Sometime during 1981 I started to hear a song on the radio that was completely different from anything else going on at the time. Not that it was overly original or anything like that. Far from it. But it contained this impossibly catchy "Ah-ah-ah-ah-ah-ah-ah" built-up chorus to the "They don't write 'em like that anymore" main chorus. It was simple, to the point and irresistible.
Soon enough I found out that this song, "The Breakup Song (they Don't Write 'em)", was by the Greg Kihn Band. And, aptly enough, the album was called "RocKihnRoll" and I just had to have it.
But although the album didn't really live up to Breakup Song's enormous power pop potential, it was nonetheless a mix of originals and covers alike so gloriously and refreshingly out of sync with the primitive synth-pop and stale AOR stadium rock of the time that one couldn't help but getting caught up in it. Particularily, "When the Music Starts" became another instant and constant favourite...
"The Breakup Song" hit the Top 20 in the U.S. and a couple of years later the Greg Kihn Band even had a No. 2 hit in the territory with "Jeopardy" - a song which didn't even sound remotely like them!
By then though, Kihn, I believe, had lost the pop plot while I for one had lost interest...
Fast forward 20 years...
Vinyl was dirt-cheap, so life was good. And, as one does in such circumstances, I started checking out some old favourites. Greg Kihn (Band) amongst these. Especially the early titles on the brilliant Beserkley label ("The Home of the Hits"...as the tagline went. The fabulous Rubinoos, Jonathan Richman, Eartquake, and others also called it home although, unfairly, the actual hits were few and far between).
"Greg Kihn" (Beserkley, 1976)
A very impressive debut, indeed. From the get-go, the familiar approx. 7 to 3 mixture of originals and covers is firmly established.
Initially, upon hearing those early LP's, I felt the Matthew King Kaufman (Beserkley boss) and Glen Kolotkin production wasn't punchy enough. However, as I became more familiar with the material, I think its somewhat sparse production remains its main strength. Just take a listen to one of the key original tracks on this album...(Click on the link below)
OK, let's try to ignore the horribly un-PC album cover before we move on to the MUSIC itself...
Swiftly and firmly the triumphant debut was followed-up by this well-worthy and more band-oriented effort.
It kicks off with a fine Buddy Holly-cover, "Love's Made a Fool of Me", while the original "Real Big Man" is also, err, a real treat on Side 1.
However, Side 2 is a winner nearly all the way through. It starts off with the excellent Kihn composition "Hurts So Bad", and leads us through Springsteen's "For You" and climaxes with another excellent original, "Madison Avenue".
Kihn was one of the first artists to cover Bruce Springsteen. Check out his fine interpetation of "For You" below...
An altogether heavier affair than its predecessors, this eight-song selection is rather light on memorable hooks and choruses but not an unpleasant effort at all.
Including for the first and last time no covers, "Remember", with its Spanish flourishes, and "Sorry" are the obvious highlights here.
Also, Kihn's last credited solo LP for a while...
"With the Naked Eye" (Beserkley, 1979)
The first proper Greg Kihn BAND album, although these guys had been backing him for years.
Also, admittedly, my favourite Greg Kihn (Band) album of all time!
Chock-full of irresistable hooks and choruses, pop maestro Kenny Laguna had effectively been added to the production team of King Kaufman and Kolotkin by this point in time.
A lite Reggae-tinged "Moulin Rouge" (inexplicably, a flop 45), along with "Getting Away With Murder" and another great Springsteen cover, "Rendezvous", are the standouts here...
Issued the same year as Billy Joel's multi-million selling "Glass Houses" album, this very similarily entitled (but far more worthy) LP unfortunately fell between the cracks.
Not nearly as strong as its predecessor, it nonetheless contains one of Greg Kihn's greatest self-penned cuts ever, "Anna Belle Lee". How on earth this song failed to become the bona-fide classic it certainly deserves to be is anyone (else's) guess...
An odd and under-produced cover of Bacharach's & David's "The Man Who Shot Liberty Valance" (After all, how can you ever top Gene Pitney?) and Graham Gouldman's unremarkable Yardbirds hit "For Your Love" flesh-out an otherwise 'paint-by-numbers' set.
The following year's "RocKihnRoll", featuring the flawless "Breakup Song", was most certainly a step upwards.
But now we've come full circle.
Arguably, the best recods in my humble opinion remain Greg's first solo album, "Greg Kihn" (1976), and Greg Kihn Band's first album, "With the Naked Eye" (1979).
Today Greg Kihn is a popular radio show host.
His recorded legacy is poorly-served on CD. Although there is a fine, albeit unsatisfactory, "Anthology" CD out there, one can always dream about that elusive 4 CD box set. RocKihnRoll on!
Issued at the very height of the Summer of Love, it's really absurd that this record isn't generally considered to be among that season's very best. Obviously though, it's up against some fairly fierce competition ("Sgt. Pepper", "Surrealistic Pillow", "Headquarters", "Are You Experienced", "Younger Than Yesterday", "Forever Changes", etc.).
Nonetheless, it is one of those rare records where nearly every single cut is a classic. The only song I have the very slightest of beef with here is also the only cover; namely Stevie Wonder's "A Place in the Sun". Don't get me wrong, it's all very nice'n'smooth, but also so very unnecessary. Why does a band that can come up with self-penned classics such as "Groovin'", "A Girl Like You", "How Can I Be Sure" (covered by everyone from Dusty Springfield to David Cassidy) and "You Better Run", all on the same album, need to cover anyone - even though it's a genius like Stevie Wonder?! Well, I might be 45 years late, but I'm just asking...
Their third and last LP as the YOUNG Rascals, "Groovin'" is also their best - bar none. In it, all the elements of the unparalleled Rascals sound come together and blend perfectly. Garage rock meets Pop meets Psychedelia meets Latin, via their ever winsome Blue-eyed Soul which no other band of any era ever bettered.
Unusual for albums made in the late '60s which were more often than not issued both in Stereo and Mono, this is a record clearly made just for Stereo. One of its highlights, "Find Somebody" is a good example of that.
Apart from the obvious hits - AND "Find Somebody" - Gene Cornish's "I'm So Happy Now" and "I Don't Love You Anymore" are also eye-openers and prove that he was another songwriting force to be reckoned with within the Rascals' ranks, although Felix Cavaliere's and Eddie Brigati's songs were usually chosen as the singles.
So "A Girl Like You", the album's opener and another Cavaliere/Brigati composition, became one of the record's biggest hits. And as this following live performance from the Ed Sullivan Show on June 4th, 1967, goes to show - regardless of the screaming girls in the audience - The Rascals were an amazing bunch of musicians. Their drummer Dino Danelli just might be one of the unsung heroes of '60s Pop.
Curiously, "You Better Run" was more than a year old when it appeared on the "Groovin'" album. Issued as a single in May 1966, it owed a lot more to the (Young) Rascals' Garage rock roots than the rest of the album. The excellent "I Ain't Gonna Eat Out My Heart Anymore" from the Young Rascals' self-titled debut LP is another good example of that particular side of the Rascals.
Never mind The Kinks, along with Paul Revere & the Raiders, the Rascals were responsible for bringing Garage rock - a predecessor to Punk - into the American mainstream...and Top 10.
After "Groovin'", the Rascals certainly continued to make great singles, but, unfortunately, never made another great album. Good albums - yes, but "Groovin'" remains their sole crowning moment in that area.
It happened in the unlikeliest of places under the unlikeliest of circumstances. But that, after all, is how the great ones often go.
Reg Presley, the legendary lead singer of the even more legendary Troggs suffered a stroke a couple of years back. A massive one by all accounts. Thankfully, he survived it. But everyone worried that that was it performance-wise for the man best known for bringing "Wild Thing" to the masses, as well as nearly single-handedly inventing Garage Rock and Punk Rock in the process. Unintentionally of course. No mean feat that.
But good old Reg soldiered on. Insisted on it as a matter of fact. And the (re)appearence of The Troggs at the "21. Oldie Night Live" festival in Gugahalle, Essen, Germany on Saturday December the 3rd 2011 was supposed to be his big comeback of sorts. The proof he could still cut it, still roar proudly through '60s classics like "Wild Thing", "With a Girl Like You", "I Can't Control Myself", "Love is All Around" and all the rest. But that wasn't to be. Well, not exactly.
As soon as The Troggs took to the stage just after 9 pm on that fateful Saturday night, in between German '60s act The Rattles and an odd yet presentable version of T.Rex, it became painfully clear that all was not well. Reg seemed exhausted and, honestly, in over his head from the get-go. Every now and then he even needed to sit down for a rest, which made some of the ill-informed audience (needless to say, the promoter should have made the situation clear beforehand) jump to the conclusion that he was either drunk or drugged - if not both. But according to long-serving Troggs bassist Pete Lucas, "Reg has never done drugs and he's not a boozer. He wouldn't even know what to do with a line of coke".
And although Reg certainly tried to explain the situation, due to the inevitable language-barrier that explanation somehow got lost in the translation and a portion of the punters just booed! It was such a sad spectable it beggars belief.
Nonetheless, under these, the most dire of circumstances, the band bravely trawled through some of of their best known songs, such as "Give it to Me", "Anyway That You Want Me" and "Love is All Around", as well as a cover or two ("Walking the Dog").
Reg just barely managed to deliver the ever touching epitaph contained in arguably The Troggs' best-loved song (covered by everyone from R.E.M. to Wet Wet Wet), "Love is All Around"; "It's written on the wind, it's everywhere I go. So if you really love me come on and let it show". But merely a small fraction of the audience saw fit to do just that. Fucking shameful!
As Bay City Roller Eric Faulkner commented later on in his band's set: "I hope you realise how priviliged you've been to see Reg Presley perform". Well, I for one felt privilidged.
But the worst was yet to come. As the band was - prematurely in Reg's obvious opinion - going to wrap things up quickly with the obligatory "Wild Thing", Reg stopped them in their tracks by shouting "No, no, no!" and instead preceded to introduce their sole no.1 U.K. hit "With a Girl Like You" - a Reg Presley compostion no less. But then the clueless emcee, probably sent in by the promoter to "salvage" the situation, cut Reg off mid-sentence by announcing a short break until the next act would be on. What have they done to my song, Ma, indeed!?
Sadly, Reg just sat there stunned and motionless for a few moments until he, like his bandmates had done before him, staggered off the stage, beaten and humiliated.
Reg Presley, one of the most distinctive voices in Rock, had been silenced with a dismissive shrug! Meanwhile, the shrilling "Oh, no!" scream which opens "I Can't Control Myself" (covered by both The Ramones and Joan Jett) is one of the defining moments in Rock history. People should just try to keep a fucking perspective!
After the show, at the local Holiday Inn bar, I was lucky enough to run into 3/4 of The Troggs (Regrettfully, Reg had gone to bed), who were all just gutted. "It was a great show", I tried to lie to Pete Lucas. "No it wasn't", he replied. "But thank you for saying so".
Pete admitted tearfully though, that this was probably Reg's last show with the band, and that they will most likely continue as a three-piece from now on. It took a minute or two to sink in: Reg Presley, one of the last great front men of one of the last great Rock bands, has probably performed his last not-so-great-show.
Furthermore, T.Rex drummer Paul Fenton (he played with Marc Bolan for chrissakes!) delivered a speech in honour of Reg which left no one in attendance untouched and brought a somber - if not altogether sober - conclusion to the precedings.
The clean-living, often odd UFO enthusiast can hopefully now bow-out gracefully, safe in the knowledge that he, much like his namesake from Memphis, TN., has given Rock and Roll his all.
Ladies and gentlemen, Reg Presley has left the building...
Reg Presley in Essen Dec. 3rd 2011.
PS: If this sounds too much like an eulogy I do apolgise. Reg is still very much among the living and this is merely my meager tribute to him.
I would like to thank Pete Lucas - a true gentleman - for sharing with me his time and thoughts. I do hope he will not be cross with me for quoting him here without permission, but at the time of our conversation I had not planned to write about it. Afterwards, however, I felt COMPELLED to do so.
A very special thanks also to "Wizzo", an avid Troggs fan from Sweden, who set me straight on a couple of things. Tack!
This writer (left) with Reg Presley (right) in October 2008.
What excactly is that thing above Reg's head there? Cue The Twilight Zone intro...
Although I'm an avid vinyl lover, I feel that the Compact Disc - alias the CD - has reveived a somewhat bad rap recently.
OK, so it's too (excuse the poor pun) compact, too plastic, too disposable...and obviously, the myth of it sounding better than vinyl has long since been retracted. Nonetheless, a LOT of vinyl - especially much of the vinyl made during and after the late '70s, when it got noticeably thinner and less substantial due to the oil crisis, while all the alledged "advances in sound recording" were apparently no help at all! - sounds like s#*t as well.
Initially - and ultimately - what I've always liked about CD's, though, is the fact that they have a lot more SPACE for the MUSIC itself! And music's the main point...right?
Now, I have in my collection a couple of thousand LP's, as well as a similar amount of CD's. Once, a fellow vinyl enthusiast visited me and his first words were, literally and ever so distainfully, 'I had NO IDEA you had so many CD's!'
Hmm.
And it is exactly because of such sorry-ass snobbery that I feel the urge to sing the praises of certain exceptionally well-put together and satisfying CD comps...
Tommy James & The Shondells/"Anthology" (EMI-Roulette, 1990)
From the late '70s until the late '80s, Tommy James & the Shondells' - a '60s bubblegum/psych-pop group - three biggest hits were very widely covered. "Mony Mony" (Billy Idol, Amazulu), "Crimson & Clover" (Joan Jett & the Blackhearts, Keith Marshall) and "I Think We're Alone Now" (Lene Lovich, The Rubinoos, Tiffany) all became sizeable hits again on numerous occasions, which ensured the Shondells' name popping-up every now and again through the years.
After years (and decades) of merely single disc/LP collections being (barely) available on the market, in 1990 the time seemed ripe to compile the Shondells properly for the relatively recent CD format. And so EMI unleashed this 27 track pop (near) perfection. Only the routine "Louie Louie"-like dumbness of debut single "Hanky Panky" fails to please. Otherwise it's an uninterrupted heavenly pop bliss all the way!
I propably haven't played any other CD - or record! - in my collection as much as I played this one during the early '90s when the rest of the world seemed preoccupied with something a lot less memorable and melodic (in my book) out of Seattle, WA.
"Sugar on Sunday" (covered by The Clique), "I Think We're Alone Now", "Crystal Blue Persuasion", "Sweet Cherry Wine", "Crimson & Clover", et al - I sallute you! Bubblegum isn't a dirty word.
The Rubionoos/"Everything You Always Wanted to Know About The Rubinoos But Were Afraid to Ask" (Sanctuary-Castle, 2007)(3CD)
In my humble opinion Californians The Rubinoos (still going strong, by the way) are one of the most underappreciated pop groups of all time! A bold statement, I know, but one listen to this two disc (disc three is a live disc from 1978) anthology might be just enough to convince the sternest of music snobs of the Rubes' overall excellence.
The group came together as teenagers in the mid-'70s and quickly got signed to the eclectic roster of Matthew King Kaufman's burgeoning Beserkley Records label.
The appeal at first was strictly teen-age, but the boys' superb musical and vocalizing ability, as well as effortless Monkee/Beatle-like charisma was rather uncommon amongst other teenybop acts of the era.
An excellent 1977 cover of Tommy James & the Shondells' "I Think We're Alone Now" got them into the lower regions of the Billboard singles charts - as well as on Dick Clark's legendary long-running American Bandstand T.V. show. The following year's "I Wanna Be Your Boyfriend", although now a bona-fide Power Pop classic, in 1978 it went practically nowhere.
Beserkley's limited distrubutional and promotional abilities was always the Rubinoos' main obstacle for major league success, and when they finally - reduced to a two-some in the early '80s - scored a recording deal with Warner Bros., their time had long since come and gone.
By 2007, when this little gem of a CD set came along, they had been undeservedly anthologized on CD, so it was about bloody time!
Always with a keen eye for a good pop song - no matter what the source - the Rubinoos also always wore their influences on their collective sleeve. From debut single "Gorilla" (a DeFranco Family original!) to the Eurythmics' "Thorn in My Side", via the Raspberries' "Drivin' Music" and the Beach Boys' "Heroes and Villains" - it's pure pop class all the way.
Their self-penned originals ain't half bad either. In a perfect world, "Leave My Heart Alone" and "I Wanna Be Your Boyfriend" - to name but two - should've been mega hits.
Manic Street Preachers/"National Treasures - The Complete Singles" (Sony-Columbia, 2011)
Love 'em or loathe 'em but the Manics are arguably one of the most reliable singles acts of the past twenty years. And here are all thirty-eight of their singles lovingly compiled over 2-CD's. The deluxe edition comes with a DVD containig all the promo videos as well as some alternate versions. Needless to add perhaps, this package renders the patchy previous Greatest Hits collection "Forever Delayed" from 2002 completely and utterly redundant...not to mention several of their weaker long-players.
"Everything Must Go" (1996) and "Send Away the Tigers" (2007) will always be essential, though.
In 1987 I had landed what I thought was the ultimate dream job. It was with a company which ran a few record shops, released records by local acts, and, best of all, imported records. Which of course meant that I could sample pretty much everything my insatiable music-hungry heart desired. On top of that, 25% staff discount was nothing to sneeze at...
I was in my early 20's and my tastes were widening. I was beginning to feel more open to several types of music which I hadn't been interested in before. One of those styles was soul music.
Mostly, I credit Paul Weller's post-Jam group The Style Council with installing that interest in me. I had pretty much everything TSC ever released and I just loved them. Live, they covered stuff like Curtis Mayfield's "Move on Up" and on record they wore their influences on their collective sleeve. For instance, I later found out, one of their best album tracks, "Headstart for Happiness", borrowed heavily from the Chi-Lites.
Motown had also entered my life. I fell for Smokey Robinson & the Miracles in a big way via the double "Anthology" LP.
Thus, you might say I was ripe for the next step into the realms of classic '60s soul music. And a co-worker at the aforementioned record company unknowingly pushed my in that direction by one day non-chalantly commenting that this record, "Harlem Shuffle", had been "the best record we imported last year". My curiousity was raised.
The previous year - 1986 - the Rolling Stones had made a useless record, "Dirty Work", and its lead-off single had been a little ditty called "Harlem Shuffle", a semi-obscure '60s soul tune by the long-forgotten duo of Bob & Earl. And of course Charly Records, then the leading British re-issue label, had the bright idea to cash-in on the Stones' good choice of a bad cover version by (re)introducing the original version to the record buying public at large by compiling an LP of similiraily obscure soul classics a couple of decades old.
Besides, the '80s was the decade that the advertising industry, especially in Great Britain, awoke to the lucrative possibilities of featuring an "oldie" in a TV commercial. Jackie Wilson had this way unexpectedly been brought into the upper regions of the singles charts. So had Marvin Gaye, and Nina Simone. And then there was a phenomenon called "Northern Soul", which for years had existed as an underground fad among a chosen few in the nightclubs of Britain, but was now floating up to the surface as a viable tastemaker - although for years the Brits (and, indeed, the world) had been buying Northern Soul classics such as Soft Cell's cover of Gloria Jones', err, glorious "Tainted Love".
But to make a long story short, "Harlem Shuffle - Sixties Soul Classics" (Charly R&B LP, CRB 1139, 1986) was an absolute eye-opener for me. Besides Bob & Earl's timeless title tune, other highlights include Brenton Wood's Top 2 ("Gimme a Little Sign" and "Oogum Boogum Song" - certainly NOT the novelty song it threatens to be), the Soul Survivors sole hit "Expressway to Your Heart", Barbara Lewis' very best Atlantic sides ("Hello Stranger" and "Baby I'm Yours"), The Capitols' "Cool Jerk", Mel & Tim's infectious "Backfield in Motion", and the Shades of Blue sweet "Oh How Happy" - to name but a few.
And since that fateful day I was introduced to this wondrous music via this great compilation I am here tipping my hat to, I've been hooked...
I like music and I like movies.Therefore it shouldn’t come as a big surprise that I like music movies.Either movies which star musicians, or which feature music prominently.Best though are the movies which give you healthy doses of both - say “Jailhouse Rock” or “A Hard Day’s Night”.
Obviously not all music movies appeal to me.The genre has for instance produced very little of any substance over the past two decades or so.Unless, that is, the likes of “Glitter” (2001) or “Crossroads” (2002) happen to tickle you fancy.But like the stars whose riches and fame they were supposed to further, they leave me completely cold.I must admit though, that I have a soft spot for “Spiceworld – The Movie” (1997) - if only for its sheer and utter camp silliness.
A music movie doesn’t have to be “good” in the conventional sense - if there is such a thing - for one to get some sort of enjoyment out of it.Neither, for that matter, does the music.For example, one of my all-time favourite music movies happens to be “Can’t Stop the Music” (1980), starring the otherwise awful Village People, whose music I am not a fan of - and that’s putting it mildly…unless it’s accompanied by the surreal visual entertainment which this movie certainly is.
I think I am not a film snob…at least not in the traditional sense.“Oscar nominated” is a turn-off term as far as I’m concerned, and the mere sight of the name “Steven Spielberg” in the credits produces nothing but a bored yawn from yours truly.
Furthermore, “production values” aren’t high on my list of priorities when it comes to films – any kind of films – and most of the best music movies made, in my opinion, have been fairly “low budget”.From some of Elvis’ early films in the late ‘50s to the Ramones’ “Rock ‘n’ RollHigh School” in the late ‘70s - these were all essentially so-called “B-movies”.
From time to time in the foreseeable future, if my interest and stamina in this blog persist, I plan to write about some of the music movies which fuel my fire.But here and now I am going to begin with a couple of my absolute all-time favourites; the aforementioned “Rock ‘n’ Roll High School” (1979), a long-time popular cult favourite, and the much lesser known “Get Crazy” (1983) – both of which were directed by veteran director Allan Arkush, who was also kind enough to answer few of my stupid questions via e-mail regarding both of these films as well as his career.Be sure to check that out later on in this piece.
“Rock ‘n’ RollHigh School” (1979)
Starring: P.J. Soles, Vincent Van Patten, Clint Howard, Dey Young, Mary Woronov, Paul Bartel, Dick Miller, The Ramones.
Riff Randell (Soles), a student at Vince Lombardi High, is the self-proclaimed “Number one Ramones fan”.And, to make a long story short, much to the dismay of hard-ass principal Miss Togar (Woronov), she states a student rebellion with no little help from the Ramones themselves.
The sub-plot centres round Kate’s (Young) and Tom’s (Van Patten) awkward romance orchestrated by resident student entrepreneur, cum match-maker Eaglebauer (Howard).
On paper, it’s classic and silly teen movie cliché, but the execution is an effortless and enjoyable romp which doesn’t take itself too seriously nor tries too hard.
But the icing on the cake is an excellent concert scene showing the Ramones at the top of their game.Although you don’t have to be a Ramones fan to enjoy this film, it helps…
As well as including some classic, top notch Ramones music (“Blitzkrieg Bop”, “Teenage Lobotomy”, “Pinhead”, the title tune), the soundtrack also contains the likes of Devo, Nick Lowe, Eddie and the Hot Rods, and Brian Eno.
Starring: Malcolm McDowell, Daniel Stern, Allen Garfield, Gail Edwards, Ed Begley Jr., Anna Bjorn, Lou Reed, Lee Ving, John Densemore, Howard Kaylan, Bobby Sherman, Fabian Forte, Dick Miller, Mary Woronov, Paul Bartel, Clint Howard.
What a cast!With a “slightly” bigger budget than “R&RHS”, Arkush assembles the ultimate cast of cult figures and musicians from all across the spectrum.Although reportedly, he had to make some compromises.Tom Hanks instead of Daniel Stern ?Well, that would’ve been an altogether different movie…
An homage to Arkush’s days as an usher at the legendary Fillmore East theatre in New York City around 1970, the movie is set on New Year’s Eve 1982, when small-time promoter Max Wolfe (Garfield) stages a concert at his beloved Saturn Theatre featuring all his favourite acts.These include reclusive singer-songwriter Auden (Lou Reed) and British mega star Reggie Wanker (McDowell).The former is reportedly built on Bob Dylan while the latter is obviously a Mick Jagger-inspired joke, with a bit of Rod Stewart thrown in for good measure.
The plot also involves slick big-time promoter Colin Beverly (Begley), who wants Max’s business.
Meanwhile, the romantic angle comes in the form of Neil’s (Stern), Max’s assistant and stage manager, and Willie’s (Edwards), the former stage manager, over-the-top-love-at-first-sight, instant attraction to one another.
Needless to say, this being an Allan Arkush movie, there’s plenty of silliness here as well with Bartel, Ving (then the singer of notorious L.A. punk band Fear) and Bjorn – to name but few – all getting their chances to shine.
The excellent soundtrack contains exclusive original songs by Sparks (the title track), Ramones, Marshall Crenshaw, Lou Reed, and, err, Malcolm McDowell.
Sadly, this film is largely forgotten nowadays - due in no small part to its unavailability on DVD - a situation not very likely to be rectified any time soon, according to Arkush himself, “due to issues with the sound elements” (Source: Wikipedia.org).
Favourite quote: “Ég hef aldrei séð annað eins!” (Anna Bjorn as Countess Chantamina)
Icelandic newspaper ad for "Get Crazy", featuring Icelandic actress/model Anna Bjorn. An oddly interesting sidenote: Whitey in exile.
Allan Arkush
Born April 30, 1948 in Jersey City, New Jersey. Reportedly while a student at the New York University, he studied under Martin Scorcese.
In the film industry, he got his start in the trailer department of Roger Corman’s New World Pictures in the early ‘70s.Co-directed his first film, the Corman-produced “Hollywood Boulevard” in 1976 with trailer dept. colleague Joe Dante (“Gremlins”).Be sure to check out “Trailers from Hell”, which feature both Arkush and Dante, on YouTube.
Another Corman-production, “Deathsport” (1978) was his first lone-directed feature.Starring David Carradine (“Death Race 2000” , TV’s “Kung-Fu”) and Claudia Jennings (Playboy’s Playmate of the Year 1970, “Unholy Rollers”. She sadly died a year later in an auto accident), “Deathsport” was an obvious knock-off of “Death Race 2000” (1975.Also starring Carradine as well as a certain Sylvester Stallone – a year before “Rocky”).
However, Arkush’s main claim to fame was also filmed in 1978: “Rock ‘n’ Roll High School” (1979), featuring the almighty Ramones.
Arguably, in retrospect, one of the best music movies of all time.But at the time reviews were mixed and extranaous efforts were made to distance The Ramones from the burgeoning backlash to the Punk movement.After all – inspite of having inspired both the Clash and the Sex Pistols – the Ramones were “just” a pop group; the Beach Boys and the Bay City Rollers via Iggy & the Stooges.But New Wave was a way safer term than Punk in ’79.
For his next feature, Arkush opted for something completely different.“Heartbeeps” (1981) was a love story.About robots.The late Andy Kaufman starred along with the always alluring Bernadette Peters.Randy Quaid was in there somewhere too.And Paul Bartel and Mary Woronov and Dick Miller as well.A pattern was starting to materialize.Nonetheless, the critics and the public alike were left unimpressed.
“Get Crazy” (1983) was yet another commercial and critical flop.However, the sheer zany quality of this film still shines through (see above).
It seems that after the all-around failure of “Get Crazy”, Arkush moved towards TV work in a big way. And so, except for the fatal feature side-step “Caddyshack II” in 1988, since the mid-‘80s he’s been involved, either as a director or as a producer (or both - in some cases), in practically every sort of episodic television show, from “Fame” to “Heroes” - taking in the excellent “Ally McBeal” (the “dancing baby” episode, no less) and “Moonlighting” (the Ray Charles episode, no lesser) along the way.
In between, he’s had time to do music videos as well.Famously, he’s directed everyone from Joey Ramone to Frank Sinatra.Or the other way round.
His latest music movie was a TV-take on “The Temptations” (1998).It’s about time, then...
“Rock & Roll High School”Q: Initially, according to producer Roger Corman, “Rock & Roll High School” started life as a disco exploitation film. What made you take such a U-turn? Allan Arkush: I NEVER WANTED TO DO A DISCO MOVIE BUT WE FIGURED THAT THE ONLY WAY TO GET IT MADE WAS TO AGREE WITH ROGER. THEN WE STARTED A REWRITE AND PREP. AT AN OPPORTUNE MOMENT, WHEN IT CAME TIME TO PICK THE MUSIC WE EXPLAINED TO ROGER THE DIFFERENCE BETWEEN DISCO & ROCK MUSICALLY & CULTURALLY. HE IS A VERY SMART MAN & UNDERSTOOD WHAT THE MOVIE WAS TRYING TO SAY MUSICALLY & STORYWISE AND HOW THEY HAD TO GO HAND IN HAND. ROCK IS THE MUSIC OF REBELLION NOT DISCO.
Q: Were you aware of the Ramones beforehand? Were you a fan? Were they then always intended as the main objective? What was it like working with them? Their legendary status has certainly grown…
AA:I WAS AWARE OF THE RAMONES FROM HEIR FIRST LP. I LIKED THEM BUT DIDN’T LOVE THEM UNTIL THE THIRD LP ROCKET TO RUSSIA. THEY WERE ONE OF SEVERAL BANDS BEING CONSIDERED. THE MORE I FOUND OUT ABOUT THEM AND THEIR SURROUNDING CULTURE VIA MAGAZINES LIKE “PUNK” THE MORE THEY SEEMED LIKE THE RIGHT CHOICE. SIRE RECORDS & THEIR MANAGEMENT REALLY HELPED A LOT. THEY THOUGHT IT WAS A GREAT IDEA TO PUT THEM IN THE MOVIE.
I WISH I COULD SAY THAT I KNEW HOW SIGNIFICANT THEIR LEGACY WHOULD BE. BUT I CAN’T. I JUST LOVED THEIR MUSIC AND IMAGE. IT WAS RIGHT FOR OUR STORY & ADDED BOTH HUMOR & TRUTH. JOEY AND I BECAME LIFELONG FRIENDS DURING & AFTER THE SHOOTING. MARKY & JOHNNY WERE GUYS I COULD TALK TO & HANG WITH. JOHNNY HAD AN ENCYCLOPEDIC KNOWLEDGE OF HORROR & SCI FI FILMS, SO WE SHARED A LOT. THEY DIDN’T LIKE ALL THE WAITING AROUND WHILE SHOOTING BUT WHEN THE CAMERAS ROLLED THEY GAVE IT THEIR ALL. I LOVE THEM IN “DO YOU WANNA DANCE”. AND THEY WERE HEROES ON THE CONCERT DAY, IT WAS ALMOST 2O HOURS OF PLAYING AND THEY NEVER COMPLAINED, THEY JUST ROCKED IT ALL DAY LONG
Q:L.A. scenester Rodney Bingenheimer has a brief cameo as the Ramones’ driver. I seem to recall hearing/reading someplace that “Eaglebauer” (played brilliantly by the very underrated Clint Howard) was based loosely on him. Any truth in that?
AA:NO TRUTH TO THAT. THE CHARACTER WAS BASED ON YOSSARIAN IN JOSEPH HELLER’S “CATCH 22” & TONY CURTIS’S CHARACTER IN BLAKE EDWARDS “OPERATION PETTICOAT.” WE AT FIRST WANTED AN ACTOR NAMED EDDIE DEEZAN WHO WAS VERY NERDY. HIS AGENT SAID NO, WE WENT TO CLINT WHO I KNEW FROM WORKING WITH HIM ON “GRAND THEFT AUTO.” CLINT WAS THE RIGHT CHOICE, I CAN’T CONCIEVE OF ANOTHER EAGLEBAUER. THE NAME IS TAKEN FROM A CHARACTER IN ERNST LUBITSCH’S “DESIGN FOR LIVING.”
"The Girl Can't Help it" (1956) and "Shake, Rattle and Rock!" (1956) reportedly both influenced the writing of "Rock 'n' Roll High School".
“Get Crazy”
Q:Lou Reed has often been perceived as notoriously “difficult”. Was he? His performance certainly seems relaxed…
AA:LOU HAD STRONG OPINONS, DIDN’T WANT TO APPEAR SILLY WHICH IS A VERY REASONABLE POINT OF VIEW BUT HE WAS ALSO AWARE OF THE SATIRICAL ASPECTS OF HIS CHARACTER. HIS IDEAS AND TASTE SHAPED THE CHARACTER IN VERY POSITIVE WAYS & STOPPED AUDEN FROM BEING CORNY IN ANY WAY.LOU IS NEVER CORNY OR SENTIMENTAL. HE DIDN’T LIKE BEING ON THE SET BUT VERY FEW SINGERS DO. HE WROTE US AN EXCELLENT SONG WITH A BEAUTIFUL GUITAR SOLO AND FOR THAT I AM ETERNALLY GRATEFUL. HE AND I HAVE HAD MANY NICE ENCOUNTERS OVER THE YEARS. HE IS A ROCK GOD. THE MAN WHO HELPED MAKE ROCK GROW UP AND DEAL WITH ADULT THEMES. I HAVE EVERY ALBUM HE AS EVER RECORDED. HE IS A GENIUS.
Q:Ex-teen idols Fabian (Forte) and Bobby Sherman were brilliantly cast as Ed Begley Jr.’s lackies, which were basically extensions of the hall monitors in R&RHS. Were they good sports about the whole thing?
AA:GREAT SPORTS & SO MUCH FUN TO WORK WITH. THOSE COMIC RHYTHMS ARE NOT EASY & THEY REHEARSED TO GET THEM JUST RIGHT. HADN’T THOUGHT ABOUT THE CONNECTION TO THE HALL MONITORS, BUT MAYBE SO.
Q:Visually, Daniel Stern resembles – no offense! - a younger Allan Arkush. Yet another reference to the Fillmore East days?
AA:YES ABSOLUTELY BUT NOT BECAUSE OF ANY PHYSICAL REEMBELENCE. IT WAS IN THE STORY. THE WHOLE MOVIE IS A BROAD COMEDIC SHOUT OUT TO THE FILLMORE EAST.
Q:For personal reasons: Anna Bjorn. Elaborate…
AA:I LIKED HER IN AMERICAN GRAFITTI 2 AND WHEN SHE READ FOR THE PART SHE BROUGHT A LOT TO IT. SHE WAS BEAUTIFUL, EXOTIC & SEEMED ROYAL, RICH & POILED - THE PRINCESS CHANTIMEA, IS AN HOMMAGE TO PRESTON STURGES’S “THE PALM BEACH STORY”. SAME CHARACTER NAME. SHE’S VERY FUNNY & WE BECAME FRIENDS.BUT I HAVEN’T SEEN HER IN 20 YEARS
Generally…
Q:Roger Corman. Your thoughts.
AA:HE GAVE ME MY CAREER BY BELIEVING IN MY TALENTS AND GIVING ME A CHANCE. I WILL BE FOREVER GRATEFUL. I WISH THERE WERE MORE PEOPLE LIKE HIM IN THE BUSINESS TODAY. IT WAS GREAT TO WORK FOR A REAL FILM MAKER WHO COULD ARTICULTE WHAT HE WANTED TECHNICALLY, & IN A LARGER SENSE.A RARE COMBINATION OF FINANCIAL ACUITY & ARTISTIC VISION. ONE OF THE MOST IMPORTANT PEOPLE IN MY LIFE. MY FAVORITE MOVIES THAT HE DIRECTED ARE BUCKET OF BLOOD, THE TRIP, AND MASQUE OF THE RED DEATH.
Q:Most of your movies are music-related. Musically, who are your all-time favourites? AA:DYLAN, GRATEFUL DEAD, DUKE ELLINGTON, MILES DAVIS, BRUCE SPRINGSTEEN, LOU REED, ELLA FITZGERALD, RUTH BROWN, THE STAX-VOLT SOUND, THE WHO, HENDRIX, MONK, IGGY POP, NATURALLY THE BEATLES & THE STONES, LOUIS ARMSTRONG, CURTIS MAYFIELD, JONI MITCHELL, TALKING HEADS, DOO WOP MUSIC, THE R&B OF ATLANTIC RECORDS, THE TEMPTATIONS, DARLENE LOVE, NEIL YOUNG, JAMES BROWN, CHRISSIE HYNDE, THE KINKS, DION, MUDDY WATERS, HOWLIN’ WOLF, GARAGE ROCK, JONI MITCHELL………………THE RAMONES
Q:The casting in your films is always so inspired. From Lee Ving and John Doe to Dick Miller, via Moronov & Bartel. Discuss.
AA:MOST OF THESE PEOPLE YOU MENTIONED ARE BOTH FRIENDS & ACTORS, SO THERE S A LOT OF PERSONAL COMMUNICATION INVOLVED, A SHORT HAND. I MISS PAUL BARTEL A LOT, HE WAS A LOVELY MAN. MARY WORONOV IS A RENNAISANCE WOMAN. DICK MILLER IS A PART OF FILM HISTORY.
CASTING IS SOMETIMES EVERYTHING. YOU CAST A PERSON BECAUSE THEY ARE THE CHARACTER & THEN YOU HAVE DONE THE BULK OF YOUR DIRECTING. WHEN I FIRST STARTED DIRECTING IN THE MID-70’S ROGER CORMAN SENT ME TO JEFF COREY’S ACTING CLASSES TO LEARN ABOUT WORKING WITH ACTORS. WHAT I LEARNED THERE WAS INVALUABLE ESPECIALLY THE BASIC’S OF METHOD ACTING. MUCH OF MY TELEVISION WORK IS DEPENDENT ON WHAT I LEARNED FROM JEFF. TRUST THE ACTOR, MEET THEM HALF WAY. I LIKE WORKING WITH ACTORS, THE BEST ONES MAKE ME LOOK GOOD.
Q:The Temptations TV-movie caused some controversy. Did that make you in any way apprehensive? Believe me, the “music movie” is your forte… AA:I WASN’T AWARE OF ANY CONTROVERSY OTHER THAN EVERYBODY REMEMBERS THE PAST DIFFERENTLY & HAS THEIR OWN VERSION OF PAST EVENTS.
I LOVE DOING MUSIC MOVIES.
Very special thanks to Allan Arkush for his time, effort, talent and films!
