There are two episodes in the 5th season that I differ from many Twilight Zone fans…and this is one of them. I think it is the creepiest episode of them all. I’ve watched it countless times and I see something else every time I do. This show covers a plot device that the Twilight Zone has covered before but I like this take on it…a time loop…an endless cycle.
Gary Crosby (Bing Crosby’s son) plays Floyd Burney a jaded rockabilly star in search of new songs in the backwoods. Hank Patterson (Fred Ziffel in Green Acres) plays an old man who apparently is waiting for Burney at a barn-like music store but remains utterly uncommunicative. When Burney grabs a guitar and takes off…his fate is sealed.
Bonnie Breecher plays a beautiful girl named Mary Rachel who Burney hears singing a haunting ballad. Rachel falls in love with him but is powerless to change his preordained fate, as it seems Floyd is destined to live the song he wants to purchase. Floyd Burney is too self-centered to comprehend the bigger picture of the strange situation he finds himself in. Mary Rachel’s alter-ego also appears in an almost mourning demonic form throughout. The setting of this episode heightens the creepy atmosphere. You feel for Floyd Burney although you don’t really like him.
IMDB Trivia: This was the final episode of The Twilight Zone (1959) to be filmed, although two episodes filmed earlier were aired afterward.
As a teenager, Liza Minnelli auditioned for the role of Mary Rachel opposite Gary Crosby. Minnelli was so nervous that the producer William Froug commented: “She’ll never make it.” Minnelli lost out to Bonnie Beecher. This episode was Ms. Beecher’s acting debut.
The headstock of Floyd Burney’s guitar has black tape across the label covering the Gibson name brand.
Floyd Burney’s guitar is a Gibson ES-295 electric arch-top.
Producer William Froug:One of the people I interviewed was this nervous, frightened little girl whose hands shook and who was covered with sweat, and I said, Shell never make it. Her name was Liza Minnelli. And I chose Bonnie Beecher, and we all know what became of Bonnie Beecher!
I’ll never forget Liza Minnelli sitting there and her agent saying, This girl can really sing. I said, I’m sure she can, but I thought, Oh, she is so nervous! She’s scared out of her mind. To picture her as a hillbilly singer: no way. And I must tell you and this is the truth at the time, I sat there thinking, Well, I’ll probably kick myself for this but I can’t see this girl playing the part but shell probably be a big star. I still don’t regret it, but it was really classic stupidity.
This show was written by Rod Serling and Anthony Wilson
Rod Serling’s Opening Narration:
Mr. Floyd Burney, a gentleman songster in search of song, is about to answer the age-old question of whether a man can be in two places at the same time. As far as his folk song is concerned, we can assure Mr. Burney he’ll find everything he’s looking for, although the lyrics may not be all to his liking. But that’s sometimes the case – when the words and music are recorded in the Twilight Zone.
Summary
Singer Floyd Burney, the “Rock-a-Billy-Kid”, goes deep into the back woods hoping to find his next hit record. He no sooner arrives than he hears a beautiful singing voice which draws him deeper into the woods. He eventually meets Mary Rachel who tells him the song he heard belonged to someone and that she’s forbidden to tell anyone about it. When she finally reveals it to him, Floyd learns that his future is preordained.
Below is a short clip…I would recommend watching the episode if you have time.
Rod Serling’s Closing Narration:
In retrospect, it may be said of Mr. Floyd Burney that he achieved that final dream of the performer: eternal top-name billing, not on the fleeting billboards of the entertainment world, but forever recorded among the folk songs of the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Gary Crosby … Floyd Burney Bonnie Beecher … Mary Rachel John Bolt … Billy Rayford Hank Patterson … Old Man
Welcome to the Hanspostcard TV Draft. The remaining 8 rounds will be posted here. We will have 64 different TV Shows by 8 different writers. I hope you will enjoy it! Today’s post was written by Max from https://powerpop.blog
Adam 12
The show was simple… it focused on a pair of beat cops doing their everyday jobs… responding to calls and patrolling the city of Los Angeles
I watched this in syndication in the late seventies after school. I never thought much of it at the time. When I started to watch it as an adult, I was surprised at how good this show was. I thought it was strictly a kid’s show. I couldn’t believe how realistic it was for that time and some now. They covered subjects like child pornography, drug addiction, gangs, racial tension, and everything else criminally related. It was on for 7 seasons from 1968 through 1975.
Sometimes as an adult and you watch shows or movies you did as a kid you think wow…how did I like this? Now I’m thinking why didn’t I like Adam 12 more? The show starred Martin Milner as Officer Pete Malloy and Kent McCord as Officer Jim Reed. It was created by Jack Webb and Robert Cinader. The pair also created a spinoff from Adam-12…Emergency. Jack Webb also created Dragnet. Emergency and Adam 12 did crossover in a few episodes.
Before this show, Martin Milner was in the fantastic tv show Route 66 that would film in different locations every week. Kent McCord knew Ricky Nelson well and appeared on The Adventures of Ozzy and Harriett. They both knew Jack Webb and were cast for Adam 12.
How realistic was it? The LAPD would use some episodes as training guides for new policemen. The reason for that is that the LAPD worked with the show for realism. Kent McCord said that more than once while filming…someone would come up to them and thought they were real policemen.
They wanted to capture a typical day in the life of a police officer. There was no Dirty Harry on this force. These officers went by the book even if it would have benefitted them at times to stray off. The episodes were written around actual police cases to add some realism. They showed all that the censors would allow.
Some of the guest stars were… Tony Dow, Willie Aimes, Ed Begley Jr, Karen Black, David Cassidy, Micky Dolenz, Tim Matheson, Ozzie Nelson, and many others. It was odd seeing Robert Donner…who played Yancy Tucker on The Waltons a few years later…playing a heroin addict-informant.
Reed is happily married, and Malloy is the happy bachelor. The interplay is natural and not forced. The one big thing I like about the show is the continuity from beginning to end. You see a raw rookie in Jim Reed with Malloy slowly training him up and eventually both becoming friends as seasons pass by. The conversations that take place between the crimes happening are things we all talk about so you can relate to these two.
Los Angeles historians have a field day with the episodes. They show how the city was at that time. They recorded the bulk of this show on location. On youtube you can find “then and now” film segments. Many policemen have said that this show inspired them to join the force.
Martin Milner passed away in 2015. The LAPD hosted a ceremony in Milner’s honor at its downtown Los Angeles headquarters. I binge-watched this show last year and the quality never went down in the 7 seasons.
For years I would skim over this episode until I watched it again and really got the message. It’s a good show and true to life. Rod Serling had his crystal ball at full power with this episode and could see what was happening. The message that Serling gets across is a stronger one today. It has been reported that automation could destroy as many as 73 million jobs by 2030…paving the way for further dehumanization.
Richard Deacon as Wallace V. Whipple, most famous for “The Dick Van Dyke Show” has control of his late father’s company. Despite the fact that his father doubled his production, the son sees him as a failure. His solution is to go to an almost totally computerized and mechanized factory, eliminating nearly all the workers, even the ones who have been there for years. Paul Newlan as Walter Hanley steals the show as a longtime principled employee with common sense and morals who picks Whipple apart.
I also have to mention Ted de Corsia who plays a frustrated worker named Dickerson who has had enough and takes some revenge against the machine taking his job.
The Brain Center At Whipple’s hits a chord with jobs being taken away from us by technology. We have corporations that only care about the bottom line and less about people who have helped make them. Technology is a great resource when used as a tool and should help employees do their jobs but not take them.
The episode is a little over the top but worth the ride.
IMDB Trivia: Richard Deacon and Rod Serling both grew up in Binghamton, New York and were graduates of Binghamton Central High School. There was a very popular lumber yard on Upper Court Street in Binghamton named “Whipple’s Lumber Yard”, thus the name for Deacon’s character in this episode. Rod Serling would often use names of places in and around Binghamton for names of places and characters in the series.
Select scenes and segments of dialogue from this episode were featured within the context of the ‘Information Age: People, Information and Technology’ exhibit at the Smithsonian Museum of American History. The exhibit ran from May 9, 1990 through September 4, 2006.
The new computer that is installed is the same one used in, “The Old Man and the Cave”.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
These are the players — with or without a scorecard. In one corner a machine; in the other, one Wallace V. Whipple, man. And the game? It happens to be the historical battle between flesh and steel, between the brain of man and the product of man’s brain. We don’t make book on this one and predict no winner….but we can tell you for this particular contest, there is standing room only — in the Twilight Zone.
Summary
The W.V. Whipple Manufacturing Co. introduces a new automated manufacturing machine that will eliminate 61,000 jobs and the company’s president, Wallace V. Whipple, is quite proud of his achievement. Not everyone agrees with him, especially the loyal and longstanding employees who will be out of work. Foreman Vic Dickerson has plans for the machine – plans that land him in the hospital. When the machine is fully operational, it’s Wallace V. Whipple who learns just what it is he has created.
Rod Serling’s Closing Narration:
There are many bromides applicable here: ‘too much of a good thing’, ‘tiger by the tail’, ‘as you sow so shall you reap’. The point is that, too often, Man becomes clever instead of becoming wise; he becomes inventive and not thoughtful; and sometimes, as in the case of Mr. Whipple, he can create himself right out of existence. As in tonight’s tale of oddness and obsolescence, in the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Richard Deacon … Wallace V. Whipple Paul Newlan … Walter Hanley Ted de Corsia … Dickerson Thalmus Rasulala (credited … Jack Crowder) … Technician Shawn Michaels … Bartender Burt Conroy … Watchman Robby the Robot … Himself
This is an excellent episode and what initially seemed like a straight drama actually had a subtle comedic twist. It says a lot about human nature. This may be a lighter episode but it works on many levels. Top to bottom, the comic casting is impeccable. Not a blight to be found in the cast. John Dehner is marvelously dry as a con man in the Old West and there is a good deal of humor as he goes about his business in the town of Happiness, Arizona. The town’s cemetery contained 128 dead, all but one were victims of violence…and as one drunk put it…that was my dear wife Zelda, rest her soul, a fine, healthy, strapping woman of 247 pounds but not unattractive, mind you.
John Dehner’s character Jared Garrity is going to raise the dead in Happiness Arizona. The townspeople in the saloon claim to miss their loved ones. But, upon rethinking the matter, one by one they realize that their late friends, wives, husbands, and drunkards maybe…just maybe weren’t the lovely people they were fondly remembering. Will Garrity be able to pull this feat off or is he taking the town for a ride?
The Twilight Zone’s 5th season lagged a little in the middle but with three more episodes to go…they finished up quite strong.
From IMDB Trivia: This is based on a supposed true story that happened in Alta, UT in 1873. It was initially told on Death Valley Days: Miracle at Boot Hill (1961).
This show was written by Rod Serling and Mike Korologos
Rod Serling’s Opening Narration:
Introducing Mr. Jared Garrity, a gentleman of commerce, who in the latter half of the nineteenth century plied his trade in the wild and wooly hinterlands of the American West. And Mr. Garrity, if one can believe him, is a resurrecter of the dead – which, on the face of it, certainly sounds like the bull is off the nickel. But to the scoffers amongst you, and you ladies and gentlemen from Missouri, don’t laugh this one off entirely, at least until you’ve seen a sample of Mr. Garrity’s wares, and an example of his services. The place is Happiness, Arizona, the time around 1890. And you and I have just entered a saloon where the bar whiskey is brewed, bottled and delivered from the Twilight Zone.
Summary
In the early 1890s Mr. Garrity arrives in Happiness, Arizona apparently knowing a great deal about some of the people who live there. He knows that Jensen the bartender’s brother died and that Gooberman the town drunk lost his wife. Garrity also reveals that he has a very peculiar gift – he can bring back the dead. When a dog is run down by a wagon in the street he resurrects it without any difficulty. When he offers to do the same for the town’s loved one’s, they realize they would rather he not bring back the dearly departed, something they are quite happy to pay him for. Garrity, a charlatan if ever there was one, is glad to accept their money – though he does seem to leave something behind
Rod Serling’s Closing Narration:
Exit Mr. Garrity, a would-be charlatan, a make-believe con man and a sad misjudger of his own talents. Respectfully submitted from an empty cemetery on a dark hillside that is one of the slopes leading to the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself John Dehner … Jared Garrity J. Pat O’Malley: Mr. Gooberman Stanley Adams … Jensen John Mitchum … Ace Percy Helton … Lapham Norman Leavitt … Sheriff Gilchrist Edgar Dearing … First Resurrected Man Kate Murtagh … Zelda Gooberman Patrick O’Moore … Man John Cliff … Lightning Peterson Robert McCord … Townsman In Black Hat Cosmo Sardo … Resurrected Man
Welcome to the Hanspostcard TV Draft. The remaining 8 rounds will be posted here. We will have 64 different TV Shows by 8 different writers. I hope you will enjoy it! Today’s post was written by Keith from https://nostalgicitalian.com/
Perry Mason
My choice for the third round draft pick is Hollywood’s first weekly one-hour series that was filmed for television – Perry Mason. The show ran for 9 seasons (September 1957 – May 1966) and starred Raymond Burr in the title role.
Raymond Burr
The character of Perry Mason was well known before he was ever on TV. The attorney was the star of novels and stories written by a lawyer-turned-author Erle Stanley Gardner. There were some movies made by Warner Brothers and also a radio series based starring the character, by Gardner hated them! As a matter of fact, he refused to license the character of Perry mason for any more adaptations. (Interestingly, the radio series continues and evolved into the famous soap opera The Edge of Night.)
Gardner’s agent married actress Gail Patrick and she was the one who talked him into adapting the novels into a TV series. He made it clear that he wanted a lot of control over the show and how it was presented. He also had a hand in helping pick the cast. Many of the stories he wrote were turned into episodes for the series.
The Cast
It is hard to imagine anyone other than Raymond Burr as Perry Mason. However, among the actors in the running were Mike Conners, Richard Egan, William Holden, Efrem Zimbalist Jr., William Hopper, and Fred MacMurray. Raymond Burr actually auditioned for the role of Hamilton Burger, the DA. Gail Patrick remembered his performance from the 1951 film “A Place in the Sun” and told him he was perfect for the role.
At the time, Burr was about 60 pounds overweight, so he went on a crash diet and tested for the role again with about 50 other actors. Erle Stanley Gardner saw him and reportedly said, “THAT is Perry Mason!” Burr continued to lose weight as the series continued. He stated, “I just don’t have time to eat.”
Syndicated columnist Erskine Johnson wrote, “Every six days Burr stars in what almost amounts to a full-length feature movie. He’s in 98% of all the scenes.” Burr stated, “I had no life outside of Perry Mason. And that went on 24 hours a day, sox days a week. I never went home at night. I lived on the lot. I got up at 3 o’clock every single morning to learn my lines for that day, and sometimes I hadn’t finished until 9 o’clock. I had a kitchen, bedroom, office space, sitting room – al of that – on every lot I ever worked on.”
Burr won three Primetime Emmy Awards for his portrayal of Perry Mason (1959, 1960, and 1961).
Raymond Burr IS Perry Mason
Other major players in the cast included Barbara Hale as Perry’s secretary, Della Street. Hale had done some feature films, but wanted to avoid going away for long periods of time to shoot them because she had a rather young family. According to Gail Patrick, it was Hale who called her to inquire about the role of Della.
Perry and Della (Barbara Hale)
William Hopper, as I mentioned before, auditioned for the role of Perry Mason (I believe you can find some of the audition tapes on YouTube). After not getting the role of Mason and auditioning for Private Detective Paul Drake, he walked in the room and said, “You hate my mother!” His mother was Hedda Hopper, the famous gossip columnist. Patrick said he was the perfect Paul Drake, so he got the role.
William Hopper as Paul Drake with Burr’s Mason
For the role of District Attorney Hamilton Burger, Patrick knew exactly who she wanted. She had seen William Tallman in The Hitch-Hiker and knew he was perfect for the role. She said, “He never disappointed.” In an interview he was asked how he felt about his character losing to Perry Mason every week. His response is perfect. He stated, “Burger doesn’t lose. How can a district attorney lose when he fails to convict an innocent person?” When Burr was asked by a fan why he won every case, he told her, “But madam, you only see the cases I try on Saturday!”
William Tallman – Hamilton Burger
Another one of Perry’s foils was Police Lt. Arthur Tragg. Ray Collins’ voice was known to so many listeners of the Mercury Theater on radio. He had also been in movies and other TV shows. Patrick joked saying, “We overlooked the fact that on an actual police force, he would probably be long retired.” He was 68 years old when the show debuted on CBS. The playful interaction between Tragg and Mason are priceless.
The great Ray Collins as Lt. Tragg
The Plot
The basic formula for each episode was the same. The first part of the show introduced the viewer to a client who is hiring Perry Mason for some legal work or is introduced to him in some way. We then see the murder victim and other “suspects” introduced. The victim is murdered and Perry’s client is wrongfully accused of the crime. The remainder of the episode focuses on Burger and Tragg gathering evidence to convict the said “murderer”, Perry, Drake and Della take up their own investigation to prove their client is innocent.
The second half of the show would shift to the courtroom where Perry and Hamilton would duke it out in the preliminary hearing. In the novels, Perry likes to clear the client before they are bound over for trial, so this was worked into the show. They happen, but jury trials are rarely seen on the show.
The show would often culminate with Mason recalling a witness and questioning them until they cracked and admitted committing the murder OR causing someone else in the courtroom to admit that THEY committed the murder. The show would then wrap with a scene in Perry’s office or the courtroom where details would be presented on what led Perry to discover the real killer.
The formula worked for 9 seasons and eventually 30 TV made for TV movies.
Episodes of Interest
Throughout the run of the series, there were some very unique episodes. In the entire run of the series, Perry tackles an astounding 271 cases, and wins almost all of them! He actually lost thre cases (that we know of). In The Case of the Witless Witness, he loses a non-murder case. In The Case of the Terrified Typist, his client is found guilty of murder, but he is eventually able to clear her name. Finally, in The Case of the Deadly Verdict his client is found guilty of murder and is actually sentenced to death in the gas chamber! Perry, of course, is able to save the day before the execution is scheduled to take place.
A fun episode to watch is The Case of the Dead Ringer. Raymond Burr plays a dual role in this episode playing a man named “Grimes.” It’s fun to watch Burr question Burr as two different characters!
In season 6, Burr had some episodes where is appeared briefly, but guest actors filled in for Perry. Among those actors were Bette Davis, Michael Rennie, Hugh O’Brian, and Walter Pidgeon. Two years later, Burr was hospitalized for jaw surgery and Mike Conners and Barry Sullivan filled in for him.
How about the three that never set foot in a courtroom? Those were The Case of the Baited Hook, The Case of the Velvet Claws, and The Case of the Careless Kitten.
One of the most interesting shows was the one – and only – show that was shot in color. In the 9th season, CBS was hoping that the show would shoot a 10th season. Many shows were being shot in color by this time and they wanted to see what the show would look like. The Case of the Twice-Told Twist aired – in color – on February 27, 1966.
A must see episode is the series finale, The Case of the Final Fade-Out. First of all, it features cameos by all of the Perry Mason Crew in various roles. Second, it features the creator of the character, Erle Stanley Gardner, as the judge, and the murderer is … spoiler alert … a young Dick Clark!
Before They Were Famous
Many soon-to-be stars appeared on Perry Mason. I guess that is another reason why I love watching it. You never know who will pop up. Some examples: Barbara Eden, Cloris Leachman, Lee Meriwether, Pat Priest, Yvonne Craig, James Coburn, Angie Dickenson, George Kennedy, Diane Ladd, Frankie Laine, Ryan O’Neal, Robert Redford, Burt Reynolds, Claude Akins, Richard Anderson, Barbara Bain, James Best, Whit Bissell, Frank Cady, Bert Convey, Richard Deacon, Norman Fell, Alan Hale Jr., Harvey Korman, Gavin MacLeod, Allan Melvin, Leonard Nimoy, Denver Pyle, Marion Ross, Adam West, and MORE!
The Theme Song
Let’s be honest, the Perry Mason Theme Song is one of the most recognizable in all of television. The task of writing the theme went to composer Fred Steiner. He set out to write a song that would convey two of Perry’s prime characteristics – sophistication and toughness. The piece he wrote was called “Park Avenue Beat.”
Here is Fred discussing how he came up with the theme:
Here is the theme from the first season:
As much as I love the original version, I have to admit that when Perry Mason returned to TV in the two hour movies, I loved the version used for these films better. They just sound more full and better produced to me. So here it is:
I may as well touch briefly on the TV movies. In December of 1985, Perry Mason Returns aired on NBC.
Perry is now a judge and steps down to defend Della Street, who is accused of murder.
William Hopper died in 1970, so William Katt (Barbara Hale’s son) was called in to play Paul Drake Jr. The movies followed the same formula as the TV show. Burr and Hale had aged, but their on screen chemistry hadn’t changed at all. Burr was fantastic in this of course, he proves that Della is innocent! The successful reception and ratings of the reunion show led to 29 more Perry Mason Movies (Burr starred in 26 of them before passing away in 1993).
I never tire of watching Perry Mason. Despite being a bit dated, I think it still holds up today. HBO has created a “pre” Perry Mason show supposedly showing how he became the famous lawyer. I have no desire to watch it. To me, there is one and only Perry Mason!
FUN FACT: Raymond Burr started playing the character in 1957 and played him until his death in 1993. He played Perry Mason for a whopping 36 years!
So if you ever find yourself accused of murder … there is only one lawyer to call….
This episode is a serious and powerful episode. Taro (George Takei) lives with the guilt and dishonor that his father brought on the family by turning traitor during World War II, even while employed as a shipbuilder in Hawaii. Fenton (Neville Brand) endures the repressed guilt of having murdered a Japanese soldier after the man had already surrendered.
At first, the two are cordial but you can feel the tension build as the episode proceeds. It deals with themes of guilt and atonement. The dialog sounds authentic and dramatic. George Takei who plays Arthur Takamori would later go on to star in Star Trek. Both actors are superb in this story.
IMDB Trivia: This episode sparked some intense controversy for CBS after it was first aired in 1964. Due to strong critical blow-back for it’s ostensible racist overtones and revisionist history, CBS pulled this episode out of syndication and it was not rebroadcast again on any network in the U.S. until 2016; although it did air in other countries and was also not removed from streaming services or home video/DVD sets. The Encounter triggered audience and reviewer criticism of the episode as antithetical to the series’ normally positive treatment of otherwise sensitive social, religious, and racial subject matter.
During the dialogue, the Pearl Harbor attack was extensively discussed. Six years later, Neville Brand would have a small role in the epic Pearl Harbor film Tora! Tora! Tora!
This episode was finally rerun in the United States, on the Syfy channel, during a complete Twilight Zone marathon on January 3rd, 2016.
This show was written by Rod Serling and Martin Goldsmith
Rod Serling’s Opening Narration:
Two men alone in an attic, a young Japanese-American and a seasoned veteran of yesterday’s war. It’s twenty odd years since Pearl Harbor, but two ancient opponents are moving into position for a battle in an attic crammed with skeletons, souvenirs, mementos, old uniforms, and rusted medals. Ghosts from the dim reaches of the past, that will lead us into the Twilight Zone.
Summary
A man, Fenton, is cleaning out his attic when a Japanese gardener, Arthur Takamori, stops by asking if he would like his grass cut. Fenton invites him up for a beer but, having served in the Pacific during World War II, isn’t quite sure what to make of his visitor. He has his prejudices but wavers as Arthur says he was born in the USA and is no different than any other American. As they discuss their pasts, it’s revealed that both men have lied and are haunted by what happened to them
Rod Serling’s Closing Narration:
Two men in an attic, locked in mortal embrace. Their common bond, and their common enemy: guilt. A disease all too prevalent amongst men both in and out of The Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Neville Brand … Fenton George Takei … Arthur Takamori/Taro
This is a classic episode of the Twilight Zone. The characters are both a little hungover. They can be short-tempered, quarrelsome, and blame each other for their predicament. The wife tends toward hysteria and the man is totally insensitive, but we feel for them. They wake up in a strange house and town after drinking at a party the night before. In this quiet town, the horror is real, and we can sense the panic that the characters are going through. You start caring for the characters and are invested at this point as they think they find the way out time after time.
Serling has used this idea before with the pilot Where Is Everybody? but he explores it more with this episode. Rod Serling achieves a heightened sense of claustrophobia of feeling trapped in this episode. Serling’s closing narration turns it in a warning against drunk driving. “The moral of what you’ve just seen is clear. If you drink, don’t drive. And if your wife has had a couple, she shouldn’t drive either. You might both just wake up with a whale of a headache in a deserted village in the Twilight Zone.”
Earl Hamner Jr:I got that idea walking around the backlot at MGM once, Hamner recalls. Everything was made of papier-mache and was a false front. It suddenly came to me, what if someone woke in this surrounding and there was nothing but false labels on everything, and if you dropped a lighted match on the grass it would catch fire, and if you got on a train it would come all the way around to where you started from?
IMDB Trivia: The abandoned town in which the Frazers find themselves is the same location used for The Twilight Zone: The Monsters Are Due on Maple Street (1960). As the actors move through the ‘town’, they traverse several of the old themed ‘street’ sets which were then standing on the old MGM backlot, including the New England street, the “St Louis” street, and the western town.
The bulletin board in front of the church says that the sermon will be given by Rev. Kogh Gleason. F. Keogh Gleason was a set decorator at M-G-M for many years, and worked on The Twilight Zone (1959).
This is the second episode that shows two people sharing the same bed together on television, something unusual at the time. The first was The Twilight Zone: Person or Persons Unknown (1962). Due to censorship regulations from the networks, TV shows at the time would portray married couples sleeping on separate beds. In both of these cases, the couples were still fully dressed and had gone to sleep while drunk, thus making it clear to the viewer they hadn’t “slept” together.
This show was written by Rod Serling and Earl Hamner Jr.
Rod Serling’s Opening Narration:
Bob and Millie Frazier, average young New Yorkers who attended a party in the country last night and on the way home took a detour. Most of us on waking in the morning know exactly where we are; the rooster or the alarm clock brings us out of sleep into the familiar sights, sounds, aromas of home and the comfort of a routine day ahead. Not so with our young friends. This will be a day like none they’ve ever spent – and they’ll spend it in the Twilight Zone.
Summary
After drinking too much at a party, Bob and Millie Frazier awaken in a strange bed, in a strange house in a strange town. They’re still dressed in the clothes they wore to the party but their memories are fuzzy. Bob was too drunk to drive so Millie was behind the wheel and she vaguely remembers a shadow falling over them. They soon realize that everything in the town is fake: the telephone in the house isn’t wired; the drawers and cupboards in the kitchen are only a façade; even the trees are fake. The town is deserted and Millie begins to wonder if they’re dead. They keep hearing a child laughing and begin a search. They’re not prepared for what they encounter.
Rod Serling’s Closing Narration:
The moral of what you’ve just seen is clear. If you drink, don’t drive. And if your wife has had a couple, she shouldn’t drive either. You might both just wake up with a whale of a headache in a deserted village in the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Barry Nelson … Bob Frazier Nancy Malone … Millie Frazier Denise Lynn … Little Alien Girl Karen Norris … Alien Mother
This is another episode in which I’m in the minority. I rated this one a 4 1/2 -star episode though not many have rated it that high. This one is great. It’s not exactly Twilight Zone-ish. You won’t see science fiction in this one. It could be a separate spy show or something out of a James Bond film. Martin Landau plays Major Ivan Kuchenko and he escaped from the Soviet Union to find freedom. He plays a cat and mouse battle between him and his KGB opponent John van Dreelen who plays Commissar Vassiloff.
You could call this one from a different era… a Cold War film but wait…the era may not be so far gone anymore. Thrilling and suspenseful and worth a watch. It’s one of the highlights of the 5 season. The battle of wills between Kuchenko and Vassiloff is very entertaining.
IMDB Trivia: One of a handful of TZ episodes that, notably, contains no science fiction or fantasy elements. Others include The Twilight Zone: Dust (1961), The Twilight Zone: The Shelter (1961), and The Twilight Zone: The Silence (1961).
Martin Landau (Major Ivan Kuchenko) later played William Cooper-Janes in The Twilight Zone: The Beacon/One Life, Furnished in Early Poverty (1985).
This show was written by Rod Serling
Rod Serling’s Opening Narration:
The cast of characters—a cat and a mouse, this is the latter. The intended victim who may or may not know that he is to die, be it by butchery or ballet. His name is Major Ivan Kuchenko. He has, if events go according to certain plans, perhaps three or four more hours of living. But an ignorance shared by both himself and his executioner, is of the fact that both of them have taken the first step into the Twilight Zone.
Summary
After spending twelve years in a Soviet prison, Major Ivan Kuchenko has fled his homeland and is now in transit in a third country hoping to soon leave and seek asylum in the USA. He is not alone however as Commissar Vassiloff, his torturer during his imprisonment, has caught up with him. Vassilof could easily kill him – he has an assassin with him, Boris – but he decides to give him a chance to walk away. He’s placed a bomb in Kuchenko’s room and he gives the Major 3 hours to find and disarm it. Kuchenko proves himself to be a worthy adversary.
Rod Serling’s Closing Narration:
Major Ivan Kuchenko, on his way West. On his way to freedom: a freedom bought and paid for by a most stunning ingenuity. And exit one Commissar Vassiloff, who forgot that there are two sides to an argument – and two parties on the line. This has been the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Martin Landau … Major Ivan Kuchenko John van Dreelen … Commissar Vassiloff Robert Kelljan … Boris- Vassiloff’s assistant
In the late seventies, I borrowed a single from a friend…that was Wild Thing by the Troggs. I loved the raw sound. If there was ever a garage band that hit the big time…it was the Troggs. Wild Thing (1966) was a massive hit that sold over 1 million copies. Their other big hits were With A Girl Like You (1966) and Love Is All Around (1967). The B side to the single I had at the time was With A Girl Like You and I liked it better than Wild Thing.
The Troggs influenced a lot of Punk and Garage bands. Their songs could be played with a little practice. Almost every band starting out will play the 3 chord Wild Thing at least a few times.
Their songs have been covered by a countless number of unknown bands. Three more well-known artists have been Jimi Hendrix playing Wild Thing at Monterey and REM and Wet, Wet, Wet covered Love Is All Around.
The original members were Reg Presley, Ronnie Bond, Chris Britton, and Pete Staples. Reg Presley was the lead singer and wrote Love Is All Around which went to #7 and With A Girl Like You which went to #29.
The band is probably more known for a failed recording session which was leaked out more than they were for their hits. They are swearing and fighting with each other.
It is funny. If you are put off by swearing don’t listen but when you hear “Oh, we’ll put some fairy dust over it. I’ll piss over the tape”….it’s hard to resist. It was recorded in 1970 and leaked out in the early seventies on bootlegs called The Troggs Tapes...this became the inspiration for a few Spinal Tap scenes. I have some of it below in the videos.
After Love Is All Around in 1967 the band’s fame waned. They released some more singles but nothing approached their three big hits. REM made an album with the Troggs in 1992 called Athens Andover.
Reg Presley passed away in 2013. Chris Britton still plays some gigs with the Troggs today as the only original member left.
Wild Thing… like Louie, Louie was an important song in the history of Rock and Roll. It was much more important than the band that brought it to us…but you have to tip your hat to the Troggs. A garage band that is still being talked about in 2022.
This group was not one of the super British bands of the sixties, not even close. They will never be on anyone’s top ten, twenty, or higher best band list…but they left a few memorable songs, a large one, some influence, and a hilarious bitch session on tape for posterity…
Mick sounds sinister and ominous in this track and the guitar is absolutely filthy. I feel the need for a shower after I listen to it. It’s raunchy and sleazy…but a great album cut.
I once had a girlfriend and being around me she started to appreciate the Beatles. I thought that was cool because I never pushed them on her…then I played her some Stones. After around a week of listening to Beggars Banquet, she told me…Max, The Beatles seemed to progress so much as they went on…The Stones…they are low rent.
She was paying attention. She didn’t mean that in a bad way but yea…that is the essence of the Stones…showing the seedier side in their songs…and believe me…this song does. As humans…The Beatles could be as nasty but they didn’t usually reflect that in a lot of music…The Stones went out of their way to do so.
Stray Cat Blues is off of my favorite album by the Rolling Stones…Beggars Banquet. Would this song fly today? NO…oh pardon me… let me reword that…HELL NO… It’s hard to believe it flew back in 1968. I could be wrong but I doubt you would hear this on very many classic radio stations today.
Keith Richards is on top of his game in this one. Mick seemed to be testing or provoking audiences with this one.
This was the first album to start the stretch of 5 albums (Beggars Banquet, Let It Bleed, Sticky Fingers, Exile on Main Street, and Goats Head Soup) that helped make the Stones what they are today. In 1967 after failing to live up to Sgt Pepper with Their Satanic MajestiesRequest (although I do like that album) they came back retooled with a new producer Jimmy Miller
The Stones got back doing what they do best…playing country rock blues…although with a different sound than Little Red Rooster. A weary Brian Jones was still in the band at this time and contributed to all but two songs…but it’s mostly Keith on guitar. Brian, because of the state he was in, was used more as a touch-up artist…filling in some holes with sitar, tambura, guitar, blues harp, and mellotron. It would also be the last studio album Brian would work on.
I’ve always related Beggars Banquet to the White Album. They were both released in 1968 and both were raw and honest. No studio trickery with either…a big departure from the psychedelic era of 1967.
The album peaked at #5 in the Billboard Album Charts, #3 in the UK, and #3 in Canada in 1969.
The lyrics were bad enough with I can see that you’re fifteen years old/ No I don’t want your I.D…. when playing it live on the 69 tour it became I can see that you’re thirteen years old/ No I don’t want your I.D. Mick seemed to be jabbing and provoking seeing how much he could get by with.
When you listen to it I would suggest the studio version. Many of the nuances are lost in this live version. I always try to pick a live version around the time they made the song but this one is not the best I heard.
Cat Scratch Blues
I hear the click-clack of your feet on the stairs
I know you’re no scare-eyed honey
There’ll be a feast if you just come upstairs
But it’s no hanging matter
It’s no capital crime
I can see that you’re fifteen years old
No I don’t want your I.D.
And I’ve seen that you’re so far from home
But it’s no hanging matter
It’s no capital crime
Oh yeah, you’re a strange stray cat
Oh yeah, don’tcha scratch like that
Oh yeah, you’re a strange stray cat
Bet your mama don’t know you scream like that
I bet your mother don’t know you can spit like that.
You look so weird and you’re so far from home
But you don’t really miss your mother
Don’t look so scared I’m no mad-brained bear
But it’s no hanging matter
It’s no capital crime
Oh, yeah
Woo!
I bet your mama don’t know that you scratch like that
I bet she don’t know you can bite like that
You say you got a friend, that she’s wilder than you
Why don’t you bring her upstairs
If she’s so wild then she can join in too
It’s no hanging matter
It’s no capital crime
Oh yeah, you’re a strange stray cat
Oh yeah, don’tcha scratch like that
Oh yeah, you’re a strange stray cat
I bet you mama don’t know you can bite like that
I’ll bet she never saw you scratch my back
This is the second Twilight Zone with a ventriloquist’s dummy that is smarter than his ventriloquist. The episode though doesn’t build the same mystery about the dummy as The Dummy does. Jackie Cooper plays Jonathan West a down-on-his-luck ventriloquist who has no friend but Caesar…the dummy. You do feel some sympathy with this character, but he is far too naive. The trouble starts when Caesar manipulates Jonathan into performing several robberies instead of finding honest work while they are waiting for their big break.
The vicious character in this story is the little girl named Susan played by Suzanne Cupito. She would later play Katherine Wentworth in Dallas. She started out as an insufferable little know it all but ended up as evil as the Caesar. This is the only episode of the series written by a woman. Adele T. Strassfield was the secretary of William Froug, the producer of the second half of the final season of The Twilight Zone.
It was a good episode and an improvement over the previous episode Sounds and Silences.
IMDB Trivia: The ventriloquist’s dummy is a reuse of the one created for The Twilight Zone: The Dummy (1962). It was modeled on George Murdock, one of that episode’s guest stars.
Jackie Cooper’s name previously appeared on a poster for the film O’Shaughnessy’s Boy (1935), in which he starred, in The Twilight Zone: The Incredible World of Horace Ford (1963).
This show was written by Rod Serling and Adele T. Strassfield
Rod Serling’s Opening Narration:
Jonathan West, ventriloquist, a master of voice manipulation. A man, late of Ireland, with a talent for putting words into other peoples’ mouths. In this case, the other person is a dummy, aptly named Caesar, a small splinter with large ideas, a wooden tyrant with a mind and a voice of his own, who is about to talk Jonathan West – into the Twilight Zone.
Summary
Ventriloquist Jonathan West isn’t having much luck finding a job. He’s gone to several auditions but no one has taken him on. He’s falling behind in his rent and is now getting to the point where he’s running out of things to pawn. He has to put up with the taunts of young Susan, the landlady’s niece. He’s also talking to his dummy, Caesar, who has advice for him on how to get ahead. It’s not very good advice however.
Rod Serling’s Closing Narration:
A little girl and a wooden doll. A lethal dummy in the shape of a man. But everybody knows dummies can’t talk – unless, of course, they learn their vocabulary in the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself Jackie Cooper … Jonathan West / voice of Caesar Suzanne Cupito (Morgan Brittany) … Susan Sarah Selby … Mrs. Cudahy Stafford Repp … Pawnbroker Don Gazzaniga … Detective Kenneth Konopka … Mr. Miller Sidney Marion … Watchman Robert McCord … Man Watching Audition Olan Soule … Mr. Smiles
I first found out about the Dave Clark Five in the early eighties. One of my friend’s dads grew up during the sixties and I found this band and Buffalo Springfield in his record collection.
The drums in this song are sharp and loud. Those two beats after “Glad All Over” hooks me every time. They had such a huge sound.
They were the first British Invasion band that had a hit in America after The Beatles. The song has a huge loud sound to it. The single charted at #6 in the Billboard 100, #2 in Canada, and #1 in the UK in 1964. Dave Clark and Mike Smith wrote this song. Smith came across a song called “Glad All Over” by Carl Perkins and wrote a new song with the same title.
The song also knocked I Want To Hold Your Hand out of the number one position in the UK charts.
After the Beatles were on Ed Sullivan… Ed wanted the Dave Clark Five. Sullivan thought a lot of the band and had them back on the show 11 more times. Getting them on the show the first time proved a challenge. The show wasn’t broadcast in England, so Clark had never heard of it and turned down the offer. When Sullivan’s producer called back offering a substantial payment, he convinced his bandmates to make the trip.
Bruce Springsteen has mentioned that the Dave Clark Five was a big influence. The group was huge…they ended up with 24 songs in the top 100, 7 songs in the top 10, and one #1 record with “Over and Over.”
After the group broke up in 1970 Dave Clark became a media mogul and also wrote, produced, and directed.
Lead vocalist Mike Smith wrote this song. He was looking through the Carl Perkins catalog and found a song named Glad All Over…he took the title.
Mike Smith:“We had lost out on ‘Do You Love Me’ to Brian Poole and so Dave (Clark) thought we should do an original. He asked me to come up with something and I looked through my record collection for a suitable title.”
Dave Clark:“I knew that we needed a song with the thumps in. we had been playing dance halls and we were getting a great audience response to the stomping things we were doing.”
“I went to Alexander Palace once, and saw a big band called The Eric Delaney Band. On the front of the stage, he had these timpanis. He came off the drums at the back and played these timpanis, and it was quite amazing. It was showmanship. That’s always stuck in my mind. It wasn’t very clever l, what he was doing, but it was dynamite, the crowd loved it. That was a big influence.”
Glad All Over
You say that you love me (say you love me) All of the time (all of the time) You say that you need me (say you need me) You’ll always be mine (always be mine)
I’m feelin’ glad all over Yes I’m-a glad all over Baby I’m glad all over So glad you’re mine
I’ll make you happy (make you happy) You’ll never be blue (never be blue) You’ll have no sorrow (have no sorrow) Cause I’ll always be true (always be true)
And I’m feelin’ glad all over Yes I’m-a glad all over Baby I’m-a glad all over So glad you’re mine
Other girls may try to take me away (take me away) But you know, it’s by your side I will stay I’ll stay
Our love will last now (our love will last) Till the end of time (end of time) Because this love now (because this love) Is gonna be yours and mine (yours and mine)
And I’m feelin’ glad all over Yes I’m-a glad all over Baby I’m glad all over So glad you’re mine
Other girls may try to take me away (take me away) But you know, it’s by your side I will stay I’ll stay
All of our lives now (all of our lives) Till the end of time (end of time) Because this love now (because this love) Is only yours and mine (yours and mine)
And I’m feelin’ glad all over Yes I’m-a glad all over Baby I’m-a glad all over So glad you’re mine
I’m so glad you’re mine now I’m so, I’m so glad you’re mine I’m-a so glad you’re mine now Whoa-whoa-whoa-whoa-whoa-whoa
The Small Faces were indeed small… all of them were between 5’4″ and 5’6.” They would later grow when the taller Rod Stewart and Ronnie Wood joined and they became the Faces.
Lazy Sunday came off the classic album Ogdens’ Nut Gone Flake. The Small Faces didn’t intend to release this song. Steve Marriott was against his manager Andrew Loog Oldham’s decision to release this as a single and that was one reason why he left the group shortly afterward to be replaced by Stewart. The band didn’t take the song seriously and made it into a joke. Steve sang some of the voices with a cockney accent.
They were touring Germany and they picked up a music paper and saw it was not only released but a hit. Steve wanted a tougher image for the band, and this was more of a novelty pop song.
This song is not a good example, but Steve Marriott may have had the best voice of all his peers. Robert Plant and Paul Rodgers have cited Marriott as an influence. Personally, I would take him over those two and that is saying a lot.
The Small Faces also recorded this critically acclaimed concept psychedelic album in 1968 with their new record company Immediate Records. They never followed it up and only performed it once live in its entirety on a television show called Colour Me Pop. It spent 6 weeks at number one on the UK Album Charts.
Lazy Sunday peaked at #2 in the UK, #42 in Canada, and #114 in the Billboard 100.
This song was written by Steve Marriott. Marriott and Ronnie Lane did most of the writing. Their songs were clever and catchy. This band should have been bigger than they were… With the right record label, manager and push, they might have broken through.
Kenney Jones: “Steve had been a child actor, he was the first Artful Dodger in Lionel Bart’s Oliver in the West End. He brought back that theatricality to this.”
Ian McLagan: “When Steve came in with this it was slower. We started taking the piss out of it while he was out of the room. The ‘Root-ti-doo-ti-di-day’ thing stop and he laughed when he came back in and heard us. So we cut it like that. It was a piss take!”
Lazy Sunday
A-wouldn’t it be nice to get on with me neighbours? But they make it very clear, yhey’ve got no room for ravers They stop me from groovin’, they bang on me wall They doing me crust in, it’s no good at all, ah Lazy Sunday afternoon I’ve got no mind to worry I close my eyes and drift away-a Here we all are sittin’ in a rainbow Gor blimey, hello Mrs. Jones, how’s old Bert’s lumbago? (he mustn’t grumble) (Tweedle-dee) I’ll sing you a song with no words and no tune (twiddly-dee)
To sing in the khazi while you suss out the moon, oh yeah Lazy Sunday afternoon, I’ve got no mind to worry Close my eyes and drift away-a
Root-de-doo-de-doo, a-root-de-doot-de-doy-di A-root-de-doot-de-dum, a-ree-de-dee-de-doo-dee (doo-doo, doo-doo) There’s no one to hear me, there’s nothing to say And no one can stop me from feeling this way, yeah Lazy Sunday afternoon I’ve got no mind to worry Close my eyes and drift away Lazy Sunday afternoon I’ve got no mind to worry Close my eyes and drift a- Close my mind and drift away, close my eyes and drift away
EXACTLY on April 3, 1964…58 years ago today, this episode was aired for the first time. I wish it would have been a better episode that lined up with the current date. This is a light episode, not one of the great ones. The main character (Roswell G. Flemington) is not likable but played well by John McGiver. He is a very loud man because his mom made him be quiet all of his childhood.
You feel for his long-suffering wife played by Penny Singleton. All that said, the film has some funny moments at the expense of Roswell, particularly his employees talking among themselves about him when he isn’t around. He expects the world to put up with his very loud ways. The episode is harmless enough, but it doesn’t get off the ground. It can be taxing to get through.
On May 1961, a script was submitted to Serling entitled The Sound of Silence, concerning a man who could not hear the sounds around him. Serling rejected it, then forgot all about it. Two years later, he wrote Sounds and Silences. As soon as it aired, the writer of the original script filed suit. Because of the similarities in title and plot, the writer was paid $3500 and the matter was settled. Unfortunately, because the suit was in litigation when Twilight Zone was put into syndication, Sounds and Silences was not included. The episode was aired only once and then put away in the CBS vaults. .
IMDB Trivia: Shortly after the airing, a writer came up with a lawsuit claiming his script and title was used. It was settled with him receiving $3500 but litigation prevented it from being included in syndication for a time.
The first “sound effect” record played by John McGiver is actually a 78RPM disc on the Deltone label called “You Won’t Believe Your Eyes” sung by Ina Massine. Ina Massine isn’t a real singer; it was Kathryn Grayson’s character name in the 1951 film “Grounds for Marriage.” This Rodgers and Hart song (real title, “Wait Till You See Him”) was recorded for the movie but not used. This record must have been a leftover prop.
Mrs. Flemington is portrayed by Penny Singleton, who is perhaps best known for portraying Blondie Bumstead from the “Blondie!'” movies of the 1930s and 1940s, that were based on the comic strip created by Chic Young. Penny also provided the voice of Jane Jetson on “The Jetsons” (1962).
This show was written by Rod Serling
Rod Serling’s Opening Narration:
This is Roswell G. Flemington, two hundred and twenty pounds of gristle, lung tissue and sound decibels. He is, as you have perceived, a noisy man, one of a breed who substitutes volume for substance, sound for significance, and shouting to cover up the readily apparent phenomenon that he is nothing more than an overweight and aging perennial Sea Scout whose noise-making is in inverse ratio to his competence and to his character. But soon our would-be admiral of the fleet will embark on another voyage. This one is an unchartered and twisting stream that heads for a distant port called the Twilight Zone.
Summary
Rosswell G. Flemington owns a model ship company and loves everything nautical. That’s not his problem, however: he likes everything to be loud. He speaks at the top of his lungs, bellowing commands to his staff. He plays his phonograph records – his favorites include the sound of jets flying off the deck of the USS Hornet – as loud as possible, something that leads his wife to leave him. He’s not prepared for what happens to him in the Twilight Zone however
Rod Serling’s Closing Narration:
When last heard from, Mr. Roswell G. Flemington was in a sanitarium pleading with the medical staff to make some noise. They, of course, believe the case to be a rather tragic aberration – a man’s mind becoming unhinged. And for this they’ll give him pills, therapy, and rest. Little do they realize that all Mr. Flemington is suffering from is a case of poetic justice. Tonight’s tale of sounds and silences from the Twilight Zone.
CAST
Rod Serling … Host / Narrator – Himself John McGiver … Roswell G. Flemington Penny Singleton … Mrs. Lydia Flemington Billy Benedict … Conklin Francis De Sales … Doctor Michael Fox … Psychiatrist
I’m glad the Let It Be album is getting a new life because of the Get back film. It’s not Revolver by any means but it was never meant to be. Let It Be started off as an album that would feature minimum overdubs and get back to playing as a band. I’ve Got A Feeling is a mix of two unfinished songs, Paul McCartney’s “I’ve Got a Feeling” and John Lennon’s “Everybody Had a Hard Year.”
John Lennon did have a hard year. He got divorced, battled heroin addiction, police drug raid, Yoko had suffered a miscarriage and he was convicted of drug possession.
John had worked on this song earlier. After meeting with Paul at his St. John’s Wood home in London sometime in December of 1968 to merge both of their songs into one, John met with the others at Twickenham Studios on January 2nd, 1969, with an arrangement that was already formulated, right down to the synchronized vocals of both composers in the final verse. All that was left was to finalize the arrangement with George and Ringo and to rehearse it repeatedly before it was ready to record.
The Beatles recorded this live on the Apple rooftop, which was used in their movie, Let It Be. John Lennon’s guitar sounds downright nasty and George’s compliments that sound with clean licks off of his Fender.
The Let It Be album peaked at #1 in the Billboard Album Charts, Canada, and The UK in 1970.
The version of I’ve Got a Feeling which was released on Let It Be was recorded during the rooftop concert. The studio take was released on the 1996 Anthology 3. Let It Be… Naked, which was a remix album that came out in 2003, patched two different rooftop concert takes.
I would have loved to hear Elvis do a cover of this song…but I can’t imagine him singing the “wet dream” part but it would have been interesting.
Pearl Jam also did a version of this song.
I’ve Got A Feeling
I’ve got a feeling, a feeling deep inside Oh yeah, oh yeah. I’ve got a feeling, a feeling I can’t hide Oh no, oh no, oh no. Yeah, I’ve got a feeling.
Oh please believe me, I’d hate to miss the train Oh yeah, oh yeah. And if you leave me I won’t be late again Oh no, oh no, oh no. Yeah, I’ve got a feeling, yeah.
All these years I’ve been wandering around, Wondering how come nobody told me All that I was looking for was somebody Who looked like you.
I’ve got a feeling, that keeps me on my toes Oh yeah, oh yeah.
I’ve got a feeling, I think that everybody knows Oh yeah, oh yeah, oh yeah. Yeah, yeah, I’ve got a feeling, yeah. Yeah
Ev’rybody had a hard year Ev’rybody had a good time Ev’rybody had a wet dream, Ev’rybody saw the sunshine Oh yeah, oh yeah.
Ev’rybody had a good year, Ev’rybody let their hair down, Ev’rybody pulled their socks up, Ev’rybody put their foot down. Oh yeah, oh yeah.
Yeah I’ve got a feeling A feeling deep inside Oh yeah, oh yeah.
I’ve got a feeling, a feeling I can’t hide Oh no Oh no no no
Yeah yeah yeah yeah I’ve got a feeling I’ve got a feeling
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