The Classic/Retro Pop Culture Thread

RJDiogenes · Dec 2, 2020

The Old Mixer said:
Hochstetter is notably secretive about what the dynamite is to be used for.

He's usually so open about his plans in front of the POWs.

Hogan determines that it's meant to blow up the installations in the event of an Allied invasion. The scheme to counter this operation involves Carter posing as the fire chief of Hammelburg

Wouldn't it be in their best interest to blow it up prematurely? "Thanks for providing all this explosive stuff, Hochstetter."

Johnny sings "My Funny Valentine" from Babes in Arms; then the sisters Lawrence Welk things up by joining him for "Johnny One-Note," during which he very impressively holds one note for the entire number...stumbling backward when it's over.

That's pretty impressive.

Arnaz is the main guest

That's cool. You don't see him turn up too often.

Desi meets the Scandinavian Storyteller:

Desi is not a tall guy.

Desi at the cocktail party:

A Lennon Sisters joke. They must have been watching Ed.

He was more middle-aged at this point (59)

Fifty-nine is the new twenty-five.

He directs McGarrett to where he left a Monopoly calling card--"Go directly to jail";

Talk about product placement. :rommie:

Meanwhile, a newspaper does another satirical cartoon of McGarrett.

They should do this more often. :rommie:

Steve hands him the "Go directly to jail" card.

Steve is learning Earth humor!

This was a quirky, lighthearted episode, accentuated by a comical score. Filer's antics reminded me of a Batman villain.

It sounds like a good one. Nice change of pace.

Perhaps due to the now-trendy "the '60s ain't cool anymore" movement.

Could be. There's a lot of 90s crap on the Oldies stations now.

The album might have come up recently.

Oh, yes.

The Old Mixer · Dec 3, 2020

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50th Anniversary Viewing (Part 2)

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The Partridge Family
"Go Directly to Jail"
Originally aired November 27, 1970

Wiki said:
The Partridge Family find themselves with a captive audience when they perform at a prison, but then find themselves being held captive by a prisoner who wants them to hear his songs.

Guest Star: Stuart Margolin as Hank

Songs: "Singin' My Song", "Only a Moment Ago"

Odd coincidence with that title, eh? While the band are setting up in the backlot prison yard, we learn that Hank secretly arranged for them to play there, and has a plan for keeping them there. Their show consists of the two songs mentioned above, played before a very small, low-budget audience for a prison population...and they definitely don't seem like the right band for this sort of gig.
In the prison hospital, where Hank is serving as an orderly, he tells Reuben that he arranged this gig to have a chance to play for the family, but Reuben tries to blow him off. So his pal, Monty (Ken Swofford), fakes illness with the help of heated thermometer, and Hank declares a quarantine. For sleeping arrangements, Reuben, Keith, and Danny get put in a cell, where Keith is impressed by some written-down songs that Hank gave him, playing one of them on acoustic guitar.

Reuben gets a vague, threatening note in his breakfast, which he reads in front of Hank, who suddenly wants the band to leave, and confesses to faking the potential epidemic. While headng to the warden's office, Shirley's confronted by a burly prisoner named Max (Ron Feinberg) who says that those are his songs that they're stealing. In order to determine the truth, Shirley has each of them write a song in the warden's office. Hank's submission is a song that Shirley recognizes, so she believes Max. But Max doesn't want to give them his songs as they're dedicated to his girl, Rosie, and he doesn't want the other prisoners to know about them; so she comes up with the idea of having them published under a pen name.

In the coda, we learn that the warden arranged to get Max out in a month, and that the Partridges are invited to his wedding...which won't be for another seven months, as Rosie's also in jail.

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That Girl
"Stop the Presses, I Want to Get Off"
Originally aired November 27, 1970

Wiki said:
Ann is hired by a rival news magazine when they think that Donald will help Ann with her assignments.

Ann's doing a photo shoot when it comes up that the publisher, Phil Harvey (John Aniston), needs somebody to cover designer Andre Pennet's (Jacques Denbeaux) arrival at Kennedy. Ann eagerly volunteers, and she's the one who brings up her association with Donald as a reason for giving the assignment to her. Harvey sees an opportunity to have Don Hollinger ghost-writing for his magazine--for the purposes of this story, Donald's said to be the best writer in the city. Indeed, Ann goes straight to Donald about her assignment and he helps her to work up some good questions. At the airport, her first one grabs Pennet's attention so much that he takes her into a phone booth for an exclusive interview, which doubles her paltry rate of one cent a word if the story is accepted. When neither she nor Donald can read her handwriting from being cramped in a phone booth with another person, Donald also helps her to reconstruct the interview. Ann gets another assignment from Harvey, but she very awkwardly tries to stretch out the word count, so Donald rewrites it for her.

Donald's current publisher, Mr. Adams (James Gregory), confronts him because he knows who Ann is and recognized Don's writing style in her articles. Ann gets a higher-paying assignment that involves flying out to Hollywood, with the ticket and the new clothes she buys coming to the same amount. Donald declares that he won't be able to help her anymore, and she gets upset at him, willfully ignorant of how much she's been relying on him. Donald goes to Harvey to confront him about what he's been doing and to let Harvey know that he won't be ghost-writing for Ann any more; while Ann comes to the realization that she really can't write well without his help. A threat of physical violence from Donald persuades Harvey to call Ann and apologize.

"Oh, Donald" count: 8
"Oh, Mr. Harvey" count: 1

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Love, American Style
"Love and the Champ / Love and the Pen Pals"
Originally aired November 27, 1970

The segment that I have part of, "Love and the Pen Pals," opens with Louise (Diane Keaton in her second acting role listed on IMDb, and her first one on television) nervous about meeting the guy who's been her pen pal since she was ten years old. When Andy (Monte Markham) arrives at her apartment, they engage in awkward small talk, and bring up various subjects that they've been writing about. She then brings out four shoeboxes full of his letters, and he's surprised that she kept them.

This recording got interrupted for some reason, so we pick up at the last few seconds of the segment, at which point they seem to be hitting it off in a friendly way, though I have nothing to go on as to what happened in-between.

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RJDiogenes said:
He's usually so open about his plans in front of the POWs.

He was being secretive to Klink, while the prisoners were listening to the coffee pot.

Wouldn't it be in their best interest to blow it up prematurely? "Thanks for providing all this explosive stuff, Hochstetter."

Blowing the cooler sky-high probably wouldn't be very good for the camp or its valuable reputation.

They should do this more often.

This one didn't seem to be making fun of Steve.

RJDiogenes · Dec 3, 2020

2021 said:
Odd coincidence with that title, eh?

Maybe Monopoly was having a comeback that year. I remember we did have the game at that time.

played before a very small, low-budget audience for a prison population...and they definitely don't seem like the right band for this sort of gig.

Maybe that's why it's so small. :rommie:

and Hank declares a quarantine.

Hank has a lot of authority for an incarcerated orderly.

In order to determine the truth, Shirley has each of them write a song in the warden's office.

No pressure.

But Max doesn't want to give them his songs as they're dedicated to his girl, Rosie, and he doesn't want the other prisoners to know about them; so she comes up with the idea of having them published under a pen name.

Awww. I wonder what he's in for.

In the coda, we learn that the warden arranged to get Max out in a month, and that the Partridges are invited to his wedding...which won't be for another seven months, as Rosie's also in jail.

I hope they're going to play Max's songs.

--for the purposes of this story, Donald's said to be the best writer in the city.

But not necessarily the best paid.

At the airport, her first one grabs Pennet's attention so much that he takes her into a phone booth for an exclusive interview

Is that what the kids are calling it these days?

which doubles her paltry rate of one cent a word if the story is accepted.

She must be a Sci-Fi writer.

she very awkwardly tries to stretch out the word count

Definitely a Sci-Fi writer.

(James Gregory)

Inspector Luger from Barney Miller.

A threat of physical violence from Donald persuades Harvey to call Ann and apologize.

Especially when he turns green and swells to three times his normal size. It's a medical condition.

When Andy (Monte Markham) arrives at her apartment, they engage in awkward small talk, and bring up various subjects that they've been writing about.

Later to become a commonplace occurrence in the Internet Era. :rommie:

This recording got interrupted for some reason, so we pick up at the last few seconds of the segment, at which point they seem to be hitting it off in a friendly way, though I have nothing to go on as to what happened in-between.

Maybe it was censored!

Blowing the cooler sky-high probably wouldn't be very good for the camp or its valuable reputation.

I thought they were going to blow up the bridge and power plant if the Allies invaded.

This one didn't seem to be making fun of Steve.

Ah, well. Still funny, though. :rommie:

The Old Mixer · Dec 4, 2020

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50th Anniversary Viewing (Part 3)

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Mission: Impossible
"The Rebel"
Originally aired November 28, 1970

Wiki said:
After a scientist is executed, the IMF must discover the location of his notebook in order to keep it out of the hands of the military, led by a scheming colonel (Mark Lenard).

This one starts not even with a mission in progress, but follow-up to a mission already accomplished. Jim and Dana, having gotten some other scientists out of the COTW, go back to the rebels to follow up on the one scientist who wouldn't go, and has since been executed. But their meeting is spied on by the forces of Colonel Bakram (Mark Lenard), who ambushes the group. Jim is wounded and left for dead among the rocks while Dana, the professor's daughter, Irinia (Davana Brown), and a rebel named Klos (David Roya) are captured. Reunited with rebel leader Alex Khora (Robert Purvey), Jim learns that Irina is the notebook--the professor's valuable info is in her head. Jim calls in Barney and Doug as reinforcements, who are airdropped along with some equipment. There's a good doctor moment when Doug insists on tending to Jim's wound against his orders.

Meanwhile, Dana and Klos are taken out of their cell for multiple rounds of interrogation. Dana maintains her cover under intense questioning, while Klos turns out to be a traitorous informant. Paris comes into the COTW via the front door, undercover as a representative from the country's Ministry of Information, I think it was...a role in which he spends a lot of face time with his former TV dad, manipulating his actions. This ends up paying off when Barney and Doug bring a statue into the town square that the peasants take to be an inspiration statue of their patron saint. The local clergyman, Father Sebastian (jonathan Lippe) is skeptical of the statue's merit, but sees the effect that it has on his townspeople. With Paris also informing the father's actions via his in-character cavalier attitude about its authenticity, there's a tug of war between Sebastian and Bakram over the statue that results in it being lowered over an entrance to an underground tunnel, via which Jim and Khora, hidden in the base of the statue, get to the jail to spring Dana and Irina; and are the statue is then moved again to allow them to escape. Sebastian seems to have somehow deduced its purpose by the climax, when he has the townsfolk gather around the lifted statue so the people inside can crawl out between their legs. In the end the true nature of the statue is discovered, but by that point the IMFers and allies have made their getaway...Mission: Accomplished.

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Adam-12
"Log 25: Indians"
Originally aired November 28, 1970

Wiki said:
Malloy and Reed have to stop a dispute between Native Americans from getting out of hand. Other calls include investigating a series of explosions and a shootout while looking for the suspects in the explosions, and an elderly woman who mistakes a pizza delivery man for a prowler. Billy Sands Guest stars.

The officers meet a woman named Helen Shipley (Arlene Harris) outside of a store, with an explosion occurring as they arrive. This is the fourth extortion bombing in the last six weeks. Shipley identifies a man named Jake Ballard, who's renting a room from her, as a likely suspect, having overheard his end of a threatening phone call regarding this address. The officers go to Ballard's previous address to find a boy named Frankie (Gerald Michenaud ) looking for rocks on the abandoned property, who tells them about his friend Charley. Ballard's pickup truck parks nearby and the officers hear a confrontation and a shot. It turns out that Ballard (apparently not credited) shot Charley (John Gallaudet), a homeless man who found Ballard's cashbox. Frankie has a last talk with Charley, who dies on the stretcher as they're about to put him in the ambulance.

Next the officers respond to a call about a 415 fight, in a bar patronized by Native American clientele. Johnny Little Bear (Tom Geas), who's sporting a bleeding lip, and Eddie Blue Heart (Bill Borsella) already know Malloy, and neither they nor the bartender will tell the officers what happened. Johnny claims that he and Eddie were wrestling and cajoles Eddie into helping him demonstrate. The bartender (Billy Sands) does share a hunch that trouble is pending, which Malloy thinks may be a rumble.

That night, the officers are assigned to see a woman (apparently Florence Lake, who's credited as "Woman") about a prowler. They go in with lights off to find a man knocking on the front door and yelling for attention (Tim Donnelly). The woman comes out and tells them that he's the prowler; it turns out he was delivering a pizza, but is on the wrong street.

Finally the officers meet with Eddie, who called the station. He tells them that Johnny's 16-year-old sister is seeing an Apache named Tshiji (Roger Creed), which Johnny doesn't approve of, and that he's the guy that Johnny had been fighting at the bar. The two of them are having a showdown at a power plant that night. The officers arrive as they're brawling on a platform, and apprehend the two of them. Johnny's upset that they intervened in a private matter.

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The Mary Tyler Moore Show
"1040 or Fight"
Originally aired November 28, 1970

Wiki said:
Mary's income tax returns are audited by an amorous IRS agent. Guest star: Paul Sand

Mary does have some undeclared income...she typed up somebody's master's thesis for a little dough on the side; and she declared shoes as office supplies. Agent Robert C. Brand (Sand) meets Mary at her apartment and proves to be somewhat disarming. When he's done, he asks Mary out to dinner...at a Chinese restaurant that he's also auditing. Robert sends Mary roses at work the next day, and keeps seeing her and sending her gifts for a week, extending his case and making work-related excuses for the attention that he's paying to her. Mary doesn't know how to put an end to it, but finally forces him to admit that his audit is over. A week after that, he comes by with the results, showing that she owes $16.73. He starts to make awkward goodbyes and she agrees to keep seeing him, though his schedule is awkward because he's traveling for cases.

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RJDiogenes said:
Hank has a lot of authority for an incarcerated orderly.

Yeah...I don't think we ever actually met the doctor who supposedly approved the quarantine on his say-so.

Inspector Luger from Barney Miller.

Not to mention another guy named Adams on an episode of Star Trek.

Especially when he turns green and swells to three times his normal size. It's a medical condition.

You seem to have veered away from classic horror.

I thought they were going to blow up the bridge and power plant if the Allies invaded.

So are you asking why the prisoners didn't blow up the caches at their locations? If that's the case, I'd guess that the intel about where all the shipments were going would be more important, so that the Allies could do what they would with the info.

RJDiogenes · Dec 4, 2020

2021 said:
This one starts not even with a mission in progress, but follow-up to a mission already accomplished.

Mission: Loose Ends.

Jim learns that Irina is the notebook--the professor's valuable info is in her head.

Why didn't Irina just say so?

...a role in which he spends a lot of face time with his former TV dad

That must have been fun, for both them and the viewer.

there's a tug of war between Sebastian and Bakram over the statue that results in it being lowered over an entrance to an underground tunnel, via which Jim and Khora, hidden in the base of the statue, get to the jail

Now that's an ambitious plan. :rommie:

It turns out that Ballard (apparently not credited) shot Charley (John Gallaudet), a homeless man who found Ballard's cashbox. Frankie has a last talk with Charley, who dies on the stretcher as they're about to put him in the ambulance.

So he really was the bomber? That was a strange little storyline.

The woman comes out and tells them that he's the prowler; it turns out he was delivering a pizza, but is on the wrong street.

Guess that one's gonna be free.

The officers arrive as they're brawling on a platform, and apprehend the two of them. Johnny's upset that they intervened in a private matter.

Can't a couple of guys have an honest fistfight anymore? What's this world coming to?

Agent Robert C. Brand (Sand) meets Mary at her apartment and proves to be somewhat disarming.

Paul Sand had his own short-lived show where he was described as the male Mary Tyler Moore. It didn't last long and I don't recall if I ever watched it.

He starts to make awkward goodbyes and she agrees to keep seeing him, though his schedule is awkward because he's traveling for cases.

And then he moved to Canada to live with the Chief's and Barney's girlfriends.

Not to mention another guy named Adams on an episode of Star Trek.

True. That was a good one. The first mind-meld was in that one, I think.

You seem to have veered away from classic horror.

Some episodes are harder than others. Now that you mention it, though, I could have done a Jekyll-and-Hyde thing.

So are you asking why the prisoners didn't blow up the caches at their locations? If that's the case, I'd guess that the intel about where all the shipments were going would be more important, so that the Allies could do what they would with the info.

Yeah, that's true.

The Old Mixer · Dec 4, 2020

55 Years Ago This Week

Wiki said:
December 5

Charles de Gaulle is re-elected as French president with 10,828,421 votes.

The "Glasnost Meeting" in Moscow becomes the first spontaneous political demonstration, and the first demonstration for civil rights in the Soviet Union.

December 8

Rhodesian prime minister Ian Smith warns that Rhodesia will resist a trade embargo by neighboring countries with force.

The Race Relations Act becomes the first legislation to address racial discrimination in the UK.

The Second Vatican Council closes.

December 9 – A Charlie Brown Christmas, the first Peanuts television special, debuts on CBS, quickly becoming an annual tradition.

Selections from Billboard's Hot 100 for the week:

1. "Turn! Turn! Turn! (To Everything There Is a Season)," The Byrds
2. "I Hear a Symphony," The Supremes
3. "Let's Hang On!," The Four Seasons
4. "I Got You (I Feel Good)," James Brown & The Famous Flames
5. "Over and Over," The Dave Clark Five
6. "I Can Never Go Home Anymore," The Shangri-Las
7. "1-2-3," Len Berry
8. "Taste of Honey," Herb Alpert & The Tijuana Brass
9. "Rescue Me," Fontella Bass

11. "Hang On Sloopy," Ramsey Lewis Trio

13. "Fever," The McCoys

15. "Get Off of My Cloud," The Rolling Stones
16. "Ain't That Peculiar," Marvin Gaye
17. "I'm a Man," The Yardbirds
18. "Don't Think Twice," The Wonder Who?
19. "Something About You," Four Tops
20. "Run Baby Run (Back into My Arms)," The Newbeats
21. "Ebb Tide," The Righteous Brothers
22. "Puppet on a String," Elvis Presley
23. "Sunday and Me," Jay & The Americans

26. "The Sound of Silence," Simon & Garfunkel
27. "You've Got to Hide Your Love Away," The Silkie

29. "Make It Easy on Yourself," The Walker Brothers

31. "It's My Life," The Animals
32. "The Little Girl I Once Knew," The Beach Boys
33. "Mystic Eyes," Them
34. "Flowers on the Wall," The Statler Brothers
35. "My Baby," The Temptations
36. "Let Me Be," The Turtles
37. "A Lover's Concerto," The Toys
38. "My Girl Has Gone," The Miracles
39. "You Didn't Have to Be So Nice," The Lovin' Spoonful
40. "Five O'Clock World," The Vogues

42. "The Duck," Jackie Lee

57. "She's Just My Style," Gary Lewis & The Playboys

60. "A Sweet Woman Like You," Joe Tex

63. "Thunderball," Tom Jones

69. "Just Like Me," Paul Revere & The Raiders

73. "Sandy," Ronny & The Daytonas
74. "A Well Respected Man," The Kinks

78. "No Matter What Shape (Your Stomach's In)," The T-Bones

80. "Lies," The Knickerbockers

92. "Crying Time," Ray Charles

100. "Jenny Take a Ride!," Mitch Ryder & The Detroit Wheels

Leaving the chart:

"Everybody Loves a Clown," Gary Lewis & The Playboys (11 weeks)
"Everyone's Gone to the Moon," Jonathan King (11 weeks)
"Keep On Dancing," The Gentrys (13 weeks)
"Yesterday," The Beatles (11 weeks)
"You're the One," The Vogues (12 weeks)

New on the chart:

"Jenny Take a Ride!," Mitch Ryder & The Detroit Wheels
(#10 US; #33 UK)

"Crying Time," Ray Charles
(#6 US; #1 AC; #5 R&B; #50 UK)

"No Matter What Shape (Your Stomach's In)," The T-Bones
(#3 US)

"She's Just My Style," Gary Lewis & The Playboys
(#3 US)

And new on the boob tube:

The Ed Sullivan Show, Season 18, episode 13
Branded, "Romany Roundup: Part 1"
12 O'Clock High, "The Jones Boys"
A Charlie Brown Christmas
Gilligan's Island, "Don't Bug the Mosquitoes"
The Wild Wild West, "The Night of the Torture Chamber"
Hogan's Heroes, "Hogan's Hofbrau"
Get Smart, "Aboard the Orient Express"

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RJDiogenes said:
Why didn't Irina just say so?

Cuz secret head notebook is secret? I'd think that Snitch Guy being in their midst proved the need for caution in that.

So he really was the bomber? That was a strange little storyline.

Why wouldn't he be? Somebody had to be.

Guess that one's gonna be free.

That one ended up on the lady's porch.

Paul Sand had his own short-lived show where he was described as the male Mary Tyler Moore. It didn't last long and I don't recall if I ever watched it.

Friends and Lovers (TV series) - Wikipedia
Reportedly the show owed to his appearance on MTM, as it was an MTM production.

And then he moved to Canada to live with the Chief's and Barney's girlfriends.

Or he had to audit them.

RJDiogenes · Dec 5, 2020

2021 said:
"Jenny Take a Ride!," Mitch Ryder & The Detroit Wheels

What th--? :rommie:

"Crying Time," Ray Charles

This is a heartbreaking song, and this cover is great.

"No Matter What Shape (Your Stomach's In)," The T-Bones

There's voices, but they don't say anything!

"She's Just My Style," Gary Lewis & The Playboys

Not bad.

Cuz secret head notebook is secret? I'd think that Snitch Guy being in their midst proved the need for caution in that.

Did they know he was a snitch then? It seems she should have stopped them from going back and getting wounded and captured.

Why wouldn't he be? Somebody had to be.

Well, yeah. :rommie:

But there was a bombing, and then he was caught shooting a homeless guy, and then a sad death scene with the homeless guy-- it was like it wanted to be a movie, but got squeezed down to a five-minute interlude.

That one ended up on the lady's porch.

Now that's a crime.

Friends and Lovers (TV series) - Wikipedia
Reportedly the show owed to his appearance on MTM, as it was an MTM production.

Yeah, it suffered an odd lack of success for MTM. They didn't really have any failures in those days.

Or he had to audit them.

Offshore assets. So to speak.

The Old Mixer · Dec 5, 2020

50 Years Ago This Week

Wiki said:
December 7

Giovanni Enrico Bucher, the Swiss ambassador to Brazil, is kidnapped in Rio de Janeiro; kidnappers demand the release of 70 political prisoners.

The U.N. General Assembly supports the isolation of South Africa for its apartheid policies.

During his visit to the Polish capital, German Chancellor Willy Brandt goes down on his knees in front of a monument to the victims of the Warsaw Ghetto, which will become known as the Warschauer Kniefall ("Warsaw Genuflection").

Mark Lewisohn's The Beatles Day by Day said:
December 8 – Precisely ten years before his death, John, with Yoko, undertakes his famous, marathon interview with Rolling Stone magazine, published in two parts, on 21 January and 4 February 1971, and later as a book, Lennon Remembers.
December 11 – First UK release of John's first solo album of music, John Lennon/Plastic Ono Band.

Wiki said:
December 12 – A landslide in western Colombia leaves 200 dead.

Selections from Billboard's Hot 100 for the week:

1. "The Tears of a Clown," Smokey Robinson & The Miracles
2. "I Think I Love You," The Partridge Family
3. "Gypsy Woman," Brian Hyland
4. "One Less Bell to Answer," The 5th Dimension
5. "I'll Be There," Jackson 5
6. "My Sweet Lord" / "Isn't It a Pity", George Harrison
7. "Black Magic Woman," Santana
8. "No Matter What," Badfinger
9. "Does Anybody Really Know What Time It Is?," Chicago
10. "Share the Land," The Guess Who
11. "We've Only Just Begun," Carpenters
12. "Stoned Love," The Supremes
13. "5-10-15-20 (25-30 Years of Love)," The Presidents
14. "You Don't Have to Say You Love Me" / "Patch It Up", Elvis Presley
15. "Fire and Rain," James Taylor
16. "Heaven Help Us All," Stevie Wonder
17. "Montego Bay," Bobby Bloom
18. "After Midnight," Eric Clapton
19. "Be My Baby," Andy Kim
20. "Knock Three Times," Dawn
21. "He Aint Heavy...He's My Brother," Neil Diamond
22. "Domino," Van Morrison
23. "For the Good Times," Ray Price
24. "Indiana Wants Me," R. Dean Taylor
25. "See Me, Feel Me," The Who
26. "Engine Number 9," Wilson Pickett
27. "Yellow River," Christie
28. "One Man Band," Three Dog Night

30. "Groove Me," King Floyd
31. "Let's Work Together," Canned Heat
32. "Pay to the Piper," Chairmen of the Board
33. "Only Love Can Break Your Heart," Neil Young
34. "It's Impossible," Perry Como
35. "River Deep - Mountain High," The Supremes & Four Tops
36. "Immigrant Song," Led Zeppelin

40. "Stoney End," Barbra Streisand

42. "If I Were Your Woman," Gladys Knight & The Pips

46. "We Gotta Get You a Woman," Runt
47. "Mr. Bojangles," Nitty Gritty Dirt Band
48. "Rose Garden," Lynn Anderson
49. "Your Song," Elton John

56. "Lonely Days," Bee Gees

61. "(Don't Worry) If There's a Hell Below We're All Going to Go," Curtis Mayfield
62. "Amos Moses," Jerry Reed

67. "Love the One You're With," Stephen Stills

71. "Paranoid," Black Sabbath

76. "Amazing Grace," Judy Collins

83. "Born to Wander," Rare Earth

Leaving the chart:

"Beaucoups of Blues," Ringo Starr (5 weeks)
"Cry Me a River," Joe Cocker (9 weeks)
"Green-Eyed Lady," Sugarloaf (17 weeks)
"It Don't Matter to Me," Bread (11 weeks)
"Somebody's Been Sleeping," 100 Proof (Aged in Soul) (14 weeks)
"Super Bad (Pt. 1 & Pt. 2)," James Brown (10 weeks)

New on the chart:

"Born to Wander," Rare Earth
(#17 US; #48 R&B)

"Amazing Grace," Judy Collins
(#15 US; #5 AC; #5 UK)

"Love the One You're With," Stephen Stills
(#14 US; #32 AC; #37 UK)

And new on the boob tube:

Hogan's Heroes, "The Big Broadcast"
Rowan & Martin's Laugh-In, Season 4, episode 13
Hawaii Five-O, "The Payoff"
Ironside, "The Laying On of Hands"
The Odd Couple, "Felix Is Missing"
The Brady Bunch, "What Goes Up..."
The Partridge Family, "My Son, the Feminist"
That Girl, "That Señorita"
Love, American Style, "Love and the Happy Couple / Love and the Understanding"
Mission: Impossible, "Squeeze Play"
The Mary Tyler Moore Show, "He's All Yours"

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55 Years Ago This Week Overflow Special

Also new on the chart for the week ending December 11, 1965:

"Thunderball," Tom Jones
(#25 US; #5 AC; #35 UK)

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RJDiogenes said:
What th--?

A combined cover of traditional blues song "See See Rider" and Little Richard's "Jenny, Jenny". Such mashups appear to have been their thing.

This is a heartbreaking song, and this cover is great.

I don't have much of an opinion about this one. It's alright but it doesn't grab me.

There's voices, but they don't say anything!

C'mon, it's not every day that music from an Alka-Seltzer ad gets turned into a Top 5 single!
No Matter What Shape (Your Stomach's In) - Wikipedia

Not bad.

This one always had a Beach Boys vibe to my ear.

History will remember your silence on the topic of A Charlie Brown Christmas.

Did they know he was a snitch then? It seems she should have stopped them from going back and getting wounded and captured.

They didn't, and that he turned out to be one is exactly why they were keeping it a secret. Basic spy biz...classified info, need to know, trust no one.

Well, yeah. But there was a bombing, and then he was caught shooting a homeless guy, and then a sad death scene with the homeless guy-- it was like it wanted to be a movie, but got squeezed down to a five-minute interlude.

That story thread could have used a little fleshing out.

Offshore assets. So to speak.

Were you saying that in your Roger Moore voice?

TREK_GOD_1 · Dec 5, 2020

2021 said:
55th Anniversary Holiday Album Spotlight

Merry Christmas
The Supremes
Released November 1, 1965

there's just something about the Supremes' Christmas album that makes me never want to listen to ever again. A long time ago, it was part of a relative's album collection, and once she played it, I was satisfied in my thought that it was messy, trying too hard to create "standards" in some places...just a hard pass for me.

RJDiogenes · Dec 6, 2020

Squiggy, wise man and lyricist, has died. RIP, David Lander.

2021 said:
"Born to Wander," Rare Earth

I vaguely remember this. Kind of a generic ramblin' song.

"Amazing Grace," Judy Collins

I can't say that I count this among my favorites songs, but wow.

"Love the One You're With," Stephen Stills

Now this one I do count among my favorite songs.

"Thunderball," Tom Jones

Definitely one of the better Bond themes-- of which there are surprisingly few.

A combined cover of traditional blues song "See See Rider" and Little Richard's "Jenny, Jenny".

That much I figured out. :rommie:

Such mashups appear to have been their thing.

Oh, okay. Weird.

C'mon, it's not every day that music from an Alka-Seltzer ad gets turned into a Top 5 single!

"Plop Plop, Fizz Fizz" is my favorite Alka Seltzer single.

History will remember your silence on the topic of A Charlie Brown Christmas.

Oops. I really don't like the way quoting works on this board. Of course, I love the Peanuts specials and comic strip. I actually have two eras of Peanuts in my daily comics feed.

They didn't, and that he turned out to be one is exactly why they were keeping it a secret. Basic spy biz...classified info, need to know, trust no one.

Okay, I guess I misunderstood the scenario.

Were you saying that in your Roger Moore voice?

And a mischievous twinkle in my eye.

The Old Mixer · Dec 6, 2020

55th Anniversary Holiday Album Spotlight

The Ventures' Christmas Album
The Ventures
Released November 1965
#12 on Rolling Stone's 25 Greatest Christmas Albums of All Time

I got no Wiki article to quote here! It's the Ventures doing Christmas in their inimitable, "Lyrics? We don't need no stinkin' lyrics!" style, and it's fucking awesome--what more needs to be said?

The tone of the album is set with the Ventures' rendition of Leroy Anderson's "Sleigh Ride," done in the style of their definitive 1960 hit, "Walk Don't Run," and also released as a single in '65:
This track has been in my collection for years as it was included in a volume of the Ultimate Christmas Album series.

The single's B-side is also the next track on the album, which is titled "Snow Flakes" and credited to band members Bob Bogle, Nokie Edwards, Mel Taylor, and Don Wilson...though it sounds to me like an arrangement of "Greensleeves" / "What Child Is This?," done in a Zombiesque style.

The Ventures' version of "Santa Claus Is Comin' to Town" is modeled after "Wooly Bully"...but my first thought was that it sounded Batmanesque, though TV's Caped Crusader is still just around the corner in 55th Anniversaryland. It's notable, however, that the Ventures will be releasing an album in a few months featuring their version of the Batman theme.

The basis of the Ventures' arrangement of "Jingle Bells" was easier to immediately place--Ray Charles's "What'd I Say".

Even Christmas songs that were originally done as rock & roll are rearranged in the style of another specific song--in the case of "Jingle Bell Rock," it's the Johnny Rivers version of Chuck Berry's "Memphis":

I'm not sure what song the arrangement is based on, but the closing track of the first side is how you mix things up a little for "Silver Bells". It also has one of the only lyrics on the album, the title phrase processed through a talk box.

Side two opens with "Rudolph, the Red-Nosed Reindeer" done in the style of the Beatles' "I Feel Fine":

"Frosty the Snowman" is based on "Tequila" by the Champs:

"Scrooge" is a band original that brings some Halloween into the mix, using a well-known fright motif that I have no idea of the name of.

"Blue Christmas" is done in the style of the Searchers. Remember the Searchers?

I'm not recognizing a specific song as the basis for the Ventures' arrangement of "We Wish You a Merry Christmas".

The album closes with the Ventures' rendition of "White Christmas". The song they're emulating is familiar, but I'm not placing it. I'm thinking of something like "Because They're Young" by Duane Eddy, but probably not that specifically.

I got no closing here, 'cause I already said that the album was fucking awesome! Listen for yourself!

_______

TREK_GOD_1 said:
there's just something about the Supremes' Christmas album that makes me never want to listen to ever again. A long time ago, it was part of a relative's album collection, and once she played it, I was satisfied in my thought that it was messy, trying too hard to create "standards" in some places...just a hard pass for me.

And how does this one grab ya?

RJDiogenes said:
Squiggy, wise man and lyricist, has died. RIP, David Lander.

Damn. Not even that old. I've edited a reference to Squiggy in the above post in respect.

I vaguely remember this. Kind of a generic ramblin' song.

At least they appear to be doing an original now. It's unremarkable but has a good era vibe.

I can't say that I count this among my favorites songs, but wow.

This is the sort of thing that I would have skipped if somebody else had done it, but Judy wins points for her version of "Both Sides Now," and had so few major hits.

Now this one I do count among my favorite songs.

A times-signy goodie. Seems like the title lyric is riffing a bit on "You Can't Always Get What You Want," tho.

Definitely one of the better Bond themes-- of which there are surprisingly few.

Below Top 20 is deeper than I dig for Tom Jones, but not Bond themes. This one has some particularly enjoyable Bondian flourishes.

Oops. I really don't like the way quoting works on this board. Of course, I love the Peanuts specials and comic strip. I actually have two eras of Peanuts in my daily comics feed.

I'm not sure if I'm going to cover the special as 55th anniversary business, as that's now displaced by six months and I'd be doing it in June. I may just link to the brief review I did three years ago as off-schedule business.

The soundtrack album, on the other hand...

And a mischievous twinkle in my eye.

Cock an eyebrow, willya?

scotpens · Dec 7, 2020

2021 said:
"Lies," The Knickerbockers

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The song that sounded more like the Beatles than the Beatles did. The guy singing lead sounded exactly like John Lennon.

RJDiogenes said:
This is a nice little oldie. I like the band name. It feels like "Rip van Winkle." Also there was a thing called Knickerbocker Beer when I was a kid.

The band named themselves after a street near their hometown of Bergenfield, New Jersey -- or as the locals say, "Boigenfield, New Joisey."

RJDiogenes · Dec 7, 2020

2021 said:
I got no closing here, 'cause I already said that the album was fucking awesome! Listen for yourself!

I did, and it's pretty good. The familiarity and Christmas vibe kind of compensates for the lack of lyrics, and it's pretty wild how you can play music in the style of other music.

Damn. Not even that old. I've edited a reference to Squiggy in the above post in respect.

Apparently he had MS.

A times-signy goodie. Seems like the title lyric is riffing a bit on "You Can't Always Get What You Want," tho.

I remember Uncle Mike telling me that it was a popular saying at the time.

The soundtrack album, on the other hand...

Now there's an instrumental that I like. But, of course, theme music gets a pass because it's theme music. :rommie:

Cock an eyebrow, willya?

And you said that in your Roger Moore voice. :rommie:

No Sanity Clause said:
The band named themselves after a street near their hometown of Bergenfield, New Jersey -- or as the locals say, "Boigenfield, New Joisey."

Interesting. Irving used the name a lot in his work (he lived nearby, in New York), and I learned later that he even used it as a pseudonym.

The Old Mixer · Dec 7, 2020

55th Anniversary Album Spotlight

Rubber Soul
The Beatles
Released December 3, 1965 (UK); December 6, 1965 (US)
Chart debut: December 25, 1965
Chart peak: #1 (January 8 through February 12, 1966)
#5 on Rolling Stone's 500 Greatest Albums of All Time (2003)

Wiki said:
Rubber Soul is the sixth studio album by the English rock band the Beatles. It was released on 3 December 1965 in the United Kingdom, on EMI's Parlophone label, accompanied by the non-album double A-side single "Day Tripper" / "We Can Work It Out". The original North American version of the album, issued by Capitol Records, contained ten of the fourteen songs and two tracks withheld from the band's Help! album. Rubber Soul met with a highly favourable critical response and topped sales charts in Britain and the United States for several weeks.

The recording sessions took place in London over a four-week period beginning in October 1965. For the first time in their career, the band were able to record an album free of concert, radio or film commitments. Often referred to as a folk rock album, particularly in its Capitol configuration, Rubber Soul incorporates a mix of pop, soul and folk musical styles. The title derives from the colloquialism "plastic soul" and was the Beatles' way of acknowledging their lack of authenticity compared to the African-American soul artists they admired. After A Hard Day's Night in 1964, it was the second Beatles LP to contain only original material.

The songs demonstrate the Beatles' increasing maturity as lyricists, and in their incorporation of brighter guitar tones and new instrumentation such as sitar, harmonium and fuzz bass, the group striving for more expressive sounds and arrangements for their music. The project marked a progression in the band's treatment of the album format as an artistic platform, an approach they continued to develop with Revolver and Sgt. Pepper's Lonely Hearts Club Band. The four songs omitted by Capitol, including the February 1966 single "Nowhere Man", later appeared on the North American release Yesterday and Today.

Lennon recalled that Rubber Soul was the first album over which the Beatles had complete creative control, with enough studio time to develop and refine new sound ideas.

In Lennon's description, it was "the pot album".

As I've had occasion to mention, the UK version is my favorite album, full stop. When I was originally listening to the UK versions of the albums chronologically, this is the one that made my ears perk up and say, "This is what I got into the Beatles for!" Hence a particular personal fondness that enables it to edge out its esteemed successors, Revolver and Sgt. Pepper. Its track listing, for context and comparison:

Side one
"Drive My Car"
"Norwegian Wood (This Bird Has Flown)"
"You Won't See Me"
"Nowhere Man"
"Think for Yourself"
"The Word"
"Michelle"

Side two
"What Goes On"
"Girl"
"I'm Looking Through You"
"In My Life"
"Wait"
"If I Needed Someone"
"Run for Your Life"

The Capitol version ain't that album...but despite some particularly strong songs being AWOL, it's still chock full of so much of the same groundbreaking Fabness.

The album also sports my favorite cover. Its story:

Rubber Soul was the group's first album not to feature their name on the cover, an omission that reflected the level of control they had over their releases and the extent of their international fame. The cover photo of the Beatles was taken by photographer Robert Freeman in the garden at Lennon's house.The idea for the "stretched" effect of the image came about by accident when Freeman was projecting the photo onto an LP-size piece of cardboard for the Beatles' benefit, and the board fell slightly backwards, elongating the projected image. McCartney recalled the band's reaction: "That's it, Rubber So-o-oul, hey hey! Can you do it like that?"

I can't help noting with a bit of skepticism, however, that the Byrds album from earlier in the year that had obviously attracted the Beatles' attention had sported a stylistically similar fisheye lens photo on its cover.

The rounded letters used on the sleeve established a style that became ubiquitous in psychedelic designs and, according to journalist Lisa Bachelor, "a staple of poster art for the flower power generation".

Anyroad...on to the music!

Paul's "I've Just Seen a Face" (#58 on Rolling Stone's 100 Greatest Beatles Songs) is one of the stronger songs from side 2 of the UK Help! album, but what's it doing here? "Drive My Car" is the first song on Rubber Soul!

Ah, but the second song is the same--"Norwegian Wood (This Bird Has Flown)" (#83 on Rolling Stone's 500 Greatest Songs of All Time; #12 on Rolling Stone's 100 Greatest Beatles Songs)...my favorite Beatles song...enchantingly beautiful.
Among its other virtues, it features one of my favorite lyrics:

She told me she worked in the morning and started to laugh
I told her I didn't and crawled off to sleep in the bath

The song's most distinctive feature is George picking out notes on the sitar like it's a guitar, before he took lessons with Ravi Shankar and learned how the instrument was actually played. George's choice to use the instrument here was highly influential in that it kicked off the era's Western interest in Indian music and culture.

Paul's "You Won't See Me" (#94 on Rolling Stone's 100 Greatest Beatles Songs) isn't an especially strong song by Rubber Soul standards, but it's everything that works so well about the Beatles...the subject matter is actually downbeat, but you wouldn't know it from the music, which has such a positive, uplifting sound. The "ooh, la la la" backing vocals sort of epitomize the album for me.

George's "Think for Yourself" (#75 on Rolling Stone's 100 Greatest Beatles Songs) has a really groovy sound, especially the three-part harmonies, which are the Beatles' sound at its best (and are also my favorite part of George's "If I Needed Someone," which is sorely missed on this version of the album), and the fuzzy bass. Transitioning from "You Won't See Me" to this sounded natural enough...but where's "Nowhere Man"!?! Well, Capitol may have held it back to use on the last of their butcher albums, but at least they had the good sense to also release it as a single!

John's "The Word" could have been a laughably bad song in anyone else's hands, but the Beatles sell it with such earnestness, that you actually buy into it (as Peter, Paul & Mary allude to in "I Dig Rock and Roll Music")! The instrumentation is great...I could listen to just the instrumental track(s) from this and enjoy it just as much...especially the bass line and the twangy guitar.

Before the recording sessions, McCartney was given a new bass guitar, a solid-body Rickenbacker 4001, which produced a fuller sound than his hollow-body Hofner. The Rickenbacker's design allowed for greater melodic precision, a characteristic that led McCartney to contribute more intricate bass lines.

During the sessions, the Beatles also made use of harmonium, marking that instrument's introduction into rock music.

The first side of both versions of the album closes with Paul's "Michelle"...really, this whole album is full of songs that could easily have been hits if they'd been released as singles, but none more so than this one. This is one of those Beatles songs that's just so well known that when you're first getting into the group, you're surprised to learn that it wasn't a single. But that didn't stop it from becoming one of the Beatles' most-covered songs, or from winning the 1967 Grammy for Song of the Year!
I'm a bit surprised that this one didn't even make the Rolling Stone Beatles list. As Paul songs go, they thought that "You Won't See Me" was stronger than "Michelle"? Really?

The song has an incongruously cute origin...the tune was originally conceived as a piece that Paul used to play at parties back in the band's early, pre-fame days, mumbling nonsense in a mock-French accent. When they were looking for song ideas during the sessions, John asked Paul about "that French thing" that he used to do. So Paul consulted an acquaintance who was a French teacher (the wife of Ivan Vaughan, the early Quarryman who introduced Paul to John) in coming up with some real lyrics for it.

I have to say...side two opening with John's "It's Only Love" doesn't make me miss "What Goes On"--sorry, Ringo! On first listen, it didn't even occur to me that this was one of the songs from the UK version of Help! The substitution, combined with the later exclusion of a George track, does contribute to the second side of the US version of Rubber Soul being a wee bit John-heavy, though.

Not that I'm complaining that the next song is still "Girl" (#62 on Rolling Stone's 100 Greatest Beatles Songs). Absolutely gorgeous. 'Nuff said.
The "tit tit tit tit" backing vocals were a deliberate "getting away with something naughty" touch on the part of our mischievous Liverpool lads.

"I'm Looking Through You"...I can do without the false starts on the US version, though I'm sure they're an endearing feature to listeners who originally heard it that way. This one always felt like a close companion to "You Won't See Me"...being another Paul song that technically isn't one of his strongest, but it's so gosh-darn enjoyable that you don't even notice the negative nature of the lyrics. And Ringo's Hammond organ bits are endearing to me. The song is also the source of a memorable bit of lyric-misunderstanding on my part. I originally thought Paul was singing something like "Love hasn't asked me yet, but I'm disappearing overnight"...it was years before I learned that the lyric was "Love has a nasty habit of disappearing overnight," which makes a lot more sense.

"In My Life" (#23 on Rolling Stone's 500 Greatest Songs of All Time; #5 on Rolling Stone's 100 Greatest Beatles Songs)...now here the words and music are in perfect harmony. This is one of John's absolute best, and that's saying quite a lot.
The piano recorded at half-speed to sound like a harpsichord when played back at regular speed is one of George Martin's best studio tricks.

In this way, the Beatles used the recording studio as a musical instrument, an approach that they and Martin developed further with Revolver.

"Wait" actually feels a bit more at home on this version of the album, as it was an unfinished leftover from the Help! sessions. I particularly like the synergy of separate John and Paul lyrics, serving as a sort of stylistic counterpoint to one another.

This version of the album is missing my favorite George song, "If I Needed Someone". But both versions of the album close with "Run for Your Life," which was based on a line from Elvis's early Sun Records single "Baby Let's Play House". John himself later disavowed "Run for Your Life" for its mysogynist lyrics, but if you don't take them too literally/seriously, it's a darkly fun song. The countryish flavoring works better here for me than on the missing "What Goes On".

Rubber Soul was highly influential on the Beatles' peers, leading to a widespread focus away from singles and onto creating albums of consistently high-quality songs. It has been recognised by music critics as an album that opened up the possibilities of pop music in terms of lyrical and musical scope, and as a key work in the creation of styles such as psychedelia and progressive rock.

Music historian Bill Martin says that the release of Rubber Soul was a "turning point" for pop music, in that for the first time "the album rather than the song became the basic unit of artistic production." In author David Howard's description, "pop's stakes had been raised into the stratosphere" by Rubber Soul, resulting in a shift in focus from singles to creating albums without the usual filler tracks. The release marked the start of a period when other artists, in an attempt to emulate the Beatles' achievement, sought to create albums as works of artistic merit and with increasingly novel sounds.

Brian Wilson of the Beach Boys described Rubber Soul as "the first album I listened to where every song was a gas" and planned his band's next project, Pet Sounds, as an attempt to surpass it. Rubber Soul similarly inspired Pete Townshend of the Who and the Kinks' Ray Davies, as well as Jagger and Keith Richards of the Rolling Stones, who issued their first album of all-original material, Aftermath, in April 1966. John Cale recalled that Rubber Soul was an inspiration as he and Lou Reed developed their band the Velvet Underground.

Author George Case, writing in his book Out of Our Heads, identifies Rubber Soul as "the authentic beginning of the psychedelic era". Music journalist Mark Ellen similarly credits the album with having "sow[ed] the seeds of psychedelia", while [Robert] Christgau says that "psychedelia starts here." Writing in The Sydney Morning Herald in July 1966, Lillian Roxon reported on the new trend for psychedelia-themed clubs and events in the US and said that Rubber Soul was "the classic psychedelic album now played at all the psychedelic discotheques". She attributed pop's recent embrace of psychedelia and "many of the strange new sounds now in records" to the LP's influence.

Recalling the album's popularity in the Haight-Ashbury district of San Francisco, where Jefferson Airplane were based, journalist Charles Perry said: "You could party hop all night and hear nothing but Rubber Soul."

The album was certified 6× platinum by the RIAA in 1997, indicating shipments of at least six million copies in the US. In 2013, Rubber Soul was certified platinum by the BPI for UK sales since 1994.

_______

No Sanity Clause said:
The song that sounded more like the Beatles than the Beatles did.

Yeah...no. A one-hit knockoff doesn't touch the talent that produced the album covered above. And when it comes to contemporaneous emulation of the Beatles, the Knickerbockers weren't playing in the same league as the Byrds.

RJDiogenes said:
I did, and it's pretty good. The familiarity and Christmas vibe kind of compensates for the lack of lyrics, and it's pretty wild how you can play music in the style of other music.

It's the same thing that makes the Fab Four (studio tribute band) Christmas albums so fun...doing Christmas standards in the style of specific Beatles songs...usually combining elements of more than one Beatles song. It's sometimes downright demented.

I remember Uncle Mike telling me that it was a popular saying at the time.

Which one? And was that before or after the song?

Now there's an instrumental that I like. But, of course, theme music gets a pass because it's theme music.

And it's both gorgeous and uncharacteristically subtle for holiday music...but I should save it for the review.

And you said that in your Roger Moore voice.

Only if he was imitating a gangster or something.

RJDiogenes · Dec 8, 2020

2021 said:
Ah, but the second song is the same--"Norwegian Wood (This Bird Has Flown)" (#83 on Rolling Stone's 500 Greatest Songs of All Time; #12 on Rolling Stone's 100 Greatest Beatles Songs)...my favorite Beatles song...enchantingly beautiful.

Oddly enough, I find it hard to listen to. There's nothing wrong with it-- nice lyrics and all-- but the sound interacts badly with my nervous system somehow.

The first side of both versions of the album closes with Paul's "Michelle"...really, this whole album is full of songs that could easily have been hits if they'd been released as singles, but none more so than this one. This is one of those Beatles songs that's just so well known that when you're first getting into the group, you're surprised to learn that it wasn't a single.

It's one of those songs that feel like it's always existed as part of the universe, like protons. :rommie:

The song has an incongruously cute origin...the tune was originally conceived as a piece that Paul used to play at parties back in the band's early, pre-fame days, mumbling nonsense in a mock-French accent. When they were looking for song ideas during the sessions, John asked Paul about "that French thing" that he used to do.

Nice. I love these anecdotes of how various works of art were inspired, especially when the seeds of greatness are so random.

The "tit tit tit tit" backing vocals were a deliberate "getting away with something naughty" touch on the part of our mischievous Liverpool lads.

I never even noticed till now. :rommie:

"In My Life" (#23 on Rolling Stone's 500 Greatest Songs of All Time; #5 on Rolling Stone's 100 Greatest Beatles Songs)...now here the words and music are in perfect harmony. This is one of John's absolute best, and that's saying quite a lot.

A song that grows more meaningful over time.

John himself later disavowed "Run for Your Life" for its mysogynist lyrics, but if you don't take them too literally/seriously, it's a darkly fun song.

I always assumed that that was the point, like "Maxwell's Silver Hammer." It was supposed to be taken seriously? I find that hard to believe.

Which one? And was that before or after the song?

"If you can't be with the one you love, love the one you're with." He was saying that the song was based on the saying.

The Old Mixer · Dec 8, 2020

_______

50th Anniversary Viewing (Part 1)

_______

Hogan's Heroes
"Operation Tiger"
Originally aired November 29, 1970

Wiki said:
London declares rescuing Tiger from the Gestapo to be too dangerous a task to perform, but Hogan is willing to disobey orders when it involves someone he loves.

This is Arlene Martel's last of five appearances as Tiger, and seven appearances on the show overall. It opens with Hogan already knowing about her capture. The others agree with London's assessment, but when Hogan makes it clear that he'll be the Lone Ranger if needed, they all volunteer, each declaring himself to be Tonto.

Newkirk: Who's the Lone Ranger? Come to that, who's bloody Tonto?

Hogan has an underground contact (Dick Wilson, a.k.a. Mr. Whipple from the Charmin commercials!) smuggled into the camp under cover of a diversion to learn details of how Tiger's being taken to Berlin on a munitions train, escorted by Gestapo captain Steiger (Frank Marth). The prisoners rig a signal to stop the train and Carter poses as a German lieutenant who engaged in a skirmish with the underground, and believes that the track ahead may be mined. He steers Steiger into having Tiger taken to Stalag 13 for safekeeping during the delay. Klink isn't keen on keeping a civilian prisoner, but Steiger twists his arm. As they hadn't planned for the Gestapo to bring her themselves, the others have to come up with a plan to spring her from the cooler and the camp under the Gestapo's noses. Hogan's plan is to have her get back on the train and stage an explosion in which she appears to be killed...enabled by Hogan and Newkirk coming aboard as Gestapo reinforcements. They stop the train, tie up all the Gestapo agents in their car, and get Tiger out while leaving an explosive behind. The train proceeds and promptly blows up.

DISSSSS...MISSED!

_______

The Ed Sullivan Show
Season 23, episode 11
Originally aired November 29, 1970
As represented in The Best of the Ed Sullivan Show

In the Best of edit, Ed brings out impressionist Jim Bailey for an early introduction. After a couple of other acts have performed...

Ed said:
Here's the amazing Jim Bailey...as Miss Judy Garland!

Bailey does the recently late icon singing "The Man That Got Away":

Also in the original episode according to tv.com:

Music:
--Buck Owens and the Buckaroos perform "Heartbreak Mountain" and "Bridge Over Troubled Water"
--Jim Bailey (as himself) sings a medley of Beatles' songs: "Get Back" and "Got to Get You into My Life."
--Dick Jensen sings "Dance to the Music," "Something in the Way She Moves" and "Everyday People."
--Dory Previn sings "Scared to be Alone."
Comedy:
--Joan Rivers (comedian) - routine about football players.
--Norm Crosby and Joan Rivers do a sketch about a man delivering groceries to sex-starved housewife.
--Al Lohman and Roger Barkley (comedy team) - "Caesar's Palace in 2010" routine.
Juggler:
--Albert Lucas (ten-year-old juggler)
Cameo appearance: Jake LaMotta (author of the book "Raging Bull")

_______

Rowan & Martin's Laugh-In
Season 4, episode 12
Originally aired November 30, 1970

The Wiki list of guest appearances said:
Bill Cosby, Peter Lawford, Ricardo Montalban, Vincent Price, Dinah Shore, Gore Vidal, Flip Wilson

A cocktail party:

Suzie Sorority on a date.

Ernestine actually talks to Gore Vidal:

The first half of the Mod World of Education:

Gladys and Ricardo Montalban:

In the news segment, they play Dick delivering multiple bloopers and Dan cracking up during it all.

I just discovered that Decades recently took Laugh-In out of its daily lineup. If it doesn't come back, I got no Season 5 to cover next year.

_______

Hawaii Five-O
"Beautiful Screamer"
Originally aired December 2, 1970

Wiki said:
A strangler (Lloyd Bochner) writes poetry by Byron in lipstick on the legs of two victims, one of whom (Anne Archer) is Danno's fiancée.

Yeah...I hate it when episodic TV pulls a situation that significant out of nowhere. But, I didn't catch where Danno's girlfriend, Jane, was described as his fiancee. I think that the description writer might have been confused by how the episode opens with the two of them attending a wedding rehearsal for a couple of friends. The rehearsal is at the Makaha Country Club, where we see another attendee, Walter Gregson (Lloyd Bochner), go out to kill a woman named Linda (Valerie Holmes), whom Danny knows, after a lesson on the tennis court. The Stevemobile arrives after the credits. The lipstick message mentions sisters, and is identified as being from Byron's poem "The Giaour," about an unfaithful Turkish slave whose owner kills her. At a charity auction for blind children where Jane's working, we meet Walter's disgruntled wife (Laraine Stephens), Sally. Walter slips away to Jane's office on a pretense and she becomes his next victim. The rest of the team is on the scene when Danny arrives, and he runs outside and breaks down.

Good continuity point: In attempting to comfort Danno, Steve mentions how Danno was there for him when his sister's baby died. We get multiple scenes in the Dancave, which is now brightly lit and looks somewhat different, though perhaps it's supposed to be a different angle--note how the shelved cabinet with the liquor and glasses is in the background rather than the foreground. The model ship on the wall is seen in another shot.

Predictably, Danno doesn't want to take a couple days off as Steve recommends. Danno's investigation focuses on a painter named Pete King (Michael Medeiros) who works in the club's kitchen, and whom Jane was giving money to on the side. Pete says the wrong thing and Danno goes into slo-mo attack mode.

Danno tries to turn in his resignation afterward, but agrees to take vacation time instead. Pete drops by to apologize to Danno, who learns that both victims studied Byron at a finishing school where they were part of a group of five rich "orphans" who felt emotionally abandoned by their parents...a group that also included Sally. Steve puts surveillance on the remaining three members of the group. A set of photos taken at the club reveals that Walter was gone around the time of the first murder (a close-up of a clock being conveniently included). Investigation turns up that his construction business was financed based on Sally's inheritance, and the team comes to realizes that he was killing the other girls only as cover, so that he wouldn't look like a suspect. Meanwhile, Walter has snuck out of his construction trailer to go kill Sally while she's hosting some of the charity's kids. She buys her Five-O tail (an uncredited Tommy Fujiwara) an ice cream.

After the commercial, Steve tries to call Sgt. Fujiwara, and we see that he's been killed. Five-O has to find and catch up with Sally, who's taking the kids to Hanauma Bay. Walter shows up and silently beckons her over, taking her for a walk down the cliffside and pulls out his gloves. Danno arrives while Sally's trying to fight off Walter, having been pointed in the right direction by the kids. A brawl ensues and Danno finds himself having to save his girlfriend's killer from falling into the drink.

In one scene, Sally's sporting a very cute bare-midriffed tennis outfit.

_______

RJDiogenes said:
Oddly enough, I find it hard to listen to. There's nothing wrong with it-- nice lyrics and all-- but the sound interacts badly with my nervous system somehow.

Is it the sitar? Does other Indian-style music have the same effect?

It's one of those songs that feel like it's always existed as part of the universe, like protons.

It was one of those '60s songs that I was exposed to relatively early, on that Top 40 channel's Sunday retro program.

I never even noticed till now.

One thing I just noticed listening to them back-to-back is how much "Girl" sounds like "Michelle".

A song that grows more meaningful over time.

It evoked a great sense of nostalgia in me when I was only 17 going on 18.

I always assumed that that was the point, like "Maxwell's Silver Hammer." It was supposed to be taken seriously? I find that hard to believe.

There are certainly other songs from the era about someone killing their girlfriend that aren't as enjoyably peppy and upbeat.

I know I'm biased, but now putting on the UK version of Rubber Soul for a few rounds after having listened to the US version many times over the past couple of days, I definitely think that the UK version is better balanced and paced.

Today is the 40th anniversary of John's death. Year-wise, he's now been gone just as long as he was around.

"If you can't be with the one you love, love the one you're with." He was saying that the song was based on the saying.

OK, the song's Wiki says that Stills picked it up from Billy Preston, and asked him for permission to use it. If it was out there in a larger way, Stills hadn't heard it before.

RJDiogenes · Dec 9, 2020

2021 said:
The others agree with London's assessment, but when Hogan makes it clear that he'll be the Lone Ranger if needed, they all volunteer, each declaring himself to be Tonto.

"The word is 'no.' I am therefore going anyway."

Newkirk: Who's the Lone Ranger? Come to that, who's bloody Tonto?

Aw, c'mon. Everybody knows the Lone Ranger and Tonto. :rommie:

(Dick Wilson, a.k.a. Mr. Whipple from the Charmin commercials!)

Son of a gun. I don't think I've ever seen him in anything else.

Klink isn't keen on keeping a civilian prisoner

Interesting.

They stop the train, tie up all the Gestapo agents in their car, and get Tiger out while leaving an explosive behind. The train proceeds and promptly blows up.

Who was that masked man? Presumably London forgives Hogan and the boys.

Ernestine actually talks to Gore Vidal:

Cute.

Gladys and Ricardo Montalban:

Also cute. :rommie:

I just discovered that Decades recently took Laugh-In out of its daily lineup. If it doesn't come back, I got no Season 5 to cover next year.

Damn. Maybe you can review based on the YouTube clips.

"Beautiful Screamer"

Oddly punny title for a grim episode.

Good continuity point: In attempting to comfort Danno, Steve mentions how Danno was there for him when his sister's baby died.

Aw, that's kinda sweet, too.

We get multiple scenes in the Dancave, which is now brightly lit and looks somewhat different, though perhaps it's supposed to be a different angle--note how the shelved cabinet with the liquor and glasses is in the background rather than the foreground. The model ship on the wall is seen in another shot.

Maybe he redecorated.

A brawl ensues and Danno finds himself having to save his girlfriend's killer from falling into the drink.

Because that's what a real hero would do. At least that's how it was back in the day.

Is it the sitar? Does other Indian-style music have the same effect?

No, it's just the particular song. I'm not sure if it's the particular sound or a subconscious memory attached to it or what.

It evoked a great sense of nostalgia in me when I was only 17 going on 18.

Boston's "More Than A Feeling" is like that for me. It made me feel nostalgic the first time I heard it, and at this point it's almost unbearable. :rommie:

Today is the 40th anniversary of John's death. Year-wise, he's now been gone just as long as he was around.

Wow, John Lennon would be 80 years old. Same age as my Mother.

OK, the song's Wiki says that Stills picked it up from Billy Preston, and asked him for permission to use it. If it was out there in a larger way, Stills hadn't heard it before.

I suppose he might have been wrong. I have no memory of it myself.

The Old Mixer · Dec 9, 2020

55th Anniversary Holiday Album Spotlight

A Charlie Brown Christmas
Vince Guaraldi
Released December 1965
#4 on Rolling Stone's 25 Greatest Christmas Albums of All Time

Wiki said:
A Charlie Brown Christmas is the eighth studio album by American jazz pianist Vince Guaraldi (later credited to the Vince Guaraldi Trio). The album was released in December 1965 in the U.S. by Fantasy Records and was Guaraldi's final studio album for the label. It is the soundtrack to the Christmas television special of the same name.

Guaraldi was contacted by television producer Lee Mendelson to compose music for a documentary on the comic strip Peanuts and its creator, Charles M. Schulz. Although the special went unaired, these selections were released in 1964 as Jazz Impressions of A Boy Named Charlie Brown. Coca-Cola commissioned a Christmas special based on Peanuts in 1965 and Guaraldi returned to score the special.

Guaraldi composed most of the music, though he included versions of traditional carols such as "O Tannenbaum". He recorded some of the score at Whitney Studio in Glendale, California, then re-recorded some of it at Fantasy Records Studios in San Francisco with a children's choir from St. Paul's Episcopal Church in nearby San Rafael. The sessions ran late into the night, with the children rewarded with ice cream afterward.

Bassist Fred Marshall and drummer Jerry Granelli were credited as performing on the album.

I'd initially planned to post this next week, but then I remembered that today is the 55th anniversary of the TV special's first broadcast, so what could be more appropriate?

This album I've had in my collection for years, since I began to gain a new appreciation for the special as an adult. It's since become a must-listen to get myself in the spirit. In addition to the nostalgia factor of association with the special, it fills a relatively unique nitch in my holiday collection, the music being so distinctive compared to most popular holiday fare...charmingly subtle and gracefully gorgeous.

It was hearing Guaraldi's rendition of "O Tannenbaum" in the grocery store one year that made me want to get the album. It was a piece that I'd never really noticed until I heard it outside of the special. It very effectively sets the mood for the album and the season with its immersive, soft jazziness.

Next is one of a few pieces on the album that weren't used in the special, "What Child Is This".

The Wiki article claims that there are two such pieces, but didn't name "My Little Drum," which I don't recall being in the special, though maybe I just never noticed it. Something to listen for this year, I suppose.

"Linus and Lucy" is the most common piece that you hear on the radio this time of year, but I don't consider it to be as Christmasy as the other tracks, as it was conceived as and came to be used as a general Peanuts theme, first appearing the previous year on Guaraldi's Jazz Impressions of A Boy Named Charlie Brown album.

The first side closes with the characteristically beautiful instrumental version of Guaraldi composition "Christmas Time Is Here".

Both the TV special and side two of the album open with the vocal version of the same number:

The snowfall-evocative beauty of "Skating" is only slightly marred by the voice burned into my head announcing "YOUR LOCAL FORECAST!"
I'm not much of a dancer, but I can really get lost in a good waltz.

Following that is the special's finale, the choir-sung "Hark the Herald Angels Sing":

The children were directed by Barry Mineah, who demanded perfection from the choir. Mendelson and Guaraldi disagreed, wanting "kids to sound like kids"; they used a slightly off-key version of "Hark, the Herald Angels Sing" in the final cut.

I find that Guaraldi composition "Christmas Is Coming" fills in for "Linus and Lucy" in my holiday shuffle quite nicely.

The album's shortest track is one that isn't generally associated with Christmas to my knowledge, but appears in the special: Schroeder's rendition of his idol's "Fur Elise".

Digital-age versions of the album tend to have at least one bonus track, but the original album closes with Guaraldi's rendition of Mel Tormé and Robert Wells's "The Christmas Song," one of the tracks not used in the special.

On August 19, 2016, the Recording Industry Association of America (RIAA) certified the album quadruple platinum for sales of four million copies. In November 2014, it was the 10th best-selling Christmas/holiday album in the United States during the SoundScan era.

A Charlie Brown Christmas was voted into the Grammy Hall of Fame in 2007. In 2012 the album was added to the Library of Congress's National Recording Registry list of "culturally, historically, or aesthetically important" American sound recordings.

_______

RJDiogenes said:
Aw, c'mon. Everybody knows the Lone Ranger and Tonto.

Would a Brit have known back in the '40s? I thought that was a nice touch.

Son of a gun. I don't think I've ever seen him in anything else.

I wouldn't have recognized him if I hadn't read it on IMDb.

Presumably London forgives Hogan and the boys.

I think their reason for objecting was that it was too dangerous, so as long as it was successful...

Maybe you can review based on the YouTube clips.

I'd need a way of knowing which ones were from which episode to do that. I can barely find the right clips when I'm watching an episode.

Boston's "More Than A Feeling" is like that for me. It made me feel nostalgic the first time I heard it, and at this point it's almost unbearable.

Unbearably nostalgic, or just plain unbearable?

RJDiogenes · Dec 10, 2020

2021 said:
I'd initially planned to post this next week, but then I remembered that today is the 55th anniversary of the TV special's first broadcast, so what could be more appropriate?

Wow. I wonder if I saw it when it first came on.

"Linus and Lucy" is the most common piece that you hear on the radio this time of year, but I don't consider it to be as Christmasy as the other tracks, as it was conceived as and came to be used as a general Peanuts theme, first appearing the previous year on Guaraldi's Jazz Impressions of A Boy Named Charlie Brown album.

I love this, of course, but I never knew it was called "Linus and Lucy." Strange.

The snowfall-evocative beauty of "Skating" is only slightly marred by the voice burned into my head announcing "YOUR LOCAL FORECAST!"

Ouch. This is why I love DVDs.

Following that is the special's finale, the choir-sung "Hark the Herald Angels Sing":

One of my two favorite Christmas songs.

Would a Brit have known back in the '40s? I thought that was a nice touch.

It's a nice touch, but Lone Ranger had been around for ten years and American radio shows and movie serials were available in England, especially the most popular ones, so I'm sure he would have heard of him.

I'd need a way of knowing which ones were from which episode to do that. I can barely find the right clips when I'm watching an episode.

Right, I forgot about that.

Unbearably nostalgic, or just plain unbearable?

Unbearably nostalgic. It's one of my favorite songs. :rommie:

I've always had a nostalgic frame of mind, even as a child, which is why I always loved history and retro culture.

The Old Mixer · Dec 10, 2020

_______

50th Anniversary Viewing (Part 2)

_______

Ironside
"Backfire"
Originally aired December 3, 1970

Wiki said:
Mark writes a hypothetical brief about a convicted murderer for his law class, which results in the case being reopened and the convict accusing Ed of framing him.

When Mark describes the lawbook case that he's pulling a late-nighter studying, the Chief informs him that it's a real case, and that Ed was one of the cops responsible for putting the murderer, Gerry Foster, away. Mark calls Ed after 2 in the morning to find out who he needs to talk to. After visiting Foster's legal advisor (Vaughn Taylor), Mark goes to the minimum security prison to talk to Foster himself (James Wainwright). Foster claims that his prints were on the gun because he was tricked into handling it during questioning...by Ed Brown.

At the cave, Ed and the Chief both shoot down Foster's story. Then Mark gets a call from Foster's sister, Charlotte (Kay Peters), who shows him a transcript of the trial, making a strong case that her brother was railroaded...which was not helped by his having defended himself. Mark's perspective of the case begins to change. Charlotte types Mark's brief and keeps a copy for herself, which she uses to have the case reopened, which gets her on TV, where she publicly accuses Ed. Meanwhile, Gerry, who's fighting a wildfire as part of a work detail, hits a guard over the head with his shovel and escapes.

Mark thinks that Foster believes that he is innocent and will go after Ed for framing him. TI considers the other suspect in the case, Garvie Durko (Robert F. Lyons--any relation to show semi-regular Gene?), and we get a flashback of his interrogation by Ed and Lt. Reese. The team then reinvestigates his end of the case, bringing Durko in when his alibi doesn't hold up. We learn that Durko's engagement was threatened by the victim, Marie--who was an old girlfriend of his as well as being Gerry Foster's girlfriend--exposing Durko's affair with her. The team focuses on who had possession of a key to the victim's apartment. There's an odd bit of business in which they confront Durko with knowledge that he had the key and he faints, which isn't explained. Anyway, it turns out that Durko's now-wife, Elly (Sallie Shockley), retrieved the key after Garvie made a show of tossing it away at the beach, and went to talk to Marie. Marie was brandishing a gun and a fight over it ensued, resulting in Marie's death.

Meanwhile, Gerry Foster holds Eve hostage to bring Ed to him. The Chief and Mark visit him instead. The Chief confronts him with details that he's somehow surmised about how Foster went to Marie's apartment that night and handled the gun, but then blocked it all out of his mind. In the end, it looks like Foster's going to get off, even though he was holding Eve tied up and at gunpoint.

_______

The Odd Couple
"It's All Over Now, Baby Bird"
Originally aired December 3, 1970

Wiki said:
Felix and Oscar have a funeral for Felix's beloved parrot.

Oscar knows something's wrong when he sees that Felix's clothes are wrinkled. Felix informs him that his parrot, Albert, is sick. Have we ever seen Albert before? We learn that Oscar doesn't like him, and he won't help Felix take care of him. The next day, Felix lays on the guilt as he informs Oscar that Albert has died. Appropriately enough, the Pigeon sisters (in their last of four appearances on the show) visit to support Felix in his time of need. They put Oscar on the defensive about his behavior, and give Felix the idea of holding a funeral. Felix can't bear to just toss Albert in the garbage chute, so Oscar comes up with the idea of a burial "at sea"...which Felix likes at first, though he finds that putting Albert in the East River is little better than tossing him in the garbage. They proceed to try to bury him in Central Park, but are stopped by an undercover officer in drag (Ken Swofford), who gives them the idea to go to a pet cemetery.

Oscar is paying, so he's further put out by all the optional expenses that the undertaker, Mr. Humus (James Millhollin), lays out...including a proper funeral, to which they invite the sisters and Felix's vet, Dr. Schneider (Damian London).

Mr. Humus: Ladies and gentlemen, we are gathered here today to bid farewell to...
Oscar: A hundred and fifty bucks.

In the middle of the ceremony, the doctor comes to the conclusion that Felix overdosed Albert on his medication. Then they hear bird noises and open the casket to find that Albert's alive, and must have been in a coma. But Albert promptly flies out the window. Wanting his money's worth, Oscar swats a fly and has the director continue the ceremony. In the coda, Albert returns to the apartment.

The sequences on the riverside and in the park were shot on location in New York, with close-ups and dialogue.

_______

The Brady Bunch
"The Tattle-Tale"
Originally aired December 4, 1970

Wiki said:
Cindy's constant tattling is becoming a problem, and her siblings start to avoid her. Things reach a head after Cindy tells Sam that Alice was hugging the mailman (John Wheeler) and Sam misinterprets it, causing tension between Alice and Sam. (Alice was just very happy that a package came, which was part of the subplot where Alice was entering many contests and finally won one of them. She won a stereo system which was put in the family room and the first record the Bradys acquired was the best of Gilbert & Sullivan).

Note: Christopher Knight (Peter) does not appear in this episode.

Cindy's as much of a gossip as a tattler--she starts with some dirt on the neighbors, who are making so much noise remodeling their home that it sounds like they're putting an addition on the Brady house! Then it involves the other siblings, including the off-camera Peter, who start to treat Cindy like a pariah. Cindy happens to be answering a call from Sam (who doesn't actually appear in the episode) when Alice gets her notice that she won the contest for writing a commercial jingle, and tells Sam that Alice is hugging the postman. When the adults find out what happened, Carol helps Alice explain things to Sam, and Mike gives Cindy a firm Dad talk...following which Cindy overcompensates by zipping her lips even when sharing information could be helpful...such as when Tiger carries off a follow-up certified letter that Alice needs to claim her prize at the retailer before the deadline. Eventually Cindy accidentally blurts out that Tiger is involved, and the letter is found in his doghouse in the nick of time.

The Brady kids don't find Mike's taste in records very groovy...Marcia was hoping for something by the Eggbeaters, and asks if Gilbert & Sullivan are a new group.

_______

The Partridge Family
"This Is My Song"
Originally aired December 4, 1970

Wiki said:
While Keith struggles with a creative dry spell, Danny attempts to write his first hit. Their sibling rivalry peaks when Danny writes a great song just as Keith has a breakthrough with the exact same tune.

Songs: "To Be Lovers"

Keith's under pressure from Reuben to come up with a new song to be recorded live at a concert. When Danny offers to come up with one and his qualifications are challenged, he becomes determined to prove that he can write a great song. Danny later calls Reuben to the house late on a date night to hum the song he's come up with, only for Laurie to tell him it was something he'd heard on TV earlier. In an attempt to comfort Danny while putting him to bed, Shirley makes a Rodgers & Hammerstein reference. (Oklahoma! is also referenced in the episode. IMDb informed me that Shirley Jones starred in the film and stage production.) Meanwhile, Keith's started to find inspiration and works out a new tune on his acoustic guitar while Danny's sleeping in the next room.

The next day, Danny's impressing Shirley, Reuben, and Laurie with the tune that he thinks he came up with. Then Keith comes in from jogging, and Laurie plays Danny's song for him on piano; and the others are skeptical when Keith claims that it's his song. Danny intends to copyright it under the title "This Is My Song". Shirley comes to believe Keith when she hears how easily sound carries between the boys' bedrooms. The next day at breakfast, Danny thinks that he's lost his gift because he came up with another song, but it was awful; then Keith makes his point by playing the song for him.

Ironically in an episode about somebody else claiming credit for a song by Keith, the finished product--which is played at another dinner club engagement rather than a concert--is an obvious Love Generation tune, with a brief bridge sung by David Cassidy:

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RJDiogenes said:
Wow. I wonder if I saw it when it first came on.

Pretty sure I caught the first airing of the Thanksgiving special. I vaguely remember it being the "new" one.

Ouch. This is why I love DVDs.

I was referring to the track's use on The Weather Channel. I don't get it in my current package, but back in the day, it was their go-to music for snowy forecasts.

One of my two favorite Christmas songs.

It's...kinda religious, ain't it?

Perhaps there's still hope...

I've always had a nostalgic frame of mind, even as a child, which is why I always loved history and retro culture.

I can relate to that.

The Classic/Retro Pop Culture Thread

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