs, 21 songs in the top 100, and 11 top ten hits in the Billboard 100. Not bad for a group with three lead singers. I’m alright with them as long as I don’t hear Joy To The World again.

The commercial that I ordered it from…

Family Of Man

This tired city was somebody’s dream
Billboard horizons as black as they seem
A four-level highway across the land
We’re building a home for the family of man

Prices are rising, the devil’s to pay
Moving the mountain that got in the way
Prayer books and meetings to find a plan
Deciding the fate of the family of man

So hard
Whatever are we coming to?
Yes, it’s so hard
With so little time and so much to do

Memories replacing the loves that we lost
Burning our bridges as soon as they’re crossed
Factories built where the rivers ran
Time’s running out for the family of man

So hard

So hard
So hard
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man
So hard, family of man

King Floyd – Groove Me

This is my eighth song pick for Hanspostcard’s song draft. King Floyd’s Groove Me.

The bass in this song punches you like a heavy weight fighter and will roll you like wholesale carpet…the timing is absolutely perfect. I hear some Otis and Wilson Pickett in this song and it will make you move. I wanted to touch on the seventies R&B/funk side in the draft…I can’t do any better than this one.

Floyd takes almost a full minute to build up to the chorus and it’s well worth the wait when he kicks it in. Also wanted to mention that a musician named Vernie Robbins plays the bass in this song…the bass along with Floyd carries the song…and the horns don’t hurt either. 

This was the B side to a song called What Our Love Needs and DJ’s played a role in making this a hit after spinning this side more. They started to play this song in the New Orleans region and it took off nationally… something that would not happen today.

This was recorded at the same session as Jean Knight’s “Mr. Big Stuff.” In the 80s I heard this song and was hooked on the first listen. Back then it took me a while to track it down…but track it down I did at Tower Records. I get all misty eyed when thinking of pulling into the parking lot of Tower or Port O’ Call Records.  .

This is a song that has not been worn out…in fact we need it more. I love the dynamics going on in the chorus when it kicks in. The song was released in 1970 and peaked at #6 in the Billboard Hot 100.

On how Floyd wrote this song… He was working at a box factory and noticed a woman there: She’d just watch me and smile at me all day. When I went to the water fountain, she would make it her purpose to come up to the water fountain. But, I was so shy. So, I decided one day that I was gonna write this poem and give it to her and I wrote ‘Groove Me.’ Believe it or not, after I finished it she never came back to work. It blew me away. So, I never gave her the poem. Man, I’d sure like to meet her one day just to thank her!”

Groove Me

Hey there sugar darlin’
Let me tell you something
Girl, I’ve been trying to say, now
You look so sweet
And you’re so doggone fine
I just can’t get you out of my mind
You’ve become a sweet taste in my mouth, now
And I want you to be my spouse
So that we can live happily, nah-nah
In a great big ol’ roomy house
And I know you’re gonna groove me, baby
Ahh, yeah, now
You make me feel good inside
Come on, and groove me, baby
I need you to groove me
Ahhh, yeah, now, now, darling
Uhh! Come on, come on!
Hey! Uhh!

Hey there, sugar darlin’
Come on, give me something
Girl, I’ve been needing for days
Yes, I’m good, good loving
With plenty, plenty hugging
Ooh, you cute little thang, you
Girl, between you and me, nah-nah
We don’t need no company
No other man, no other girl
Can enter into our world
Not as long as you groove me, baby
Ahh, come on
Make me feel good inside
Come on and groove me, baby
Move me, baby
Ahh, sock it to me, mama
Uhh! Ahh, I like it like that, baby
Uhh! Groove me, baby! Hey! Uhh!
Groove me, darling!
Come on, come on
I need you to sock it to me, mama
Come on and groove me, baby
Hey! Uhh! Good, God!
It makes me feel so good inside, mama
Now, come on, come on, and uhh
Groove me, baby, groove me, baby
Ahh, sock it to me
Sock it to me
Rock it to me
Come on, come on!
Come on!
And uhh
Groove me, mama, I want you to
Groove me!

Twilight Zone – Showdown With Rance McGrew

★★★ February 2, 1962 Season 3 Episode 20

If you want to see where we are…HERE is a list of the episodes.

Showdown With Rance McGrew is a lighthearted episode about a temperamental actor playing a cowboy hero. He is doing impossible stunts that would insult real legendary outlaws if they could see it. That part might just come into play in this one.  This episode was made during the golden age of westerns on television. You couldn’t turn a channel on without seeing a western. Bonanza, Gunsmoke, Wanted Dead or Alive, Wagon Train, The Rifleman, and that is just naming a few.

Larry Blyden as Rance McGrew is a whiny, pampered, and coward actor who tries the patience of all the actors and crew. The wonderful character actor Bob Kline plays Jesse James who might have something to say to Rance with him always winning against James and all of his outlaw friends in TV Shows…dead outlaws have their pride also. The episode is fun but far from a classic.

Rod Sering: Fred Fox had an interesting notion, which was quite serious, about a modern-day cowpoke, not a television star, who found himself living in the past. It had no sense of humor in it. It was a straightforward piece. But it struck me that it would be a terribly interesting concept to have a guy who plays the role of a Hollywood cowboy suddenly thrust into the maelstrom of reality in which he has to do all these acts of prowess against real people… . And it just occurred to me, My God, what would happen if the Ranee McGrews of our time had to face this? I used to think this about John Wayne all the time, who had fought most of our major wars. In truth, of course, they were fought on the backlot of Warner Brothers, in which the most deadly jeopardy would be to get hit by a flying starlet. And I always wondered what Waynes reaction would be if he ever had to lift up an M-l and go through a bloody foxhole on attack sometime. But this is the element of humor that I was striving to get.

This show was written by Rod Serling, Frederick Louis Fox, and Richard P. McDonagh

Rod Serling’s Opening Narration: 

Some one-hundred-odd years ago, a motley collection of tough mustaches galloped across the West and left behind a raft of legends and legerdemains, and it seems a reasonable conjecture that if there are any television sets up in cowboy heaven and any of these rough-and-wooly nail-eaters could see with what careless abandon their names and exploits are being bandied about, they’re very likely turning over in their graves—or worse, getting out of them. Which gives you a clue as to the proceedings that will begin in just a moment, when one Mr. Rance McGrew, a 3,000-buck-a-week phoney-baloney discovers that this week’s current edition of make-believe is being shot on location—and that location is the Twilight Zone.


Rance McGrew is the star of a weekly TV western where he plays the town Marshal. He is, to say the least, difficult to deal with. He is frequently late on the set, arrives unprepared and often requests script changes just as they are about to shoot a scene. To top it off, he’s quite inept at handling his gun which he inadvertently tosses into the saloon mirror on more than one occasion. He’s given a dose of reality however when he inexplicably finds himself back in time, coming face to face with the real Jesse James

Rod Serling’s Closing Narration:

The evolution of the so-called ‘adult’ western, and the metamorphosis of one Rance McGrew, formerly phony-baloney, now upright citizen with a preoccupation with all things involving tradition, truth and cowpoke predecessors. It’s the way the cookie crumbles and the six-gun shoots in the Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Larry Blyden as Rance McGrew
Arch Johnson as Jesse James
Robert Cornthwaite as Director
Robert J. Stevenson as Bartender
William McLean as Property Man
Troy Melton as Cowboy #1
Jay Overholts as Cowboy #2

Three O’Clock – With a Cantaloupe Girlfriend

Great up tempo power pop song. Three O’Clock came from the Paisley Underground movement in the 80s. They were a mixture of 60s psychedelia and early 80s pop sensibilities.

The Three O’Clock was a rock group associated with Los Angeles’ Paisley Underground scene in the early 1980s. Lead singer and bassist Michael Quercio is credited with coining the term “Paisley Underground” to describe bands such as Dream Syndicate, Rain Parade, Green On Red and the Bangles from the area. The Three O’Clock was originally formed under the name The Salvation Army in 1981 but then changed it’s name to Three O’Clock when legal problems with the actual Salvation Army forced the band to change their name.

This song was on the EP called Baroque Hoedown released in 1982. They later had a college hit with a song called Jet Fighter.

After signing with I.R.S. Records they got MTV play with a song called Her Head’s Revolving. After that Prince signed them to his own Paisley Park Records and they made one album and vanished. They did record a song Prince wrote for them called Neon Phone.

They had a reunion of the classic line-up, Michael Quercio (vocals/bass), Louis Gutierrez (guitars) & Danny Benair (drums) — were joined by new member Adam Merrin (keyboards). The group played both weekends of the Coachella festival, and also played on Conan on April 10, 2013.

They later embarked on a mini-tour, and released several archival recordings that same year. The final show at the time was at a record store in Long Beach California in June of 2013.

As of 2018 they reunited band remained active touring around California.

With a Cantaloupe Girlfriend

Sorry I could not find the lyrics

Big Star – Kanga Roo

This album was quite different than the other two Big Star albums. This song has a wonderful melody but it sounds like the world is collapsing around him when he sings it.

This song was on their 3rd album “Third/Sisters Lovers.” By this time the bands founder Chris Bell had been gone since the debut album was released and bassist Andy Hummel quit after their second album Radio City. There were only two original members on the album…Alex Chilton and drummer Jody Stephens. This album sometimes has been looked at as an Alex Chilton solo album…Jody did contribute a song and brought in a string section that was used in other songs.

They used different Memphis musicians on the album. Alex was dating Lesa Aldridge (who would go on to form a punk band calle The Klitz) and she helped with the album also.

Jim Dickinson produced this album and he got close to Chilton and encouraged him to try new things. Alex sometimes cut tracks late at night, then presented them to Jim the following day. After the two had been discussing the producer’s role, Alex showed up with “Like St. Joan,” possibly referencing the martyred Joan of Arc, which morphed into “Kanga Roo.”

Jim jumped into action, adding electric guitar feedback, strings via a Mellotron, and his own amateurish drums—since Jody wasn’t there that day—including a very loud cowbell. Inspired, Alex grabbed a drumstick to use as a bow on his Strat, creating an eerie sound. Effects were added to Alex’s drowsy vocals, which presumably related the story of his and Lesa’s love affair:

Jim Dickinson: “Alex came in one morning and he had this little evil grin on his face,” “He said, ‘Lesa and I cut something last night I want you to hear.’ Okay, so he plays me ‘Like a Kangaroo’ [its second title], which is acoustic twelve-string and vocal on one track [making it difficult to separate the sounds]. I said, ‘Yeah, Alex, what do you hear on that?’ And with the evil grin, he says, ‘Well, why don’t you produce it, Mr. Producer?’” “I first saw you, you had on blue jeans / Your eyes couldn’t hide anything . . . Thought you were a queen, oh so flirty.” Alex later said of the lyrics that he was spewing things out loud, just song after song. . . . The whole process was kind of automatic, free association.” “I think of Alex as a collaborator. He allowed me to collaborate with him.

Kanga Roo

I first saw you
You had on blue jeans
Your eyes couldn’t hide anything
I saw you breathing, oh
I saw you staring out in space

I next saw you
You was at the party
Thought you was a queen
Oh so flirty
I came against

Didn’t say excuse
Knew what I was doing
We looked very fine
‘Cause we were leaving

Like Saint Joan
Doing a cool jerk
Oh, I want you
Like a kanga roo

Twilight Zone – The Hunt

★★★★1/2  January 26, 1962 Season 3 Episode 19

If you want to see where we are…HERE is a list of the episodes.

Some may question my rating and that is fine but this one to me is great. This is a lighter episode and a very pleasant one. Earl Hamner Jr. who wrote and created The Waltons wrote this episode. It’s among my favorites. It resolves it self and if you are a dog fan…you should like this one.

Hyder Simpson, played wonderfully by Arthur Hunnicutt, takes off with his dog Rip…hunting at night. After treeing a racoon they fall into the water and find themselves on the bank the next morning. They soon run into neighbors burying what Hyder thought was their dog didn’t notice him or Rip. There is a good reason for this…Hyder and Rip had passed on the night before and didn’t know it. That is when the story really begins.

This show was written by Earl Hamner Jr. and Rod Serling

Rod Serling’s Opening Narration: 

An old man and a hound-dog named Rip, off for an evening’s pleasure in quest of raccoon. Usually, these evenings end with one tired old man, one battle-scarred hound dog, and one or more extremely dead raccoons, but as you may suspect, that will not be the case tonight. These hunters won’t be coming home from the hill. They’re headed for the backwoods—of The Twilight Zone.


Hyder Simpson and his wife Rachel have been married for 50 years. They are simple country folk who live in a small cabin in the mountains. One evening after dinner, Hyder and his dog go off raccoon hunting. When the dog jumps into a fast moving stream Hyder jumps him to rescue him. He wakes up the next morning having apparently spent the night in the woods. When he gets home however, he and his dog are invisible to everyone around them, Rachel is dressed in black and it’s apparent that he’s died. Thus begins Hyder’s journey, one that presents him with choices.

Cannot find a video clip that doesn’t give the ending away. 

Rod Serling’s Closing Narration:

Travelers to unknown regions would be well advised to take along the family dog. He could just save you from entering the wrong gate. At least, it happened that way once—in a mountainous area of the Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Arthur Hunnicutt…Hyder Simpson
Jeanette Nolan…Rachel Simpson
Titus Moede…Wesley Miller
Orville Sherman…Tillman Miller
Charles Seel…Reverend Wood
Robert Foulk…Gatekeeper
Dexter Dupont…Angel

Beatles – Why Don’t We Do It In The Road?

This song is absurd and hilarious. Paul wrote this song and got right to the point. Do what in the road Paul? We might never know. Well actually at the bottom of the post he does explain it…but a warning…you cannot un-see what you read. 

I’ve always liked it because it is fun. Some people try to take it seriously but it’s not meant to be…a song with two lines to the complete song…that is being a minimalist or little lazy. The first rumor I read about this song was that Paul was desperate for the Beatles to tour again and this was his message to the band…Why don’t we do it in the road? It turned out to be not true…it was inspired by two monkeys…not Monkees…see the Paul quote on down. 

It’s a fun song that sounds more like a John song than a Paul. It will never win a best Beatle song award but it’s fun and fits like a glove on the eclectic White Album. That is what I love about the White Album. Listening to the album you never know what is coming next. It still has a sound that threads all the songs together though. 

Paul and Ringo were the only two playing on this song. John Lennon liked the track but later he said he felt hurt when Paul would leave him out on a track and just do something himself. Paul’s voice is outstanding on this one…very aggressive. This is not the “Yesterday” Paul.

This is interesting…The Beatles were not touring when this was released and  Paul McCartney didn’t play it live until October 8, 2016 when he performed it at the Desert Trip festival with Neil Young.

Paul McCartney: “The idea behind ‘Why Don’t We Do It In The Road’ came from something I’d seen in Rishikesh, I was up on the flat roof meditating and I’d seen a troupe of monkeys walking along in the jungle and a male just hopped on to the back of this female and gave her one, as they say in the vernacular. Within two or three seconds he hopped off again, and looked around as if to say, ‘It wasn’t me,’ and she looked around as if there had been some mild disturbance but thought, ‘Huh, I must have imagined it,’ and she wandered off.”

“And I thought, ‘Bloody hell, that puts it all into a cocked hat.’ That’s how simple the act of procreation is, this bloody monkey just hopping on and hopping off. There is an urge, they do it, and it’s done with. And it’s that simple. We have horrendous problems with it, and yet animals don’t. So that was basically it. ‘Why Don’t We Do It In The Road’ could have applied to either f*cking or sh*tting, to put it roughly. Why don’t we do either of them in the road? Well, the answer is we’re civilized and we don’t. But the song was just to pose that question. ‘Why Don’t We Do It In The Road’ was a primitive statement to do with sex or to do with freedom really. I like it, it’s just so outrageous that I like it.

Paul McCartney and Neil Young…doing it in the road. A very rare live performance. 

Why Don’t We Do It In The Road

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?

Why don’t we do it in the road?
Why don’t we do it in the road?
Why don’t we do it, do it in the road?
Why don’t we do it in the road?

No one will be watching us
Why don’t we do it in the road?


Blind Melon – No Rain

This 1993 song has a sixties feel to it. The lead singer Shannon Hoon did a great job on this track.

Blind Melon bass player Brad Smith wrote this song before he formed the band. He had moved from Mississippi to Los Angeles, where he fell into a down period. He said that the song is about not being able to get out of bed and find excuses to face the day when you have nothing. At the time he was dating a girl who was going through depression  and for a while he told himself that he was writing the song from her perspective. He later realized that he was also writing about it himself.

The video was very popular. It has a very intriguing video featuring a girl dressed in a bee costume. The bee girl, Heather DeLoach, was 10 years old when she starred in it, creating one of the most enduring images on MTV.

The concept for the video was inspired by the Blind Melon album cover, which features a 1975 photo of Georgia Graham, the younger sister of Blind Melon drummer Glenn Graham. DeLoach was the first to audition for the role, and because she resembled Graham’s sister so much, director Samuel Bayer (who also directed Nirvana’s “Smells Like Teen Spirit”) chose her.

This song peaked at #1 in Canada, #20 in the Billboard 100, #17 in the UK, and #15 in New Zealand in 1993.

Blind Melon’s songs, were credited to the entire band even when one member wrote most of the song, as Brad Smith did with this one. Brad says that even though he wrote it, lead singer Shannon Hoon took it to a new level with his vocal.

The video made #22 on MTV’s Greatest Videos Ever Made countdown at the end of 1999.

From Songfacts

The bee girl parlayed the role into a credible acting career, appearing in the movie Balls of Fury, a remake of the Shirley Temple film A Little Princess and the TV shows ER and Reno911. She got married in 2017. DeLoach recalled to MTV News her audition for the bee girl: “They told me Sam didn’t look at any other tapes. I went in with my hair in braids and wearing those chunky glasses, because they said to look nerdy. My mom said we had to find some glasses before we went in, so we ran to a local mall right before the audition and bought them, and Sam liked them so much they’re the same ones I used in the video.”

This was a hit on a variety of formats. It reached #1 on the AOR (classic rock), modern rock and metal charts.

The first performances of this song were on Venice Beach, where Brad Smith would do his busking. “That’s where the lyric and the song was inspired from, is just having to write songs,” he said. “Then being in the state of mind I was in and having to come up with material to go play down on the beach for change. I played that song on the beach for change for over a year before Shannon Hoon actually joined the band and really made that song a hit.”

The band didn’t always appreciate this song. When they opened some shows for The Rolling Stones in 1994, they left it off their setlist. Their tour manager, Paul Cummings explained: “They had become one of those bands that hate their hit – at least at that point. I couldn’t understand it, but it’s not my call. That probably would have been the only song that crowd would have recognized.”

A hallmark of Brad Smith’s lyrics a feeling of melancholy, which doesn’t always match the music he puts to the song. He describes the music to this song as a “jaunty little happy halfway island beat,” which sounds like “Don’t Worry, Be Happy.” He explained: “A lot of my songs come from a darker place. And if you just met me walking down the street, you’d say, ‘Oh, you’re such a happy guy, Brad. Why the dark songs?’ I’m like, ‘I don’t know.’ For me, it just has more meaning if you can get inside someone’s soul and identify with them on a heavier level and try to connect with them on that level. Because when you’re sad and you’re down, you’re the most vulnerable, and you feel the most alone.”

In 1993, Heather DeLoach reprised her role as Bee Girl in the Weird Al Yankovic video for “Bedrock Anthem” (a parody of “Give It Away” by the Red Hot Chili Peppers).

The inertia described in this song sounds typical of the stoner ennui like that described in “Because I Got High,” but you can blame this one on the herb. “I wasn’t even on drugs or drinking,” Brad Smith told us. “It was just a tough point in my life. And the cool thing about that song, I think a lot of people do interpret those lyrics properly and can connect with it on that level, where ‘I don’t understand why I sleep all day and I start to complain that there’s no rain.’ It’s just a line about, I’d rather it be raining so I can justify myself by laying in the bed and not doing anything. But it’s a sunny day, so go out and face it.”

In 2003, this was used in a commercial where a girl in a hot dog costume meets a guy in a Pepsi costume. Love blooms.

Pearl Jam has a song called “Bee Girl” that they first performed in 1994. With lyrics like, “Bee girl, you’re gonna die. You don’t wanna be famous, you wanna be shy,” the track was seen as a very accurate warning to Shannon Hoon that he was on a path of destruction. The song can be found on their Lost Dogs rarities album.

In 2016, the pop singer Mandy Jiroux released a song called “Insane” using many elements of “No Rain,” including the signature riff. Her song has similar but different lyrics, for instance:

All I can say is that my life’s not really plain
I like dancing in puddles that gather rain

In places where Shannon Hoon sang “no rain,” Jiroux substituted “insane.”

This prompted Blind Melon to file a lawsuit using the same lawyer who won big bucks for Marvin Gaye’s estate in the “Blurred Lines” case. Had Jiroux simply covered the song, it wouldn’t be an issue, but Blind Melon claimed that she created a “derivative work” that requires licensing.

The suit is unusual in that the plaintiff is trying to prove that the defendant didn’t make the song similar enough.

This song was featured in the 2004 comedy movie Without A Paddle.

No Rain

All I can say is that my life is pretty plain
I like watchin’ the puddles gather rain
And all I can do is just pour some tea for two
And speak my point of view but it’s not sane
It’s not sane

I just want someone to say to me, oh
I’ll always be there when you wake, yeah
You know I’d like to keep my cheeks dry today
So stay with me and I’ll have it made

And I don’t understand why I sleep all day
And I start to complain that there’s no rain
And all I can do is read a book to stay awake
And it rips my life away but it’s a great escape
Escape, escape, escape

All I can say is that my life is pretty plain
You don’t like my point of view, you think that I’m insane
It’s not sane, it’s not sane

I just want someone to say to me, oh
I’ll always be there when you wake, yeah
You know I’d like to keep my cheeks dry today
So stay with me and I’ll have it made, I’ll have it made, I’ll have it made
Oh, no, no, you know, I really wanna, really gonna have it made
You know, I’ll have it made

Twilight Zone – Dead Man’s Shoes

★★★★ January 19, 1962 Season 3 Episode 18

If you want to see where we are…HERE is a list of the episodes.

This reminds me of a supernatural 1940’s noir gangster movie and I like it because of that. Warren Stevens plays a bum…a real bum named Nate Bledsoe and he takes the shoes off of a murdered gangster named Dane. When he puts them on he magically becomes Dane. Warren Stevens does a nice job in this part. He is meek and mild when he is Nate Bledsoe but becomes assertive after he slips the shoes on and into the Dane character. He goes and sees Wilma, Dane’s girlfriend, and it tells you all you need to know about Dane.

Dane was killed by his partner Dagget so Bledsoe as Dane… goes and visits him to even the score. I like the hint that Bledsoe gave in the bar to tip Dagget off to who he was now.

Dagget looked like he saw a ghost and in a way…he did.  This episode is not one of the classic episodes. Still, it is very enjoyable.

This one was remade in the 1985 and the 2002 version of the Twilight Zone.


The one thing that was sad about this episode was the character Nate Bledsoe His only crime was taking the shoes but he dies because of Dane.

This show was written by Charles Beaumont, Rod Serling, and Oceo Ritch

Rod Serling’s Opening Narration: 

Nathan Edward Bledsoe, of the Bowery Bledsoes, a man once, a specter now. One of those myriad modern-day ghosts that haunt the reeking nights of the city in search of a flop, a handout, a glass of forgetfulness. Nate doesn’t know it but his search is about to end, because those shiny new shoes are going to carry him right into the capital of the Twilight Zone.


When a hobo finds a dead man lying in a city alley, he decides to take his shoes, a pair of rather spiffy-looking loafers. In putting them on however, he becomes the dead man. He returns to his apartment, to his girlfriend’s shock and more importantly, he knows who killed him. The dead man is also out for revenge and it seems nothing will be able to stop him

Sorry…again there was no preview I could find to show you.

Rod Serling’s Closing Narration:

There’s an old saying that goes, ‘If the shoe fits, wear it.’ But be careful. If you happen to find a pair of size nine black and gray loafers, made to order in the old country, be very careful. You might walk right into the Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Warren Stevens…Nate Bledsoe
Richard Devon…Dagget
Joan Marshall…Wilma
Ben Wright…Chips
Harry Swoger…Sam
Ron Hagerthy…Ben
Florence Marly…Dagget’s girlfriend

Twilight Zone – One More Pallbearer

★★★★  January 12, 1962 Season 3 Episode 17

If you want to see where we are…HERE is a list of the episodes.

A school teacher, Reverend, and a Colonel get invited to a bomb shelter. No it’s not a joke…but it was an attempt at one by a man named Paul Radin played by Joseph Wiseman. Paul Radin was a very bitter narcissistic millionaire and he wanted to extract an apology for past deeds that he thought he was punished for unfairly by three different people.

Mr. Radin was not a good man and he was just as bad when he was young. He cheated on a test and then planted the crib notes on another student, he was court-martialed during World War II for failure to follow orders to attack the enemy, and because of his callous attitude he caused a young lady to commit suicide. Radin will stop at nothing  trying to extract that elusive apology from these people from his past…including ending the world.

I knew Joseph Wiseman was familiar…He played Dr. No in the first James Bond film.

This show was written by Rod Serling

Rod Serling’s Opening Narration: 

What you have just looked at takes place three hundred feet underground, beneath the basement of a New York City skyscraper. It’s owned and lived in by one Paul Radin. Mr. Radin is rich, eccentric and single-minded. How rich we can already perceive; how eccentric and single-minded we shall see in a moment, because all of you have just entered the Twilight Zone.


Successful businessman Paul Radin invites three people from his past to join him in the underground bunker he’s built under his commercial office building. All three have had major influence on him though not the kind that made him what he is today. His former military commander had him court-martialed; his former teacher ridiculed and humiliated him in class after she caught him cheating; and his church Minister who ruined his reputation after he drove a girl to suicide. All he wants from them is one thing: a brief apology. The impact of what they’ve done is far greater than it appears.

There were NO videos that didn’t give the end away to be found. 

Rod Serling’s Closing Narration:

Mr. Paul Radin, a dealer in fantasy, who sits in the rubble of his own making and imagines that he’s the last man on Earth, doomed to a perdition of unutterable loneliness because a practical joke has turned into a nightmare. Mr. Paul Radin, pallbearer at a funeral that he manufactured himself in the Twilight Zone.


Rod Serling… Narrator / Self – Host (uncredited)
Joseph Wiseman…Paul Radin
Katherine Squire…Mrs. Langsford
Trevor Bardette…Col. Hawthorne
Gage Clarke…Rev. Hughes

Watermelon Men – Seven Years

For everyone that follows me on the weekend…I’m working on a home project and I will only post one Twilight Zone each day with no music posts this weekend. Have a great weekend. 

This song was released in 1985 on the Watermelon’s album Past, Present and Future.

The Watermelon Men were a Swedish five piece band that were around from the mid Eighties up till 1994. They had quite a following in Sweden, Germany, England, among other places.

The band is still popular over ten years after they ceased. They are praised in power pop circles in Europe. They were mostly known for garage rock and brought good melodies with jangly guitars in a lot of their music.

When they were together they released three albums, an Ep, and three singles. One album remains unreleased…it’s up in the air on if it will come out.

The guitar player Imre von Polgar died in the tsunami disaster in Khao Lak in 2004. Shortly after, the band reformed for a one time show in his memory.

Seven Years

If the man can’t choose which way to go
If the girl don’t know where she belongs
Then you’re apt to say all the love can’t kill the pain
Till they meet, he’ll be a traveling man
When his hope was buried in the ground
In tears she left her man behind
The you’re apt to think seven years has passed today
Till they meet, she’ll dream her life away

You won’t feel, you’ll meet her someday
And in his arms, she’ll always stay
But it’s the story
No one ever fades

In surprise they think
When they both run from themselves
Till they meet, the story has no end

You won’t see, you’ll meet her someday
And in his arms, she’ll always stay
But it’s the story
No one ever fades