• Welcome! The TrekBBS is the number one place to chat about Star Trek with like-minded fans.
    If you are not already a member then please register an account and join in the discussion!

The Classic/Retro Pop Culture Thread

Read that it aired December, 20, 1970, in lieu of Ed Sullivan. I might have to save this for next year.
Yep, which is the source of the legal squabbles, as I understand it.

See for yourself:
Wow. That's giddiness, all right. I wonder if his cheeks were sore afterward. :rommie:

(a) He is forbidden to interfere with human history.
(b) The Jingle Bell Directive.
(c) The shipwreck didn't happen on Dec. 24-25, and was therefore out of his jurisdiction.
(d) He'd already given them what they really needed.
(e) All of the above.​
All great theories!

You're a bad influence. There's a reason my folks didn't want me hanging out with the bigger kids.
Bwahaha! :D

Was that from Cozi or somewhere else?
Outer Limits is now on This. You're probably overextended as it is, but if you've never seen it, I recommend it. It's on that special shelf of my half dozen or so most favorite shows.

To continue with my previous example, sometimes the mythos is bigger than any one version of the character. Which is the definitive version of Superman? Golden Age comics? George Reeves? Silver/Bronze Age comics? Christopher Reeve? Post-Crisis reboot?
I see your point, and to some extent it's unavoidable, and to some extent you just have to deal with it because what's done is done-- but my view is that once you've drifted a certain amount from the core concept then it's time to go with a new concept. Of course, "certain amount" is subjective.

The other way of looking at that is that once you've accepted that Connery's Bond wasn't Fleming's Bond, there's no reason to expect other onscreen Bonds to be Connery's Bond. I'll backpedal a bit and acknowledge that Connery certainly did "set the standard" for the onscreen portrayal of Bond, in that he was first, his films were very successful, and it was during his tenure that the template for the series was established. But I'm not of the school that his portrayal was so head-and-shoulders above the rest that nothing else lives up to it. Moore's success alone proved that there was room for more than one way of portraying Bond on the silver screen.
This is pretty much how I feel. And acknowledging that he's a Time Lord takes care of all the differences in the actors' portrayals.

Except when he's Scottish...or Australian...or Irish...
Two of those are British. :D

Yep, though the grave moment is undermined by the silly treatment of the unnamed Blofeld...an FU over the rights issue.
I don't think I knew about a rights issue (and how can that be, when it's the same franchise?), but that coy portrayal of Blofeld did seem odd to me.

Merry Christmas / Happy Holidays everyone!
:beer:
And the same to you. :beer:

Regret that I forgot to check for the Lone Ranger Christmas episode this morning. It's got a nice, atmospheric moment that makes the episode, when the Ranger and Tonto ride into what appears to be an abandoned town and hear the ghostly strains of Christmas music. Turns out there's one couple left there, playing a music box.
Oh, I wish I knew about that, too. I would have recorded it.

Something else from 50 Years Ago This Holiday Season:
Now that's what I call a James Bond theme!

And if you're feeling the need for some mind soap, this has now come of season:
There we go. Classic. :mallory:
 
I wonder if his cheeks were sore afterward. :rommie:
:lol: His mother probably told him that if he smiled too much, his face would stay that way.

Outer Limits is now on This. You're probably overextended as it is, but if you've never seen it, I recommend it.
I am overextended, and currently not getting This. So This is chopping them up badly? They were running The Avengers uncut in a 1:15 timeslot.

Two of those are British. :D
Debatable, and the peoples in question might feel otherwise.

I don't think I knew about a rights issue (and how can that be, when it's the same franchise?), but that coy portrayal of Blofeld did seem odd to me.
The story for Thunderball was initially developed ca. 1959 by Ian Fleming and a couple of screenwriters for potential use as an original James Bond film. When that didn't get off the ground at the time, Fleming published the novel in 1960 with himself as sole author. Lawsuits ensued and eventually the rights to Thunderball and characters/concepts developed for it--which included Blofeld and SPECTRE--went to screenwriter Kevin McClory. This is why we got Never Say Never Again, a film outside the main series that was a remake of Thunderball, and included Blofeld and SPECTRE years after the main series had stopped using them. Years before that in the main series, they'd intended to bring back Blofeld and SPECTRE for The Spy Who Loved Me, but found that they couldn't.

Casino Royale was also under different rights than the rest of the Fleming stories for decades, owing to it having been adapted for television in the '50s. This is why we got the 1967 spoof film, again not part of the main film series.

Because of the rights issue, the James Bond 007 RPG of the '80s (which was an excellent RPG with a groundbreaking rules system) had to resort to creating substitutes for Blofeld and SPECTRE: Karl Ferenc Skorpios and TAROT (Technological Accession, Revenge, and Organized Terrorism).

Now that's what I call a James Bond theme!
Heard as source music in the village below Piz Gloria in the film, the damn thing has grown on me...plus, it reminds me of Diana Rigg on ice skates.
 
Last edited:
I am overextended, and currently not getting This. So This is chopping them up badly? They were running The Avengers uncut in a 1:15 timeslot.
Oh, yeah, I forgot you don't have This. They're running it in a regular one-hour slot. I only recorded "Fun & Games" and "Zanti Misfits," since I have the complete series on DVD anyway, but "Fun & Games" was pretty badly chopped. I've yet to watch "Zanti Misfits."

Debatable, and the peoples in question might feel otherwise.
I know, my family is one of those. :rommie:

The story for Thunderball was initially developed ca. 1959 by Ian Fleming and a couple of screenwriters for potential use as an original James Bond film. When that didn't get off the ground at the time, Fleming published the novel in 1960 with himself as sole author. Lawsuits ensued and eventually the rights to Thunderball and characters/concepts developed for it--which included Blofeld and SPECTRE--went to screenwriter Kevin McClory. This is why we got Never Say Never Again, a film outside the main series that was a remake of Thunderball, and included Blofeld and SPECTRE years after the main series had stopped using them. Years before that in the main series, they'd intended to bring back Blofeld and SPECTRE for The Spy Who Loved Me, but found that they couldn't.
Interesting. I knew about the case that led to Never Say Never Again, but I thought it was one of those shared rights situations, so that both parties could use them.
 
55th Anniversary Album Spotlight

12 X 5
The Rolling Stones
Released October 17, 1964
Chart debut: November 14, 1964
Chart peak: #3, December 12, 1964
Wiki said:
12 × 5 is the second American studio album by the English rock band the Rolling Stones, released in 1964 following the success of their American debut The Rolling Stones (England's Newest Hit Makers), which was released concurrently with their UK debut The Rolling Stones. 12 × 5 is an expanded version of the EP Five by Five, which had followed their debut album in the UK.

The five songs on the British EP were fleshed out with seven additional tracks to bring the work to LP length. Among the additional tracks were the UK single-only release "It's All Over Now", a cover of a Bobby Womack song that was the group's first UK #1 hit, an alternate take of "Time Is on My Side", which appears in a more familiar form on other albums, and three Jagger/Richards originals.

The album opens with three tracks from the EP, starting with an enjoyable cover of "Around and Around":
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Chuck Berry's 1958 original was the B-side of "Johnny B. Goode".

Following that the Stones get all bluesy with..."Confessin' the Blues," written by Jay McShann and Walter Brown and originally recorded by McShann's band, apparently in the 1940s.

Then we're treated to an upbeat Stones original, "Empty Heart," written under the group pseudonym Nanker Phelge.

Up next is "Time Is on My Side" (charted Oct. 17, 1964; #6 US)...
Wiki said:
a song written by Jerry Ragovoy (using the pseudonym "Norman Meade"). First recorded by jazz trombonist Kai Winding and his Orchestra in 1963, it was covered (with additional lyrics by Jimmy Norman) by both soul singer Irma Thomas and the Rolling Stones in 1964.
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
The Rolling Stones recorded two versions of the song in 1964. The first version (a looser arrangement featuring a briefer, organ-only intro), recorded in London in June 1964, was released as a single in the US, on September 25, 1964, and was included the following month on their US album 12 X 5. The second version (more tightly arranged and featuring guitar in the intro), recorded in Chicago on November 8, 1964, was released in the UK on January 15, 1965, on The Rolling Stones No. 2. The later recording is the version that receives airplay and appears on most "best of" compilations. Both versions incorporate elements of Irma Thomas's recording, including spoken-word interjections in the chorus, a monologue in the middle of the song, and distinctive lead guitar.


"Good Times, Bad Times" is a Mick Jagger / Keith Richards original, and credited as such. To my ear it doesn't sound all that different from the country blues that they're doing on their 1968-69 albums.

Side one closes with another familiar single, "It's All Over Now" (charted July 25, 1964; #26 US; #1 UK), a cover of a song written by Bobby and Shirley Womack and first recorded by Bobby's group The Valentinos in 1964:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

Side two opens with another track from the EP. Squiggy might not approve of Nanker Phelge original "2120 South Michigan Avenue," but it has a groovy mid-'60s vibe to it:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Wiki said:
The title refers to the address of the offices and recording studios of Chess Records and Checker Records in Chicago where the five songs for the EP were recorded in June 1964.


Following that is an interesting bit of business--a cover of the recent Drifters hit "Under the Boardwalk" (written by Arthur Resnick and Kenny Young):
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

Next are a couple more Jagger/Richards originals: the slower but memorable "Congratulations" (the B-side of "Time Is on My Side") and the more upbeat but lightweight "Grown Up Wrong".

The final song from the EP is "If You Need Me"...
Wiki said:
a 1963 song co-written and originally recorded by Wilson Pickett. It was made into a bigger hit by Solomon Burke, who sent the song to #2 on the R&B charts that year.
This one sounds firmly in the early Stones' wheelhouse.

The album closes with an unusually uptempo rendition of the 1957 Dale Hawkins classic "Susie Q" (written by Eleanor Broadwater, Stan Lewis, and Dale Hawkins).

Overall, an enjoyable collection of songs that displays a little more of the early Stones' versatility and potential than England's Newest Hitmakers did.


Next up: 50th Anniversary Album Spotlight--Volunteers, Jefferson Airplane
 
Last edited:
12 × 5 is the second American studio album by the English rock band the Rolling Stones, released in 1964 following the success of their American debut The Rolling Stones (England's Newest Hit Makers), which was released concurrently with their UK debut The Rolling Stones. 12 × 5 is an expanded version of the EP Five by Five, which had followed their debut album in the UK.
Pretty sure I still have my original vinyl copy of this album, though I haven't listened to it in MANY years.
The album opens with three tracks from the EP, starting with an enjoyable cover of "Around and Around":
Stones keeping up the recent (back then), English tradition of great covers of American R&B and blues songs. This song was perfect for them.
Up next is "Time Is on My Side" (charted Oct. 17, 1964; #6 US)...
The Stones made this one their own. I don't think anyone knows or cares anymore that it was a cover.
Side one closes with another familiar single, "It's All Over Now" (charted July 25, 1964; #26 US; #1 UK), a cover of a song written by Bobby and Shirley Womack and first recorded by Bobby's group The Valentinos in 1964:
Even though I have always liked the Valentino's version better, the Stones did a great job with the song. They were able to convey the song's sly humor as naturally as the original.
Side two opens with another track from the EP. Squiggy might not approve of Nanker Phelge original "2120 South Michigan Avenue," but it has a groovy mid-'60s vibe to it:
In the movie, Cadillac Records, which tells the sordid story of Chess Records, there is a scene where the Stones, who thought of guys like Muddy Waters and Howling Wolf as gods, excitedly arrive at Chess to meet their idols. Muddy and Wolfe barely knew who they were.
Following that is an interesting bit of business--a cover of the recent Drifters hit "Under the Boardwalk" (written by Arthur Resnick and Kenny Young):
Mick had one of the great rock voices of the era, though not what I would call versatile, should not have tried Boardwalk. The song has the kind of melodic diversity to which Mick's voice just could not do justice.
The album closes with an unusually uptempo rendition of the 1957 Dale Hawkins classic "Susie Q" (
Another great cover of an old R&B classic.

The early Stones and early Beatles albums really pointed out the different influences that went into shaping these two bands. The Beatles were mostly 50's rock and rocakabilly, country, and soul, while the Stones foundation was mostly blues and R&B. Both bands used those influences to their best advantages.
 
Stones keeping up the recent (back then), English tradition of great covers of American R&B and blues songs.
I've never considered Chuck to be R&B/blues. That may be the scene he was coming from, but by the mid-to-late '50s he was pure rock 'n' roll--practically invented it.

The Stones made this one their own. I don't think anyone knows or cares anymore that it was a cover.
I just heard the Irma Thomas version for the first time on Watchmen myself.

Even though I have always liked the Valentino's version better, the Stones did a great job with the song. They were able to convey the song's sly humor as naturally as the original.
Now that version I'll have to look up. The Stones' version sounded as good as an original to my ear.

Another great cover of an old R&B classic.
Now this song Wiki had classified as "rockabilly," but I thought that was an odd choice.
 
Up next is "Time Is on My Side" (charted Oct. 17, 1964; #6 US)...
I would have guessed this was a Stones original.

Side two opens with another track from the EP. Squiggy might not approve of Nanker Phelge original "2120 South Michigan Avenue," but it has a groovy mid-'60s vibe to it:
That's a long intro... hey, wait, it's over. It does have that groovy vibe, though.

Following that is an interesting bit of business--a cover of the recent Drifters hit "Under the Boardwalk" (written by Arthur Resnick and Kenny Young):
This and "Susie Q" were kind of odd choices for the Stones, I think.

Overall, an enjoyable collection of songs that displays a little more of the early Stones' versatility and potential than England's Newest Hitmakers did.
Wellll.... there are better days ahead for the boys. :D
 
55 Years Ago This Week

Wiki said:
December 27 – The Cleveland Browns defeat the Baltimore Colts, 27-0, in the National Football League Championship Game.
December 30 – United Nations Conference on Trade and Development (UNCTAD) established as a permanent organ of the UN General Assembly.

January 1 – Canadian ship SS Catala is driven onto the beach in Ocean Shores, Washington, stranding her.



Selections from Billboard's Hot 100 for the week:
1. "I Feel Fine," The Beatles
2. "Come See About Me," The Supremes

4. "She's a Woman," The Beatles
5. "Love Potion Number Nine," The Searchers
6. "Goin' Out of My Head," Little Anthony & The Imperials
7. "She's Not There," The Zombies
8. "Amen," The Impressions
9. "The Jerk," The Larks

12. "Downtown," Petula Clark
13. "Sha La La," Manfred Mann
14. "You've Lost That Lovin' Feelin'," The Righteous Brothers
15. "Keep Searchin' (We'll Follow the Sun)," Del Shannon

17. "Any Way You Want It," The Dave Clark Five
18. "Willow Weep for Me," Chad & Jeremy
19. "How Sweet It Is (To Be Loved by You)," Marvin Gaye
20. "Time Is on My Side," The Rolling Stones
21. "I'm into Something Good," Herman's Hermits
22. "Dance, Dance, Dance," The Beach Boys
23. "Leader of the Laundromat," The Detergents
24. "Oh No Not My Baby," Maxine Brown

26. "As Tears Go By," Marianne Faithfull

28. "Too Many Fish in the Sea," The Marvelettes
29. "Mountain of Love," Johnny Rivers
30. "Saturday Night at the Movies," The Drifters

32. "I'm Gonna Be Strong," Gene Pitney

36. "Walking in the Rain," The Ronettes

40. "Hold What You've Got," Joe Tex
41. "I'll Be There," Gerry & The Pacemakers

44. "You Really Got Me," The Kinks
45. "Promised Land," Chuck Berry

48. "Boom Boom," The Animals

50. "The Name Game," Shirley Ellis

54. "All Day and All of the Night," The Kinks

57. "Give Him a Great Big Kiss," The Shangri-Las

62. "Let's Lock the Door (and Throw Away the Key)," Jay & The Americans

71. "Look of Love," Lesley Gore

96. "Laugh, Laugh," The Beau Brummels

100. "Twine Time," Alvin Cash & The Crawlers


Leaving the chart:
  • "Ask Me," Elvis Presley (12 weeks)
  • "Baby Love," The Supremes (13 weeks)
  • "Leader of the Pack," The Shangri-Las (12 weeks)

New on the chart:

"Laugh, Laugh," The Beau Brummels
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(#15 US)

"Twine Time," Alvin Cash & The Crawlers
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(#14 US; #3 R&B)


And new on the boob tube:
  • 12 O'Clock High, "Those Who Are About to Die"
  • Gilligan's Island, "Water, Water Everywhere"

_______

This and "Susie Q" were kind of odd choices for the Stones, I think.
Oddly, "Boardwalk" was one of the more popular downloads from the album (hence the embedded video). I thought it was kind of awkward myself.

Wellll.... there are better days ahead for the boys. :D
They have yet to give us...no, I can't, it's just too obvious.
 
Last edited:
_______

55th Anniversary Viewing

_______

12 O'Clock High
"An Act of War"
Originally aired December 25, 1964
IMDb said:
Under heavy pressure to find a well concealed target in France, Savage flies a stripped down B-17 (no bombs, guns, or crew) on a desperate photo-reconnaissance mission. After he is shot down, he is discovered by a Frenchman who tries to kill him, but Savage turns the table, purely in self-defense, and dispatches his attacker. Unaware that his action was witnessed by the man's son, he later meets the boy and pleads for help in getting his vital information back to England. Instead, the boy turns him over to a group of French civilians who despise the Americans for bombing their homeland, and now they want to make Savage pay for those perceived atrocities as well as the death of the boy's father.

The target in question is one that Major Cobb has insisted his group has hit multiple times, but intelligence indicates that German warplane production has continued unhindered. Despite Cobb pointing out that photo recon is somebody else's job, Savage goes all Season 3 Gallagher and embarks on the one-plane mission, with Lt. Canello from Photo Interpretation (Norman Fell) as his eyes in the co-pilot's seat. Canello spots the real factory, but the plane is badly hit, the lieutenant bails, and Savage crash-lands in rural France. He's found by a local who proves not to be the friendly resistance type when he takes a swing at Savage with his axe, hitting a fuel line instead. During the brawl that ensues atop the plane wreckage, a piece of the fuselage that the man is standing on breaks off and the sparks cause the wreckage to burst into flame, killing the man.

Recovering in a barn, Savage tries to befriend the lad whom he doesn't know was the man's son, Paul Cadot (Michael Davis). Paul understands English but is mute, and acts frightened of the general. Nevertheless, Savage assumes that he's found an ally when the boy sends away a German patrol. We're clued in that Paul is still holding a grudge when he surreptitiously crushes a perfectly good chocolate bar that Savage gave him underfoot.

Paul takes Savage to the wine cellar of his grandfather, who was killed by Allied bombing. The general awakes from a sleep to find several hostile locals standing over him...one has a knife to his throat, another brought a good-sized coil of rope. He's informed of the boy having been the son of the man who died fighting Savage; that Paul's mother was also killed by bombing; and that he's been found guilty. The men make it clear that they're not Nazi sympathizers, but rather that they don't "distinguish between murderers". Nevertheless, one of them has enough doubts about Savage's guilt in Cadot's death to call for the group to wait for the judgment of a man called Belloc.

Belloc (Emile Genest) arrives and gets the truth out the boy that Savage made an effort to save his father when the man died...but having established Savage's innocence in that matter, he judges that they're gonna string 'im up anyhow. As the mob is preparing to do so, Paul tosses a lantern, causing a fire during which Savage and the boy fight their way out. Savage ties the cellar door handles together behind him. I want to think that he intended for the door not to hold long, but that's the last we see of the fate of the angry locals. Paul takes Savage to the local Maquis, who are as friendly as the others were hostile. They even have a plane waiting for the general.

In the Epilog, Savage is taking off on a mission to destroy the factory before the planes ship out. Crowe gives him an order not to embark on any more do-it-yourself recon missions.

This one was a bit of a drag...the whole situation seemed a little too contrived.

_______

Gilligan's Island
"Three Million Dollars More or Less"
Originally aired December 26, 1964
Wiki said:
Gilligan wins $3 million from Mr. Howell in a putting contest, but Mr. Howell schemes to get it back.

Mr. Howell has makeshift bamboo golf clubs and a makeshift bamboo-sided pool table. What, he didn't bring the real things with him?

Gilligan wins the money with his casual putting skill, which causes Howell to place an escalating series of wagers. His continuing attempt to regain his losses in interrupted by the Skipper. What ensues is a typically absurd situation for the show, in which everyone treats Gilligan differently, as if he had the $3 million in hand, when nothing has actually changed.

Howell pays Gilligan with what seems to be a worthless oil drilling property, but the castaways promptly hear a radio report that oil has just been struck there. Mr. Howell wins the property back by wagering on pool, following which a radio update informs the castaways that the property was worthless after all.

Continuity point: Gilligan notices Ginger's S.S. Minnow dress and she says that she made it out of his duffel bag. This must be its first appearance in production order.

_______
 
Last edited:
I've never considered Chuck to be R&B/blues. That may be the scene he was coming from, but by the mid-to-late '50s he was pure rock 'n' roll--practically invented it.
I would argue with anyone that Chuck was strictly r&b, but I would also argue with anyone that he was strictly r&r. To my ears, Round and Round was one of Chuck's more r&b oriented songs, which I think is what drew the Stones to it. The song has a definite strong blues shading with the guitar fills punctuating the verses. The chorus, which has a steady uptempo beat, can be played as rock or r&b, depending on one's preference.

BTW, Chuck played and recorded a lot of blues. Search Chuck Berry blues on Youtube.
Now that version I'll have to look up. The Stones' version sounded as good as an original to my ear.
Here's the Valentino's original. They were essentially, The Womack brothers' gospel group dragged into "sin" by Sam Cooke. :lol:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Always wanted the Stones to cover Lookin' For a Love as well. Mick and the guys would have killed this one.
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Now this song Wiki had classified as "rockabilly," but I thought that was an odd choice.
Yeah, that's kinda weird. Neither Solomon Burke nor Wilson Pickett are known for recording rockabilly songs. I don't know Dale Hawkins, but maybe he is a rockabilly artist and maybe whoever wrote the article was mainly, or only, familiar with his version. The version of Suzy Q I'm most familiar with, the one by Creedence, is more r&b/country tinged.
 
BTW, Chuck played and recorded a lot of blues. Search Chuck Berry blues on Youtube.
Don't doubt it. My tendency with my own collection is to assign genre per artist rather than per song, and my broad-stroke genre assignment for Chuck Berry based on his charting singles output is Rock & Roll.

Yeah, that's kinda weird. Neither Solomon Burke nor Wilson Pickett are known for recording rockabilly songs. I don't know Dale Hawkins, but maybe he is a rockabilly artist and maybe whoever wrote the article was mainly, or only, familiar with his version. The version of Suzy Q I'm most familiar with, the one by Creedence, is more r&b/country tinged.
Hawkins was the primary writer and original artist:

To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(charted June 10, 1957; #27 US; #7 R&B)

Wiki said:
Delmar Allen "Dale" Hawkins (August 22, 1936 – February 13, 2010) was a pioneer American rock singer, songwriter, and rhythm guitarist who was often called the architect of swamp rock boogie.
 
Canello spots the real factory, but the plane is badly hit, the lieutenant bails
Norman... fell. :(

I want to think that he intended for the door not to hold long, but that's the last we see of the fate of the angry locals.
A missing scene perhaps?

This one was a bit of a drag...the whole situation seemed a little too contrived.
I can't speak for the episode itself, but that was certainly a worthwhile topic to tackle. Those people were just caught in the middle of a war and it was their ostensible allies who were killing them. Very grim reality for a TV show.

Mr. Howell has makeshift bamboo golf clubs and a makeshift bamboo-sided pool table. What, he didn't bring the real things with him?
He needed room for all his drugs and money.

What ensues is a typically absurd situation for the show, in which everyone treats Gilligan differently, as if he had the $3 million in hand, when nothing has actually changed.
It's all an extreme psychological experiment. Lord of the Funds. :rommie:

Continuity point: Gilligan notices Ginger's S.S. Minnow dress and she says that she made it out of his duffel bag. This must be its first appearance in production order.
He should have demanded it back immediately.
 
50 Years Ago This Week

Wiki said:
December 28 – The Young Lords take over the First Spanish Methodist Church in East Harlem.
December 30 – The Linwood bank robbery leaves two police officers dead.
Mark Lewisohn's The Beatles Day by Day said:
December 30 – ITV transmits a 60-minute television programme Man of the Decade. It is split into three 20-minute segments, looking at John F. Kennedy, Mao Tse-Tung and John Lennon. John's section includes a new interview, pre-filmed at Tittenhurst Park.
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Also, according to The Beatles Bible, one of the personalities focused on was Ho Chi Min, not Mao Tse-Tung.
Wiki said:
January 1 – Unix time epoch reached at 00:00:00 UTC.



Selections from Billboard's Hot 100 for the week:
1. "Raindrops Keep Fallin' on My Head," B.J. Thomas
2. "Leaving on a Jet Plane," Peter, Paul & Mary
3. "Someday We'll Be Together," Diana Ross & The Supremes
4. "Down on the Corner" / "Fortunate Son", Creedence Clearwater Revival
5. "Na Na Hey Hey Kiss Him Goodbye," Steam
6. "Whole Lotta Love," Led Zeppelin
7. "I Want You Back," The Jackson 5
8. "Venus," Shocking Blue
9. "Holly Holy," Neil Diamond
10. "La La La (If I Had You)," Bobby Sherman
11. "Midnight Cowboy," Ferrante & Teicher
12. "Come Together" / "Something", The Beatles
13. "Jam Up and Jelly Tight," Tommy Roe
14. "Eli's Coming," Three Dog Night
15. "Don't Cry Daddy" / "Rubberneckin'", Elvis Presley
16. "Take a Letter Maria," R.B. Greaves
17. "Jingle Jangle," The Archies
18. "Early in the Morning," Vanity Fare
19. "Backfield in Motion," Mel & Tim
20. "And When I Die," Blood, Sweat & Tears
21. "These Eyes," Jr. Walker & The All Stars
22. "Evil Woman, Don't Play Your Games with Me," Crow
23. "Yester-Me, Yester-You, Yesterday," Stevie Wonder
24. "Friendship Train," Gladys Knight & The Pips
25. "Up on Cripple Creek," The Band
26. "Smile a Little Smile for Me," The Flying Machine
27. "A Brand New Me," Dusty Springfield
28. "She," Tommy James & the Shondells
29. "Without Love (There Is Nothing)," Tom Jones
30. "Baby, I'm for Real," The Originals
31. "Ain't It Funky Now (Part 1)," James Brown
32. "Wedding Bell Blues," The 5th Dimension
33. "Cold Turkey," Plastic Ono Band
34. "Cherry Hill Park," Billy Joe Royal
35. "Winter World of Love," Engelbert Humperdinck
36. "Heaven Knows," The Grass Roots
37. "Wonderful World, Beautiful People," Jimmy Cliff

40. "I'll Never Fall in Love Again," Dionne Warwick

43. "Arizona," Mark Lindsay

45. "Walkin' in the Rain," Jay & The Americans
46. "She Came in Through the Bathroom Window," Joe Cocker

51. "Baby Take Me in Your Arms," Jefferson

53. "No Time," The Guess Who
54. "Walk a Mile in My Shoes," Joe South & The Believers

57. "Hey There Lonely Girl," Eddie Holman

59. "Thank You (Falettinme Be Mice Elf Agin)," Sly & The Family Stone

61. "One Tin Soldier," The Original Caste

63. "Kozmic Blues," Janis Joplin

72. "Look-Ka Py Py," The Meters

76. "Oh Me Oh My (I'm a Fool for You Baby)," Lulu
77. "Blowing Away," The 5th Dimension
78. "Volunteers," Jefferson Airplane

83. "Come Saturday Morning," The Sandpipers

88. "He Ain't Heavy, He's My Brother," The Hollies

92. "The Thrill Is Gone," B.B. King


Leaving the chart:
  • "Eleanor Rigby," Aretha Franklin (8 weeks)
  • "Going in Circles," The Friends of Distinction (20 weeks)
  • "Groovy Grubworm," Harlow Wilcox & The Oakies (12 weeks)
  • "Mind, Body and Soul," The Flaming Ember (14 weeks)

New on the chart:

"Blowing Away," The 5th Dimension
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(#21 US; #7 AC)

"Walk a Mile in My Shoes," Joe South & The Believers
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(#12 US; #3 AC; #56 Country)

"Thank You (Falettinme Be Mice Elf Agin)," Sly & The Family Stone
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
(#1 US the weeks of Feb. 14 and 21, 1970; #1 R&B; #402 on Rolling Stone's 500 Greatest Songs of All Time)


And new on the boob tube:
  • The Ed Sullivan Show, Season 22, episode 14, featuring Roberta Peters and Robert Merrill
  • Mission: Impossible, "The Amnesiac"
  • Rowan & Martin's Laugh-In, Season 3, episode 15
  • That Girl, "Ten Percent of Nothing Is Nothing"
  • Get Smart, "Moonlighting Becomes You"
  • The Brady Bunch, "Father of the Year"
  • Hogan's Heroes, "How's the Weather?"
  • Adam-12, "Log 43: Hostage"

_______

"Laugh, Laugh," The Beau Brummels

(#15 US)
A very timely entry, this is the sound of 1965 coming in, as characterized by American groups embracing and moving forward the British sound.

Though the Brummels seem to have been cribbing from an earlier band...
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

"Twine Time," Alvin Cash & The Crawlers

(#14 US; #3 R&B)
This one's a little more of an odd duck to me.

I can't speak for the episode itself, but that was certainly a worthwhile topic to tackle. Those people were just caught in the middle of a war and it was their ostensible allies who were killing them. Very grim reality for a TV show.
The way the episode presented it seemed very unnuanced, though...especially by the end, when the Maquis might as well have ridden in on white horses. A better situation might have been to have him spend some time down on the ground with the resistance and learn firsthand that there's some resentment over bombing casualties, without shoehorning Savage into this situation that was so stacked against him.

The whole episode was about as unsubtle as, I dunno, quoting your own post....

He should have demanded it back immediately.
Right...the poor guy practically faints in her presence when she's wearing it.
 
Last edited:
Looks like I messed up my quoting yesterday morning. :alienblush:

"Laugh, Laugh," The Beau Brummels
This is a good one. Very catchy.

"Twine Time," Alvin Cash & The Crawlers
This has a couple of words in it.

They have yet to give us...no, I can't, it's just too obvious.
I'm just... not satisfied with that response.

"Blowing Away," The 5th Dimension
Not one of their greatest, but it's still got that special 5D sound.

"Walk a Mile in My Shoes," Joe South & The Believers
This is a great song. I first heard the Elvis cover, but this is just as good.

"Thank You (Falettinme Be Mice Elf Agin)," Sly & The Family Stone
Good song, but... sounds like the 70s. Later 70s, I mean, like 1973 or so.

Though the Brummels seem to have been cribbing from an earlier band...
Heh. I forgot about that. "Beau Brummelstones" is kind of weak, though-- they should have called them the "Beau Bromellites." :rommie:

The way the episode presented it seemed very unnuanced, though...especially by the end, when the Maquis might as well have ridden in on white horses. A better situation might have been to have him spend some time down on the ground with the resistance and learn firsthand that there's some resentment over bombing casualties, without shoehorning Savage into this situation that was so stacked against him.
I don't like that they were essentially made the bad guys without some sort of understanding or acknowledgment being made.

The whole episode was about as unsubtle as, I dunno, quoting your own post....
I could have sworn I responded. I did in my head, anyway. :rommie:

Right...the poor guy practically faints in her presence when she's wearing it.
True. :rommie:
 
_______

50th Anniversary Viewing

_______

Mission: Impossible
"Time Bomb"
Originally aired December 21, 1969
Wiki said:
The IMF team must stop a terminally ill renegade Allied agent from detonating an atomic bomb in an enemy capital.

Here we see a potential IMF courier for a change: There's a man feeding the pigeons when Jim approaches his picnic table. The man vacates the bench, leaving a bag behind.
The miniature reel-to-reel tape in a brown paper bag said:
Good morning, Mr. Phelps. Twelve years ago this man, Antoine Malek [Morgan Sterne], was planted in the Federated People's Republic to infiltrate their atomic research program. Now suffering from an incurable disease, Malek is acting independently against his country's orders. At 4:00 the day after tomorrow, Malek is going to turn a nuclear reactor into an atomic bomb, which will wipe out the capital and bring on an atomic war. Any attempt to expose Malek will only result in his setting off the blast ahead of schedule. Your mission, Jim, should you decide to accept it, is to stop Malek. As always, should you or any of your IM Force be caught or killed, the Secretary will disavow any knowledge of your actions. This tape will self-destruct in five seconds. Good luck, Jim!
Figured I could just start letting the tape explain the basics. And yet another two-day ticking clock! This time Jim actually bothers to pick the usual suspects out of a pile like it's Season 1 all over again. This week's unusual suspect, Wai Lee:
MI25.jpg
And apparently the IMF has more than one of these:
MI26.jpg

The FPR has a culture directive that involves displaying works of art in government facilities, so this place...
MI28.jpg
(They're not even trying anymore, are they?)
...gets a visit from Scruffy Stained Glass Artist Jim...
MI27.jpg
...who smuggles Barney in via the trolley he uses to lug around his giant pane. Barney gets to work causing a wall in the reactor area to crack, giving Colonel Paris an excuse to call in the Repertory Corps of Engineers. Some more IMF trickery makes it look like a jet's sonic boom has shattered part of Jim's masterpiece (even though the actual plane flying overhead is a subsonic passenger jet), so the premier's faith healer, Mistress Miasmin, has to be brought in to model for it again. The public hasn't seen her, so that's Wai Lee's role. Col. Paris accompanies her with orders from the Fake Phone Premier to inspect the entire complex, in which capacity he replaces Malek's drug in the medical section.

Wai Lee approaches Malek and claims that she can heal him, even as the fake drug makes it seem like his condition is worsening sooner than expected, and Fake Miasmin is able to take credit for his subsequent remarkable improvement. Visitors are ordered to leave the facility because of the structural issue, so Miasmin brings Malek with her to continue treating him. Engineer Barney then recommends complete evacuation of the facility so that he'll have the reactor room with the device in it all to himself.

Malek comes to in a repertory resersch facility, which appears to have started to collapse, complete with Miasmin non-seriously trapped under some rubble. Malek goes to deactivate the fake facility's fake nuclear device in the fake reactor room, and Jim, watching Malek's moves on a monitor, directs Barney in deactivating the real device. By the end of the deactivation sequence, Jim thinks that Malek has realized that he's working on a fake, and that his last move in deactivating the device is fake as well; thus Jim makes an educated guess as to the actual move, and Barney successfully disarms the device at literally the last second. The IMF then treat Malek to one of their literal fourth wall-breaking moments, while Barney and Paris leave the real facility.

_______

The Mod Squad
"Never Give the Fuzz an Even Break"
Originally aired December 23, 1969
Wiki said:
The Squad tries to gain the confidence of the top con man in the business and catch him by becoming involved in a caper.

The episode opens in medias res with the Mods playing a con game on Admiral Nat Johnson (Maurice Evans) involving Julie as an escort and Pete as her gun-toting husband, which is meant to be seen through so that the seasoned old con artist will take these neophytes under his wing. Johnson is Greer's personal Moby Dick, and he can't use regular bunco cops because Johnson knows them all.

Johnson uses the Mods in supporting roles in a scheme that involves persuading rich old ladies at a country club to loan him investment money for buying defense contract stocks using his inside knowledge. To sell his credentials, he throws a party to which he invites contractor Howard Stone (Frank Wilcox), with the ladies also attending. Once he has their money, Johnson breaks the news to his pigeons that the contract inexplicably went to another bidder.

The Mods become really taken with their mentor in crime, which isn't lost on Greer...

Greer: When the Admiral gets through with you guys, you'll be thoroughly corrupt.
Pete: Then you can un-corrupt us...again.​

Greer threatens to take them off the assignment, but Julie describes it as the only case they've ever really enjoyed. When the subject of Greer subsequently comes up with Johnson, the Mods are entertained to hear in turn what the Admiral thinks of his old nemesis.

Johnson's next scam involves getting people to buy acreage on the ocean floor off the coast of Mexico, where he fakes having found valuable minerals. Johnson's associate Jake Barry (David Ketchum) shills for him, pretending to be an eager investor. Along the way there's some trouble with a couple of thugs that the Mods have a run-in with at a cantina, which ensues in a later fight scene with Pete and Linc in wetsuits.

The Admiral and Barry later see the Mods meeting Greer at a bar. The Admiral subsequently appears to hand the Mods the evidence Greer needs against them, but it turns out that the mark they thought they were going to get to testify against Johnson, Dr. Steelman (Judson Pratt), was a plant--the Admiral was onto them the entire time. Johnson leaves a letter for Greer in which he compliments the kids.

Then we get another one of those codas that kind of busts the vibe of the episode by establishing major developments as having happened off camera. Greer reveals that the investors in the last scam have cleaned up because there was oil under the acreage that Johnson sold them; and that Johnson was picked up by the Treasury Department on an old rap and is now serving a sentence! Kind of deflates the whole premise of the episode if Greer's Moby Dick is effortlessly taken down by some no-name NPCs during the commercial break. The Mods walk to the next hole on a golf green.

This was a pleasant, lighthearted episode that was carried by Evans playing a colorful character, but there wasn't really any meat in the story.

_______

TGs4e14.jpg
"I Am a Curious Lemon"
Originally aired December 25, 1969
Wiki said:
Ann tries to impress Donald's ex-girlfriend who is now married to his old friend. Also, Ann is babysitting her cousin's 8-year-old daughter.

Donald's old college buddy is Chippy Dolan (future M*A*S*H chaplain William Christopher). Ann is upset to learn that Donald was seeing his wife, Heather (Susan Quick), for two years before he met Ann.

Ann's young charge, Caroline (Cindy Eilbacher, actually 11 at the time), brings a potted lemon tree to Ann's apartment with her, which has to be watered in the shower, so Ann has to use Ruthie's. Further care of the tree causes difficulty in the kitchen when Ann's trying to prepare an impressive meal for the Dolans. Then Ann throws out her back while trying to move the plant and finds herself serving the Dolans in hunchback posture. She also blows a fuse in the kitchen and can't see what she's doing, causing some courses to get mixed up. Ann and Donald share a climactic laugh when they learn that Chippy's real name, which Donald never knew, is Mervin.

This one seemed a bit conceptually busy, and the writing a little too clever--everybody talked like they were scripted by professional comedy writers. And the continuity of Donald's past relationship with Heather was questionable--he says that he was seeing her four years ago and while he was in college. I was never under the impression that Donald was fresh out of college when he met Ann; and four years before the episode, Ted Bessell would have been 30.

"Oh, Donald" count: 4
"Oh, Caroline" count: 1

_______

Ironside
"Stolen on Demand"
Originally aired December 25, 1969
Wiki said:
Mark tries to get a teenage basketball player away from a gang of thieves.

And Danny Goodson ain't just any ol' teenage basketball player...he's future TV heartthrob David Cassidy! David is the top-billed guest, but his name doesn't appear in the front-of-episode credits the way top-billed guests usually do on this show.

Mark is coaching the community center basketball team that Danny plays on. After Danny participates in a burglary with a couple of older crooks, during which a night watchman is knocked unconscious, a play sheet is turned up at the crime scene with Mark's fingerprint on it. Mark keeps what he knows close to the vest but checks the post-practice whereabouts of the entire team, narrowing things down to Danny. Once the watchman revives and says "teenagers" were involved (the actors playing Danny's associates were 26 and 34), the rest of Team Ironside quickly deduces Mark's relationship to the suspect that he's looking into.

TI assembles and questions the basketball team without Mark present, which includes determining who still has their play sheets. They question Danny's parents--a henpecked, shopkeeping father who wants to help, but has to stand up to his demanding, hypochondriac wife. They also visit Danny's girlfriend, Jamie (Pamela McMyler, who's also a bit older than 19-year-old Cassidy at 26), who's committed to a mental institution. Danny has been buying gifts for her, including a big, stuffed Snoopy. She isn't able to provide them with useful info, but they find that one of Danny's gifts to her is an expensive watch.

Meanwhile, Danny has tried turning in his resignation to the brains behind the burglaries, fence Arnold Cane (Alan Oppenheimer), but he's strong-armed by the others into participating in one more job. Mark tries to follow them, but is stopped by police for running a light. During the job, a camera store proprietor is shot by a misfire of his own gun when the thugs shove him from behind.

Danny wants to run off somewhere, but goes to see Jamie first (who also has a Charlie Brown sweatshirt); she insists on going with him, but her erratic behavior costs them a ride and gets them stranded on a back road. Combing the area, TI spots them in the Ironsidemobile's windshield projection footage, and before you know it, Danny is suddenly surrounded by armed troopers. Mark talks Danny, who's armed with a vague weapon of opportunity--a bent piece of iron from what I've tentatively identified as a horse-drawn reaper--into surrendering.

_______

The Brady Bunch
"Is There a Doctor in the House?"
Originally aired December 26, 1969
Wiki said:
All six children have the measles. Carol calls the girls' usual doctor, a woman (Marion Ross), while Mike has called the boys' doctor, a man (Herbert Anderson). The girls prefer their usual doctor, and the boys prefer theirs. They come to the conclusion that they can use both doctors, and it turns out that both doctors have decided to combine their practices.
Ah, Marion Ross...the only one who was allowed to call Fonzie "Arthur".

Peter's the first to be sent home from school...
Alice said:
As the warden at the state prison once said, I'd sure hate to see 'em all break out at once.
...followed promptly by Jan--even disease keeps the children parallel! Once both doctors are in the house with their little black bags, the other four kids pop home with the disease.

The older four get in some family bonding type over a game of Monopoly...but an argument ensues over women doctors and men nurses, and the boys are kicked out of the girls' room.
Greg said:
Just for that, Marcia, no free rides on my railroad!

Each of the kids has a different bell or noisemaker as a signal for "room service". Maintaining the seasonal spirit, Carol breaks into a mock version of "Twelve Days of Christmas" listing the items being taken upstairs. Carol also makes a blackboard chart to check off which diseases each of the kids has already had.

When the doctors return to the Brady residence together and announce that they're combining practices, Dr. Cameron (Anderson) notices that Mike has a spot on his cheek. In the coda, Mike has just recovered from his bout when Alice breaks out.

As part of his argument against using Dr. Porter (Ross), Greg indicates that Mike has told all three boys about the birds and the bees. Bobby still seems a bit young for that.

_______

Hogan's Heroes
"At Last—Schultz Knows Something"
Originally aired December 26, 1969
Wiki said:
Finding the German’s new atomic research facility is proving to be a challenge, even with Klink as its new head of security.

As a security precaution, Dr. Felzer (John Myhers) wants to discuss the project with Klink in Burkhalter's car, so the prisoners concoct a lame excuse to sneak LeBeau into the trunk right under Schultz's nose. LeBeau only learns that atomic research is involved. Hogan appeals to Klink's ego and LeBeau to Schultz's stomach to get more information, but neither talks. The mileage of the staff car being used clues the prisoners in that the facility is somewhere within a 12-mile radius. When they decide to zero in on trying again to get info out of Schultz, a visiting contact, Carla (Fay Spain), gives them the idea to use truth serum.

Some serum is air-dropped and Newkirk disguises himself as a Luftwaffe doctor who's doing inoculations, just for Schultz's benefit. The prisoners still have trouble getting useful info out of Schultz because he goes off on irrelevant tangents about the kitchen and the food at the facility, but they eventually manage to get a likely town out of him, which the sergeant names in association with its potatoes. After the underground locates the hidden laboratory under a bombed-out factory, the prisoners and Carla ride a potato wagon nearby, their cargo is requisitioned by the troops at the facility, and the explosives hidden in the potatoes go off inside as the prisoners leave.

Jack Riley, who's been doing LBJ on Laugh-In, appears as a German guard.

DISSSSS-missed!

_______

I'm just... not satisfied with that response.
Hey! You! Get off of my cloud!

Not one of their greatest, but it's still got that special 5D sound.
Definitely one of their "in-between" singles.

This is a great song. I first heard the Elvis cover, but this is just as good.
Kinda low-key, but has a sign-o-the-times vibe.

Good song, but... sounds like the 70s. Later 70s, I mean, like 1973 or so.
My thoughts exactly, except I'd take it even a few years further than that. For a stretch there when my chronological playlists were in an earlier, less populated state, this one was the song that kicked off the '70s, and I thought that it couldn't have been more perfect in that role, because the song still would have sounded very current six or seven years later.

I don't like that they were essentially made the bad guys without some sort of understanding or acknowledgment being made.
There was also some awkward business when Savage was trying to appeal to the villagers' national pride to turn their anger against the Nazis, which just sort of came off as 'Mericasplaining.
 
Last edited:
Figured I could just start letting the tape explain the basics. And yet another two-day ticking clock!
Let's see, we've got imminent nuclear war and this is Jim's mission "if he decides to accept it." What if he doesn't? Also, if exposing Malek would cause him to move ahead of schedule, that means he's ready to roll-- so what is he waiting for anyway? For that matter, why did having a terminal disease trigger him into triggering a war?

(They're not even trying anymore, are they?)
The Federated People's Republic spoke perfect English until they invented texting.

The IMF then treat Malek to one of their literal fourth wall-breaking moments
They've broken all the other ones....

"Never Give the Fuzz an Even Break"
The title is derived from the WC Fields quote and film Never Give A Sucker An Even Break.

Greer threatens to take them off the assignment, but Julie describes it as the only case they've ever really enjoyed. When the subject of Greer subsequently comes up with Johnson, the Mods are entertained to hear in turn what the Admiral thinks of his old nemesis.
This is all an amusing twist. :rommie:

Johnson leaves a letter for Greer in which he compliments the kids.
Another nice touch.

Kind of deflates the whole premise of the episode if Greer's Moby Dick is effortlessly taken down by some no-name NPCs during the commercial break.
I wonder if it was Alfred Hitchcock Presents Syndrome. Bad enough, really, that he was sending his proteges out to spear Moby. He should have been in on it somehow.

This was a pleasant, lighthearted episode that was carried by Evans playing a colorful character, but there wasn't really any meat in the story.
Sounds like he would have made a fun recurring nemesis.

"I Am a Curious Lemon"
The title is derived from the contemporary erotic film I Am Curious, Yellow.

Ann's young charge, Caroline (Cindy Eilbacher, actually 11 at the time), brings a potted lemon tree to Ann's apartment with her, which has to be watered in the shower
And which turns out to be Audrey the 3rd!

I was never under the impression that Donald was fresh out of college when he met Ann; and four years before the episode, Ted Bessell would have been 30.
Maybe he was a late bloomer.

"Stolen on Demand"
Title is probably a pun based on either the phrase "Cash on Demand" or maybe the movie Cash on Demand.

Mark is coaching the community center basketball team that Danny plays on.
TV cops and detectives always seem to end up coaching kids' teams, in the spare time that they don't have.

Danny has been buying gifts for her, including a big, stuffed Snoopy.
Product placement. Go, Sparky!

Mark talks Danny, who's armed with a vague weapon of opportunity--a bent piece of iron from what I've tentatively identified as a horse-drawn reaper--into surrendering.
No coda where Danny is put on probation so Mark can mentor him into becoming a productive member of society and he can pursue his true dream of being a Rock star?

"Is There a Doctor in the House?"
The title is derived from... well, it's just a cliche.

Ah, Marion Ross...the only one who was allowed to call Fonzie "Arthur".
...and live.

...but an argument ensues over women doctors and men nurses
This is getting tiresome. :rommie:

the doctors return to the Brady residence together and announce that they're combining practices
They're calling it "The Doctor Bunch."

"At Last—Schultz Knows Something"
The title is something we've all been waiting for.

The mileage of the staff car being used clues the prisoners in that the facility is somewhere within a 12-mile radius.
See? The chief of Nazi operations must have been an Allied sympathizer.

My thoughts exactly, except I'd take it even a few years further than that. For a stretch there when my chronological playlists were in an earlier, less populated state, this one was the song that kicked off the '70s, and I thought that it couldn't have been more perfect in that role, because the song still would have sounded very current six or seven years later.
It was ahead of its time.
 
50th Anniversary Album Spotlight

Volunteers
Jefferson Airplane
Released November 1969
Chart debut: November 22, 1969
Chart peak: #13, December 13, 1969
#370 on Rolling Stone's 500 Greatest Albums of All Time
Wiki said:
Volunteers is the fifth studio album by American psychedelic rock band Jefferson Airplane, released in 1969 as RCA Victor LSP-4238, also released in Quadrophonic in 1973 as RCA Quadradisc APD1-0320, using the discrete CD-4 system from JVC. The album was controversial because of revolutionary and anti-war lyrics along with the use of profanity. The original album title was Volunteers of Amerika. It was shortened after objections from Volunteers of America.

The album was marked with strong anti-war and pro-anarchism songs. The theme of nature, communities and ecology was also explored with the songs "The Farm" and "Eskimo Blue Day". The title track was inspired by a "Volunteers of America" garbage truck that woke singer Marty Balin one morning. The album's original title was Volunteers of Amerika, spoofing Volunteers of America, a religious charity similar to the Salvation Army. The spelling, Amerika, usually references both German fascism and the Kafka novel. After VOA objected, the title was shortened to Volunteers.

The album provoked even more controversy with lyrics such as "Up against the wall, motherfucker" which appeared on the opening song "We Can Be Together". The offending word was mixed lower on the 45 RPM release of that track to partially 'obscure' it, but it was still audible. The word "motherfucker" was censored on the album lyric sheet as "fred", however. At the time RCA Records was refusing to allow the word "fuck" on the album until they were confronted with the fact that they had already set a precedent on the Cast Recording Soundtrack of Hair. "Eskimo Blue Day" was also a point of contention, with its chorus line of "doesn't mean shit to a tree" repeated throughout. Musically, the album is characterized by Jorma Kaukonen's lead guitar parts (the dueling solos on "Hey Fredrick", plus the traditional gospel-blues song "Good Shepherd" and "Wooden Ships") and the distinctive piano-playing of Nicky Hopkins. It also featured the band experimenting with a country-rock sound, particularly in "The Farm" and "Song For All Seasons".

At first audio glance, I was prepared to dismiss this as being warmed over psychedelia, as the general trend in Rolling Stone's album picks seems to have otherwise moved past that stage. But I had to remind myself that Woodstock had happened only a handful of months prior, and on closer inspection, I found that it was a pretty groovy listen. I'd also say that there's a better case for considering this to be a concept album than there was with The Band. Counterculture living makes for a tighter and more distinctive theme than "rural America," which is the theme of pretty much all country music.

The album opens with Paul Kantner's "We Can Be Together," a counterculture rallying cry which was also the B-side of the "Volunteers" single:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
Wiki said:
Kantner was inspired by the Black Panther Party's use of the phrase "Up against the wall, motherfucker" and included it in the chorus.

We are all outlaws in the eyes of America
In order to survive
We steal, cheat, lie, forge, fuck, hide, and deal
We are obscene, lawless, hideous, dangerous, dirty, violent, and young


...

All your private property is
Target for your enemy
And your enemy is we


We are forces of chaos and anarchy
Everything they say we are, we are
And we are very
Proud of ourselves

This segues directly into the more laid-back "Good Shepherd"...
Wiki said:
a traditional song, best known as recorded by Jefferson Airplane on their 1969 album Volunteers. It was arranged and sung by the group's lead guitarist Jorma Kaukonen, who described their interpretation of it as psychedelic folk-rock.
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

The rural theme continues with the country-rockish "The Farm," co-written by Kantner. This and the preceding song definitely evoke the image of the movement to communes.

The remainder of side one is occupied by "Hey Fredrick," a moody acid rocker by Grace Slick that clocks in as the album's longest track at 8:26. As one would expect at this point, over half of that length is an extended instrumental jam.

Side two opens with Kaukonen's mellower "Turn My Life Down".

After that is "Wooden Ships," written by David Crosby, Paul Kantner, and Stephen Stills, in a distinctly different version from the one recorded by CSN:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.
I generally prefer the CSN version, but this one has a nice, trippy vibe.

Next is Slick and Kantner's acidy "Eskimo Blue Day," sung by Slick, with its "doesn't mean shit to a tree" refrain:
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

Drummer Spencer Dryden's "A Song for All Seasons" is straight-up country rock in the style of The Flying Burrito Brothers, with a message about the downside of commercial success.

The shortest track on the album, "Meadowlands," is an instrumental interlude with some spoken word in the background, apparently based on...
Wiki said:
Polyushko-polye (Russian: По́люшко-по́ле, IPA: [ˈpolʲʊʂkə ˈpolʲɪ]) is a Soviet Russian-language song. Polye means "field" in Russian, "polyushko" is a diminutive/hypocoristic form for "polye". It is also known as Meadowlands, Song of The Plains, Cavalry of the Steppes or Oh Fields, My Fields in English.

The album closes with its title track and single, Marty Balin and Kantner's "Volunteers" (charted Nov. 8, 1969; #65 US):
To view this content we will need your consent to set third party cookies.
For more detailed information, see our cookies page.

Wiki said:
This was to be the last album with the group for both Jefferson Airplane's founder Marty Balin and drummer Spencer Dryden (although they did both appear on the "Mexico" single released in 1970 and its B-side "Have You Seen the Saucers?") and thus signifies the end of the best-remembered "classic" lineup.

Overall, this one made more of an impression on me as a whole album than 1967's Surrealistic Pillow did.


Next up: Let It Bleed, The Rolling Stones

_______

Let's see, we've got imminent nuclear war and this is Jim's mission "if he decides to accept it." What if he doesn't? Also, if exposing Malek would cause him to move ahead of schedule, that means he's ready to roll-- so what is he waiting for anyway? For that matter, why did having a terminal disease trigger him into triggering a war?
Well, if you're gonna apply real-world logic to the world of crazy IMF schemes...yeah, nuclear war in two days seems like it'd be past the point of letting the Secretary's off-the-books kook squad have a go at it. Exposing Malek, which Guy on Tape quickly handwaved away, seems like a more reliable option...quietly, through channels.

One also has to wonder why the US would look responsible if a nuke went off at a nuklear resersch facility.

The title is derived from the WC Fields quote and film Never Give A Sucker An Even Break.
What, the entire episode isn't a spoof of it? Notable here is that I don't think Johnson ever used the word "fuzz" in the episode, nor would it have seemed in character for him to do so.

Bad enough, really, that he was sending his proteges out to spear Moby. He should have been in on it somehow.
That much made sense, as he knew Greer too well. The Mods were his spear.

Sounds like he would have made a fun recurring nemesis.
He might have, but the premise of the show relies on the kids being able to operate undercover.

The title is derived from the contemporary erotic film I Am Curious, Yellow.
Interesting...I've seen this title alluded to many times, but didn't know the nature of the source. It was even being referred to in comic books of the era.

And which turns out to be Audrey the 3rd!
This joke is derived from the 1980s musical and film Little Shop of Horrors.

Maybe he was a late bloomer.
I might have given some allowance for that or the character being younger if they hadn't cut it so close. There was no indication in the series that Donald was so young or just getting his career going when he met Ann.

Go, Sparky!
This exclamation is derived from the nickname of Snoopy creator Charles M. Schulz.

No coda where Danny is put on probation so Mark can mentor him into becoming a productive member of society and he can pursue his true dream of being a Rock star?
I was thinking of pointing out...at the end, it's made clear that Danny surrendering means he faces doing some hard time, but not as much as if he made it worse for himself; and that Jamie stays in the institution receiving the help she needs. In the Mod Squad version, somebody would have dropped the charges against Danny and we'd learn that Jamie was cured during the commercial.

This is getting tiresome. :rommie:
But in 1969 it would have been pretty sign-o-the-timesy, no?
 
Last edited:
If you are not already a member then please register an account and join in the discussion!

Sign up / Register


Back
Top