July 2021 – PowerPop… An Eclectic Collection of Pop Culture

Twilight Zone – The Whole Truth

★★★ January 20, 1961 Season 2 Episode 14

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

This is one of the comedy episodes. Imagine if you will…a car salesman that has to tell the truth. What a great world that would be. The movie Liar, Liar was probably influenced or based on this episode. It was shot on videotape and it unfortunately is very obvious. The outside doesn’t look like outside and it resembles the look of a soap opera. This is the one videotape episode that showed all of the limitations of that format. The only thing it does do is accent the terrible cars that he has to sell.

The casting again is good. Jack Carson plays Harvey Hunnicut the prototypical cheap used car salesman. He buys an old car and the car is haunted…who ever owns it must tell the truth. The acting like always is good but the presentation and some of the plot seems forced.

John F. Kennedy was sworn in as the 35th President of the United States at the Inaugural ceremonies held in Washington the afternoon of the very day this episode originally aired.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

This, as the banner already has proclaimed, is Mr. Harvey Hunnicut, an expert on commerce and con jobs, a brash, bright, and larceny-loaded wheeler and dealer who, when the good Lord passed out a conscience, must have gone for a beer and missed out. And these are a couple of other characters in our story: a little old man and a Model A car – but not just any old man and not just any Model A. There’s something very special about the both of them. As a matter of fact, in just a few moments, they’ll give Harvey Hunnicut something that he’s never experienced before. Through the good offices of a little magic, they will unload on Mr. Hunnicut the absolute necessity to tell the truth. Exactly where they come from is conjecture, but as to where they’re heading for, this we know, because all of them – and you – are on the threshold of the Twilight Zone.

Summary

Harvey Hunnicut is the stereotypical used car salesman: a fast talker who, to put it politely, is prone to stretching the truth about the cars he sells. He buys a used car from an old gentleman paying him far less that it’s worth. After the deal, the old man tells him the car is haunted. Soon, Harvey finds that he can only tell the truth. Not only to customers but even to his wife as well. When he tries to sell the man’s car he finds the perfect customer.

Rod Serling’s Closing Narration:

Couldn’t happen, you say? Far-fetched? Way-out? Tilt-off-center? Possible. But the next time you buy an automobile, if it happens to look as if it had just gone through the Battle of the Marne, and the seller is ready to throw into the bargain one of his arms, be particularly careful in explaining to the boss about your grandmother’s funeral, when you are actually at Chavez Ravine watching the Dodgers. It’ll be a fact that you are the proud possessor of an instrument of truth – manufactured and distributed by an exclusive dealer – in The Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Jack Carson … Harvey Hunnicut
Loring Smith … Honest Luther Grimbley
George Chandler … Old Man
Jack Ging … Young Man
Arte Johnson … Irv
Patrick Westwood … The Premier’s Aide
Lee Sabinson … Nikita Khrushchev
Nan Peterson … Young Woman

ZZ Top – Beer Drinkers and Hell Raisers

The thing about ZZ Top is they never seem to take themselves too seriously. No concept albums or big love ballads… just good old fashion boogie blues rock.

I saw them in 1983 in Nashville. I remember the light show was incredible. I’ve never seen anything like it since. Near the end they made it look as if the stage was shaking and someone fell out of the lighting rig to the stage. Everyone at first thought it was a real person but it was a stuffed dummy.

They sounded great that night and it’s a concert I’ll never forget. The Little Ol’ Band from Texas didn’t disappoint. Who knew at that time they would be be together over 50 years with the same members they started out with.

The death of Dusty Hill had me to pull out Tres Hombres and give it another listen. Compared to other trios like Cream or the Jimi Hendrix Experience…ZZ Top played more in a groove. Dusty wasn’t all over the place on bass but he kept that bottom end grounded for Gibbons guitar to dance around in while Beard was locked with Dusty.

Tres Hombres was released in 1973. The album had four of their best known early songs such as La Grange, Waitin’ For The Bus, Jesus Just Left Chicago, and this one.

The album peaked at #8 in the Billboard 100 in 1973 and #13 in Canada…thanks to Vic (The Hinoeuma Cosmic Observation) for the Canada info.

Billy Gibbons: “On to a gig in Phoenix, we were driving through a West Texas windstorm. We, the band, were waiting to discover a place with some safe ground cover when the late-night lights of a roadside joint appeared. It was just across the line outside El Paso into New Mexico.

We ducked in quick and came face to face with our kind of folks… those soulful souls seeking solace, not only out of the dust and sand, but out of mind. What chance does one get better than that! We joined the gathering and started scribbling.”

From Songfacts

Group composition “Beer Drinkers And Hell Raisers” (with or without the ampersand) is a fun track with the band playing up to their Southern redneck image. Unusually, bass player Dusty Hill supplies the lead vocal, backed up by axeman Gibbons.

It has been suggested that the line, “Baby, don’t you wanna come with me?” means something a little more explicit than, “Would you like to accompany me to the honky-tonk, miss?” If that is indeed the case, then the censor missed it; although it was not released as a single it received considerable airplay, including in the UK, where in 1973 this sort of innuendo would not have been tolerated by the BBC.

The original version runs to 3 minutes 23 seconds, and the song has been covered by both Van Halen and Motörhead, the latter of whom produced a blistering track with some fine and innovative soloing by Fast Eddie Clarke, but as is often the case, the original has not been bettered.

Here is a live version from 1980. I don’t like posting live versions unless they were done around the time of the release…this is as close as I could find as far as a video of them.

Beer Drinkers and Hell Raisers

If you see me walkin’ down the line
with my fav’rite honky tonk in mind,
well, I’ll be here around suppertime
with my can of dinner and a bunch of fine.

Beer drinkers and hell raisers, yeah.
Uh-huh-huh, baby, don’t you wanna come with me?

The crowd gets loud when the band gets right,
steel guitar cryin’ through the night.
Yeah, try’n to cover up the corner fight
but ev’rything’s cool ’cause they’s just tight.

Beer drinkers and hell raisers, yeah.
Huh, baby, don’t you wanna come with me?
Ah, play it boy.

The joint was jumpin’ like a cat on hot tin.
Lord, I thought the floor was gonna give in.
Soundin’ a lot like a House Congressional
’cause we’re experimental and professional.

Beer drinkers, hell raisers, yeah.
Well, baby, don’t you wanna come with me?

Fountains of Wayne – Stacy’s Mom …. Power Pop Friday

It’s hard not to like this song. it’s fun and the video should not to be missed. When I was growing up…I don’t remember any friend’s moms looking like Rachel Hunter though.

The song was credited to Chris Collingwood and Adam Schlesinger…but Schlesinger wrote it. Stacy’s Mom was released in 2003 on the Welcome Interstate Managers album.

The intro resembles the Cars Just What I Needed and they even asked Ric Ocasek to be in the video for the song. He never responded but they had some tributes to him in the video. A license plate reads “I ♥ RIC” and a young kid dressed similar to Ocasek with dark hair and sunglasses. They also re-created the scene from the movie Fast Times at Ridgemont High, which featured the Cars’ “Moving in Stereo.”

Adam Schlesinger said that he had Simon & Garfunkel’s “Mrs. Robinson” in the back of his mind when he wrote Stacy’s Mom… “It was a contrast of that story against a track that sounded like ’80s new wave, like The Cars or something.”

Adam also said that one of his friends when he was 11 or 12 was attracted…not to his mom but to his grandmother. He told Schlesinger that she was “really hot.” That incident helped him write the song.

It peaked at #21 in the Billboard 100, #11 in the UK, and #13 in Canada in 2003

The band Bowling For Soup has been misidentified as the band that did Stacy’s Mom. Youtube and even some of their fans even thought they were the band that did the song…so…they covered it! They do sound somewhat like Fountains Of Wayne.

Jaret Reddick (Bowling for Soup leader) said that by finally releasing their own version of the song, “I’ve basically just taken care of a large part of the population that’s been wrong for years, and I’ve made them right.” The cover art for their version of the song release reads: “Finally you can say this is your favorite song by BFS and not look like an idiot!”

Unfortunately Adam Schlesinger passed away on April 1, 2020 from complications of Covid-19…he was only 52 years old.

Songfacts

The Cars’ influence is obvious – just compare the intro of their track, “Just What I Needed,” to the intro of “Stacy’s Mom” to hear for yourself.

This song was a commercial success and reached #1 on iTunes’ Most Downloaded Songs chart. In 2004, it was nominated for a Grammy Award for Best Vocal Pop Performance. Adam Schlesinger told us “Stacy’s Mom” “is definitely the biggest of my own band stuff.” Schlesinger added to Bullz-Eye.com that he does not think Fountains of Wayne will achieve the same level of success they did with “Stacy’s Mom” ever again: “I think ‘Stacy’s Mom’ was a fluke thing where it was the right song and the right video, and you kind of had the novelty factor, and all that stuff. And you can’t really make that happen again.”

Actress and model, Rachel Hunter, portrayed Stacy’s mom in the song’s official video – directed by Chris Applebaum. Parts of the video bear a striking resemblance to the movie Fast Times at Ridgemont High. At one point in the movie, a character named Brad is in a bathroom fantasizing about his sister’s friend and the friend walks in on him. His sister’s name, coincidentally, is Stacy. .

The song featured in a commercial for the Cadillac SRX, which shows a woman picking up her daughter from school. As she does so, men gaze longingly at her “beautifully practical and practically beautiful” …car.

Stacy’s Mom

Stacy’s mom has got it goin’ on
Stacy’s mom has got it goin’ on
Stacy’s mom has got it goin’ on
Stacy’s mom has got it goin’ on

Stacy, can I come over after school? (after school)
We can hang around by the pool (hang by the pool)
Did your mom get back from her business trip? (business trip)
Is she there, or is she trying to give me the slip? (give me the slip)

You know, I’m not the little boy that I used to be
I’m all grown up now, baby can’t you see

Stacy’s mom has got it goin’ on
She’s all I want and I’ve waited for so long
Stacy, can’t you see you’re just not the girl for me
I know it might be wrong but I’m in love with Stacy’s mom

Stacy’s mom has got it goin’ on
Stacy’s mom has got it goin’ on

Stacy, do you remember when I mowed your lawn? (mowed your lawn)
Your mom came out with just a towel on (towel on)
I could tell she liked me from the way she stared (way she stared)
And the way she said, “you missed a spot over there” (a spot over there)

And I know that you think it’s just a fantasy
But since your dad walked out, your mom could use a guy like me

Stacy’s mom has got it goin’ on
She’s all I want, and I’ve waited so long
Stacy, can’t you see you’re just not the girl for me
I know it might be wrong
But I’m in love with Stacy’s mom

Stacy’s mom has got it goin’ on
She’s all I want and I’ve waited for so long
Stacy can’t you see you’re just not the girl for me
I know it might be wrong
I’m in love with (Stacy’s mom oh oh)
I’m in love with (Stacy’s mom oh oh)
Stacy can’t you see you’re just not the girl for me
I know it might be wrong, but
I’m in love with (Stacy’s mom oh oh)

https://en.wikipedia.org/wiki/Stacy%27s_Mom

…

Bo Diddley – Bo Diddley

You know you have confidence when you name a song after yourself. Bo Diddley was born Ellas Bates. He had his name changed to Ellas McDaniels when he was adopted. He took his stage name from a one-stringed Deep South instrument, the Diddley Bow.

Diddley was trained on the violin as a child, but switched to guitar (to emulate John Lee Hooker) when his sister gave him one for a Christmas present.

Originally titled “Uncle John,” the song was rejected by the owners of Chess Records because the original lyrics were “too dirty” for the white American record-buying public. In response, Diddley re-wrote the lyrics and named the song after himself. From this point forward, Diddley often put his name in his songs.

Its lyrics are based on the traditional lullaby titled “Hush Little Baby”, and it prominently features the Bo Diddley beat that the singer made famous.

The single was a double A side if there ever was one. Bo Diddley on one side and I’m A Man on the other. It peaked at #1 on the R&B Charts in 1955.

From Songfacts

Diddley took his longtime partner Jerome Green to play the maracas on the recording. Green’s efforts were fed through an echo chamber to get the desired effect.

The Bo Diddley riff was incorporated into many rock’n’roll songs. Examples include “Not Fade Away” (Buddy Holly), “Willie and the Hand Jive” (Johnny Otis Show), “Cannonball” (Duane Eddy), “Hey Little Girl” (Dee Clark), “I Want Candy” (Strangeloves), “Bad Blood” (Neil Sedaka), and “Faith” (George Michael).

Contrary to popular belief, this did not make the Billboard Top Singles chart, but it did hit #1 on the Rhythm and Blues chart.

Diddley’s sole Top 40 his was recorded four years later – “Say Man” – a tape of Diddley and Green swapping insults in a bar. Instruments were added in the studio, and a #20 hit was born.

Bo Diddley performed this on his Ed Sullivan Show appearance November 20, 1955. Sullivan wanted Diddley to sing “Sixteen Tons,” but Diddley played this song anyway, which didn’t go over well with the host. Diddley was never asked back.

Bo Diddley

Bo diddley bought his babe a diamond ring
If that diamond ring don’t shine
He gonna take it to a private eye
If that private eye can’t see
He’d better not take the ring from me

Bo diddley caught a nanny goat
To make his pretty baby a Sunday coat
Bo diddley caught a bear cat
To make his pretty baby a Sunday hat

Mojo come to my house, ya black cat bone
Take my baby away from home
Ugly ole mojo, where ya bin
Up your house, and gone again

Bo diddley, bo diddley have you heard?
My pretty baby said she wasn’t for it

…

Twilight Zone – Back There

★★★★ January 13, 1961 Season 2 Episode 13

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

In this episode Russell Johnson makes his second appearance on The Twilight Zone. If you went back in time could you changed fixed events? We will find out in this episode. I like the time travel episodes and this one is no exception. I like the idea they built it around. This episode takes place on April 14, 1961 and April 14, 1865.

It’s not a perfect episode but a fun time travel adventure. This episode is a hard one to rate. It just doesn’t gel like some of the others do.

The character Pete Corrigan mentions HG Wells in relation to his story The Time Machine, which had also just been made into a movie the year before this episode.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

Witness a theoretical argument, Washington, D.C., the present. Four intelligent men talking about an improbable thing like going back in time. A friendly debate revolving around a simple issue: could a human being change what has happened before? Interesting and theoretical, because who ever heard of a man going back in time? Before tonight, that is, because this is—The Twilight Zone.

Summary

After debating with a member of his Washington club whether you could go back in time and change major events, Pete Corrigan seems to go back to April 15, 1865 the night Abraham Lincoln was assassinated. He tries his best to warn the authorities of what will happen in a few hours time but it all falls on deaf ears. One person seems interested in what he has to say, but that person may have his own reasons for his behavior.

Rod Serling’s Closing Narration:

Mr. Peter Corrigan, lately returned from a place ‘back there’, a journey into time with highly questionable results, proving on one hand that the threads of history are woven tightly, and the skein of events cannot be undone, but on the other hand, there are small fragments of tapestry that can be altered. Tonight’s thesis to be taken, as you will—in The Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Russell Johnson … Pete Corrigan
Paul Hartman … Police Sergeant
Bartlett Robinson … William
John Lasell … Jonathan Wellington
Jimmy Lydon … Patrolman (as James Lydon)
Raymond Bailey … Millard
Raymond Greenleaf … Jackson
John Eldredge … Whittaker
James Gavin … Policeman
Jean Inness … Mrs. Landers
Lew Brown … Lieutenant
Carol Eve Rossen … Lieutenant’s Girl (as Carol Rossen)
Nora Marlowe … Chambermaid
Pat O’Malley … Attendant
Fred Kruger … 1865 Attendant (uncredited)

Cynics – Baby What’s Wrong

There was quite a big garage band scene in the 80s from all over the world. These bands stuck close to their ancestors so to speak but with a little more punch in the modern recording. They avoided the dated sound unlike some of their more popular peers.

The Cynics were from Pittsburgh and along with the Chesterfield Kings, the Milkshakes, and the Fuzztones were early founders of the 1980s garage rock revival movement. The picked up from where the garage bands from the 60’s garage bands.

This band is not limited to garage rock. I’ve heard everything from power pop to folk from them in songs.

Gregg Kostelich started the Cynics in 1983. The other members were drummer Bill Von Hagen, vocalist Michael Kastelic who joined in 1985, bass player Steve Magee, and keyboardist Becky Smith who debuted with their first album, Blue Train Station in 1986.

Baby What’s Wrong was on their Rock and Roll album released in 1990.

Their first two 45s were released by the Californian Dionysus label, but soon after Gregg had established his own Pittsburgh-based Get Hip Recordings who would release all of The Cynics albums and singles. The label also releases records by fellow garage bands, power pop, and punk bands around the world.

The band is still togehter with members Gregg Kostelich, Michael Kastelic, Pablo González “Pibli”, and Angel Kaplan.

The band released 8 albums between 1986 to 2011 with the Spinning Wheel Motel album.

Gregg Kostelich: “I was maybe 4 or 5 when I started collecting Garage records, and I’ve been listening to that type of music ever since. And I was lucky enough to see a couple of shows I was a little kid…my parents would bring to see bands like THE SONICS and THE BLUE MAGOOS and THE WHO, when I was about 7 or 8! I didn’t know what was going on really, but it was really exciting. I was kinda embarrassed in a way because I was with my parents.” “Yeah, maybe I got brain damage from all the noise!”

I got a lot of info off of their record company’s website…check them out and their music.

THE CYNICS

Baby What’s Wrong

You didn’t hear me when I tried to tell you
You didn’t see me when I looked so lonely
You didn’t answer when I said, “Where you going?”

You didn’t see the way you drive me crazy

Baby what’s wrong with me
I can’t seem to turn your head
Baby what’s wrong with me
I’m always going home to an empty bed

You got my number, you never use it
You got my choice, but you never choose it
You got those brown eyes, they’re hiding something
If I could open up, I’d let you in

Baby what’s wrong with me
I can’t seem to turn your head
Baby what’s wrong with me
I’m always going home to an empty bed

Maybe some day, there will be a full moon
We’ll be together, in the same room
Open our eyes, see what we’re missing
My hard time is maybe they’re dissing

Baby what’s wrong with me
I can’t seem to turn your head
Baby what’s wrong with me
I’m always going home

Baby what’s wrong

…

Miracle Legion – The Backyard ….80’s Underground Mondays

I took an instant liking to this song…a song about reminiscing about childhood. I started to explore their other music and found out that this 80’s alternative band was really good.

The lead singer Mark Mulcahy reminds me of Dan Stuart of Green on Red with a little Lou Reed thrown in…not a bad combination. They were on college radio in the 80s but were more popular in the north east and in the UK where NME and Melody Maker wrote about them.

Miracle Legion were formed in 1983 in New Haven, Connecticut. Their lineup consisted of singer/guitarist Mark Mulcahy, lead guitarist Ray Neal, drummer Jeff Wiederschall, and bassist Joel Potocsky.

This song was on The Backyard that was the second release (6 song EP) by the band in 1984 on Rough Trade Records. After two more releases, their debut album, Surprise Surprise Surprise, from 1987 and 1988’s seven song EP, Glad, Mulcahy and Neal found themselves as the only two members remaining in the band.

Miracle Legion carried on as a duo, and they released their second full length album, Me And Mr. Ray in 1989. The band didn’t remain a duo for long, as drummer Scott Boutier and bassist Dave McCaffrey joined. With Boutier and McCaffrey on board, the band released their third album, 1992’s Drenched, but legal problems with their record company caused Neal to throw in the towel and leave the band. Miracle Legion, at least temporarily was broken up.

In 1996 their legal issues were resolved, the band released their album Portrait Of A Damaged Family until they regrouped in 2017 and released Annulment.

The Backyard was praised when it was released…from Melody Maker to the Trouser Press.

From Wiki: Drawing comparison to R.E.M., the record received much acclaim. Music critic Robert Christgau writing positively on Mulcahy’s lyrics says that they are of “dazzled childhood and yearning adolescence,” and likens the vocals to Loudon Wainwright III. The album has been called a “landmark” by Trouser Press, and calls the title track “sheer brilliance.”

My Backyard

Think it was the hottest day of the year
Even still we started fires with the embers
Sweetest man held on at the top of the hill
Sweetest lady held on to her memories

The world was so big and I was so small
And your voice was always the loudest of all

Yesterday we cut down the apple tree
Cracking wood made my little heart tremble
I wish I didn’t have to try so hard
But little boys got a lot to remember

The world was so big and I was so small
And your voice was always the loudest of all

I loved the days I spent with you
And I still have all you could offer
The backyard looks so empty now
Then I think of her, I think of her

The world was so big and I was so small
And your voice was always the loudest

The world was so big and I was so small
Your voice was always

The world was so big and I was so small
Your voice was always the loudest of all

Twilight Zone – Dust

★★★★ January 6, 1961 Season 2 Episode 12

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

The characters do a good job of showing the listlessness of the town. It’s set in a miserable ghost town that doesn’t know it’s one. The townspeople have no future and they know it. Sun and dust are the only two things these people have and will ever know.

This is a powerful episode all about context. To break it down…a drunk young man (Gallegos) driving a horse and wagon accidently kills a child. Normally under Rod Serling he would be an automatic villain but in this episode the context is different. There is a gray area in this forsaken town. The twist comes suddenly and the episode is over and leaves you thinking.

The acting was superb in this… Thomas Gomez plays Peter Sykes…a despicable man. The worse kind of opportunist you can imagine. John Larch plays the sheriff who sees things for what they are and is one of the few sympathetic characters in this episode. He is depressed by the thought of Gallegos being hanged and believes that he does not deserve to be hanged but knows he has to do his job.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

There was a village. Built of crumbling clay and rotting wood. And it squatted ugly under a broiling sun like a sick and mangy animal wanting to die. This village had a virus, shared by its people. It was the germ of squalor, of hopelessness, of a loss of faith. With the faithless, the hopeless, the misery-laden, there is time, ample time, to engage in one of the other pursuits of men. They began to destroy themselves.

Summary

In a dusty old-western town, a man’s scheduled to be hanged, after having been found guilty of accidentally killing a child while drunk. His father begs for mercy, but the marshal, has no choice but to proceed with the sentence. Sykes, an odious salesman takes advantage of the situation by selling the desperate father ‘magic dust’, which he says will make the townsfolk take pity upon his son. Soon, the events provide for an unexpected conclusion.

Rod Serling’s Closing Narration:

It was a very small, misery-laden village. On the day of a hanging. And of little historical consequence. And if there’s any moral to it at all, let’s say that in any quest for magic, and any search for sorcery, witchery, legerdemain, first check the human heart. For inside this deep place is a wizardry that costs far more than a few pieces of gold. Tonight’s case in point – in the Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Thomas Gomez … Peter Sykes
John Larch … Sheriff Koch
Vladimir Sokoloff … Gallegos
John A. Alonzo … Luís Gallegos (as John Alonso)
Paul Genge … John Canfield
Dorothy Adams … Mrs. Canfield
Duane Grey … Rogers
Jon Lormer … Man (as John Lormer)
Andrea Darvi … Estrelita Gallegos (as Andrea Margolis)
Doug Heyes Jr. … Farmer Boy (as Douglas Heyes)
Nick Borgani … Townsman (uncredited)
Alphonso DuBois … Townsman (uncredited)
Richard LaMarr … Townsman (uncredited)
Frances Lara … Townswoman (uncredited)
Robert McCord … Lawman (uncredited)
Daniel Nunez … Townsman (uncredited)
Paul Ravel … Townsman (uncredited)
Armando Rodriguez … Townsman (uncredited)
Theresa Testa … Townswoman (uncredited)
Dan White … Man #2 (uncredited)

Freedy Johnston – Seventies Girl

This song has everything I like in a good pop song. Good melody, lyrics, and a voice that carries it perfectly. I also like the steel guitar in the background that sets the tone for the song.

When you can use “chartreuse green” in a lyric you are doing alright.

Clothes from a case you’d thrown at me
Orange, yellow, red and chartreuse green

Freedy Johnston was an artist that I found in the late 90s. I first heard him on an alternative radio station I would listen to. They would play cuts off of his Never Home album. When I heard this song I bought the album.

Johnston has never burned up the charts but he did have a minor his in 1994 with the song Bad Reputation which peaked at #54 in the Billboard 100.

Later on I would like his version of Love Grows (Where My Rosemary Goes) off of his Right Between the Promises album.

Seventies Girl

Down from the attic in your old things
My new girlfriend has a curious streak
Half lit, in the hall
She’s like you
Twenty years ago

Clothes from a case you’d thrown at me
Orange, yellow, red and chartreuse green
Way back in the day
I lost you
Don’t tell me here we go again

Seventies girl
Don’t come any closer
There’s gonna be trouble tonight
You’re not staying over

Hey there seventies girl
Never should have showed her
You want to be older
Than you were

She was transcendental then
Her beautiful eyes through your rose specs
Way back, in the day
I loved you
Or something like it anyway

Seventies girl
You’ve been taken over
You never had a cradle to rock
Now you want to go there

Hey there seventies girl
Never should have told her
You want to be older
Than you were

We fell apart
Just like that dress
Then taught ourselves unhappiness
I don’t recall much, I confess
But wonder where she’s gone

Seventies girl
Don’t come any closer
There’s gonna be trouble tonight
You’re not staying over

Hey there, seventies girl
Never should’ve showed her
You want to be older
Than you were

…

Raspberries – Overnight Sensation (Hit Record)

This is my second song pick for Hanspostcard’s song draft. The Raspberries Overnight Sensation (Hit Record).

Bruce Springsteen: “Overnight Sensation (Hit Record) should go down as one of the great mini-rock-opera masterpieces of all time”

In the nineties I bought the Raspberries greatest hits. I listened with headphones to each song until I heard this one. I stopped and listened to it repeatedly. It’s one of those songs that goes beyond other songs…It is truly a pop-rock symphony. I was amazed that I never heard this before.

Overnight Sensation (Hit Record) is an epic, ambitious, grand, lofty, extravagant, and brilliant song from the Raspberries. They were swinging for the fences when they made this song and they hit it out of the park. It’s on the album Starting Over released in 1974.

Put some headphones on and listen to this completely to the very end… When I hear it, I think this is what it would sound like if The Who, Beach Boys, and Beatles made a song together…this would be it. Musically you have a little of everything. Sliding bass lines, tasteful guitar licks, great vocals, a sax solo that gives way to more lyrics as the song morphs into an AM radio sound… and then comes a solo piano.

Stay until the very end because they dupe you into a fake ending and the drums will come in as if the world is going to end. Then… a Beach Boys final huge crescendo wave will wash over you like a warm summer moonlit night. It’s a wall of sound of ecstasy that you wish would go on forever.

The song is about trying to make it in the music business. It’s Eric Carmen singing with desperation wanting a hit record on the radio. After this album, the Raspberries were no more. This was Eric Carmen at his absolute best before he went solo and became an ordinary pop singer. He would never try anything this ambitious again.

Certain songs we all know are timeless. In a perfect world this one deserves to be on that list. I don’t use the word masterpiece a lot but I would consider this song one. The musical arrangement is second to none in terms of arrangement, production, and harmonies.

Although “Go All The Way” was their big hit of their career…this one is in a different league and they never equaled it. Most people don’t know this song and it’s a musical injustice. I only hope more people discover it.

The three best power pop bands of the early to mid-seventies were Big Star, Badfinger, and The Raspberries. Badfinger were the most successful (and they paid dearly for it), Big Star wasn’t even known, and The Raspberries had one top ten hit with few very good minor ones. All three of these bands were too rock for pop radio and too pop for rock radio…in varying degrees they fell into the cracks of history… none of them had long careers.

John Lennon was said to be a fan of the group. He was producing Nilsson’s Pussycats at the same time The Raspberries were making this album at the Record Plant. John supposedly was blown away by Overnight Sensation.

The song peaked at #18 in the Billboard 100 and #22 in Canada in 1974.

Overnight Sensation (Hit Record)
Well I know it sounds funny
But I’m not in it for the money, no
I don’t need no reputation
And I’m not in it for the show

I just want a hit record, yeah
Wanna hear it on the radio
Want a big hit record, yeah
One that everybody’s got to know

Well if the program director don’t pull it
It’s time to get back the bullet
So bring the group down to the station
You’re gonna be an overnight sensation

I’ve been tryin’ to write the lyric
Non-offensive but satiric too
And if you put it in the A-slot
It’s just got to make a mint for you

I fit those words to a good melody
Amazing how success has been ignoring me
So long
I use my bread making demos all day
Writing in the night while in my head I hear
The record play
Hear it play

Hit record, yeah
Wanna hit record, yeah
Wanna hit record, yeah (number one)

Twilight Zone – The Night of the Meek

★★★★★ December 23, 1960 Season 2 Episode 11

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

This one is a sentimental, touching, and timeless, episode of the Twilight Zone. I watch this every year around Christmas. One of the reasons Rod Serling wrote this episode is to see Art Carney play Santa Claus. This is a genuinely funny episode, with the humor feeling natural and enhancing the characters. There are no big laughs but rather many great moments.

John Fiedler plays Mr. Dundee does a great job and has good comedic moments with Robert P. Lieb who plays Flaherty. Fielder would appear on the Bob Newhart Show later on in the seventies. It was taped just three weeks before Christmas, it had a special effect on the cast and crew, and especially on the many children on the set. Production assistant Lillian Gallo later said there were more children performing on that show as extras than on the other tape shows, and she remembers their excitement and their joy. Sometimes, it was difficult for them to contain themselves during the times that you have to be quiet during the show.

One sour viewer was so enraged at the blasphemy of presenting a drunk as Santa Claus that he sent outraged letters to Serling, the network, and several newspapers.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

This is Mr. Henry Corwin, normally unemployed, who once a year takes the lead role in the uniquely popular American institution, that of the department-store Santa Claus in a road-company version of ‘The Night Before Christmas’. But in just a moment Mr. Henry Corwin, ersatz Santa Claus, will enter a strange kind of North Pole which is one part the wondrous spirit of Christmas and one part the magic that can only be found… in the Twilight Zone.

Summary

Henry Corwin is a down and outer who is normally unemployed and who definitely drinks too much. Every year he works as a department store Santa Claus. This year however, he’s spent just a little too much time in the bar and is quite drunk by the time he shows up for work. He’s fired of course and deeply regrets what he’s done. In fact, Henry has a big heart and worries not only about the children he’s disappointed at the store but about all of those children who will not get what they’ve asked for Christmas. When he comes across a large bag of gifts, everything changes for the kids and for himself as well.

Rod Serling’s Closing Narration:

A word to the wise to all the children of the twentieth century, whether their concern be pediatrics or geriatrics, whether they crawl on hands and knees and wear diapers or walk with a cane and comb their beards. There’s a wondrous magic to Christmas and there’s a special power reserved for little people. In short, there’s nothing mightier than the meek. And a Merry Christmas to each and all.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Art Carney … Henry Corwin
John Fiedler … Mr. Dundee
Robert P. Lieb … Flaherty
Val Avery … The Bartender
Meg Wyllie … Sister Florence
Kay Cousins Johnson … Irate Mother (as Kay Cousins)
Burt Mustin … Old Man
Steve Carruthers … Bar Patron (uncredited)
Andrea Darvi … Kid with Santa (uncredited)
Jimmy Garrett … Street Child (uncredited)
Larrian Gillespie … Elf (uncredited)
Jack Kenny … Man in Mission (uncredited)
Caryl Lincoln … Store Customer (uncredited)
Mathew McCue … Man in Mission (uncredited)
Frank Mills … Man in Mission (uncredited)
Mike Morelli … Man in Mission (uncredited)
Nan Peterson … Blonde in Bar (uncredited)
Ray Spiker … Man in Mission (uncredited)
Glen Walters … Store Customer (uncredited)

…

Widespread Panic – Up All Night

Widespread Panic are more known as a jam band who will change tempos and direction when playing live. They remind me of the Allman Brothers Band and The Grateful Dead.

Widespread Panic was formed in the small college town Athens, GA in the mid-1980s. John Bell (guitar, vocals), Michael Houser (guitar) and Dave Schools (bass) all got together with the dream of playing in a rock band, where they experimented with many musicians to find the right fit.

Later on they met Todd Nance (drums), where they officially became a “band” in 1987. Down the road, they would link up with John Jojo Hermann (keyboards) in 1992, and Domingo “Sunny” Ortiz (percussion). Today, Jimmy Herring fills the shoes of the late Mikey Houser on lead guitar, and Duane Trucks, Butch Trucks nephew, has taken reins on the drum kit.

This song was on the Free Somehow album released in 2007.

Up All Night

Well I can’t sleep
I’ve been up all night
Life here in Savanna the day street moan
And that wet smell of sulfur from the cobblestone
I’ve been up all night
Been up all night
And I dream of heaven and I feel like hell
The children in their church clothes Sunday morning bells
And my head is spinning and taking a toll
Been up all night
Been up all night
(Up all night, up all night)
The best thing about New Years is the Christmas lights
Hiding in the day, exposed at night
Sunrise not sunset Georgia sky
I’ve been up all night
We’ve been out all night
I’ve been out all night
Up all night
We’ve been up all night
Been up all night
Been up all night

Bachman Turner Overdrive – Let It Ride

Canadian Bachman Turner Overdrive was one of those bands in the early to mid seventies that just kept pumping out hits.

Randy Bachman and Fred Turner of Bachman-Turner Overdrive got the idea for this song when they were driving to a gig in New Orleans.

They were driving on a highway when a few truckers decided to have some fun with the musicians, who were riding in the little van from Canada. The truckers boxed them in and slowed down to a crawl. When they finally turned into a truck stop, Randy and Fred followed them with the intent of giving them a good talking to…but when they met up with the trucker Randy said “The trucker looked like a Volkswagen with a head.” The truckers had a good laugh and told the band that they needed to learn to “Let it ride.”

Bachman and Turner had never heard that expression before, but they liked the sound of it: it meant to just relax and not let things upset you. When they got to New Orleans, they wrote the song in their dressing room.

The song was on their album Bachman–Turner Overdrive II released in 1973. The album peaked at #6 in Canada and #3 in the Billboard Album Chart.

The song peaked at #2 in Canada and #23 in the Billboard 100.

Songfacts

The distinctive guitar riff in this song is something Randy Bachman came up with after listening to a classical piece by Antonin Dvorak called “Piano Concerto in D.” He transposed a chord progression he heard in the piece to guitar, which sounded great.

Bachman believes that pretty much any piece of modern music is based on something that came before. When we spoke with him in 2014, he said: “You’ve got to get them, reshape them, and hopefully they are reshaped enough that you can call it original.”

All of the background vocals were sung by Fred Turner, which caused a flanging effect that Randy Bachman liked.

Does this song’s intro sound similar to that of “Long Train Runnin'” by the Doobie Brothers? Randy Bachman thinks so. He says that the Doobie Brothers were sharing a dressing room with him and Fred Turner the night they came up with “Let It Ride,” and the Doobies nicked the riff for their song.

Let It Ride

Good bye, hard life
Don’t cry would you let it ride?
Good bye, hard life
Don’t cry would you let it ride?

You can’t see the mornin’, but I can see the light
Try, try, try let it ride
While you’ve been out runnin’ I’ve been waitin’ half the night
Try, try, try let it ride

And would you cry if I told you that I lied and would you say goodbye or
Would you let it ride?
And would you cry if I told you that I lied
And would you say goodbye or would you let it ride?

Seems my life is not complete I never see you smile
Try, try, try let it ride
Baby you want the forgivin’ kind and that’s just not my style
Try, try, try let it ride

And would you cry if I told you that I lied and would you say goodbye or
Would you let it ride?
And would you cry if I told you that I lied
And would you say goodbye or would you let it ride?

I’ve been doin’ things worthwhile, you’ve been bookin’ time
Try, try, try let it ride

And would you cry if I told you that I lied and would you say goodbye or
Would you let it ride?
And would you cry if I told you that I lied
And would you say goodbye or would you let it ride?

Would you let it ride
Would you let it ride
Would you let it ride
Would you let it ride

Try, try, try let it ride
Try, try, try let it ride
Try, try, try let it ride
Try, try, try let it ride

Try, try, try let it ride
Would you let it ride?
Would you let it ride?
Would you let it ride?
Would you let it ride?

…

Twilight Zone – A Most Unusual Camera

★★★1/2 December 10, 1961 Season 2 Episode 10

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

This is a somewhat humorous episode and then it slides toward darkness. Jean Carson plays Paula Diedrich. Jean was probably best known as the gravelly voiced “fun girl” from The Andy Griffith Show. You have some small time crooks who steal what they thought was a useless camera. This camera can show 5 minutes into the future. They are none too bright but they don’t seem mean until…until there is money involved.

Personally I thought the ending was a little forced and hurried… but I did like the idea about the camera. This is one of the very few episodes that could have benefitted from a one hour format.

The inscribed plate on the front of the camera reads “Dix å la propriétaire”, which translates in English as “Ten per owner”, i.e. ten photographs per owner.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

A hotel suite that, in this instance, serves as a den of crime, the aftermath of a rather minor event to be noted on a police blotter, an insurance claim, perhaps a three-inch box on page twelve of the evening paper. Small addenda to be added to the list of the loot: a camera, a most unimposing addition to the flotsam and jetsam that it came with, hardly worth mentioning really, because cameras are cameras, some expensive, some purchasable at five-and-dime stores. But this camera, this one’s unusual because in just a moment we’ll watch it inject itself into the destinies of three people. It happens to be a fact that the pictures that it takes can only be developed in The Twilight Zone.

Summary

Married couple Chester and Paula have broken into and robbed a curio shop, hoping to sell the loot for a handsome sum of money. Unfortunately, all of it turns out to be junk or fakes. All, that is, save for a mysterious camera. When they try taking a picture, it turns out to be from five minutes into the future. Soon Paula’s brother Woodward joins them and the three decide to use the camera at a horse track to win big.

Rod Serling’s Closing Narration:

Object known as a camera, vintage uncertain, origin unknown. But for the greedy, the avaricious, the fleet of foot, who can run a four-minute mile so long as they’re chasing a fast buck, it makes believe that it’s an ally, but it isn’t at all. It’s a beckoning come-on for a quick walk around the block—in The Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Fred Clark … Chester Dietrich
Jean Carson … Paula Diedrich
Adam Williams … Woodward
Marcel Hillaire … Pierre – Waiter
Franklyn Farnum … Man at Racetrack (uncredited)
Art Lewis … Racetrack Tout (uncredited)
Tony Regan … Man at Racetrack (uncredited)

…

Delbert McClinton – Shaky Ground

This song slips into a groove and stays there. Ever since I heard Giving It Up For Your Love I’ve liked Delbert McClinton.

He is from Lubbock, Texas…and he witnessed, and even influenced, some of the most pivotal moments in modern music history. He was around at the birth of rock & roll, saw firsthand the raw beginnings of the British Invasion, and helped establish Austin as a music mecca in the 1970s, all before turning 40.

He became great on harmonica, and that proved McClinton’s ticket to success. He played the lead on Bruce Channel’s 1962 pop single “Hey! Baby. It went to number one. He then befriended a young John Lennon when the Beatles were opening for Channel and gave him some pointers on the instrument.

He led the house bands for bluesmen Jimmy Reed, Muddy Waters, and others in desegregated Texas clubs that served as a big influence in his career. He is respected by pretty much everyone in the music business.

In the seventies he started to play in Austin and helped establish Austin’s blues scene. This song was on his album The Jealous Kind released in 1980. It was written by Jeffrey Bowen, Alphonso Boyd, and Eddie Hazel for the Temptations in 1975.

From Wiki: McClinton has earned four Grammy Awards; 1992 Rock Performance by a Duo with Bonnie Raitt for “Good Man, Good Woman”; 2002 Contemporary Blues Album for Nothing Personal; 2006 Best Contemporary Blues Album for Cost of Living, and 2020 Best Traditional Blues Album for Tall, Dark, & Handsome. He has been nominated for eight Grammy Awards as of 2020.

Delbert McClinton: In the mid-1970s, Austin was happening. I was playing down there a lot, and we were tired of Nashville. We packed up and moved. Austin had this scene going that worked for us. People wanted to hear original music. Hippies and cowboys came out to hear the same bands. And everyone got along.

Shaky Ground

Lady Luck and four leaf clovers
Won’t ease this hurt I feel all over
My life was one special occasion
‘Til your leavin’ left me this situation

I’m standin’ on Shaky Ground
Ever since you put me down
I’m standin’ on Shaky Ground
Ever since you put me down

My car got repossessed this morning
Harder times I haven’t seen in years
Girl, you better throw me a life preserver
‘Cause I’m about to drown in my own tears

I’m standin’ on Shaky Ground
Ever since you put me down
I’m standin’ on Shaky Ground
Ever since you put me down

…