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The Classic/Retro Pop Culture Thread

I saw this movie with my cousin and some friends when it first came out. I enjoyed it, but I've never seen it all the way through since, I don't think, and I have no nostalgic feelings about it. Coincidentally, it was reviewed by Retro Nerd Girl, my favorite movie reviewer (who I think I've mentioned before), with her usual enthusiasm.
I did watch the video review that you supplied a link for, after watching the film. I can't say that it changed my mind about anything in the film, but it was informative on some points. (Also, I saw a familiar name in the credits... :p )

I remember having a kit, which I think we had to send away for, that let you make your own Wonka candy. It had molds for the bars and a supply of Wonka wrappers (and the silvery inner wrapper, I'm pretty sure). So you melted your chocolate, poured it into the molds, let it harden, wrapped them up, admired your handiwork for a second, opened the candy, and ate it. I think it was fun the first time.
Perhaps better as something you'd gift rather than just turn around and eat yourself. Or just keep in the freezer as a display piece.

What a drag it is getting old. :rommie: I think this was specifically designed on all levels to appeal to grade-school kids, and I think they felt a kind of glee in how repulsive it would be to adults.
I'm sure that it has its now-adult aficionados...including your friend.

Actually, I get a more ominous impression than that-- it seems likely that Wonka made a deal with sinister forces and the Oompa Loompas are actually in charge.
There's a bit of 2001 in there, too.
"We're sorry, Willy. We're afraid we can't oompa loompa doompety do that."

I think it falls into the same category as morality tales like Rudolph. It teaches one good lesson at the expense of a hundred bad ones. :rommie:
What, like Rudolph running away, that sort of thing?

Sheesh. That's disappointing. I try to be tolerant of differing viewpoints, but some things are just inexplicable.
He doesn't seem quite as bad about it all as his partner in pandemic denial, Van Morrison. There's a thread about Van here, which Eric has come up in.

According to Billboard - One #1 single, 7 top twenty, 13 in the top 100, between 1971-1975. 100 million records sold. So yeah, they were pretty popular.
(Psst! I think we have an Osmonds fan here...)
 
According to Billboard - One #1 single, 7 top twenty, 13 in the top 100, between 1971-1975. 100 million records sold. So yeah, they were pretty popular.
And a successful TV show. Well, Donny and Marie anyway.

I did watch the video review that you supplied a link for, after watching the film. I can't say that it changed my mind about anything in the film, but it was informative on some points. (Also, I saw a familiar name in the credits... :p )
Heh. I did mention she's my favorite. :rommie: She does great research and she's just a lot of fun to listen to. Plus, she must be a genius, because her taste almost exactly matches mine. :rommie:

Perhaps better as something you'd gift rather than just turn around and eat yourself. Or just keep in the freezer as a display piece.
It might actually work better today, where people could print out new wrappers rather than be stuck with a finite supply.

I'm sure that it has its now-adult aficionados...including your friend.
True enough. And there's plenty of stuff that I loved at that age that I still love now.

What, like Rudolph running away, that sort of thing?
No, just the idea of having to impress people to make them like you. I have a feeling that Rudolph's new social status lasted about a month and then the other reindeer asked the elves to make them headlamps.

He doesn't seem quite as bad about it all as his partner in pandemic denial, Van Morrison. There's a thread about Van here, which Eric has come up in.
Sigh. And now Clapton is old and irrelevant and, now that we think of it, was never really any good anyway.

(Psst! I think we have an Osmonds fan here...)
I do confess to watching the show once-- to see Kristy McNichol. :rommie:
 
_______

55.5th-ish Anniversary Viewing

_______

The Ed Sullivan Show
Season 18, episode 14
Originally aired December 12, 1965
As represented in The Best of the Ed Sullivan Show

Ed said:
And now...."Mr. Tambourine Man" with...the Byrds!
The groundbreaking group gives us their breakout chart-topper from earlier in the year:
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Ed said:
Here is Barbara...McNair.
Barbara performs a rousing rendition of standard "Just in Time," followed by a slow version of future Stevie Wonder hit "For Once in My Life".

Re-edited Ed said:
And now...the Byrds!
This time it's the band's other smash hit, currently in its third week at the top of the chart, "Turn! Turn! Turn!" Alas, there's no clip on the Sullivan account.

Ed said:
Let's bring on Wayne Newton...
A separate Best of installment has young Wayne performing "Swanee". The Sullivan account doesn't have a clip of that, but as proof that God exists and he hates us, here are a couple of others:

"I Wish You Love"
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"My Melancholy Baby"
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Other performances, as listed on Metacritic:
  • Al Hirt (trumpeter) - "Nutty Jingle Bells" and "The Arena" (bullfight number)
  • Alan King (stand-up routine)
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  • Tony Hendra and Nick Ullett (comedy team) - routine about airline pilots
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  • The Bratislova Slovakian Folkloric Company (Czech dance troupe)
  • Ed narrates a film about Special Operations soldiers in Vietnam who work with German shepherds

_______

Branded
"Romany Roundup: Part 2"
Originally aired December 12, 1965
Xfinity said:
McCord's life is in danger as he continues to side with a band of Gypsies.
He should've stuck with the Jason McCord Experience.

Picking up at the jail, Kolyan offers his tribe's jewel box as Jason's bail, but the sheriff wants cold, hard cash. Kolyan gets that from Robin Shields, and gives her the box in return. Jason is brought back to camp to much rejoicing. Aaron Shields finds out what his daughter did and sends Foley with some men to the camp, where Lisa does a special dance for Jason, after which he spends some quality romantic time in the woods with her. Shields finds that Robin's gone, realizes she's gone to the camp, and rushes there to stop Foley. Robin is already there when Foley and Jason initiate a fight over Lisa that turns into a general campsite brawl. The men are sent running, but an injured Foley is left behind.

Kolyan threatens Foley with a hot dagger for going after his sister, but Jason encourages him to go through the law; and Shields arrives and finds out what happened. The next day he gives Kolyan the Gypsies' severance pay, following which Kolyan disappears. Jason tries to find out what happened, while Lisa, assuming foul play, incites the Gypsies to rise up. Jason finds Kolyan drunk in the wilderness, while the armed Gypsies ride to Shields's ranch, but Jason and Kolyan get there in time to stop bloodshed. Kolyan breaks up with Robin on the basis that she doesn't belong in his world; Shields shows signs of softening up; Jason gives a little speech about putting aside hatred and all people being the same inside; Shields offers Jason the foreman's job at his ranch, which he declines; and Jason exchanges tender goodbyes with Lisa before riding off.

IMDb claims that Michael J. Pollard was in these episodes in an uncredited role, but I never spotted him.

_______

12 O'Clock High
"Between the Lines"
Originally aired December 13, 1965
Xfinity said:
Enemy fire causes Gallagher's plane, carrying secret passengers and data, to go down between the German and Russian fronts.

https://www.trekbbs.com/threads/the-classic-retro-pop-culture-thread.278375/page-84#post-12359643

Gallagher's bomber is attacked by German fighters, and despite the protection of some Russian fighters, the Americans get shot up and have to bail, including two American generals who are being brought back from the USSR. Gallagher recommends one of the generals jump and the other stick with him for an attempted emergency landing. Komansky stays with the remaining general, Maj. Gen. Stace (Larry Gates), when his clerk, Trask (Donald Harron), panics and won't jump. Once on terra firma, the plane starts going up, the crew are strafed, and Stace is hit. Gallagher thinks that Komansky is in the plane when it finally blows. The survivors take shelter in a bombed-out church, unsure of whose territory they're in, but within earshot of combat. Gallagher fills in his co-pilot, Captain Pete Gargas (Philip Bruns), about how the generals are bringing back information about the strength of the Russian forces for planning the pending opening of the second front in France; and the general explains how the info is written on edible rice paper in a pack of chewing gum. An older Russian woman (Lydia Markova, I presume, though she's credited under a character name that didn't come up) is found near the church, and Komansky shows up carrying a waist gun that he retrieved from the plane, upon which the woman runs and they're afraid she'll raise an alarm.

They catch her and bring her back inside, and Komansky slugs Trask for playing Cowardly Lion on the plane. Gallagher tries to explain to the woman that they're friends. Trask finds two dead Germans in the church, and is to scared to go out and find their emergency rations. Gallagher gives her a can of rations and she's overwhelmed at the sight of food. Komansky displays his own fear when he's sent to retrieve the Germans' overcoats and sees rats. Gallagher decides that those who can travel have to try to get out with the intel, which means leaving the general and his timid liability of a clerk behind. Then a German officer (Sasha Harden) and a couple of soldiers enter the church as the Americans hide. Trask covers Komansky's mouth while a rat passes by. When Gargas makes a noise while trying to keep the Russian woman quiet, she bursts out of hiding and covers for them. The officer gives her a bit of food and leaves. Gallagher gives Pete the pack of gum and goes out in his German overuniform to scope things out. Komansky and Trask bond a bit about fear, and the general dies.

Gargas is spotted outside, the Germans surround and approach the church, and the Americans fight them off with the help of the machine gun. Trask summons up the courage to serve as a distraction by going out and offering to surrender, and is shot. The woman then rushes out to reinforce his ploy, but one of the Americans accidentally rings a bell while running out the back. A running firefight ensues in which Gargas is shot. Now down to just our heroic leads, Gallagher and Komansky see a vehicle approaching from the other direction and Joe's about to eat the intel when Sandy notices that they're Russians.

The Epilog has our leads riding another bomber home, and Gallagher offering to fly awhile from the right seat.

This one had Season 3 written all over it...more of an action/adventure story, with a rather thin layer of drama...which centered around Trask, whose cowardice was so OTT as to be annoying.

_______

Gilligan's Island
"Gilligan Gets Bugged"
Originally aired December 16, 1965
Wiki said:
Gilligan has been bitten by the dreaded, and deadly, Mantis Khani and fears he has only 24 hours to live. A 'going away party' ends with everyone drifting away in tears, leaving the guest of honor alone and wondering where they all went. Things grow worse when the Professor learns that the Mantis Khani travels in such swarms that by nightfall all of them will have been bitten and are doomed. One by one the others wind up bitten. Later on, the Professor allows one to bite him, revealing that these bugs are not poisonous after all.

Gilligan is building a bamboo bathtub when the Skipper spots the large, colorful insect on the back of his neck and swats it, but they're unsure if he was bitten. The Skipper recognizes the type of insect, and consults the Professor for information. Skipper and the others think that Gilligan's suffering symptoms afterward based on coincidental circumstances. Assuming that he's doomed, the others decide to throw him a party without letting him know what it's for, but get choked up and wander off while he's lighting his candles.

The Professor works out how to make an antidote using available materials, but also learns of the swarming issue. When Gilligan gets in the way of his work, the Professor lets him know what he's working on without identifying who it's for. Gilligan's present when the Skipper, who's trying to keep himself covered while gathering materials for the serum, gets bitten, and the Skipper finally fills him in on what happened. Most of the others are also bitten through their attempts at protective clothing, and everyone wants the serum even though the ingredients haven't been assembled. Then the Professor reveals that he's allowed himself to be bitten and determined that they're dealing with a non-poisonous subspecies.

In the coda, Gilligan's playing with boats in his bathtub when he and the Skipper witness the mantis dying exactly 24 hours after it bit Gilligan.

_______

The Wild Wild West
"The Night of the Howling Light"
Originally aired December 17, 1965
Wiki said:
Shades of The Manchurian Candidate: West is held prisoner in a lighthouse by a mad doctor who is using mind control to condition the Secret Service agent into becoming an assassin.

Jim is lured to a hospital by Dr. Arcularis (Sam Wanamaker) under the ruse of having to identify Artie's body, and is knocked out with gas and smuggled out. Meanwhile, Artie's hosting an educated Indian spokesman, Ahkeema (Scott Marlowe), on the train while they're awaiting word from the president via West concerning peace negotiations with the Indian tribes. After he leaves, Artie finds the imprint of the transcribed telegraph message used to lure Jim to the doctor. Jim finds himself prisoner in Arcularis's lighthouse lair and tries unsuccessfully to bust loose. He demonstrates how his underlings, who seem to be in trances, have been "desensitized" to pain, and reveals his plan to use the light as a tool to similarly condition Jim. Ahkeema walks in, showing us that he's in cahoots. It turns out he's supposed to be in charge, and plans to use West in a plot to kill key Indian leader Ho-Tami (Ralph Moody) in order to sabotage the peace.

An elderly patient at the hospital, Maggie Lafarge (Ottola Nesmith), tries to trick Artie into freeing her with the promise of information about Jim. Back at the lighthouse, the doctor is also using bells to condition West, the immediate goal being to get him to shoot a likeness of Ho-Tami. Jim remains defiant despite the warnings of conditioned underling Indra (Linda Marsh), whom he encourages to resist the doctor's influence. After one of his sessions, Jim busts free long enough to signal an SOS with the light. The Navy investigates, but the doctor has a story prepared by the time they arrive. The sessions continue, now using the light again. Just as the doctor starts to opine that West isn't human, Jim fires the gun.

Artie continues the search in a foggy dock area, learning from a contact named Sikes (Roy Barcroft) that West is at the lighthouse. The doctor is expecting Artie, and uses a metronome in programming Jim with his instructions. Ahkeema accompanies Jim to meet the real Ho-Tami, and tries to trigger Jim's attack, but Jim shoots Ahkeema instead. Not knowing the reason for this, Ho-Tami starts to go after Jim with a knife, but Ahkeema stops him with a dying confession. Now free of Dr. A's influence, Jim delivers the president's message, offering a meeting with the chief exec. Jim returns to the lighthouse, looking to free Artie, who's now been conditioned to try to kill him. After a brief running fight, Jim overcomes him, then persuades Indra and the others to fight their programming. The male underlings turn on the doctor, and Artie comes in free of his programming. Jim and Artie are prepared to leave the doctor to his victims' mercy, but Artie, in another display of what a 19th-century gentleman he is, comes up with the idea that the doctor's programming could be used to make women docile and obedient. Yeah.

I thought that Jim was just faking having finally been conditioned, and was surprised that it actually worked, however briefly.

_______

Hogan's Heroes
"Oil for the Lamps of Hogan"
Originally aired December 17, 1965
Wiki said:
When General Burkhalter threatens to close Stalag 13, Hogan convinces the Germans that they’re sitting on an oil well.

Burkhalter brings industrialist Fritz Bowman (William Mims) to the stalag. The prisoners get to work cleaning Klink's office so Newkirk can crack the safe and LeBeau can temporarily get into it. Burkhalter's plan is to secretly have a synthetic fuel plant built on the site to avoid Allied bombing. Klink gives Hogan a story that the stalag is being rebuilt; and Hogan plays the usual card of giving Klink the idea that they're planning to send him to the Russian front.

Some of the prisoners make a faux escape attempt so that Schultz can catch them...stained with oil. And Hogan has a story cooked up about having been previously aware of what the stalag is supposedly sitting on.

Klink: Tell me, Hogan, is this really oil?
Hogan: Not just oil, Kommandant...black gold!​

Texas tea...

Klink schemes to go into a post-war partnership with Hogan...which means not letting anyone else discover the oil. Klink, however, goes straight to Burkhalter about it, who's on board with Klink's plan...but when the general declares that the plant won't be built there, Bowman wants to go straight to the fuhrer about it. Hogan calls in a fake bombing mission, accompanied by planted charges and a leaflet drop that reveals that the Allies know about the plan to build the plant there, which renders the matter moot. (It seems like it would have been easier to just go straight to the leaflet drop and not bother with the oil angle at all.)

By the coda, Klink has discovered that the oil was a ruse, but Hogan plays it as an effort to save him from being sent to the front...and they don't share the info with Burkhalter.

DIIIS-miiisssed!

_______

Get Smart
"Weekend Vampire"
Originally aired December 18, 1965
Wiki said:
CONTROL agents are found murdered with mysterious puncture marks on their necks. The investigation leads to the mysterious Dr. Drago.

Seems like this one aired during the wrong holiday season.

Max is playing chess with Agent 52 (Don Ross) in the CONTROL lab when 52 is killed by an unseen figure via the puncturing of his neck, which resembles a vampire bite. Apparently this is the latest in a general spree of "Weekend Vampire" attacks in DC that makes the headlines. Max heard a melody at the time of the attack (which I wouldn't have realized wasn't just soundtrack music). When Max tries to reconstruct the melody with the help of a device, he, the Chief, and CONTROL technician Arrick (Roger Price) break out into song. Professor Sontag (Ford Rainey), who seems obstructive and unhelpful, has been getting calls from Dr. Drago, his predecessor who'd been conducting unauthorized experiments.

Max and 99 track down Dr. Drago but their car breaks down outside (on a stormy night, natch), so with the help of one of a variety of cover kits in the trunk, they go to the door posing as a pair of newlyweds...at which point this starts to feel like a Love, American Style segment. Dr. Drago (Martin Kosleck) and his mute manservant, Hugo (William Baskin), don't seem as creepy as Sontag, but there is a coffin on display that the agents are reluctant to search, and some hijinks with a rotating wall ensue. Drago insists that they stay, so with the help of gadgets from their kit, they break out of their room and skulk around the place. They witness Drago rising out of the coffin, via a stairway that he reveals leads down to his secret lab. He explains how he killed the agents who had testified against him with a double-barreled flute that shoots poisonous ice pellets, and is about to use it on the agents when Sontag, who's been skulking around outside, bursts in with a gun and saves them...explaining that he wanted to give Drago a chance to prove his innocence.

The coda has a very conspicuously set up "Sorry about that, Chief" moment...like they were trying to draw attention to the gag.

_______

Heh. I did mention she's my favorite. :rommie: She does great research and she's just a lot of fun to listen to. Plus, she must be a genius, because her taste almost exactly matches mine. :rommie:
One bit of info that I found particularly helpful: Keep in mind that I went into this viewing with a very fuzzy memory of the story that was far from beat-by-beat...but when I got to the part where Charlie's mother sings a pathos-filled number, it kind of jumped out at me as something that I couldn't recall having seen as a kid. In the review, she mentioned that it was cut out of some television broadcasts, which confirmed my impression.

Also, I'd read on Wiki about the Augustus actor having complained about the chocolate river being fetid, but it didn't say why. She clarified that by mentioning that they'd used cream in it, which quickly spoiled.

No, just the idea of having to impress people to make them like you. I have a feeling that Rudolph's new social status lasted about a month and then the other reindeer asked the elves to make them headlamps.
I think the takeaway there was supposed to be that freaks can be useful, for what that's worth...
 
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And a successful TV show. Well, Donny and Marie anyway.

So! They were from my hometown. We were not fans. Anyway, at some point they decided to move the show from LA to Utah, and they built a multi-million dollar TV and recording studio. They were giving tours; my mom said no way, I'm not going to that. But I went with some friends. As I remember, we were just herded through a bunch of new-smelling big rooms, some with fancy equipment, and the one big stage with the ice-rink floor and audience risers.

They moved in for one season and the show was canceled, one of the later data points in the demise of the variety show. For a time it was fun to see things like Roy Clark saying he was flying his airplane to Provo, but nobody I knew missed the show when it was gone. Nobody else wanted to make productions at the studio, and by the late '80s it had become a substance abuse treatment facility.
 
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A good start, but IMO, there were better songs ahead.
 
A separate Best of installment has young Wayne performing "Swanee".
He does look very boyish here.

The Sullivan account doesn't have a clip of that, but as proof that God exists and he hates us, here are a couple of others:
Oh, sweet mother of mercilessness, not "Melancholy Baby." :rommie:

Tony Hendra and Nick Ullett (comedy team) - routine about airline pilots
Not bad. Something you never see anymore in comedy routines is the setup. "Here is my interpretation of Wayne Newton trying to pick up women in a bar."

Ed narrates a film about Special Operations soldiers in Vietnam who work with German shepherds
Okay, that's something I'd like to see.

He should've stuck with the Jason McCord Experience.
He was a pioneer with the electric banjo.
Guitar.gif


Lisa does a special dance for Jason, after which he spends some quality romantic time in the woods with her.
A Very Special Episode indeed. :rommie:

Foley and Jason initiate a fight over Lisa that turns into a general campsite brawl.
The man in the back said, "Everyone attack."

Lisa, assuming foul play, incites the Gypsies to rise up.
And the girl in the corner said, "Boy, I wanna warn ya."

Jason gives a little speech about putting aside hatred and all people being the same inside
Those were the days. Not the Old West, the Old 60s.

the general explains how the info is written on edible rice paper in a pack of chewing gum.
Interesting. I wonder how historically accurate that is.

Komansky displays his own fear when he's sent to retrieve the Germans' overcoats and sees rats.
"Why'd it have to be rats?"

The officer gives her a bit of food and leaves.
A nice, humanizing touch.

Trask summons up the courage to serve as a distraction by going out and offering to surrender, and is shot.
A coward dies a thousand deaths, the valiant but one. Total deaths = 1001.

Joe's about to eat the intel when Sandy notices that they're Russians.
During the brief window in history when this is good news. :rommie:

a rather thin layer of drama...which centered around Trask, whose cowardice was so OTT as to be annoying.
He does sound a bit like Dr Smith.

Gilligan is building a bamboo bathtub
See? There's nothing you can't do with bamboo.

The Professor works out how to make an antidote using available materials
But half of the Castaways refuse to take it. No, wait, wrong century.

Then the Professor reveals that he's allowed himself to be bitten and determined that they're dealing with a non-poisonous subspecies.
"I'll prove my theory or die try--ack!"

Jim finds himself prisoner in Arcularis's lighthouse lair
I love lighthouse lairs!

Back at the lighthouse, the doctor is also using bells to condition West
"Dinnertime!"

Just as the doctor starts to opine that West isn't human
Hmmm....

Artie continues the search in a foggy dock area
I love foggy dock areas, too.

Artie, in another display of what a 19th-century gentleman he is, comes up with the idea that the doctor's programming could be used to make women docile and obedient. Yeah.
It's a wonder the show hasn't been banned yet. :rommie:

I thought that Jim was just faking having finally been conditioned, and was surprised that it actually worked, however briefly.
He's human, after all-- just at the high end of the spectrum. :mallory:

"Oil for the Lamps of Hogan"
This appears to be derived from the title of a novel and movie from the 1930s. Pretty obscure reference. I didn't recognize it, I just Googled it because it obviously meant something.

Texas tea...
Klink, move away from there.

Klink schemes to go into a post-war partnership with Hogan...
I'd really love to follow up with these guys after the war. :rommie:

(It seems like it would have been easier to just go straight to the leaflet drop and not bother with the oil angle at all.)
Would have been funny if Hogan said that in the coda. :rommie:

Seems like this one aired during the wrong holiday season.
Yeah, that's odd. Maybe production ran behind schedule or something.

their car breaks down outside (on a stormy night, natch)
I love broken-down cars on a dark and stormy night.

...at which point this starts to feel like a Love, American Style segment.
It would have been cute to re-edit it as an LAS segment so that it appeared on both shows. A strange kind of crossover.

He explains how he killed the agents who had testified against him
Odd that nobody recognized that pattern.

Sontag, who's been skulking around outside, bursts in with a gun and saves them...explaining that he wanted to give Drago a chance to prove his innocence.
That's a nice little touch.

Also, I'd read on Wiki about the Augustus actor having complained about the chocolate river being fetid, but it didn't say why. She clarified that by mentioning that they'd used cream in it, which quickly spoiled.
Acting is not as glamorous as it looks. :rommie:

I think the takeaway there was supposed to be that freaks can be useful, for what that's worth...
"Remember, children, even freaks of nature can contribute to society on rare occasions." There are worse morals, I guess. :rommie:

Nobody else wanted to make productions at the studio, and by the late '80s it had become a substance abuse treatment facility.
That's interesting. I do vaguely remember hearing about the studio, but I had no idea what became of it. It's a shame it didn't lead to a boom in the local film industry or something.
 
Not bad. Something you never see anymore in comedy routines is the setup.
I appreciated that, but thought the setup part of the gag was funnier than the payoff.

A Very Special Episode indeed. :rommie:
I'm not sure if they got that far between scenes, but they were definitely aiming in that direction.

The man in the back said, "Everyone attack."
And the girl in the corner said, "Boy, I wanna warn ya."
My sis had that record! :techman:

Interesting. I wonder how historically accurate that is.
Who could make shit like that up?

A nice, humanizing touch.
Not really...he was pretty dismissive about it.

During the brief window in history when this is good news. :rommie:
Seriously. "Yay, they're friends!"

He does sound a bit like Dr Smith.
Without the entertainment value.

See? There's nothing you can't do with bamboo.
Except, y'know, get off the damn island...

He's human, after all-- just at the high end of the spectrum. :mallory:
Like Captain America...though he reminds me more of Wolverine.

Odd that nobody recognized that pattern.
It's unclear how much of a pattern there was. The CONTROL agent gets killed, then we see a newspaper headline; I was all set to jump on the secrecy of CONTROL thing, but they talk about it like all Washington is terrified of this guy, which strongly implies that there's been a pattern of attacks.

That's interesting. I do vaguely remember hearing about the studio, but I had no idea what became of it. It's a shame it didn't lead to a boom in the local film industry or something.
I'ma toss in a "Utah's gorgeous."
 
My sis had that record! :techman:
A fave from my Teenage Era.

Who could make shit like that up?
Truth is stranger than Classic TV.

Except, y'know, get off the damn island...
They protested too much. They really loved it there.

Like Captain America...though he reminds me more of Wolverine.
Well, he always has something up his sleeve. :rommie:

It's unclear how much of a pattern there was. The CONTROL agent gets killed, then we see a newspaper headline; I was all set to jump on the secrecy of CONTROL thing, but they talk about it like all Washington is terrified of this guy, which strongly implies that there's been a pattern of attacks.
Maybe he threw in a few red herring murders.

I'ma toss in a "Utah's gorgeous."
Very true. Kind of a shame it didn't give a lift to the local film industry.
 
55 Years Ago This Week
August 2

The station manager of WAQY-AM radio in Birmingham, Alabama, became the first to urge listeners to boycott record stores and bookstores that sold music and memorabilia of The Beatles, starting an American backlash against the British rock group that was preparing to make a tour of the United States. Manager Tommy Charles told reporters, "We just felt it was so absurd and sacrilegious that something ought to be done to show that they cannot get away with this sort of thing." On March 4, John Lennon had been quoted by a British interviewer as saying "We're more popular than Jesus now", and the statement had largely gone unnoticed until it was reprinted in the July issue of the American teen magazine Datebook. On July 28, Charles and disc jockey Doug Layton stopped playing the group's records and announced plans for a bonfire of records on July 30. Other radio stations joined in the boycott, including in South Africa and Spain, before Lennon made an apology when the group arrived in Chicago on August 11.
Interesting how the backlash was directed at the Beatles collectively rather than at Lennon specifically, as if he spoke for the group. John Lennon never spoke for anyone but himself!

50th Anniversary Cinematic Special

Willy Wonka & the Chocolate Factory

Mr. Salt being played by Roy Kinnear gives the film a Fab connection that I wouldn't have known or cared about as a kid. And am I supposed to hate Veruca? Because she's actually kind of cool in her rich-bitch-in-the-making way.
Did you happen to notice that Mr. Salt speaks with a distinct Northern brogue, while his daughter speaks standard British English? I figure the Salts were nouveaux riches who sent their daughter to a posh private school that taught Received Pronunciation.

When I was a kid, I found the Oompa Loompas to be "look away from the set" scary, but as an adult, hearing how Wonka swooped them up from their hazardous native land to put them to work in his factory, I can't help seeing an exploitation angle.
Can you imagine the reaction of audiences and critics if the movie had been faithful to the book? In Roald Dahl's novel, the Oompa Loompas were a transplanted tribe of African Pygmies!

So overall, I wasn't wildly enthusiastic coming out of this viewing, either. Whatever appeal the movie may have held to me as a kid didn't carry over into adulthood.
Sorry to hear that. I still love this movie (in spite of the somewhat cheesy factory interior sets). Gene Wilder's wry, underplayed performance is perfect.
 
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55 Years Ago This Week

August 7
  • Seven American warplanes were shot down in a single day over the skies of North Vietnam, the highest U.S. air loss since the war had begun. Previously, six aircraft had been downed on August 13, 1965. Five of the planes were F-105 Thunderchief fighter-bombers, worth $2,150,000 apiece. Within the space of a month, 25 of the F-105 planes— the equivalent of an entire U.S. Air Force squadron— had been shot down, mostly by anti-aircraft guns.
  • Race riots occur in Lansing, Michigan.

August 10
  • The U.S. Department of the Treasury announced that it would no longer print the American two-dollar bill. No new bills had been printed by the United States Mint since June 30, 1965. At the most recent count a year later 69,660,947 of the bills were in circulation, less than one-third of one percent of the total value of printed bills. The denomination had been created in July, 1862, during the United States Civil War, but the bills (with Thomas Jefferson on the face and his home, Monticello, on the obverse) were unpopular, and many people considered them to be unlucky. However, printing of the bills (with a new obverse side, showing the signing of the Declaration of Independence) would resume to celebrate the United States bicentennial, and the bills would return on April 13, 1976, in honor of Jefferson's 233rd birthday.
  • An East German court sentences Günter Laudahn to life imprisonment for spying for the United States.
  • Lunar Orbiter 1, the first U.S. spacecraft to orbit the moon, was launched from Cape Kennedy at 2:26 p.m., with an objective of taking photographs of nine potential sites for a manned moon landing.

August 11
  • Indonesia and Malaysia issue joint peace declaration, formally ending the Indonesia–Malaysia confrontation which began in 1963.
  • Lewisohn: The Beatles fly from London Airport for their last-ever tour of the USA and Canada. They land at Boston and switching planes there for Chicago, arrive at 4.18 p.m. The three major television networks – NBC, ABC and CBS – all transmit their opinions about the Lennon controversy in early evening programmes. One hour later the Beatles' press conference, dominated by the Lennon/Jesus rumpus, is broadcast nationally from the 27th floor of the Astor Towers Hotel.
  • Wiki: The Beatles held a press conference in Chicago, during which John Lennon apologized for his "more popular than Jesus" remark made in a magazine interview in March, saying, "I'm sorry, I'm sorry I said it really. I didn't mean it as a lousy, anti-religious thing. I was sort of deploring the attitude toward Christianity. I wasn't saying the Beatles are better than God or Jesus."
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August 12
  • Massacre of Braybrook Street: Harry Roberts, John Duddy and Jack Witney shoot dead 3 plainclothes policemen in London; they are later sentenced to life imprisonment.
  • The Beatles' final tour opens at the International Amphitheatre, Chicago.

Also sometime this week, the Mixer Generation kicks off with the birth of his big sister (who ended up somewhat smaller)!


Selections from Billboard's Hot 100 for the week, with a Bubbling Under bonus:
1. "Summer in the City," The Lovin' Spoonful
2. "Lil' Red Riding Hood," Sam the Sham & The Pharaohs
3. "They're Coming to Take Me Away, Ha-Haaa!," Napleon XIV
4. "Wild Thing," The Troggs
5. "The Pied Piper," Crispian St. Peters
6. "I Saw Her Again," The Mamas & The Papas
7. "Sunny," Bobby Hebb
8. "Mother's Little Helper," The Rolling Stones

10. "Sweet Pea," Tommy Roe
11. "I Couldn't Live Without Your Love," Petula Clark
12. "This Door Swings Both Ways," Herman's Hermits
13. "Over Under Sideways Down," The Yardbirds
14. "See You in September," The Happenings
15. "Hanky Panky," Tommy James & The Shondells

17. "Hungry," Paul Revere & The Raiders
18. "Blowin' in the Wind," Stevie Wonder
19. "My Heart's Symphony," Gary Lewis & The Playboys
20. "Sunshine Superman," Donovan
21. "Summertime," Billy Stewart
22. "Working in the Coal Mine," Lee Dorsey
23. "Warm and Tender Love," Percy Sledge
24. "Lady Jane," The Rolling Stones
25. "Land of 1000 Dances," Wilson Pickett
26. "The Joker Went Wild," Brian Hyland
27. "Searching For My Love," Bobby Moore & The Rhythm Aces
28. "Born a Woman," Sandy Posey
29. "Pretty Flamingo," Manfred Mann
30. "The Work Song," Herb Alpert & The Tijuana Brass
31. "Distant Shores," Chad & Jeremy
32. "Trains and Boats and Planes," Dionne Warwick
33. "Guantanamera," The Sandpipers
34. "Ain't Too Proud to Beg," The Temptations
35. "Make Me Belong to You," Barbara Lewis
36. "Red Rubber Ball," The Cyrkle
37. "Paperback Writer," The Beatles
38. "Along Comes Mary," The Association

42. "You Don't Have to Say You Love Me," Dusty Springfield
43. "Wade in the Water," Ramsey Lewis Trio
44. "Strangers in the Night," Frank Sinatra

47. "Bus Stop," The Hollies

51. "Wouldn't It Be Nice," The Beach Boys
52. "I Want You," Bob Dylan

55. "Love Letters," Elvis Presley
56. "Where Were You When I Needed You," The Grass Roots
57. "Respectable," The Outsiders
58. "Say I Am (What I Am)," Tommy James & The Shondells
59. "Go Ahead and Cry," The Righteous Brothers
60. "With a Girl Like You," The Troggs
61. "Wipe Out," The Surfaris

63. "Open the Door to Your Heart," Darrell Banks
64. "Sugar and Spice," The Cryan' Shames

66. "You Can't Hurry Love," The Supremes

68. "Sunny Afternoon," The Kinks
69. "5D (Fifth Dimension)," The Byrds
70. "The Dangling Conversation," Simon & Garfunkel
71. "7 and 7 Is," Love

75. "Turn-Down Day," The Cyrkle

79. "How Sweet It Is (To Be Loved by You)," Jr. Walker & The All-Stars

81. "God Only Knows," The Beach Boys

86. "Mr. Dieingly Sad," The Critters

100. "Black Is Black," Los Bravos

106. "The Kids Are Alright," The Who


Leaving the chart:
  • "Dirty Water," The Standells (16 weeks)
  • "Little Girl," Syndicate of Sound (10 weeks)

New on the chart:

"God Only Knows," The Beach Boys
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(US B-side of "Wouldn't It Be Nice"; #39 US; #2 UK as the A-side; #25 on Rolling Stone's 500 Greatest Songs of All Time)

"Black Is Black," Los Bravos
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(#4 US; #2 UK)

"You Can't Hurry Love," The Supremes
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(#1 US the weeks of Sept. 10 and 17, 1966; #1 R&B; #3 UK)

Bubbling Under:

"The Kids Are Alright," The Who
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(#106 US; #3 UK)

_______

Timeline entries are quoted from the Wiki pages for the month or year and Mark Lewisohn's The Beatles Day by Day, with minor editing as needed.

_______

Well, he always has something up his sleeve. :rommie:
I was thinking of the short & scrappy thing.

Maybe he threw in a few red herring murders.
Or tests, perhaps.

Interesting how the backlash was directed at the Beatles collectively rather than at Lennon specifically, as if he spoke for the group. John Lennon never spoke for anyone but himself!
They were definitely seen as a unit at the time, and it was exactly the excuse that conservative America needed to lash out against those long-haired foreigners who'd taken the country's youth by storm. This, on top of what had already happened in Japan and the Philippines, was instrumental in the Beatles' decision to quit touring.

Did you happen to notice that Mr. Salt speaks with a distinct Northern brogue, while his daughter speaks standard British English?
Now that you mention it...though I'm not sure how much the movie cared about accent continuity.

Can you imagine the reaction of audiences and critics if the movie had been faithful to the book? In Roald Dahl's novel, the Oompa Loompas were a transplanted tribe of African Pygmies!
Ouch. That vaguely rings a bell...I think there may have been a reading of the book in elementary school.
 
Lunar Orbiter 1, the first U.S. spacecraft to orbit the moon, was launched from Cape Kennedy at 2:26 p.m., with an objective of taking photographs of nine potential sites for a manned moon landing.
Totally missed TMA-1, though.

Also sometime this week, the Mixer Generation kicks off with the birth of his big sister (who ended up somewhat smaller)!
Happy Birthday, Sis.
Birthday-Cake-Animated.gif


"God Only Knows," The Beach Boys
Peak Beach Boys.

"Black Is Black," Los Bravos
Oldies Radio Rock Classic.

"You Can't Hurry Love," The Supremes
Classic.

"The Kids Are Alright," The Who
The Who. 'nuff said.

I was thinking of the short & scrappy thing.
I got it. I was building on it. :D

Or tests, perhaps.
Hmm, good point. Or points.
 
50 Years Ago This Week

August 9
  • India signs a 20-year treaty of friendship and cooperation with the Soviet Union.
  • Internment in Northern Ireland: British security forces arrest hundreds of nationalists and detain them without trial in Long Kesh prison; 20 people die in the riots that follow.

August 10 – Mr. Tickle, the first book in the "Mr. Men" series, is first published.

August 11
  • Construction begins on the Louisiana Superdome in New Orleans.
  • John Lennon and Yoko Ono are among more than 1,000 demonstrators marching past the Ulster office in London, protesting against internment and the use of troops in Northern Ireland. The march also supports the underground magazine Oz which is on trial for alleged obscenity.

August 12 – Syria severs diplomatic relations with Jordan because of border clashes.

August 13
  • Died: King Curtis (stage name for Curtis Montgomery), 37, Grammy Award-winning American saxophonist and posthumous inductee into the Rock and Roll Hall of Fame, was stabbed to death while trying to walk up the steps of his Manhattan apartment.
  • First UK release of Paul and Linda McCartney's single 'The Back Seat of My Car'.

August 14
  • British troops are stationed on the Ireland border to stop arms smuggling.
  • Bahrain declares independence as the State of Bahrain (As of 2018 officially the Kingdom of Bahrain).


Selections from Billboard's Hot 100 for the week:
1. "How Can You Mend a Broken Heart," Bee Gees
2. "Mr. Big Stuff," Jean Knight
3. "Take Me Home, Country Roads," John Denver
4. "Draggin' the Line," Tommy James
5. "You've Got a Friend," James Taylor
6. "Indian Reservation (The Lament of the Cherokee Reservation Indian)," The Raiders
7. "Beginnings" / "Colour My World", Chicago
8. "What the World Needs Now Is Love / Abraham, Martin & John," Tom Clay
9. "Mercy Mercy Me (The Ecology)," Marvin Gaye
10. "Signs," Five Man Electrical Band
11. "It's Too Late" / "I Feel the Earth Move", Carole King
12. "Bring the Boys Home," Freda Payne
13. "Never Ending Song of Love," Delaney & Bonnie and Friends
14. "Liar," Three Dog Night
15. "Sweet Hitch-Hiker," Creedence Clearwater Revival
16. "Hot Pants, Pt. 1 (She Got to Use What She Got to Get What She Wants)," James Brown
17. "Rings," Cymarron
18. "Love the One You're With," The Isley Brothers
19. "Spanish Harlem," Aretha Franklin
20. "Riders on the Storm," The Doors
21. "Smiling Faces Sometimes," The Undisputed Truth
22. "Maybe Tomorrow," Jackson 5
23. "Don't Pull Your Love," Hamilton, Joe Frank & Reynolds
24. "Sooner or Later," The Grass Roots
25. "Whatcha See Is Whatcha Get," The Dramatics
26. "I Just Want to Celebrate," Rare Earth
27. "Ain't No Sunshine," Bill Withers

30. "Moonshadow," Cat Stevens
31. "If Not for You," Olivia Newton-John
32. "Here Comes That Rainy Day Feeling Again," The Fortunes
33. "I Don't Want to Do Wrong," Gladys Knight & The Pips
34. "Won't Get Fooled Again," The Who

41. "Tired of Being Alone," Al Green
42. "Stick-Up," Honey Cone

44. "Go Away Little Girl," Donny Osmond

51. "Chirpy Chirpy Cheep Cheep," Mac & Katie Kissoon

60. "Do You Know What I Mean," Lee Michaels

62. "Maggie May" / "Reason to Believe", Rod Stewart
63. "I Woke Up in Love This Morning," The Partridge Family
64. "The Story in Your Eyes," The Moody Blues
65. "Uncle Albert/Admiral Halsey," Paul & Linda McCartney

67. "Bangla Desh" / "Deep Blue", George Harrison

72. "The Night They Drove Old Dixie Down," Joan Baez

81. "Rain Dance," The Guess Who
82. "I've Found Someone of My Own," The Free Movement
83. "Sweet City Woman," Stampeders

86. "If You Really Love Me," Stevie Wonder

93. "Hymn 43," Jethro Tull

95. "The Love We Had (Stays on My Mind)," The Dells


Leaving the chart:
  • "Funky Nassau, Part 1," The Beginning of the End (14 weeks)
  • "She's Not Just Another Woman," 8th Day (13 weeks)
  • "That's the Way I've Always Heard It Should Be," Carly Simon (17 weeks)
  • "Treat Her Like a Lady," Cornelius Brothers & Sister Rose (18 weeks)
  • "Wild Horses," The Rolling Stones (8 weeks)

New on the chart:

"I Woke Up in Love This Morning," The Partridge Family
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(#13 US; #14 AC)

"If You Really Love Me," Stevie Wonder
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(#8 US; #10 AC; #4 R&B; #20 UK)

"Sweet City Woman," Stampeders
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(#8 US; #5 AC)

"The Night They Drove Old Dixie Down," Joan Baez
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(#3 US; #1 AC; #6 UK)

"Uncle Albert/Admiral Halsey," Paul & Linda McCartney
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(#1 US the week of Sept. 4, 1971; #9 AC)

_______

Timeline entries are quoted from the Wiki pages for the month or year and Mark Lewisohn's The Beatles Day by Day, with minor editing as needed.

_______

Totally missed TMA-1, though.
Or...did they...?

Happy Birthday, Sis.
Birthday-Cake-Animated.gif
I envy that she experienced more of the '60s, however little she may have known what was going on. I think that her 50th coming up five years back was a factor in my getting a hankering to do the immersive retro thing.

Peak Beach Boys.
And at their most gorgeous.

I don't think I mentioned this in the album review, but the one time I went to a place that did karaoke, back in the '90s, there was a guy who did an uncannily good performance of this.

Oldies Radio Rock Classic.
Yep.

What, no gushing over Diana? :p

Should I mention that my first exposure to this song was the early '80s cover by Phil Collins...?

The Who. 'nuff said.
At a point when any US chart activity by them is noteworthy. That the US version of their first album didn't even chart was a factor in my decision to bypass it for review purposes, given the pileup of scheduled album reviews. (There's way too much shit from '71 on the RS 2003 album list.)

I got it. I was building on it. :D
I wasn't sure.

This would be a good place to mention a formula aspect of the show that I've noticed by this point...the plot-dependent effectiveness of Jim's tussling ability. They always find excuses to get him into energetic, kinetic fight scenes, but if it's too early in the story, he's overcome, the baddies get away, etc. If it's the climax, nothing can stop this human dynamo...he takes down rooms full of henchmen.

Of course, people in these parts make a big deal about Kirk Fu, but watching WWW, it's clear that Conrad and his show's stuntmen were setting the standard.

Hmm, good point. Or points.
Just got that on second reading...
 
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"I Woke Up in Love This Morning," The Partridge Family
I guess it's not that bad. :rommie:

"If You Really Love Me," Stevie Wonder
Classic Stevie.

"Sweet City Woman," Stampeders
Sweet Summer song. Always made me wish I liked macaroons.

"The Night They Drove Old Dixie Down," Joan Baez
Classic Folk.

"Uncle Albert/Admiral Halsey," Paul & Linda McCartney
Not that it's bad, but Paul has better on the way.

Or...did they...?
unsure.gif


I envy that she experienced more of the '60s, however little she may have known what was going on. I think that her 50th coming up five years back was a factor in my getting a hankering to do the immersive retro thing.
Aww, that's nice. Does she share your interest and read your reviews and so forth?

What, no gushing over Diana? :p
I started to and then I restrained myself. I don't know what came over me. It shan't happen again!

Should I mention that my first exposure to this song was the early '80s cover by Phil Collins...?
I'm so sorry. :(

I wasn't sure.
Happens to me a lot. :rommie:

This would be a good place to mention a formula aspect of the show that I've noticed by this point...the plot-dependent effectiveness of Jim's tussling ability. They always find excuses to get him into energetic, kinetic fight scenes, but if it's too early in the story, he's overcome, the baddies get away, etc. If it's the climax, nothing can stop this human dynamo...he takes down rooms full of henchmen.
Pretty much the same formula as Batman. Part One: Defeated, trussed up, and left to die. Part Two: It's like he ate his spinach.

Of course, people in these parts make a big deal about Kirk Fu, but watching WWW, it's clear that Conrad and his show's stuntmen were setting the standard.
Conrad would have made a good Kirk-Era starship captain.

Just got that on second reading...
I'm the kind of writer where you get more on the second reading. :rommie:
 
50th Anniversary Album Spotlight

Tapestry
Carole King
Released February 10, 1971
Chart debut: April 10, 1971
Chart peak: #1 (June 19 through September 25, 1971)
#36 on Rolling Stone's 500 Greatest Albums of All Time (2003)
Wiki said:
Tapestry is the second studio album by American singer-songwriter Carole King, released in 1971 on Ode Records and produced by Lou Adler. The album was certified 13× Platinum by RIAA and it is one of the best-selling albums of all time, with over 25 million copies worldwide. It received four Grammy Awards in 1972, including Album of the Year. The lead singles from the album—"It's Too Late" and "I Feel the Earth Move"—spent five weeks at number one on both the Billboard Hot 100 and Easy Listening charts. In 2000 it was voted number 74 in Colin Larkin's All Time Top 1000 Albums. In 2020, Tapestry was ranked number 25 on Rolling Stone's list of the 500 greatest albums of all time.
It took me a bit to get to this one, but as you can see, it was very much riding high at our current 50th anniversary point.
The album was recorded at Studio B, A&M Recording Studios during January 1971 with the support of Joni Mitchell and James Taylor, plus various experienced session musicians. Several of the musicians worked simultaneously on Taylor's Mud Slide Slim and the Blue Horizon album.

The cover photograph was taken by A&M staff photographer Jim McCrary at King's Laurel Canyon home. It shows her sitting in a window frame, holding a tapestry that she'd hand-stitched herself, with her cat Telemachus at her feet.


The album opens on a strong, upbeat note with one of its best-known tracks, "I Feel the Earth Move" (charted May 8, 1971, as double A-side w/ "It's Too Late"; #1 US the weeks of June 19 through July 17, 1971):
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The album proves to be pretty frontloaded, with the next track being the better-known side of its next single, "So Far Away" (charts Aug. 28, 1971 as double A-side w/ "Smackwater Jack"; #14 US; #3 AC), which features James Taylor on acoustic guitar:
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The album's trifecta of its most popular tracks is complete with "It's Too Late," written with lyricist Toni Stern (charted May 8, 1971, as double A-side w/ "I Feel the Earth Move"; #1 US; #1 AC; #6 UK; 1972 Grammy Award for Record of the Year; #469 on Rolling Stone's 500 Greatest Songs of All Time):
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Toni Stern told author Sheila Weller that she wrote the lyrics in a single day, after her love affair with James Taylor ended.


"Home Again" can't help make me think of my old neighborhood where her family had their summer home.

I wasn't previously familiar with "Beautiful" as a song, but apparently it was esteemed enough for Carole's Broadway musical to be named after it.
According to King, she did not consciously attempt to write "Beautiful" but it came to her spontaneously It stemmed from her realization while riding the New York City Subway that the way she perceived others reflected how she herself felt.


The first side closes with the gospel-flavored "Way Over Yonder".

Carole managed to save a goodie for opening the second side--her own recording of "You've Got a Friend," which was written for James Taylor as a response to a line in "Fire and Rain":
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Taylor also plays acoustic guitar on this track, and shares backing vocals with Joni Mitchell.

"Where You Lead" is another number written with Toni Stern, who contributed the bridge.

Side two features Carole recordings of a couple of her songs that had previously been hits for other artists...the first being a slow rendition of "Will You Love Me Tomorrow?," originally a 1960-61 chart-topper for the Shirelles and co-written with then-husband and songwriting partner Gerry Goffin:
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Taylor's backing vocals on this one are particularly prominent and recognizable.

"Smackwater Jack," the lesser-known other A-side of "So Far Away," was also written with Goffin, but is original to this album, so I'm unclear as to when it was written.
Its lyrics tell the story of a confrontation between the outlaw Smackwater Jack and Big Jim the Chief. In this way it differs from the other songs on Tapestry, which are more personal and based on expressing emotions.


The album climaxes with it poetic penultimate number and title track, "Tapestry," and closes with its other oldie, "(You Make Me Feel Like) A Natural Woman," written with Goffin and Jerry Wexler and originally a Top 10 hit for Aretha Franklin in 1967.

The album was met with widespread critical acclaim; Village Voice critic Robert Christgau felt that her voice, free of "technical decorum", would liberate female singers; while Jon Landau in Rolling Stone felt that King was one of the most creative pop music figures and had created an album of "surpassing personal-intimacy and musical accomplishment".
Along with being selected Album of the Year, it also received Grammys for Best Female Pop Vocal Performance, Record of the Year ("It's Too Late"), and Song of the Year ("You've Got a Friend"), making King the first solo female artist to win the Grammy Award for Record of the Year, and the first woman to win the Grammy Award for Song of the Year.

The album remained on the Billboard charts for 313 weeks (second only to Pink Floyd's 724 weeks with The Dark Side of the Moon).
Well I guess its representative tracks are gonna be in my 50th anniversary master shuffle for a while, then!
Tapestry still holds the record for most consecutive weeks at number one by a female solo artist.
[It] was one of 50 recordings chosen to be added to the National Recording Registry. Recordings added to the National Recording Registry are picked to be preserved in the Library of Congress as they are "culturally, historically, or aesthetically important."


This is a very listenable album with plenty of good stuff on it, and very representative of the early '70s singer/songwriter phenomenon. That said, there was nothing in the tracks that I wasn't previously familiar with that really grabbed me.

_______

I do love the Who. My second favorite band. Not sure why their early stuff didn't click in the US. Too English?
Perhaps. And there was certainly a lot of well-established competition by then.

I guess it's not that bad. :rommie:
I'll say this about the Osmonds, they make me appreciate (starring Shirley Jones featuring) David Cassidy more.

Classic Stevie.
Sounds like Stevie coming into his uber-classic '70s period.

Sweet Summer song. Always made me wish I liked macaroons.
An evocative oldies radio staple.

Classic Folk.
It's odd that her first and only big hit came this late, covering the Band. And it doesn't improve upon their original for me.

Not that it's bad, but Paul has better on the way.
This to me sounds like something that would have been perfectly at home on a late-era Beatles album.

Aww, that's nice. Does she share your interest and read your reviews and so forth?
Nope. It's my thing.

Pretty much the same formula as Batman. Part One: Defeated, trussed up, and left to die. Part Two: It's like he ate his spinach.
Maybe...but fight scenes on Batman look like dance routines compared to what they're doing on WWW.

Conrad would have made a good Kirk-Era starship captain.
I always thought so.
 
Tapestry
Carole King
Released February 10, 1971
Chart debut: April 10, 1971
Chart peak: #1 (June 19 through September 25, 1971)
#36 on Rolling Stone's 500 Greatest Albums of All Time (2003)
Don’t know if anyone has seen it, but the 90’s film, Grace of My Heart is a loose take on Carol King’s life. The movie is a lot of fun in that it features approximations of important people in her lif, like Gerry Goffin, Phil Spector, Leslie Gore, The Righteous Bros. You have to kind of know these folks in order to figure out who’s who. There is also the fictional insertion of a Brian Wilson type character who plays a really important, though fictional, part in Crace/Carol’s life.

After going through all that she goes through, near the end of the movie, she begins work on what would eventually become “Tapestry.” It’s pretty cool.

Movie also features an original song by the most unlikely of songwriting partners, Burt Bacharach, called God Give Me Strength. Great song.
 
The album opens on a strong, upbeat note with one of its best-known tracks, "I Feel the Earth Move"
Strong indeed. This is a great song.

"So Far Away"
Another great song. Wistful musings that just coalesce into poetry.

"It's Too Late,"
One of those songs that's incongruously upbeat for its depressing subject matter, covering the same ground as "Dangling Conversation."

"Home Again" can't help make me think of my old neighborhood where her family had their summer home.
That's cool. Did you know the family?

"(You Make Me Feel Like) A Natural Woman," written with Goffin and Jerry Wexler and originally a Top 10 hit for Aretha Franklin in 1967.
Good one. I don't think I knew that she wrote that (same with the Shirelles song).

I'll say this about the Osmonds, they make me appreciate (starring Shirley Jones featuring) David Cassidy more.
True. :rommie:

It's odd that her first and only big hit came this late, covering the Band. And it doesn't improve upon their original for me.
I remember being surprised about that when it came up before.

This to me sounds like something that would have been perfectly at home on a late-era Beatles album.
It definitely sounds Beatlesque, and there's also something about it lyrically that predicts his upcoming body of work, like "Junior's Farm" (my personal fave).

Maybe...but fight scenes on Batman look like dance routines compared to what they're doing on WWW.
Especially when Batgirl came along. :rommie:
 
55th Anniversary Album Spotlight

Yesterday and Today
The Beatles
Released June 20, 1966
Chart debut: July 9, 1966
Chart peak: #1 (July 30 through August 27, 1966)
YesterdayandToday1.jpg
Oops! Can't have that....
YesterdayandToday2.jpg
Wiki said:
Yesterday and Today...is a studio album by the English rock band the Beatles. Released in the United States and Canada in June 1966, it was their ninth album issued on Capitol Records and twelfth American release overall. Typical of the Beatles' North American discography until 1967, the album contains songs that Capitol had withheld from its configurations of the band's recent EMI albums, along with songs that the group had released elsewhere on non-album singles. Among its 11 tracks are songs from the EMI albums Help! and Rubber Soul, and three new 1966 recordings that would appear on Revolver in countries outside North America.


The album kicks off with one of the band's more recognizable, single-worthy album tracks, which had also opened Rubber Soul in the UK...the playful, upbeat "Drive My Car" (#43 on Rolling Stone's 100 Greatest Beatles Songs):
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When McCartney arrived at Lennon's Weybridge home for a writing session, he had the tune in his head, but "the lyrics were disastrous, and I knew it." The chorus began, "You can buy me diamond rings", a cliché they had used twice before, in "Can't Buy Me Love" and "I Feel Fine" (as well as in the discarded "If You've Got Trouble"). Lennon dismissed the lyrics as "crap" and "too soft". They decided to rewrite the lyrics and after some difficulty – McCartney said it was "one of the stickiest" writing sessions – they settled on the "drive my car" theme...and the rest of the lyrics flowed easily from that.
According to McCartney, "'Drive my car' was an old blues euphemism for sex". This expression was more common in the pre-automatic shift era of automobiles.
Harrison had been listening to Otis Redding's "Respect" at the time and, as a result of this influence, "Drive My Car" contains more bottom end than previous Beatles recordings, mimicking the bass-heavy sound captured in Redding's Memphis studio.


Next is one of the three tracks that were culled from the UK version of the upcoming Revolver album, John's atmospheric, psychedelic "I'm Only Sleeping" (#57 on Rolling Stone's 100 Greatest Beatles Songs):
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In a London Evening Standard article published on 4 March 1966, Maureen Cleave, a friend of Lennon, wrote: "He can sleep almost indefinitely, is probably the laziest person in England. 'Physically lazy,' he said. 'I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with any more.'"
This track really reached me when I was first delving into the Beatles as a teenager who enjoyed nothing more than sleeping in good and late on the weekend. A friend of mine at the time asked me for the lyrics so that he could post them on his door for his Beatle-fan mother!
The track includes a backwards (or backmasked) lead guitar part, played by George Harrison, marking the first time that such a technique had been used on a pop recording.


This Capitol release includes a lot of material that had already been released on US singles, including John's "Nowhere Man" (charted Mar. 5, 1966; #3 US; #66 on Rolling Stone's 100 Greatest Beatles Songs), which had been left off the US version of Rubber Soul:
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Capitol's album-sequencing cred is called into question when we get our third John song in a row, the edgy-for-the-times Revolver track "Doctor Robert". The Beatles were trailing just behind the Stones in the area of overt drug references..."Mother's Little Helper" having been released on Aftermath in the UK just prior to the recording of this track.

Perhaps the best decision that Capitol ever made in their reworking of the Beatles' catalog was releasing "Yesterday" as a single (charted Sept. 25, 1965; #1 US the weeks of Oct. 9 through 30, 1965; #13 on Rolling Stone's 500 Greatest Songs of All Time; #4 on Rolling Stone's 100 Greatest Beatles Songs). It had been buried on the second side of Help! in the UK, as the Beatles were self-conscious of it effectively being Paul's solo debut. It became Paul's signature song and the Beatles' most covered number.
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The first side closes with "Act Naturally," Ringo's cover of a Buck Owens number written by Johnny Russell and Voni Morrison. Originally another track from side two of Help! in the UK, it had previously been released in the US as the B-side of "Yesterday" (charted Sept. 25, 1965; #47 US).

Side two opens with the third track culled from Revolver, upbeat rocker "And Your Bird Can Sing" (#78 on Rolling Stone's 100 Greatest Beatles Songs). I can tell here how the US version of Revolver will be thrown off-balance by Capitol's meddling. Not only were all three songs culled from it John tracks (leaving John with only two tracks on Capitol's Revolver--George still has three!), but I've always perceived a certain symmetry between some of the numbers on the UK version of the album. This one I'd mentally paired with "She Said She Said".
"And Your Bird Can Sing" was used as the theme song for the Beatles' cartoon series during its third season.


While deliberately derivative of the Byrds, "If I Needed Someone" (#51 on Rolling Stone's 100 Greatest Beatles Songs) has always been one of my favorite tracks from the UK version of Rubber Soul, and my favorite George song. The sound of those John/Paul/George harmonies is pure, sweet joy. Historically, it was one of two numbers representing Rubber Soul on the 11-song set list of the Beatles' final tour.

This album became the US LP home of both sides of the standalone single that was contemporaneous to Rubber Soul...the first here being "We Can Work It Out" (charted Dec. 18, 1965; #1 US the weeks of Jan. 8, 15, and 29, 1966; #1 UK as double A-side w/ "Day Tripper"; #30 on Rolling Stone's 100 Greatest Beatles Songs), one of the more distinctive examples of Lennon/McCartney songwriting collaboration in the Beatles' catalog:
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Paul said:
I took it to John to finish it off, and we wrote the middle together. Which is nice: 'Life is very short. There's no time for fussing and fighting, my friend.' Then it was George Harrison's idea to put the middle into 3/4 time, like a German waltz. That came on the session, it was one of the cases of the arrangement being done on the session.
John said:
In We Can Work It Out, Paul did the first half, I did the middle eight. But you've got Paul writing, 'We can work it out / We can work it out' – real optimistic, y'know, and me, impatient: 'Life is very short, and there's no time / For fussing and fighting, my friend.'


On the subject of symmetry on the UK Beatles albums...Ringo country spotlights "Act Naturally" and "What Goes On" (B-side of "Nowhere Man"; charted Mar. 12, 1966; #81 US) had been the opening tracks of the second sides of consecutive LPs, Help! and Rubber Soul. That they ended up together here, while other US albums went without Ringo songs, is one of Capitol's most confounding blunders. "What Goes On" is unique in the Beatles' catalog as the only song to feature a Lennon/McCartney/Starkey writing credit.

The album closes with the other side of the "We Can Work It Out" single, punchy, guitar riff-driven rocker "Day Tripper" (charted Dec. 18, 1965; #5 US; #1 UK as double A-side w/ "We Can Work It Out"; #39 on Rolling Stone's 100 Greatest Beatles Songs).

This would be the last "butcher" album proactively created by Capitol in the US...1970's Hey Jude having been an afterthought that primarily collected unattached singles dating back to 1966. Following the release of the shortened Capitol version of Revolver, US albums would match those in the UK, with some relatively trivial differences. In the digital era with its UK-standardized Beatles catalog, the aspect of Yesterday and Today that looms largest in Beatles lore is its controversial original cover....
Wiki said:
Known as the "butcher cover", it was taken by photographer Robert Whitaker and shows the band dressed in white coats and covered with decapitated baby dolls and pieces of raw meat. Although the photo was intended to be part of a larger work critiquing the adulation afforded the Beatles, the band members insisted it was a statement against the Vietnam War. Others interpreted it as the Beatles protesting the record company's policy of "butchering" their albums for the North American market. In response to outrage from record retailers, the LP was withdrawn and the cover replaced with a shot of the band posed around a "steamer" trunk....The original LP became a highly prized item among collectors. Since some of Capitol's pressing plants merely pasted the trunk image onto the existing LP covers, the album also encouraged a phenomenon of stripping back the top layer of artwork in the search for a banned butcher cover.
The album's Wiki page goes into much more detail about this.

Pro: This album is full of great music from the Beatles' peak period.
Con: It's a Capitol hack job. You're better off listening the UK versions of Help!, Rubber Soul, and Revolver.

_______

The movie is a lot of fun in that it features approximations of important people in her lif, like Gerry Goffin, Phil Spector, Leslie Gore
I remember somebody posting a clip of the Lesley Gore character singing when Lesley died. Did she work with Carole King, though? I don't see any King songwriting credits on her charting singles.

One of those songs that's incongruously upbeat for its depressing subject matter
It's about moving on...bittersweet but affirming.
covering the same ground as "Dangling Conversation."
Those people still need to move on.

That's cool. Did you know the family?
Not really. The odd passing encounter. We knew people who knew them.

Good one. I don't think I knew that she wrote that (same with the Shirelles song).
She wrote/co-wrote a lot of classic stuff...she was primarily known as a songwriter before this.
 
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Oops! Can't have that....
Whoa. :rommie:

This track really reached me when I was first delving into the Beatles as a teenager who enjoyed nothing more than sleeping in good and late on the weekend. A friend of mine at the time asked me for the lyrics so that he could post them on his door for his Beatle-fan mother!
Now there's a diplomat. :rommie:

(leaving John with only two tracks on Capitol's Revolver--George still has three!)
"Hey, John, remind me. How many songs do you have on Revolver? I forget. I have three, by the way. How many do you have?"

the aspect of Yesterday and Today that looms largest in Beatles lore is its controversial original cover....
It does seem inappropriate. Not the image itself, which doesn't bother me at all, but not representative of the band or the music.

Pro: This album is full of great music from the Beatles' peak period.
Con: It's a Capitol hack job. You're better off listening the UK versions of Help!, Rubber Soul, and Revolver.
Generally, it's best to go with the artist's vision and not guys with ties.

It's about moving on...bittersweet but affirming.
Yeah, I guess.

Those people still need to move on.
Give me time, man! I mean them! Give them time!

She wrote/co-wrote a lot of classic stuff...she was primarily known as a songwriter before this.
Interesting. I'm not sure if I knew that.
 
50th Anniversary Cinematic Special

Shaft
Directed by Gordon Parks
Starring Richard Roundtree, Moses Gunn, Charles Cioffi, Christopher St. John, and Gwenn Mitchell
Premiered June 25, 1971 (Los Angeles)
1972 Academy Award for Best Music, Original Song (Isaac Hayes, "Theme from Shaft"); Nominee for Best Music, Original Dramatic Score (Isaac Hayes)
Wiki said:
Shaft is a 1971 American crime action film directed by Gordon Parks and written by Ernest Tidyman and John D. F. Black. It is an adaptation of Tidyman's novel of the same name and is the first entry in the Shaft film series. The plot revolves around a private detective named John Shaft who is hired by a Harlem mobster to rescue his daughter from the Italian mobsters who kidnapped her. The film stars Richard Roundtree as Shaft, alongside Moses Gunn, Charles Cioffi, Christopher St. John and Lawrence Pressman. The film deals with themes like the Black Power movement, race, masculinity, and sexuality. It was filmed in Harlem, Greenwich Village, and Times Square within the Manhattan borough of New York City. The Shaft soundtrack album, recorded by Isaac Hayes, was also a success, winning a Grammy Award for Best Original Score Written for a Motion Picture and a second Grammy that he shared with Johnny Allen for Best Instrumental Arrangement. The "Theme from Shaft" won the Academy Award for Best Original Song and has appeared on multiple Top 100 lists, including AFI's 100 Years...100 Songs. A prime example of the blaxploitation genre, it was selected in 2000 for preservation in the United States National Film Registry by the Library of Congress for being "culturally, historically, or aesthetically significant."

The Fandango clips below are all the ones that aren't age-blocked (which requires a sign-in). There's also an official trailer, though it has the N-word in it, so board policy. "Shaft--hotter than Bond, cooler than Bullitt! Rated R! If you wanna see Shaft...ask your mama!"

The opening credits sequence features the film's most iconic element--the award-winning theme song by Isaac Hayes, which will be coming our way as a chart-topping single in a couple of months:
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Tell me that sounds like the '50s, I dare ya!

In January 1971, John Shaft, a private detective, is informed that some gangsters are looking for him. Police Lt. Vic Androzzi [Charles Cioffi] meets Shaft and unsuccessfully tries to get information from him on the two gangsters.
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Androzzi's bigoted partner, Tom Hannon, is played by Lawrence Pressman.
After Androzzi leaves, Shaft spots one of the men waiting for him in his office building. He forces the first gangster into his office where the second gangster is waiting. During a short fight, Shaft dodges one of them who goes out the window, while the other surrenders and reveals to him that Bumpy Jonas, the leader of a Harlem-based organized crime family, wants Shaft brought uptown to Harlem for a meeting.

At the police station, Shaft lies to Lt. Androzzi and the detective assigned to the second gangster's death, by saying that the man was in an "accident". He is allowed to return to the streets for 48 hours. Shaft arranges a meeting with Bumpy [Moses Gunn] in his office. It turns out Bumpy's daughter has been kidnapped, and Shaft is asked to ensure her safe return.
Alas, we don't have any Bumpy scenes available. Gunn was pretty good...as was Drew Bundini Brown as his main henchman, Willy.

After tracking down Ben Buford [Christopher St. John] as Bumpy suggested, a shootout ensues; Shaft is told by Androzzi after the shooting that Shaft himself, and not Ben, was the target, and that tensions brewing between the uptown hoods belonging to Bumpy Jonas and the downtown Mafiosi have culminated in a couple of murders. But the perception is black against white to the general public, with the possibility of an escalation into full-blown race war. He also shows Shaft some pictures of two [three, actually] of the Mafia men who just arrived in New York. Vic begs Shaft to explain what's going on, although Vic already knows Bumpy is looking for Shaft.
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To clarify, Buford is the leader of a black militant gang; Jonas is interested in him because he has manpower that knows how to operate outside of Harlem. Gwenn Mitchell plays Ellie Moore, Shaft's regular girlfriend, who isn't mentioned in the Wiki synopsis because she really didn't have much of a role in the story. In Bondian fashion, Shaft isn't the strictly faithful type--he beds a woman of opportunity (Linda, played by Margaret Warncke), whom he picks up in the next part....

Shaft surmises that mobsters [George Strus and Dominic Barto] are watching his apartment from a local bar. Shaft pretends to be a bartender and calls the police to have the mobsters arrested.
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A notable element for the times is that the bartender who lets Shaft replace him is openly gay. I didn't catch the character's name, so I can't say who the actor was.
Shaft later goes to the police station to set a meeting to find where Bumpy's daughter is being held captive.

Vic tells Shaft that the room that he was in at the station house was bugged and he is supposed to bring him in for questioning, but instead leaves.
While I'm sure that it was already a common trope at this point, the "I'll scratch your back if you scratch mine" working relationship between Vic and Shaft is perhaps the film's most endearing element.
Ben and Shaft go to the apartment where Marcy Jonas [Sherri Brewer] is being held to make sure she is alive. Once there, a gunfight ensues during which two Mafia hoods are killed and Shaft takes a bullet in the shoulder.
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Actually, just Shaft goes...Ben and a couple of his men tail Shaft, and Ben gets Shaft home after he's shot. Victor Arnold plays Charlie, the Mafia hood whom Shaft has the gun on.

Shaft goes home and receives medical attention from a doctor working underground with him. Shaft tells Ben to round up his men and meet him at the hotel where Marcy has been taken, to prepare to get her back. He also calls Bumpy to tell him his daughter is fine and he is going to need some taxicabs to meet him at the hotel for the getaway.

Shaft's plan resembles a military commando-style operation. Ben's men dress as hotel workers to avoid arousing suspicion. Shaft and one of Ben's men go to the roof and prepare to enter the room where Marcy is being held captive. Shaft's plan is to cause a distraction with an explosive thrown through the window of Marcy's room while Ben and his men come down the hall and deal with the Mafia men as they leave their rooms.
Story-wise, the film is heavy with setup as Shaft and Vic unravel the mystery of what's going on. The climactic hotel rescue sequence is perfunctory by comparison.
The rescue plan is successful. Marcy is spirited out of the hotel into one of the waiting taxicabs. As the others get away in the remaining cabs, Shaft walks to a phone booth to call Vic. Shaft informs Vic as a result of the rescue there will be a huge mess to fix between the uptown crew and the mob in the near future. Vic says to close it for him, meaning he wants Shaft to fix the trouble. Shaft replies, "You're gonna have to close it yourself" then hangs up the phone and walks away laughing.
Shaft's last line was actually "Looks like you're gonna have to close it yourself...Shitty!"--payoff for an earlier beat in which Vic teased Shaft after overhearing Linda say "Close it yourself, Shitty" while walking out the door of Shaft's apartment.

It's said (and disputed) that the story was originally written with Shaft as a white character. Whatever the truth may be, this could have been a pretty vanilla Bullitt knock-off if they hadn't cast Roundtree in the lead role. Between this, and being an early example of the phenomenon, this film wasn't as full-on blaxploitationy as I might have expected.

_______

Now there's a diplomat. :rommie:
She was a cool mom. We were listening to my spanking-new Beatles records on the stereo in her bedroom, she came home and yelled from downstairs, "Turn it up!"

"Hey, John, remind me. How many songs do you have on Revolver? I forget. I have three, by the way. How many do you have?"
John and Paul each had five in the UK; George had three; Ringo one.

It does seem inappropriate. Not the image itself, which doesn't bother me at all, but not representative of the band or the music.
What about the music? You didn't say anything about the songs. :p

Interesting. I'm not sure if I knew that.
I'm surprised that you didn't! A list of some of the bigger hits written by Goffin & King (occasionally with somebody else sharing the credit):
  • "Will You Love Me Tomorrow?" by The Shirelles (1960)
  • "Take Good Care of My Baby" by Bobby Vee (1961)
  • "Crying in the Rain" by The Everly Brothers (1962)
  • "Her Royal Majesty" by James Darren (1962)
  • "The Loco-Motion" by Little Eva (1962), later covered by Grand Funk Railroad (1974) and Kylie Minogue (1988)
  • "Go Away, Little Girl" by Steve Lawrence (1962), later covered by The Happenings (1966) and Donny Osmond (1971)
  • "Up on the Roof" by The Drifters (1962)
  • "Keep Your Hands off My Baby" by Little Eva (1962)
  • "Chains" by The Cookies (1962)
  • "Let's Turkey Trot" by Little Eva (1963)
  • "Don't Say Nothin' Bad (About My Baby)" by The Cookies (1963)
  • "One Fine Day" by The Chiffons (1963)
  • "Hey, Girl" by Freddie Scott (1963), later covered by Donny Osmond (1971)
  • "I Can't Stay Mad at You" by Skeeter Davis (1963)
  • "I'm into Something Good" by Herman's Hermits (1964)
  • "Just Once in My Life" by The Righteous Brothers (1966)
  • "Don't Bring Me Down" by The Animals (1966)
  • "Pleasant Valley Sunday" by The Monkees (1967)
  • "(You Make Me Feel Like) A Natural Woman" by Aretha Franklin (1967)
  • "Hi-De-Ho" by Blood, Sweat & Tears (1970)
 
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