Wednesday, February 1, 2012

Various Artists - O Brother Where Art Thou? Soundtrack


Hold onto your hats, folks - this is gonna be a long one . . .

I've found that the best times in your life are usually not the ones you plan, but the ones that just sort of happen. The great thing I've discovered about being alive, of being able to walk around on this nutty planet, is that even during the most mundane, ordinary days, there's potential magic and amazing experiences tucked away around every corner. Most of the time, we fail to see these opportunities, or we don't move fast enough to take advantage of them. But when that special thing actually does happen, seemingly from out of the blue, it reminds you that the possibility of magic IS out there. I have had some unique and interesting experiences in my life, and this is one of the best of them - moreso because I didn't really go looking for it, but it just sort of found me just the same.

One Friday in June of 2001, while I was living in Providence, Rhode Island, I took the day off of work to run some errands. None of the things I needed/wanted to do that day were of any major consequence - I needed a couple of things from the Stop & Shop grocery; I had to pick up some bits and pieces of dry cleaning; I needed to buy myself some new pants - typical stuff. As I was walking out of my apartment that morning, I remembered that I had a roll of undeveloped film sitting around, taken during a recent trip to California. So I turned back to grab it, figuring that I could head over to nearby Providence Place Mall and drop it off to be developed while I visited the clothing stores there for my slacks.

The mall was fairly deserted when I got there - since, of course, most other people besides me were at work. I left my film at the camera store, then wandered around the center for a bit, enjoying the sensation of not being cooped up in the office during a weekday. As I roamed, I happened upon two women sitting behind a small folding table set up in an out-of-the-way corner of the mall. It looked sort of like one of those temporary setups that insurance or credit card companies put up in shopping centers and airports - you know, the "Sign Up Today And Get A Free T-Shirt!" sort of things. This particular table didn't quite have that particular sort of vibe coming from it, but I still began to steer clear of it - I didn't feel like being hassled that time of morning.

But with no one else in the immediate vicinity, the women started waving me over, with a little more urgency than I thought necessary. My "No" radar was still flashing red, so I can't tell you why I stopped and turned back to respond to them - I suppose continuing to move away would have been impolite on my part. But in hindsight, I'm glad I did, for as I approached, one of the women greeted me with "Hi! Would you like to try out for a TV game show?"

It was then that I noticed the banner draped across the front of the table - "WEAKEST LINK SIGNUP HERE".

For those of you who may not recall, The Weakest Link was an NBC game show which had been airing in prime time since April of that year. It was the American version of the hit British show of the same name, and it even had the host of the UK version, the acerbic Anne Robinson, as the host of the U.S. show. In many ways, the show was NBC's answer to ABC's wildly popular Who Wants To Be A Millionaire?, which had been running on that network for the past couple of years to great acclaim (and great profitability for the network).

In the first couple of months after its springtime debut, The Weakest Link experienced the same sort of huge popularity and success as its competitor. But with all of the hype and buzz surrounding it, I still had not bothered to watch the program. Game shows (especially prime time game shows) weren't really my bag, to be honest - I had seen Who Wants To Be A Millionaire? only a couple of times, and never all the way through. To me, all game shows just seemed so contrived and phony, with intellect not exactly being the determining factor in winning or losing. Every once in a while, I thought about trying out for Jeopardy!, since it seemed like you had to actually have (and use) some real smarts to succeed on that show. But overall, these contests weren't really the sort of thing that interested me.

I confessed my ignorance of the show to the two ladies. But they said that didn't matter; I should try out anyway, especially since I was the first one there and thus would be guaranteed a chance. Since I was going to hang around the mall anyway until my film was finished, I finally agreed. They had me sign my name to a register, and gave me a ticket with "#1" printed on it, and told me to come back in an hour or so.

I went up to the third floor food court to grab some lunch, and by the time I returned to the area where the Weakest Link table was, there were literally HUNDREDS of people gathered there, all vying for a chance to be a contestant. They only took a certain number, something like the first 300 or 400 - since I had ticket #1, I was good to go. At the appointed time, they trooped the vast lot of us through the mall, up two escalators and into a barren area that used to be a former store, now filled with folding cafeteria-style tables and benches where we all could sit.

Despite the vast size of the applicant pool, the Weakest Link folks were very efficient in their duties - it was very apparent that they had done this type of thing before, in cities all over the U.S. After greetings and preliminary remarks, they handed each of us pencils and a four-page "Biographical Questionnaire", on which we provided them with our names, addresses, education, occupation, hobbies and any other pertinent facts about ourselves. They gave us about 20 minutes to complete that. Then everyone's forms were gathered up and replaced with a single sheet of paper, with the numbers 1 through 20 listed along the left-hand side. This was the "testing" phase of the application - a staff member stood up in the middle of the room and shouted out twenty questions, one at a time, while we quickly scribbled our answers down on the sheets provided.

- "What is the capital of Wisconsin?"
- "What does DNA stand for?"
- "How many sides does a Rubik's Cube have?"; etc.

The game show recruiters then gathered up everyone's test sheets (we all put our names at the top beforehand), and took all of these papers back to another part of the room, closed off from the rest of it. In there, there appeared to be a couple of dozen additional staff members sitting, waiting to grade the exams and match them up with the bio sheets. Apparently, they were looking for both the smartest and quirkiest/most interesting personalities to be on the program. We (that is, myself and my fellow contestant applicants) sat in that room on those hard benches for what seemed like an eternity, until the group leader finally reappeared and announced the names of the applicants who would move on to the next round in the process. Out of more than 300 people, they selected about 20-25 of us for Phase II . . . and, lo and behold, I was one of the selectees.

After dismissing the others, they took my selected group back to yet another part of the store, which had been set up to vaguely resemble the actual game show set. There, we were told that we were going to assemble in groups of eight, and play a quick version of the game, all of which was to be filmed by several cameras set up around the room and "sent back to Hollywood" for the show's producer's to make the final determination as to who would and wouldn't be invited to be on the actual show. After a rapid run-through of the rules of play, we began the mock competition. While the cameras rolled, the stand-in for the show host lobbed questions and insults at us, and we all tried our best to answer/respond in kind (they claimed beforehand that it didn't matter if we answered a question incorrectly; they were just trying to see how we looked and responded on camera. Whether that was true or not, I know for a fact that I didn't miss a single question - a factor that played in my favor, as I learned later on).

After about 45 minutes of that sort of nonsense, that was that. The crew thanked us for our time, and said that they would be in touch with us soon. It was late afternoon when I finally left that store, so I went down to get my developed pictures before walking home (never did get those new pants that day, however . . .).

I didn't tell a lot of my friends about my experience that day, because despite assurances from the production staff that we would "hear from them", I honestly didn't expect to. I figured that that team had been doing the same type of recruiting all over the country, and as such there were scores of other applicants for them to choose from besides me. I was semi-hopeful to get a call from them, but I wasn't really banking on it.

However, to my surprise, an associate producer for the show contacted me in less than a week. The top-line producers, she said, were impressed with how I presented myself on camera, and they liked my background, etc. She also mentioned that, during the filmed portion of the process, I was the only one to correctly answer a question that had stumped every other applicant in the country (this is no bullshit). The question was, "Which Milwaukee band was discovered by the Pretenders in 1981?" At the time, I knew from the moment they said "Milwaukee band" that the answer was "Violent Femmes". No one else nationwide provided the correct answer - including the applicant group FROM Milwaukee (See - vast and obscure musical knowledge IS good for something!)!

The bottom line was they were very interested in getting me out to California immediately to participate in a real taping. She told me to stand by for further details, which would be coming in the next few days. I was jazzed to hear this news, but also a bit nervous, since I still had yet to actually WATCH the program. I thereby began a crash course in Weakest Link-ology, watching every episode I could and trying to discover its flow and nuances.

For those of you who don't recall, here's a rundown of how to play The Weakest Link (I edited this down from what I found on Wikipedia - sorry, but this is as brief a description as I could put together):
"Essentially, a team of players tries to reach and bank a set target within a time limit by compiling a chain of correct answers that would be broken with an incorrect answer or if a player decided to bank the money that was already in the chain. On NBC, the team was composed of eight people looking to win up to $1,000,000. One player would be eliminated after each round until two were remaining. Each round is reduced by 10 seconds thereafter (with the first round lasting for 2:30). Contestants who are eliminated in the rounds leading up to the final round are told by the host: 'You are the weakest link. Goodbye!'

The final vote occurs prior to the penultimate round, after which the two remaining players compete in one more round together for double stakes (with the round lasting for 1:30). The final round is a head-to-head five-question competition between the two finalists, with the contestant who answers the most questions designated the winner, or 'The Strongest Link'. The game show is winner-take-all, with the Strongest Link received the entire amount of funds banked during the show, up to a maximum of $1,000,000.

Prior to the start of the show, a random draw backstage is held among players to determine order, and the player who draws the first position starts the first round. Each round thereafter begins with the strongest link from the preceding round (or if that player had been voted off, the second strongest). For the head-to-head round, he or she also has the option of going first or passing play to the other finalist."
I received my first Weakest Link callback in mid-July, early on in my efforts to study the game. The producers wanted me to fly out to L.A. for a taping in early August. But at the last minute (and fortunately for me, in hindsight), the show I was supposed to be on was replaced with a 'celebrity' edition - they decided to tape an episode featuring the former cast of The Brady Bunch. I wasn't too disappointed - they assured me that I would be tapped for another taping "very soon", and I hadn't finished with my observations of the program yet. So it was all good.

I watched every episode of The Weakest Link that summer, and it didn't take long for me to discover one constant in all of the shows - the smartest person in each group of contestants rarely if ever won it all. That person would do well in the early rounds, then would be voted off late in the game as the others perceived him or her as a threat to their acquisition of all the money. That's when I began to realize that not all TV game shows were fake and moronic . . . and I started to understand and appreciate just how evilly well-constructed this particular game show really was. The winner-take-all aspect of The Weakest Link was both ingenious and insidious - ingenious in that it forces team cooperation in what is essentially a non-cooperative, cutthroat competition; insidious in that it seduces individual players to go all-out to win the money for themselves, thereby attracting undue attention to their efforts that ultimately cost them a chance at the prize. The show was more than just a trivia challenge - it was a very complex psychological struggle between eight people, with Anne Robinson's role being that of a gadfly, using insults and putdowns to ratchet up the already-present internal and external tensions within and between the contestants.

Once I figured out the show's structure, the WHY, I next had to come up with the HOW - how would I actually go about winning this game show? After a few more days of observation and thought, I came up with what I thought was a good plan:

In the first couple of rounds, I would go all out, answering as many questions as possible and trying to build up the overall bank as much as I could. Then beginning in the third round, when there are six players left, I would begin dumping questions; that is, purposely answering some questions incorrectly. Not all of them, mind you - just one or two per round, hopefully in spots where my breaking the answer chain wouldn't result in a large loss of money to the team. The goal was to be very subtle about it, and refrain from antagonizing my fellow contestants - not so that they would like me, but more so that they would forget about me when it came time to vote a member off at the end of each round, and focus on one of the louder, "smarter" contestants.

I didn't consider things like stage fright (I'd been the frontman for my band for a while by then, so being under lights in front of everyone didn't worry me a bit) or being unable to answer the questions (I'm sorry to say that I have a vast knowledge of useless trivia contained in my head) would impact the execution of my game plan. I figured that if I focused on the "timely dump" plan, I would at least make it to the final three contestants. At that point, I would trust to luck to get me into the finals.

At about the time I finished formulating my plan in late August, I began hearing from the Weakest Link producers again. They claimed they were done with "celebrity" editions for the time being, and were ready to start shooting some "regular people" shows. There were solid plans to tape a block of shows near the end of the following month, and the word I received was that I would be included in one of the early productions. I received several calls from them in the days that followed, and finally they locked down the time and date with me. I was told to expect a call from the Weakest Link travel coordinator that following Tuesday, to discuss flight schedules and hotel reservations.

I arrived in my office on the sunny, beautiful morning of the appointed day full of anticipation, looking forward to what was undoubtedly going to be a great day. At just before nine, I received a call on my office phone with a Los Angeles-area area code. I had a fleeting thought that it was odd to get a call from the West Coast so early (it being six a.m. there), but quickly chocked it up to studio efficiency as I picked up the phone. However, the call wasn't from NBC at all. It was from my sister in L.A., who was calling to tell me something about a news story she just heard, an unusual aircraft accident in New York City . . .

That was the morning of Tuesday, September 11th, 2001.

. . .

I think that it goes without saying that, in the immediate aftermath of that horrific day and week, I never received a call from the game show producers. I didn't bother to contact them either; somehow, my appearance on network TV just wasn't that important all of a sudden. Finally, after a week or so, I got a call from my contact there. The word I received was that, with the events of 9/11 still fresh on everyone's mind, NBC was going to curtail producing new episodes of The Weakest Link that involved 'regular' people, and concentrate on the exclusive production of 'celebrity' editions - the obvious but unspoken implication being that they were leery about flying people across the country, and would instead use the local talent pool. The network rep made the usual mouth noises regarding "In the future, if we decide to resume normal production, we'll keep you in mind, blah, blah, blah . . .", but I figured that I'd missed my opportunity, and my chances of ever appearing on the show were over and done with. It was disappointing, but what could you do? After a few weeks, I sort of put it all out of my mind, and by the early fall of 2001 I'd moved on with my life.

I still watched The Weakest Link from time to time. But the shows became less interesting after 9/11, as the network trotted out "special edition" after "special edition" episode, featuring washed-up actors and other pseudo-"celebs" playing for charity. As the quality of "celeb" contestants began sinking further and further (pro wrestlers, redheads, Anne Robinson lookalikes, etc.), the show's once-high ratings began sinking as well. In my opinion, the producers forgot the golden rule - people watch game shows to see people like themselves win life-altering prizes - NOT to see some Troy McClure clone playing for some obscure animal shelter in Tarzana.

Unlike NBC, my company had no intention of curtailing business flights, and as such, I spent the latter part of that year flying to places like Buffalo, San Francisco and Cleveland for work. In November, we began a project with a large bank in Canada, and in support of these efforts I began making regular visits to Toronto. In early January, I was standing in line in Customs at the Toronto airport when my phone rang. I was surprised to be greeted with the excited voice of my old Weakest Link contact, who I had not heard a peep from in almost four months. The network, she told me, had decided to resume regular production, and I was at the top of their contestant list. Would I be available at the end of the month? Hell yeah, I would be!

This time, there were no hitches - a little more than three weeks later, I was using a NBC-paid ticket to board a plane bound for Los Angeles.

They pulled out all the stops for me upon my arrival that Friday evening, with a limo waiting at LAX to whisk me over to the Sheraton Universal Hotel in Universal City, where all of the next day's contestants were staying. I was pretty psyched for the show taping the next morning . . . but there was another event that weekend that shared space in the forefront of my mind - Super Bowl XXXVI, between the St. Louis Rams and the New England Patriots, was being played that weekend. And while I had no special affinity to either team (I'm a longtime Saints fan, and frankly couldn't (and still can't) STAND the Pats), the fact that I was in close proximity to Las Vegas on perhaps the biggest sports betting day of the year was too great an opportunity to pass up. I had already made plans that, regardless of the outcome of my game show experience, my ass was going to be sitting at a poker table in Sin City, with sports book tickets in my hand, by no later than Sunday morning. The Rams were heavy favorites that year, and the thrilling possibility of making a twin killing in both LA and Vegas that weekend kept me awake far into the night.

I had to be up early the next morning - there was supposed to be a shuttle bus waiting for us at the front door of the hotel at 7:30. I was knackered due to my late night, but I made it on time, and clambered aboard the ride with about a dozen other folks. The contest instructions we had been given prior to our arrival stated that we were not supposed to engage with one another prior to arriving at the studio, so the ride to Burbank was made in stone silence - an eerie silence, albeit we were all sitting cheek-by-jowl with each other.

We soon arrived at NBC's Burbank Studio complex, a rather non-
descript row of gray warehouse-type buildings, where we were met by Weakest Link assistants and herded into a receiving area in Studio 1. It was here that I learned that my show auditions were not yet at an end. Like I said earlier, there were about a dozen of us on the bus - but the show only has spaces for eight contestants. So there was some final winnowing-out to be done. One by one over the next couple of hours, we were led into a room to face a panel of three or four show producers, who took turns asking us questions like "Why do you want to be on the show?" As opposed to my earlier audition in Providence, this one was a lot more serious - not a lot of smiles or nods coming from that grim group of execs. These were the gatekeepers, the guys in charge of making sure the show was entertaining and good, so the production company and network would make money. So they were keeping a keen eye open - not for weirdoes (because the show benefited from having interesting personalities on), but for boring, 'blah' people. So I went into my final interview with the whole 'happy face', "Hey, great to be here!" sort of attitude - and it worked. I made the final cut.

They moved the final eight of us into another room for a late brunch, and a chance now to finally speak to one another, as the restriction on contact was now lifted. My fellow contestants included a college student, a former beauty queen, a psychologist, a probation officer and a small town mayor. All in all, almost everyone was pretty cool. Since they were anticipating having us indoors for the taping for the next several hours, the show runners also gave us a little time to roam around outside in the parking lot for some fresh air. Studio 1 was the same studio where The Tonight Show was filmed, and we all admired Jay Leno's car parked outside in his own special spot - a spotless old-fashioned car (looked possibly like a Duesenburg to me) painted a shiny sea green with immaculate white-wall tires.

It was during this break that one of the contestants recommended a unique strategy. Apparently, she had also been watching the program, and was struck by how little of the potential $1 million grand prize was won (on average, the Strongest Link took home somewhere between $20,000 and $40,000). Her suggestion was that in the first round (when the questions were generally easier), NONE of us would 'bank' the money until we had correctly answered eight questions in a row, giving us a maximum payout for that round of $125,000. If it worked, it would instantly make our episode one of the most lucrative in Weakest Link history. Everyone immediately agreed to give it a try - myself included, since it played right into my strategy of "going all out" in the early rounds.

After that break, things began moving very quickly. We went back inside Studio 1, and were herded into wardrobe and makeup. We had to bring a couple of extra outfits, which were reviewed and critiqued by the producers. A couple of the female contestants were told (make that 'ordered') to change into one of their alternate ensembles, which pissed them off to no end.

After everyone was powdered, primped and kitted out to the satisfaction of the powers-that-be, we were led into the back of the studio, the place where they would actually be filming us on the show. We spent a few minutes in a dingy area behind and underneath the audience seating area. It was here that we finally met the host, Anne Robinson, for the first time. Our encounter with her was brief. She was dressed in her trademark style, completely in severe black with evil-looking steel-rimmed glasses. I don't remember her offering us any pre-show words of encouragement; she did say "This is the LAST time today you will see me smile!", apparently her stock phrase to contestants. I don't recall her actually smiling when she said that . . .

We were then moved to another part of the studio, where they had us all sort of mill around and pretend to chat with one another while they filmed us, for part of the opening sequence. From there, they led us across the floor, stepping over cables and around TV cameras, and onto the main stage, which looked like something out of Close Encounters.

I was placed in position 8, the last place to Anne Robinson's right as she faced the audience. As I walked to that spot, I quickly glanced ahead, to get a glimpse of the studio audience. But they were very difficult to see - it was like an audience full of undertakers or ghouls; they were all either dressed completely in black, or draped in black blankets. All in all, it was a very freaky effect. But before I could fully process my surroundings and get settled to everything else that was happening around us, I found to my mild shock that the filming had begun. I thought there might be a couple of practice shots or something . . . but no. One second, we were sort of milling around on stage - the next second, music was playing, lights were flashing, and I was staring into a TV camera saying my name. And off we went. I quickly put everything else out of my mind, and tried to concentrate on my "questions dumping" plan developed months earlier.

But first, we had to get through the initial round and see if we could max out our winnings, according to the plan we agreed to earlier that day. The play clock showed 2:30, and Ms. Robinson spun towards the player in position 1 to start.

Q. "For $1,000, what legendary Scottish sea creature is nicknamed 'Nessie'?"
A. "The Loch Ness Monster"

"Correct!"

And on it went around to each of the first seven players, each one of them answering without banking, with the money meter highlighting our current level rising incrementally - $5,000 . . . $10,000 . . . $50,000 . . . $75,000. I could almost FEEL the audience holding its collective breath, as the money and tension level rose higher and higher. It finally came to my turn, as the eighth player - my correct answer would be worth $125,000 and would end the round, a feat never before accomplished on the U.S. version of the show. Even with so much at stake, surprisingly, I didn't feel the least bit nervous.

Q. "What 'A' is the superhighway in Germany with no speed limit?"

I instantly responded - "Autobahn". And with that, the crowd went wild, as did all of us there on stage! A $125,000 round! Holy smokes!

After all of that excitement, it was time to vote one of the contestants off the show. The first one to get the ax was the young college student, who was frankly sort of an arrogant douche to everyone that morning, an attitude that did him no favors once the taping began. During the first round of voting, I was happy to see that no one voted to put me off the show. So far, I was flying under the radar, just as I had hoped. Things were going well.

And so the show went. Round after round progressed, with the overall bank building and contestant after contestant being voted off (After being relieved, the dismissed contestant was taken to another part of the studio to film a brief valedictory segment, then immediately taken back to the hotel in a waiting limo). Beginning with the third round, I started intentionally dumping a question or two per round, at times when it wouldn't hurt the team (i.e., cost us money) - and to my delight, my plan was working like a charm. Players kept leaving, but I survived, time and time again. There were little breaks in production every couple of rounds, so the cameras could be reset and things moved around, stuff like that. I remember standing there during one of those breaks in the middle of the taping, quietly laughing to myself in incredulity - I couldn't BELIEVE that things were going the way I hoped they would!

Finally, it came to a point where only three of us remained - the small-town mayor, a woman from Texas and me. The woman from Texas had been gunning for me for the past couple of rounds, voting for me to be removed, so I knew she was a threat I had to neutralize (in addition, she was clearly the smartest remaining player - besides me, of course!). The mayor was visibly nervous as the show wore on, but was holding his own. I knew that at this point, my 'question dump' plan had to fall by the wayside, and I needed a little bit of luck to make it to the championship rounds. At the end of that round, we all had to vote for who to remove - and the audience gasped as our votes were revealed - the three of us all voted for a different contestant!

In situations like that, the contestant who had the highest number of correct answers during that round won the tiebreaker, with the opportunity to choose the member to be removed - and by the barest of margins, the strongest player for that round . . . was me. I quickly voted the Texas woman off. With a little strategy, and a heaping dollop of luck, I had made it to the penultimate round and the finals.
"The final vote occurs prior to the penultimate round, after which the two remaining players compete in one more round together for double stakes (with the round lasting for 1:30). The final round is a head-to-head five-question competition between the two finalists, with the contestant who answers the most questions designated the winner, or 'The Strongest Link'."
The penultimate round was a chance for us two remaining players to really stack some cash onto our already sizable winnings. But as I mentioned earlier, the small-town mayor was clearly rattled, especially so at nearly being eliminated the round before. So the guy kept missing question after question, limiting our take for that session. I, on the other hand, tried to remain calm and focused, particularly with the best-of-five championship round coming up.

As the strongest player from the previous round, I had the option of choosing who would go first in the final round. I told Ms. Robinson that I chose to go last, and as I did so I glanced at my opponent and watched the blood drain from his face. Wow, I thought; this guy is seriously in bad shape. And it showed - he missed his first question, a relatively easy one, as far as I was concerned. I answered mine correctly, so the score was now 1-0 in my favor. From that point, we both went on a tear, each of us giving correct responses to our next three questions. With only one question apiece left, the score stood at 4-3 for me. Still, I felt surprisingly calm.

Anne Robinson asked my opponent his fifth question - if he missed it, I would win automatically. But he nailed it, tying the score at 4 to 4. Fine - no problem. My last question was coming up - if I answered it correctly, I would be the Strongest Link, and the victory would be mine. Even with all that, I remained cool as a cucumber.

Then Ms. Robinson said " . . . if you answer this question correctly, you have won. So, for . . . ", and she said the amount of the grand prize.

THAT'S the moment when I got nervous.

Really nervous. Really, REALLY nervous. I could feel the tension and panic building inside my stomach - up to that point, I really hadn't thought about the money, per se; I was just concentrating on trying to win the game. But when she stated what exactly was at stake for me, well . . . My heart started pounding like a jackhammer, so hard that I could feel it shake my body, so loud that I was sure the folks in the audience could hear it. A low buzz started building in my ears, increasing slowly in volume - I later determined that what I was hearing was the sound of blood rushing through my head. And I got a mild case of tunnel vision - I couldn't see anything to my extreme left or right - just Anne Robinson's face right in front of me, as the Moment of Truth arrived, and she asked what hopefully would be the Final Question:

"The soundtrack of what George Clooney film - "

The answer that instantly came to my mind with those words was Out Of Sight, a recently released George Clooney/Jennifer Lopez vehicle. I instinctively knew that it was the WRONG answer . . . but that was the one that lodged in my head. And, truth be told, I almost blurted it our spasmodically. But I forced myself to calm down, and listen to the rest of the question:

" . . . won the 2001 Country Music Award for Album Of The Year?"

The answer was then obvious (at least to me), and I took several moments to compose myself. I looked away and took several deep breaths while I locked the words into my head. I then looked up, straight into Ms. Robinson's eyes, and slowly enunciated every word in my response:

"O . . . Brother . . . Where . . . Art . . . Thou?"

There was a soundless pause in the studio, then Ms. Robinson intoned these words: "That . . . is the correct answer." I was the winner!

AAAAAAAAAAAAARRRRRRRRRRRRRRGGGGGGGGGGGHHHHHHHHHHH!!!! The word "relief" does not do justice to what I felt at that moment! I wanted to laugh and cry and faint and jump and hug everyone and slap five with Jesus, all at the same time! I barely heard the rest of what Ms. Robinson said, about me being the Strongest Link, and the money I had won! It was truly a mind-jolting, ecstatic experience!

They wrapped the taping on the main set shortly afterwards, and audience members came rushing up to congratulate me. I then had to go up to the little room to film my own final segment, like everyone who had gone before me. After that, it was back to the production offices to sign a shitload of paperwork, before climbing into the waiting limo that took me back to the Sheraton (now, THAT was an uncomfortable, awkward journey - as my fellow passenger on that trip was the small-town mayor, the guy I just defeated on the show. He was miserable about losing his chance at all of those winnings - understandably so. But still, for that short time, he was killing my buzz).

When we arrived back at the hotel, we found all of the other previously dismissed contestants waiting for us in the lobby. They had all gathered there that afternoon, one by one, as their limos returned them there. The word had already been passed to them that I was the winner, so when I walked through the hotel door, I was greeted with applause and a loud cheer. That was intensely gratifying - I didn't want those folks to hate me; my desire to win the show wasn't a personal issue - it was just business. I herded everyone into the nearby hotel bar, where we all partied together for the next several hours - all on my tab, of course!

But early on during our blowout, I excused myself to head up to my room for a couple of minutes, to drop off my extra show outfit and to have a moment to myself to contemplate the enormity of what had just occurred. That was the point when it all began to sink in . . . and as I looked out of my window over the smoggy San Fernando Valley, I could see the reflection of my big smile in the glass as I thought to myself how great it was to live in times like these, to revel in the unexpected, and to see a plan succeed beyond my wildest dreams. I allowed myself those precious few seconds of private, unbridled joy and satisfaction . . . then I changed my shoes and went back down to the party I was hosting.

So with all of this, I present to you the O Brother Where Art Thou? soundtrack album to the movie of the same name, released on Mercury Records in December 2000 - the album whose name was worth six figures to me, ten years ago on this very day, one of the better days in my life. As I have stated earlier, I have no special affinity for country music. And truth be told, I have never actually seen this movie (although I should - I understand that it's excellent). But I felt that I HAD to purchase this album, if only for what it brought to me on that fine L.A. afternoon. I hope that it provides you with just as much joy and delight. Enjoy, and as always, let me know what you think.

(And thanks for reading this thing all the way through - I apologize again for the length. Pretty good story though, eh?)

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Sunday, January 15, 2012

The Beatles - Revolver (Purple Chick), Vol. I & II



I know that the consensus "Greatest Album of All Time" is Sgt. Pepper's Lonely Heart's Club Band, but my all-time favorite Beatles album is Revolver. Revolver is where I think the Beatles peaked, in terms of overall songcraft, inventiveness and variety. Indian music, Motown, children's music, rock, pop, chamber music - all enhanced by the most groundbreaking studio techniques seen on an album up to that point (did I mention that this record came out in 1966?) - they did it ALL on Revolver, and everything holds together, as both stand-alone tunes and as a coherent album. I know that it's near-blasphemy to say this, but I feel that Revolver is FAR superior to Sgt. Pepper - and The White Album, for that matter.

I never get tired of hearing the songs on this disc. In fact, one of my favorite memories from my days in Texas is a trip I took with my girlfriend to Austin one weekend. We ended up in a small bar along the main drag there, where a four-piece band of what looked to be high school kids were set up and playing their songs. Suddenly, these youngsters kicked in with an absolutely amazing live version of "Tomorrow Never Knows" - I mean, words cannot describe how good they were, and how stunning their version was. I often wonder what happened to that group, and if they got any farther than that little club in Austin, because they were THAT good.

One weekend afternoon in the spring of 2008, I was browsing the magazine racks at Borders Books in Newark, Delaware, checking out the latest issues of Q and Uncut in the section housing the music rags. I can't recall what made me pick up the latest issue of Rolling Stone - maybe it was the cover photo, or a feature article that caught my eye. It HAD to be something out of the ordinary, because any other time I wouldn't have touched that magazine with a ten-foot pole. In my mind, Rolling Stone is the magazine of the music establishment; it's the one you go to if you want reviews on the most recent Springsteen or Third Eye Blind album, or commentary on the latest Dylan reissue. But as for any writing related to what is happening on the cutting edge of music, Rolling Stone is just about the last place on Earth to look for that. I respect their coverage of classic rock (as my own ongoing "Rolling Stone 500" postings here on this blog humbly acknowledge), and their political reporting over the past 40 years has been consistently superb. But in my opinion, Rolling Stone hasn't been interesting since they last published an article by or about the late, legendary Hunter S. Thompson, the magazine's former "National Affairs Desk" correspondent - the guy who more than anyone else put them on the map, journalistically speaking.

But I digress . . .

ANYWAY, as I was saying - for some reason, I picked up Rolling Stone and started flipping through it. Near the front of the magazine, I came across a small article celebrating the release of what were reported to be high-quality Beatles bootlegs, by something/someone called Purple Chick:
The Beatles' albums came out on CD in 1987, but fans have long complained that the early digital technology used to remaster the recordings left them sounding hollow and thin — and that the official remasters are way overdue. That's where Purple Chick comes in — a secretive fan (or group of fans) who has been quietly remastering classic discs like Revolver and A Hard Day's Night, and releasing the digital files for free online. How is this possible? The Beatles' CDs sound so bad that carefully digitized tracks from pristine vinyl copies are noticeably better — with crisper highs, a fuller soundstage, and more realistic reproduction of instruments and voices. And the Purple Chick editions are superior to the originals in other ways, too: The Sgt. Pepper collection contains the original record in mono and stereo, and four discs worth of studio outtakes; the White Album comes in a whopping twelve-disc version, including alternate takes, studio chatter, demos and fascinating jams.
Although the write-up was short, it included the website address where these bootlegs could be downloaded.

"Holy shit!", I thought as I immediately dropped the magazine back on the rack and literally ran out of the store, fumbling for my car keys as I inwardly cursed the stupid bunch of bastards the Rolling Stone staff apparently were for diming Purple Chick out so blatantly. By publishing in a national magazine the exact Internet location of where to download unauthorized records, I knew that the site was at risk of being immediately shut down by the authorities. For all I knew as I hightailed it home from the bookstore, the site had already been taken offline. All the way back to nearby Elkton, Maryland, I lambasted Rolling Stone in my thoughts for their idiocy, and as I hurried through the door towards my computer, I prayed that Purple Chick was still up and running.

To my relief and good fortune, it was. I sat down, settled in, and began downloading everything I could from their site.

The guy or guys at Purple Chick (no one really knows who or how many people were behind it) have over the years done many remasterings of classic albums. They've done some work on the Beach Boys' back catalogue, some with Tracy Chapman and a lot of Indigo Girls. But their main concentration and specialty was in Beatles remasters. Over the years, they put out amazing multi-disc sets of all of the Beatles major albums. In addition, they gathered rare and obscure Fab Four material (like the original Decca audition tapes, the complete BBC Radio shows, and their annual Christmas fan club records), cleaned those up, and released pristine versions. The work that they did on the Beatles music, unheralded and unrewarded, puts to complete shame the botched job EMI did with their widely publicized recent "remasterings" of the Beatles catalog.

Alas, with all of the great work Purple Chick did with this music, they were forced to go further underground. Sure enough, just as I figured would happen, the authorities came in and clamped down on the site within a week of the RS article appearing. Fortunately, by the time they were shut down, I had gathered up pretty much everything I wanted from them, including their Revolver remaster (I was sorely tempted to get their twelve-disc(!) reworking of The White Album - auditions and studio takes included - but I just didn't have the time or wherewithal (not to worry, though - I got it later!)). On everything I collected, the sound quality was just as superb as had been claimed.

For your information, here's the song lineup for the Purple Chick 3-disc Revolver set:

VOLUME I (Disc 1 is in stereo; disc 2 is in mono):
Disc 1:
1: Paperback Writer
2: Rain
3: Taxman
4: Eleanor Rigby
5: I’m Only Sleeping
6: Love You To
7: Here, There and Everywhere
8: Yellow Submarine
9: She Said, She Said
10: Good Day Sunshine
11: And Your Bird Can Sing
12: For No One
13: Dr. Robert
14: I Want To Tell You
15: Got To Get You Into My Life
16: Tomorrow Never Knows (mono = mono matrix ii)

alternate stereo mixes
17: I'm Only Sleeping (US mix)
18: And Your Bird Can Sing (US mix)
19: Dr. Robert (US mix)
20: Paperback Writer (Anthology video)
21: Rain (Anthology video)
22: Eleanor Rigby (Y.S. Songtrack)
23: Love You To (Y.S. Songtrack)
24: Yellow Submarine (Y.S. Songtrack)
25: For No One (Anthology DVD)
26: Paperback Writer (Anthology DVD)
27: Rain (Anthology DVD)

Disc 2
alternate mono mixes
1: Paperback Writer
2: Rain
3: Taxman
4: Eleanor Rigby
5: I’m Only Sleeping
6: Love You To
7: Here, There and Everywhere
8: Yellow Submarine
9: She Said, She Said
10: Good Day Sunshine
11: And Your Bird Can Sing
12: For No One
13: Dr. Robert
14: I Want To Tell You
15: Got To Get You Into My Life
16: Tomorrow Never Knows (mono = mono matrix ii)
17: I’m Only Sleeping (US mix)
18: Dr. Robert (US mix)
19: Tomorrow Never Knows (Mono Matrix I)
20: Yellow Submarine (unreleased)
21: Yellow Submarine (film mix)
VOLUME II (one disc)
1: Mark I (Tomorrow Never Knows) - take 1 (Anthology 2)
2: Got To Get You Into My Life - take 5 (Anthology 2 + Anthology DVD + Anthology video)
3: Paperback Writer - take 1 (Studio Sessions)
4: Paperback Writer - take 2 (Studio Sessions + URT1)
5: And Your Bird Can Sing - take 2
(stereo remix from Anthology DVD surround channels, with loop removed)
6: And Your Bird Can Sing - take 2 + overdubs
(stereo remix from Anthology DVD surround channels, with loop removed)
7: Taxman - take 11 (Anthology 2)
8: Eleanor Rigby - take 14 (Anthology 2)
9: I'm Only Sleeping - rehearsal (Anthology 2)
10: I'm Only Sleeping - remake take 1 (Anthology 2)
11: For No One - rehearsal (CRMM)
12: For No One - take 1 (CRMM)
13: For No One - take 2 (CRMM)
14: For No One - a (CCRMM)
15: For No One - b (CCRMM)
16: For No One - c (CCRMM)
17: For No One - take 10 (composite from CRMM)
18: For No One - take 14 (composite from CRMM)
19: Yellow Submarine - take 5 (Real Love single)
20: Here, There and Everywhere - take 7(+14) (Real Love single)
21: Here, There and Everywhere - take 14 (composite from CRMM)

alternate mixes:
22: Got To Get You Into My Life - take 5 (Anthology 2)
23: And Your Bird Can Sing - take 2 (Anthology 2 OOPSed)
24: And Your Bird Can Sing - take 2+overdubs (Anthology 2)

monitor mixes:
25: Mark I (Tomorrow Never Knows) - take 1 (Anthology DVD)
26: Tomorrow Never Knows - take 3 (Anthology DVD)
27: For No One - take 10a (CCRMM + CRMM)
28: For No One - take 10b (CRMM)
29: For No One - take 10c (CRMM + CCRMM + CRMM)
30: For No One - take 14 (CRMM + CCRMM)
31: Here, There and Everywhere - take 14a (CCRMM + CRMM)
32: Here, There and Everywhere - take 14b (CRMM)
33: Here, There and Everywhere - take 14c (CRMM)
34: Here, There and Everywhere - take 14d (CRMM)
35: Rain - take 7
The Purple Chick remasters are exceedingly hard to find on the Internet now. It's not like they've totally disappeared - this IS the 21st Century, the Information Age, and once something hits the Web, it's all but impossible to make it go away again. But to save you from the time and drudgery of searching, I offer you here my copy of the Purple Chick Revolver remaster, released in 2004 (the files are in .m4a - sorry). Enjoy, and as always, let me know what you think.

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Wednesday, December 21, 2011

Various Artists - Christmas With The Rat Pack


Sorry I've been so quiet recently, gang. For some reason or another, I just seem to have lost my writing mojo for the time being . . . I can't explain it any other way. There are several music features and stories that are in various stages of completion, but due to a combination of several unrelated (or possibly interrelated) factors (including lack of time, general malaise, and other things I need not go into here), I just can't seem to bring them to a finish. When I do, I'll probably be backfilling a lot of the weeks since my last post in mid-November. So check the monthly indexes to the right from time to time, to see if there's anything there that hasn't been there before.

So again, sorry. I get this way from time to time - the words don't flow the way I'd like, and so I just shut down for a bit. But not to worry - I'll be back at it again soon, with more tunes for you to enjoy, coupled with my rambling, interminable stories that you all have learned to tolerate(!). See you all in 2012. Until then, when I get my act together . . .


Here's a holiday offering for you all - Christmas With The Rat Pack, featuring Yuletide favorites from Dino, Sammy and Frank (apparently, Joey Bishop can't sing, and Peter Lawford was too drunk to participate). I got this for Christmas in 2002, and initially didn't think much of it, since I didn't have a great affinity for the whole "Ring-A-Ding-Ding" era and its trappings. But I must say that over the years, this album has grown on me, and I play it quite a bit over the holidays. Here's the song lineup:

1. Let It Snow, Let It Snow, Let It Snow - Dean Martin
2. Mistletoe And Holly - Frank Sinatra
3. Christmas Time All Over The World - Sammy Davis, Jr.
4. The First Noel - Frank Sinatra
5. Baby, It's Cold Outside - Dean Martin
6. I Believe - Frank Sinatra
7. Silver Bells - Dean Martin
8. The Christmas Song - Sammy Davis, Jr.
9. Hark! The Herald Angels Sing - Frank Sinatra
10. Rudolph The Red-Nosed Reindeer - Dean Martin
11. The Christmas Waltz - Frank Sinatra
12. I've Got My Love To Keep Me Warm - Dean Martin)
13. Have Yourself A Merry Little Christmas - Frank Sinatra)
14. Peace On Earth/Silent Night - Dean Martin
15. Jingle Bells - Sammy Davis, Jr.
16. White Christmas (Reprise) - Dean Martin
17. It Came Upon A Midnight Clear - Frank Sinatra
18. Winter Wonderland - Dean Martin
19. I'll Be Home for Christmas - Frank Sinatra
20. Marshmallow World - Frank Sinatra and Dean Martin
21. Auld Lang Syne - Frank Sinatra and Dean Martin

Say what you want about The Rat Pack and their hokey '60s Vegas trappings - these guys could SING. Hope this CD grows on you all as well. Enjoy, and thanks again. See ya next year!

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Wednesday, November 9, 2011

Sinead O'Connor - I Do Not Want What I Haven't Got (RS500 - #406)


I've been checking back over the posts - it's been months since I did a Rolling Stone 500 album. That's inexcusable on my part! So here goes . . .

I first became aware of Sinead O'Connor in the late fall of 1987, when a good friend of mine (that girl I referred to here) clued me in to this great new Irish artist and her debut album, The Lion And The Cobra. I quickly ran out to the local music store in Athens, GA, where I was living at the time, and picked up a cassette copy. The cover art featured a pale, demure-looking girl dressed in blue, strikingly beautiful even with her shaved bald head. As soft and gentle as she looked on the cover, the music inside The Lion And The Cobra was anything but - every song (even the more 'gentle' ballads) was filled with tension and power; you could tell Ms. O'Connor threw herself into every note. The juxtaposition between the image and the music couldn't have been more stark. Still, this album quickly became a favorite of mine, and I brought it along with me everywhere.

I left Georgia a couple of months later, moving up to Norfolk, VA, and in the summer of 1988 found myself briefly in London, England, my first visit to that country. I was excited about checking out all of the music shops and venues there, and at one point found myself at the old Virgin Records at Piccadilly Circus, going through the stacks (this was the place I saw the 'CD factory' in the basement level, mentioned here). There, I came across the original British release of The Lion And The Cobra, and was somewhat shocked to find that the cover art was totally different from the American release. The UK album showed a much more threatening, aggressive O'Connor - frankly, she looked a little like the Devil . . . which, in my mind, makes the album that much cooler.

I did a little research, and learned that Chrysalis Records, the US distributor, was worried that O'Connor's 'look' would scare Americans away from buying the record. So the label, seeking to protect 'sensitive' Yankee minds from harmful, disturbing images, purposely replaced the original album art with a softer, less threatening pose . . . thus continuing the long and ignominious tradition of bowldering and homogenizing British releases for American consumption (with examples including Capitol Records issuing reordered (or in some cases, totally different) early Beatles albums; the censorship of the covers of Blind Faith's debut album and Roxy Music's Country Life; changing the name of Nick Lowe's first album from Jesus Of Cool to Pure Pop For Now People . . . the list goes on and on).

Anyway . . .

A year and a half later, I was back in the States, back in Virginia, and started seeing a girl I met at an Awareness Art Ensemble reggae show at the old King's Head club near Old Dominion University. My brother, an ODU student at the time, invited me to check the band out, and she caught my attention when I sensed her eyeballing me from across the bar. She was cute, small with short bobbed hair, and we seemd to have a lot in common, despite her (for me) 'unconventionality' (for example, she usually dressed all in black - not completely goth, per se, but not in a style that I was used to with my other girlfriends).

We went out quite a bit during the spring of 1990, hitting the bars in the Virginia Beach area, or grabbing a bite to eat at the Jewish Mother deli or Waffle House, or hanging out in her room until the wee hours (she still lived with her folks, so I had to be SUPER quiet . . .). With all the time we spent together, I gained a clearer indication of some of the issues and hangups that were obviously tormenting this girl - and there were many (which I need not go into here). Actually, I kind of sensed that something wasn't quite right with her from the first conversation we had; it wasn't anything specific, just little stuff - the way she moved her head, a telltale lilt in her voice. I should've cut and run early on, but the girl was intriguing, and fun to be around. And despite what was swirling around her her noggin, she seemed to enjoy my company just as much as I enjoyed hers. Shoot, I LIKED this girl, quite a bit. So I hung in there, hoping against hope she would - I don't know, "snap out of it" or something (yeah, yeah, I know - but I'm a guy, and that's how we think. So sue me).

The same month I started hanging out with her, MTV started airing the video of "Nothing Compares 2 U", the first single off of Sinead O'Connor's upcoming album, I Do Not Want What I Haven't Got. The setup for the film was simple enough - a closeup of the singer, tightly focusing on her face while she sang the tune, intercut by moody, brooding shots of O'Connor wandering morosely around Paris. It's been over twenty years since this video debuted, but to this day it still retains much of its original impact and power. Sinead sings her heart out; you almost feel like a voyeur, watching this girl sing through what apparently was genuine anguish and pain (the tears falling from her eyes near the end just completely hammered that sense of loss home). And yet, you couldn't help but continue watching - she was just incredibly beautiful in the film; you couldn't take your eyes off of her:



My girlfriend and I were both big fans of this song and video, and watched a lot of MTV together, hoping to see it as much as possible. Of course, as new couples are wont to do, we strived to relate this song to our own relationship - I recall us many times staring dewy-eyed at one another while "Nothing Compares 2 U" played in the background (and yes, that is exactly as sappy as it sounds . . .). In addition to the music and atmosphere of the video, another thing that jumped out at me was the long coat that O'Connor wore during the "walking through Paris" portions. I thought to myself, "I gotta get me a coat like that!" After weeks of searching, I finally found the perfect one at a nearby Burlington Coat Factory - as black as midnight, and reaching practically down to my ankles. I wore that coat constantly, even with the weather beginning to warm up in the Norfolk area - apparently, I thought I looked cool in it.

O'Connor's LP was released in March (of course I snapped it up on cassette immediately). By the end of April/first part of May, both the album and the lead single were topping not only the American charts, but music charts worldwide. At around the same time, my ship was preparing for another six-month deployment, this time to South America. I was bumming about being away from this chick for so long, especially as she had also made plans to leave the country during that time, heading over to Europe and the Middle East for several months. I spent as much time with her as possible in my last few days in Virginia, then left one morning in early June for parts south, a very unhappy hombre.

The first month of our cruise was spent in the Caribbean, in places like Puerto Rico and Aruba. It should have been a lot more fun for me than it was. But I spent much of my time in the tropical paradises brooding over the girl I left behind. "Nothing Compares 2 U" was a big hit as well in all of the countries we visited, so it played constantly everywhere, always reminding me of her. I can recall riding in a shuttle bus in Aruba with a bunch of other shipmates, headed to Oranjestad to check out the signts and nightlife there, when suddenly this song came over the bus radio. It depressed me so much that I almost returned to the ship.

But as the cruise progressed, I began to enjoy myself more and more, and revel in all that the Caribbean and South America had to offer in terms of nightlife and danger. I attended a swank outdoor party at a naval base in Cartagena, a function quietly guarded by scores of rifle-toting Columbian Marines patrolling in the shadows. In Peru, in the midst of a martial law crackdown by the new Fujimori government, I went to a reception at the U.S. Embassy in Lima on a bus with blacked-out windows and armed guards stationed fore and aft, and during the party spoke at length with an affable embassy official who I realized much later was probably a CIA operative. I played roulette in a beautiful old casino in Valparaiso: got to wear my cool new long black coat out in Punta Arenas at the bottom of the continent: danced the lambada (badly) in Recife: and partied hard in Rio, one of the few cities in my experience which totally lived up to its advance billing.

As for my girl back in Virginia, I heard less and less from her as the weeks progressed and she was off on her own overseas trip. As my ship moved counterclockwise around the continent, the intensity of the feelings I had for her, nearly overwhelming at the beginning of the journey, began to subside. In mathematics, a standard equation is "rate equals distance over time". I discovered, as the months passed, that that numerical relationship also generally holds true for personal relationships - the rate at which I thought less and less about her increased with the length of our cruise and the time spent away from Norfolk.

By the time of our return to the U.S. in early December, I Do Not Want What I Haven't Got had faded from the charts. My girl, back in the States ahead of me, was there to greet me as we pulled into port. But the thing we had had faded as well. We had a half-hearted reunion, then called it quits a couple of weeks later. I guess I knew early on that our thing wasn't built for the long haul - just like Sinead O'Connor's career. This LP and her hit song was her U.S. peak. A series of bad career moves, including two poorly received albums (1992's Am I Not Your Girl? (a set of jazz standard covers) and 1994's Universal Mother) combined with a disasterous appearance on NBC's "Saturday Night Live" in late 1992, seriously derailed her career. She wouldn't make another album until 2000's Faith And Courage. Despite her still-considerable talents, none of her efforts over the past 20 years have came close to the heights she reached in 1990. Too bad - for a short while in the music world, nothing compared to her.

Anyway, here's the album, released by Ensign Records in 1990 and distributed in the U.S. by Chrysalis Records. Enjoy, and as always, let me know what you think:

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And here's a special bonus: Sinead O'Connor's stunning cover of "Sacrifice", from a 1991 tribute album devoted to the songs of Elton John and Bernie Taupin. After I heard this the first time, I felt that no one should ever be allowed to cover this song again. See if you agree:

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(And, by the way - I still have that coat.)

Saturday, November 5, 2011

A little help requested from my blog viewers

Mediafire has been doing something funky with my files - unbeknownst to me, it appears that some of the music files that link to my posts here have mysteriously disappeared for no apparent reason. I was doing a review tonight, and found that both the Kiss Alive! and The Stone Roses albums are no longer in my Mediafire files, and are showing as "deleted or unavailable" when you click on the link here.

All of the files for all of the posts I've made here since the start of Pee-Pee Soaked Heckhole should be fully available, except for the ones that the DCMA forced me to delete, due to copyright rules. So, in the future, if you happen to click on something and a message pops up showing that it is not available, let me know ASAP, and I'll reup the file.

I just shitcanned one carrier (Rapidshare); I'm really not in the mood to get dicked around by another one. I'm hoping that the problems I'm having with Mediafire are isolated. As such, I will say no more about them until circumstances force me otherwise.

Thanks for your help. And please keep coming back.

Monday, October 31, 2011

Bernard Herrmann & The National Philharmonic Orchestra – Psycho (Complete Music For Alfred Hitchcock's Classic Suspense Thriller)


And finally this month, a special treat for this Hallow's Eve - the complete score to Psycho, Alfred Hitchcock's terror classic, released in 1960 and still just as creepy and scary as hell over fifty years later. This is arguably the greatest movie score of all time, in terms of its originality, lasting impact, and direct effect it made on the viewer's reaction to the film - Hitchcock himself was quoted as saying that "33% of the the effect of Psycho was due to the music" (a modest understatment, in my opinion). Hard to believe that Bernard Herrmann's participation in this movie, and the sounds he created, almost didn't happen.

Paramount, the studio producing the movie, lowballed Hitchcock on the production costs, forcing the great director to make Psycho on the cheap - utilizing his "Alfred Hitchcock Presents" TV crew instead of a real film crew, cutting corners and toning down a lot of the lavish aspects and touches that graced his classic films of the 1950's (like Rear Window and North By Northwest). Hitchcock had worked with Herrmann on five of his previous films, and wanted him for Psycho as well, but Herrmann was initially reluctant to do so, as Hitchcock offered him a lower fee than before due to the film's smaller budget. When he finally signed on to write the movie music, Herrmann took advantage of the limited funds available to score the music for a smaller string ensemble, instead of the full symphony orchestra used in earlier Hitchcock films. He also (wisely) blew off Hitchcock's request for Psycho to have a complete jazz score. The results of Herrmann's work speak for themselves. The "shower scene" score is, to this day, still considered the most frightening theme from any movie:


This recording was made on October 2nd, 1975, with Herrmann conducting the National Philharmonic Orchestra at Barking Assembly Hall, London, England (just a couple of months before the great composer's death). It was originally released on vinyl that year, and later released on CD by the Unicorn-Kanchana label in 1989. This is considered to be the best of several Psycho soundtrack recordings currently available. I've had this thing for forever - I'm pretty sure I bought it at the late, lamented Olsson's Books & Music at their Georgetown, DC location. That place always had interesting, off-the-wall music available, not to mention outstanding books and a laid-back atmosphere. The demise of that small but important bookstore chain a couple of years ago was a heavy loss to the DC area. Outside of Kramerbooks in Dupont Circle (the only halfway decent indie bookstore left in DC), no one has been able to completely fill the void left by Olsson's - sadly, Kramerbooks doesn't have a music section. Oh well.

If you want to really scare yourself tonight, turn off all the lights, then play track 17 in the pitch dark - I guarantee you'll be creeped out for the rest of the evening. Whether you do so or not, I wish all of you a safe, scary, bloodcurdling Halloween! Enjoy, and I hope to see you all here next month!

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Monday, October 24, 2011

Various Artists - Revenge Of The Killer B's, Vol. 2


For all you completists out there - here's the follow-up/companion volume to my previous post - Revenge Of The Killer B's, Vol. 2, released by Warner Bros. Records in 1984, in the wake of the superb and successful Attack Of The Killer B's, Vol. 1. Just like its brother, Revenge . . . contains rare b-sides and unreleased material from some of that era's top bands.

Unlike Vol. 1, this album was issued in both vinyl and cassette, although like the previous disc, it has never been released on CD. This post was burned off of my cassette version; the tape differs from the record in that it contains one 'bonus' song, NRBQ's collaboration with 1980s wrestling impresario Capt. Lou Albano. Here's the lineup:

1. Fleetwood Mac – Cool Water
2. Marshall Crenshaw – Somebody Like You
3. Depeche Mode – Sometimes I Wish I Was Dead
4. Rank And File – Post Office
5. The B-52's – Moon 83
6. The Pretenders – Money (Live)
7. NRBQ w/Lou Albano - Boardin' House Pie
8. Talking Heads – I Wish You Wouldn't Say That
9. Echo And The Bunnymen – Way Out And Up We Go
10. Tom Verlaine – Your Finest Hour
11. Kid Creole And The Coconuts – You Had No Intention
12. Madonna – Ain't No Big Deal
13. Aztec Camera – Set The Killing Free

Some of my favorite songs off of Vol. 2 include Depeche Mode's surprisingly peppy and upbeat tune "Sometimes I Wish I Was Dead", Echo & The Bunnymen's "Way Out And Up We Go", and the excellent and funky "You Had No Intention", by the now-woefully unappreciated and nearly forgotten Kid Creole & The Coconuts (here's a great live version from a show the band did in Germany in 1982):


But every song here is great and a rare gem . . . even the one with Capt. Lou!

So, there you go - now you have two discs of classic '80s rock and new wave b-sides to enjoy! And I hope you do - as always, let me hear what you have to say regarding this album.

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Wednesday, October 19, 2011

Various Artists - Attack Of The Killer B's, Vol. 1


Okey dokey, gang - here's a real rarity for you . . .

I got this one at the old Strawberries record store in Downtown Crossing, Boston during the summer of 1984. I was in the midst of my Naval Academy summer cruise, travelling up and down the East Coast in a small flotilla of YP (yard patrol) craft with several other classmates. The first place we stopped on our journey that summer was Bath, Maine - not high on my list of places to visit, needless to say. The locals there were jazzed to have actual Annapolis midshipmen within their midst, and pretty hospitable, throwing us a pretty lavish Independence Day picnic party. But it was one of the coldest Fourth of Julys I've ever experienced - we had to wear pretty heavy jackets during the outdoor festivities that afternoon. And the drinkers in our group (which were many, but did not, at the time, include myself) were grumbling under their breaths, because the only suds made available at the party was watery, cheap-ass Red White & Blue beer (it pains me to point out this egregious example of Boat School snobbery and entitlement - hell, it WAS free beer). Other than that, there wasn't much for us to do up there. With that grim combination of boredom and chilliness, we were all ready to move on to the next destination as soon as possible.

Boston was to be the first big-city stop on our journey; we arrived there a couple of days later, and docked in Charlestown, close to the berth of the historic USS Constitution ("Old Ironsides"). I had spent some time in Boston in earlier years, when I was a high school student in a small town on the South Shore. But this visit was the first time I really had the opportunity and freedom to do pretty much what I wished. I rode the T all over the city, went out to Cambridge to visit some friends attending Harvard, hung out on the Common and at Fanueil Hall Marketplace. It was all pretty fun.

One night during our stay, a couple of shipmates and I decided to head out to catch the recently released Indiana Jones & The Temple Of Doom at a theater in Park Square (now long gone, replaced by a huge parking garage and a couple of upscale restaurants like Fleming's Steakhouse and Legal Sea Foods). We took the T to the Downtown Crossing station, and started walking.

Back in the mid-80s, even though Downtown Crossing was a major shopping area in Boston (the late, lamented Filene's and Jordan Marsh department stores were going strong then), it was still a sketchy area. It was sort of dirty and disreputable, especially as the evening hours came on - after all, the Combat Zone, the city's old red light district, was only a couple of blocks away down Washington Street. It wasn't the sort of place you thought about hanging around once the sun started going down. But that's where we were, on foot, with the Combat Zone between us and our destination. I wasn't worried - just a little leery. But that leeriness dissipated when we came upon Strawberries, a big music store that used to stand in the area right across from the big department stores. We had to sidle by a couple of gangs of toughs hanging out in front of the place, but no matter - back then, I'd walk over hot coals to get inside a decent record store!

The movie didn't start for a while, so we spent some time going through the stacks at Strawberries. The store was built on a deep but rather narrow plot, so it was sort of hard to get around its multiple levels, most of which were accessible only by elevator. There weren't a lot of CDs available in 1984, so the majority of wares available were records and cassette tapes.

I stumbled across Attack Of The Killer B's in the vinyl racks almost by chance; at first glance, it looked like nothing more than a chance for Warner Brothers to make a few dollars off of old rags and bones from their vaults that they didn't deem worthy enough to release on proper albums. But then I looked at the song list, and the first one that hit my eyes was "Love Goes To A Building On Fire" by Talking Heads. I had long been a big Talking Heads fan, so of course I had heard of this legendary unreleased song, but at that point had never actually heard the tune. So seeing it finally available here was pretty exciting to me. I started looking over some of the other songs on the compilation, and noted that almost all the them were hard-to-find rarities by some pretty big-time bands. Here's the lineup:

1. Marshall Crenshaw – You're My Favorite Waste Of Time
2. The Pretenders – In The Sticks
3. The Blasters – What Will Lucy Do?
4. The Ramones – Babysitter
5. John Hiatt – Take Time To Know Her
6. Roxy Music – Always Unknowing
7. Peter Gabriel – Shock Den Affen
8. The Time – Grace
9. Talking Heads – Love Goes To A Building On Fire
10. Gang Of Four – Producer
11. T-Bone Burnett – Amnesia And Jealousy (Oh Lana)
12. Laurie Anderson – Walk The Dog

To my chagrin, the album didn't appear to be available on cassette. But I was damned if I was going to leave it behind. So I purchased the vinyl copy, which I carried around with me for the rest of the night in a red plastic Strawberries bag. It sat on my lap during the entire movie as well. Since there wasn't a record player on board the YP, I had to wait several weeks until we got back to Annapolis to listen to the record, and I was not disappointed. Every song on the album was superb, and as such, Attack Of The Killer B's was a great addition to my collection.

[I still kick myself about one thing from the evening I purchased this record. As we were coming out of the shop and headed to the movies, I noticed a flyer attached to a light pole, advertising the only Boston appearance - that very same evening - of Gang Of Four on their 1984 "farewell" tour. I wasn't as big a fan of Go4 then was I would be later, so I didn't really consider blowing off Indiana Jones and checking them out that night. Looking back, I wish that I had - I've seen the band a couple of times since their reformation, but it would have been awesome to have seen them live in their heyday. Oh well.]

This album was released only on vinyl, and to date has never been released on either cassette or CD. I honestly forget that I had this disc until just recently, when I was going through some boxes in the basement and stumbled over it. As happy as I was with my find, I wasn't very happy about the condition I found this record in - I like to take care of my stuff better than this. As such, the burn from vinyl to MP3 was not without its challenges - you'll find that the quality on the Roxy Music song is pretty scratchy. And I finally just gave up with the Peter Gabriel song, and replaced the vinyl version with an identical one I had on CD. Otherwise, the burns are pretty good and cleaned up, and every song is here.

I hope that you all enjoy this album as much as I have over the years. Check it out, and let me know what you think:

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[22 Oct 2013 - Well, it appears that I was incorrect about this album never appearing on cassette - I received the following picture today from a new visitor to this site:


Thanks for the update, John!  And welcome to the blog!]

Monday, October 10, 2011

Various Artists - Punk Rock Baby


It's true what they say - a baby changes everything. The birth of the first child is a very traumatic experience for new parents. Everything you've ever taken for granted in life, all of the relative freedoms and spontanaity you've enjoyed up to that point, is gone forever. While that sounds like a bummer, it really is not, because believe me, what you get back in return when you see that little person for the first time is worth a million times more than the things you think you're "losing" in your life. The arrival of Number One causes you to begin to think outside of your needs and the needs of your partner, and start thinking more about and preparing for the future, not just for the child, but for yourself as well. It's not just the immediate and long-term material needs - cribs, diapers, baby food, Christmas toys, Halloween costumes and college funds - but intangible things as well - "How can I bring this kid up to be happy and well-adjusted?" "How do I teach her right from wrong?" "What can I do now to influence his life in a positive way?"

Thus, one of my main priorities was to ensure that my firstborn was exposed early on to cool, non-commercial, non-crappy music.

Now, I wasn't about to pull a B. F. Skinner with his box, or John Watson with his Little Albert experiment, on my baby girl (look it up if you don't know what I'm referring to) - I wasn't that nutty about it. But it was my hope that by feeding my daughter a low-volume dose of stuff like The Clash, The Specials, and The Smiths from time to time, that somehow this 'good' music would sort of imprint itself in her brain, so that later on in life she would know enough to reject junk like The Spice Girls, Hannah Montana and the rest of the Disney kid bands. I swear I wasn't trying to turn her into some sort of weird preadolescent goth kid - I just looked down the road into a possible future with she and I living in a house where the walls of her room were plastered with Jonas Brothers and Hanson posters, and the insipid strains of neo-bubblegum dead-eyed 'rock' would come wafting nonstop out from under her door. And I didn't like what I saw. I was intent on altering that timeline!

My efforts started long before the due date. Around six months prior, I began playing a lot more music around the house, putting on as much Cocteau Twins, Lisa Germano and Liz Phair as I could get away with (my wife was tolerant of most of my musical choices, but not a huge fan of most of my favorite groups). I dragged her pregnant self along with me to see bands like The B-52s and The Pretenders when they played at Fair Park in Dallas, hoping that some of the tunes were "sinking in" down there. And after the birth, on the day mother and child were released from the hospital, I made a point of ensuring that the very first song our newborn would hear on the ride home was Stereolab's "Lo Boob Oscillator", my favorite song at the time - I had it cued up and waiting in the CD player.

Now I knew that I couldn't very well have the stereo piped up into the baby's room - it wouldn't have been good for her, and I don't think her mother would have allowed it anyway. We did put a music player in her room, but all it played was stuff like The Best of Elmo and The Little Mermaid soundtrack, at very low volume. Cutting-edge music was all but completely shut out! So I secretly searched for a viable alternative, and found it online on a website based in London, England - Punk Rock Baby, a CD of classic punk tunes reimagined as lullabyes. My problem was solved! I quietly ordered the disc, which was quickly shipped to me, and one evening just before the baby fell asleep, I surrepticiously slipped this album on while Mama wasn't looking.

Actually, the concept was pretty ingenious, and I stood in the baby's room for a while, listening and trying to guess the identity of each song as it came on. Here's the song lineup (all 'lullabyed' by an in-house group led by a musician named William South):

1. Down In The Tube Station At Midnight (orginally by The Jam)
2. Ever Fallen In Love (orignally by The Buzzcocks)
3. Smash It Up (originally by The Damned)
4. London Calling (originally by The Clash)
5. Teenage Kicks (originally by The Undertones)
6. Sheena Is A Punk Rocker (originally by The Ramones)
7. Pretty Vacant (originally by The Sex Pistols)
8. White Riot (originally by The Clash)
9. No More Heroes (originally by The Stranglers)
10. Into The Valley (originally by Skids)
11. Sex And Drugs And Rock 'N' Roll (originally by Ian Dury & The Blockheads)
12. Sunday Girl (originally by Blondie)
13. Hong Kong Garden (originally by Siouxsie & The Banshees)

These are not hard-core punk tunes at all, but very light, soft, delightful renditions perfectly made for the ears and brain of a newborn. My favorites on this disc include "Pretty Vacant" and "Sex And Drugs And Rock 'N' Roll", both of which are shockingly well suited for the lullaby treatment. It took my wife a while to catch on to what was being played, but in the end, due to the nature of this music, she acquiesed.

And how, you may ask, did my efforts turned out? Is my now-tween-aged daughter an aficionado of Sonic Youth and James Chance? Can she speak knowledgably about Bob Marley and Prince Buster? Can she spot the influence of Johnny Marr's guitar work in the music of The Wedding Present and Oasis? Well . . . frankly, no. Nowadays, she loves Justin Bieber, Miley Cyrus and the Black Eyed Peas . . . she never misses an episode of "Glee" - I was even coerced into taking her to the Glee 3-D movie (a waste of depth perception if there ever was one) . . . and on the wall in her room, there's a giant poster of Lady Gaga.

Damn . . . Oh well - I tried.

If you'd care to make the effort with your own youngsters, or if you'd just like to hear these off-kilter renditions of old classics yourself, here's the disc. Enjoy, and as always, let me know what you think.

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Sunday, October 2, 2011

Various Artists - Just Can't Get Enough: New Wave Halloween


More upcoming-holiday-themed madness for you - the final volume of Rhino's classic Just Can't Get Enough series, compiling New Wave hits from 1979 to 1985. Rhino originally released fifteen volumes in this series between June 1994 and June 1995, then in following years releasing discs containing New Wave selections based on particular themes (New Wave Xmas and New Wave Women, for example). I bought every one of these albums religiously when they came out back in the mid/late 90s, and own the full set.

The entire Just Can't Get Enough oeuvre is a must-have for any true connoisseur of Eighties music. Each and every disc contains not only classics from that particular period, but also have at least one or two New Wave obscurities, songs that may have flown under your radar back then. As such, each album is full of "ah ha!" moments, and this one here is no exception. There will be songs here that you immediately recognize (like Ministry's "Every Day Is Halloween" (in my opinion, the peak of the band's "pop" period, before moving on to their more groundbreaking industrial sound) and Oingo Boingo's "Dead Man's Party"), along with unfamiliar gems like the "Halloween"-titled tunes by Dream Syndicate, Sonic Youth and Siouxsie & The Banshees.

Rhino has no plans to release any additional compilations in this series, or for that matter to rerelease the original volumes (reportedly due to licensing issues). And frankly, they don't need to put out any new ones - for a nearly complete overview of the entire history of New Wave music, these albums are hard to top. And New Wave Halloween is a fine addition and fitting coda to this set.

So, enjoy your soon-to-be-with-us Hallowed Evening with some fine left-of-center music! Here's the album - as always, let me know your thoughts on it. Boo!

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