I was surprised back when I found out that REM didn’t write this song. This song was originally recorded by a late 60’s band from Beaumont, Texas called The Clique, who released it as the B-side of their only Top 40 hit… “Sugar On Sunday.” The song was written by the group’s producer Gary Zekley along with Elliot Bottler, Mitchell Bottler and Brandon Chase.
The Clique didn’t have massive success in the charts but they toured nationally with popular acts, including Tommy James and The Shondells, Grand Funk Railroad, Brooklyn Bridge, and The Dave Clark Five. They had a brief reunion in 2008.
I like the Clique’s version of this also. It has a psychedelic vibe to it which is cool. REM stuck close to the original. Mike Mills the bass player is singing lead on this song because Michael Stipe refused to play it in concert. He told a London crowd in 2008 “We’re definitely not doing that one” after a fan request in 2008.
The scratchy spoken intro is credited to a Japanese pull-string Godzilla doll. Translated loosely from the Japanese, it says, “This is a special news report. Godzilla has been sighted in Tokyo Bay. The attack on it by the Self-Defense Force has been useless. He is heading towards the city. Aaaaaaaaagh….”
The song was on the album Life’s Rich Pageant released in 1986. Superman peaked at #17 in the Mainstream Rock Charts. The album peaked at #21 in the Billboard Album Charts, #39 in Canada, #24 in New Zealand, and #43 in the UK.
From Songfacts
This is a slightly stalkerish song about a guy who sees himself as Superman. He believes he can “see right through” the girl (presumably using his X-ray vision) so he knows that she doesn’t really love the guy she’s with. Where it gets a little creepy is when he threatens to find her even if she’s “a million miles away.”
It’s all in good fun though. R.E.M. don’t take it too seriously – Mike Mills sang lead on the track instead of Michael Stipe.
311 covered this song at one of their Halloween shows. Lead singer Nick Hexum dressed up as… you guessed it… Superman. On their DVD Enlarged To Show Detail 2, you can see them practicing it in the bus before the show, and then you see them perform it in concert. 311 site R.E.M. as one of their major influences. Hexum and Doug “S.A.” Martinez have both commented on their love of R.E.M.
Superman
I am, I am, I am Superman and I know what’s happening I am, I am, I am Superman and I can do anything
You don’t really love that guy you make it with now, do you? I know you don’t love that guy ’cause I can see right through you
I am, I am, I am Superman and I know what’s happening I am, I am, I am Superman and I can do anything
If you go a million miles away I’ll track you down, girl Trust me when I say I know the pathway to your heart
If you go a million miles away I’ll track you down, girl Trust me when I say I know the pathway to your heart
I am, I am Superman and I know what’s happening I am, I am, I am Superman and I can do anything
I am, I am, I am Superman and I know what’s happening I am, I am, I am Superman and I can do anything
This is an odd one…but odd translates to good in the Twilight Zone. This one has no bad or good people…just an odd bus station where it all happens. What would you do if you looked across the room and saw yourself? That person not only looked just like but also carried a suitcase or bag just like you.
Vera Miles plays Millicent Barnes who swears she has seen herself. She starts to get paranoid and tells Paul Grinstead (Martin Milner) this and she starts to break down…then Grinstead, who obviously likes her and then starts to pity her does what he thinks is best…or so he thought. It could have ended a bit better. I just felt it never resolved itself. A good Twilight Zone and not a failure but not as good as some of the better ones.
A stand out character actor in this one is Joseph Hamilton playing the grumpy put upon Ticket Agent.
The reason I remember this episode so well is because of Martin Milner . He would start filming Route 66 after this and became a star…later on he would become a bigger star known to the world as Pete Malloy on Adam 12.
The cities mentioned in this episode (Cortland, Syracuse, Tully, and Binghamton) all lie along Hwy. 11 in central upstate New York. The use of these places is an homage by Rod Serling to his childhood. He was born in Syracuse and lived in Binghamton until he graduated high school. Even when he lived in Hollywood during his heyday, he maintained a home in Binghamton.
It was after filming this story that Martin Milner went to film the pilot episode of Route 66 (1960), which made him a star.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
Millicent Barnes, age twenty-five, young woman waiting for a bus on a rainy November night. Not a very imaginative type is Miss Barnes: not given to undue anxiety, or fears, or for that matter even the most temporal flights of fantasy. Like most young career women, she has a generic classification as a, quote, girl with a head on her shoulders, end of quote. All of which is mentioned now because, in just a moment, the head on Miss Barnes’ shoulders will be put to a test. Circumstances will assault her sense of reality and a chain of nightmares will put her sanity on a block. Millicent Barnes, who, in one minute, will wonder if she’s going mad.
Summary
Millicent Barnes is waiting in the bus station waiting for her bus to Cortland to arrive. The weather outside is dreadful and the bus is over half an hour late already. When she inquires the station clerk chides her for constantly asking when it will arrive. The only thing is (she thinks) it’s the first time she’s asked him anything. When she goes to the ladies room the cleaning lady suggests she was just in there, she begins to worry that she’s going mad. A good Samaritan, Paul Grinstead, tries to help her out but soon realizes that there may be an explanation for what is happening after all.
Rod Serling’s Closing Narration:
Obscure and metaphysical explanation to cover a phenomenon. Reasons dredged out of the shadows to explain away that which cannot be explained. Call it ‘parallel planes’ or just ‘insanity’. Whatever it is, you’ll find it in the Twilight Zone.
CAST
Rod Serling … Narrator (voice) Vera Miles … Millicent Barnes Martin Milner … Paul Grinstead Joseph Hamilton … Ticket Agent (as Joe Hamilton) Naomi Stevens … Washroom Attendant Therese Lyon … Old Woman (as Terese Lyon) Ferris Taylor … Passenger Edwin Rand … Bus Driver
I am posting a bonus version of 80’s Underground Mondays on a Sunday. I hope you enjoy this one.
Back in the late eighties I was working while going to college. A co-worker of mine kept playing this song and it drove me up the wall. My first reaction was to ask…”what the hell is this and why are you playing it?” By the end of the week I wanted a copy of it so she taped it and gave it to me on cassette. This song was heavily played on college radio in the late 80s.
In the song it sounds like he is making fun of skinheads or poking fun at them. The song in itself doesn’t make much sense but it sure is catchy.
From allmusic…
They described themselves as “surrealist absurdist folk,” the group started in the summer of 1983 when David Lowery and friend Victor Krummenacher (bass) started playing music together around Riverside and Redlands, California. Chris Pedersen (drums) and Chris Molla (guitar) to join the the band… Greg Lisher (guitar) and Jonathan Segel (violins, keyboards, mandolin) were added in 1985.
Their songs were built on acoustic and electric, traditional and punk influences. The band released their 1985 debut, Telephone Free Landslide Victory, on their own Pitch-A-Tent label… it was soon reissued by Independent Project Records, and thanks in part to the college radio success of this song… it made the Top Ten in the 1986 Village Voice Pazz and Jop Poll.
The song peaked at #8 in the UK Indie Charts. The band were mystified that the song became a college radio hit. They would get signed to Virgin Records a little later on.
David Lowery:
I never thought that Take the Skinheads Bowling would become a Hit. If someone had traveled from the future and told me we would have a hit on our first album I would not have picked this song as being the hit. Not in a million years. I would have more likely picked Where the Hell is Bill.
Why? We regarded Take The Skinheads Bowling as just a weird non-sensical song. The lyrics were purposely structured so that it would be devoid of meaning. Each subsequent line would undermine any sort of meaning established by the last line. It was the early 80′s and all our peers were writing songs that were full of meaning. It was our way of rebelling. BTW this is the most important fact about this song. We wanted the words to lack any coherent meaning. There is no story or deeper insight that I can give you about this song.
Lassie and Where the Hell is Bill were silly but there was at least a point to the songs. Plus both songs were pretty jokey. Something that seemed popular at the time.
The band is still together now…sit back and enjoy Take The Skinheads Bowling!
Take The Skinheads Bowling
Every day, I get up and pray to John And he decreases the number of clocks by exactly one Everybody’s comin’ home for lunch these days Last night there were skinheads on my lawn
Take the skinheads bowling Take them bowling Take the skinheads bowling Take them bowling
Some people say that bowling alleys got big lanes Some people say that bowling alleys all look the same There’s not a line that goes here that rhymes with anything I has a dream last night, but I forget what it was
Take the skinheads bowling Take them bowling Take the skinheads bowling Take them bowling
I had a dream last night about you, my friend I had a dreamI wanted to sleep next to plastic I had a dreamI wanted to lick your knees I had a dreamit was about nothing
Take the skinheads bowling Take them bowling Take the skinheads bowling Take them bowling
This episode gets to me when I see it. You feel the confusion of the astronauts as they land on a planet that everything is frozen in time…literally frozen in time. Everybody on this strange planet is just standing or sitting still. A beauty pageant is going on, men fishing and they are all still.
After exploring everywhere an older man finally talked to them…Jeremy Wickwire (I love that name). He explains what is going on and where they are… and then does something just terrible.
It’s an good episode and the Twilight Zone will explore this plot a little more in the future. We are certainly on a great streak of shows…only broken by The Fever.
The flashing dials in the spaceship seen right after landing are the same ones used in Forbidden Planet
Charles Beaumont wrote this years earlier under the guidance and influence of Beaumont’s literary mentor, Ray Bradbury…THAT is some mentor.
This show was written by Charles Beaumont
Rod Serling’s Opening Narration:
The time is the day after tomorrow. The place: a far corner of the universe. A cast of characters: three men lost amongst the stars. Three men sharing the common urgency of all men lost. They’re looking for home. And in a moment, they’ll find home; not a home that is a place to be seen, but a strange unexplainable experience to be felt.
Summary
In a far corner of the universe, a spaceship with three astronauts lands on a planet with gravity and air conditions virtually identical to that on Earth. Their surroundings appear as Earth did 200 years ago but the planet has two suns so they’re fairly certain they didn’t somehow end up back home. People however seem to be frozen in time. They eventually stumble upon Jeremy Wickwire, who is the caretaker for the locale. His explanation of what he is and where they are defies belief but in the end, he does grant them their wish.
This one is a good episode. I will admit the first time I watched it…I hadn’t worked out the twist.
Rod Serling’s Closing Narration:
Kirby, Webber, and Meyers, three men lost. They shared a common wish—a simple one, really. They wanted to be aboard their ship headed for home. And fate—a laughing fate—a practical jokester with a smile stretched across the stars, saw to it that they got their wish with just one reservation: the wish came true, but only in the Twilight Zone.
CAST
Cecil Kellaway … Jeremy Wickwire
Jeff Morrow … Kurt Meyers
Don Dubbins … Peter Kirby
Kevin Hagen … Captain James Webber
Walter Bacon … Beauty Contest Guest (uncredited)
Frank Baker … Hotel Guest (uncredited)
George Boyce … Minor Role (uncredited)
Barbara Chrysler Barbara Chrysler … Beauty Contestant (uncredited)
Alphonso DuBois … Minor Role (uncredited)
Joseph Glick … Rally Spectator (uncredited)
Chester Hayes … Ice Cream Man (uncredited)
Jimmie Horan … Minor Role (uncredited)
June McCall … Beauty Contestant (uncredited)
William Meader … Minor Role (uncredited)
Spec O’Donnell … Poker Player (uncredited)
Charles Perry … Spectator at Rally (uncredited)
Joe Ploski … Beauty Contest Guest (uncredited)
Paul Power … Farmer (uncredited)
Rod Serling … Narrator (voice) (uncredited)
Stephen Soldi … Minor Role (uncredited)
Jack Stoney … Finch (uncredited)
Martin Strader … Minor Role (uncredited)
Walton Walker … Minor Role (uncredited)
Sally Yarnell … Waitress (uncredited)
The first time I saw Van Morrison was on November 4, 1978 on Saturday Night Live. I was 11 and didn’t know anything about him. I hadn’t even heard Brown Eyed Girl…I would not hear that song until I was 18 in 1985. That in itself is one of the mysteries of life…how I could of possibly go 18 years without hearing that song.
He was playing the song Wavelength and it sounded great. I would not become a fan until 1985…I bought a compilation album of the sixties and I heard Brown Eyed Girl…it started a Van Morrison record buying frenzy. Since then I’ve been a huge fan. I saw him on March 7, 2006 at the Ryman Auditorium and he didn’t disappoint. If I could sing like anyone in history…it would be Van.
Van has said that this song is about the Voice of America, which is a radio service run by the United States government for political purposes. Morrison said that he listened to the service when he was a kid.
The song peaked at #42 in the Billboard 100 and #63 in Canada in 1978. The album Wavelength peaked at #28 in the Billboard Album Charts, #31 in Canada, #27 in the UK, and #9 in New Zealand in 1978.
Van Morrison:“It’s actually about Europe, because that’s where the station was. It came out of Frankfurt, and the first time I ever heard Ray Charles was on the Voice of America. We tried to get a tape recording of the Voice of America to put on the front of that track, but it didn’t work out. I didn’t get it by the time the album was due to be mixed. But I think it would have made it a lot clearer if the signature thing was on the front of it. It doesn’t click for a lot of people.”
Wavelength
This is a song about your wavelength And my wavelength, baby You turn me on When you get me on your wavelength Yeah, yeah, yeah, yeah, yeah With your wavelength Oh, with your wavelength With your wavelength With your wavelength Oh mama, oh mama, oh mama, oh mama oh mama, oh mama
Wavelength Wavelength You never let me down no You never let me down no
When I’m down you always comfort me When I’m lonely you see about me You are ev’ry where you’re ‘sposed to be And I can get your station When I need rejuvenation
Wavelength Wavelength You never let me down no You never let me down no
I heard the voice of America Callin’ on my wavelength Tellin’ me to tune in on my radio I heard the voice of America Callin’ on my wavelength Singin’ “Come back, baby Come back Come back, baby Come back”
Do do do dou dit do do dou dit do do do do do Do do do dou dit do do dou dit do do do do do
Won’t you play that song again for me About my lover, my lover in the grass, yeah, alright You have told me ’bout my destiny Singin’ “Come back, baby Come back Come back, baby Come back”
On my wavelength Wavelength You never let me down no You never let me down no When you get me on When you get me on your wavelength When you get me Oh, yeah, Lord You get me on your wavelength
You got yourself a boy When you get me on Get me on your wavelength Ya radio, ya radio, ya radio Ya radio, ya radio, ya radio Wave wave wave
They were founded by singer, guitarist, and songwriter Todd Rundgren and bassist Carson Van Osten. Drummer Thom Mooney and vocalist/keyboardist Robert “Stewkey” Antoni would join last.
In celebration of Todd Rundgren getting in the Jann Wenner Rock and Roll Hall of Fame FINALLY…It makes no sense why the guy wasn’t in there 20 years ago. Not just as a performer but as a producer as well. Rundgren not getting in until now is one of the reasons it’s hard for me to take the Hall seriously…but I’m happy he is finally in.
In 2016, Rundgren told an interviewer: “It doesn’t have the same cachet as a Nobel Peace Prize or some historical foundation. If I told you about how they actually determine who gets into the Hall of Fame, you’d think that I was bullshitting you, because I’ve been told what’s involved. … It’s just as corrupt as anything else, and that’s why I don’t care.”
He was asked how he felt about finally being inducted and he said: “I’m happy for the fans. They’ve waited a long time for this.” He was probably more happy about the 2016 Honorary doctorate from Berklee College of Music, where he delivered the commencement address, and an honorary doctorate from DePauw University.
The Nazz self titled album was released in 1968. This was the A side of the single released…the B side was “Hello It’s Me”…yes the same song we know but an early version of it.
They formed in 1967 and their first concert was something to remember…opening for the Doors. Some say the band took its name from the Yardbirds’ 1966 song “The Nazz Are Blue”, other sources say the name came from a 1952 monologue, “The Nazz”, by the American Beatnik comedian Lord Buckley.
The band would release 3 albums after which Rundgren started a solo career.
Open My Eyes peaked at #112 in the Billboard Album Charts and Hello It’s Me peaked at #66 in 1968…
Todd would go on and released Hello It’s Me solo and it was a massive hit. It peaked at # 2 in the Billboard 100 and #17 in Canada in 1973.
He would also form the band Utopia in 1973.
Open My Eyes
Underneath your gaze I was found in The haze I’m wandering around in I am lost in the dark of my own room And I can’t see a thing but the fire in your eyes
Clear my eyes, make me wise Or is all I believe in lies I don’t know when or where to go And I can’t see a thing ’til you open my eyes
I’ve been told by some you’ll forget me The thought doesn’t upset me I am blind to whatever they’re saying And all I can see is the fire in your eyes
Clear my eyes, make me wise Or is all I believe in lies I really don’t know when or where to go And I can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes
Can’t believe that it’s on your mind To leave me behind
Clear my eyes, make me wise Or is all I believe in lies I really don’t know when or where to go And I can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes Can’t see a thing ’til you open my eyes
The Kinks were so different than other bands. They may have reached the popularity of the Who if they wouldn’t have been banned from touring in America in the late sixties.
The song pokes fun at the fashion scene on Carnaby Street in the Swinging Sixties London…I was written from the point of view of someone who was there living every minute of it. It was released on the Pye label in the UK on February 25 backed by “Sittin’ On My Sofa,” and on Reprise in the United States on April 27. The band’s 10th UK single, it was produced by Shel Talmy.
The song makes me want to go to Carnaby Street but…only in the sixties when it acted as the epicenter of fashion.
The song peaked at #36 in the Billboard 100, #4 in the UK, and #11 in Canada in 1966.
Shel Talmy:“Ray Davies was one of the more prolific songwriters I have ever worked with. He could literally write a dozen songs overnight if he felt the mood. We used to get together about once a month or once every week or two and go through the stuff he had. I would pick out the ones that I thought were real far along, and the ones that were not so far along, and the ones that would probably never be far along. ‘Dedicated Follower Of Fashion’ was one that stood out immediately.”
Carnaby Street…I look at sixties pictures of it and it looks really cool and different… when I see modern pictures of it…it looks like a shopping place that you could see at other places.
This looks like somewhere I would love to go
This one is modern…not as colorful!
From Songfacts
According to the online discography compiled by Kinks fan Dave Emlen, it was re-released in the US in August/September the following year, still on Reprise but backed by “Who’ll Be The Next In Line.”
“Dedicated Follower Of Fashion” is one of the band’s best-known songs, and has been included on a number of albums.
Although Carnaby Street dates to the 17th century, like the Kings Road, Chelsea, it will be linked forever to the fashion explosion that happened particularly in Britain during the so-called Swinging ’60s.
In spite of its chart success, not everyone in the Davies camp was enamored with the song. After Kinks bass player Peter Quaife died in June 2010, his obituary in the London Independent quoted him on it thus: “an incredibly boring song to play, and I had to play it night after night.”
According to a 2011 NME interview with Ray Davies, despite its fey overtones, the song is actually a scathing attack on a fop who made fun of the singer’s trousers.
Producer Shel Talmy helped frame The Kinks’ raucous guitar sound, and also had a great ear for a hit song. In a Songfacts interview with Talmy, he said:
Dedicated Follower Of Fashion
They seek him here, they seek him there His clothes are loud, but never square It will make or break him so he’s got to buy the best ‘Cause he’s a dedicated follower of fashion
And when he does his little rounds ‘Round the boutiques of London Town Eagerly pursuing all the latest fads and trends ‘Cause he’s a dedicated follower of fashion
Oh yes he is (oh yes he is), oh yes he is (oh yes he is) He thinks he is a flower to be looked at And when he pulls his frilly nylon panties right up tight He feels a dedicated follower of fashion
Oh yes he is (oh yes he is), oh yes he is (oh yes he is) There’s one thing that he loves and that is flattery One week he’s in polka-dots, the next week he is in stripes ‘Cause he’s a dedicated follower of fashion
They seek him here, they seek him there In Regent Street and Leicester Square Everywhere the Carnabetian army marches on Each one an dedicated follower of fashion
Oh yes he is (oh yes he is), oh yes he is (oh yes he is) His world is built ’round discotheques and parties This pleasure-seeking individual always looks his best ‘Cause he’s a dedicated follower of fashion
Oh yes he is (oh yes he is), oh yes he is (oh yes he is) He flits from shop to shop just like a butterfly In matters of the cloth he is as fickle as can be ‘Cause he’s a dedicated follower of fashion He’s a dedicated follower of fashion He’s a dedicated follower of fashion
Does anyone remember this Fox and then SyFy Channel show from the 1990’s? The show ran from 1995 to 2000.
I remember this show in the nineties but I never once saw an episode back then. I like science fiction a lot but for some reason I never tuned in. Lately I have been able to watch this show and after a couple of seasons it started to grow on me. Then during the last part of the 3rd season it started to go downhill rapidly and by the 4 – 5th season the whole thing changed.
The plot was that a young genius Quinn Mallory creates a device that opens portals to alternative realities. After an accident leaves them lost, Mallory and his companions: his physics professor, Professor Maximillian Arturo, his work colleague and potential love, Wade Wells, and a once famous soul singer, Rembrandt Brown, “slide” from reality to reality in search of home. They go to parallel worlds where things did not develop like our world. One world Kennedy may not have been killed, the other one penicillin not invented, and etc… They don’t travel in time though…just a different earth in the same decade and time.
I’ve read up on it and as usual…the network was the culprit. Trying to appeal to the “MTV Generation” they changed the show dramatically. By the end of the 5th season only one original slider was left. They ended up doing away with all of the original characters and even the one that survived (Cleavant Derricks) til the 5th season probably would not have made it to the 6th if there had been a 6th.
The show had decent ratings but Fox couldn’t help themselves and messed around with the show and show runner at that time…Tracy Torme. Starting in the 3rd season newer writers started to rip off movie ideas and put them in the show. Shakespearean actor John Rhys-Davies knew what kind of potential the show had and complained loudly about the awful scripts…he was the first to go…after Sabrina Lloyd left, the lead actor Jerry O’Connell soon quit
On top of everything else the network would air the action episodes first and therefore air them all out of order…so when they went into a new world they would be dressed differently than the episode that was shown before…because that could have been coming from a world in a future episode or one two or three back.
I’m very surprised that no one has rebooted this series. The possibilities are endless with that plot. Like the recent movie “Yesterday” it showed a world where The Beatles never existed and how the world had changed.
It was cool to see what worlds they would land in…each history was like ours except for a few things…like one episode where the British had won the war.
A horrible “what if” power that Lt. Fitzgerald (William Reynolds) has… when he looks at his fellow soldiers… he knows which ones are about to die. A powerful episode and one that was remade in the 80s Twilight Zone reboot but it didn’t come close to this one.
One thing that struck me about actor William Reynolds…he looks like he could have walked out of 2021. Most of the time on older shows most actors and actresses look from that time period…he looks like he could be starring in a movie or TV show today.
Rod Serling served in the US Army’s 511th Parachute Infantry Regiment, 11th Airborne Division, during the liberation of the Philippines, where this episode is set.
The night of the planned air date, a plane carrying Richard L. Bare (Director) and William Reynolds crashed in the Caribbean Sea, injuring both (though not seriously). It is believed that during their swim to land, they discussed the episode that night and Bare requested Reynolds not to look at him. He later admitted that he commended Buck Houghton’s decision to reschedule rather than use the incident for publicity.
This is episode 19 of season one…we are over halfway through the first season.
This show was written by Rod Serling
Rod Serling’s Opening Narration:
Infantry platoon, U.S. Army, Philippine Islands, 1945. These are the faces of the young men who fight, as if some omniscient painter had mixed a tube of oils that were at one time earth brown, dust gray, blood red, beard black, and fear—yellow white, and these men were the models. For this is the province of combat, and these are the faces of war.
Summary
In the Philippines in 1945, Army Lt. Fitzgerald has developed the disturbing ability to look into his men’s faces and know who will be killed in the next battle. He says it’s like a light is shined on their faces. His superior, Capt. Phil Riker, consults the medical officer but he finds nothing conclusive. Fitzgerald passes out when visiting one of his wounded men in the hospital after he sees the light on his face. When he sees the light on Riker’s face, he begs him not to go out. After they return from the military operation, he sees that there will be one other casualty that day.
Rod Serling’s Closing Narration:
From William Shakespeare, Richard the Third, a small excerpt. The line reads, ‘He has come to open the purple testament of bleeding war.’ And for Lieutenant William Fitzgerald, A Company, First Platoon, the testament is closed. Lieutenant Fitzgerald has found the Twilight Zone.
CAST
Rod Serling … Narrator (voice) Dick York … Capt. Phil Riker William Reynolds … Lt. Fitzgerald William Phipps … Sergeant Barney Phillips … Capt. E.L. Gunther S. John Launer … Lieutenant Colonel Michael Vandever … Smitty Paul Mazursky … Orderly Marc Cavell … Freeman Warren Oates … Jeep Driver Ron Masak … Harmonica Man
If I’m feeling a need of some old school driving Rock and Roll/Rockabilly…I look no further than the Blasters. No studio embellishments, no gimmicks, no tricks…just rock and roll.
The Blasters never had mainstream success…but popular radio back in the 80s would have been greatly improved by these guys.
The Blasters are a rock and roll band formed in 1979 in Downey, California, by brothers Phil Alvin (vocals and guitar) and Dave Alvin (guitar), with bass guitarist John Bazz and drummer Bill Bateman.
Marie Marie was released in 1980 on The Blaster’s debut album American Music on the small independent label Rollin’ Rock. It was then re-recorded a year later for The Blaster’s second album The Blasters, released by Slash Records and distributed by Warmer Bros.
The artist Shakin Stevens covered the song in 1980 and his version had chart success. Steven’s version peaked at #19 in the UK, 28 in Ireland, and #18 in Germany in 1981.
The song was written by Dave Alvin…here he is talking about how he wrote it.
Dave Alvin:“About 30 minutes before we left to go to rehearsal, I sat down at our kitchen table and I just wrote the lyrics – just came to me. I was kind of – I remember being a little kid and we were driving down this road up near the Puente Hills. And there was an old Victorian farmhouse and there was a girl sitting on the porch with a guitar. And for whatever reason, that image stuck with me and so I just wrote that. So in like 20 minutes we had [the song].”
Phil Alvin:“I thought Joe Turner’s backup band on Atlantic records – I had these 78s – I thought they were the Blues Blasters. That ends up it was Jimmy McCracklin. I just took the ‘Blues’ off and Joe finally told me, that’s Jimmy McCracklin’s name, but you tell ‘im I gave you permission to steal it.”
Marie Marie
Marie Marie Playing guitar on the back porch I sit in my car While she sings so sad Marie Marie It’s so lonely in these farmlands Please come with me To the bright lights downtown Marie Marie I said, “Hey, pretty girl Don’t you understand I just want to be your loving man” Marie Marie The sun is down in the corn fields The evening is dark And you sing so sad Marie Marie
Marie Marie I got two weeks in back pay There’s gas in my car And your folks say I must go I said, “Hey, pretty girl Don’t you understand I just want to be your loving man” Marie Marie Marie Marie Playing guitar on the back porch I leave in my car While you sing so sad Marie Marie
I knew a few songs from The Smiths in the 80s but I found out more in the last few years from bloggers like Dave from A Sound Day. This intro is just plain epic. The Smiths had difficulty playing this song live. Johnny Marr, had troubles recreating the guitar effect in concert. The tremolo is perfect in this song.
Bassist, Andy Rourke, called the song “the bane of The Smiths’ live career.”
The song was released in 1985 and it peaked at #24 in the UK, #39 in New Zealand, an d #36 in the US Dance Chart… The single was re-released in 1992 and it peaked at #16 in the UK.
This incridble song was the B side to William, It Was Really Nothing. It was on the album Hatful of Hollow. The album was a compilation album released in 1984 and it peaked at #7 in the UK. In 2000, Q magazine placed the album at No. 44 on its list of the “100 Greatest British Albums Ever”.
Guitarist Johnny Marr has described this song as The Smiths’ “most enduring record.” It is supposedly about their singer’s Morrissey’s crippling shyness. It has since become an anthem for the alienated and socially isolated.
Johnny Marr:“I wanted an introduction that was almost as potent as ‘Layla.’ When it plays in a club or a pub, everyone knows what it is.”
Johnny Marr:“I wanted it to be really, really tense and swampy, all at the same time. Layering the slide part was what gave it the real tension. The tremolo effect came from laying down a regular rhythm part with a capo at the 2nd fret on a Les Paul, then sending that out in to the live room to four Fender Twins. John was controlling the tremolo on two of them and I was controlling the other two, and whenever they went out of sync we just had to stop the track and start all over again. It took an eternity.”
From Songfacts
Marr wrote this song, “William, It Was Really Nothing” and “Please, Please, Please, Let Me Get What I Want” over a productive four-day period in June 1984.
The Smiths installed red lightbulbs in their London studio to create the perfect atmosphere to record this song in.
The oscillating guitar has been compared to the one heard in The Rolling Stones’ cover of Bo Diddley’s song, “I Need You Baby (Mona).” This would not be the last time that Marr would steal a riff from the Stones!
This song was named after a question posed in Marjorie Rosen’s feminist film study, Popcorn Venus – one of Morrissey’s favorite books.
Morrissey lifted the line, “The heir to nothing in particular,” from the 19th century novel, Middlemarch, by George Eliot.
Marr told The Guardian newspaper that the producer, John Porter, misjudged this song’s opening lyric: “I remember when Morrissey first sang, ‘I am the son and the heir…’ John Porter went, ‘Ah great, the elements!’ Morrissey continued, ‘…of a shyness that is criminally vulgar.’ I knew he’d hit the bullseye there and then.”
Unlike many British acts, The Smiths hadn’t made any music videos. By 1985, MTV was very popular in America and a key to promoting songs to a young audience, so Jeff Ayeroff, who was in charge of video promotion at Warner Music, parent to The Smith’s US label Sire, commissioned a video. Video directors weren’t easy to come by at the time unless you had a substantial budget, and Ayeroff only wanted to shell out $5,000. He hired Paula Greif, who had been designing album covers, to make the video, giving her the instruction, “Find some performance footage and put a girl in it.”
Greif did just that, using footage from a show in Leicester shot in 1984 by the band’s live sound engineer, Grant Showbiz. She combined this with Super 8 video she shot of a female model dancing as if she was at the show. The band had no involvement.
Morrissey told Creem magazine that he detested the video. “It had absolutely nothing to do with The Smiths,” he said. “Quite naturally we were swamped with letters from very distressed American friends saying, ‘Why on earth did you make this foul video?’ And of course it must be understood that Sire made that video, and we saw the video and we said to Sire, ‘You can’t possibly release this… this degrading video.’ And they said, ‘Well, maybe you shouldn’t really be on our label.’ It was quite disastrous.”
Morrissey and Marr receive 25% of the royalties for the Soho hit, “Hippychick,” which interpolates this song’s guitar riff.
The band Love Spit Love, which included Psychedelic Furs members Richard and Tim Butler, recorded a new version of this song for the 1996 movie The Craft, which is about a coven of strikingly attractive teenage witches. In 1998, this same cover version was used as the theme song to the TV series Charmed, which is about a coven of strikingly attractive teenage witches.
The song also appears in the movies The Wedding Singer (1998) and Closer (2004).
The Russian duo t.A.T.u. of “All The Things She Said” fame covered this song in 2002. Marr slammed the “silly” cover, though Morrissey called it “magnificent.” Their version was used in the 2008 episode of Gossip Girl, “Pret-a-Poor-J.”
This song featured in a commercial for Pepe Jeans in 1988, also appeared in a 1999 commercial for the Nissan Maxima (without lyrics).
This was the B-side to the “William, It Was Really Nothing” single, which was released in 1984. After British radio picked up on the song, it was released as a standalone single in 1985, when it charted at an underwhelming #24, much to the disappointment of Morrissey, who bemoaned to Creem magazine: “It’s hard to believe that ‘How Soon Is Now’ was not a hit. I thought that was the one.” It was reissued for a third time in 1992, when it charted at #16.
The single artwork was a still of the actor, Sean Barrett, from the 1958 film, Dunkirk. Barrett was praying in the image, but because he also looked like he was holding his crotch, the sleeve was deemed to be offensive and was consequently banned in the US.
How Soon Is Now
I am the son And the heir Of a shyness that is criminally vulgar I am the son and heir Of nothing in particular
You shut your mouth How can you say I go about things the wrong way? I am human and I need to be loved Just like everybody else does
I am the son And the heir Of a shyness that is criminally vulgar I am the son and heir Of nothing in particular
You shut your mouth How can you say I go about things the wrong way? I am human and I need to be loved Just like everybody else does
There’s a club if you’d like to go You could meet somebody who really loves you So you go and you stand on your own And you leave on your own And you go home and you cry And you want to die
When you say it’s gonna happen “now” When exactly do you mean? See I’ve already waited too long And all my hope is gone
You shut your mouth How can you say I go about things the wrong way? I am human and I need to be loved Just like everybody else does
This is one of my most watched episodes of the Twilight Zone. I love time travel and this one is wonderful. Kenneth Haigh plays Lt. William Terrance Decker a British soldier who took off in his plane in 1917 and landed in 1959 at an American Air Force base. He’s held captive with the Americans believing his actions to be a prank.
I like how this one has a resolution at the end. You find out how the event affected everyone…including old “Leadbottom.”
The show like most of the other episodes is very well written, acted, and executed. This is a great episode. I could have easily given this a 5 star rating.
Richard Matheson wrote this episodes and he was one of my favorite writers of the show next to Serling. He would write 16 Twilight Episodes and among other things we would write for Star Trek the original series.
Witness Flight Lieutenant William Terrance Decker, Royal Flying Corps, returning from a patrol somewhere over France. The year is 1917. The problem is that the lieutenant is hopelessly lost. Lieutenant Decker will soon discover that a man can be lost not only in terms of maps and miles, but also in time – and time in this case can be measured in eternities.
Summary
Trying to find his way home after a dogfight in World War I, Royal Flying Corps Flt. Lt. William Terrance Decker lands at a U.S. Air Force base 42 years in the future. No one believes him when he claims to be from 1917, thinking someone is trying to put one over on them. Decker himself admits that before suddenly leaping into the future he was actually flying away from an serial encounter and leaving his friend in a lurch. He also realizes that he may have an opportunity to rectify that situation.
Rod Serling’s Closing Narration:
Dialog from a play, Hamlet to Horatio: There are more things in heaven and earth than are dreamt of in your philosophy. Dialog from a play written long before men took to the sky: There are more things in heaven and earth and in the sky than perhaps can be dreamt of. And somewhere in between heaven, the sky, and the earth, lies the Twilight Zone.
CAST
Kenneth Haigh … Lt. William Terrance Decker Alexander Scourby … Maj. Gen. George Harper Simon Scott … Maj. Wilson Robert Warwick … A.V.M. Alexander ‘Leadbottom’ Mackaye, R.A.F. Harry Raybould … Corporal Jerry Catron … Guard
In the mid eighties I had a friend who were into Jason and the Scorchers so I gave them a listen. They were big on college radio and they had many ties with Nashville and played here quite often.
I first heard them do a live version of “The Race Is On”…the old George Jones song and it won me over. They were really a big deal in the southeast in the middle eighties and should have spread more. Their music seemed to have a kinship to the Georgia Satellites but they were a little more country. They did have some MTV play with this song and Golden Ball and Chain.
The band was formed in 1981. They were together through the 80s till the drummer Perry Baggs was diagnosed with diabetes and could not finish a 1990 tour. They have regrouped since then off and on and altogether have released 15 albums with the last one being in 2010. In 2012 Perry Baggs passed away because of diabetes.
They played a mixture between country and rock and fell into the cracks. They seemed too rock for country and too country for rock. Live they were unbeatable.
This song was released in 1985 on the album Lost and Found.
AllMusic’s Mark Deming called Lost & Found“the best record this fine band would ever make.”
Below is the reunited band on the Conan show in 1998…promoting a live album.
White Lies
White lies Every evening when I walk through the door I hear the same old lies that I’ve heard before: You’re going out for the evening, going out with a friend. Do you really want me to believe that again? You’re telling white lies, you’re telling white lies. I can see right through that this disguise. Can’t you tell I can tell when you’re telling white lies? Take these chains and set me free, Release me from this misery. Now, don’t you waste my time with your alibis ’cause your heart can’t hide what I see in your eyes. You’re telling white lies, you’re telling white lies. I can see right through that thin disguise. Can’t you tell I can tell when you’re telling white lies? Every evening when I walk through that door I get the same old lies that I’ve heard before: You’re going out for the evening, going out with a friend. Do you really want me to believe that again? You’re telling white lies, you’re telling whire lies. I can see right through that thin disguise. Can’t you tell I can tell when you’re telling white lies? You’re telling white lies, you’re telling white lies. I can see right through that thin disguise. Can’t you tell I can tell when you’re telling white lies? White lies White lies White lies
This is the second time I’ve published this…it vanished from the Reader.
I watched this last week and also Thursday night again just to make sure I wasn’t marking it too low.
This is the only episode so far I’ve given a lower than 3 stars to. As always the episode has a moral lesson but…it loses something. Everett Sloane plays Franklin Gibbs who is a grouchy man who with his suffering wife Flora wins a trip to Las Vegas. Flora is just excited to be there but Everett will have none of it. He reluctantly plays a slot machine and wins…from there on it’s all down hill for Franklin. He is hooked like a bass on a line. Everett catches the gambling “fever.” I feel the episode is forced. Yes there is an important lesson but it doesn’t happen naturally at all.
Rod is preaching in this episode. Franklin goes from hating everything about gambling and fun to being a grumpy gambler in the span of a few minutes. This one needed more time to build.There is nothing wrong with Everett Sloane’s acting…the change is just too quick.
I do have sympathy with his wife… You can also tell poor Flora never gets out of the house.
The Fever was inspired by Rod Serling’s celebratory trip to Las Vegas when The Twilight Zone was first signed. His wife Carol Serling had good luck at the casino, but he himself kept losing to a slot-machine not unlike the one shown here, and battled it for a good while.
Even though the episode takes place in Las Vegas, it was filmed in California where slots were illegal at the time. The producers had to broker an arrangement with the LAPD to borrow real slot machines that had been confiscated by the police for use in the episode. Said producer Buck Houghton, “There was a policeman on the set at all times, to make damn sure that somebody didn’t take one off and set it up in his uncle’s barber shop.”
This show was written by Rod Serling
Rod Serling’s Opening Narration:
Mr. and Mrs. Franklin Gibbs, three days and two nights all expenses paid at a Las Vegas hotel, won by virtue of Mrs. Gibbs’s knack with a phrase. But unbeknownst to either Mr. and Mrs. Gibbs is the fact that there’s a prize in their package, neither expected nor bargained for. In just a moment, one of them will succumb to an illness worse than any virus can produce. A most inoperative, deadly life-shattering affliction known as the Fever.
Summary
Flora and Franklin Gibbs head off to Las Vegas for a two-night, all-expense-paid vacation won by Flora in a contest. Franklin has agreed to go with her but he is unimpressed with the place, especially the casino looking down on all of those poor fools, as he calls them, playing slot machines. He severely admonishes Flora when she puts a nickel in a slot machine, accusing her of throwing away her money. When a drunken gambler gives him a dollar and insists that he play the machine, Franklin wins and there begins his descent into madness.
Rod Serling’s Closing Narration:
Mr. Franklin Gibbs, visitor to Las Vegas, who lost his money, his reason, and finally his life to an inanimate, metal machine, variously described as a “one-armed bandit”, a “slot machine”, or, in Mr. Franklin Gibbs’ words, a “monster with a will all of its own.” For our purposes, we’ll stick with the latter definition because we’re in the Twilight Zone.
CAST
Rod Serling … Narrator (voice)
Everett Sloane … Franklin Gibbs
Vivi Janiss … Flora Gibbs
William Kendis … Hansen
Lee Millar … Joe
Lee Sands … Floor Manager
Marc Towers … Cashier
Art Lewis … Drunk
Arthur Peterson … Sheriff
This song is one of my favorite songs off the 1969 Tommy album along with the song Christmas. I never thought Tommy was their best album by any means but it is the one that broke them to a mass audience.
While Townshend was backstage at a Door’s concert, a security guard roughly handled a girl who was attempting to touch Jim Morrison, just as Sally was attempting to touch Tommy. There is a video of the real “Sally Simpson” back stage and Jim Morrison is trying to help her. I have the video at the bottom. I never knew a video existed of this until recently.
The song was never released as a single but is a great section of the story of Tommy. In Baba O’Riley there is a lyric that mentions Sally or a different Sally. “Sally, take my hand we’ll travel south ‘cross land”…could it be? I doubt it but you never know.
The Who during this time were touring and including opera houses. They were as tight as a band can be…it was soon after that they released what I think is the greatest live album ever…Live At Leeds.
Here is video of Jim Morrison tending to “Sally” backstage. Yep, real footage of the girl that inspired Pete to write Sally Simpson.
Sally Simpson
Outside the house Mr. Simpson announced that Sally couldn’t go to the meeting. He went on cleaning his blue Rolls Royce and she ran inside weeping. She got to her room and tears splashed the picture of the new Messiah. She picked up a book of her fathers life and threw it on the fire!
She knew from the start Deep down in her heart That she and Tommy were worlds apart, But her Mother said never mind your part… Is to be what you’ll be.
The theme of the sermon was come unto me, Love will find a way, So Sally decided to ignore her dad, and sneak out anyway! She spent all afternoon getting ready, and decided she’d try to touch him, Maybe he’d see that she was free and talk to her this Sunday.
She knew from the start Deep down in her heart That she and Tommy were worlds apart, But her Mother said never mind your part… Is to be what you’ll be.
She arrived at six and the place was swinging to gospel music by nine. Group after group appeared on the stage and Sally just sat there crying. She bit her nails looking pretty as a picture right in the very front row And then a DJ wearing a blazer with a badge ran on and said ‘here we go!’
The crowd went crazy As Tommy hit the stage! Little Sally got lost as the police bossed The crowd back in a rage!
But soon the atmosphere was cooler as Tommy gave a lesson. Sally just had to let him know she loved him and leapt up on the rostrum! She ran cross stage to the spotlit figure and touched him on the face Tommy whirled around as a uniformed man, threw her of the stage.
She knew from the start Deep down in her heart That she and Tommy were worlds apart, But her Mother said never mind your part… Is to be what you’ll be. Her cheek hit a chair and blood trickled down, mingling with her tears, Tommy carried on preaching and his voice filled Sally’s ear She caught his eye she had to try but couldn’t see through the lights Her face was gashed and the ambulance men had to carry her out that night.
The crowd went crazy As Tommy left the stage! Little Sally was lost for the price of a touch And a gash across her face! OOoooh.
Sixteen stitches put her right and her Dad said ‘don’t say I didn’t warn yer’. Sally got married to a rock musician she met in California Tommy always talks about the day the disciples all went wild! Sally still carries a scar on her cheek to remind her of his smile.
She knew from the start Deep down in her heart That she and Tommy were worlds apart, But her Mother said never mind your part… Is to be what you’ll be.
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