Categories
Boppin'

RESCUED FROM THE BUDGET BIN! Heavy Metal (24 Electrifying Performances)

Record stores used to have cut-out bins, overflowing with deleted albums that the labels had given up as lost causes. The cut-out LP covers had been deliberately damaged: a corner chopped off, a puncture, some sort of premeditated defacing to mark them as clearance items, as soon-to-be discarded product that had been written off, as Grade B, as “other.” The cut-out bin was a record buyer’s last chance to grab a record on the cheap before it slipped into the out-of-print zone. In addition to the cut-outs, there were also budget albums, produced and priced for discount sales.


Cut-outs. Budget albums. I may have purchased a few of these over the years.

VARIOUS ARTISTS: Heavy Metal (Warner Special Products, 1974)

Now that’s what I call music.

Mind you, it’s not what I call “heavy metal music;” while some of the acts contained in this oddball double-LP could fall within the peripheries of the genre, and Black Sabbath should qualify for sure, it would take some seriously heavy-grade ’70s-style medication to alter one’s perceptions to a hallucinatory fuzz sufficient to regard Van MorrisonWarThe Eagles, or The Grateful Dead as a metal act. Feel free to view this peculiar marketing choice as antecedent to the GRAMMYs’ eventual award to Best Heavy Metal Artist Jethro Tull.

So forget about the label; calling this “heavy metal” is delusional no matter how you look at it. But as a various-artist set of no discernible theme? Even though it includes some tracks from the ’60s, Heavy Metal is 1970s rock in microcosm.

Far out.

When we think of budget-priced compilation albums in the ’70s, we may think first about cheesy K-TelRonco, and Adam VIII sets hawked on TV, sonically-deprived hatchet jobs cramming too many songs into too little space, sacrificing sound quality and aesthetics alike as an offering on a Me Decade altar praying to the decadent god of MORE!! I feel a little queasy even considering it. But the ’70s also produced a bounty of compilations from major labels, business entities whose motives may or may not have been inherently purer than those of a Ron Popeil, but whose methodology and ability to execute were an immediate world apart.

Count the Warner Brothers empire among those major labels. By the mid ’70s, that empire encompassed Warner Brothers, AtlanticRepriseElektra, and Asylum, the record-label equivalent of the gathering of The Mighty Avengers (or perhaps The Justice League Of America, since Warner also owned DC Comics). Let’s pound the comic-book comparison one nail further: Warner’s muscle and deep vaults gave it powers and abilities far beyond those of mortal record labels. Those super powers produced Lenny Kaye‘s seminal ’60s garage compilation Nuggets, and a long series of loss leaders that introduced deep cuts by obscure artists to legions of cash-strapped music fans. And it gave us Warner Special Products, the low-priced subsidiary imprint that concocted Heavy Metal.

I have no idea of the thought process that created Heavy Metal; if there’s a definitive account of the record’s genesis out there somewhere, I’d love to read it. The great and powerful internet suggests that Heavy Metal was a sequel to a 1973 four-record set called Superstars Of The 70’s, and I kinda wish I’d snagged a copy of that one when I was a young teen. The lineup on Superstars Of The 70’s includes Otis ReddingThe KinksTodd RundgrenWilson PickettThe Rolling StonesRoberta FlackJoni MitchellThe Beach Boys, and Gordon Lightfoot, a diverse menu that whet the ol’ Me Decade musical appetite. MORE!! Heavy Metal met the next stage of that insatiable demand.

I bought my copy of Heavy Metal at The Record Theatre near Syracuse University in late ’76 or early ’77. I was a senior in high school, sixteen-seventeen years old, and the sheer buzz of Marshall Street and the SU hill was intoxicating with possibilities for me. I loved going up there whenever I could, for lectures at Hendricks Chapel (where I saw Star Trek creator Gene Roddenberry and my favorite author, Harlan Ellison), the occasional cult film, pizza, books, fruitless flirting with co-eds, one frantic, exuberant run up the outdoor flight of stairs at Crouse College as I bellowed the theme from Rocky, and sifts through the garden of delights at The Record Theatre on Marshall Street. Good times? To this square peg kid, desperately looking for a place to belong? Yeah. Good times.

I’m not sure what specific tune or combination of tunes drew me to Heavy Metal. I’m sure I would have been interested in owning some Alice Cooper, and probably “Ramblin’ Man” by The Allman Brothers Band, maybe “Ride Captain Ride” by Blues Image, and maybe the Yes or Doors tracks. My cousin Mark had hooked me a little on his Deep Purple cassettes, so it was certainly cool to claim ownership of “Smoke On The Water.” I betcha I was eager to crank some Sabbath, just because.


The album opens with “Kick Out The Jams.” That was the revelation for me. I’d never heard The MC5 before, never heard of The MC5 before. This was the censored version, with brothers and sisters standing in for the unexpurgated original incitement to kick out the jams, muthafuckas. I knew nothing about any of that; I just knew this track rocked, and I discovered its raucous, ragged splendor just before I discovered the concept of punk rock. Within less than a year, I would be an enthusiastic punk fan.

The mixed styles offered on Heavy Metal were A-OK with me. My first T. Rex track. My first Buffalo Springfield track (the now-rare nine-minute version of “Bluebird”). My first Jimi Hendrix, my first J. Geils Band, my first Led ZeppelinJames GangUriah HeepFaces, War, Grateful Dead. I didn’t love all of it, and I still don’t. But I loved the overall experience of this album, and I look back on it with great fondness.

The period spanning the winter of 1976 into the spring of 1977 was the spark of my personal rock ‘n’ roll crucible. I saw my first rock concert (KISS). I became a fan of The Kinks. I started reading Phonograph Record Magazine, prompting my curiosity about this “punk rock” craziness. I deepened my appreciation of The Monkees. I switched from AM radio to FM radio. I turned that collective jam-kickin’ mother up. The crucible would turn its heat even higher after graduation, as I heard The Sex Pistols that summer and The RamonesBlondieTelevision, and The Runaways at college that fall. But the spark first ignited when I was still in high school.
Heavy Metal was one of the records I used to bring in to school, tunes to play during an abundance of time spent in the office of my high school literary magazine. Desolation BoulevardRaspberries’ BestThrough The Past, DarklyHistory Of British Rock, Volume 2. Anything by The BeatlesHeavy Metal. Other friends brought in more records to play, and my soundtrack at 17 began to form. The crucible never sounded better.

Over a span of decades, through countless periodic purges of my record collection, every time I’ve been tempted to shed my copy of Heavy Metal, I’ve retained my sense and put it back on my LP shelf instead. I still have it. Hell, I may have it cremated with me when that time comes. And how heavy metal would that be? Kick out the jams, muthuhs and bruthuhs. Kick out the jams.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here. A digital download version (minus The Smithereens’ track) is also available from Futureman Records.

Categories
Boppin'

THE EVERLASTING FIRST: Batman

Continuing a look back at my first exposure to a number of rock ‘n’ roll acts and superheroes (or other denizens of print or periodical publication), some of which were passing fancies, and some of which I went on to kinda like. They say you never forget your first time; that may be true, but it’s the subsequent visits–the second time, the fourth time, the twentieth time, the hundredth time–that define our relationships with the things we cherish. Ultimately, the first meeting is less important than what comes after that. But every love story still needs to begin with that first kiss.

This was originally posted as part of a longer piece covering both pop music and comic book characters. It’s separated here for convenience.My introduction to Batman, my favorite comic book character, came in the person of Adam West, star of the 1966-1968 Batman TV series; I wrote about that here, so we don’t need to cover all that again. For now, suffice it to reiterate that no TV series ever had as great and as lasting an impact on my life as did the campy, twice-weekly adventures of The Dynamic Duo in 1966.

But that’s just the first part of a first impression. Where did I go from there? Well, the massive nature of Batmania ’66 made the Caped Crusader as ubiquitous as The Beatles had been just two years before. There was so much Bat-merchandise everywhere you turned; the J.M. Fields department store had a small section devoted exclusively to Batman tie-in stuff, and I still have the Batman wastebasket I got there.

One of the most intriguing Batman products would have to be the bubblegum cards. There were two entirely different series of Batman cards; there was a series featuring stills from the TV show, capturing images of Adam West and Burt Ward capturing Gotham’s Most Wanted, and there was another series with painted, pulpy images of Batman and Robin battling their deadliest foes. Oh God, those painted cards were awesome, and I sprang for a complete set of reproductions a couple of decades ago. Those cards, with their hints of an unknown wonderland of Batman adventure, were my first teasing taste of (excuse the expression) a Batman beyond what I’d seen on TV.

(I recall a similar feeling of Bat-discovery in, I think, a tie-in from Hostess or some other sweet treat distributor, which carried images of Bat-villains I’d never seen, like The FoxThe Shark, and The Vulture; I got another sideways glance into Batman’s vast rogues gallery with coloring-book appearances by The Bouncer and Blockbuster.)


I can’t quite remember my first Batman comic book story. I have a vague memory of a battle with The Joker involving giant tubes of paint (which would have been from a 1966 Kelloggs promotion), and that may or may not have been my first. If not, then the honor probably goes to a 1966 Signet paperback, collecting Batman reprints in black-and-white. Most of the reprints were from the ’50s–I particularly loved a Joker story called “The Crazy Crime Clown!”–but the first story in that book was a reprint of Batman’s origin story by (uncredited) writer Bill Finger and (too-credited) artist Bob Kane, as it appeared in Batman # 1 in 1940 (except for, y’know, the expensive color part). I still have that paperback, and if that’s where my Batman comics-readin’ started, then I picked a hell of a great place for my Batman to begin.

Subsequently, the first bona fide Batman color comic book I owned was Batman # 184, purchased off the rack at a grocery store in Aurora, Missouri in the summer of ’66.  I’ve purchased a few more Batman comic books since then.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.

Categories
Boppin'

LP Cover Cavalcade #2

THE GO-GO’S: Beauty And The Beat

The Go-Go’s do not get anywhere near the level of respect they deserve. A self-contained rockin’ pop combo that wrote nearly all of their own material, The Go-Go’s scored hits in the early ’80s, and released three fantastic albums before splintering in the acrimony that claims many a great group. They’ve reunited a few times since then for concerts and additional fine recordings. They should have been a shoo-in for induction into The Rock And Roll Hall Of Fame years ago. They have never even been nominated.

Their debut album Beauty And The Beat was my favorite new album in 1981. Nearly four decades later, I remain as fond of it now as I was then. It is very nearly a perfect album, with the cold-sounding, dispassionate new wave number “Automatic” the only track I don’t like. The rest? “How Much More,” “Lust To Love,” “Skidmarks On My Heart,” “This Town,” “Fading Fast,” “You Can’t Walk In Your Sleep (If You Can’t Sleep),” “Can’t Stop The World,” and “Tonight” are all engaging as hell. The first single “Our Lips Are Sealed” was one of the two best things on the radio in ’81; the other best thing on the radio that year was also by The Go-Go’s, also from Beauty And The Beat, and it was their signature tune “We Got The Beat,” a magnificent single that earns its own entry in my book The Greatest Record Ever Made! (Volume 1). Gotta respect The Go-Go’s.

HERMAN’S HERMITS: Hold On!

Although I did indeed see Herman’s Hermits in their 1966 movie Hold On! when it was still in theaters, let’s forget about that. And believe me, it’s an easy movie to forget. Instead, let’s move ahead by a decade and change, to when I was an 18-year-old college freshman in 1978. That’s when I scored a truly beat-up copy of the Hold On! soundtrack LP, a record that was a lot more interesting than the cinematic trifle that spawned it.

One may be tempted to likewise dismiss the album as a trifle, but it was at least an interesting trifle; I loved some of it, and I wasn’t much put off by the rest. If I could take or leave (mostly leave) “The George And Dragon,” “Leaning On A Lamp Post,” and Shelley Fabares‘ “Make Me Happy” (which skipped on my copy anyway), I had more enthusiasm for “Hold On!,” “Wild Love,” “All The Things I Do For You Baby,” and “Gotta Get Away.” My biggest go-to tracks on Hold On! were “Got A Feeling,” “Where Were You When I Need You” (which I heard and loved here before discovering that it had later been a hit for The Grass Roots), and “A Must To Avoid.” “A Must To Avoid” quickly became my favorite Herman’s Hermits (at least until I heard “No Milk Today”). My local heroes The Flashcubes used to cover “A Must To Avoid” in their live sets, and that was okay by me.

The sharp-eyed among you will notice some scribbling near the photos on my LP cover. The Herman-less Hermits played a bar called The Gin Mill in Liverpool, NY that very same summer of ’78, and you’re damned right I was there. The Hermits put on a swell show, after which I solicited autographs from bassist Karl Green, guitarist Derek Leckenby, and drummer Barry Whitwam, plus guitarist Frank Renshaw, who had replaced Keith Hopwood in Hermitdom. I saw original Herman’s Hermits lead singer Peter Noone on several subsequent occasions, including one show with his fab early ’80s new wave group The Tremblers, but have never had an opportunity to get him to add his signature alongside those of his erstwhile co-workers.
THE KINKS: The Great Lost Kinks Album

About a year before The Who‘s vault-raidin’ 1974 compilation Odds And SodsThe Kinks‘ by-then-former American label Reprise issued The Great Lost Kinks Album, a collection of 1966-1970 recordings that The Kinks would have preferred to leave as lost. Gentlemen, start your lawyers! 

I associate this album with The Vinyl Jungle, a small and short-lived record shop in my college town of Brockport in the fall of ’77. I remember seeing the album for sale at The Vinyl Jungle, but I passed on it and instead bought a Kinks compilation called The Pye History Of British Pop Music. I didn’t get my copy of The Great Lost Kinks Album until many years later, when I was considering (and finally deciding against) writing a book about the 500 definitive albums of the ’70s. This LP wouldn’t have been among the records discussed in That Great Lost Carl Book, but I scooped it up at the same time I was grabbing cheap-cheap-cheap vinyl by Lynyrd SkynyrdFoghatZZ Top, et al. for research. Far out, dude. The Great Lost Kinks Album was of much more interest to me anyway, and I especially fell for “This Man He Weeps Tonight.” All of its once-rare tracks are now readily available, the lawyers all paid and satisfied.

THE RUTLES: The Rutles

My introduction to the fictional Prefab Four The Rutles came when Eric Idle of Monty Python’s Flying Circus hosted Saturday Night Live (then still called NBC’s Saturday Night) in October of 1976, when I was a high school senior. Idle played a clip of his faux Beatles mugging through “I Must Be In Love,” and I was hooked. When The Rutles’ TV special All You Need Is Cash appeared in March of 1978, I was all in. I reveled in the promo clip of “Ouch!” that was shown on Midnight Special the week before All You Need Is Cash, and was one of several floormates crammed into the dorm room across from mine to watch the TV special itself when it aired.

Alas, I was the only one among my group who dug it.

Undeterred, I bought the 45 of “I Must Be In Love”/”Doubleback Alley,” and gratefully accepted a gift of the companion album The Rutles, brought home from England by my sister Denise. Number one, number one…!
VARIOUS ARTISTS: The Motown Sound Vol. 6

My very first Motown record? Could be, though my lovely wife Brenda thinks this was her LP rather than mine. If only we’d kept better track of stuff prior to the matrimonial merging of our collections. Either way, I do remember that we picked it up on a visit to the weekly flea market at Syracuse’s Regional Market, probably in 1979. It would have been around the same time (if not the same weekend) that Brenda snagged her flea-market copy of The Kinks’ Greatest Hits!, and/or when I got my 35-cent copy of The Who’s Meaty Beaty Big And Bouncy. We were frugal shoppers. In spite of many, many cullings of the collection over the years, all three of these LPs still remain in our vinyl library.

And it certainly could have been either one of us who grabbed this Motown sampler. Brenda had grown up listening to soul and R & B on the radio, and this would have been a natural thing to add to her personal stash. I was just beginning to appreciate how great all that stuff was, and would have been drawn to my favorite Supremes song “Stop! In The Name Of Love,” my favorite Four Tops song “It’s The Same Old Song,” and my favorite Stevie Wonder song “Uptight (Everything’s Alright),” and probably to The Miracles‘ “Going To A Go Go.” The rest would have been a history lesson waiting to happen. So: Brenda’s record? My record? 

C’mon.
Our record now.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.

This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:
Volume 1: downloadVolume 2: CD or downloadVolume 3: downloadVolume 4: CD or downloadWaterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download

Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 155 essays about 155 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

Categories
Boppin'

The Greatest Record Ever Made; The Beatles’ “Rain”

THE BEATLES: “Rain”

If we weren’t there at the time, we can’t even imagine it.

It was 1966. Pop music was at a creative zenith, while still retaining its identity as pop music. The Beach Boys released Pet Sounds, arguably the single greatest album of all time. The Kinks released Face To FaceThe Rolling Stones released Aftermath. The # 1 spots on the U.S. pop chart were occupied by a series of mostly rock-solid singles; for every forgettable # 1 in ’66, for every “Winchester Cathedral” or “Ballad Of The Green Beret,” there was counterforce and then some, courtesy of The Young RascalsThe Mamas and the PapasThe Four TopsThe Lovin’ Spoonful? and the Mysterians, and a new made-for-TV group, The Monkees. Below the top spot, there was a wealth of pop treasures, from Otis ReddingThe Hollies, and The Temptations through The ByrdsThe Standells, and Paul Revere and the Raiders. It was a great, great year for music.

And a B-side was the greatest side of all.

It had already been two years since The Beatles’ initial conquest of America. The Beatles still ruled the pop world in ’66, with more hit singles and two–two!–of the greatest albums in pop history, Rubber Soul and Revolver. The Beatles were # 1. The Beatles were unstoppable. The Beatles were…

…The Beatles were tired.

Tired of fame? Maybe. Tired of touring? Definitely. Tired of the endless parade of rushing and waiting, and waiting, and waiting? Tired of square questions about their hair and how much longer they expected to last? Tired of people freaking out because John Lennon had pointed out that The Beatles were more popular than Jesus Christ? Yes, yes, and goddammit yes. I was six years old at the time; I don’t remember my Dad banning The Beatles in our house. I don’t remember the controversy and public distortions and contortions. Looking back, decades later, I can only observe the sort of people who were burning Beatles records, and declare that if The Ku Klux Klan hates you, you’re probably on the right side of history.

In this pressure cooker, The Beatles kept right on creating and excelling. They were focused more on albums than singles, but there was still one non-album Beatles single released at the end of May: “Paperback Writer.” It was a glorious burst of pop-art pop-rock, telling a cartoonish story of a punter who just wants to write paperback novels, a song delivered with all the shimmering, swooping pop pizazz one would expect from The Beatles at the top of their game. Another # 1 hit for The Fab Four!

An album of The Beatles’ B-sides would put most acts’ A-sides to shame. “I Saw Her Standing There” was a B-side. “I’m Down” and “Day Tripper” were B-sides. They weren’t the only act putting top-shelf material on their flip sides–there’s some choice stuff backing some of those Beach Boys and Rolling Stones hits, too–but The Beatles were so prolific and (nearly) peerless that they could afford to just throw away songs any other band would have killed to release themselves.

And now: imagine.

It’s 1966. You’ve bought your Capitol Records 45 of “Paperback Writer,” and of course you love it. It’s the freaking Beatles, for cryin’ out loud! And then, your thirst for pop already slaked, you turn the record over, just to see what the lads have plopped on the flip. And you hear “Rain” for the very first time.

Stop. You can’t imagine it. You can’t. I can’t either. If we weren’t there, right there at that precise right time, we can’t conceive of hearing “Rain” in 1966.

But what must it have been like? Did it seem like a new world of pop music opening instantly within the ears and mind, or was it brushed off as just another pop record? How could it be? Nothing had ever sounded like this before. It had no antecedents, no roots other than the common experience of everything from The Crickets to The Who, and sounding like nothing else but The Beatles. Once you had heard it for the first time, it always existed, retroactively. One could no longer conjure a memory of a world that didn’t include this song.

I’ve often said that 1965 was pop music’s best year ever. I think it’s difficult to dispute, given the sheer mass of terrific records that connected with a vast audience in ’65. There was likewise a slew of wonderful records in 1966, but its case is hampered by those few regrettable clunkers that also hit the top of the charts; the # 1 spot in ’65 was never sullied by crap like “The Ballad Of The Green Berets.”

But still: 1966 gave us Pet Sounds. It gave us The Rolling Stones’ best album, one of The Kinks’ best albums, the debut of The Monkees, and so much more. It gave us Rubber Soul. It gave us Revolver. That’s a solid resume for any year. Nonetheless, the crowning achievement of pop music in 1966 was a B-side, an indispensable throwaway that just might tower over any other record, before or since. Shine!  The weather’s fine.

You can become a patron of Boppin’ (Like The Hip Folks Do) at Patreon: Fund me awready! 

Categories
Boppin'

Comic Book Cover Cavalcade #1

As the music portion of my former series Comics And LP Cover Cavalcade already split off into its own separate LP Cover Cavalcade, the comics portion also needs its own space. This inaugural entry of Comic Book Cover Cavalcade shares five DC Comics covers from the 1970s.
ALL-STAR COMICS # 58 (January-February 1976)

When writer Gerry Conway left Marvel Comics for DC in the mid 1970s, one of his highest-profile assignments was this opportunity to revive All-Star Comics, which had been the home of comics’ original 1940s super-team, The Justice Society of America. Continuing its numbering from the final JSA issue of All Star Comics in 1951 (pretending All-Star Western # 58 and onward never happened), the new series initially soft-pedaled the old ’40s JSAers to focus on the three younger heroes–Batman‘s former partner Robin, former Seven Soldiers of Victory member The Star-Spangled Kid, and a buxom new character called Power Girl–who comprised the team-within-a-team referred to as The Super Squad. Conway script, Mike Grell cover, Ric Estrada pencils, and inks by the legendary Wally Wood helped get the new All-Star Comics off to a solid start. Conway returned to Marvel before long, but the series continued with style and distinction.

BATMAN # 253 (November 1973)

I was thirteen years old in 1973, and I was a big, big DC fan. The Batman was my favorite character, and you bet I insisted on calling him THE Batman. The Batman was a creature of the night, a dark avenger, not the campy crusader whose TV show hooked me on superheroes when I was a mere child of six. No! The Batman was serious stuff! You can look back now and smirk at my sanctimonious nerdiness, but I say to hell with you. I was having a grand old time, and I remember the comics of this period with great fondness. Writer Denny O’Neil was on a roll, having already given The Dark Knight a new classic adversary in Ra’s al Ghul; penciler Neal Adams and inker Dick Giordano provided sleek visuals that were as integral to the mood, setting, and storytelling as any word within the captions and balloons, and alternate penciler Irv Novick (also inked by Giordano) deserves credit for maintaining that style in the many issues Adams didn’t have time to draw. In Batman # 251, O’Neil, Adams, and Giordano had reintroduced The Joker in “The Joker’s Five-Way Revenge!,” returning the character to the murderous roots of his debut in 1940’s Batman # 1. It is not an exaggeration to say that “The Joker’s Five-Way Revenge” influenced every single Joker story published since 1973.

And, a mere two issues later, The Batman got to meet his greatest inspiration, The Shadow. DC had licensed the character of The Shadow in hope of tapping into ’70s-era nostalgia for the pop culture playthings of the ’30s and ’40s. I was all in, as I read my Doc Savage paperbacks, watched The Marx Brothers on Saturday night TV late shows, listened to old adventure radio shows (including The Shadow) on the public station’s Radio Rides Again presentations, and devoured histories of comics, histories that taught me about the Golden Age of Comics in the ’40s, and even about the blood ‘n’ thunder pulp magazines that helped to sire those comics. Pulp magazines like The Shadow.

The Shadow was the biggest single influence on Bill Finger and Bob Kane when they created the character of The Batman in 1939. I knew that, so I was more than primed for The Shadow’s DC’s series (written by O’Neil), and absolutely psyched to see The Shadow finally meet his disciple in the pages of Batman # 253. Beneath an atmospheric cover by Mike Kaluta (regular artist on DC’s The Shadow), the actual story by O’Neil, Novick, and Giordano could be viewed as anti-climactic, or even a cheat. The Shadow is an off-stage player in most of the tale, stepping out from the shadows only near its end. I didn’t care. I loved it without reservation, and I still do.

DC SPECIAL # 10 (January-February 1971)

If I had to pick my all-time favorite comics artist, I would acknowledge the above-mentioned Neal Adams and Wally Wood, plus (of course) Jack Kirby, and a long, long list that would include Dick SprangCarl BarksJack ColeAlex TothJim Aparo, and…listen, we’re gonna be here all night, and I haven’t even mentioned Marshall Rogers yet. But when I have to name just one, I usually say Nick Cardy.

And I don’t pick Cardy on the basis of most of the covers he cranked out as DC’s go-to cover guy in the early to mid ’70s. Those were fine, obviously, but his best work was his brief stint as the regular artist on the Batman team-up title The Brave And The Bold, his Teen Titans (especially his later issues), and his exquisitely-rendered Western series Bat Lash. Oh, and the gorgeous covers he drew for Aquaman.

And there’s also this gloriously atmospheric cover for DC Special # 10, dressing up a basic collection of 1950s cop and fireman stories, reprinted from old issues of Gang Busters and Showcase. Calling them basic isn’t meant as a put-down–I read this damned thing over and over when I was 11–but there’s nothing inside that could hope to match that dynamic Cardy cover. 

SHAZAM! # 8 (December 1973)

The same pursuit of the nostalgia market that prompted DC to license The Shadow also led to the company licensing Superman‘s biggest sales rival from back in the ’40s, the original Captain Marvel. DC had effectively sued Fawcett Comics‘ Captain Marvel out of existence in the early ’50s. When licensing and attempting to revive Cap in 1973, DC Publisher Carmine Infantino‘s intent to restart the World’s Mightiest Mortal’s former comic book Captain Marvel Adventures was immediately thwarted by another, more powerful rival. Marvel Comics had trademarked the Captain Marvel name for its own unrelated use during the original Cap’s decades-long dormancy, and wasn’t about to allow DC to use it. DC went with the alternate title Shazam! instead. Each issue of DC’s Shazam! series featured vintage Cap reprints backing up the new adventures, and the reprints were…well, better. A lot better. The eighth issue was a 100-Page Super Spectacular collection containing only the old stuff, and I felt like it was a gift given to me directly from the Rock of Eternity. This was just magnificent.

SHOWCASE # 100 (May 1978)

DC’s original try-out book Showcase survived on newsstands from 1956 to 1970. It was a series that offered readers an opportunity to sample potential new series, with sales presumably determining which concepts would graduate to ongoing series and which would, y’know…not. Some point to Showcase # 4 (which introduced a brand-new superhero called The Flash, inspired by the 1940s character of the same name, but reimagined as something minty-fresh) as the beginning of comics’ Silver Age, and I would agree. Showcase produced a lengthy list of, well, showcases for both new characters introduced in its pages and already-existing characters given a shot at joining DC’s A-list. The series was revived briefly in the late ’70s, and that revival brought us Showcase # 100.

For this celebration, writers Paul Kupperberg and Paul Levitz teamed with artist Joe Staton in an attempt to craft a new adventure that would feature at least a cameo by each and every one of Showcase‘s stars and woulda-beens. Well, almost; Showcase # 43 had featured a reprint of a British adaptation of the James Bond novel and film Dr. No, and DC’s license to thrill with 007 had never been renewed. And I’m not positive, but I don’t think The Doom Patrol or Power Girl–the stars of the Showcase revival issues that preceded # 100–made it into the big party either.

But yeah, everyone else is represented, from Fireman Farrell through Manhunter 2070. Even Archie ripoff Binky, even Dobie Gillis and Maynard G. Krebs stand-ins Windy and Willy. We’ve got Bat Lash, AquamanGreen LanternLois LaneThe CreeperThe AtomSgt. RockEnemy AceThe Teen TitansDr. Fate and HourmanThe Challengers of the UnknownThe Inferior FiveThe Phantom StrangerJonny DoubleAngel and the ApeTommy TomorrowThe Hawk and The DoveThe SpectreAnthroAdam StrangeThe Sea DevilsThe Metal MenSpace Ranger, the pop group The ManiaksNightmasterCave CarsonRip HunterB’wana BeastDolphinFirehair, Johnny Thunder, and Jason’s Quest protagonist Jason. Maybe someone else I missed. Hell, maybe 007 is in there somewhere, hidden behind the rest of this large cast.

And it’s a blast. It’s goofy in all the right ways, serious where it needs to be, and never so serious that it gets in its own way. Forgive the comparison, but it’s like a Marvel movie in comics form, a lighthearted superhero epic that satisfies. It’s fun.

Quick! Someone go back to 1973 and tell my 13-year-old self that’s it’s okay for superheroes to be fun. Lighten up already, young man.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 

Hey! If you buy from Amazon, consider making your purchases through links at Pop-A-Looza. A portion of your purchase there will go to support Boppin’ (Like The Hip Folks Do). Thinking Amazon? Think Pop-A-Looza.
This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.
The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:
Volume 1: downloadVolume 2: CD or downloadVolume 3: downloadVolume 4: CD or downloadWaterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download
Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 134 essays about 134 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

Categories
Boppin'

LP Cover Cavalcade #1

I was thinking the other day about the first albums I owned by a number of acts that would become Fave Raves, one album purchase leading to another, and another, and another. Not counting records that belonged to my siblings (but which I played anyway), I can’t remember my first Beatles album; I suspect it was a second-hand acquisition of Rubber Soul, though it may have been a tie between Introducing The Beatles and Let It Be, both of which I received as gifts one Christmas morning in the ’70s. I inherited my brother’s copies of the first two Monkees LPs, and eventually supplemented them with a flea market purchase of Headquarters and The Birds, The Bees & The Monkees

Every love story begins with that very first kiss. I remember my first Velvet Underground (The Velvet Underground & Nico, used), my first Ramones (Ramones), Otis Redding (Live In Europe), KISS (Rock And Roll Over), Kinks (Kinks-Sized), Suzi Quatro (Suzi Quatro), Elvis Costello (My Aim Is True), Prince (1999), and best-of sets as introductions to The TroggsThe TurtlesThe RaspberriesThe Jackson 5The Ventures, and Little Richard. Here are some others I remember:

THE ANIMALS: Best Of The Animals
Well, talk about an ignominious start to my Animals collection. In the mid ’70s, my growing obsession with the music of the ’60s (especially of the British Invasion) retroactively made The Animals one of my favorite groups, albeit a decade after the fact. I borrowed my cousin Maryann’s copy of The Best Of The Animals, but I needed to officially add Eric Burdon and his comrades to my library. For Christmas of 1976, my parents directed me to pick out some LPs I’d want to receive as gifts. I spied this budget-priced Animals set on the racks at a department store in downtown Syracuse; even though I didn’t recognize any of the song titles, the cover photo grabbed me, so I figured it must be a collection of Animal tracks I didn’t know, but which might be on a par with my familiar favorites “It’s My Life” and “We Gotta Get Out Of This Place.” Wrong! The perfunctory blues covers were not my cuppa, and this LP did not remain in my collection for long. (As a happy ending here, let me add that the other albums Mom and Dad gave me that Christmas included a real Animals best-of–a two-record set on Abkco–as well as The Beatles Featuring Tony Sheridan and The History Of British Rock Volume 2. Christmas was saved!)

THE BEACH BOYS: Endless Summer
As a teenager, I had no real affinity for the music of The Beach Boys. Even speaking as an avid fan of The Monkees (an act the hipsters hated), I just thought The Beach Boys were square, uncool. Establishment. “Be True To Your School?” Come on…! But within that haze of smug dunderheadedness, I still had to concede that some of The Beach Boys’ hits transcended the four corners of what I perceived as their image. “Good Vibrations.” “Fun, Fun, Fun.” “Help Me, Rhonda.” “I Get Around.” My grudging awareness of the sheer quality of these tracks was sufficient motivation for me to add a record-club purchase of the 2-LP Endless Summer to my fledgling pop-rock stash, even though it didn’t incluse “Good Vibrations.” It didn’t immediately open my mind to the wonder of The Beach Boys, but I played it occasionally, and took it with me to college in the fall of ’77. My second Beach Boys album was Pet Sounds, which I purchased during the Spring ’78 semester because I’d become enthralled with “Sloop John B.” Even with an introduction to that true classic album, my acceptance and revelation would be deferred, and deferred by another freakin’ decade, fercryinoutloud. But it would come eventually. My teenage self would have been appalled to learn that his middle-aged incarnation loves The Beach Boys, but what did the younger me know anyway? He liked Kansas!

Pin Ups front.tif

DAVID BOWIE: Pinups
Man, what an odd place to start with Bowie. I had the “Changes” 45, but my first long-player by the former Mr. Jones was this collection of covers, purchased at a used record sale set up on campus, probably in 1978. My interest in Bowie was (at best) borderline at the time. Looking back, I’m sure I was drawn to Pinups by the presence of a cover of The Easybeats‘ “Friday On My Mind;” I’d been unable to score a copy of The Easybeats’ version, so I settled for Bowie as a substitute. Bowie’s rendition of “See Emily Play” was my second-hand introduction to Syd Barrett-era Pink Floyd, and I appreciated that Bowie seemed to share my burgeoning affection for early Kinks and Who. Within another year or so, I would be listening intently to The Rise And Fall Of Ziggy Stardust And The Spiders From Mars, and expand from there. Hadda start somewhere.

JOAN JETT: Joan Jett
One could argue that this shouldn’t count; I was already a fan of Joan Jett when she was in The Runaways, and I owned most of that group’s albums prior to their split and Jett’s subsequent solo career. But as much as I loved the best of The Runaways, I was really stoked by Jett’s first solo album, and snagged it at my first opportunity. Issued as an eponymous album in 1980 and reissued as Bad Reputation in 1981, this record was an immediate Top Ten album for me, an irresistible biff-bang-POP of bubbleglam. A Bo GentryJoey Levine song called “You Don’t Know What You’ve Got” remains an undiscovered gem, and even the Gary Glitter covers are great. Opening track “Bad Reputation” sets the appropriate chip-on-the-shoulder/single-finger-in-the-air mise-en-scéne, and my daughter and I have an informal agreement to use that song as our father-daughter dance when she gets married. Because we don’t give a damn about our bad reputation.

TOM PETTY & THE HEARTBREAKERS: You’re Gonna Get It
Although I’d read about Tom Petty & the Heartbreakers in Phonograph Record Magazine, and adored hearing first-album track “American Girl” on the radio (all in 1977), it wasn’t until the summer of ’78 and the group’s second album that I felt compelled to participate in Pettymania. And I succumbed because Wolfman Jack told me to. Home from college for summer break, working part-time as a morning janitor at Sears, I had sufficient pocket change to buy records and see bands and buy more records. Win-win! Tom Petty & the Heartbreakers appeared on Midnight Special, the Friday night pop music TV showcase hosted by our gravel-voiced Wolfman Jack, and my jaw dropped at the sound of two new songs the group performed: “Listen To Her Heart” (which reminded me of The Searchers) and “I Need To Know” (which sounded like everything I ever wanted a rock ‘n’ roll song to sound like). I didn’t have my drivers license yet, so at the first opportunity, I asked my sister Denise to bring me to Penn Can Mall so I could buy the new Petty album, You’re Gonna Get It. Saying the album’s title out loud confused Denise, since she now thought I was hitting her up for a ride and demanding that she buy me a record. No, no–I’ve got pocket change, Denise! And I traded some of that pocket change for my first Tom Petty & the Heartbreakers album. There would be more to come. Get it? Got it. Good.

TIP THE BLOGGER: CC’s Tip Jar!
You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Fans of pop music will want to check out Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock ‘n’ Roll Radio with Dana & CarlTIR’N’RR Allstars–Steve StoeckelBruce GordonJoel TinnelStacy CarsonEytan MirskyTeresa CowlesDan PavelichIrene Peña, Keith Klingensmith, and Rich Firestone–offer a fantastic new version of The Kinks’ classic “Waterloo Sunset.” That’s supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click BeetlesEytan MirskyPop Co-OpIrene PeñaMichael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of “Infinite Soul” by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With RandolphGretchen’s WheelThe Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It’s exquisite. You need this. You’re buying it from Futureman.

Categories
Boppin'

Faces On The Wall

My first rock ‘n’ roll posters were hand-me-downs, but they were choice hand-me-downs. When my sister went off to college in 1970, I assumed possession of her Beatles posters. These painted portraits of your John, your Paul, your George, and your Ringo remained on my wall while I was in middle school and high school, and left North Syracuse with me when I commenced my own rock ‘n’ roll matriculatin’ in the fall of ’77. The posters served me well on one occasion in ’76 or so, when WOLF-AM‘s Beatles Weekend offered a free Beatles LP to the first caller who could correctly identify the color of George Harrison’s eyes. A glance at the poster, a sprint to the phone in the kitchen, a hastily-dialed call to The Big 15 so I could blurt out BROWN!, and a copy of the Help! album was mine.

I also remember my sister having a Dylan poster–my first conscious exposure to Bashful Bobby Dylan’s name–but I think she must have taken that one with her on her journey to higher education. ‘Sfunny, because I remember much later mentioning Mr. Dylan to one of the guys in my dorm suite in the Spring of ’78; my suitemate glanced up at my Beatles portraits, and asked me which one was Dylan.

Although I plastered my walls with graven images in high school and college, I had relatively few commercial posters. In college, my cherished Beatles posters shared wall space with LP inserts (from the White Album, from The Beach Boys‘ Endless Summer, from a collection of movie sound bites by The Marx Brothers, and from records by The HeartbreakersThe Runaways, etc.), promo materials, maybe some comics art, Flashcubes gig flyers, magazine pages (including a poster ripped from a Bay City Rollers fan mag), a Molson Golden Ale poster, and a few Playboy centerfolds. The promo items–posters and flats–mostly came from Brockport’s Main Street Records, which offered such bonus bounty in its handy-dandy Free With Purchase! bin. Decorating was easy!

And I did pick up a few commercial posters along the way. I believe I got my KISS poster from my college friend Fred, who had outgrown KISS and wanted nothing further to do with the group. I bought a couple of posters upstairs at Syracuse’s Economy Bookstore, one featuring my boys The Sex Pistols and one starring my presumed future spouse Suzi Quatro. There was an awesome Batman poster I wanted, but never quite got around to buying. I did get a Suzanne Somers poster at Gerber Music; that was sorta puzzling, because although she was certainly cute, I didn’t have any particular thing for her, nor for her sitcom Three’s Company. Why a Suzanne poster, instead of, say, a Farrah Fawcett? No idea.

After college, I don’t recall ever putting up many posters in my apartments. I really wanted to get a poster of The Monkees circa the time of resurgent Monkeemania in ’86, but never saw one I thought appropriate. Now, decades later, I have but a few posters on my wall. There’s a Frank Miller The Dark Knight Returns poster framed in my office, staring down a great framed Ramones poster I received as a gift. But that’s it, other than the framed two-page spread from my Goldmine interview with Joan Jett (autographed by Ms. Jett herself) and the framed artwork from Rhino Records‘ Poptopia! CDs, which Rhino gave me as a thank-you bonus for writing the liner notes to the ’90s Poptopia! disc, plus a few small items (a picture of Syracuse University basketball great Gerry McNamara, an autographed picture of Red Grammer, my Ramones wall clock, and a wall hanging my sister gave me decades ago, which reads A Creative Mind Is Rarely Tidy). That’s the sum total of wall decorations in my office at home.

I still have those same Beatles posters. They’re a bit tattered now, certainly worn, rolled up in a drawer because there’s no longer any point in even trying to flatten them or do a better job of preserving them. George Harrison’s eyes are still brown. The Pistols, KISS, and Suzanne Somers sheets are long gone; even Suzi Q has moved on. The Beatles remain. John. Paul. George. Ringo. Dylan must have been on holiday that day.

I still regret never buying this one for my dorm room wall.

TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! Our new compilation CD This Is Rock ‘n’ Roll Radio, Volume 4 is now available from Kool Kat Musik! 29 tracks of irresistible rockin’ pop, starring Pop Co-OpRay PaulCirce Link & Christian NesmithVegas With Randolph Featuring Lannie FlowersThe SlapbacksP. HuxIrene PeñaMichael Oliver & the Sacred Band Featuring Dave MerrittThe RubinoosStepford KnivesThe Grip WeedsPopdudesRonnie DarkThe Flashcubes,Chris von SneidernThe Bottle Kids1.4.5.The SmithereensPaul Collins’ BeatThe Hit SquadThe RulersThe Legal MattersMaura & the Bright LightsLisa Mychols, and Mr. Encrypto & the Cyphers. You gotta have it, so order it here.

Categories
Boppin'

The Game Of The Name

Can you name, name, name, name them today?

When you write fiction, you generally have to come up with names for your characters. Even in short fiction, you may find that referring to your players just as “He,” “She,” “That Dude,” or “Designated Pronoun” can grow tiresome over the course of your narrative. The expectation of names isn’t absolute, and I think I’ve done some effective short pieces where individuals are not given specific handles. More often that not, though, your baby needs a name.

Where do our fictional names come from? Well, that can be answered the same way we reply when someone asks us where we get our ideas: I dunno. The creative process is enigmatic, elusive, mysterious, and stubborn, and it tends to drool a lot. And it never picks up the damned bill at diners. It’s a right bastard, that creative process. Rather than risk our sanity trying to make sense of That Dude behind the curtain, maybe it’s best to just look at the results.

My first character creations were superheroes, scrawled on construction paper, notebook pages, and loose-leaf sheets when I was in elementary school. Skipping past some of the maybe less-than-entirely-original names I gave to a few of my characters–BatmanKid ColtThe Avengers–I recall coming up with various good guys and bad guys named Rain-Hat SamJemThe PowerThe Bolshevik BatGloppyThe Scarlet Redman, and Jack Mystery. (I re-visited Jack Mystery as an adult, and he coulda been a contender: The Jack Mystery Story.)

Eternity Man and Jenny Woo

I continued to create and name more superheroes as the years passed, from Captain Infinity, The Trident, and Lawman through the more recent Eternity Man (with his co-star Jenny Woo). But let’s move past superheroes; most writers probably aren’t going to be using superheroes in their stories anyway. What are some of the more…civilian names I’ve concocted?

In sixth or seventh grade, I created a baseball player named Skip Keller. Ol’ Skip would have been the star of a series of sports comics, absolutely none of which I ever got around to writing. Slacker, thy name is CC. In 2019, I resurrected the Skip Keller name for an entirely different character, a former pop star turned songwriter and producer, in a short story called “Hitcore.” That story didn’t sell, but I like it a lot, so its day ain’t done yet. For “Hitcore,” I also named two other new characters: Mephisto Records receptionist Amber (no last name designated), and successful rock auteur Willington Blue. They’re all going back to the drawing board for some tweaking (maybe even in pursuit of a novel-length story), but the names will remain.

Amber? No, it’s The Green Hornet’s trusted confidante Casey

The Beat And The Sting was me pulling at the threads of an idea for a Green Hornet ’66 story. To The Green Hornet’s familiar supporting cast of KatoLenore “Casey” Case, and District Attorney Frank Scanlon, I added the rock group Ben Arnold & the Turncoats (with the lead singer’s real name Arnie Bennett, plus guitarist Roger Hartwell, bassist James Thomas, keyboardist Steve Davis, and drummer Tommy Hammond) and Century City crime boss Samuel “Sammy” Vincenzo. This story has potential, but no plausible path to publication at this time.

Terry Legend and Malice were names I gave to detective creations in the ’70s. Terry Legend was a parody character I used once in my high school literary magazine, and Malice (first name undecided) would have been the deadly-serious lead in an unwritten story called “The Children Of Malice.” I may yet use both names, but if Terry Legend does return, he won’t be a parody character anymore (his comic-booky name notwithstanding).

One of my favorite blog pieces here is Jukebox Express, a wholly fabricated account of a make-believe 1950s rock ‘n’ roll B-movie made by various fictional people we’ve seen in film, TV, comic books, etc. The players, from The Marvelous Mrs. Maisel‘s Sophie Lennon and Gilligan’s Island‘s Ginger Grant through That Thing You Do!‘s Troy Chesterfield and My Favorite Year‘s Stan “King” Kaiser, all came with their names pre-attached. But I came up with the names of their characters: Rose “Mama” MammamiaKirby LeeArchibald Toby, and Rocco “Death” Manzetti, respectively. My favorite among the names I slapped together here is Rocco’s moll Cupcake O’Hara, played by The Rocketeer‘s Jenny Blake. Yeah, I put a lot of work into this trifle.

The short stories I completed in 2019 contained but a few named characters. Of the unsold batch (in addition to “Hitcore”): “Dreaming Deadly” starred Sam and Billy, and an unnamed girl; “Sword Of The Chosen One” starred Flora and Anna“Montie Pylon Finds His Holy Grail” starred Montgomery Pylon and Louise; and “The Greatest Thud Never Heard” included no named characters at all. The first story I sold last year, “Guitars Vs. Rayguns,” included no named characters. “The Picture Of Amontillado” starred Dorian Gray and Wild Edgar Poe, and I don’t think I’d get away with a claim of creating either of those names. 

That leaves my loosely-connected Copperhead stories, two of which sold, one of which is pending, and a fourth is in its early stages of this-ain’t-ready-yet! Each of these feature a lead character–The Copperhead KidThe CopperheadCodename: Copperhead, and Copper–and not many other names: a Sheriff, a Deputy, Ma and Pa, an unnamed sister, Cody, a Director, a Director’s Wife, a family in peril, various goons and no-goodniks, and some assorted pronouns. Those were all the names needed to tell the story. For now.


TIP THE BLOGGER: CC’s Tip Jar!

You can support this blog by becoming a patron on Patreon: Fund me, baby! 
This Is Rock ‘n’ Roll Radio with Dana & Carl airs Sunday nights from 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, and on the web at http://sparksyracuse.org/ You can read about our history here.

The many fine This Is Rock ‘n’ Roll Radio compilation albums are still available, each full of that rockin’ pop sound you crave. A portion of all sales benefit our perpetually cash-strapped community radio project:

Volume 1: download
Volume 2: CD or download
Volume 3: download
Volume 4: CD or download
Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio:  CD or download
Hey, Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 127 essays about 127 tracks, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

Categories
Boppin'

The Way I Talk (brought to you by pop culture)

Catchphrases have been a part of mass popular culture for as long as there has been mass pop culture. It goes back at least as far as the golden age of radio, with things like “‘Tain’t funny, McGee” (from Fibber McGee And Molly), “Coming, Mother!,” (from Henry Aldrich), and the whole litany–“Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings in a single bound! Look! Up in the sky! It’s a bird! It’s a plane…!”–heralding a new adventure of Superman. Hell, it probably goes back farther than that. The thread continues uninterrupted through “Bang, ZOOM!,” “You bet your sweet bippie!,””Whatchoo talkin’ ’bout, Willis?,” and about nine dozen lines from Seinfeld, plus whatever more recent iteration I’m too curmudgeonly to notice. The devil made me do it.

I was thinking of what lines from pop culture regularly find their way into my own speech patterns. Some are more obscure than others, I guess, because my personality tends to be more obscure than others. I think the two phrases that pop into my daily discourse most often are “I’m comin’, Beanie boy!” (from TV’s Beanie And Cecil cartoon) and “HERE! In the SHADOWS!” (from the radio adventures of The Shadow). The former is better-known than the latter, and either is more widely recognized than my three runners-up: “I can’t pronounce Baccaruda” (from a Plymouth Barracuda commercial, reprised on record by the British group The Barracudas), the seemingly non sequitur “Now CRAYON I can say!” (from an episode of The Monkees), and “I own a hundred pairs of stretch socks” (from Marvel Comics‘s 1960s humor title Not Brand Echh).

(I have also been known to recite the opening bits from the TV shows The Adventures Of Superman and The Green Hornet in their entirety with no discernible provocation. I also sometimes blurt out made-up intros to shows that never existed, starring comic book characters The Challengers Of The Unknown or the original Captain Marvel. I am most certainly me.)

I live inside my pop obsessions. A number of slightly-used lines from TV, movies, comics, songs, and other effervescent sources could find their own random way into my patter at any given moment. “Hey, that’s O-NED-ers!,” “You gotta be quick!,” and “Chad? Who’s Chad…?” from my favorite movie, That Thing You Do! “Some days you just can’t get rid of a bomb!” from the 1966 Batman film, a line I once spoke directly to actor Adam West when one of us was in full Batman costume (I won’t say which one of us that was). “Your bullets cannot harm me; my wings are like a shield of steel!” from the Batfink cartoon. “No brag, just fact” from TV’s The Guns Of Will Sonnett, generally delivered in my best approximation of a Walter Brennan impression. Quotes from John F. Kennedy‘s speeches (“We choose to go to the moon and those other things…!”) and quotes from JFK impersonator Vaughn Meader‘s hit comedy LP The First Family (“I should like to point out that I am standing here in my shorts dripping wet,” and “The rubber swan is mine”), each spoken with my attempt at the right voice as the torch is passed to a new generation. With vigor.

The beat goes on. Lines from Casablanca and The Maltese FalconThe Dark KnightThe Grapes Of WrathThe Marx Brothers, audience response lines from The Rocky Horror Picture Show, and the deep tone of James Earl Jones, all jumbled together in a quotation gumbo: This could be the start of a beautiful friendship, the stuff dreams are made of. Why so serious? I’ll be there. Members of the faculty, faculty members, students of Huxley and Huxley students–well, I guess that covers everything. From the freezer to your table. This is CNN.

As I recite all of these lines in my ongoing role as whatever it is I’m supposed to be, it doesn’t necessarily matter whether or not folks pick up on the specific reference. It’s not a trivia challenge, a round of Name That Catchphrase! From “To the Batpoles!” to speculation of what’s behind the curtain Carol Merrill is standing next to, it’s just the way I talk. An early clue to the new direction. Sorry about that, Chief.

I do think it’s time to bring “You bet your sweet bippie!” back into the general lexicon. Save the Texas prairie chicken. I am Spartacus. Live long and prosper. And let’s be careful out there.

TIP THE BLOGGER: CC’s Tip Jar!
You can support this blog by becoming a patron on Patreon: Fund me, baby! 
Fans of pop music will want to check out Waterloo Sunset–Benefit For This Is Rock ‘n’ Roll Radio, a new pop compilation benefiting SPARK! Syracuse, the home of This Is Rock ‘n’ Roll Radio with Dana & CarlTIR’N’RR Allstars–Steve StoeckelBruce GordonJoel TinnelStacy CarsonEytan MirskyTeresa CowlesDan PavelichIrene Peña, Keith Klingensmith, and Rich Firestone–offer a fantastic new version of The Kinks’ classic “Waterloo Sunset.” That’s supplemented by eleven more tracks (plus a hidden bonus track), including previously-unreleased gems from The Click BeetlesEytan MirskyPop Co-OpIrene PeñaMichael Slawter (covering The Posies), and The Anderson Council (covering XTC), a new remix of “Infinite Soul” by The Grip Weeds, and familiar TIRnRR Fave Raves by Vegas With RandolphGretchen’s WheelThe Armoires, and Pacific Soul Ltd. Oh, and that mystery bonus track? It’s exquisite. You need this. You’re buying it from Futureman.

(And you can still get our 2017 compilation This Is Rock ‘n’ Roll Radio, Volume 4, on CD from Kool Kat Musik and as a download from Futureman Records.)

Get MORE Carl! Check out the fourth and latest issue of the mighty Big Stir magazine at bigstirrecords.com/magazine

Hey, Carl’s writin’ a book! The Greatest Record Ever Made! (Volume 1) will contain 100 essays (and then some) about 100 tracks, plus two bonus instrumentals, each one of ’em THE greatest record ever made. An infinite number of records can each be the greatest record ever made, as long as they take turns. Updated initial information can be seen here: THE GREATEST RECORD EVER MADE! (Volume 1).

Categories
Boppin'

Virtual Ticket Stub Gallery: THE BEATLES LIVE 1976

An early version of this was originally distributed privately to patrons of Boppin’ (Like The Hip Folks Do)This is its first public appearance. For as little as $2 a month, supporters of this blog receive one bonus private post each month. You can get in on this action with PatreonFund me, baby!

Virtual Ticket Stub Gallery is a series of extended reminiscences of my in-concert memories. This is the first (and probably only) fictional entry in this series. The events detailed herein take place in the same make-believe universe as a previous story I wrote about The FlashcubesA Brighter Light In My Mind.

It was John Lennon‘s idea.

Of the four former members of The Beatles, Lennon often seemed the most publicly opposed to the idea of getting the old band back together. Although The Beatles broke up in 1970, it seemed that hardly a day could go by without someone–a fan, a pundit, a reporter, a fellow rock star, even a freaking head of state–asking when this fabbest of fours would regroup. Would you want to go back to high school?, Lennon would reply, apparently dismissive of the very idea of ever wanting to get back to where he once belonged. Paul McCartney would insist that one couldn’t reheat a souffle; George Harrison‘s disdain for the notion rivaled Lennon’s; one suspected that Ringo Starr would have been fine with a reunion if it were to occur, but he warned all and sundry that it would only happen if and when it happened, if it happened at all. So the chances of a Beatles reunion appeared to be somewhere far south of slim, barely north of none.

So everyone–including Paul, George, and Ringo–was flabbergasted in 1976 to hear John effectively saying, Hey, lads! Let’s put on a SHOW!
But that’s pretty much what Lennon did.

John Lennon was 35 years old, and he’d packed a lot into those years. His father had been absent, his parents ultimately estranged, leaving John to be raised by his Aunt Mimi; Lennon remained devoted to his mother, and was devastated by her death in 1958, when Lennon was not yet 18 years old. Lennon was creative, artistic, musical, mercurial, temperamental, a joker, a troublemaker. He was in a rock ‘n’ roll group. The group was a failure that became a greater success than any other group in history. He got a girl named Cynthia pregnant. He married her, and they had a son named Julian. John was as absent a father as his own father had been before him. John fell, hard, for an exotic, artistic woman named Yoko. One marriage ended, another began, standing in the dock at Southampton. His band broke up. He became more politically aware, more engaged on behalf of social justice. His antiwar activities drew the ire of the established, entrenched power structure. He wasn’t paranoid; they really were out to get him. The U.S. Government tried to deport him, and was nearly successful in that effort. He fought back, waging war on the battlefield of public opinion. He and Yoko separated. He had a famed, debauched Lost Weekend, spanning eighteen months from 1973 to early ’75. He reunited with Yoko; the separation didn’t work out. Their son Sean was born on John’s 35th birthday, October 9th of 1975. This time, John would not be an absent father. This time, he would do things right.

Yeah. So how much did you do in your life before you turned 36?

John settled into a delighted domesticity. He took care of Sean, he baked bread, and he was just Daddy. The infant Sean was perhaps too young to be fully aware of his father’s devotion, but awareness and appreciation would come in time. Life, after all, is what happens when you’re busy making other plans.

In 1976, Paul McCartney occasionally dropped by Lennon’s apartment at The Dakota in Manhattan. John kind of wished Paul would call before showing up, but their friendship was old and resilient. Over the years, they had bickered and competed, as friends sometimes do; success and recognition magnify the cracks and faults that would appear anyway, so an argument can often become a lawsuit. Sue me, sue you their younger partner George had quipped. Tempers flared, cooler heads prevailed over time. They were friends. The complicated legal knot that had once been The Beatles would take a long, long time to untangle. The friendship would endure.

John and Paul had played together at an abortive studio jam session in Burbank in March of 1974, during John’s Lost Weekend, along with Stevie WonderHarry Nilsson, saxophonist Bobby Keys, and Paul’s wife, the lovely Linda McCartney. The hazy, drug-fueled session was emblematic of John’s excess at the time. In Paul’s visits to The Dakota, the musical collaborations were no more serious, but far more sedate.

On April 24th, 1976, Paul was with John at The Dakota. They’d had some drinks, played some songs, and were settled in front of the TV to watch a new episode of NBC’s Saturday Night, a late-night ensemble comedy sketch show enjoying great success in its first season. The show was hipper than hip. This should be a hoot.

But the former Beatles were wholly unprepared when the producer of Saturday Night began speaking directly to them, as they watched him on the TV screen.

SNL producer, Lorne Michaels

The public mania for a Beatles reunion had reached peak silliness by ’76. There had been million-dollar offers–multi-million!–just to somehow get John, Paul, George, and Ringo on stage together again before a live audience. The preposterous truckloads of money could be paid to The Beatles themselves, to their favorite charities, to agencies fighting world hunger, even to failed Apple Corps projects The Fool and Magic Alex, for all any of the would-be promoters cared. Just GET BACK, Beatles! LET IT BE! ALL YOU NEED IS LOVE!!
Money was not what The Beatles wanted. They wanted people to stop asking them to reBeatle. You want a new Beatles record? Take a few tracks each off Walls And BridgesVenus And MarsExtra Texture, and Goodnight Vienna, put ’em on a cassette, and PRESTO! Instant Beatles album! You wanna see The Beatles in concert? Take a time machine back to The Star-Club or The Cavern, before all the screaming drowned us out. That time is gone. The Beatles are no more.

Lorne Michaels, the producer of NBC’s Saturday Night, saw the humor in these desperate, clawing, failed attempts to reunite The Beatles. And, where there’s already inherent humor present, well, a comedy sketch just writes itself.

John and Paul stared at the TV screen, their jaws dropping like acid in 1967. Hi. I’m Lorne Michaels, the producer of Saturday Night. Right now, we’re being seen by approximately 22 million viewers, but please allow me, if I may, to address myself to just four very special people: John, Paul, George, and Ringo, The Beatles.
Sitting there in The Dakota, their smiles growing wider, Lennon and McCartney watched with glee as Michaels detailed his mock offer to entice The Beatles to appear on Saturday Night. Michaels said he’d heard that maybe the group simply hadn’t yet been offered enough money to give any serious consideration to a reunion. Well, Michaels assured everyone, money wouldn’t be a problem for NBC. And to prove it, Michaels displayed a check from NBC, made out to The Beatles, in the princely amount of three thousand dollars.

McCartney spit out his beer, laughing. Lennon guffawed loudly, amused and engaged. But then he stopped laughing. And he turned to his old partner Paul and said:

We should do it!
At first, Paul thought John was daft. But he also saw the appeal of this crazy idea. Alas, it was a crazy, impractical idea. John said they should head right to the NBC studio, just the two of them, and accept half of the $3000 offer as a joke. But it was late. They were tired. And the moment passed.

A few days later, John was still capering to himself a bit, thinking of that moment. And he started to wonder: had the moment really passed?

Had it?

Lennon considered. He was determined to be an ever-present part of his new son’s life. He’d put music on hold, and would keep it on hold until he felt Sean was old enough to understand. But Sean was still just a baby, six months old–perhaps this was the right time for John to play one more show before devoting himself exclusively to full-time daddyhood.

John thought back to his last live performance: Madison Square Garden, November 28th, 1974. He’d lost a bet with Elton John, and had to join Elton and his boys in concert. He only did three songs: his own “Whatever Gets You Thru The Night,” The Beatles’ “Lucy In The Sky With Diamonds” (itself a recent hit for Elton), and “I Saw Her Standing There,” a song John introduced on stage as “a number by an old estranged fiance of mine called Paul.” So Lennon’s last concert performance to date had been singing a Paul McCartney song. Heh, Lennon chuckled aloud, That will never do!
He’d been terrified to appear on stage with Elton that night; he’d been away from the spotlight too long, he thought. But it was fun. Exhilarating. Maybe he should consider doing one whole show.

Oh, the hell with it–maybe he should consider doing the one show everyone had been after him to do.

John went to the phone. One by one, he dialed each of his three mates. Paul? George? Ringo? I have an idea….

All three of the others were immediately skeptical, though both Paul and Ringo accepted the idea in short order. George was more resistant. Even when The Beatles were still together, he’d felt like a junior member rather than an equal. And he’d chafed under that feeling of confinement, restriction. He had not missed being a Beatle. He saw no compelling reason to become a Beatle again.

One thinks that should have been the end of this absurd idea of a Beatles reunion. John Lennon certainly wasn’t going to beg George, and nor were the others any more apt to persuade or coax him back into the fold. Nice idea. Let’s forget about it now.

On the other hand, Bob Dylan was perfectly willing to intercede.

For years, no one knew for sure how Dylan even found out about this potential reunion. Decades later, we learned that Yoko Ono had contacted Linda McCartney with the idea, and Linda got in touch with Bashful Bobby Dylan. Yoko was concerned that canceling this reunion would have been a disappointment to John. Her motives were perhaps not 100% altruistic–John had promised to be a stay-at-home father to Sean, and a disappointed John could lead to a wandering John, yet again–but nor were they purely mercenary, either. She wanted John to be able to do this; she wanted John to be happy. On top of all that, Yoko felt that she owed a debt of gratitude to the McCartneys; Paul and Linda had played an understated but undeniable role in getting John and Yoko back together after John’s long Lost Weekend. Furthermore, Yoko knew that Paul also wanted to be a Beatle again, even if just for one night, at least as much as John did. John and Paul were brothers–sometimes bickering, sometime infuriating, but brothers. They needed this…closure.

The idea of enlisting Dylan was simply brilliant. Dylan loved the idea of a Beatles show, so he certainly didn’t mind calling his friend George. George respected Dylan’s opinion, shrugged, and went along with the idea of temporarily–temporarily!–becoming a Beatle again. A reluctant Beatle, sure, but a Beatle nonetheless!

Beatles have people. Lots of people. None of us has ever, or will ever, had any freaking idea of what it’s like to be a member of that exclusive club of four. And part of being a Beatle meant that if you wanted something done, then snap! It was done. Emissaries handled logistics. Snap! Madison Square Garden was booked–quietly–and I still have no idea how they pulled that one off. Snap! Backing musicians were secured; Al Kooper would play keyboards, and the live sound would be further fattened by the addition of The Memphis HornsSnap! And John, Paul, George, and Ringo found themselves at a secure location on Long Island–far from the madding crowd, far from prying eyes and ears–preparing to make music together for the first time in nearly seven years.

For their first day in the ol’ woodshed, The Beatles wanted to start without sidemen, just the four of them, getting reacquainted, learning again how to play with and to each other. There was no agenda that day; just icebreakers, joking, and jamming. Old friends. Guitars. Bass. Piano. Drums. That first day was more party than woodshed, as the once-and-future mates played random favorites as the thought occurred to them, riffing through Arthur AlexanderCarl PerkinsThe Everly BrothersChan RomeroRichie BarrettLittle RichardRay CharlesBuddy HollyJames RayWanda JacksonElvisThe MiraclesThe Impressions, “Knockin’ On Heaven’s Door,” “Without You,” even “(Theme From) The Monkees.” They tried their hands at Beatle numbers, too, from “Love Me Do” to “For You Blue.” Paul earned loud snorts of laughter by singing a bit of John’s “How Do You Sleep?,” while John countered with Paul’s “Let Me Roll It.” (John’s attempt at The Chiffons‘ “He’s So Fine” prompted George to roll his eyes, but John made up for it by duetting with George on a heavenly rendition of “My Sweet Lord.”) The proceedings were chaotic, disorganized, start-and-stop…and wonderful. Old friends.

Business resumed in earnest on the second day, as Kooper arrived; The Memphis Horns arrived on the following day. There would be just over a week of rehearsals before The Beatles’ still-secret gig at Madison Square Garden. They needed to figure some things out in a hurry.

Amazingly, there was actually quite a bit of agreement among The Beatles about what they didn’t want. They didn’t want to be a nostalgia act; they didn’t want to do any kind of chronological representation of The Beatles’ story–they were The Beatles, for cryinoutloud, not bloody Beatlemania. They didn’t want to do a smooth, slick Greatest Hits show. They didn’t want to take anyone back to some imaginary glory days of yesteryear. They wanted to play, in the here and now.

At the same time, they also knew they needed to play Beatle songs. It was a delicate balancing act. If you just give the audience what it wants, you’re a whore; if you don’t give ’em anything they want, you’re a prima donna. The four of them agreed they wouldn’t want to go see, say, Roy Orbison, and not hear “Only The Lonely.” Nor would they care to see (or perform) a show played by the numbers. Balance. They came up with a list of about fifty songs, and started going through them. “Yesterday” didn’t work. Early bubblegum material felt wrong. “Hey Bulldog” was awesome, but fell victim to inevitable cuts in the set list, elimination choices which also claimed “I’ve Just Seen A Face,” “Yer Blues,” “A Hard Day’s Night,” “Sgt. Pepper’s Lonely Hearts Club Band,” “Savoy Truffle,” and an ace cover of Buddy Holly’s “Peggy Sue.” Rehearsals went on. The set list gelled. The band got tighter. All that time spent apart melted away.

They were The Beatles once again.

Word finally leaked out a week before the show, and an official announcement was made: The Beatles would reunite for one single concert. It would be a slight exaggeration to say that the show sold out instantly. It took nearly twenty minutes to sell out. Arrangements were made to also carry a live feed of the concert in movie theaters throughout the country, around the world. A splendid time was guaranteed for all!

On the day of the concert, John was nervous, apprehensive, nauseous. George alternated between wondering if he’d made a mistake agreeing to take part in this circus and…well, looking forward to it. He found his dichotomy of emotion unexpected, but oddly calming. Paul and Ringo took it all in stride. John pulled himself together. Toppermost of the poppermost. It was time.

The massive crowd at Madison Square Garden was giddy, boisterous, and frankly, high as a kite. The lights went out. Gasps. Cheers. Anticipation. Palpable, tangible thrill.

Ladies and gentlemenTHE BEATLES!!
Still in darkness, John counted off, “1-2-3!” The lights came on, brilliant and blinding, dazzling, dizzying, louder and more popular than Jesus. The grinding guitar consumed the arena, as Paul let out a scream and John began to sing:

You say you want a revolution, well you know
We all want to change the world
The Beatles charged through the opening verse and chorus of “Revolution,” Paul and George adding back-up shoo-be-do-wops to the subsequent verses. “Revolution” led into a furious, manic “Helter Skelter,” and The Beatles’ guarantee of a splendid time for all was already achieved.

“While My Guitar Gently Weeps.” “You Won’t See Me.” “No Reply.” The Beatles played an eclectic, electric selection of songs from their catalog of wonder. A new George Harrison song called “Crackerbox Palace” followed, and then flowed into the distinctive riff of “Ticket To Ride.” “Strawberry Fields Forever.” Ringo’s “It Don’t Come Easy.” “Come Together.””Here Comes The Sun.” “Penny Lane.”

There was little between-song patter; there was just an easy-going, amiable on-stage ambiance, incongruously tethered to a lit fuse and an ongoing explosion of buzzing musical delight. John told the fans that they all needed to pay tribute to the rock ‘n’ roll that got them there in the first place, and launched into an impassioned cover of Chuck Berry‘s “Johnny B. Goode.” Those guitars like ringin’ a bell segued into John’s “Whatever Gets You Thru The Night,” then Paul’s “Maybe I’m Amazed,” then “I Am The Walrus.” “Magical Mystery Tour.” “With A Little Help From My Friends.” “Lucy In The Sky With Diamonds.” George introduced “Something” as Frank Sinatra’s favorite Lennon and McCartney song. Thank you, Frank! John whooped out a Thanks, Frankie! in response. “Back In The USSR.” Ringo’s “Photograph.” “We Can Work It Out.” Day Tripper.” George’s “What Is Life.” “Let It Be.” “Don’t Pass Me By.”

It was a long show. These aging rock stars, all in their late thirties by now, should have been dragging, but still seemed energized, ignited, as if they were still that impossibly young bunch of punks tearin’ up the Reeperbahn in Hamburg those many years ago. The guitars gathered more volume, the air became thicker, as every inch of space at MSG gave way to the force and fury of “I Want You (She’s So Heavy).” Paul moved to the piano for a climactic “Hey Jude.” The show concluded with John and Paul singing “I Don’t Want To Spoil The Party,” The Nerk Twins, the British Everly Brothers. And The Beatles said good night.

During all their years of insane, unprecedented, hysterical popularity, The Beatles never performed an encore. No. They did their show, and they got out. So tonight would be history on top of history. The arena thundered with the eager noise of delirious fans wanting more! 

Back on stage, soaking in the applause, beaming with pride and satisfaction (wait–wrong band!), The Beatles were ready to oblige.

Thank you, Beatle people. It says here we passed the audition! “Get Back.” “A Day In The Life.” “Eleanor Rigby.” And finally, Larry Williams‘ “Dizzy Miss Lizzy.” The clock struck eternity. The enchantment ended. This amazing, amazing night was over.

Record labels fell over each other trying to secure the rights to release a live album of The Beatles’ MSG show. Paul, George, and Ringo were each already under contract with competing labels, though John was a free agent. But it didn’t matter; the show was not officially recorded, and would forevermore be only the stuff of memories and bootlegs. Ob-la-di, ob-la-da, life goes on.

The Beatles would never again perform together before a live audience. The four discussed the comic merit of taking NBC’s Saturday Night up on its offer, but ultimately decided it wasn’t something they wanted to do. George Harrison did appear on Saturday Night with guest host Paul Simon; Harrison participated in an opening skit about trying to claim the $3000 the show offered for The Beatles to come on the show, as producer Lorne Michaels deadpanned that he thought it was clear the offer was for four people, not just one. Simon and Harrison then teamed up for lovely renditions of “Here Comes The Sun” and Simon and Garfunkel‘s “Homeward Bound.” John and Paul appeared together on a subsequent episode, carrying out John’s initial joke to demand $1500 for an appearance by two Beatles. The former Fabs played two acoustic sets on the show, without outside accompaniment: Eddie Cochran‘s “Twenty Flight Rock” (the first song Paul played for John when they met in 1957), “Norwegian Wood,”and “Blackbird,” then “In My Life” and “Yesterday.” The two harmonized on each song; notably, it was the first time Lennon had ever sung “Yesterday” in public. Later in the same show, John and Paul plugged in with the NBC house band for a blistering medley of “I Saw Her Standing There” and “Rain.”

And with that, John Lennon once again withdrew from the spotlight, making good on his vow to be Sean’s Daddy, nothing more, nothing less. Paul McCartney, George Harrison, and Ringo Starr returned to their own careers. The three of them performed together at Eric Clapton‘s wedding to George’s ex-wife Patti Boyd on May 19th, 1979.

John came out of retirement in 1980 for Double Fantasy, a new album with Yoko. He did a short small-venue tour in support of the album, and enlisted the members of his son’s favorite group The Flashcubes to play with him. Lennon had struck up a friendship with the ‘Cubes when he arranged for them to play for Sean at a private party on December 8, 1980, the same night police arrested an armed individual loitering outside The Dakota; the unidentified man killed himself while in custody, leaving many to shudder at the thought of what might have happened if the Lennons had returned home earlier. Paul joined Lennon and The Flashcubes on stage at Carnegie Hall for the encore of their final show in March of ’81.

Sadly, a rift developed between Lennon and Harrison. John felt that he’d been deliberately snubbed in George’s autobiography I Me Mine. Relations between the two were strained for quite some time thereafter, though they eventually made amends. Ringo generally remained on good terms with each of the other three, though even our little Richard occasionally grew tired of always being viewed as a Beatle, no matter what.

The Beatles declined an invitation to perform at Live Aid in 1985.  The group’s 1988 induction into The Rock And Roll Hall Of Fame offered the seemingly certain prospect of a Beatles reunion, but Paul did not attend, citing the sticking point of still-lingering business disputes with his former co-workers.

Finally, the morass of The Beatles’ Sargasso Sea of legal complications and intricacies was navigated and left behind by the dawn of the ’90s. John, Paul, George, and Ringo cooperated and fully participated in the making of The Beatles Anthology, a comprehensive video history of the act you knew for all those years. Proposals for a new Beatles album or tour or one-off concert were ruled out immediately, but they performed several songs together on the Anthology video. Although this would be their final full collaboration, all four remained on cordial terms through George’s death in 2001. The others agreed to honor George’s memory by leaving The Beatles in the past. There would be no more public reunions of any kind. In the end, the love you take is equal to the love you make.

As a young band playing bars in Hamburg and Liverpool, The Beatles fantasized of becoming The Toppermost Of The Poppermost. It was a heady, unlikely dream for four ne’er-do-well punks from a rough-and-tumble seaport town. But the dream came true. Decades later, we dream on still.

The dream isn’t over. We do believe in Beatles. And you know that can’t be bad.

You can support this blog by becoming a patron on Patreon: Fund me, baby! 
THE BEATLES: LIVE AT MADISON SQUARE GARDEN 1976

Revolution
Helter Skelter
While My Guitar Gently Weeps
You Won’t See Me
No Reply
Crackerbox Palace
Ticket To Ride
Strawberry Fields Forever
It Don’t Come Easy
Come Together
Here Comes The Sun
Penny Lane
Johnny B. Goode
Whatever Gets You Thru The Night
Maybe I’m Amazed
I Am The Walrus
Magical Mystery Tour
With A Little Help From My Friends
Lucy In The Sky With Diamonds
Something
Back In The USSR
Photograph
We Can Work It Out
Day Tripper
What Is Life
Let It Be
Don’t Pass Me By
I Want You (She’s So Heavy)
Hey Jude
I Don’t Want To Spoil The Party

ENCORE:
Get Back
A Day In The Life
Eleanor Rigby

Dizzy Miss Lizzy