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.


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.


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' 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!!

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


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!


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!!

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 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

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

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]
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)

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Volume 1: download
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Volume 4: CD or download
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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)

Sunday, February 25, 2024


We're opening and closing this week's extravaganza with power pop legend PAUL COLLINS, including one 1970s classic and no less than THREE tracks from his ace new album STAND BACK AND TAKE A GOOD LOOK. HuzZAH! We'll also have the latest from JORDAN JONES, ATHENSVILLE, and THE HALF CUBES, a new single from DOLPH CHANEY, recent faves from THE CYNZ, ELENA ROGERS, MIKE BROWNING, LEATHER CATSUIT, HUNGRYTOWN, RICH ARITHMETIC, and GIRL WITH A HAWK, plus a passel o' pleasers from (of course) THE PLEASERS, BOB MARLEY AND THE WAILERS, THE ANIMALS, THE SHANGRI-LAS, THE FUN BOY THREE, THE RAMONES, FANNY, THE JELLY BEANS, THE FLASHCUBES, THE HOLLIES, THE SUPREMES, GUIDED BY VOICES, SORROWS, WONDERBOY, THE O'JAYS, GENERATION X, SLY AND THE FAMILY STONE, THE EQUALS, BO DIDDLEY, THE SMITHEREENS, THE BEATLESTHE GO-GO'S, and whatever else we need to present The Best Three Hours Of Radio On The Whole Friggin' Planet. It starts and ends with Mr. Paul Collins. Stand back. No! Dive in, man. Sunday night, 9 to Midnight Eastern, on the air in Syracuse at SPARK! WSPJ 103.3 and 93.7 FM, on the web at, streaming on the Radio Garden app as WESTCOTT RADIO. The weekend stops HERE!