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 didn’t hear this song until I heard it on car commercial. It took me a while to track it down. This band was on the alternative club circuit in the early 80s. Their name was not inspired by William Faulkner’s 1935 novel of the same name as some believe. They were inspired by traffic cones… as simple as that. Bassist Michael Lachowski has said “we chose Pylon because it is severe, industrial, monolithic, functional.”
They were four art students at the University of Georgia in Athens in 1979. Guitarist Randall Bewley and bass guitarist Michael Lachowski began playing music and attempting to form a band in 1978. Neither one of them knew how to play but they started to learn. Drummer Curtis Crowe and vocalist Vanessa Briscoe soon joined.
This song was released in 1979 as a single with “Dub” on the B side.
Mills has said the REM song A Month of Sundays was inspired by them… “I was thinking Pylon when I wrote it, so it’s my tribute to Randy Bewley.” Richard Bewley was Pylon’s guitar player.
They would go on to open for bands like REM, U2, and the B-52s,
When Rolling Stone named R.E.M. “America’s Best Band” in December 1987, R.E.M. drummer Bill Berry said, “We’re not the best rock ‘n’ roll band in America”, declaring that Pylon was instead the best.
The band broke up in 1983 deciding to end it while it was still fun.
Vanessa Briscoe on the breakup in 1983: Let’s just quit while we’re having fun.’ That was kind of the idea in the first place. We were just going to perform as long as it was fun. So we broke up and it was a decision we all made together. We accomplished what we set out to do… It’s not that we are miserable, it’s just that we’ve seen all we’re going to see and don’t want to put any more time into it”
They reformed in 1990 when a complication album came out of their music from 1979-1983.
Cool
Pure form Real gone Like wild Good vibes
Everything is cool
There are these forms I like to watch There are these shapes which talk to me
I love forms, and forms love me The more you look, the more you see
This episode is one of the light hearted Twilight Zones. Some TZ reviewers have a problem with them but I never have…although I would not rate them as the best. Mr. Bevis played by Orson Bean is an oddball but in 2021 he would probably be considered a hipster. He seems to be happy with his lot in life despite his struggles.
He is given a chance at success by his all business like guardian angel J. Hardy Hempstead played by the character actor Henry Jones. Mr. Bevis will find out that with success comes responsibilities. Are physical comforts and security worth losing yourself over? Personally I think you can have both and we will see what Mr. Bevis will do. The episode borrows a portion from It’s A Wonderful Life.
This episode served as a pilot for a spin-off series where Burgess Meredith was to play Bevis, but the series was not ordered once Rod Serling learned he declined the role.
This episode features 4 prolific and noticeable character actors in the history of TV and motion pictures. According to IMDB, Henry Jones, William Schallert, Charles Lane and Vito Scotti combined have a total of 1200 acting credits.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
In the parlance of the twentieth century, this is an oddball. His name is James B. W. Bevis, and his tastes lean toward stuffed animals, zither music, professional football, Charles Dickens, moose heads, carnivals, dogs, children, and young ladies. Mr. Bevis is accident prone, a little vague, a little discombuberated, with a life that possesses all the security of a floating crap game. But this can be said of our Mr. Bevis: without him, without his warmth, without his kindness, the world would be a considerably poorer place, albeit perhaps a little saner…Should it not be obvious by now, James B. W. Bevis is a fixture in his own private, optimistic, hopeful little world, a world which has long ceased being surprised by him. James B. W. Bevis, on whom Dame Fortune will shortly turn her back, but not before she gives him a paste in the mouth. Mr. James B. W. Bevis, just one block away from The Twilight Zone.
Summary
James B.W. Bevis is, by almost any definition, eccentric. He drives a car that once was Henry Ford’s dream, he likes zither music and makes model ships. He’s a bookkeeper by profession and his desk at work is always cluttered. He likes to bring in children at Christmas-time to sing carols. It all leads to him being fired. While drowning his sorrows at a nearby bar, he meets none other than his guardian angel who shows him that life can be considerably different for him if he wishes it….but is he prepared to make the changes necessary to obtain that lifestyle?
***Note…this is not a great clip and doesn’t tell you a lot but on youtube it’s hard to get a decent clip of the TZ because of a strong copyright hold by CBS I would presume.
Rod Serling’s Closing Narration:
Mr. James B. W. Bevis, who believes in a magic all his own. The magic of a child’s smile, the magic of liking and being liked, the strange and wondrous mysticism that is the simple act of living. Mr. James B. W. Bevis, species of twentieth-century male, who has his own private and special Twilight Zone.
CAST
Rod Serling … Narrator (voice)
Orson Bean … James B.W. Bevis
Henry Jones … J. Hardy Hempstead
Charles Lane … Mr. Peckinpaugh
Horace McMahon … Bartender
William Schallert … Policeman at Accident
Florence MacMichael … Margaret
Dorothy Neumann … Landlady
Vito Scotti … Peddler
House Peters Jr. … Policeman Writing Ticket
Colleen O’Sullivan … Michelle (as Coleen O’Sullivan)
Timmy Cletro … Boy
When I heard the organ in this song it hooked me. I haven’t posted much of Costello partly because like the Replacements…I got sidetracked in the late 80s away from him and since I started blogging I’m rediscovering him again.
I was 10 years old walking in our old drug store and I heard this artist I never heard before over the speakers…the song they were playing was Alison. The drug store sold records also and they had Elvis’s debut album propped up for viewing. The name threw me because this “Elvis” was a small skinny guy with glasses…that is when I found his music.
Radio Radio was made more famous by the Saturday Night Life performance.
Radio Radio was released as a single in 1978 and peaked at #29 in the UK. It was on the US version of the album This Year’s Model and it peaked at #30 in the Billboard Album Charts, #21 in Canada, and #4 in the UK.
Costello was slated to play his current UK single “Less Than Zero,” on Saturday Night Live in 1977. Costello launched into a few bars of “Less Than Zero,” but then turned to his band and told them to stop. He then apologized to the live audience, saying, “I’m sorry, ladies and gentlemen, but there’s no reason to do this song here,” and broke into a full rendition of “Radio Radio,” which had not yet been released.
Lorne Michaels…the God of Saturday Night Live was not pleased.
Costello was banned from Saturday Night Live. It has been said that the corporate brass at NBC (which owned radio properties) objected to the lyrics of “Radio Radio,” but others say it was because Costello went off-script, which was a no no to Lorne Michaels. That was one rule Michaels wanted the cast to know…they were not the Carol Burnett show and they were not to go off script or laugh.
Costello later claimed he was inspired by Jimi Hendrix, who in 1969 stopped a performance of “Hey Joe” on the show Happening for Lulu and launched into the Cream song “Sunshine Of Your Love,” earning him a ban from the BBC.
On Saturday Night Live’s 25th anniversary show in 1999, Costello parodied the incident when he interrupted the Beastie Boys while they were playing “Sabotage,” leading them in a full version of “Radio Radio.”
Elvis Costello:“Before I got into show business, I thought radio was great, So I wrote a song about celebrating it – the thrill of listening to it late at night. This was my imaginary song about radio before I found out how foul and twisted it was.”
From Songfacts
In this song, Costello is protesting the commercialization of late 1970s FM radio. Radio stations would become more and more consolidated over the years, and their playlists tightened up considerably. Eventually, deregulation led to a few companies owning the majority of American radio stations, which led to automated stations. Tom Petty sang about this on his 2002 track “The Last DJ.”
This song is a takedown of radio, but it started out as a loving tribute. Costello wrote the first version of the song as “Radio Soul” when he was in a band called Flip City. They recorded a demo in 1974, but the song was never released.
In “Radio Soul,” Costello sings lovingly about radio, without any trace of vitriol:
I could sail away to the songs that play upon that radio soul
Radio soul
It’s a sound salvation
When he reworked the song in 1977, he changed the title and completely flipped the meaning, reflecting his newfound take on the topic.
On December 17, 1977, Elvis Costello & the Attractions appeared on Saturday Night Live as last minute replacements for the Sex Pistols, whose various criminal records had made getting visas in time difficult.
Costello’s ban was lifted in 1989 when he returned as musical guest, performing “Veronica” and “Let Him Dangle” without incident. His 1977 act of defiance became part of Saturday Night Live lore, and is often recounted in retrospectives of the show’s history.
Bruce Springsteen was an influence on this song, musically and lyrically. The Springsteen ethos is more apparent in the “Radio Soul” version, with the theme of escaping to a better place through the power of music.
In the ’10s, Costello started performing the “Radio Soul” version of this song, explaining that it resonates with him far more than “Radio Radio.” He has clearly mellowed out.
Costello performed the early version of this song, “Radio Soul,” at the Apple iTunes Radio announcement event on September 10, 2013. Introducing the song, he explained that radio was very important to him, since his father was singer for a radio dance band.
The 1999 SNL return and parody of the original event.
The 1977 SNL infamous appearance
Radio Radio
I was tuning in the shine on the late night dial Doing anything my radio advised With every one of those late night stations Playing songs bringing tears to my eyes I was seriously thinking about hiding the receiver When the switch broke ’cause it’s old They’re saying things that I can hardly believe They really think we’re getting out of control
Radio is a sound salvation Radio is cleaning up the nation They say you better listen to the voice of reason But they don’t give you any choice ’cause they think that it’s treason So you had better do as you are told You better listen to the radio
I wanna bite the hand that feeds me I wanna bite that hand so badly I want to make them wish they’d never seen me
Some of my friends sit around every evening And they worry about the times ahead But everybody else is overwhelmed by indifference And the promise of an early bed You either shut up or get cut up, they don’t wanna hear about it It’s only inches on the reel-to-reel And the radio is in the hands of such a lot of fools Tryin’ to anesthetize the way that you feel
Radio is a sound salvation Radio is cleaning up the nation They say you better listen to the voice of reason But they don’t give you any choice ’cause they think that it’s treason So you had better do as you are told You better listen to the radio
Wonderful radio Marvelous radio Wonderful radio Radio, radio Radio, radio Radio, radio Radio, radio Radio, radio Radio, radio Radio, radio Radio, radio
Jack Klugman was a great character actor and he was always excellent in the four Twilight Zones that he was in. In this one he conveys depression, suicidal behavior, and alcoholism.
This is a touching episode that works well. It shines the spotlight on a down on his luck alcoholic trumpet player…and this visit in The Twilight Zone gives a chance for salvation if he takes it . This is not a scary, weird, or funny episode…it’s a well written story that works outside of the Twilight Zone.
John Anderson who plays the Angel Gabriel is believable as a jazz goatee wearing Gabriel. Rod Serling must have been a lover of jazz music because there are a few episodes that feature jazz players and he has the lingo down.
When Baron is talking to Joey in the alley, he compares him to three famous trumpeters of the big band era. Harry James was a trumpet playing band leader known for his technical proficiency as well as his tone. Max Kaminsky played with big bands like Tommy Dorsey and Artie Shaw, his style was full toned and economical in the style of Louis Armstrong. And Billy Butterfield played trumpet, flugelhorn, and coronet with Artie Shaw, Les Brown, and Benny Goodman.
Rod Serling’s Opening Narration:
Joey Crown, musician with an odd, intense face, whose life is a quest for impossible things like flowers in concrete or like trying to pluck a note of music out of the air and put it under glass to treasure…Joey Crown, musician with an odd, intense face, who, in a moment, will try to leave the Earth and discover the middle ground – the place we call The Twilight Zone.
Summary
Musician Joey Crown is down on his luck. An alcoholic, he can’t find work because no one trusts him. Broke, he hocks his trumpet but then steps in front of truck which knocks him onto the sidewalk. He awakens in a strange world where no one can see him and he presumes that he has died. He eventually bumps into someone who can in fact see him, a fellow horn player who tells him that it’s still within Joey’s power to decide on life or death.
Rod Serling’s Closing Narration:
Joey Crown, who makes music, and who discovered something about life; that it can be rich and rewarding and full of beauty, just like the music he played, if a person would only pause to look and to listen. Joey Crown, who got his clue in the Twilight Zone.
CAST
Rod Serling … Narrator (voice) Jack Klugman … Joey Crown John Anderson … Gabriel Frank Wolff … Baron Mary Webster … Nan James Flavin … Truck Driver Ned Glass … Pawnshop Man
How can you not like a band who counts Gram Parsons and Punk Rock as their biggest influences? They have a great raw sound. This American band was very successful in the UK in the mid 80s. They had a chance to break big but broke up before they took an offer from one of their label mates.
The Long Ryders were formed Thanksgiving 1981 in west Los Angeles, California and fell in with the ’80s Paisley Underground scene (Red on Green, the Bangles, the Dream Syndicate, the Rain Parade), and widely considered as one of the forerunners of the alt-country genre.
They made their debut with the EP 10-5-60 in 1983, which had a strong garage folk-rock sound. After that they released 3 studio albums in the 80s and then they released Psychedelic Country Soul in 2019 after numerous reunions.
In 1986 they were in Spain headlining the Barcelona festival to over 100,000 which was broadcast live on national radio. In Canada, the Toronto Daily Mail called them “the best thing to happen to roots rock since The Band.” Then in Italy they played eighteenth century opera houses and the press and rock critics loved them.
They built a dedicated following…especially in Europe. However band members Tom Stevens and Stephen McCarthy left the band in 1987 despite the offer of an opening spot on tour with Island Records labelmates U2. The Long Ryders then broke up.
They released their second album State of Our Union in 1985 and Looking For Lewis and Clark became their signature song. It was written by guitarist Sid Griffin. Griffin also wrote books on Gram Parsons, Bob Dylan, and Bluegrass music.
Looking for Lewis and Clark peaked at #2 in the UK Country Chart and #59 in the UK pop chart in 1985.
Looking For Lewis and Clark
I thought I saw some diplomat hawking secret plans in the park I thought I saw my President walking through Harlem late after dark In a world of love where they burn like Nero You write them a check and you then add zero In a world of love where they burn like Nero You write them a check and you then add zero Looking For Lewis And Clark
I was standing alone in Mabuhay Gardens (looking for Lewis and Clark!) I was thinking about the late Tim Hardin Well, when Tim get to heaven hope he told Gram About the Long Ryders and just who I am Yeah, no one gave Tim reason to believe So he just packed his bags to leave
Looking for Lewis and Clark Looking for Lewis and Clark Looking for Lewis and Clark
I thought I saw my government running away with my heart I thought I heard Mubute anthems in Johannesburg after dark You can find them in the yellow pages, baby That’s where you get your kickbacks from the Navy Looking for Lewis and Clark Looking for Lewis and Clark Looking for Lewis and Clark
I said a Louie-Louie Lou… Looking for Lewis and Clark Looking for Lewis and Clark Looking for Lewis and Clark
I got into XTC late into the game. I didn’t get to know them until they released I’m The Man Who Murdered Love. I liked this song right away because it has a nice power pop sound. The drums stand out on this song.
This song was XTC’s breakthrough single released in 1979. It was written by bassist Colin Moulding, who shared vocal and songwriting duties with guitarist Andy Partridge. It was on the third, breakthrough, album Drums And Wires.
The album peaked at #174 in the Billboard album charts, #15 in Canada, #34 in the UK, and #12 in New Zealand.
Making Plans For Nigel peaked at #12 in Canada, #17 in the UK, and #29 in New Zealand.
The lyrics are told from the point of view of parents who are certain that their son Nigel is happy in his work, affirming that his future in British Steel “is as good as sealed”, and that he “likes to speak and loves to be spoken to”. As a response to the song, British Steel reportedly gathered four Sheffield employees
named Nigel to talk about job satisfaction for the trade publication Steel News.
From Wiki: The first 20,000 pressings of the single came in a fold-out cover that created a fully playable gameboard of “Chutes and Ladders” adapted to details of Nigel’s “miserable life”, including the purchase of a scooter, job interviews, a holiday in Spain and an engagement to “a very nice girl.” There were two versions of the gameboard, one to be played by Nigel and the other to be played by his parents. As credited on the back cover, the illustrator was Steve Shotter and sleeve design was by Cooke Key.
Colin Moulding:
“Partly biographical, this one. My dad prompted me to write it. He wanted a university future for me and was very overpowering in trying to persuade me to get my hair cut and stay on at school. It got to the point where he almost tried to drag me down the barber’s shop by my hair. I know the song tells of a slightly different situation, but it all boils down to the same thing – parental domination.”
There were no Nigels at school. I wasn’t bullied, but I think I had a natural empathy for people that were. ‘Nigel’ was my song for the bullied, I suppose.
“British Steel was just a bit of naughtiness. What I hadn’t bargained on was the union boss later ringing me up and asking me to join the cause! I had the devil of a job to convince him it was an organization I chose at random.”
Andy Partridge:“Quite early on it had been decided that Making Plans For Nigel was going to be the single. We spent five times longer messing with that song than any of my tracks. At one point I was fuming because my songs were being ignored.”
From Songfacts
The Rembrandts, Primus and Robbie Williams all covered this.
This was covered by Nouvelle Vague, a bossa group, and included on a chillout compilation album known as Breakfast Club: Milan.
Andy Partridge told Uncut: “The things that sound like sheets of metal being struck, that’s a white noise patch on a monophonic Korg synth we had. We decided to do it with this industrial sound and glories, so it hinted that British Steel, which is where Nigel works.”
Making Plans For Nigel
We’re only making plans for Nigel We only want what’s best for him We’re only making plans for Nigel Nigel just needs this helping hand
And if young Nigel says he’s happy He must be happy He must be happy in his work We’re only making plans for Nigel
He has his future in a British steel We’re only making plans for Nigel Nigel’s whole future is as good as sealed And if young Nigel says he’s happy
He must be happy He must be happy in his work Nigel is not outspoken But he likes to speak
And loves to be spoken to Nigel is happy in his work We’re only making plans for Nigel
Lou Reed wrote this song for the album Loaded. This was the last Velvet Undergound album to feature Lou Reed.
Reed left the band right after the album Loaded was recorded. They were booked at Max’s Kansas City in New York City. August 23, 1970. Reed had played two sets when he simply left the stage, walked up to producer Sesnick, said, “I quit,” and walked out the back door, got into his parents’ car (they drove down from Long Island), and rode away. There was no drama or arguments.
Three months later the album was released and failed to chart. Other founding members Sterling Morrison and Maureen Tucker would leave in 1971 For this reason, it is often considered by fans to be the “last” Velvet Underground album.
In Reed’s 1971 interview with Lester Bangs for Creem magazine, Reed stated that the breakup wasn’t anybody’s fault, but just the way the music business is…he left because he wasn’t making any money, and felt that they’d never be successful.
The band also recorded this song in 1969, during their final weeks with the Verve label, but the well-known version appears on this album.
Lou Reed:“‘Rock and Roll’ is about me. If I hadn’t heard rock and roll on the radio, I would have had no idea there was life on this planet. Which would have been devastating – to think that everything, everywhere was like it was where I come from. That would have been profoundly discouraging. Movies didn’t do it for me. TV didn’t do it for me. It was the radio that did it.”
From Songfacts
Do remember that the album Loaded was supposed to have mainstream appeal. This song perhaps makes the definitive case that Lou Reed boxed in by executive meddling is not the same as Lou Reed given free rein to do whatever he wants by an avant-garde art house. Loaded is an album that divides fans.
Even though it is obviously tailored to mainstream appeal, Velvet Underground managed to slip a subversive edge around “Rock & Roll”: It inverts the standard three-chord progression and has five-bar verses with an especially laid-back approach to the lyrics. It’s done loose and lazy, perfect for the subject, but subtly averting it at the same time.
This looks like a good time to answer the question: What genre do The Velvet Underground belong in? Some say punk, some alternative, some experimental. It was all of those and none of those – Velvet Underground as it was originally formed would doubtless have had the same disdain of conventional labels as does Lemmy Kilmister of Motorhead fame (by the way, Lemmy says he identifies more with punk than metal). The most correct identity that is widely accepted is “protopunk” or “inspiration for punk.” While not having a punk sound as it is understood today, they did bring characteristics to rock music (an aggressive attitude, a rebellious spirit, anti-establishment ideas, and a deliberately crude and minimalist sound) which have since become the hallmarks of the punk genre. Punk rock, when it came along in the early 1970s, was about yelling “You think too much and you don’t get it!” at establishment rock (and likely following with “It’s all about the money to you anyway!”). The Velvet Underground had that idea early on, even if they expressed it as John Cale smashing a whole stack of china dishes instead of Johnny Rotten snarling “Anarchy in the UK!” So, we’ll endorse protopunk, not punk.
Alice Cooper recorded a heavy version for his 2021 Detroit Stories album. Alice told Apple Music he loves the “New York heroin chic” vibe of the Velvet Underground original, but for his cover, he thought, “What happens if we take this song to Detroit and put a V8 engine, and soup it up?”
Alice recruited for his version guitarists “honorary Detroiter” Joe Bonamassa, and Steve Hunter, who played with both Alice and Lou Reed in the 1970s.
Rock and Roll
Jenny said When she was just five years old There was nothing happening at all Every time she puts on a radio There was a nothin’ goin’ down at all, Not at all Then one fine mornin’ She puts on a New York station You know, she couldn’t believe What she heard at all She started dancin’ To that fine fine music You know her life Was saved by rock ‘n’ roll Despite all the amputations You know you could just go out And dance to a rock ‘n’ roll station
It was alright It was allright Hey baby, You know it was all right
Jenny said When she was just by five years old You know why parents gonna be the death of us all Two TV sets and two Cadillac cars – Well you know it ain’t gonna help Me at all Then one fine mornin’ She turns on a New York station She doesn’t believe What she hears at all Ooh, She started dancin’ To that fine fine music You know her life Is saved by rock ‘n’ roll, Despite all the computations You could just dance To a rock ‘n’ roll station
And baby it was alright And it was alright Hey it was alright Hey here she comes now! Jump! Jump!
This is another “be careful what you wish for” episode. This one starts off as one of the light hearted episodes but it’s the Twilight Zone… it turns dark near the end. The real star of this episode is John McIntire as Professor A. Daemon…the man who has any powder, liquid, or potion that you will need. When you are done with your need…he has an answer for that also. I love the warning that he gives Roger about the love potion and how Roger blissfully ignores the wise man.
This episode gives “glove cleaner” a whole new meaning.
The episode is not without it’s charm but it doesn’t cross over to a great one. The twist at the end is interesting.
This was the only first season episode that was not written by one of the Big Three (Rod Serling, Charles Beaumont, Richard Matheson).
The professor is named A. Daemon, a play on words for A Demon as evidenced by the outcome.
George Grizzard (Roger Shackleforth) wears the same smoking jacket worn by Rod Taylor (H. George Wells) in The Time Machine.
This show was written by Robert Presnell Jr. and John Collier
Rod Serling’s Opening Narration:
Mr. Roger Shackelforth. Age: youthful twenties. Occupation: being in love. Not just in love, but madly, passionately, illogically, miserably, all-consumingly in love – with a young woman named Leila, who has a vague recollection of his face and even less than a passing interest. In a moment, you’ll see a switch, because Mr. Roger Shackelforth, the young gentleman so much in love, will take a short, but very meaningful journey into the Twilight Zone.
Summary
Roger Shackleforth’s infatuated with Leila, a young woman who wants nothing to do with him. Whilst monopolizing a pay phone, someone waiting to make a call refers him to Professor A. Dæmon, a seller of books, notions and potions, who – the man says – can help Roger with his love problem.. Though the Professor tries to dissuade him, Roger happily buys the potion for $1, anyways. It most certainly works. But 6 months later, Roger returns to the Professor – to find a solution to his new problem…
Rod Serling’s Closing Narration:
Mr. Roger Shackelforth, who has discovered at this late date that love can be as sticky as a vat of molasses, as unpalatable as a hunk of spoiled yeast, and as all-consuming as a six-alarm fire in a bamboo and canvas tent. Case history of a lover boy, who should never have entered the Twilight Zone.
CAST
John McIntire … Prof. A. Daemon
Patricia Barry … Leila
George Grizzard … Roger Shackleforth
J. Pat O’Malley … Homburg
Marjorie Bennett… Old Woman
Barbara Perry … Blonde Woman
Rusty Wescoatt … Tall Man
Duane Grey … Bartender (uncredited)
Rod Serling … Narrator (voice) (uncredited)
I’ve been listening to this band for the last few days…they combine country with jangle pop on a lot their songs. This band came from Marietta, Georgia, a suburb of Atlanta, but they were often billed as being from Athens, Georgia and was lumped in with the other Athens acts.
The band formed in 1981 and disbanded in 1989. They reformed in 1997, but never recorded any new material. After going on hiatus in 2000, Guadalcanal Diary temporarily reunited for a second time in 2011 for Athfest, where they celebrated their 30th anniversary.
Still in high school, singer/guitarists Murray Attaway and Jeff Walls became musical partners when they joined the punk band Strictly American. Electing to strike out on their own, they formed Emergency Broadcast System. Walls was teaching Rhett Crowe bass at the time and she was asked to join the band. Crowe accepted the offer and quickly suggested a name change to Guadalcanal Diary (based on the 1940s movie).
Though he had no experience on the instrument (having previously played bass), Walls friend John Poe was added as drummer.
The band quickly became staples on the Athens and Atlanta club circuit, signed by Danny Brown’s Atlanta-based dB Records.
Watusi Rodeo was on Guadalcanal Diary’s debut album called Walking In The Shadow of The Big Man released in 1984. They were constantly being overshadowed by the successes other mid-’80s alternative jangle rock bands.
Watusi Rodeo
Come along with me to the Congo land Got a zebra by the tail and a python in my hand Once my home was a Texas plain But now I swing a lasso on an alien terrain
Hottentots and pygmies know where to go Everybody’s heading for the Watusi Rodeo
Cowboys are putting up a big fence around A sacred elephant burial ground Native women stomping up a flurry in the mud Villagers are looking for some cowboy blood
I guess they didn’t like them hats we made ’em wear They don’t look right on the native hair Don’t they know that it’s all for show All for showing at the Watusi Rodeo
Monkeys in the trees just thumbing their nose At the bull riders riding on rhinos Warriors standing with spears in the hands Wondering what’s next from a crazy white man
Natives are restless under these Stetsons What are these cowboys doing in the Congo Look like cows but they’re water buffaloes Ropin and a ridin in the Watusi Rodeo
Oh they look like cows but they’re water buffaloes Everybody’s heading for the Watusi Rodeo
Such a great band but such a frustrating story. Robyn Hitchcock remarked, “Big Star is like a letter that was mailed in 1972 but didn’t arrive until 1985.” That is a great way to explain them. They made three of the best albums of the decade that were not heard until much later. When they were finally discovered they influenced many artists such as The Replacements, REM, Cheap Trick, Matthew Sweet, and more. The last time I checked it was on Netflix…watch this documentary.
When these musicians and critics talk about Big Star…they talk about them like people talk about The Beatles, Rolling Stones, The Who, and The Kinks. In this documentary you have Cheap Trick, REM, Mitch Easter, Robyn Hitchcock, and others talking about the band.
The first album got great reviews…you couldn’t ask for better. When the label called radio stations trying to get them to play it…the stations would say it’s not selling. When someone actually heard the songs on the radio, they couldn’t find the record to buy it. This was basically the same story with all of the albums.
Distribution problems and just bad timing. Stax didn’t do a good job of distribution…they made a deal with Columbia before the second album to distribute the album…problem solved right? Nope, Clive Davis who made the deal was then fired at Columbia. The deal fell through and then Stax disintegrated.
Chris Bell who was key in creating the sound the band had quit after the first album. He came back but then quit again. Chris had depression problems and wanted badly to do something on his own. Alex Chilton continued and finished the second and third album with a new bass player on the third album.
After that, it follows Chris and Alex’s career to the end of both. It also covers Jim Dickinson’s role on the third experimental album. Family members, fans, and rock writers also share their love of Big Star and memories of the band members.
In May of 1973 Ardent Studios where Big Star recorded invited 100 rock writers down to Memphis to hear Big Star live. They all loved Big Star and it went over great…but that wasn’t the band’s problem…it was the business side. What would have happened if they would have signed with a label more suited to them?
Before watching this documentary, a couple of years back I didn’t realize Chris Bell was so instrumental in developing their sound. I knew it wasn’t the Alex Chilton band, but Chris was invaluable and started the ball rolling. All 4 members did contribute writing and singing but Chilton and Bell were the Lennon and McCartney of the group.
It’s a great documentary about a great band that had the talent, but fate wasn’t on their side.
There is the often-used Peter Buck quote that everyone who bought the first Velvet Underground album went out and started a band…the same is true with this band.
My recommendation? Watch it…NOW
Cast
Billy Altman … Self – Writer
Jon Auer … Self
Lester Bangs … Self (archive footage)
Chris Bell … Self (archive footage)
David Bell … Self – Chris Bell’s Brother
Norman Blake … Self
The Box Tops … Themselves (archive footage)
Panther Burns … Themselves (archive footage)
Cheap Trick … Themselves
Stephanie Chernikowski … Self – Photographer
Alex Chilton … Self (archive footage)
Rick Clark … Self – Writer and Musician
Stephen Ira Cohen … Self – U.S. Congressman (archive footage) (as Steve Cohen)
The Cramps … Themselves (archive footage)
John Dando … Self – Band Manager, Ardent Studios 1972-1975
Luther Dickinson … Self
Mary Lindsay Dickinson … Self
Steven Drozd … Self
Van Duren … Self – Musician
Mitch Easter … Self – Musician and Producer
Bruce Eaton … Self (voice) (archive footage)
William Eggleston … Self
Tav Falco … Self
John Fry … Self – Founder, Ardent Studios
John Hampton … Self – Engineer, Ardent Studios
Douglas Hart … Self – Bass, The Jesus and Mary Chain
Robyn Hitchcock … Self
Andy Hummel … Self (archive footage)
Ross Johnson … Self – Writer and Musician
Ira Kaplan … Self
Lenny Kaye … Self – Writer and Musician
John King … Self – Promotions, Ardent Studios 1972-1975
Curt Kirkwood … Self
John Lightman … Self
Carole Manning … Self – Ardent Studios 1972-1975
Mike Mills … Self
The Replacements The Replacements … Themselves (archive footage)
Steve Rhea … Self – Promotions, Ardent Studios 1972-1975
Will Rigby … Self – musician
Richard Rosebrough … Self – Engineer, Ardent Studios 1972-1975
Kliph Scurlock … Self
Tom Sheehan … Self – Photographer
Chris Stamey … Self – Musician and Producer
Big Star … Themselves
Jody Stephens … Self
Sara Stewart … Self – Chris Bell’s Sister
Michael Stipe … Self
Ken Stringfellow … Self
Matthew Sweet … Self
Alexis Taylor … Self
Marge Thrasher … Self – Hostess of Straight Talk (archive footage)
Jon Tiven … Self
Pete Tomlinson … Self – Writer
Jaan Uhelszki … Self – Writer (as Jaan Uhelzski)
Terry Edwards … Conductor, London (uncredited)
Love the sound of this song. It sounds like it could have come out of any decade. The guitar fills are wonderful. It’s a shame they didn’t have success in America but they were played on college radio stations.
Lloyd Cole wrote the lyrics and music to this song. He would write all the lyrics on the album and on a few songs would get some help with the music.
Perfect Skin was off of the album Rattlesnakes which peaked at #13 in the UK and New Zealand in 1984. The song peaked at #26 in the UK. NME included the album in its Top 100 Albums of All Time list, and the title track was later covered by the American singer Tori Amos.
The Welsh band Manic Street Preachers included the album amongst their top ten list.
They were active from 1984 through 1989 and released three albums and all of them made the top twenty in the UK. They had formed in Glasgow, Scotland in 1982…they broke up in 1989. Cole embarked on a solo career but the band reformed briefly in 2004 to perform a 20th anniversary mini-tour of the UK.
Lloyd Cole:Perfect Skin’s Louise wasn’t real, though. I’d read about Bob Dylan seducing women by writing songs for them, so I was showing off with words: “She’s got cheekbones like geometry and eyes like sin and she’s sexually enlightened by Cosmopolitan.” When I sing that live now, I go: “Who isn’t?”
Between 1983 and 84, we went from being a wimpy band who sounded like the Style Council to more of a rock band. When I wrote Are You Ready to Be Heartbroken? it made us realise what we could do. I took a Portastudio to my room in Glasgow Golf Club, where my parents worked and lived, and wrote Perfect Skin and Forest Fire. Not one song on Rattlesnakes was more than a year old when it was recorded.
Perfect Skin
I choose my friends only far too well I’m up on the pavement They’re all down in the cellar With their government grants and my IQ They brought me down to size Academia blues
Louise is a girl I know her well She’s up on the pavement Yes, she’s a weather girl And I’m staying up here so I may be undone She’s inappropriate but then she’s much more fun and
When she smiles my way My eyes go out in vain She’s got perfect skin
Shame on you, got no sense of grace Shame on me Just in case I might Come to a conclusion other than that which is absolutely necessary And that’s perfect skin
Louise is the girl with the perfect skin She says, “Turn on the light otherwise it can’t be seen” She’s got cheekbones like geometry and eyes like sin And she’s sexually enlightened by Cosmopolitan and
When she smiles my way My eyes go out in vain For her perfect skin Yeah, that’s perfect skin
She takes me down to the basement To look at her slides Of her family life Pretty weird at times At the age of ten she looked like Greta Garbo and I loved her then But how was she to know that
When she smiles my way My eyes go out in vain She’s got perfect skin
Up eight flights of stairs to her basement flat Pretty confused, huh? Being shipped around like that Seems to climb so high Now we’re down so low Strikes me the moral of the song Must be: there never has been one
This one is one of my favorites…it could have made my top ten. This one is very modern. James Daly plays Gart Williams who is pushed to the edge of a nervous breakdown by a boss who won’t let up and a wife who can’t get enough status symbols. Daly was great in this role… At some point all of us has felt like Gart Williams. A quote from Gart’s character while arguing with his wife: Some people aren’t built for competition, Janie, or big pretentious houses they can’t afford, or rich communities they don’t feel comfortable in, or country clubs they wear around their neck like a badge of status.
This one had a twist that I did not see coming. The transition to the last scene is brilliant. If Gart could see in the future he would see work tying employees to cell phones twenty four hours a day…”Push Push Push” would take on a whole new meaning.
This was Rod Serling’s first season favorite episode.
The train stations called out by the conductor on the 1960 train are real. At the time of the filming, stations such as “Stamford” and “Westport & Saugatuck” were stations on the New Haven Railroad. They continue to exist as of August 2015 as stations on the Metro North Railroad.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
This is Gart Williams, age thirty-eight, a man protected by a suit of armor all held together by one bolt. Just a moment ago, someone removed the bolt, and Mr. Williams’ protection fell away from him, and left him a naked target. He’s been cannonaded this afternoon by all the enemies of his life. His insecurity has shelled him, his sensitivity has straddled him with humiliation, his deep-rooted disquiet about his own worth has zeroed in on him, landed on target, and blown him apart. Mr. Gart Williams, ad agency exec, who in just a moment, will move into the Twilight Zone—in a desperate search for survival.
Summary
Ad agency executive Gart Williams has had a particularly rough day – his young protégé has left to work at another agency and took a $3-million account him. He falls asleep on the train home and wakes up in another place and another time. It’s July 1888 and he’s in the village of Willoughby, a peaceful town where life is easy. He comes to back in his own time but as the pressures of works and his home life continue to mount, he decides Willoughby is exactly where he would like to spend the rest of his days.
Rod Serling’s Closing Narration:
Willoughby? Maybe it’s wishful thinking nestled in a hidden part of a man’s mind, or maybe it’s the last stop in the vast design of things—or perhaps, for a man like Mr. Gart Williams, who climbed on a world that went by too fast, it’s a place around the bend where he could jump off. Willoughby? Whatever it is, it comes with sunlight and serenity, and is a part of The Twilight Zone.
CAST
Rod Serling … Narrator (voice)
James Daly … Gart Williams
Howard Smith … Misrell
Patricia Donahue … Janie Williams
Jason Wingreen … 1960 Conductor
Mavis Neal Palmer … Helen (as Mavis Neal)
James Maloney … 1888 Conductor
Billy Booth … Short Boy (uncredited)
James Gonzalez … Passenger (uncredited)
Herschel Graham … Executive (uncredited)
Ryan Hayes … Engineer (uncredited)
Butch Hengen … Tall Boy (uncredited)
Perk Lazelle … Executive (uncredited)
Clark Ross … Executive (uncredited)
Bernard Sell … Executive (uncredited)
Max Slaten … Man on Wagon (uncredited)
Hal Taggart … Executive (uncredited)
Billy Booth … Short Boy (uncredited)
James Gonzalez … Passenger (uncredited)
Herschel Graham … Executive (uncredited)
Ryan Hayes … Engineer (uncredited)
Butch Hengen … Tall Boy (uncredited)
Perk Lazelle … Executive (uncredited)
Clark Ross … Executive (uncredited)
Bernard Sell … Executive (uncredited)
Max Slaten … Man on Wagon (uncredited)
Hal Taggart … Executive (uncredited)
Pete Townshend wrote this for a Rock Opera he was composing called “Quads,” which was about a future where parents could choose the sex of their children. That opera never happened. I have to wonder if Townshend had this old title in mind when a few years later he came up with the title for “Quadrophenia.”
I’m A Boy was released as a single in 1966. The song peaked at #2 in the UK and #2 in New Zealand. The song was not heard much in America or Canada at the time. Many of their singles would finally come to the light when the great compilation album Meaty Beaty Big and Bouncy was released in 1971. They did a live version and included it on the live album Live At Leeds released in 1970.
Released as the B-side of the single was “In the City”, the first and last song credited to the songwriting collaboration of John Entwistle and Keith Moon. Entwistle referred to it as rip-off of Jan and Dean, a group that was a favorite of Moon’s.
Roger Daltrey: “I always thought The Who went through a weird period after ‘My Generation’ (November 1965) that lasted until we did ‘Magic Bus’ (October 1968). I thought it all went a bit sloppy. But ‘I’m A Boy’ and ‘Pictures Of Lily’ were from that period when I’d been allowed back into the band (Daltrey had been asked to leave after beating up Keith Moon over his heavy use of amphetamines). My ego had been crushed. I was insecure and it showed in my voice. When I first heard those songs, I was like, ‘Oi, what’s this all about?’ I didn’t think I could find the right voice for them. You can hear it when you listen to them now, but my insecurity made those songs sound better. It was a happy accident.”
From Songfacts
This is about a boy whose mother wants him to be a girl, while the boy longs to assert his real sexual identity. The controversial subject of cross-dressing was probably the reason why this failed to reach the American Top 100.
Daltrey told Uncut magazine: “On ‘I’m A Boy’, I tried to sing it like a really, really young kid, like an eight-year-old. Not the voice of an eight-year-old but the sentiment – and I think that came across.”
I’m A Boy
One girl was called Jean Marie Another little girl was called Felicity Another little girl was Sally Joy The other was me, and I’m a boy
My name is Bill, and I’m a head case They practice making up on my face Yeah, I feel lucky if I get trousers to wear Spend evenings taking hairpins from my hair
I’m a boy, I’m a boy But my ma won’t admit it I’m a boy, I’m a boy But if I say I am, I get it
Put your frock on, Jean Marie Plait your hair, Felicity Paint your nails, little Sally Joy Put this wig on, little boy
I’m a boy, I’m a boy But my ma won’t admit it I’m a boy, I’m a boy But if I say I am, I get it
I want to play cricket on the green Ride my bike across the street Cut myself and see my blood I want to come home all covered in mud
I’m a boy, I’m a boy But my ma won’t admit it I’m a boy, I’m a boy, I’m a boy I’m a boy, I’m a boy, I’m a boy, I’m a boy I’m a boy, I’m a boy, I’m a boy
I really like the cast in this. Terry Burnham as the child Markie has no trace of a child in her performance which is why it works. This one could have been a Hitchcock episode. Janice Rule and Shepperd Strudwick play their parts perfectly. Strudwich is especially creepy. The show has a slow build up, to watch Helen…slowly trying to find her self while putting the pieces together one piece at a time.
Helen gets aggravated talking to Markie and you can see what is going on. She knows something is different about this kid. Helen can’t grasp who this kid is…or maybe doesn’t want to grasp it. Markie gets as frustrated as us viewers and finally clues Helen in and pulls no punches.
The amnesia card is played in this one but unlike some shows it works in this. Markie seems to represent Helen’s repressed memories. This episode would work without any real supernatural content.
Janice Rule’s character Helen Foley was named after Rod Serling’s drama teacher. The name Helen Foley was used again in the 1983 Twilight Zone movie.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
Month of November, hot chocolate, and a small cameo of a child’s face, imperfect only in its solemnity. And these are the improbable ingredients to a human emotion, an emotion, say, like—fear. But in a moment this woman, Helen Foley, will realize fear. She will understand what are the properties of terror. A little girl will lead her by the hand and walk with her into a nightmare.
Summary
Helen Foley is a school teacher who when arriving home one day meets a little girl, Markie, sitting on the steps just outside her apartment door. Helen invites her in and gives her a cup of hot cocoa. Strangely however, Markie seems to know a great deal about her – that she doesn’t like marshmallows in her cocoa or that she has a scar on her elbow. She also knows what Helen did earlier that day including seeing a somewhat familiar man, Peter Selden, behind the wheel of a car. When Selden arrives at her apartment a few moments later he says he worked for her mother but Helen has no memory of what happened to her mother all those years ago. As her memories return however, she finds herself in grave danger.
Rod Serling’s Closing Narration:
Miss Helen Foley, who has lived in night and who will wake up to morning. Miss Helen Foley, who took a dark spot from the tapestry of her life and rubbed it clean—then stepped back a few paces and got a good look at the Twilight Zone.
CAST
Rod Serling … Narrator (voice)
Janice Rule … Helen Foley
Shepperd Strudwick … Peter Selden
Terry Burnham … Markie
Michael Fox … Doctor
Joseph V. Perry … Police Lieutenant (as Joe Perry)
This catchy song is hard to get out of your head once you hear the chorus…but it’s a good thing. Lead singer Pete Shelley wrote this song. It was released as a single only and peaked at #29 in 1979 in the UK.
This song is based on a the 1932 Aldous Huxley novel Brave New World, in which culture and art have been excised from society, leaving the population in a mindless state of contentment and pharmaceutical bliss. One character says: “I am free. Free to have the most wonderful time. Everybody’s happy nowadays.”
In 2007, this was used in a commercial for the AARP showing spry, mature adults frolicking at a birthday party. The tagline: “An organization for people who have birthdays.”
Steve Diggle on the commercial. “I thought, it’s going to be bad for our image – it’s for old people,” “Then… I realized it was for people 50 and over and I realized me and Pete are over 50.”
The chose the name Buzzcocks after reading the headline, “It’s the Buzz, Cock!”, in a review of the TV series Rock Follies in Time Out magazine. The “buzz” is the excitement of playing on stage; “cock” is northern English slang meaning friend.
After splitting up in 1983, Pete Shelley and guitarist Steve Diggle reunited in 1989, and they released six well received albums. Their last album was The Way released in 2014. Lead singer and songwriter Pete Shelley died in 2018.
From Songfacts
In the song, the singer has relieved his misery by entering a similar state where “Life’s an illusion, love is a dream.” It starts with him explaining:
I was so tired of being upset
Always wanting something I never could get
Life’s an illusion love is a dream
But I don’t know what it is
At the end of the song, it switches voice, with the singer imparting his newfound understanding:
Bet you are tired of being upset
Always wanting something you never can get
Life’s no illusion love’s not a dream
Now I know just what it is
Buzzcocks lead singer Pete Shelley wrote this song. “I’ve come to the idea that nothing exists,” he told Sounds regarding the meaning behind it. “There is no world. Or it doesn’t really matter if there is. The way I’m affected by things is the way by which I want them to affect me.”
The group is from England, where they had most of their success with rock songs like this one that were both melodic and subversive. “Everybody’s Happy Nowadays” became one of their most popular songs, but also alienated some of their hard-core fans who felt it was a sell-out to pop.
Everybody’s Happy Nowadays
I was so tired of being upset Always wanting something I never could get Life’s an illusion, love is a dream But I don’t know what it is
PowerPop... An Eclectic Collection of Pop Culture 