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Paul McCartney – Sally G

I’ve always liked B-Sides… Let’s listen to some Liverpudlian Country Music.

I cannot hear this song without thinking of my grandmother. Her name was Sally and yes her last name started with G. She lived to the ripe old age of 96. I have posted about the A-side of this single Juniors Farm but never about this B-side that I like. I heard this song when I was 7 because my sister had this single and it’s been in my head ever since.

When I saw him in 2010 and 2014 I thought both times…hmmm he is in Nashville so Sally G surely will be played. Nope… Paul didn’t utter Sally’s name.

The song actually got played on the country stations in Nashville which looking back I can’t believe happened at that time. Nashville wasn’t exactly in love with rock performers.

Sally G was written and recorded in Nashville. In 1974 Paul McCartney came to Nashville. They rented a 133-acre farm just outside of Lebanon TN from songwriter Curly Putman (“Green, Green Grass of Home”) for $2,000 a week. They had requested a farm within 50 miles of Nashville that had horses and swimming facilities.

The band stayed at the farm for 6 weeks while the Putman family vacationed in Hawaii. When Putman and his wife returned to their farm, McCartney saw them walking up the driveway. McCartney and the band greeted them by playing “Green, Green Grass of Home.”

I have a cousin that lives in Lebanon around 5 miles from where he stayed…not a great picture but here it is today.

Lloyd Green, Bob Willis, and Johnny Gimble Willis contributed steel guitar, dobro, and fiddle respectively while adding legitimacy to McCartney’s country venture.

Paul playing guitar on “Junior’s Farm” in 1974

Sally G. and it peaked at #17 in the Billboard 100, #51 on the country charts, #11 in the Canadian Country charts, and #61 in Canada. Paul composed the song after visiting the nightlife in Printer’s Alley.

As his time in Tennessee came to a close, McCartney told a group of local reporters that he hoped to mount a U.S. tour the following year and that if it happened, Music City would definitely be on the itinerary.

McCartney didn’t come back until 36 years later in 2010 and I finally got to see him. Paul…you lied but all was forgiven when he took the stage.

I hardly ever point out a bridge in a song but in this one…it’s kept me listening for decades. It’s not the lyrics but the melody, backups, and harmonizing on the final “move along.”

Me and Sally took up,
things began to look up,
Me and her were going strong.

Then she started lyin’,
I could see our love was dyin’.
I heard a voice say,
“Move along, move along”.

Paul McCartney: “Buddy Killen [studio owner and music publisher] took us out to Printer’s Alley, a little club district,” “I didn’t see anyone named ‘Sally G’ in Printer’s Alley, nor did I see anyone who ran her eyes over me when she was singing ‘A Troubled Mind.’ That was my imagination, adding to the reality of it.”

Musician gets to stay on the farm for 3 weeks.

Home movies of Wings in the studio in Nashville 1974

Sally G

Somewhere to the south of New York City
Lies the friendly state of Tennessee,
Down in Nashville town I met a pretty
Who made a pretty big fool out of me.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

The night life took me down to Printers Alley,
where Sally sang a song behind a bar.
I ran my eyes across her as she sang a tangled mime,
I used to love to hear her sweet guitar.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

Me and Sally took up,
things began to look up,
Me and her were going strong.

Then she started lyin’,
I could see our love was dyin’.
I heard a voice say,
“Move along, move along”.

Well now. I’m on my own again,
I wonder if she ever really understood.
I never thought to ask her what the letter “G” stood for,
But I know for sure it wasn’t good.

And they call her Sally,
Sally G, why d’you wanna do the things you do to me?
You’re my Sally, Sally G
took the part that was the heart of me, Sally G.

Sally G.

Small Faces – Lazy Sunday

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

Twilight Zone – Sounds and Silences

★★ April 3, 1964 Season 5 Episode 27

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

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

Beatles – I’ve Got A Feeling

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

…

Twilight Zone – I Am the Night – Color Me Black

★★★★★ March 27, 1964 Season 5 Episode 26

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

IMDB has this one rated with 7.4 out of 10. I think it should have been rated much higher. It is an excellent and powerful episode so I’m giving it 5 stars. A thought-provoking episode that is very original. Rod Serling wrote this and he lashed out at hatred in this episode. It was made only 4 months after JFK was assassinated. I rate this a 5 not because of the action or sci-fi…but it makes you think. The best Twilight Zones do that. Some might not like it because it is very dark.

Serling describes darkness covering various areas of the world simultaneously in reference to the evil happenings of the era. It’s a powerful message about a human sickness that all of us can learn and grow from. It was such a great concept to have the sunlight go away and to have total darkness brought on by hate. Maybe it is an act of God that’s being spurred on by men.

George Lindsey (Goober off of the Andy Griffith Show) plays a backwoods redneck policeman in this one. Michael Constantine plays the sheriff who feels guilty about what is going on and realizes the mistakes that he and everyone else has made. Ivan Dixon plays the Reverend Anderson and he and Constantine are the stars of this episode. The acting, writing, and lessons are great in this one.

IMDB Trivia: This episode takes place on May 25, 1964.

Ivan Dixon (Reverend) previously starred in The Twilight Zone: The Big Tall Wish (1960).

This show was written by Rod Serling

Rod Serling’s Opening Narration:

Sheriff Charlie Koch on the morning of an execution. As a matter of fact, it’s seven-thirty in the morning. Logic and natural laws dictate that at this hour there should be daylight. It is a simple rule of physical science that the sun should rise at a certain moment and supersede the darkness. But at this given moment, Sheriff Charlie Koch, a deputy named Pierce, a condemned man named Jagger, and a small, inconsequential village will shortly find out that there are causes and effects that have no precedent. Such is usually the case—in the Twilight Zone.

Summary

In a small town, a man by the name of Jagger is about to be executed after being found guilty of murder. The local newspaperman, Colbey, is convinced that Jagger is innocent. He accuses Deputy Pierce of having perjured himself to get a conviction and accuses Sheriff Charlie Koch of just plain laziness in investigating the case. As the morning of his execution arrives, the townsfolk realize that the sun hasn’t risen that day. They soon begin to understand the cause of the darkness that surrounds them.

SPOILER WARNING WITH VIDEO

Rod Serling’s Closing Narration:

A sickness known as hate. Not a virus, not a microbe, not a germ—but a sickness nonetheless, highly contagious, deadly in its effects. Don’t look for it in the Twilight Zone—look for it in a mirror. Look for it before the light goes out altogether.

CAST

Rod Serling … Host / Narrator – Himself
Michael Constantine … Sheriff Charlie Koch
Paul Fix … Colbey
George Lindsey … Deputy Pierce
Ivan Dixon … the Reverend Anderson
Terry Becker … Jagger
Eve McVeagh … Ella
Douglas Bank … Man
Russell Custer … Townsman
Elizabeth Harrower … Woman
Michael Jeffers … Deputy
Robert McCord … Townsman
Ward Wood … Man

John Lennon – Nobody Told Me

Double Fantasy was released in 1980 and I did like the album…but it was a little too pop-leaning in some songs. That album also takes me back to that awful time right after John was murdered. Three years later another album came out and this single was released. I’ve always liked this song. It sounded so much like the old John Lennon. It was quirky and had cool wordplay. It wasn’t John’s best song by any means and no it wasn’t close to Watching The Wheels or Starting Over but it had an edge to it that the other album didn’t.

This single was released in 1983. The song was originally written by John for Ringo Starr to sing on his “Stop and Smell the Roses” album. He even gave Ringo the demo. Ringo didn’t end up recording it because of the tragedy.

There is a lyric “There’s a UFO over New York and I ain’t too surprised” and it was taken from an actual incident. In 1974, John and May Pang (his girlfriend while separated from Yoko) were living in an apartment overlooking New York’s East River, when John saw what he thought was a UFO. May Pang said he yelled out the window “come back – take me!”

The song was off the “Milk and Honey” album with tracks from John and with Yoko. It peaked at #5 in the Billboard 100, #4 in Canada, and #6 in the UK. John wrote the song in 1976 and the working title was “Everybody’s Talkin.”

I liked the song the first time I heard it. It was a fun song and I was happy to hear something new from him. I really could hear Ringo doing this one. The two songs that hit from “Milk and Honey” were Stepping Out and this one.

“Nobody Told Me”

Everybody’s talking and no one says a word
Everybody’s making love and no one really cares
There’s Nazis in the bathroom just below the stairs
Always something happening and nothing going on
There’s always something cooking and nothing in the pot
They’re starving back in China so finish what you got Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — strange days indeed Everybody’s runnin’ and no one makes a move
Everyone’s a winner and nothing left to lose
There’s a little yellow idol to the north of Katmandu
Everybody’s flying and no one leaves the ground
Everybody’s crying and no one makes a sound
There’s a place for us in the movies you just gotta lay around

Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — most peculiar, mama

Everybody’s smoking and no one’s getting high
Everybody’s flying and never touch the sky
There’s a UFO over New York and I ain’t too surprised

Nobody told me there’d be days like these
Nobody told me there’d be days like these
Nobody told me there’d be days like these
Strange days indeed — most peculiar, mama

Janis Joplin – Ball and Chain

I always thought Janis had the voice of a songbird. A cigarette smoking and Southern Comfort drinking songbird…but a songbird all the same. Janis and Aretha Franklin are my two favorite female artists of all time. They put every ounce of themselves into their songs. They cheated no one.

I first heard this song on Janis Joplin’s Greatest Hits. I bought the album for the song Me and Bobby McGee and I found out I liked every song on the album. Unlike other singers I listened to at that time…Janis left everything on the field so to speak. That is the same quality I liked about Bruce Springsteen later.

Ball and Chain was written and originally recorded by a blues singer named Willie Mae “Big Mama” Thornton, who recorded the original version of “Hound Dog.” Thornton was introduced to church music at an early age. A skilled singer, songwriter, dancer, self-taught drummer, and harmonica player.

Janis’s big break came at the Monterey Pop Festival singing this song. She would go on to sing it at Woodstock also. It was on the album by Big Brother and the Holding Company called Cheap Thrills released in 1968. With the help of their appearance at Monterey, the album peaked at #1 in the Billboard Album charts for 8 consecutive weeks.

This was their breakthrough album. The album was supposed to be called Sex, Dope and Cheap Thrills; Columbia nixed it. The album ended up being the band’s last album with Joplin, who left by the end of the year to launch a solo career.

The cover was designed by legendary artist Robert Crumb. He didn’t care for Big Brother too much but liked Janis.

Robert Crumb: “She was a swell gal and a very talented singer. Ever heard any of this pre-Big Brother stuff she recorded? She was great. Then she got together with those idiots. The main problem with Big Brother was they were amateur musicians trying to play psychedelic rock and be heavy and you listen to it now and it’s bad… just embarrassing.”

“She wasn’t nationally known yet. I remember going to see her at the Avalon Ballroom and you could tell right away that she had an exceptional voice and she would go far. She started out singing old time blues like Bessie Smith. She was kind of a folknik originally.“

“Janis had played with earlier bands just playing country blues and it was much better. Way, way better. She’s singing well, not screaming, not playing to the audience that wanted to watch her sweat blood. In the beginning she was just an authentic, genuine Texas country-girl shouter.”

Ball and Chain

Sitting down by my window
Honey, looking out at the rain
Sitting down by my window, looking out at the rain
All around that I felt it
All I can see was the rain
Something grabbed a hold of me
Feel to me, oh, like a ball and chain
Hey, you know what I mean that’s exactly what it felt like
But that’s way too heavy for you, you can’t hold them all

And I say, oh, whoa, whoa, oh, that cannot be
Just because I got oh, your love, please
Why does every
Oh, this can’t be just because I got to need you, daddy
Please don’t you knock it down now, please
Here you’ve gone today
What I wanted to love you and I wanted to hold you, yeah, till the day I die
Yes, I did, yes, I did, yeah, hey, hey, alright

Say, whoa, whoa, whoa, honey
This can’t be anything I’ve ever wanted from your daddy tell me now
Oh, tell me, baby
Oh, say, whoa, whoa, whoa, whoa, honey
This can’t be, no, no, no, no, no
Yeah, yeah
I hope there’s someone out there who could tell me
Tell me why just because I got to want your love
Honey, just because I got to need, need, need, need your love
I said I understand
Honey, what I’m wanna trying to say hi
Trying, try, try, try, try, try, try
Honey, everybody in the world, also same, baby
When everybody in the world what needs, seem lonely
What I wanted work for your love, daddy
What I wanted trust your love, daddy
I din’t understand how come you’re gone
I don’t understand why half the world is still crying, man
And the other half of the world is still crying too, man
I can’t get it together
I mean if you go to ? Oneday, man
I mean, so baby, you want ? Three and sixty five days, right
You ain’t gonna within sixty five days, you gonna for one day, man
I tell you, that one day, man, better be your life, man
Because you know, you can stay oh man, you can cry about the other three and sixty four, man I said whoa, whoa, whoa
But you gonna lose that one day, man
That’s all you got, you got to call it love, man
That’s what it is, man
If you got today, you don’t worry about tomorrow, man
Because you don’t need it
Because the matter of the fact, as we discovered tat’s rain, tomorrow never happens, man
It’s all the same fucking day, man

So you gotta when you want to hold someone
You gotta hold them like it’s the last minutes of your life
You gotta hold, hold, hold and I say, oh, whoa, whoa, now babe, tell me why
Hold, baby, ’cause some come on your shoulder, baby
It’s gonna feel too heavy, it’s gonna weigh on you why does every thing, every thing
It’s gonna feel just like a ball
Oh, daddy and a chain

The Spirit of 76… Movie

This movie is a B movie all of the way…and it plays up that fact… It was released in 1990 and if you are wanting to watch something that spoofs the 1970s… This movie is for you. You will also learn the word tetrahydrozoline.

This movie stars David Cassidy, Lief Garrett, Carl and Rob Reiner, and Olivia d’Abo… Citizen Kane, it is NOT. It’s a fun film about the future where all is gray and they lost every record because of a magnetic storm including the US Constitution.

Adam-11 (David Cassidy) has built a time machine because he wants to go to a beach…beaches don’t exist anymore in the future. The government wants him to use the time machine to go into the past to 1776 and get a copy of the US Constitution so they can rebuild their society with it. To make it work he needs a chemical that’s rare in the future… tetrahydrozoline (the main ingredient to a very popular item in the ’70s… Visine).

The government agrees to give him some tetrahydrozoline but sends two more travelers Chanel-6 (d’Abo ), Heinz 57 (Geoff Hoyle) with Adam-11 to retrieve the document…but instead of going back to 1776 the time machine malfunctions and goes to 1976.

Devo makes an appearance as the “Ministry of Knowledge”…

It’s a corny movie but they have the 70s down in many parts of the movie. After meeting up with two teenage stoners (The group Redd Kross) they look for the constitution but lose the tetrahydrozoline. If you are looking for a second Gone with the Wind…don’t watch this but it’s funny and silly enough to entertain you.

You have to know a little about the 70s to get some of the jokes…Like David Cassidy’s character looking around a garage in 1976 asking “am I going to be stuck here forever?” while looking at a Partridge Family lunch box.

If you are bored, try this one. The trailer is below the complete movie is below that.

The complete movie

The trailer

Twilight Zone – The Masks

★★★★★ March 20, 1964 Season 5 Episode 25

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

Rod Serling wrote this episode and it is a bonafide classic. This is one of the episodes I point out to people who have never seen The Twilight Zone. I love some great Twilight Zone justice and this has it. A dying wealthy older man invites his awful family (his daughter Emily, her husband Wilfred, and children Paula & Wilfred Jr.) down to visit and for a party. He makes each of them wear a mask that reflects who they are until midnight. They do not want to wear the masks but he makes it clear, if they don’t wear the masks they will not get anything when he dies. “That is indeed the most touching thing you ever dredged up by way of conversation, Wilfred. But I must include this addendum, this small proviso: You shall wear your masks until midnight. If anyone of you should take them off, from my estate, you shall each receive train fare back to Boston, and that’s it!”

This is one of those perfect episodes. The narration, writing, and acting come together perfectly. The star of it was Robert Keith who played Jason Foster. He is dying and his lines to his family in this episode are cutting but well deserved. This was the only episode of the series to be directed by a woman, Ida Lupino. She previously played Barbara Jean Trenton in the episode The Sixteen-Millimeter Shrine. The famous actress Lupino would end up with 42 director credits to go along with her 105 acting ones.

Here are a few of his quotes

You’ve been at death’s door so often it’s a wonder you haven’t worn a hole in the mat.

You know, Wilfred, I think the only book you ever read was a ledger. I think if someone cut you open, they would find a cash register.

Well, that’s friendly of you to tell me that, considering that you haven’t seen me yet. All you’ve seen is your mirror image.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

Mr. Jason Foster, a tired ancient who on this particular Mardi Gras evening will leave the Earth. But before departing, he has some things to do, some services to perform, some debts to pay—and some justice to mete out. This is New Orleans, Mardi Gras time. It is also the Twilight Zone.

Summary

When his doctor tells him that he could die at any moment, the wealthy Jason Foster gathers his heirs including his daughter Emily Harper, her husband Wilfred and their children Paula and Wilfred Jr. Jason doesn’t think much of any of them and it’s clear they can’t wait to get their hands on his fortune. It’s Mardi Gras time in New Orleans and he has one last request – for each of them to wear a carnival mask. Each of the masks is meant to reflect some aspect of their personality – and leave a lasting impression on them.

Rod Serling’s Closing Narration:

Mardi Gras incident, the dramatis personae being four people who came to celebrate and in a sense let themselves go. This they did with a vengeance. They now wear the faces of all that was inside them—and they’ll wear them for the rest of their lives, said lives now to be spent in shadow. Tonight’s tale of men, the macabre and masks, on the Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Robert Keith…Jason Foster
Milton Selzer…Wilfred Harper
Virginia Gregg…Emily Harper
Brooke Hayward…Paula Harper
Alan Sues…Wilfred Harper Jr.
Willis Bouchey…Dr. Samuel Thorne
Bill Walker…Jeffrey The Butler
Maidie Norman…Maid

Lovin’ Spoonful – You Didn’t Have to Be So Nice

The Lovin’ Spoonful’s songs seem so effortlessly written and performed. They were popular for a short while in the mid-sixties. They influenced many bands including The Beatles who released Good Day Sunshine as a nod to The Lovin’ Spoonful’s song Daydream.

In the 1980s I really got into this band. I purchased one of their many greatest hits. I first heard of John Sebastian in the 70s when he wrote and sang the theme song of TV show Welcome Back Cotter called “Welcome Back” which went to #1.

They were considered by TV producers to be in a television show but they were dropped over a conflict of song publishing rights. After an audition process, the producers figured it was more trouble than they expected. For one thing, the Spoonful were writing their own music at this point, and the show was not interested in giving up the publishing rights to the songs written for the show, so it really did not make sense for either party, and the producers instead turned to open auditions for the show. The Monkees were found soon after that.

Brian Wilson said this song influenced one of the Beach Boys’ best songs…God Only Knows. The group was only active from 1965 to 1968, which John Sebastian described as “two glorious years and a tedious one.” John Sebastian wrote the majority of their songs. He had a #1 hit as a solo artist in 1976 with “Welcome Back,” the theme song to the TV series Welcome Back, Kotter.

This song was written by John Sebastian and bassist Steve Boone.

Lovin’ Spoonful played what they called “jug band” music and like the Rascals, they were more of a singles band than an album band. In 1967 Zal Yanovsky left the band citing musical differences. In 1968 Sebastian left for a solo career and the band carried on until 1969 without a significant hit.

The song peaked at #10 in the Billboard 100 and #4 in Canada in 1965.

John Sebastian: “We started off in a world of 45 singles, so our only game still was three minutes of heaven every time out. That was all. We thought of it as four-man Phil Spector music. We wanted it to have that big quality, but we didn’t want to hire the Wrecking Crew.”

“Our producer Eric Jacobsen understood something about this funny hybrid that we were working on,” “Things like the chimes on ‘You Didn’t Have to Be So Nice’ were our attempts at creating that kind of vibe: harmonica, slide whistles and penny whistles. I hate calling it folk-rock. They called The Byrds folk-rock and then they were too lazy to come up with something else for our band, but we weren’t really drawing from the Pete Seeger, Bob Dylan catalog. It was a time of a lot of seriousness, and a lot of fake seriousness and people talking about Important Things. And Loving Spoonful didn’t really go for that. We were just trying to entertain.”

You Didn’t Have To Be So Nice

You didn’t have to be so nice
I would have liked you anyway
If you had just looked once or twice
And gone upon your quiet way

Today I said the time was right for me to follow you
I knew I’d find you in a day or two
And it’s true

You came upon a quiet day (ooh)
You simply seemed to take your place (ooh)
I knew that it would be that way (ooh)
The minute that I saw your face (ooh)

And when we’ve had a few more days (when we’ve had a few more days)
I wonder if I’ll get to say (wonder if I’ll get to say)
You didn’t have to be so nice (be so nice)
I would have liked you anyway (would have liked)

Today I said the time was right for me to follow you
I knew I’d find you in a day or two
And it’s true

You didn’t have to be so nice (didn’t have to be so nice)
I would have liked you anyway (would have liked you anyway)
If you had just looked once or twice (once or twice)
And gone upon your quiet way (quiet way)

Ventures – Walk Don’t Run

Walk Don’t Run is one of my favorite instrumentals right along Sleep Walk, Green Onions, and a few others. When I learned to play this on guitar, I was on cloud nine. Johnny Smith wrote this song and was the first one to record it. Chet Atkins along with many artists covered this but the song is best remembered by The Ventures.

This song got a push in The Ventures native Seattle when a local radio DJ used it to lead into every newscast. The Ventures first released this song in 1960 and it peaked at #11 in the Billboard 100. After this song, it kicked their career in high gear. The band had 14 singles in the Billboard Hot 100. With over 100 million records sold, the Ventures are the best-selling instrumental band of all time.

Numerous musicians credit the Ventures with helping them learn their instrument, including Anthrax, the B-52s, Jeff “Skunk” Baxter, Dire Straits, Dave Edmunds, Adam Ant, Mick Fleetwood, Aerosmith’s Joe Perry, Johnny Ramone, Jello Biafra, Keith Moon, Gene Simmons, Jimmy Page, Toulouse Engelhardt, Jim Diamond, Chris Spedding, Insect Surfers, Black Train, Gary Pig Gold, Al Di Meola, and Max Weinberg.

In 1964, The Ventures released an updated version called “Walk Don’t Run ’64, which also made the Top 10 in the US. In addition to their 1960 and 1964 versions. They recorded completely new versions in 1968, 1977, 1986, and 2000. “Walk-Don’t Run 77 is a disco track. The 1986 one was sort of a heavy metal version, and the one in 2000 has a sax in it.

They were founded by Bob Bogle and Don Wilson in the 1950s. John Fogerty inducted the Ventures in the Rock and Roll Hall of Fame in 2008.

Johnny Smith Version

Walk Don’t Run 77

Walk Don’t Run 64

The Original

Walk Don’t Run

Not one lyric…Just dig on the guitar riff.

Hall and Oates – You Make My Dreams

I have always liked this keyboard-driven song. The funky riff makes it irresistible. After this album, they released Private Eyes and that is when I stopped following them as much…although Private Eyes was a huge success.

You Make My Dreams peaked at #5 in the Billboard 100 and #17 in Canada in 1981. The song came off of the album Voices which peaked at #17 in the Billboard Album Charts and it went gold in Canada.

Voices was a huge success with 4 singles coming off the album making the top 40. How Does It Feel to Be Back, You’ve Lost That Lovin’ Feelin’, Kiss on My List, and this song. Along with those songs the album also included “Everytime You Go Away” which wasn’t released as a single for some reason. Later on, Paul Young covered the song and had a #1 song in the Billboard 100.

Back in 2020, the song reached 1 billion streams worldwide. The riff in this song was played on a Yamaha CP30 Electric Piano.

The single was not initially a hit in the UK but gathered momentum as time went on thanks to its frequent use on TV and film soundtracks. In 2018 it was the UK’s most-streamed song during the year out of all the records released in 1980.

John Oates: “It’s a great song, simple as that. Good songs are good songs. They stand on their own, they can be stripped away of the production. A song is what happens when a writer sits down on their individual instrument and creates something out of nothing. And there’s magic involved and there’s inspiration involved. ‘You Make My Dreams Come True’ represents a vibe, it represents a collaboration between myself and Daryl and the band in the studio in the ’80s. Its simplicity and directness is where the charm lies in that song.”

“It’s amazing, right? What really gets me about this is when the song ‘You Make My Dreams’ was released as a single in 1981, it wasn’t a massive Number One hit – it reached Number Five in the US. We couldn’t have predicted the impact it would have. Over the years, it’s taken on a life of its own. It’s become this anthemic feel-good thing. A lot of it started with its use in the movie 500 Days of Summer and the dance sequence they created around that song. From there on, it took on this life of its own. It’s the gift that keeps on giving. It’s an amazing feel-good groove and it has a great timeless appeal.”

Daryl Hall: “It’s funny – it’s ubiquitous, especially now. I think because it’s such a happy song, just a pure expression of joy. And it’s set to a really old-time-gospel kind of feel.”

You Make My Dreams

What I want you’ve got
But it might be hard to handle
Like the flame that burns the candle
But the candle feeds the flame, yeah yeah
What I got full stock
Of thoughts and dreams that scatter
And you pull them all together
And how I can’t explain, oh yeah

Well well you (ooh ooh ooh ooh)
You make my dreams come true
(Ooh you you ooh ooh)
Well well well you (ooh ooh ooh ooh)
Oh yeah, you make my dreams come true
(You you you you) hell yeah (you)

On a night when bad dreams become a screamer
When they’re messin’ with a dreamer
I can laugh it in the face
Twist and shout my way out
And wrap yourself around me
Cause I ain’t the way you found me
And I’ll never be the same, oh yeah

Well cause you (ooh ooh ooh ooh)
Hmmm hmm, you make my dreams come true
(Ooh you you you) oh yeah (you)
Well well well you (ooh ooh ooh ooh)
Ooh, you make my dreams come true
(You you you you) oh yeah (you)
Well, listen to this

I’m down on my daydream
All that sleepwalk should be over by now
I know

Well you, hell yeah
You make my dreams come true
(You you you you) oh yeah (you)
I’ve been waiting for, waiting for you girl
(Ooh ooh ooh ooh)
Oh yeah, you make my dreams come true
(You you you you) Me you, me you, me
I’ve been waiting for, waiting for you girl
(Ooh ooh ooh ooh) all my life

You make my dreams come true
(You you) whoa (you you)
Whoa whoa, I’ve been waiting for
Waiting for, waiting for, waiting for
Waiting for, waiting for, waiting for
(You make my dreams) ooh ooh ooh ooh

I’ve been waiting for you, girl (you you you you)
(You make my dreams, you you you you)

….

Twilight Zone – What’s in the Box

★★★1/2 March 13, 1964 Season 5 Episode 24

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

Two bickering and unlikable characters star in this episode. Do you want to see the dark side of marriage? Watch this episode. It reminds me of the episode A Most Unusual Camera. It’s almost too close to that episode. Both take place in a high-rise apartment building that features a window. This time it’s a TV, not a camera that after a “repair” shows the near feature in wonderful black and white.

William Demarest and Joan Blondell are effective in portraying their characters here, even if neither one is very likable. There is no need for a back story of these two, it’s clear why they fight. Sterling Holloway plays the TV repairman, and you might recognize his voice as Winnie The Pooh. Again, not in the top episodes but certainly not too bad. The next episode coming Wednesday…a classic.

From IMDB Trivia: Joe Britt is surprised at getting Channel 10. When television began, it was broadcast over the very high frequency (VHF) band of the radio spectrum. The VHF channels were 2-13, but, to avoid interference, a city could not have channels with consecutive numbers, except for 4 and 5 or 5 and 6. Britt lives in New York, which had channels 2, 4, 5, 7, 9, 11, and 13.

While the TV repairman is fixing the television in the first scene, numerous voices can be heard. One of them is Rod Serling saying, “Next time on The Twilight Zone (1959)…”

According to The Twilight Zone Companion, Martin M. Goldsmith was brought in to write an episode of The Twilight Zone, due to his previous collaboration with William Froug on Playhouse 90. And according to William Froug, Martin Goldsmith came up with a notion of a guy looking at his own extramarital activities on TV, and trying to it off before his wife could see it. Martin Goldsmith would disown the episode, saying “I didn’t like it, it lacked all subtlety the way it was done. I think Joan Blondell and William Demarest overplayed it. It was just too broad.”

This show was written by Martin Goldsmith and Rod Serling

Rod Serling’s Opening Narration:

Portrait of a TV fan. Name: Joe Britt. Occupation: cab driver. Tonight, Mr. Britt is going to watch “a really big show,” something special for the cabbie who’s seen everything. Joe Britt doesn’t know it, but his flag is down and his meter’s running and he’s in high gear—on his way to the Twilight Zone.

Summary

Taxi driver Joe Britt usually makes his way home to his wife Phyllis but theirs is not a happy marriage as they constantly bicker and she accuses him of having a girlfriend. The obnoxious Joe is having his TV fixed but after the repairman leaves, Joe sees himself with his girlfriend in scenes from the recent past. Soon after, he has a glimpse of what will happen in the near future.

Rod Serling’s Closing Narration:

The next time your TV set is on the blink, when you’re in the need of a first-rate repairman, may we suggest our own specialist? Factory-trained, prompt, honest, twenty-four hour service. You won’t find him in the phone book, but his office is conveniently located—in the Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Joan Blondell…Phyllis Britt
William Demarest…Joe Britt
Sterling Holloway…TV Repairman
Herbert Lytton…Dr. Saltman
Sandra Gould…Woman On T.V.
Howard Wright…Judge
Douglas Bank…Prosecutor
Ted Christy…The Wild Panther
Robert McCord…Electric Chair Guard
Tony Miller…Announcer
Mitchell Rhein…Neighbour
Ron Stokes…Car Salesman
John L. Sullivan…The Russian Duke

Procol Harum – A Whiter Shade of Pale

I don’t remember the sixties, but this song makes me feel like I do. In my humble opinion, it’s one of the best songs of the sixties. It perfectly captured its time. John Lennon was a huge fan of the song and would play it repeatedly in his psychedelic Rolls Royce.

It is one of those songs like Itchycoo Park that automatically transports me to the sixties… I never get tired of listening to this. A Whiter Shade of Pale was released in 1967. It peaked at #1 in Canada, The UK, New Zealand, and #5 in the Billboard 100. It sold over 10 million copies. It was re-released in 1972 and went to #13 in the UK charts.

Gary Brooker and Keith Reid were credited with writing the song but Matthew Fisher the former keyboard player in the band sued for partial writing credit and won on July 24, 2008. Now the song’s writing credit is Reid-Brooker-Fisher. Gary Brooker and Fisher wrote the music and Reid wrote the lyrics. This was the first song Procol Harum recorded. After it became a hit, they fired their original drummer and guitarist, replacing them with Barry Wilson and Robin Trower… more experienced musicians who could handle touring.

The Illinois Crime Commission included the song in a list of ‘drug-oriented records’ along with “White Rabbit” by Jefferson Airplane and The Beatle’s “Lucy In The Sky With Diamonds.” When any ban would happen, the records would fly off the shelves.

In 2004, the UK performing rights group Phonographic Performance Limited named this the most-played record on British TV and radio of the past 70 years. In 2009 it was announced that this song is still Britain’s most played record.

Gary Brooker: “I’d been listening to a lot of classical music, and jazz. Having played rock and R&B for years, my vistas had opened up. When I met Keith, seeing his words, I thought, ‘I’d like to write something to that.’ They weren’t obvious, but that doesn’t matter. You don’t have to know what he means, as long as you communicate an atmosphere. ‘A Whiter Shade Of Pale’ seemed to be about two people, a relationship even. It’s a memory. There was a leaving, and a sadness about it. To get the soul of those lyrics across vocally, to make people feel that, was quite an accomplishment.

I remember the day it arrived: four very long stanzas, I thought, ‘Here’s something.’ I happened to be at the piano when I read them, already playing a musical idea. It fitted the lyrics within a couple of hours. Things can be gifted. If you trace the chordal element, it does a bar or two of Bach’s ‘Air on a G String’ before it veers off. That spark was all it took. I wasn’t consciously combining rock with classical, it’s just that Bach’s music was in me.”

Keith Reid: “I was trying to conjure a mood as much as tell a straightforward, girl-leaves-boy story. With the ceiling flying away and room humming harder, I wanted to paint an image of a scene. I wasn’t trying to be mysterious with those images, I was trying to be evocative. I suppose it seems like a decadent scene I’m describing. But I was too young to have experienced any decadence, then. I might have been smoking when I conceived it, but not when I wrote. It was influenced by books, not drugs.”

A Whiter Shade of Pale

We skipped the light fandango
Turned cartwheels ‘cross the floor
I was feeling kinda seasick
But the crowd called out for more
The room was humming harder
As the ceiling flew away
When we called out for another drink
And the waiter brought a tray

And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

She said, “There is no reason
And the truth is plain to see. “
But I wandered through my playing cards
And they would not let her be
One of sixteen vestal virgins
Who were leaving for the coast
And although my eyes were open wide
They might have just as well been closed

And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

She said, “I’m here on a shore leave,”
Though we were miles at sea.
I pointed out this detail
And forced her to agree,
Saying, “You must be the mermaid
Who took King Neptune for a ride. “
And she smiled at me so sweetly
That my anger straightway died.

And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

If music be the food of love
Then laughter is it’s queen
And likewise if behind is in front
Then dirt in truth is clean
My mouth by then like cardboard
Seemed to slip straight through my head
So we crash-dived straightway quickly
And attacked the ocean bed

And so it was that later
As the miller told his tale
That her face, at first just ghostly,
Turned a whiter shade of pale

Twilight Zone – Queen of the Nile

★★★1/2 March 6, 1964 Season 5 Episode 23

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

The show begins with a reporter coming to the home of a pretty film star that looks amazing for her age. At first, the show seems friendly and innocent and then starts getting dark. It’s a good episode but not spectacular and has twists and turns that will keep viewers interested.

Ann Blyth plays ageless film star Pamela Morris, who is adored and envied by her fans, she has a mysterious past that a syndicated journalist Jordan Herrick (played by Lee Philips) hopes to uncover. This episode was very reminiscent of “Long Live Walter Jameson” from season 1 except Miss Morris will go to any length to keep her youth. Charles Beaumont wrote that one… and he was credited with Queen of the Nile but it was ghostwritten by Jerry Sohl. Beaumont’s health was in bad shape at the time.

This one is has a blend of drama, science fiction, and mystery. How does she stay young? How old is she really? The universe has rules and Miss Morris is breaking the biggest one.

From IMDB Trivia: When Jordan is on the phone with his Chicago-based editor Krueger, Krueger states that Constance Taylor had been “reigning beauty in the days of the Florodora Girls.” This is a reference to the chorus girls of the play “Florodora,” a popular musical comedy that opened on Broadway in 1900 and ran for over 550 performances. Much of the show’s success was attributed to the beauty of its sextet of chorines, whom the public dubbed “The Florodora Girls.”

Pamela Morris claimed to have been born in 1925.

This show was written by Charles Beaumont, Rod Serling, and Jerry Sohl (uncredited)

Rod Serling’s Opening Narration:

Jordan Herrick, syndicated columnist, whose work appears in more than a hundred newspapers. By nature a cynic, a disbeliever, caught for the moment by a lovely vision. He knows the vision he’s seen is no dream; she is Pamela Morris, renowned movie star, whose name is a household word and whose face is known to millions. What Mr. Herrick does not know is that he has also just looked into the face—of the Twilight Zone.

Summary

A syndicated columnist, Jordan Herrick, gets an interview with the famous and beautiful actress Pamela Morris. She claims to be 38 years old but according to Jordan’s information, that would have made her first film as an adult when she was only 10. He takes her word for it but her elderly mother, Viola Draper, has news for him: she’s not Pamela’s mother, she is her daughter. The more he looks into her background, the more convinced he becomes that Pamela hasn’t aged for decades. Faced with the facts, Pamela shows the lengths she will go to in order to protect her great secret.

Rod Serling’s Closing Narration:

Everyone knows Pamela Morris, the beautiful and eternally young movie star. Or does she have another name, even more famous, an Egyptian name from centuries past? It’s best not to be too curious, lest you wind up like Jordan Herrick, a pile of dust and old clothing discarded in the endless eternity of the Twilight Zone.

CAST

Rod Serling … Narrator / Self – Host (uncredited)
Ann Blyth…Pamela Morris/Constance Taylor
Lee Philips…Jordan Herrick
Celia Lovsky…Viola Draper
Ruth Phillips…Charlotte
Frank Ferguson…Krueger
James Tyler…Mr. Jackson