Friday, March 1, 2024

THE GREATEST RECORD EVER MADE: The Bobby Fuller Four and Merle Haggard

Both of these chapters from my proposed book The Greatest Record Ever Made! (Volume 1) have already appeared separately on this blog. They're combined here today as they will appear in sequence in the book.

In memory of my oldest brother. Safe travels, Art.

THE BOBBY FULLER FOUR: I Fought the Law
Written by Sonny Curtis
Produced by Bob Keane
Single, Mustang Records, 1965

In 1966, my brother Art had a red Alfa Romeo. I'm told it was a shitty car, and I remember its ignominious final days in his possession: a scarlet husk parked, prone, lying in state beyond the shed at the end of our back yard. Collecting dust, collecting rust. A tow truck came to whisk this luckless scarlet husk to its final reward.

But my prevailing memory of this doomed vehicle is a happy one. The memory involves the consumption of Royal Crown Cola, or possibly a root beer and Teen Burger at the nearby A & W Drive-In. The memory absolutely involves the car's one true immortal virtue: Its radio. 

That radio? When I was six years old, I thought that radio was magic.

I mean, it must have been magic. There were songs I heard on that car's radio that I never heard anywhere else. But it was a different magic than I imagined; it was Syracuse's 1260 WNDR-AM. Set to 1260, the Alfa Romeo played "I Like It Like That" by the Dave Clark Five, a record that--to me--only existed in Art’s star-crossed Alfa Romeo. Even better, it played--often!--another irresistible exclusive: "I Fought the Law" by the Bobby Fuller Four. 

My visceral memory of that terrific song remains inextricably linked to those moments in my brother's Alfa Romeo, of drums, guitars, and a singer bemoaning his fate of breakin' rocks in the hot sun, all pouring forth from the little car's speakers as my big brother cruised suburban streets with his pesky kid brother on board. It's indelible, and I embrace and cherish its vivid image.

A decade and change passed. In 1978, I was finishing my freshman year in college, and immersing myself in the rockin' pop of the sixties and the then-contemporary sounds of punk, new wave, and power pop. In this joyous crucible of discovery and rediscovery, "I Fought The Law" was ripe to reclaim. 

I don't know if it occurred to me that the Bobby Fuller Four might have had more than just one great song. Nor did I know that Bobby Fuller himself was dead, and I didn't know anything at all about the suspicious circumstances surrounding his demise. The opportunity to learn about all of this would not present itself until after I graduated from college in 1980.

In 1981, my girlfriend and I were living in an apartment in Brockport. She would graduate that spring, and I'd already leveraged my Bachelor of Arts degree into full-time employment at McDonald's. Success! And rent money, as well as cash for beer and food and beer, and to keep buying music at Main Street Records. 

I snapped up Rhino Records' Best of the Bobby Fuller Four compilation. By then, I knew two of its songs, “I Fought The Law” and “Let Her Dance.” It was high time to know more: "Only When I Dream," "Don't Let Me Know," Buddy Holly's "Love's Made a Fool Of You," the Eddie Cochran ripof..er, tribute "Saturday Night," and a trifecta of absolute gems--"Another Sad and Lonely Night," "Fool of Love," and "Never to Be Forgotten"--that could rival "Let Her Dance" and "I Fought the Law" as surefire radio-ready triumphs. How in the name of all that's percolatin' could the Bobby Fuller Four have wound up as mere one-hit wonders...?!

I was twenty-one years old in 1981. I lived inside my pop music. I was also living in the (overrated) real world for the first time, trying to reconcile the frequently conflicting promise of art and the demands of responsibility, adulthood. It can be a difficult line to tread, an ongoing balancing act between the dreams we dream and the clocks we punch. Doing what we have to keeps things going; doing what we want to keeps us going.

Bobby Fuller wasn't much older than that when he died in the summer of '66: a pop star three months shy of his twenty-fourth birthday, a West Texas kid who hit the big time, a rising star with a Billboard smash on his résumé and the world at his feet. The liner notes to Best of the Bobby Fuller Four offered my first hint of his tragic story. Bobby had talent. Bobby had good looks. Bobby had a string of pretty young things on his arm. And on July 18th, 1966, Bobby's body was found slumped in his car outside his apartment in Hollywood. He had been beaten. He had been doused with gasoline. The authorities ruled his death a suicide (later amended to "accidental").

Right.

The record business is big and brutal. And where there's money, there is often organized crime. Ask Tommy James. Or ask Miriam Linna, co-author (with Bobby's brother Randell Fuller) of the book I Fought the Law: The Life and Strange Death of Bobby Fuller. The book suggests that Bobby Fuller was killed by the mob. Sound crazy? Really, crazier than suicide by beating oneself and bathing in gasoline? I'm not one for conspiracy theories. Elvis is dead. Paul is alive. Neil Armstrong walked on the moon. 9/11 was a terrorist attack. Oswald may well have acted alone. I find tinfoil hats unbecoming. 

And I also believe the mob killed Bobby Fuller, whether over business (likely) or for revenge on Bobby for dallying with an attractive woman whose dallying allegiance was presumed to already belong exclusively to an underworld boss. Whatever actually happened to Fuller, it's a safe bet it wasn't self-inflicted.

The sordid tale of Fuller's end, as sad and frustrating as it remains, can't dilute the prevailing appeal of his music. Listening to Best of the Bobby Fuller Four was my first real evidence that there could be more--much more--to an act that show biz writes off as a one-hit wonder. 

I no longer own my copy of that LP; it was replaced many years ago by a CD that contained even more great Bobby Fuller tracks, and that CD was replaced by the five discs of Bobby Fuller material that now sit proudly on my shelf at home. Fool of love. Another sad and lonely night. Let her dance all night long. Never to be forgotten.

My road to appreciating the bounty of the Bobby Fuller Four began in earnest with Best of the Bobby Fuller Four in 1981. But the road truly began on the road, literally, back in '66: when the magic radio in my brother's unreliable but valiant red Alfa Romeo played a song I could never hear anywhere else. The law didn't win this one, I fear. I needed money 'cause I had none. No time off for good behavior, no chance for parole. I guess my race is run. Only a record on the radio could set us free.

MERLE HAGGARD: Mama Tried (The Ballad From Killers Three)
Written by Merle Haggard
Produced by Ken Nelson
Single, Capitol Records, 1968

One of the rules of the road is that the driver controls the radio. My brother Art was driving. That meant the radio would be playing country music.

It was 2004. My brother Rob had driven from his home in Albany to meet up with me in Syracuse. I took the wheel of my car (and my radio) to drive us from Syracuse to Columbus, where Art lived. From there, the three of us traveled in Art's car. Contemporary country music provided the soundtrack for our final trip to Missouri.

It wasn't our first trip. We'd been there individually and collectively many, many times over the years. Our mom was born in Southwestern Missouri, and our grandparents had remained there. Art and Rob are older than me, so most of their family visits to the Show Me State occurred before I came along. By the mid-sixties, summer trips to Missouri involved just me, my sister Denise, and Mom, with Dad remaining in Syracuse. Within a few years, it was just Mom and I making that trek, as Dad and all of the older siblings had responsibilities elsewhere. The whole family went to Missouri for Christmas in 1970. It's the only time I remember all of us being there.

In 2004, Mom and Dad were already in Missouri as Art, Rob, and I made our way West. Denise had moved to England, too far away to accompany us. Grampa had passed away years before. And now Grandma was gone as well. My brothers and I would be pall bearers. Country music played on the radio. The driver controls the radio.

I hate country music. Sometimes I'm lying (or at least kidding myself) when I say that, and sometimes it's the truth. Three chords and the truth. You'd think a love of country and western would be an innate characteristic of a boy whose mother hailed from the buckle of the Bible belt. 'Tain't so. Art and Rob love country music. Denise and I do not.

It wasn't always like that. As a kid, one of my very favorite records was Ben Colder's "Ring Of Smoke," a broad parody of the Johnny Cash hit "Ring Of Fire." Denise says my incessant playing and re-playing of that MGM Records 45 knocked the country right out of her. I loved it. As a kid in the sixties, I wasn't yet aware of genres, of musical boundaries, of virtual barbed wire fences that suggested if you worked that land and played that music you weren't allowed to trespass on this land and play this music. It was all pop music. You heard it on the radio. The driver controls the radio, but the radio drives us all.

When did it change for me? I used to watch Hee Haw on TV, engaged by the cute country girls, the corny banter, and Archie Campbell's weekly rendition of "PFFT! You Were Gone." Country remained a part of Top 40 radio, so my essential seventies AM atmosphere included Lynn Anderson, Charlie Rich, Donna Fargo, Conway Twitty. My memory may be clouded, but I think I was okay with country music.

Until I wasn't.

What happened? I guess it was some weird combination of introspection, self-image, peer pressure, alienation, and teen reinvention. Being called "farmer" was a popular insult at school, and while I only recall hearing it directed at me when I wore Grampa's hand-me-down overalls, I was aware of its toxic condescension. Country wasn't cool. Neither was I, but while I learned to dig in my heels and stand ground on behalf of comic books and pop music and other things I loved that others mocked, I had also come to think of country as uncool. I wanted to be urbane, witty, sophisticated, fast-paced, and elite, city-slicker rather than shitkicker. New York City, not Nashville or Bakersfield. And, in the post-Watergate world, I had no use for country's jingoism. By the time I fell for punk rock, twang was in my rear-view mirror. Country music? I met another and PFFT! it was gone.

It took a long time for me to appreciate country music again. I knew of rock 'n' roll's roots in country, so I was always okay with the Everly Brothers, Carl Perkins, Jerry Lee Lewis, Buddy Holly, King Elvis I. I knew the Beatles' "All My Loving" was a straight-up country song, and I loved it anyway. In the early eighties, I thought Juice Newton's cover of the Dave Edmunds track "Queen Of Hearts" was the best thing on AM radio. By the end of the eighties, a local Syracuse group called the Delta Rays (led by Craig Marshall and Maura Boudreau, the latter now Maura Kennedy of the fabulous Kennedys, with her husband Pete Kennedy) pried my closed mind wide open to Patsy Cline and George Jones, and to Mary-Chapin Carpenter. In the early nineties, I became a regular viewer of a Saturday night video program on CMT that showcased rockin' country. Nanci Griffith. Rosie Flores. The Sky Kings. The Mavericks. Joe Diffie. Jo Dee Messina. This was country music I could support.

For all that, I still can’t listen to country radio. Nails on a chalkboard. When I'm driving, my control of the radio spins the dial elsewhere.

My work as a pop journalist (and my quest for deliverance as a music fan) reminded me of the appeal of classic country, and my respect for that grew by leaps and bounds. Welcome back to my world, Johnny Cash. Hee-Haw and howdy, Buck Owens! And hello, Merle Haggard.

Haggard had always been outside of my realm. I associated him with "Okie From Muskogee," a track I considered a put-down of hippies and peaceniks, a song that seemed the very epitome of the redneck POV I so detested. Years later, I read that Haggard himself claimed an evolving, shifting view of the song, at times cashing it in at face value, at other times thinking of it as a joke or parody, a wink rather than a sneer. Some have suggested the song was meant to provide the counterbalance of a conservative viewpoint in the face of liberal protest. I dunno. I mean, even though he wasn't really an Okie--his parents moved from Checotah, OK to California before Merle was born in 1937--it's likely Haggard mighta smoked some marijuana in or around Muskogee at some point or another, his lyrical claim to the contrary notwithstanding.

In fact, at the time of his early success in country music from 1966 through '68, Haggard hid a skeleton in his closet: he had fought the law, and the law had won. Teen stints in juvenile detention centers gave way to a robbery conviction in 1957, landing him in Bakersfield Jail. A failed attempt to escape there moved him to San Quentin in 1958. He turned twenty-one in prison. It may have appeared likely he'd die there, too.

But Haggard rewrote his script. Seeing Johnny Cash perform at San Quentin prompted Haggard to play in a country band at the prison. He saw the dead-end roads stretched in nearly all directions around him. One road held the possibility of getting through: the straight and narrow. Haggard was paroled in 1960. He would never be a convict again.

Even the straightest and narrowest of roads may suffer detours, eventual twists and turns. Tolls. As Haggard played, recorded, and began to have hits, he worried that his past would kill his future, that public revelation of his time behind bars could terminate his time in the spotlight. Johnny Cash convinced Haggard to confront the issue. The driver controls the radio, and the narrative. During a 1969 appearance on Cash's TV show, Haggard spoke publicly about seeing Cash in concert at San Quentin, when Merle was an inmate. Haggard's career did not suffer. He was on his way to becoming a legend of country music.

Suddenly, Haggard's 1968 hit "Mama Tried" gained an additional patina of authenticity. It wasn't quite autobiographical--he'd committed robbery, not murder, and wasn't serving life without parole--but the feel was there, the gravitas, the sense of truth. Three chords and the truth. 

Turning twenty-one in prison, leaving only himself to blame, because Mama tried, Mama tried. It's the equal of Dylan, insightful and honest, heartbreaking, real. Country music. The music I disavowed as a teenager, the music I claimed to hate. I guess that leaves only me to blame.

My brothers and I arrived at my grandparents' house in Aurora in 2004. Our parents were there, along with aunts and uncles--including Mom's siblings, about to bid farewell to their own mother--and a representative sample of our cousins from California and Florida. Art and Rob brought fast food from the Starlite Drive-In, including orders of chicken gizzards and chicken livers. We all ate together, talked, laughed, and celebrated a life well-lived. The next morning, with our duties discharged and the funeral concluded, my brothers and I left the cemetery, the car now pointed East. The road awaited us. We were leaving Missouri behind, probably for the last time.

Our thoughts were our own, the memories established and permanent. Country music played on the radio. On a freight train leavin' town, never knowing where I'm bound. 

The radio didn't play any Merle Haggard on that trip. It's okay. The driver controls the radio. That's the rule. I learned rules as a kid in New York, and in Missouri. I learned to swim in Missouri. I learned to drive in New York. I learned about music everywhere. I still have so much more to learn.

Thursday, February 29, 2024

10 SONGS: 2/29/2024

10 Songs is a weekly list of ten songs that happen to be on my mind at the moment. The lists are usually dominated by songs played on the previous Sunday night's edition of This Is Rock 'n' Roll Radio with Dana & Carl. The idea was inspired by Don Valentine of the essential blog I Don't Hear A Single.

This week's edition of 10 Songs draws exclusively from the playlist for This Is Rock 'n' Roll Radio # 1222. This show is available as a podcast.

THE FLASHCUBES: Baby It's Cold Outside

Baby, you can say that again. As I complete this blog entry, the temperature in Syracuse has plummeted from record high temps for February just hours ago to a frigid 'n' windy blechh  more typical for the month, with lake effect snow promised in the morning. The weather outside? Frightful. Yeah this blows, yeah this blows, yeah this blows.

So we turn to a little music to keep the home fires burning. The Flashcubes' Pop Masters was my favorite album of 2023, and this remake of Pezband's power pop touchstone "Baby It's Cold Outside" was its first advance single back in the summer of 2021. Y'know, when it was, like, warm. The song's author Mimi Betinis enlists as an honorary Flashcube for this great version, and the resulting shivers get a little bit more welcome as we acclimate. 

Even so, I've gotta ask: Can we have the sun back, please? Syracuse winters. The longest nine months of the year.

FANNY: Let's Spend The Night Together

A proposal to roll with the Stones. Fanny's cover of the Rolling Stones' "Let's Spend The Night Together" comes from their 1974 album Rock And Roll Survivors, the group's fifth and final album, and their only album for Casablanca Records. It was also their only album without guitarist June Millington, who had co-founded Fanny with her sister, bassist Jean Millington; Jean remained with the group for Rock And Roll Survivor, and Patti Quatro joined on six-string.

I don't remember if I'd heard of Fanny before this. I think I may have read about them in some rock mag or another--possibly Circus?--but my first conscious exposure to their music was when I saw them on American Bandstand, chatting with Dick Clark and lip-syncing two tunes from Rock And Roll Survivors: "Let's Spend The Night Together" and their ace cover of the Bell Notes' "I've Had It."

(It suddenly occurs to me that I saw and heard Patti Quatro even before I saw and heard her sister Suzi Quatro lip-sync "I May Be Too Young" on the British TV show Supersonic.)

Appreciation of Fanny's career and legacy has grown over the decades after the fact. And it's about damned time. But the Casablanca LP isn't always considered alongside the group's first four records. 

It deserves better. It was my gateway to Fanny's music, and it's pretty damned good in its own right.

Spend some time with it.

MERLE HAGGARD: Mama Tried

The Greatest Record Ever Made!

DOLPH CHANEY: Californiagain


TIRnRR Fave Rave Dolph Chaney has accrued some airplay on this little mutant radio show (as one would expect, given his "TIRnRR Fave Rave" status. Duh!). We've certainly played a few tracks from his splendid 2023 album Mug, and the recent release of the Mug track "Californiagain" as a single gives us an excuse to enjoy yet another quaff from that mug. Ah! Refreshing!

And it just so happens we'll be playing "Californiagain"...well, again on Sunday night. We'll also be playing a track from Steve Stoeckel, a track from Chris Church, and a track from Spygenius. Why is that worth noting here? Well! The fab four of Dolph, Steve, Chris, and Spygenius' Peter Watts have just joined rockin' pop forces to form a new power pop supergroup called the Electromagnates. The Electromagnates open our next show. Fave Raves, all.

THE O'JAYS: Love Train

Get on board. We could do worse. We have done worse. Please. Just get on board.

WONDERBOY: Girl Songs

Awright! Here's the third consecutive 10 Songs appearance of Wonderboy's definitive statement of intent "Girl Songs." From the group's originally unreleased 1990s album Hero Isle, "Girl Songs" is a contemporary TIRnRR Pick Hit 'cuz, y'know...GIRLS! And pop music. We've programmed the track for three straight weeks. We'll go for four weeks in a row on Sunday night. 

THE BEATLES: Why Don't We Do It In The Road?

When we told Wonderboy's Robbie Rist that we were going to follow this week's spin of "Girl Songs" with a track from the Beatles' White Album, he said it oughta be "Julia." Y'know...an actual girl song, dig? Our failure to do so isn't a reflection of our stubbornness, but evidence of our cluelessness. The show was already recorded by that time, and the thought of segueing "Girl Songs" into "Julia" didn't even occur to us. It's a good thing we have tenure.

On the other hand: Girl songs. Why don't we do it in the road. Upon further review, our decision stands. Sometimes we know what we're doing, even though we never know what we're doing.

PAUL COLLINS: I'm The Only One For You
PAUL COLLINS: Stand Back And Take A Good Look
THE BREAKAWAYS: Walking Out On Love


(Please forgive the labored basketball references to follow. It's that time of year for me. Go, Orange! Somehow....)


Hey, a three-pointer! And it's GOOD!

We opened and closed this week's extravaganza with music from power pop legend Paul Collins. At the top of the show, we scored first with "Will You Come Through?" from Paul's superswell new album Stand Back And Take A Good Look. In overtime at show's end, we came out of the time out with a rapid-fire set play commencing with "I'm The Only One For You," the irresistible lead single from Stand Back And Take A Good Look. SCORE!

With just enough time left on the shot clock, we threw in the new album's title track, and stole the ball back for a last-second put-back with "Walking Out On Love," the late '70s power pop classic Paul Collins wrote when he was with the Nerves and subsequently recorded with the Breakaways and the Beat.

Then the buzzer sounded at midnight. Game over! 

But the Beat goes on. We'll resume play this Sunday night. Our march to madness awaits.

If you like what you see here on Boppin' (Like The Hip Folks Do), please consider a visit to CC's Tip Jar

Carl's new book Gabba Gabba Hey! A Conversation With The Ramones is now available, courtesy of the good folks at Rare Bird Books. Gabba Gabba YAY!! https://rarebirdlit.com/gabba-gabba-hey-a-conversation-with-the-ramones-by-carl-cafarelli/

If it's true that one book leads to another, my next book will be The Greatest Record Ever Made! (Volume 1). Stay tuned. Your turn is coming.

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, streaming at SPARK stream and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio. You can read about our history here.

I'm on Twitter @CafarelliCarl

Tuesday, February 27, 2024

From 1985: SAME BAT-TIME, SAME BAT-CHANNEL


This article appeared in the Summer 1985 issue of Comics Collector. By that time, I had already made a few freelance sales to Amazing Heroes magazine, which was published by Fantagraphics. This sale to Comics Collector was my first work for Krause Publications; I would go on to freelance for Krause for twenty-one years, most notably the twenty years I spent writing for Krause's record collectors' tabloid Goldmine (a story told in great detail here).

Whatever reputation I managed to build as a writer was cobbled together on the foundation of my work for Goldmine from 1986-2006, including my Goldmine interviews with the Ramones (expanded into book form in 2023), and including the little extra oomph of notoriety I was able to bring to the earliest years of This Is Rock 'n' Roll Radio with Dana & Carl

And that all started with my first freelance sale to Krause Publications in 1985. Holy Entry Point! 

And here it is, its text reprised intact from its 1985 publication. Were there errors and over-simplifications? Yep. Not fixing 'em now, this many decades after the fact, and I think I got most of it right anyway. Thanks to my Comics Collector editors Don and Maggie Thompson and their enforcer Kim Metzger for helping me get started in the wonderful world of Krause Publications.

To the Batpoles!

SAME BAT-TIME, SAME BAT CHANNEL

Batman: To comics fans and collectors, he is the dark avenger of evil, a weird figure of the night properly referred to as The Batman. However, to the larger world outside of fandom, the image of the Caped Crusader was formed, not by Neal Adams or Marshall Rogers, but by a highly successful 1966 television comedy-adventure program.

To hard-core Batman fans, the TV show was anathema, silly where it should have been spectacular, campy where it should have been captivating, and spotlighting a hero whom Newsweek described as "bungling, awkward, even stupid. Corseted in baggy tights with blue satin jockey shorts, he bears only mocking resemblance to the comic-book prototype."

Nevertheless, TV's Batman remains the only Batman that many people know, and no mere mention of Silver St. Cloud or The Joker's homicidal tendencies is likely to change that in the near future.

Like it or not, the Caped Crusader's cathode-ray caricature looms large in the legend of The Batman. If we're going to attempt a summation of Batman's career, we're going to have to consider how the TV show interpreted (or reinterpreted) our hero and how the comic books were later affected by that interpretation.

For our purposes, the story begins in 1964, 25 years after The Batman's first appearance. Julie Schwartz assumed editorship of both Batman and Detective Comics and began what was referred to as the "New Look" Batman. This New Look was designed to streamline and modernize Batman, scuttling the weak science-fantasy settings and lackluster art that had plagued the character for the last few years. The intent of the New Look was to make Batman a tad more realistic and down-to-earth, and the result was about two years of solid, entertaining Batman stories--one of the finest, most fondly-remembered periods in the character's illustrious history.

As legend has it, one of these New Look issues of Batman somehow caught the attention of a TV producer named William Dozier. The issue in question was Batman # 171, cover-featuring the return of that plundering Prince of Puzzlers, The Riddler. Dozier reportedly thought the book quite a howl, and something in the enterprising producer's mind clicked.

At the time, America was in the midst of a pop art revolution/fad (take your pick), and much had been written on the subject of camp humor, which deals with something that's so bad it's good. In Dozier's view, that description summed up Batman and Robin perfectly. Dozier shelved his plans for a Green Hornet series (which eventually made it to the screen in Batman's wake) and set to work on his plans for the Dynamic Duo. ABC, the network that aired Batman, might have initially preferred a straight, action-adventure treatment of the character, but Dozier insisted that the whole project's chances of success hinged upon a camp approach. Dozier's viewpoint prevailed, and camp was in.

Batman the television program made its debut at 7:30 p.m. on January 13, 1966. Dozier and head writer Lorenzo Semple Jr. designed the show as a colorful pop-art explosion, an elaborate parody of its comic-book roots. Taking advantage of its twice-a-week time slot, the show ended each Wednesday night with a cliffhanger (effectively parodying old movie serials as well as comic books), with Thursday night's installment resolving the good guys' predicament and showing how justice again triumphed over evil. 

Batman and Robin, as portrayed by Adam West and Burt Ward respectively, came across as four-cornered, overgrown Boy Scouts, gaudy goody-two-shoes with a penchant for funny clothes and corny sayings. The camp silliness of the whole affair soon caught on, and Batman was a ratings winner.

Fans of the comic book Batman were furious; their heroes were being ridiculed on national TV twice a week. Fight scenes on the show were punctuated with large BIFFs, POWs and ZONKs superimposed on the screen to simulate comic-book sound effects. When Batman and Robin were needed, Bruce Wayne and Dick Grayson would slide down the Batpoles in stately Wayne Manor and emerge in the Batcave below, miraculously changed into their costumes. This was, perhaps, the TV show's most annoying affectation; even today, when I discuss Batman with trivia buffs who aren't familiar with the comics, the question is inevitably asked: "How did they change their clothes while sliding down those Batpoles, anyway?"

It seemed that the TV show provided no end of irritation for fans of the "real" Batman. Looking at the program objectively, however, one discovers that it was a well-produced, sometimes genuinely funny satire. Like all jokes that are so bad they're good, camp humor wore thin upon repeated exposure, but it was amusing for a while.

Although the Batman mythos was used as the vehicle for blunt parody, many of the details were almost painstakingly exact. Commissioner Gordon came across as much more constipated and flat than his cartoon counterpart, but the casting of certain villains was just delicious; in particular, Burgess Meredith and Frank Gorshin were letter-perfect in their respective roles as The Penguin and The Riddler, and Cesar Romero's Joker was likewise a fair recreation of how the Clown Prince of Crime was then being portrayed in the comics. The show burdened the Dynamic Duo with an overabundance of unnecessary Batgadgets and related paraphernalia (a Batcomputer, a Batgas spray can, the infamous Batthermal underweat, etc.), but comic book accessories like the Batmobile, Batarang, and Batsignal were reproduced faithfully. 

Someone involved with the production of the TV show obviously researched the character, as elements of both the New Look comics and the mid-'50s Batman popped up frequently in the program. Many new super-villains were created for the show (King Tut, The Bookworm, Egghead, and others), but quite a few old villains were revived from the comics: The Joker, The Penguin, The Riddler, The Catwoman (who had not appeared in a new adventure since the '50s), False Face, Eivol Ekdal, and Mr. Freeze (originally called Mr. Zero in the comics). In spite of (or because of?) its camp approach, the Batman TV series may have been the most faithful adaptation of a comic book super-hero ever to hit the home screen. Certainly, it was more faithful than The Adventures Of Superman, The Incredible Hulk, The Amazing Spider-Man, or Wonder Woman, but it was all so demeaning....

With the phenomenal success of the TV show, it was inevitable that some camp influence would appear in the comics as well. Fan cartoonist Fred Hembeck once noted that the excellence of the New Look Batman ended the night the TV show premiered, and his statement was pretty accurate. By 1966, the New Look had already gained an increasing sense of flippancy, as Robin's wisecracking banter became more prevalent (A scene in Batman # 178 had Robin, seconds away from drowning, thinking to himself, "Haven't...even...breath...left...for...a...wise...crack..."

Fight scenes were also becoming more flamboyant, as Batman and Robin were able to battle armies of hoods and emerge unscahed (as in Batman # 180, the otherwise-excellent "Death Knocks Three Times"). Whereas the earliest stages of the New Look concentrated more on the villainy of down-to-earth gangsters and crime cartels like Hydra (Batman # 167), costumed super-criminals like the Grasshopper Gang, The Bouncer, and Death-Man, plus the ubiquitous Joker, Penguin, and Riddler, made their presence felt before the TV show took hold. 

Although all of these events foreshadowed the effect of the TV show, it is within the realm of possibility that DC Comics had another influence in mind: Marvel Comics, whose popularity was skyrocketing with its own formula of wisecracking super-heroes, spectacular fight scenes, and colorful criminals.

Though the TV show did eventually exert its influence, the result was more subdued than one might have feared. Still under Julie Schwartz's guidance, the Batman comic book never quite succumbed to the unrestrained silliness of their video counterpart, preferring to leave high camp heroics to The Mighty Crusaders and Gold Key's The Owl. At first, the TV influence was minimal; the stories were pretty much the same as before, with the addition of a few extra BONKs and ZAPs and a slight change in the Boy Wonder's speech pattern. This was a minor but annoying item: drawing on the comic-book convention of exclamations like "Great Krypton!" "Suffering Sappho!" and The Legion of Super-Heroes' immortal "Popping Planets!" the TV show came up with a new series of epithets for Robin to cry out at appropriate moments. The idea was that, if the Dynamic Duo found themselves in a smoke-filled room, Robin would say "Holy smoke!" If Batman and The Catwoman became overly familiar with one another, Robin would exclaim, "Holy mush!" Got it?

The introduction of these expletives into the comics was particularly irritating. Otherwise fine stories like "Batman's Baffling Turnabout!" (Batman # 183) and "Hate Of The Haunted Hangman!" (Detective Comics # 355) were marred by the occasional "Holy TNT!" or "Holy hydrogen peroxide!" The appearance of these unnecessary exclamations on the covers of various issues frequently destroyed any possibility of dramatic tension.

The TV show had a few positive effects on the comics. Batman's faithful butler Alfred had been killed off in the early stages of the New Look in a well-intentioned and admirably executed bid to generate some excitement in the strip. However, Alfred was featured in the TV series, forcing the comics to revive this key figure in the Batman legend. As noted before, the TV show rescued The Catwoman from comic-book limbo and revived Mr. Zero under his new name (Robin commented on the Frozen Felon's name-change: "Mr. Freeze? That sounds like a campy name dreamed up for a villain in a television program!" --Detective Comics # 373).

In addition to all of this, the popularity of the TV show generated a remarkable jump in comic book sales, as Batman's sales figures topped the one million mark for the only time in its history.

But at what a cost! Even if the comics never quite reached the TV show's depths of absurdity, Batman and Robin were still buried under a growing pile of excess Batbaggage (Bat-freeze pills, the Batbook of crime), and the overall effect was far short of what the World's Greatest Detective deserved. Costumed villains overran the books, and the occasional non-costumed criminal was usually a boob of the first order, the sort of ineffectual adversary that George Reeves tangled with on The Adventures Of Superman.

There were a few good stories published in this period ("The Million Dollar Debut Of Batgirl!" was a fine debut in Detective # 359), but the series as a whole became bland at best and just plain bad at worst.

The depths were finally hit in Batman # 188 with "The Eraser Who Tried To Rub Out Batman!" a ludicrous tale of a figure from Bruce Wayne's past who helped criminals commit perfect crimes by erasing all clues at the scene of the crime--with his pencil-eraser headgear! Holy bottom-of-the-barrel!

By this time, the bat-backlash was setting in. There were complaints about the camp tone of the Caped Crusaders' exploits and about Batman's domination of The Justice League of America. Although the TV show was still fairly popular at the time, the editorial decision was made to excise camp elements from Batman and Detective Comics. The break from the TV show was accomplished with "The Round-Robin Death Threats!" in Detective # 366-367, a nifty two-parter accurately trumpeted as "a Batman thriller in the 'grand old' tradition!"

Subsequent stories varied from serious to (only slightly) silly, but the death of the batfad and the cancellation of the TV show also spelled an end to high sales figures. DC Comics went through a change in management, and Batman struggled through the end of the '60s. The TV show had damaged his credibility badly, and only the return of a "creature of the night" motif in the early '70s salvaged the character's dignity. Even today, however, the Caped Crusader's sales fall far short of what one might expect for such a famous character.

The success of the TV show was such that the video image of Batman is difficult, perhaps impossible, to separate from the comic-book hero that spawned it. Batman deserves the respect of the general public; maybe the upcoming Batman feature film will help in that regard.

Meanwhile, we Batman fans can still enjoy our favorite super-hero's adventures and maybe learn to make the most of the TV show's legacy. I still find the "Holy jet-stream!" lines obnoxious, but Police Chief O'Hara, a creation of the TV show, put in an appearance in Steve Englehart's celebrated Batman serial a few years back. Doug Moench's writing on Batman and Detective Comics bears a superficial resemblance to the TV-show format, as he presents a series of two-part adventures with different Special Guest Villains.

The Batman legend grows.

And, personally, I rather hope the new movie makes use of "The Batman Theme," for old time's sake.

If you like what you see here on Boppin' (Like The Hip Folks Do), please consider a visit to CC's Tip Jar

Carl's new book Gabba Gabba Hey! A Conversation With The Ramones is now available, courtesy of the good folks at Rare Bird Books. Gabba Gabba YAY!! https://rarebirdlit.com/gabba-gabba-hey-a-conversation-with-the-ramones-by-carl-cafarelli/

If it's true that one book leads to another, my next book will be The Greatest Record Ever Made! (Volume 1). Stay tuned. Your turn is coming.

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, streaming at SPARK stream and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio. You can read about our history here.

I'm on Twitter @CafarelliCarl

Fake THIS IS ROCK 'N' ROLL RADIO Playlist: Covers from the ONLY THREE LADS alt-music era (1970s, 1980s, and 1990s)

This Is Rock 'n' Roll Radio with Dana & Carl is simply too large a concept to be neatly contained within a mere three-hour weekly time slot. Hence these occasional fake TIRnRR playlists, detailing shows we're never really going to do...but could. 

I'm a fan of Only Three Lads, the weekly classic alternative podcast curated by hosts Uncle Gregg and Brett Vargo. Today's imaginary exercise in playlisting is directly inspired by O3L, even though it doesn't really have anything to do with O3L.

Only Three Lads celebrates the classic era of alternative music, an era which Gregg 'n' Bart define as the 1970s, '80s, and '90s. Each week's show selects a topic (like last weeks' Top 5 Canadian albums), and then counts down the individual quintets of picks chosen by each of the lads, usually with a special guest serving as de facto third lad or lass. 

Because I'm a relative newcomer to O3L, I rely on speculation when I say they've probably already addressed the question of Top 5 cover versions in the O3L era. Whether they have or haven't, the subject seems a good launching pad for a fake This Is Rock 'n' Roll Radio playlist.

In slapping this together, I wanted to come up with a playlist comprised solely of tracks that occurred to me without resorting to outside references. I tried to avoid songs where the cover was (at least arguably) better-known than the original; this ruled out goodies like "Girls Talk" by Dave Edmunds, "Rock And Roll Love Letter" by the Bay City Rollers, "(What's So Funny 'Bout) Peace, Love & Understanding?" by Elvis Costello and the Attractions, and about a zillion others. That's okay; that still left us with plenty of superb material.

(Oh. And I wanted to feature the Ramones in each set. I like the Ramones.)

I didn't check the decade-to-decade ratios in play, but my own chronology and POV tends to favor '70s over '80s and '80s over '90s, and I'm sure this playlist reflects that bias. And yeah, I know even as broad a concept as "alternative" can't possibly be stretched to include, say, Styx, whom I generally despise (with exceptions). But everything here is in-era; it doesn't have to be alternative.

It just has to be good.

Speaking of good: Thanks, Only Three Lads! Appreciate your show, appreciate your inspiration. To show my gratitude, here's a playlist of some songs borrowed from previous practitioners by other performers during the O3L timeline. Imitation is the sincerest form of flattery. 

Dig the sincerity in play here.

This Is Rock 'n' Roll Radio with Dana & Carl--y'know, the real one--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 all about this show's long and weird history here: Boppin' The Whole Friggin' Planet (The History Of THIS IS ROCK 'N' ROLL RADIO). TAX DEDUCTIBLE DONATIONS are always welcome.

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
Volume 5: CD or download

PS: SEND MONEY!!!! We need tech upgrades like Elvis needs boats. Spark Syracuse is supported by listeners like you. Tax-deductible donations are welcome at 
http://sparksyracuse.org/support/

Carl's new book Gabba Gabba Hey! A Conversation With The Ramones is now available, courtesy of the good folks at Rare Bird Books. Gabba Gabba YAY!! 

You can follow Carl's daily blog Boppin' (Like The Hip Folks Do) at 
https://carlcafarelli.blogspot.com/

FAKE TIRnRR PLAYLIST: Covers from the ONLY THREE LADS alt-music era (1970s, 1980s, and 1990s)
BANANARAMA AND FUN BOY THREE: Really Sayin' Somethin' [The Velvelettes]
THE RAMONES: I Don't Want To Grow Up [Tom Waits]
HÜSKER DÜ: Eight Miles High [The Byrds]
THE RUNAWAYS: Rock And Roll [The Velvet Underground]
TOOTS AND THE MAYTALS: Take Me Home, Country Roads [John Denver]
HINDU LOVE GODS: Raspberry Beret [Prince and the Revolution]
--
KISS: Any Way You Want It [The Dave Clark Five]
SUZI QUATRO: Wake Up, Little Susie [The Everly Brothers]
HEADGIRL: Please Don't Touch [Johnny Kidd and the Pirates]
THE RAMONES: 7 And 7 Is [Love]
SIBLING RIVALRY: See My Way [Blodwyn Pig]
THE BAY CITY ROLLERS: Rebel Rebel [David Bowie]
--
COWBOY JUNKIES: Sweet Jane [The Velvet Underground]
THE RAMONES: Needles And Pins [Jackie DeShannon, The Searchers]
RONNIE SPECTOR AND THE E STREET BAND: Say Goodbye To Hollywood
BLUE ÖYSTER CULT: Be My Baby [The Ronettes]
THE BANGLES: Where Were You When I Needed You [The Grass Roots]
RADIO BIRDMAN: You're Gonna Miss Me [The 13th Floor Elevators]
--
THE SEX PISTOLS: (I'm Not Your) Steppin' Stone [Paul Revere and the Raiders, the Monkees]
STIV BATORS: It's Cold Outside [The Choir]
X: Wild Thing [The Troggs]
TAVARES: Free Ride [The Edgar Winter Group]
PHIL SEYMOUR: Let Her Dance [The Bobby Fuller Four]
THE RAMONES: Time Has Come Today [The Chambers Brothers]
--
JOAN JETT AND THE BLACKHEARTS: Doin' Alright With The Boys [Gary Glitter]
THE GREG KIHN BAND: Roadrunner [The Modern Lovers]
THE RAMONES: Take It As It Comes [The Doors]
STYX: Lies [The Knickerbockers]
THE PLEASERS: The Kids Are Alright [The Who]
1.4.5.: Hippy Hippy Shake [Chan Romero, the Swinging Blue Jeans]
--
KISSING BANDITS: Shake Some Action [The Flamin' Groovies]
THE BARRACUDAS: Down In The Boondocks [Billy Joe Royal]
BLUE ANGEL: I'm Gonna Be Strong [Gene Pitney]
THE RAMONES: California Sun [The Rivieras]
THE BEACH BOYS: California Dreaming [The Mamas and the Papas]
THE FLAMIN' GROOVIES: Sealed With A Kiss [Bryan Hyland]
--
THE ISLEY BROTHERS: Summer Breeze [Seals and Crofts]
THE SEX PISTOLS: Somethin' Else [Eddie Cochran]
THE RAMONES: Somebody To Love [Jefferson Airplane]
YVONNE ELLIMAN: I Can't Explain [The Who]
THE TREMBLERS: Green Shirt [Elvis Costello and the Attractions]
THE MUFFS: Rock And Roll Girl [The Beat]
--
WHITE FLAG: Wuthering Heights [Kate Bush]
DAVID BOWIE: Sorrow [The McCoys, the Merseys]
MATERIAL ISSUE: Little Willy [Sweet]
THE RAMONES: Surfin' Bird [The Trashmen]
BLONDIE: Denis [Randy and the Rainbows]
RACHEL SWEET: B-A-B-Y [Carla Thomas]
JOHNNY JOHNSON AND HIS BANDWAGON: Gasoline Alley Bred [The Hollies]
R.E.M.: Toys In The Attic [Aerosmith]
--
THE RAMONES: Do You Wanna Dance [Bobby Freeman]
THE FLASHCUBES: All Over The World [Paul Collins' Beat]
THE ROMANTICS: She's Got Everything [The Kinks]
EDDIE AND THE HOT RODS: Get Out Of Denver [The Bob Seger System]
JOHNNY THUNDERS [with PATTI PALLADIN]: Great Big Kiss [The Shangri-Las]
RONNIE SPECTOR: Here Today Gone Tomorrow [The Ramones]
WILLIE ALEXANDER AND THE BOOM BOOM BAND: You've Lost That Lovin' Feeling [The Righteous Brothers]
THE DICTATORS: Slow Death [The Flamin' Grovies]
--
THE PALEY BROTHERS AND RAMONES: Come On Let's Go [Ritchie Valens]
THE DICKIES: Banana Splits [The Banana Splits]

Monday, February 26, 2024

This Is Rock 'n' Roll Radio # 1222


I guess I risk accusations of hipsterism when I say I've been a fan of Paul Collins since the late '70s. That was when teen college student ME picked up the superb four-song eponymous EP by our Paul's former group the Nerves. My fandom intensified with "Walking Out On Love," an absolutely irresistible track recorded by the Breakaways (an act piloted by Collins and fellow Nerve Peter Case) and credited to Collins solo on a 1979 compilation album called Waves Vol. 1. When Collins then formed the Beat (aka Paul Collins' Beat), I was all in. 

But listen: It does not matter one itty li'l bit when you catch on to an act you like. You were there at the group's secret origin, their rockin' pop Ground Zero? Awright! You discovered 'em later on, whether on your own or as part of a ritual jump on a crowded bandwagon? Also awright! Man, music is timeless. There are no purity tests for becoming a fan. 

And right now, Paul Collins fans old and new can rejoice in the release of the power pop legend's minty-fresh album Stand Back And Take A Good Look. We've been playing its advance single "I'm The Only One For You" over the past few weeks, and it already seems a likely lock for 2024's year-end Countdown Show. This week, it's joined on the playlist by two more tracks from Stand Back And Take A Good Look, as well as by another spin of "Walking Out On Love." It all sounds so, so fantastic in the here and now.

So: Hear. NOW. And turn it up. This is what rock 'n' roll radio sounded like on another Sunday night in Syracuse this week.

This show is available as a podcast.

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, streaming at SPARK stream, and on the Radio Garden app as WESTCOTT RADIO. Recent shows are archived at Westcott Radio

You can read all about this show's long and weird history here: Boppin' The Whole Friggin' Planet (The History Of THIS IS ROCK 'N' ROLL RADIO)

TAX DEDUCTIBLE DONATIONS are always welcome.

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
Volume 5: CD or download

HEY! Looking for something to read? Check out Carl's book Gabba Gabba Hey! A Conversation With The Ramones You can also follow Carl's daily blog Boppin' (Like The Hip Folks Do) at https://carlcafarelli.blogspot.com/ If you would like to receive links to each day's blog, please reply to this email.

TIRnRR # 1222: 2/25/2024
TIRnRR FRESH SPINS! Tracks we think we ain't played before are listed in bold

PAUL COLLINS: Will You Come Through? (Jem, Stand Back And Take A Good Look)
BASH AND POP: One More Time (Sire, Friday Night Is Killing Me)
JOE JACKSON: One More Time (A & M, Steppin' Out: The Very Best Of Joe Jackson)
SHADOWY MEN ON A SHADOWY PLANET: Having An Average Weekend (Glass, Savvy Show Stoppers)
THE ANIMALS: Bring It On Home To Me (Abkco, Retrospective)
SQUEEZE: Another Nail In My Heart (A & M, The Squeeze Story)
--
BOB MARLEY AND THE WAILERS: Simmer Down (Soul Jazz, VA: Studio One Classics)
THE ENGLISH BEAT: Mirror In The Bathroom (Shout Factory, Keep The Beat: The Very Best Of The English Beat)
BMX BANDITS: I Wanna Fall In Love (Big Deal, Theme Park)
ELVIS COSTELLO AND THE ATTRACTIONS: You Belong To Me (Rykodisc, This Year's Model)
THE SUGAR TWINS: The Right Stuff (Swang, Patio A-Go-Go!)
THE EQUALS: Baby Come Back (Ice, First Among Equals)
--
JORDAN JONES: Can I Stay (Kool Kat Musik, And I, You)
THE JELLY BEANS: I Wanna Love Him So Bad (Charly, The Red Bird Story)
THE FLASHCUBES: Baby It's Cold Outside [featuring Mimi Betinis] (Big Stir, Pop Masters)
THE SHANGRI-LAS: Twist And Shout (Charly, Remember [Hits And Rarities From The Bad Girls Of 60s Pop])
LEATHER CATSUIT: Can't Get You Off My Mind (Rum Bar, Leather Catsuit)
FANNY: Let's Spend The Night Together (Cherry Red, Rock And Roll Survivors)
--
THE HALF CUBES: The Things That We Say [featuring Magnus Börjeson] (unreleased)
FISCHER-Z: So Long (United Artists, single)
ELENA ROGERS: I Feel Alive (Eats Dynamite, single)
THE FUN BOY THREE: Our Lips Are Sealed (Chysalis, The Best Of Fun Boy Three)
THE GO-GO'S: La La Land (Beyond, God Bless The Go-Go's)
GENERAL PUBLIC: Tenderness (Shout Factory, ...All The Rage)
--
ATHENSVILLE: Desiderata (Free Tyree Wallace) (n/a, Crossed With Lightning)
GENERATION X: Dancing With Myself (Chrysalis, Perfect Hits [1975-1981])
SLY AND THE FAMILY STONE: Dance To The Music (Epic, Greatest Hits)
THE GOLD NEEDLES: Hit The Main Drag (Jem, single)
RICH ARITHMETIC: When You Want Somebody (To Make Love To) (Kool Kat Musik, Pushbutton Romance)
THE GROOVIE GHOULIES: Carly Simon (Lookout, VA: Lookout! Freakout!)
--
GIRL WITH A HAWK: Feel Me (Rum Bar, Keep 'Er Lit)
GUIDED BY VOICES: Hot Freaks (Matador, The Best Of Guided By Voices: Human Amusements At Hourly Rates)
THE CYNZ: Little Miss Lost (Jem, Little Miss Lost)
HELIUM ANGEL: Georgie (Pilot Error, Early Clue To The New Direction)
BO DIDDLEY: Mona (I Need You Baby) (MCA, The Chess Box)
HOLLY AND JOEY: I Got You Babe (Virgin, single)
--
The Greatest Record Ever Made!
MERLE HAGGARD: Mama Tried (Capitol, HAG: The Best Of Merle Haggard)
THE HOLLIES: Look Through Any Window [French lyric version] (EMI, Clarke, Hicks & Nash Years)
MIKE BROWNING: Just One Day (single)
THEE HEADCOATEES: Teenage Kicks (Damaged Goods, Punk Girls)
THE SUPREMES: Up The Ladder To The Roof (Motown, The '70s Anthology)
THEM: I Can Only Give You Everything (Deram, The Story Of Them Featuring Van Morrison)
--
TONY MARSICO: Turn On Your Lovelight (Rum Bar, Sleepwalker)
THE POPTARTS: Jealousy [alternate version] (PlumTone, Fresh...Out Of The Toaster)
THE MC5: Tonight (Rhino, The Big Bang! Best Of The MC5)
THE REZILLOS: I Like It (Sire, Can't Stand The Rezillos: The [Almost] Complete Rezillos)
THE PLEASERS: Lies (Lost Moment, Thamesbeat)
HUNGRYTOWN: Another Year (Big Stir, single)
THE SMITHEREENS: Little Child (Koch, Meet The Smithereens)
--
DOLPH CHANEY: Californiagain (Big Stir, Mug)
SIMON AND GARFUNKEL: Cecilia (Columbia, Old Friends)
THE RAMONES: Teenage Lobotomy (Rhino, Rocket To Russia)
SKEETER DAVIS: I Can't Stay Mad At You (Real Gone Music, VA: Honeybeat: Groovy 60s Girl-Pop)
THE O'JAYS: Love Train (Epic, Love Train: The Best Of The O'Jays)
THE SHIRTS: They Say The Sun Shines (Cema, The Shirts)
WONDERBOY: Girl Songs (n/a, Hero Isle)
THE BEATLES: Why Don't We Do It In The Road? (Apple, The Beatles)
--
PAUL COLLINS: I'm The Only One For You (Jem, Stand Back And Take A Good Look)
PAUL COLLINS: Stand Back And Take A Good Look (Jem, Stand Back And Take A Good Look)
THE BREAKAWAYS: Walking Out On Love (Alive, THE NERVES: One Way Ticket)