PowerPop... An Eclectic Collection of Pop Culture

Big Star: Nothing Can Hurt Me Documentary

Hanspostcard is hosting a movie draft from 12 different genres…this is my musical entry and final pick.

Such a great band but such a frustrating story. Robyn Hitchcock remarked, “Big Star is like a letter that was mailed in 1972 but didn’t arrive until 1985.” That is a great way to explain them. They made three of the best albums of the decade that were not heard until much later. When they were finally discovered they influenced many artists such as The Replacements, REM, Cheap Trick, Matthew Sweet, and more. The last time I checked it was on Netflix…watch this documentary.

When these musicians and critics talk about Big Star…they talk about them like people talk about The Beatles, Rolling Stones, The Who, and The Kinks. In this documentary you have Cheap Trick, REM, Mitch Easter, Robyn Hitchcock, and others talking about the band.

The first album got great reviews…you couldn’t ask for better. When the label called radio stations trying to get them to play it…the stations would say it’s not selling. When someone actually heard the songs on the radio, they couldn’t find the record to buy it. This was basically the same story with all of the albums.

Distribution problems and just bad timing. Stax didn’t do a good job of distribution…they made a deal with Columbia before the second album to distribute the album…problem solved right? Nope, Clive Davis who made the deal was then fired at Columbia. The deal fell through and then Stax disintegrated.

Chris Bell who was key in creating the sound the band had quit after the first album. He came back but then quit again. Chris had depression problems and wanted badly to do something on his own. Alex Chilton continued and finished the second and third album with a new bass player on the third album.

After that, it follows Chris and Alex’s career to the end of both. It also covers Jim Dickinson’s role on the third experimental album. Family members, fans, and rock writers also share their love of Big Star and memories of the band members.

In May of 1973 Ardent Studios where Big Star recorded invited 100 rock writers down to Memphis to hear Big Star live. They all loved Big Star and it went over great…but that wasn’t the band’s problem…it was the business side. What would have happened if they would have signed with a label more suited to them?

Before watching this documentary, a couple of years back I didn’t realize Chris Bell was so instrumental in developing their sound. I knew it wasn’t the Alex Chilton band, but Chris was invaluable and started the ball rolling. All 4 members did contribute writing and singing but Chilton and Bell were the Lennon and McCartney of the group.

It’s a great documentary about a great band that had the talent, but fate wasn’t on their side.

There is the often-used Peter Buck quote that everyone who bought the first Velvet Underground album went out and started a band…the same is true with this band.

My recommendation? Watch it…NOW

Cast

Billy Altman … Self – Writer
Jon Auer … Self
Lester Bangs … Self (archive footage)
Chris Bell … Self (archive footage)
David Bell … Self – Chris Bell’s Brother
Norman Blake … Self
The Box Tops … Themselves (archive footage)
Panther Burns … Themselves (archive footage)
Cheap Trick … Themselves
Stephanie Chernikowski … Self – Photographer
Alex Chilton … Self (archive footage)
Rick Clark … Self – Writer and Musician
Stephen Ira Cohen … Self – U.S. Congressman (archive footage) (as Steve Cohen)
The Cramps … Themselves (archive footage)
John Dando … Self – Band Manager, Ardent Studios 1972-1975
Luther Dickinson … Self
Mary Lindsay Dickinson … Self
Steven Drozd … Self
Van Duren … Self – Musician
Mitch Easter … Self – Musician and Producer
Bruce Eaton … Self (voice) (archive footage)
William Eggleston … Self
Tav Falco … Self
John Fry … Self – Founder, Ardent Studios
John Hampton … Self – Engineer, Ardent Studios
Douglas Hart … Self – Bass, The Jesus and Mary Chain
Robyn Hitchcock … Self
Andy Hummel … Self (archive footage)
Ross Johnson … Self – Writer and Musician
Ira Kaplan … Self
Lenny Kaye … Self – Writer and Musician
John King … Self – Promotions, Ardent Studios 1972-1975
Curt Kirkwood … Self
John Lightman … Self
Carole Manning … Self – Ardent Studios 1972-1975
Mike Mills … Self
The Replacements The Replacements … Themselves (archive footage)
Steve Rhea … Self – Promotions, Ardent Studios 1972-1975
Will Rigby … Self – musician
Richard Rosebrough … Self – Engineer, Ardent Studios 1972-1975
Kliph Scurlock … Self
Tom Sheehan … Self – Photographer
Chris Stamey … Self – Musician and Producer
Big Star … Themselves
Jody Stephens … Self
Sara Stewart … Self – Chris Bell’s Sister
Michael Stipe … Self
Ken Stringfellow … Self
Matthew Sweet … Self
Alexis Taylor … Self
Marge Thrasher … Self – Hostess of Straight Talk (archive footage)
Jon Tiven … Self
Pete Tomlinson … Self – Writer
Jaan Uhelszki … Self – Writer (as Jaan Uhelzski)
Terry Edwards … Conductor, London (uncredited)

Lloyd Cole & The Commotions – Perfect Skin… 80’s Underground Mondays

Love the sound of this song. It sounds like it could have come out of any decade. The guitar fills are wonderful. It’s a shame they didn’t have success in America but they were played on college radio stations.

Lloyd Cole wrote the lyrics and music to this song. He would write all the lyrics on the album and on a few songs would get some help with the music.

Perfect Skin was off of the album Rattlesnakes which peaked at #13 in the UK and New Zealand in 1984. The song peaked at #26 in the UK. NME included the album in its Top 100 Albums of All Time list, and the title track was later covered by the American singer Tori Amos.

The Welsh band Manic Street Preachers included the album amongst their top ten list.

They were active from 1984 through 1989 and released three albums and all of them made the top twenty in the UK. They had formed in Glasgow, Scotland in 1982…they broke up in 1989. Cole embarked on a solo career but the band reformed briefly in 2004 to perform a 20th anniversary mini-tour of the UK.

Lloyd Cole: Perfect Skin’s Louise wasn’t real, though. I’d read about Bob Dylan seducing women by writing songs for them, so I was showing off with words: “She’s got cheekbones like geometry and eyes like sin and she’s sexually enlightened by Cosmopolitan.” When I sing that live now, I go: “Who isn’t?”

Between 1983 and 84, we went from being a wimpy band who sounded like the Style Council to more of a rock band. When I wrote Are You Ready to Be Heartbroken? it made us realise what we could do. I took a Portastudio to my room in Glasgow Golf Club, where my parents worked and lived, and wrote Perfect Skin and Forest Fire. Not one song on Rattlesnakes was more than a year old when it was recorded.

Perfect Skin

I choose my friends only far too well
I’m up on the pavement
They’re all down in the cellar
With their government grants and my IQ
They brought me down to size
Academia blues

Louise is a girl
I know her well
She’s up on the pavement
Yes, she’s a weather girl
And I’m staying up here so I may be undone
She’s inappropriate but then she’s much more fun and

When she smiles my way
My eyes go out in vain
She’s got perfect skin

Shame on you, got no sense of grace
Shame on me
Just in case I might
Come to a conclusion other than that which is absolutely necessary
And that’s perfect skin

Louise is the girl with the perfect skin
She says, “Turn on the light otherwise it can’t be seen”
She’s got cheekbones like geometry and eyes like sin
And she’s sexually enlightened by Cosmopolitan and

When she smiles my way
My eyes go out in vain
For her perfect skin
Yeah, that’s perfect skin

She takes me down to the basement
To look at her slides
Of her family life
Pretty weird at times
At the age of ten she looked like Greta Garbo and I loved her then
But how was she to know that

When she smiles my way
My eyes go out in vain
She’s got perfect skin

Up eight flights of stairs to her basement flat
Pretty confused, huh?
Being shipped around like that
Seems to climb so high
Now we’re down so low
Strikes me the moral of the song
Must be: there never has been one

…

Twilight Zone – A Stop at Willoughby

★★★★★ May 6, 1960 Season 1 Episode 30

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

This one is one of my favorites…it could have made my top ten. This one is very modern. James Daly plays Gart Williams who is pushed to the edge of a nervous breakdown by a boss who won’t let up and a wife who can’t get enough status symbols. Daly was great in this role… At some point all of us has felt like Gart Williams. A quote from Gart’s character while arguing with his wife: Some people aren’t built for competition, Janie, or big pretentious houses they can’t afford, or rich communities they don’t feel comfortable in, or country clubs they wear around their neck like a badge of status.

This one had a twist that I did not see coming. The transition to the last scene is brilliant. If Gart could see in the future he would see work tying employees to cell phones twenty four hours a day…”Push Push Push” would take on a whole new meaning.

This was Rod Serling’s first season favorite episode.

The train stations called out by the conductor on the 1960 train are real. At the time of the filming, stations such as “Stamford” and “Westport & Saugatuck” were stations on the New Haven Railroad. They continue to exist as of August 2015 as stations on the Metro North Railroad.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

This is Gart Williams, age thirty-eight, a man protected by a suit of armor all held together by one bolt. Just a moment ago, someone removed the bolt, and Mr. Williams’ protection fell away from him, and left him a naked target. He’s been cannonaded this afternoon by all the enemies of his life. His insecurity has shelled him, his sensitivity has straddled him with humiliation, his deep-rooted disquiet about his own worth has zeroed in on him, landed on target, and blown him apart. Mr. Gart Williams, ad agency exec, who in just a moment, will move into the Twilight Zone—in a desperate search for survival.

Summary

Ad agency executive Gart Williams has had a particularly rough day – his young protégé has left to work at another agency and took a $3-million account him. He falls asleep on the train home and wakes up in another place and another time. It’s July 1888 and he’s in the village of Willoughby, a peaceful town where life is easy. He comes to back in his own time but as the pressures of works and his home life continue to mount, he decides Willoughby is exactly where he would like to spend the rest of his days.

Rod Serling’s Closing Narration:

Willoughby? Maybe it’s wishful thinking nestled in a hidden part of a man’s mind, or maybe it’s the last stop in the vast design of things—or perhaps, for a man like Mr. Gart Williams, who climbed on a world that went by too fast, it’s a place around the bend where he could jump off. Willoughby? Whatever it is, it comes with sunlight and serenity, and is a part of The Twilight Zone.

CAST

Rod Serling … Narrator (voice)
James Daly … Gart Williams
Howard Smith … Misrell
Patricia Donahue … Janie Williams
Jason Wingreen … 1960 Conductor
Mavis Neal Palmer … Helen (as Mavis Neal)
James Maloney … 1888 Conductor
Billy Booth … Short Boy (uncredited)
James Gonzalez … Passenger (uncredited)
Herschel Graham … Executive (uncredited)
Ryan Hayes … Engineer (uncredited)
Butch Hengen … Tall Boy (uncredited)
Perk Lazelle … Executive (uncredited)
Clark Ross … Executive (uncredited)
Bernard Sell … Executive (uncredited)
Max Slaten … Man on Wagon (uncredited)
Hal Taggart … Executive (uncredited)
Billy Booth … Short Boy (uncredited)
James Gonzalez … Passenger (uncredited)
Herschel Graham … Executive (uncredited)
Ryan Hayes … Engineer (uncredited)
Butch Hengen … Tall Boy (uncredited)
Perk Lazelle … Executive (uncredited)
Clark Ross … Executive (uncredited)
Bernard Sell … Executive (uncredited)
Max Slaten … Man on Wagon (uncredited)
Hal Taggart … Executive (uncredited)

Who – I’m A Boy

My name is Bill, and I’m a head case…

Now THAT is a lyric worth exploring.

Pete Townshend wrote this for a Rock Opera he was composing called “Quads,” which was about a future where parents could choose the sex of their children. That opera never happened. I have to wonder if Townshend had this old title in mind when a few years later he came up with the title for “Quadrophenia.”

I’m A Boy was released as a single in 1966. The song peaked at #2 in the UK and #2 in New Zealand. The song was not heard much in America or Canada at the time. Many of their singles would finally come to the light when the great compilation album Meaty Beaty Big and Bouncy was released in 1971. They did a live version and included it on the live album Live At Leeds released in 1970.

Released as the B-side of the single was “In the City”, the first and last song credited to the songwriting collaboration of John Entwistle and Keith Moon. Entwistle referred to it as rip-off of Jan and Dean, a group that was a favorite of Moon’s.

Roger Daltrey: “I always thought The Who went through a weird period after ‘My Generation’ (November 1965) that lasted until we did ‘Magic Bus’ (October 1968). I thought it all went a bit sloppy. But ‘I’m A Boy’ and ‘Pictures Of Lily’ were from that period when I’d been allowed back into the band (Daltrey had been asked to leave after beating up Keith Moon over his heavy use of amphetamines). My ego had been crushed. I was insecure and it showed in my voice. When I first heard those songs, I was like, ‘Oi, what’s this all about?’ I didn’t think I could find the right voice for them. You can hear it when you listen to them now, but my insecurity made those songs sound better. It was a happy accident.”

From Songfacts

This is about a boy whose mother wants him to be a girl, while the boy longs to assert his real sexual identity. The controversial subject of cross-dressing was probably the reason why this failed to reach the American Top 100.

Daltrey told Uncut magazine: “On ‘I’m A Boy’, I tried to sing it like a really, really young kid, like an eight-year-old. Not the voice of an eight-year-old but the sentiment – and I think that came across.”

I’m A Boy

One girl was called Jean Marie
Another little girl was called Felicity
Another little girl was Sally Joy
The other was me, and I’m a boy

My name is Bill, and I’m a head case
They practice making up on my face
Yeah, I feel lucky if I get trousers to wear
Spend evenings taking hairpins from my hair

I’m a boy, I’m a boy
But my ma won’t admit it
I’m a boy, I’m a boy
But if I say I am, I get it

Put your frock on, Jean Marie
Plait your hair, Felicity
Paint your nails, little Sally Joy
Put this wig on, little boy

I’m a boy, I’m a boy
But my ma won’t admit it
I’m a boy, I’m a boy
But if I say I am, I get it

I want to play cricket on the green
Ride my bike across the street
Cut myself and see my blood
I want to come home all covered in mud

I’m a boy, I’m a boy
But my ma won’t admit it
I’m a boy, I’m a boy, I’m a boy
I’m a boy, I’m a boy, I’m a boy, I’m a boy
I’m a boy, I’m a boy, I’m a boy

Twilight Zone – Nightmare as a Child

★★★★ April 29, 1960 Season 1 Episode 29

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

I really like the cast in this. Terry Burnham as the child Markie has no trace of a child in her performance which is why it works. This one could have been a Hitchcock episode. Janice Rule and Shepperd Strudwick play their parts perfectly. Strudwich is especially creepy. The show has a slow build up, to watch Helen…slowly trying to find her self while putting the pieces together one piece at a time.

Helen gets aggravated talking to Markie and you can see what is going on. She knows something is different about this kid. Helen can’t grasp who this kid is…or maybe doesn’t want to grasp it. Markie gets as frustrated as us viewers and finally clues Helen in and pulls no punches.

The amnesia card is played in this one but unlike some shows it works in this. Markie seems to represent Helen’s repressed memories. This episode would work without any real supernatural content.

Janice Rule’s character Helen Foley was named after Rod Serling’s drama teacher. The name Helen Foley was used again in the 1983 Twilight Zone movie.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

Month of November, hot chocolate, and a small cameo of a child’s face, imperfect only in its solemnity. And these are the improbable ingredients to a human emotion, an emotion, say, like—fear. But in a moment this woman, Helen Foley, will realize fear. She will understand what are the properties of terror. A little girl will lead her by the hand and walk with her into a nightmare.

Summary

Helen Foley is a school teacher who when arriving home one day meets a little girl, Markie, sitting on the steps just outside her apartment door. Helen invites her in and gives her a cup of hot cocoa. Strangely however, Markie seems to know a great deal about her – that she doesn’t like marshmallows in her cocoa or that she has a scar on her elbow. She also knows what Helen did earlier that day including seeing a somewhat familiar man, Peter Selden, behind the wheel of a car. When Selden arrives at her apartment a few moments later he says he worked for her mother but Helen has no memory of what happened to her mother all those years ago. As her memories return however, she finds herself in grave danger.

Rod Serling’s Closing Narration:

Miss Helen Foley, who has lived in night and who will wake up to morning. Miss Helen Foley, who took a dark spot from the tapestry of her life and rubbed it clean—then stepped back a few paces and got a good look at the Twilight Zone.

CAST

Rod Serling … Narrator (voice)
Janice Rule … Helen Foley
Shepperd Strudwick … Peter Selden
Terry Burnham … Markie
Michael Fox … Doctor
Joseph V. Perry … Police Lieutenant (as Joe Perry)

…

Buzzcocks – Everybody’s Happy Nowadays

This catchy song is hard to get out of your head once you hear the chorus…but it’s a good thing. Lead singer Pete Shelley wrote this song. It was released as a single only and peaked at #29 in 1979 in the UK.

This song is based on a the 1932 Aldous Huxley novel Brave New World, in which culture and art have been excised from society, leaving the population in a mindless state of contentment and pharmaceutical bliss. One character says: “I am free. Free to have the most wonderful time. Everybody’s happy nowadays.”

In 2007, this was used in a commercial for the AARP showing spry, mature adults frolicking at a birthday party. The tagline: “An organization for people who have birthdays.”

Steve Diggle on the commercial. “I thought, it’s going to be bad for our image – it’s for old people,” “Then… I realized it was for people 50 and over and I realized me and Pete are over 50.”

The chose the name Buzzcocks after reading the headline, “It’s the Buzz, Cock!”, in a review of the TV series Rock Follies in Time Out magazine. The “buzz” is the excitement of playing on stage; “cock” is northern English slang meaning friend.

After splitting up in 1983, Pete Shelley and guitarist Steve Diggle reunited in 1989, and they released six well received albums. Their last album was The Way released in 2014. Lead singer and songwriter Pete Shelley died in 2018.

From Songfacts

In the song, the singer has relieved his misery by entering a similar state where “Life’s an illusion, love is a dream.” It starts with him explaining:

I was so tired of being upset
Always wanting something I never could get
Life’s an illusion love is a dream
But I don’t know what it is

At the end of the song, it switches voice, with the singer imparting his newfound understanding:

Bet you are tired of being upset
Always wanting something you never can get
Life’s no illusion love’s not a dream
Now I know just what it is

Buzzcocks lead singer Pete Shelley wrote this song. “I’ve come to the idea that nothing exists,” he told Sounds regarding the meaning behind it. “There is no world. Or it doesn’t really matter if there is. The way I’m affected by things is the way by which I want them to affect me.”

The group is from England, where they had most of their success with rock songs like this one that were both melodic and subversive. “Everybody’s Happy Nowadays” became one of their most popular songs, but also alienated some of their hard-core fans who felt it was a sell-out to pop.

Everybody’s Happy Nowadays

I was so tired of being upset
Always wanting something I never could get
Life’s an illusion, love is a dream
But I don’t know what it is

Everybody’s happy nowadays
Everybody’s happy nowadays

I was so tired of being upset
Always wanting something I never could get
Life’s an illusion, love is a dream
But I don’t know what it is

‘Cause everybody’s happy nowadays
Everybody’s happy nowadays

Life’s an illusion, love is the dream
But I don’t know what it is
Everyone’s saying things to me
But I know it’s okay, okay

Everybody’s happy nowadays
Everybody’s happy nowadays

Life’s an illusion, love is a dream
Life’s an illusion, love is the dream
Life’s the illusion, love is a dream
Life’s the illusion, love is the dream

Everybody’s happy nowadays
Everybody’s happy nowadays, days

Bet you are tired of being upset
Always wanting something you never can get
Life’s no illusion, love’s not a dream
Now, I know just what it is

Everybody’s happy nowadays
Everybody’s happy nowadays

…

Keys – I Don’t Wanna Cry…. Power Pop Friday

This fantastic English band was active between 1979 through 1983. The Keys attracted a lot of attention. They had a producer who I would have never guessed. Joe Jackson…I just never thought of him producing a power pop record.

The band included main songwriter and bassist Drew Barfield, guitarists
Steve Tatler and Ben Grove, and former Paul McCartney and Wing’s drummer Geoff Britton.

They were signed to A&M records and released the U.K. their only LP “The Keys Album”. The album drew rave reviews, but unfortunately it didn’t sell very well. Besides the album, the label released six singles. Due to a lack of interest The Keys split in 1983.

I listen to the album and I see why they got great reviews…I just can’t figure why they didn’t sell. I Don’t Wanna Cry was the A side and the B side was a song called Listening In. I have the video below…both songs are good power pop.

David Silvia from Allmusic: One of powerpop cornerstones ever. A hidden classic and a real masterpiece. Pop at it’s best

I Don’t Wanna Cry

Was it really just our last good night
when I saw the light and I know
that you’ve been telling lies
Oh, no, not me, I don’t wanna cry
You could talk about it all night long
but the feeling’s gone and
I don’t need you to tell me why
Oh no, not me, I don’t wanna cry

‘Cos you know, I’ve got you figured out
and you have got, nothing to shout about
if this is love, I don’t really wanna play
I wanna know why you want to stay

I know all about your little plan
find a fool and check up the thing you can
well, it seems is never gonna be that way
I wanna know what you want to stay
ESTRIBILLO

Oh no, not me, I don’t wanna cry
Oh no, not me, I don’t wanna cry
I don’t wanna cry
I don’t wanna cry
I don’t wanna cry
I want to know what you want to stay

Pink Floyd – Scarecrow

The song was the on their 1967 debut album The Piper at the Gates of Dawn…the song was released 2 months earlier as the B side to the single See Emily Play. I really like this early Pink Floyd. You can see the beginning and know where it went from here.

It’s more like a psychedelic folk song. Syd Barrett wrote the song. Barrett compares his own existence to that of the scarecrow, who, while sadder is also resigned to his fate.

The single, See Emily Play/Scarecrow peaked at #6 in the UK and #134 in the Billboard 100 in 1967.

From Wiki:

A promotional film for the song, made for a Pathé newsreel and filmed in early July 1967, features the band in an open field with a scarecrow, generally fooling around. It shows Roger Waters falling down as if he were shot, and Nick Mason exchanging his hat with the scarecrow’s.^[5] Part of this film has been featured in Waters’ live performances of “Set the Controls for the Heart of the Sun”.

A second promo was filmed in 1968 in Brussels, Belgium, with David Gilmour replacing Barrett, and Waters lip-syncing while playing his Rickenbacker bass with a violin bow.

Scarecrow

The black and green scarecrow as everyone knows
Stood with a bird on his hat and straw everywhere
He didn’t care

He stood in a field where barley grows

His head did no thinking
His arms didn’t move except when the wind cut up
Rough and mice ran around on the ground

He stood in a field where barley grows

The black and green scarecrow is sadder than me
But now he’s resigned to his fate
‘Cause life’s not unkind – he doesn’t mind

He stood in a field where barley grows

Twilight Zone – A Nice Place to Visit

★★★★★ April 15, 1960 Season 1 Episode 28

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

This is a great one. You will see Mr. French from Family Affair like you have never seen him before. The acting and the twist both are top notch in this episode. I’ve watched this many times and it just keeps getting better. The Twilight Zone can highlight the dregs of society better than any other show I know. Rocky Valentine is not a well known criminal, just a lowlife, and a drag on humanity. A man who doesn’t have a thought for anyone but himself.

There is a fantastic last line given by Pip (Sebastian Cabot) to Rocky. it sums up the episode…which I won’t give away here. (The video below gives it away). On a deeper level this episode has an interesting proposition. When you get everything you want… and everything goes your way… how can that be a bad thing? We find out how in this episode.

Mickey Rooney was the first choice to play Valentine. In a memo to Rod Serling, Charles Beaumont suggested, should Rooney not be available, that Serling himself consider playing the part. Serling declined and Rooney ended up being unavailable.

Sebastian Cabot had to bleach his hair white for the role and it took three months for the actor’s hair to return to its original dark color.

This show was written by Charles Beaumont

Rod Serling’s Opening Narration:

Portrait of a man at work, the only work he’s ever done, the only work he knows. His name is Henry Francis Valentine, but he calls himself “Rocky”, because that’s the way his life has been – rocky and perilous and uphill at a dead run all the way. He’s tired now, tired of running or wanting, of waiting for the breaks that come to others but never to him, never to Rocky Valentine. A scared, angry little man. He thinks it’s all over now but he’s wrong. For Rocky Valentine, it’s just the beginning.

Summary

Rocky Valentine is a small-time hood who has been on the wrong side of the law for most of his life. After robbing a pawn shop, he is gunned down by the police and awakens to be met by Mr. Pip, who describes himself as a guide to his new surroundings. Rocky can’t quite believe where he’s ended up as he can have anything he desires. He’s living in a beautiful apartment, never loses at the casino and is always surrounded by beautiful women. What good deed could he have done in life to deserve this. After a month or so however the shine of having anything and everything wears off.

The video has spoilers.

Rod Serling’s Closing Narration:

A scared, angry little man who never got a break. Now he has everything he’s ever wanted – and he’s going to have to live with it for eternity – in The Twilight Zone.

CAST

Larry Blyden … Henry Francis ‘Rocky’ Valentine
Sebastian Cabot … Mr. Pip
John Close … Cop (uncredited)
Barbara English … Dancing Girl (uncredited)
Charles Fogel … Casino Patron (uncredited)
George Ford … Casino Patron (uncredited)
Peter Hornsby … Croupier (uncredited)
Robert McCord … Waiter (uncredited)
Bill Mullikin … Parking Attendant (uncredited)
Nels P. Nelson … Short Cop (uncredited)
Murray Pollack … Casino Patron (uncredited)
Rod Serling … Narrator (voice) (uncredited)
Norman Stevans … Casino Patron (uncredited)
Wayne Tucker … Croupier (uncredited)
Sandra Warner … Girl (uncredited)

Del Lords – How Can a Poor Man Stand Such Times and Live?

The title was enough for me to take a listen to this band. They combined 60’s garage rock, country, blues, and folk influences to become one of the many 80’s roots rock bands.

Thanks to Paul for bringing this band up.

The Del Lords were formed in the early ’80s by Scott Kempner of New York punk group the Dictators. They emerged from the’70s new wave scene…which the band never quite fit. Kempner gathered together Eric Ambel of Joan Jett And The Blackhearts, drummer Frank Funero (now with Cracker) and bassist Manny Caiati and set out as The Del-Lords.

How Can a Poor Man Stand Such Times and Live? is an American folk song originally recorded 1929 in New York City. It was written, composed, and performed by Blind Alfred Reed, accompanying himself on the violin.

The song tells of hard times during the Great Depression. It is considered an early example of a protest song. In 2020, the song was added to the Grammy Hall of Fame.

The song was on their Frontiers album released in 1984.

The Del-Lords lived together, played together, recorded and released records as a band through 1990. At the urging of the Spanish Promoter Pepe Ugena they reformed the band in the last decade and recorded and released their most recent music in 2013 on the album Elvis Club.

How Can a Poor Man Stand Such Times and Live?

How can a poor man stand such times and live
How can a poor man stand such times and live
How can a poor man stand
How can a poor man stand
How can a poor man stand such times and live

The doctor comes around with his face all bright
And he swears, in a little while, it’ll be alright
All he gives you is a humbug pill
A dose of dope and a great big bill
How can a poor man stand such times and live

There once was a time when everything was cheap
But the prices nowadays nearly put the man to sleep
When we get out grocery bill
Man I feel like makin’ out our will
How can a poor man stand such times and live

How can a poor man stand such times and live
How can a poor man stand such times and live
I give all I’ve got to give
I get my pay and say, is this it
How can a poor man stand such times and live

Tell you what
This poor boy’s got some big plans of his own
I’m gonna call up a coupla friends on the telephone
Tell ’em, Bring some records and bring some beer
Then we can just hang out over here
How can a poor man stand such times and live

How can a poor man stand such times and live
How can a poor man stand such times and live
How can a poor man stand
How can a poor man stand
How can a poor man stand such times
How can a poor man stand such times
How can a poor man stand such times and live
And live

….

10,000 Maniacs – Like The Weather…. 80’s Underground Mondays

I saw this band in the late eighties and it was one of my concert highlights. The song peaked at #68 in the Billboard 100 and #37 on the Mainstream Rock chart in 1988.

The phrase “unique voice” could have easily have been made for Natalie Merchant. I mean that in the best way. When you hear Natalie you won’t mistake her for Linda Ronstadt, Steve Nicks, Dolly Parton, or Janis Joplin…You know it’s Merchant.

What I liked about this song and their music when I first heard it was the bright happy music set against the dark/sad lyrics…I really like the contrast. The band loved up-tempo songs but Natalie liked the darker lyrics.

Lead singer Natalie Merchant was 17 years old when she was invited to try out for the vocals. She fit, and the group, which started as Still Life, formed around her. They performed together for the first time in 1981 – Merchant was about 10 years younger than her bandmates.

The band got its name from the 1964 film Two Thousand Maniacs!, expanded to 10,000 because there were originally five of them. The group has accumulated a legion of former members thanks to its revolving-door lineup history, but the most famous and founding member was Natalie Merchant. Merchant left in 1993 to start a solo career, but the group kept going without her, replaced by Mary Ramsey.

Bass Player Steven Gustafson: We liked to play toe-tapping music,”Stuff you could dance to with a big beat. Her view of the world was sometimes in stark contrast to that joy we got from playing. It made us unique.”

From Songfacts

The first charting single for 10,000 Maniacs (#68 US), “Like the Weather” was written by lead singer Natalie Merchant, and is simply about being in a foul mood on a day when the weather is horrible and she can’t find a good reason to get out of bed.

The video was directed by Adrian Edmondson, who is best known for his work as an actor: he starred in the British shows The Young Ones and Bottom. Edmondson is also a comedian, and his sardonic wit is at play in this clip, which finds Merchant in a beatific state amid a colorful, breezy set as she sings the rather morose lyrics.

Like The Weather

The color of the sky as far as I can see is coal grey.
Lift my head from the pillow and then fall again.
With a shiver in my bones just thinking about the weather.
A quiver in my lips as if I might cry.

Well by the force of will my lungs are filled and so I breathe.
Lately it seems this big bed is where I never leave.
Shiver in my bones just thinking about the weather.
Quiver in my voice as I cry,

“What a cold and rainy day. Where on earth is the sun hid away.”

I hear the sound of a noon bell chime.
Now I’m far behind.
You’ve put in ’bout half a day
while here I lie
with a shiver in my bones just thinking about the weather.
A quiver in my lip as if I might cry,

“What a cold and rainy day. Where on earth is the sun hid away?”

Do I need someone here to scold me
or do I need someone who’ll grab and pull me out of this four poster dull torpor pulling downward.
For it is such a long time since my better days.
I say my prayers nightly this will pass away.

The color of the sky is grey as I can see through the blinds.
Lift my head from the pillow and then fall again
with a shiver in my bones just thinking about the weather.
A quiver in my voice as I cry,

“What a cold and rainy day. Where on earth is the sun hid away?”
I shiver, quiver, and try to wake.

Twilight Zone – The Big Tall Wish

★★★★ April 8, 1960 Season 1 Episode 28

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

This was an important episode regardless of the story. It’s well documented that Rod Serling was against bigotry. He not only talked the talk, he put it into action with this episode with a nearly all black cast. After the airing of this episode, which was revolutionary for American television, The Twilight Zone was awarded the 1961 Unity Award for Outstanding Contributions to Better Race Relations.

It is a good episode. A child that believes in magic and a jaded boxer who long ago lost his belief. It explores the innocence in children and what little is left in adults.

The child tries to make the aging jaded boxer Bolie believe in the magic of wishing but Bolie just cannot do it. In the world Bolie lives in, wishing and hoping for the hardships to end, is never going to happen. The only real choice is to struggle through each day and fight if necessary when things block your path. The ending of this one surprised me.

This show was written by Rod Serling

Rod Serling’s Opening Narration:

In this corner of the universe, a prizefighter named Bolie Jackson, 183 pounds and an hour and a half away from a comeback at St. Nick’s Arena. Mr. Bolie Jackson, who, by the standards of his profession is an aging, over-the-hill relic of what was, and who now sees a reflection of a man who has left too many pieces of his youth in too many stadiums for too many years before too many screaming people. Mr. Bolie Jackson, who might do well to look for some gentle magic in the hard-surfaced glass that stares back at him.

Summary

Bolie Jackson is a professional boxer whose best years are behind him. He’s well-liked in his neighborhood and adored by Henry, a young lad who lives next door. He hurts his hand in an altercation with sleazy boxing manager and as a result is badly beaten in a televised boxing match. He’s apparently down and out for the count but young Henry has a special ability – something his mother calls the big wish – that changes the outcome of the match. When Bolie learns what he’s done he refuses to believe in what Henry’s done with the inevitable consequences

Rod Serling’s Closing Narration:

Mr. Bolie Jackson, 183 pounds, who left a second chance lying in a heap on a rosin-spattered canvas at St. Nick’s Arena. Mr. Bolie Jackson, who shares the most common ailment of all men, the strange and perverse disinclination to believe in a miracle, the kind of miracle to come from the mind of a little boy, perhaps only to be found in the Twilight Zone.

CAST

Rod Serling … Narrator (voice)
Ivan Dixon … Bolie Jackson
Steven Perry … Henry Temple
Kim Hamilton … Frances Temple
Walter Burke … Joe Mizell
Henry Scott … Thomas

…

Cult – Edie (Ciao Baby)

This post is probably tilted a little more about the subject of the song than the song…I was interested in Edie when I was a teenager…she was an interesting and troubled person.

I watched the movie Ciao! Manhattan when I was around 15 years old. Her life was a mess and I started to read more about her. In the mid-sixties she was hanging out with Bob Dylan, Bob Neuwirth, Robbie Robertson and Andy Warhol.

This song of course is about Edie Sedgwick, a socialite who formed part of the artist Andy Warhol’s Factory scene in New York in the ’60s. Sedgwick was featured in several underground Warhol films, including Poor Little Rich Girl and Beauty No. 2. She soon would break from Warhol and wanted to start a legitimate film career but that never really got off the ground.

Her final movie role was as Susan Superstar in Ciao! Manhattan, which was written and directed by John Palmer and David Weisman.

She lived a troubled life that was plagued by mental health issues and drug addictions. In 1971, Sedgwick died of an overdose. She was 28 years old. She was filming Ciao Manhattan when she died…they wrote that in the film.

The 2008 film, Factory Girl, starring Sienna Miller, is about Sedgwick.

The song peaked at #93 in the Billboard 100, #62 in Canada, #17 in New Zealand, and #32 in the UK in 1989.

The song was on the album Sonic Temple that peaked at #10 in the Billboard Album Charts, #2 in Canada, and #3 in the UK Album Charts.

From Songfacts

The Cult’s front man, Ian Astubury, became interested in Sedgwick while the band were recording their Electric album in New York: “It was kinda like I was really interested in Warhol’s scene, The Velvet Underground [who Warhol managed between 1965-1967], and really interested in Edie Sedgwick and just was compelled to write something about it.” Guitarist, Billy Duffy added: “Just being in New York you can get wrapped up in it. It’s a very special place. That’s just basically what the songs about. It’s not really about her particularly, it’s her used as an example.”

Sedgwick was quite a muse: she had a brief affair with Bob Dylan and his song “Just Like A Woman” is reportedly about her.

Edie (Ciao Baby)

Always said you were a youthquaker, Edie
A stormy little world shaker
Oh, Warhol’s darling queen, Edie
An angel with a broken wing

The dogs lay at your feet, Edie
Oh, we caressed you cheek
Oh, stars wrapped in your hair, Edie
Life without a care
But your not there

Oh, caught up in an endless scene
Yeah, paradise a shattered dream
Oh, wired on the pills you took, Edie
Your innocence dripped blood, sweet child

The dogs lay at your feet, Edie
Oh, we caressed your cheek
Oh, stars wrapped in your hair
Oh, life without a care
Ciao baby

Shake it, boy

Oh, sweet little sugar talker
Paradise dream stealer
Oh, Warhol’s little queen, Edie
An angel with a broken wing, oh

The dogs lay at your feet, Edie
Oh, we caressed your cheek, well
Stars wrapped in your hair
Life without a care yeah, yeah, yeah

Don’t you know paradise takes time?
Ciao baby, yeah
Ciao baby
Ciao baby, yeah
Ciao baby

…

Twilight Zone -Execution

★★★★ April 1, 1960 Season 1 Episode 26

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

Albert Salmi was a wonderful character actor. He would appear in two more Twilight Zones and all of them involved time travel. You could see Albert on TV shows through the 80s. This is a looked over episode that I do enjoy but it’s not without it’s faults. The way the time travel happens is unique but it’s the delivery that gets a little clumsy. I give it 4 stars because of the plot and the way they showed an 19th century primitive dropped into the loud modern world.

My biggest fault with this episode is the foolish way Professor Manion (Russell Johnson) handles Joe Caswell (Albert Salmi) after knowing what kind of man he was after he got there. Salmi’s acting is the standout in this. He is great at playing bad guys. Caswell is a hot-tempered sociopath who has no conscious. He makes a believable time traveler from the old west.

Watch for Russell Johnson (as Professor Manion) who will be remembered as the Professor off of Gilligan’s Island.

This show was written by Rod Serling and George Clayton Johnson

Rod Serling’s Opening Narration:

Commonplace—if somewhat grim—unsocial event known as a necktie party, the guest of dishonor a cowboy named Joe Caswell, just a moment away from a rope, a short dance several feet off the ground, and then the dark eternity of all evil men. Mr. Joe Caswell, who, when the good Lord passed out a conscience, a heart, a feeling for fellow men, must have been out for a beer and missed out. Mr. Joe Caswell, in the last, quiet moment of a violent life.

Summary

In the late 19th century, Joe Caswell is about to be hanged for murder, when he vanishes into thin air. He’s been snatched by Prof. Manion’s time machine and brought 80 years into the future. Caswell was selected at random and Manion can see the rope marks on his neck. Caswell is eager to see his new world but Manion wants to send him back. When Caswell runs off into the night, his new world proves to be too much for him. Justice is served in the end and a murderer hangs.

Rod Serling’s Closing Narration:

This is November 1880, the aftermath of a necktie party. The victim’s name—Paul Johnson, a minor-league criminal and the taker of another human life. No comment on his death save this: justice can span years. Retribution is not subject to a calendar. Tonight’s case in point in The Twilight Zone.

CAST

Rod Serling … Narrator (voice) (uncredited)
Albert Salmi … Joe Caswell
Russell Johnson … Prof. Manion
Than Wyenn … Paul Johnson
George Mitchell … Old Man
Jon Lormer … Minister
Fay Roope … Judge
Richard Karlan … Bartender
Joe Haworth … TV Cowboy (uncredited)

…

Railroad Jerk – Natalie

I love the opening riff to this song! It sounds like a riff from the old 70’s ZZ Top with a little Stones thrown in…. but a little rawer. I have to thank my blogger friend CB who mentioned this band.

In 1989 singer and guitarist Marcellus Hall formed the band in 1989 on the Lower East Side of Manhattan with bassist Tony Lee and drummer Jez Aspinall. Within a few months, guitarist Chris Mueller also joined.

I hear a mixture of The Cramps and The Stones. This was on their 4th album The Third Rail released in 1996. The band recorded demos for a fifth Railroad Jerk LP which was to be entitled ‘Masterpiecemeal’. This final LP was never released. Dave Varenka and Marcellus Hall went on to form the band White Hassle.

It’s not a lot about this band, not even the song’s lyrics so I’m including an excerpt from AllMusic.

Railroad Jerk skewer blues, country, rock, and noise into a messy, bohemian post-punk celebration of roots rock. Formed in 1989 by guitarist/vocalist Marcellus Hall and bassist/vocalist Tony Lee in Trenton, NJ, the duo added drummer Jez Aspinall and guitarist Chris Muller by early 1990; the group recorded their self-titled debut for Matador Records in 1990. After its release, Aspinall left the band and was replaced by Steve Cercio; Muller was kicked out of the band and replaced by Alec Stephen. The quartet released their acclaimed second album, Raise the Plow, in 1993; after its release, Cercio left the band and was replaced by Dave Varenka. Railroad Jerk released its third album — its most highly-praised yet — in spring of 1995. Third Rail, the group’s fourth album, also received positive reviews upon its fall 1996 release.