Power Pop fan, Baseball, Beatles, Alternative music, old movies, and tv show fan. Also anything to do with pop culture in the 60s and 70s... I'm also a songwriter, bass and guitar player. Not the slightest bit interested in politics at all.
I have heard mostly the 90s music from this band…I recently found this album from 1987 and love it. They formed in 1982 in Glasgow Scotland and are still together today. The only original member left is lead singer Bobby Gillespie. They have shifted in sound through the years. This song was during their power pop period.
This song was on the Sonic Flower Groove album released in 1987. It was met with mixed to bad reviews at the time. The bad reviews caused internal strife within the band. Two members Jim Beattie and Gavin Skinner subsequently resigned. The band then changed directions and shifted to a more rock sound. In the mid-eighties a Byrds sound was not exactly the height of popularity but it would start taking off with bands like REM soon after.
I love the jangling guitar and the overall sound of the song and album. This song, Imperial, Treasure Trip, and many more make this a very good album to me.
Most reviewers now look back on the album with praise. It charted at #62 in the UK charts in 1987. Gentle Tuesday peaked at #87 in the UK charts in 1987.
Gentle Tuesday
Shadow masking matters Can’t conceal the way you really feel It doesn’t fit our souls exist That of they asked me how it is
New morning dew for you Sweet honey hips your lips Hold spells when cast they dwell Like magic in your kiss
Confusion colours cruel designs Unhappy girl, you’re out of time
Gentle Tuesday Sad and lonely eyes Gentle tuesday See yourself tonight
Memories as fat as bees Presents a mess of poison tears A word unkind that tricks our minds We really warned before your time
Happiness, nothing less A universal way Bad seeds but fruit are sweet You choke on empty days Confusion colours cruel designs Unhappy girl you’re out of time
I’ve always liked the Smithereens. They managed to breakthrough to the mainstream with this song and a few more.
Smithereens guitarist and singer Pat DiNizio wrote this as the theme song for the motion picture Say Anything, but DiNizio ultimately withheld the song from the project after he and the film’s producer disagreed on making certain changes to the song. The producer thought it gave away to much of the plot so DiNizio kept it for their next album.
Madonna was originally going to sing the harmony vocals, but failed to show up for the recording session. So the band got Maria Vidal to do the vocals.
This song peaked at #38 in the Billboard 100 and #62 in Canada. It also peaked at #2 in the Mainstream Rock Tracks in 1989. The song was on their third studio album named 11. The album peaked at #11 in the Billboard 100.
The band’s name comes from a Yosemite Sam catchphrase, Varmint, I’m a-gonna blow you to smithereens! They have worked numerous musicians, both in the studio…Belinda Carlisle, Julian Lennon, Lou Reed, Suzanne Vega… and live Graham Parker and The Kinks.
I used to travel in the shadows And I never found the nerve to try and walk up to you But now I am a man and I know that there’s no time to waste There’s too much to lose Girl, you say anything at all, and you know that you can call And I’ll be right there for you First love, heartbreak, tough luck, big mistake What else can you do
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you
People talk and people stare, tell them I don’t really care This is the place I should be And if they think it’s really strange for a girl like you To be in love with someone like me I want to tell them all to go to hell That we’re doing very well without them you see That’s just the way it is and they will see I am yours and you are mine, the way it should be
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you A girl like you, oh yeah
(Go!)
Now if I seem a little wild, there’s no holding back I’m trying to get a message to you I won’t take anything from anyone I won’t walk and I won’t run, I believe in you London, Washington, anywhere you are I’ll run Together we’ll be Inside, outside, got my pride I won’t let ’em take you from me
I’ll say anything you want to hear I’ll see everything through I’ll do anything I have to do Just to win the love of a girl like you, a girl like you A girl like you, a girl like you A girl like you, a girl like you, oh yeah
I’ll say anything (I’ll say anything) I’ll take anything (I’ll take anything) I’ll say anything, almost anything Except goodbye I’ll say anything (I’ll say anything) I’ll take anything (I’ll take anything) I’ll say anything, almost anything Except goodbye
It’s so strange because of my age I remember Agnes Moorehead primarily as the Bewitched mother in law Endora. She was a great actress and was in Orson Welle’s stock company long before she was a sitcom star. She stars in this Twilight Zone and does a one woman show with a little help from special effects. I can’t say enough about her acting in this. She plays an old lonely woman and creates all of the suspense and drama to this episode. It’s worth it just to see her work at her craft.
This one is a Twilight Zone classic. The only complaint I’ve heard about this episode is that the special effects could have been a little better. The effects get the point across with no problem…so I see no problem and the episode is great.
When Agnes Moorehead learned she had no dialogue in this episode, she initially refused to do it. Rod Serling and director Douglas Heyes convinced her. Moorhead’s solo performance drew on the mime skills she had developed when, as a young actress, she studied with legendary pantomime artist Marcel Marceau in Paris.
As in other episodes, this one uses the United Planets Cruiser C57D spacecraft from Forbidden Planet , both of which were produced by MGM.
This show was written by Richard Matheson and Rod Serling
Rod Serling’s Opening Narration:
This is one of the out-of-the-way places, the unvisited places, bleak, wasted, dying. This is a farmhouse, handmade, crude, a house without electricity or gas, a house untouched by progress. This is the woman who lives in the house, a woman who’s been alone for many years, a strong, simple woman whose only problem up until this moment has been that of acquiring enough food to eat, a woman about to face terror, which is even now coming at her from – the Twilight Zone.
Summary
An old woman who lives alone in a ramshackle farm house comes face to face with alien invaders. She hears something on her roof and then finds a flying saucer, perhaps six or seven feet across from which emerges two small robots. She fights them as best she can and eventually succeeds in destroying their ship. The nature of the invaders however is not immediately obvious however.
Rod Serling’s Closing Narration:
These are the invaders, the tiny beings from the tiny place called Earth, who would take the giant step across the sky to the question marks that sparkle and beckon from the vastness of the universe only to be imagined. The invaders…who found out that a one-way ticket to the stars beyond has the ultimate price tag…and we have just seen it entered in a ledger that covers all the transactions in the universe…a bill stamped “Paid in Full” and to be found unfiled in the Twilight Zone.
I have to thank Christian (Christian’s Music Musings) for introducing me to this band and to this song in particular. They resemble some of the roots revival bands I’ve been listening to from the 80s. This small band is a lot of fun.
The band is from Brown County, Indiana. The band consists of The Reverend Peyton, “Washboard” Breezy Peyton, and Max Senteney the drummer. Peyton’s guitar playing is spot on. He uses finger picks to play and also holds the bottom end since they don’t have a bass player. When I saw this video on Christian’s site I went to youtube and got lost in their many songs. They are worth a trip down the youtube rabbit hole. The band can hold a groove and he is an excellent guitar player.
Josh “The Reverend” Peyton first influences were his dad’s records such as Neil Young, Jimi Hendrix, and Bob Dylan. He eventually tried to learn the finger-picking style of artists like Charlie Patton. At the time Peyton was unable to master it, instead playing more pick-oriented blues.
Him and “Washboard” Breezy Peyton were married in 2003 and have been touring ever since. The band has had success…per Wiki: The band released The Front Porch Sessions on March 10, 2017 on the Thirty Tigers label, debuting at #1 on the iTunes Blues chart, and #2 on the Billboard Blues chart
They recorded this album on analog tape which I give a thumbs up to. Dance Songs For Hard Times, was released on April 9, 2021. This is their 10th album.
Reverend Peyton: “I was thinking about all the times where I’ve been somewhere and felt too cool to dance,” “I didn’t want to be that way. Not being able to do anything last year, I had this feeling of, ‘Man, I’m not going to waste any moment like this in my life – ever.’ ”
Too Cool To Dance
I been dreaming about a night like this I been dreaming about your sweet kiss But it won’t happen if we ain’t on the floor And it don’t matter what them folks say They gonna talk some anyway The time is right now What are we waiting for?
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
The stars are high above so bright And the song is hitting us just right It may never be this good again It’s rough outside but not in here They’re all fake but we’re sincere And pretty soon this old song will end
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
We may not get another chance Please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
We may not get another chance Oh, please don’t tell me You’re too cool to dance Our gift tonight is the circumstance Please don’t tell me You’re too cool to dance
Oh please don’t tell me You’re too cool to dance Please don’t tell me You’re too cool to dance
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
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?
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)
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
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)
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.
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 with me I can’t seem to turn your head Baby what’s wrong with me I’m always going home
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
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)
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.
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)
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)
PowerPop... An Eclectic Collection of Pop Culture 