Ooh, she was in Time Travelers, along with a few other cool things. Ouch. That reminds me of the time he used the phrase "relative of a female dog." I was so young at the time that my Mother had to explain to me what it meant. That's interesting. I wonder if that call sign had some personal meaning for Jack Webb. A man after my own heart. At this point I'd start to suspect the Joker. This is the 60s, guys. You need that sheepskin even to be a common thief. She may be a Merry Anders, but Friday is not a Merry Man. I wonder if there was a writer's strike or something. I don't even really remember it, although I'm sure I watched it. I mainly remember that Greg Morris's kid played Barney Collier's kid, which was pretty cool.
^ Methinks there's been a quote tag mishap. Switching to manual mode below.... _______ 55th Anniversary Album Spotlight Meet the Beatles! The Beatles Released January 20, 1964 Chart debut: February 1, 1964 Chart peak: #1, February 15 through April 25, 1964 #59 on Rolling Stone's 500 Greatest Albums of All Time Having gotten into the Beatles in the CD age via the British versions of the albums, I've never been a fan of the way that Capitol butchered the material to milk more releases out of the Fabs. I can, however, appreciate the attachment that earlier fans would have to the albums that they originally listened to...most especially in this historic case. Given Capitol's intention of applying American standards of having singles appear on the albums and having no more than a dozen tracks per LP, what they do here for this first outing actually makes a great deal of sense. Side 1 opens with the song that started it all for the Fabs and British bands in general on this side of the pond, their then-current breakthrough chart-topper, "I Want to Hold Your Hand" (released separately from the With the Beatles album in the UK). Immediately following, naturally enough, is the American B-side of that single, "I Saw Her Standing There" (originally the opening track of the Please Please Me album in the UK). Then, quite appropriately, the spotlight goes to "This Boy," which was the B-side of "I Want to Hold Your Hand" in the UK, and like the A-side, didn't appear on the contemporaneous album over there: This track is noteworthy for its three-part harmony by John, Paul, and George, a technique that will be used later on "Yes It Is" and "Because". From here on, we get a selection of tracks from the British With the Beatles album, in the same order, but skipping most of the covers (which will all appear on Capitol's uninspiredly titled potpourri compilation, The Beatles' Second Album)...making this tantalizingly close to an album consisting of all Beatles originals (which the UK will get in a few months with their version of the A Hard Day's Night album, the only original Beatles album to consist entirely of Lennon-McCartney songs). "It Won't Be Long" was the punchy, attention-grabbing opening track of With the Beatles, and continues the iconic motif of "She Loves You," but now with double the yeahs: The lower-key but pleasant "All I've Got to Do" was the second track on With the Beatles; followed on both albums by the infectious "All My Loving": This number is most noteworthy as the first song that the Beatles performed in the States, before a record-breaking television audience of 73 million people on February 9, 1964. George's "Don't Bother Me" was in the middle of Side 1 on With the Beatles, but here gets the more prestigious position of opening Side 2: This is a promising debut composition for Harrison...fitting in well with the group's style at that point, while having a distinctively moody sound that sets it apart from the Lennon-McCartney material. Next is John's Harmonica-laden "Little Child," which was the fifth song on With the Beatles; followed by the only cover on this album, Paul's rendition of "Till There Was You" from The Music Man, which he'd previously performed for none other than the Queen. Thus ends the American album's streak of six consecutive songs from With the Beatles. "Please Mr. Postman" and "Roll Over Beethoven" are saved for later, as we skip to the second song on Side 2 of the UK album, "Hold Me Tight," which was resurrected from the Please Please Me sessions. Bypassing "You Really Got a Hold on Me," the penultimate track on the US album is "I Wanna Be Your Man". Originally written for the Rolling Stones, who released their version as their second single in the UK (reaching #12 there), it does double duty as Ringo's turn at vocals on With the Beatles and Meet the Beatles! "Devil in Her Heart" and "Money (That's What I Want)" get set aside for another day, and the Beatles' debut album for Capitol ends with the track that fell in between them on With the Beatles, the forlorn "Not a Second Time". Overall, I'd say that the American record-buyer of 1964 wasn't done wrong with this disc--A strong Capitol debut for the Fabs. _______ What stands out for me is that the actor pronounced it "One-Ay-Twelve"; and one of the first things that Malloy corrected Reed for in the Adam-12 pilot was pronouncing it that way on the radio. I have to wonder if Webb got some input from his LAPD advisers about it being pronounced that way on Dragnet, and it stuck with him and got used in the spin-off...which leads me to further speculate that perhaps that particular call sign stuck with him because of such an incident. Maybe she like her guys nice and stiff. There was a writer's strike in the Summer/Fall of '88, and now that you mention it, I recall Christopher referencing it in relation to the M:I remake. It seems that it wasn't just their incentive for remaking old episodes, it was their incentive for doing the remake show at all.
Fixed. I actually do that a lot, but I usually remember to review before posting. I must have been especially sleepy yesterday. Sounds like the 50s. 73 million people watching one TV show at the same time. Now the population has doubled and it's rare to get even a tenth of that for one show. I'd say these blokes are a bit of all right, eh wot? I'll bet that's exactly it. Not exactly a great reason for making a TV show.
They wouldn't have considered that an insult at the time, as that was the music they were emulating. But the same sound wears thin with me on 1965's "Yes It Is," which is one of my least favorite Beatles songs. "Because," which we'll be getting to later this year as 50th anniversary business, OTOH, is a completely different animal. Happens at least once a year, the last time being this past Sunday. Somebody could do a great audio-only parody of Joe Friday having sex. Mmhmm. Mmhmm. Mmhmm. Yes, ma'am.
Oh, I don't mean it as an insult. You mean the Super Bowl? Yeah, but I mean show shows, not sporting events or presidential addresses or whatever. Now there's a proposal for Big Finish.
This was a fun record, easy to revisit, and what a contrast of creative / life influences to their output on the polar opposite release from 1969. To me, that was a case of "well, I didn't know what I was missing, so I enjoyed it, anyway", as was the case with a great number of British Invasion-category albums released in the 60s. That said, it was fun to seek out the UK editions, if only for a couple of tracks not on the US release. Oh, it was transformed into a very different, arguably greater creature in the hands of The Rolling Stones, with Brian's slide and lead shifting the emotional tone of the song to a more aggressive guy's call to action/desire. With that growth in population also came the growth in innumerable sources of alternate entertainment and cultural attractions/distractions, so audience interests were/are now so spread out, instead of the days when only a handful of TV channels existed, the "pickings" were slim, and if you did not watch that, you weren't watching anything. That's why to me, its a stronger example of audience interest when say, the 1983 series finale of M*A*S*H* ("Goodbye, Farewell and Amen") capturing 125 million viewers--at a time when alternate entertainment such as cable TV, home video and video game consoles were a major fixture in homes. That was a rare example of how special something had to be to capture over half of the American population (over 236 million in '83) among that ever-spreading entertainment landscape.
They did what they could with it, but I never thought it was a terribly good fit for them...there's plenty of better stuff on their early albums. I think there was probably some truth-in-hindsight to Jagger's story about the song that the Rutles wrote for them:
Yeah, that growth in options, which is a good thing in and of itself, pretty much guaranteed that we'll never see audiences like that again, which is kind of a shame-- like everything else, it's a double-edged sword.
Heh...The Rutles.... About the song: really? It was early enough to fit in with their raw sound period, with Brian's guitar work making it a genuine Stones song..not to the degree of their more famous remakes of the period, but I thought it was an important part of their early catalog.
_______ 55 Years Ago This Week At the Peppermint Lounge. On the train. Live at the Washington Coliseum "From Me to You" "This Boy" "Please Please Me" "I Want to Hold Your Hand" Interview at the British Embassy. Selections from Billboard's Hot 100 for the week: Leaving the chart: "Quicksand," Martha & The Vandellas (12 weeks) "Since I Fell for You," Lenny Welch (16 weeks) "When the Lovelight Starts Shining Through His Eyes," The Supremes (11 weeks) New on the chart: "My Bonnie," The Beatles w/ Tony Sheridan (#26 US; recorded in Hamburg and originally released in Germany in 1961, credited to Tony Sheridan & The Beat Brothers) "Glad All Over," The Dave Clark Five (#6 US; #1 UK; Say, maybe this British thing is catching on....) "Fun, Fun, Fun," The Beach Boys (#5 US) "Hello, Dolly!," Louis Armstrong & The All Stars (#1 US the week of May 9, 1964; #1 AC; #4 UK; 1965 Grammy Award for Song of the Year) Total Beatles songs on the chart: 5 _______
An alternate universe that didn't make it. This is a fun one. But not as fun as this classic of funitude. I love this. Somehow I never realized it was a Top Ten song. Yikes. Somebody should call an exterminator or something.
_______ 50 Years Ago This Week Selections from Billboard's Hot 100 for the week: Leaving the chart: "Lo Mucho Que Te Quiero (The More I Love You)," Rene & Rene (12 weeks) "Wichita Lineman," Glen Campbell (15 weeks) New on the chart: "Mr. Sun, Mr. Moon," Paul Revere & The Raiders (#18 US) "Hot Smoke & Sasafrass," The Bubble Puppy (#14 US) "My Whole World Ended (The Moment You Left Me)," David Ruffin (#9 US; #2 R&B; #51 UK) "Twenty-Five Miles," Edwin Starr (#6 US; #6 R&B; #36 UK) "Runaway Child, Running Wild," The Temptations (#6 US; #1 R&B) And new on the boob tube: The Ed Sullivan Show, Season 21, episode 17, featuring Leslie Uggams, the Schaller Brothers, and Joan Rivers A Midsummer Night's Dream (1968 UK cinematic feature, with cast including Diana Rigg, David Warner, Ian Holm, and Judi Dench; premiered in the States as a CBS special) The Avengers, "Take Me to Your Leader" Rowan & Martin's Laugh-In, Season 2, episode 19 The Mod Squad, "A Hint of Darkness, a Hint of Light" Ironside, "A World of Jackals" Star Trek, "Requiem for Methuselah" Adam-12, "Log 51: A Jumper – Code Two" Get Smart, "To Sire, with Love: Part 1" Hogan's Heroes, "Up in Klink's Room" _______ The Fabs' first professional recording, and historically noteworthy because it was a request for that record that caused record department manager Brian Epstein to track the band down to their "cellarful of noise". It's always impressed me how much of the Beatles you can hear in that recording...the hooting and hollering in the background is very Paul. Gotta give the Dave Clark Five their historical due...they were the "first British band on the ground after the Beatles," as I've heard them described, in more ways than one--both in scoring an American hit and in beating even the Fabs at doing a full American tour. In my book, this is where the British Invasion really begins. Without the next British band coming along, it just would have been Beatlemania. Definitely bringing their A-game to the A-side this time around! Sounds like leftover '40s business to me! I've got this because I got some Louis from that period when dabbling in the era. And this is not just a Top Ten song, but the song that will break the Fabs' 14-week domination of the top spot (via three singles). I won't be posting the count again for a few weeks, when entry #6 comes along...but the infestation is going to be getting a lot worse by April!
Not bad, though not their best. The Bubble Puppy seems to have been lost in the bubble kennel of history, but this is a nice-sounding song. Very nice. Also very nice. Wow, long version. But also a good one. The Butterfly Effect. It never ceases to amaze how monumental things can hinge on random, and unlikely, events. One of my favorites of theirs, along with "Barbara Ann" (although "Sloop John B" is in a class by itself). Indeed! That's interesting. Not even Louis Armstrong can stop them.
Paul & the Raiders have definitely seen better days at this point. Not feeling it for this one. Now this is one of those obscuros that rewards having dug deeper...a nice piece of psychedelic rock. The vocal style reminds me of Crosby, Stills & Nash, though they're still just around the corner. This one's decent but not remarkable. Ruffin had until recently been a lead singer of the Temptations. Now "Twenty-Five Miles"...this is not just a bona fide uber-classic, but one that I find it physically impossible to sit still to. Whether or not the resulting spastic gyrations can be considered "dancing" is a question best left to scholars. A welcome addition to my weekly playlist! Yeah, that's the full-length album version. I have the single version, which is under five minutes. It sounds a lot like "Cloud Nine," but that's not a bad thing. You should get a crew-cut in protest! Weekly review posts to come.
This is a thread after my own heart. I live exactly 55 years ago, too! If you guys like this music, I've got a radio station that plays the music of exactly 55 years ago: https://www.radioking.com/radio/kgj Let me know if you've got any requests!
^^ Well, that's serendipitous. It did feel oddly familiar-- maybe that's what I was feeling. Spastically gyrate like nobody is watching! Yikes! I don't even want to think about that.
_______ 50th Anniversary Viewing (Part 1) _______ The Ed Sullivan Show Season 21, episode 16 Originally aired February 2, 1969 As represented in The Best of the Ed Sullivan Show From a mixed Best of installment consisting primary of material from this date, we get the following.... The Temptations open Best of singing their "newest hit recording" (actually just entering the chart the following week), "Runaway Child, Running Wild," which continues the funkadelic sound established by its predecessor. After a commercial break, it's back to "the recording sensations of the country," doing an energetic but brief rendition of their previous hit, "Cloud Nine". tv.com says that it was originally done as a medley with the third number below...which the matching stage dressing supports. Next from this date, "especially for you youngsters, is one of the hottest rock groups in the entire country". That's definitely upselling the Vanilla Fudge, who've only had one major hit, which they haven't been able to successfully follow up on. Their latest attempt at a psychedelicized arrangement of an established hit is "Shotgun"--originally a #4 hit (#1 R&B) for Jr. Walker & the All-Stars in 1965. It is a pretty groovy rendition, accompanied here by swirly light show, but they'll only get it to #68. (It enters the chart on Mar. 8, and won't be covered in the regular posts.) Time to eat your musical vegetables, kiddies. Jacques d'Amboise & Allegra Kent are here from the New York City Ballet to perform to "Meditation" from Thais. Well, Allegra wasn't hard on the eyes, at least. This clip shows a bit more of the act than Best of did. Best of ends with the Temptations performing their other current hit, "I'm Gonna Make You Love Me," sans the Supremes. Needless to say, they're up to the job. And this clip also shows a bit more than Best of did. _______ Mission: Impossible "The Glass Cage" Originally aired February 2, 1969 Fortunately, there's a major in the country in question who looks a lot like Martin Landau made up in a blond wig and mustache. And the true identity of the female head of the country's prison system is a secret, allowing Cin to pose as her. Major Zelinko (Lloyd Bochner) tests her by having somebody arrive who claims to be the same person, but Cin stays icy cool and passes. Once she's got access to the prison, she swaps some of the Major's files and starts planting stuff, including covertly dumping a boatload of gear for Barney in the cell that he's sharing with Willy...well, a trick briefcase-load, anyway. She also shares with Zelinko that she has an uncomfortable history with Major Rollin, who's there with Colonel Jim (who doesn't seem to need a disguise of somebody he resembles), and asks for Zelinko to accompany her when she has to go deal with him personally. While the boss is away, a gas gadget knocks out the men in the control room. Properly equipped and with no guards actually walking the corridors, Barney and Willy niftily break out of their cell and the maximum security wing, which includes horizontally climbing over an electrified floor. They get into the control room, mess with the cell controls and a security tape, and give some instructions to the resistance leader, Reisner (Richard Garland), before allowing themselves to be recaptured. The clues they've planted convince Zelinko that they've somehow switched Reisner with somebody else, and he blurts out his intention to pass off the guy in the glass cage for the real Reisner to his superiors to cover his ass...while everyone in the control room is watching and listening. A fingerprint file that Cin had swapped into his cabinet serves as evidence that their prisoner isn't the real Reisner. Cin, Jim, and Rollin pull their fake weight to have Zelinko arrested, free Supposedly Fake Reisner, and have Barney and Willy put into their custody. I thought this one fell a wee bit too far on the hokey side. After Barney and Willy's breakout, everything went off a little too easily. Their plan relied on the main bad guy being a total idiot once he was caught with his pants down. _______ The Avengers "Love All" Originally aired February 3, 1969 (US); February 19, 1969 (UK) Mother's Roost of the Week is an underground cricket practice range accessed through an open manhole cover. Sir Rodney is betraying secrets due to infatuation with an enemy agent who's posing as a homely cleaning lady, but cleans up reasonably well when the time comes to drop the charade. She kills him when he outlives his usefulness and moves on to other subjects, more than one at a time. Book uses microdots to subliminally project their command to fall in love with the next person they see. Reading a book of top secret information that's being distributed around the ministry is making them fall in love with the next woman they see. We later learn that the book uses microdots to subliminally project its commands to the reader. Steed investigates the publishing house by pretending to be a fan. Romance novels are being written by a computer that uses a baby grand piano keyboard as its control interface. Martha sends one of the men under her spell after Steed by making him out to be a romantic rival. The book works on Tara, too, making her fall in love with the man behind the scheme. In the climax, Steed has to knock her out with his bowler. Then wears a batch of the not-so-micro-dots (button-sized at this point) on his vest to put the bad guy and all of his henchwomen under his spell. In the coda, Steed has a mob of screaming teenage girls outside his flat because he's been walking around in public still wearing the dots. _______ Rowan & Martin's Laugh-In Season 2, episode 18 Originally aired February 3, 1969 Dr. Dan: I don't know how to tell you this, Mr. Rickles, but you're pregnant. Don: That's what I get for doing a show on ABC! Another early joke wall, as part of the opening... ...and an onscreen blurb announces that the first cocktail party is cancelled. Rickles joins the ladies in the news intro song. 1989's president this week is Goldie Hawn. Mod, Mod World has no specified theme this week. In one skit, Don Rickles dresses as a Gladys lookalike. Closing Joke Wall: _______ The Mod Squad "Fear Is the Bucking Horse" Originally aired February 4, 1969 The cowboy star is Billy Kilgore (Monte Markham), who got his start at the rodeo and is appearing there as a favor to his old friend, Charlie (Ross Elliott). Greer has a good, light-hearted moment spouting Western cliches as he assigns Pete and Linc to the case. Linc gets a job as a rodeo clown. Doing some snooping around, he finds that Kilgore owes money to a shady Vegas gambler; later, when he's looking for Kilgore in the stable where Billy's old horse is kept, Linc is assaulted by a cowboy and gets into a fistfight with him outside, which is cut short by a sniper taking out the cowboy. After seeing the fight, Kilgore gets suspicious and drunkenly breaks into Linc's room, finding his police ID. Between that and an encounter with Charlie's wife, Chrissie (Nina Shipman), his old flame, he's too drunk or hung over to perform the next day. A substitute performer is killed by poison on Kilgore's rope, which the performer holds in his mouth as part of the routine. Later Billy drunkenly confesses to Linc that the first attempt on him at the studio was his own doing, a publicity stunt to save his flailing TV show. They track down the poison to Charlie, who insists that if he wanted to kill Billy for what happened between Kilgore and Chrissie, he'd have done it a long time ago. But as Pete's leaving with the evidence, he gets knocked out from behind and the poison is taken from him. The Mods set their eyes on the rodeo owner, Mitch Bates (Ed Begley), so Pete breaks into is trailer during a show and finds both the poison and a motive--Bates still has a large insurance policy on Billy from their old days running a business together. The Mods set things up so that Mitch has a shot at poisoning Billy again in the stable, but they've switched out the poison, and Billy's confession-evoking "death" is an acting job. The Mod Music used in the climax seems rather incongruous with the rodeo setting. The Mod Quintet (Greer included) do their walk-off on the rodeo grounds. Julie is in the episode, but her role is pretty small. And she pronounces "rodeo" like the drive in Beverly Hills. _______
Not even Ed Sullivan could save Vanilla Fudge. Some special effects in this one, too. And that dude's from Dedham, which is just up the highway. He didn't have to put a nickel in? In the Nickelodeon? It seems to me that the Zelinko family is pretty extensive. A Sci-Fi concept on the verge of coming true. In addition to the British Invasion, there had to be a British Home Front. Say that ten times fast. Clever. Git along, little dawgies! And that's why.
_______ 50th Anniversary Viewing (Part 2) _______ Ironside "The Prophecy" Originally aired February 6, 1969 The episode opens with a party being held by the museum director, I think (Charles Macaulay, a.k.a. Landru in "The Return of the Archons" and Jaris in "Wolf in the Fold"), where Francine Miller (Martha Scott), a celebrity psychic / columnist of Ironside's acquaintance, is entertaining. She has a vaguely threatening premonition about Ironside, which is given credence by various other, more casual premonitions coming true after a fashion. Ironside is surprisingly open-minded about her gift, to the point that it seems out of character. In other circumstances, he'd be the first person to call bullshit on something like that. And the episode in general seems to take her seriously...welcome to the almost-'70s. The way that the psychic angle doesn't really play a role in the case, but the vague threat to the Chief keeps coming up in the story, seems like filler to hold up a relatively twistless plot involving a couple of inside-the-gallery thieves holding a painting for ransom (because it's way too hot to sell). This was a pretty meh episode overall. _______ Adam-12 "Log 112: You Blew It" Originally aired February 8, 1969 The officers first respond to a 390/415 (drunk/disturbance) at a cocktail joint that had a 211 (robbery) the previous week. I think that they're playing the same groovy source music as in the episode with the kid who drowned in the pool. Joseph Mell is the bartender. Malloy is just approaching the troublesome patron, who's hunched over a drink on a stool, to talk when the man decks him and runs out of the building, with neither the audience nor Malloy getting a good look at him. Following this, the entire crowd inexplicably turns against the officers, which looks like it's going to get pretty ugly until Sgt. MacDonald arrives. Sometime after that they pull over the traffic violator, one James Walker (William Dooley), who's very calm, well-mannered, and cooperative. When Malloy hears a call about a 415 man with a knife, left open to any unit in the vicinity, he jumps on it. It turns out that an eavesdropping neighbor called about a couple of actors who've been rehearsing a scene. The brunette actress, played by Phyllis Davis, was pretty cute...Malloy even comments on it afterward. The officers are then called to the station for Moore to read them the riot act, citing a regulation against leaving a Want before the check comes through. Moore delivers the titular line in this scene. Malloy is determined to beat the detectives to the punch and track Walker down, even using their Code Seven to dig up some info at the station. In the meantime, they get a call for "see the woman, dispute". They find a man trying to get up to his girlfriend's apartment because she's threatened to kill herself, but he's being held at bay by a broom-wielding landlady. When they find the girl lying lifeless on a bed, the landlady's only concern is that the girl not die in her building, and she first tries to drag her off the bed, then starts tossing out her clothes. Malloy has to threaten to arrest her to get her to back off. After the examiners get there, he sadly reports to the man that the girl is dead. The officers succeed in tracking down Walker to a home where he's drunkenly boasting to a girlfriend, and the first thing they do is call for backup. (Mod Squad, you might wanna take some police procedure notes.) Once that's arrived and everyone's in position, the officers announce their presence. The woman tries to incite Walker to fight them, but he quickly learns that he's covered. At the station, they have the pleasure of presenting their prisoner to the Lieutenant. In the locker room, Reed and Malloy learn that Brink, Walters, and MacDonald have nabbed the bar patron who decked Malloy...the episode-ending joke being that he was a dwarf. (The episode uses the M-word, which I understand is considered derogatory today.) _______ Get Smart "Absorb the Greek" Originally aired February 8, 1969 The Chief uses a specific name at the dating service--Harold Clark--but I assume it's supposed to be a cover. The title comes in part from how the Chief is "absorbing" the formula, a piece at a time during each rendezvous with Mrs. Paponickolini. Thinking the Chief is looking for love, 99 is trying to set him up with her mother. The Chief makes use of Max's bar to endure 99's mother's yapping. When the KAOS agents capture her and mention Greece, she drops a Jackie Kennedy reference. The episode pretends that she's being stretched on a rack (with jokes about how it's improving her back), but her arms are bent the entire time and you can see plenty of slack in the chains. One of the KAOS agents is...Joseph Mell, in back-to-back shows on the same network! The end twist is that the the very attractive and seemingly young Mrs. Paponickolini has used the formula herself, and is actually 67 years old. And I didn't recognize her offhand by face or name, but IMDb cued me in that the actress, Aliza Gur, was one of the fighting gypsy girls in From Russia with Love! _______ Hogan's Heroes "Klink's Old Flame" Originally aired February 8, 1969 Another episode about Klink's love life so soon? The prisoners stage an escape attempt by LeBeau to get him transferred to a stalag in France so he can smuggle radios to the underground there...but he has to put great effort into waking up Schultz to get caught! Alas, a Nazi superior on the scene, Count von Heffernick (Ben Wright), persuades Klink to send him to a different stalag. Hogan's Plan B is to use the visit of the titular character, who's also the Count's fiancee, as a means to smuggle out the radios. He also arranges to help Klink act like a louse and a lousy commander in order to dampen his old flame and stay out of trouble with the Count, in exchange for getting LeBeau out of the transfer. It turns out that the true extent of her past relationship with Klink was a deception on her part as well, to manipulate the Count. Just last week, I think it was, "the cooler" seemed to be an outdoor, hotbox-style arrangement, presumably named for a lack of heat. Here it's an indoor jail. DISSS-missed! _______ I took a peak at Neopeius's thread in the TOS forum, and you could have knocked me over with a feather when I found that it was about immersive 55th anniversary retro! As I recall, he did put a coin in, but I didn't catch if it was specifically a nickel. I wanna say that it was a dime, but I'm really not sure.
They were on a roll, pretty much creating a sub-genre all their own. Brilliant, and the horn arrangement in this kind of song (already non-traditional for rock) kicked it above most of the Doors' contemporaries. This was sort of a whiner song, but its still very listenable in an oldies rotation. Forget "Happy Together". This moody piece is their best work. Unexpected spin on the Dominic Frontiere composition, but it worked so well. The end was near, and a track like this was indicative of their creative downslide. The group's last hurrah was 1965's "Hungry" (in a year arguably recognized as their strongest, with "Just Like Me" and "Kicks" also hitting the charts). Campbell's absolute best, and that's some credit for a man who wrote or bolstered more great standards than one would imagine. Speaking of standards... So evocative of the changing sound of black music at the end of the 60s--leaving the "traditional" Motown-esque sounds behind in favor a grittier, funkier arrangement. One of TOS' best, with the most heartfelt coda in the franchise, from McCoy to Spock, and Spock to Kirk. If anyone ever wondered why they are the face of an entire franchise, its scenes like this (and how it built on all that came before) that more than explain it.