If you want to see where we are…HERE is a list of the episodes.
It’s good to be watching Kolchak again after the Christmas and New Year’s break. Welcome back, everyone! In this one, we have two recognizable TV stars. Jamie Farr (MASH) and Pat Harrington (One Day At A Time) both appear.
The episode has Kolchak investigating a string of killings tied to a missing anthropology professor, and from there, it spirals into the missing link. The best course of action here is restraint; the monster is rarely seen clearly, and when it is, it’s brief, violent, and deeply unsettling. Director Robert Michael Lewis shoots much of the episode in shadows and tight frames, letting your imagination do most of the work. Frozen cell samples from the Antarctic are accidentally exposed to heat and grow into a missing link that breaks out from the lab and embarks on a rampage.
Kolchak, in this episode, is stubborn to the point of self-destruction, but also shaken by what he’s uncovering. There’s a moment when Kolchak realizes the killer isn’t driven by malice but by something older and uncontrollable. It works because it taps into a universal fear that, beneath our suits and the rules, we are still animals. The supporting cast, especially John Doucette as Sheriff Frank Packer, grounds the episode in realism, making the supernatural elements feel plausible.
No catchy catchphrases, no tidy ending, just a reminder that some monsters don’t come from folklore books, they come from inside us. Tony Vincenzo doesn’t get much to do this time, but there’s some comical interaction between Kolchak and Updyke as the latter threatens to have Kolchak’s car towed if he keeps parking in Updyke’s parking spot…but Kolchak gets him back.
Another good episode. Not the best one, but still up there. Again…with 7 more to go, I haven’t seen a clunker episode yet.
I posted Rocks Off by the Stones a couple of weeks ago, and Clive (Thanks Clive!) said that song influenced this song by Primal Scream. I took a listen, and I absolutely love it. It sounds like the Faces to me…pardon the pun, but that primal seventies rock. I told Clive it has a throwback sound to it. This was a departure from what they usually did..
This sure isn’t Britpop, which was popular at the time. You can tell when they recorded this that it’s supposed to sound like it could’ve been on a jukebox in 1973, and that is a wonderful thing. When it came out, the song and album baffled some critics, but it connected with a wider audience. It was their biggest UK hit to date. It was on the album Give Out But Don’t Give Up.
They decided to record in Memphis at Ardent Studios, the same place Big Star cut their records, in a location with a southern atmosphere. The idea was to tap into the same groove and gospel feel that the Stones did briefly in Muscle Shoals. The sessions were not smooth. They brought in Tom Dowd to produce, a legend whose resume included Aretha Franklin, Ray Charles, Allman Brothers, Lynyrd Skynyrd, and Eric Clapton. Dowd was used to working with bands who could cut a track live, warts and all. Primal Scream didn’t work that way. It was a constant party in the studio, and Dowd had to work through that.
The album was not easy to finish. Some tracks were reworked in London, others remixed to strip out what the label saw as “too much American bar-band” in favor of something more radio-friendly. Critics were split; some thought it was a brave move, others called it a lazy “Stones cosplay.” But for all the mixed reviews, Rocks came out swinging as the lead single in early 1994, and it worked.
One critic compared the album to U2’s Rattle and Hum, not in sound, but because of their desire to discover American influences with this album. I like it when bands do something different than expected. That is how you grow, and they took a shot, and to me, they ended up with a winner. Jimmy Miller, former producer of the Stones’ golden age, mixed a version of this as well.
The album peaked at #2 in the UK, #22 on the US Heatseekers Albums, and #12 in New Zealand in 1994.
The single peaked at #7 in the UK, #47 in Canada, and #8 in New Zealand in 1994.
Rocks
Dealers keep dealing, thieves keep thieving Whores keep whoring, junkies keep scoring Trade is on the meat rack, strip joints full of hunchbacks Bitches keep a bitching, clap just keeps itching
Ain’t no use in praying, that’s the way it’s staying, baby Johnny ain’t so crazy, he’s always got a line for the ladies (Yeah, yeah, yeah)
Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown
Creeps a-keep crawling, drunks a-keep falling Teasers keep a-teasing, holy Joe’s a preacher Cops keep busting, hustlers keep a hustling Death just keeps knocking, souls are up for auction
Ain’t no use in praying, that’s the way it’s staying, baby Johnny ain’t so crazy, he’s always got a line for a lady (Yeah, yeah, yeah)
Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown (yeah, yeah)
Ain’t no use in praying, that’s the way it’s staying, baby Johnny ain’t so crazy, he’s always got a line for the lady (Oh, yeah, yeah)
Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown
Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown Get your rocks off, get your rocks off, honey Shake ’em now, now, get ’em off downtown
Get your rocks off, get your rocks off, honey Get your rocks off, get your rocks off, honey Get your rocks off, get your rocks off, honey Get your rocks off, get your rocks off, honey
Get your rocks off, get your rocks off, honey Get your rocks off, get your rocks off, honey
I have heard mostly the 90s music from this band…I recently found this album from 1987 and love it. They formed in 1982 in Glasgow Scotland and are still together today. The only original member left is lead singer Bobby Gillespie. They have shifted in sound through the years. This song was during their power pop period.
This song was on the Sonic Flower Groove album released in 1987. It was met with mixed to bad reviews at the time. The bad reviews caused internal strife within the band. Two members Jim Beattie and Gavin Skinner subsequently resigned. The band then changed directions and shifted to a more rock sound. In the mid-eighties a Byrds sound was not exactly the height of popularity but it would start taking off with bands like REM soon after.
I love the jangling guitar and the overall sound of the song and album. This song, Imperial, Treasure Trip, and many more make this a very good album to me.
Most reviewers now look back on the album with praise. It charted at #62 in the UK charts in 1987. Gentle Tuesday peaked at #87 in the UK charts in 1987.
Gentle Tuesday
Shadow masking matters Can’t conceal the way you really feel It doesn’t fit our souls exist That of they asked me how it is
New morning dew for you Sweet honey hips your lips Hold spells when cast they dwell Like magic in your kiss
Confusion colours cruel designs Unhappy girl, you’re out of time
Gentle Tuesday Sad and lonely eyes Gentle tuesday See yourself tonight
Memories as fat as bees Presents a mess of poison tears A word unkind that tricks our minds We really warned before your time
Happiness, nothing less A universal way Bad seeds but fruit are sweet You choke on empty days Confusion colours cruel designs Unhappy girl you’re out of time
PowerPop... An Eclectic Collection of Pop Culture 