Friday, December 27, 2024

Friday 80s Flashback for December 27, 2024


[Experimental Day] -- Psychic TV were not just an experimental post-punk band working out of England in the 1980s. They were also the "musical arm of upstart occult organization Thee Temple ov Psychick Youth (TOPY)" [Pitchfork, July 2017]. And shortly before Christmas day in December 1984, forty years ago this week, they released their latest offering: Pagan Day. It was a limited edition picture disc, with only 999 copies available, all of which were at the Rough Trade record shop in London [ibid]. 

This record kind of captures that feeling of taking song ideas from a notebook and working them out in a sort of live, improv recording. That isn't to say that the record feels or sounds unfinished, but it does sound stripped down with less studio fabrication or gimmicks. As befits a band like Psychic TV – and this material – there were no singles released, no music videos recorded. 

The embedded YouTube playlist here has the full 11 tracks of the original release as well as a bonus track ("Farewell") included on later reissues. That bonus track is inexplicably positioned close to the middle at track #7, which mirrors the 2017 reissue by The Sacred Bones Record Society (and available on Bandcamp). The 1994 Cleopatra Records re-release, however, correctly positions "Farewell" near the end of the album, along with two additional bonus tracks – "Unclean (Gen's Mix)" and "Pirates." 

FlashbackPagan Day (December 23, 1984)




And that's all till next week. Dedicated 80s-philes can find more flashbacks in the Prophet or Madman archives or via Bookended's 80s Flashback tag. As always, your comments are welcome on today's, or any other, flashback post. And if you like what I'm doing here, please share the link with your friends. If, however, you don't like the flashback, feel free to share it with your enemies.

I'll see you in seven!

Tuesday, December 24, 2024

The Man Who Would Be Santa (or "Christmas Eves of Long Ago")

"The children sleep upstairs and Santa works below."
https://www.youtube.com/watch?v=BzT2QuRTW7I

In my childhood, Christmas Eve and Christmas morning loomed very large. Christmas Eve in particular was a flurry of activity because, for many years, we waited until that day to put up the tree. Oh, we already had it, and by Christmas Eve day it would have been resting on the front porch for a few weeks, just waiting for its big moment. But it was Christmas Eve -- and, yes, the evening to be precise -- that the tree got to be front and center for a few hours. I have vivid memories of my father first rearranging the furniture to clear the bay window area. Then he would drag in the tree which was wrapped in old throw rugs and such to avoid scratching the floor or door jams. Next, he would judiciously saw off some lower branches to prepare it for the tree stand. The scent of pine filled my nostrils and the sounds of Christmas music floated throughout the house.

Later that evening, after a visit to church (yes, there was a time in my life when I attended church) and a helping of Christmas sausages, my father would read a story. The story was always a choice between 'The Night Before Christmas' or 'Rudolph the Red-Nosed Reindeer.' I'm not certain how we alternated between them -- maybe even years for Night and odd for Rudolph, or maybe my sister and I took turns choosing the story -- but the important thing is that, as far as we kids were concerned, that story concluded all family work for the evening. After the story, my sister and I would be sent to bed.

Did you notice I didn't mention anything about decorating the tree after it was put up? I hope you caught that, because it's an important element in the magic of my childhood. You see, in my house, Santa visited not only to bestow a bevy of gifts, but also to decorate our tree! Well, at least he did until (ahem) we were old enough to be part of the decorating ritual.

As clearly as I recall my childhood Christmas Eves, I have a less vivid recollection of when I first heard "The Man Who Would Be Santa." Like many folks, I probably didn't even hear of the artist, Vertical Horizon, until their breakout single, which was the second single and title track of their third studio album, EVERYTHING YOU WANT (1999). Vertical Horizon had been around since 1991, when Matthew Scannell and Keith Kane formed an acoustic duo at Georgetown University.  I loved EVERYTHING YOU WANT so much that I dug back into Vertical Horizon's catalog. And there I found "The Man Who Would Be Santa" sitting inconspicuously on their second studio album, RUNNING ON ICE (1995). Now, it is not as though Vertical Horizon is known for Christmas songs. But they are, in my opinion, quite adept at crafting songs that tug at memory and bespeak the ties that bind people together. And, so, every time I hear "The Man Who Would Be Santa," I am taken back to those childhood evenings in my Elk County hometown. But only the first verse is tied to that memory. The next two verses focus on later stages of The Man Who Would Be Santa's life. And it is because of this long story arc that the song so very much reminds me of my father, particularly now that I spent my 40s watching my father become that old man who "sits and tells of days when time stood still."

I think I may be getting a little misty eyed just thinking about it.

"The Man Who Would Be Santa" was never released as a single, so there is no official music video. For your entertainment, the link at the outset of this post is for a video of Matt Scannell, the frontman of Vertical Horizon, performing a solo acoustic version of this song at the Atlantic Auto Mall in West Islip, NY. For your reference, this next link is for a YouTube video that features the version of the song that appears on the album: https://www.youtube.com/watch?v=kz4K0uvjBfU 

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// THE MAN WHO WOULD BE SANTA //

And the man who would be Santa slips into the room
And the hour of daylight's yet to come but he hopes they don't wake too soon
All the presents wrapped in paper and tied with a bow
The children sleep upstairs and Santa works below
And he can hear the children dreaming

[Chorus:]

     And he says
     All I want is for you to have
     A life you love and live
     Take from me all I have to give
     Because you are in my heart

And the man who would be Santa tells his son to write
And to call him if he needs him in the middle of the night
Don't you worry don't you cry now you'll do just fine
Your mother and I love you
We think about you all the time
And he can see the train is leaving

[Repeat Chorus]

Now the old man sits and tells of days when time stood still
The hours always seem to fade but the memory never will
All the love that you gave me
All the dreams in the night
And I just want to thank you while the day's still light
But I can see the sun is setting

[Repeat Chorus]

_______

Notes:

  1. I adapted this post's details about "The Man Who Would Be Santa" from my 25 Days of Holiday Music blog post for December 4, 2012, and posted it to Facebook on December 24, 2022.
  2. The attached image contains two photos: 
    • Photo of an undecorated Christmas tree found online.
    • Photo of a Whitman Giant Tell-A-Tale Book edition of "The Night Before Christmas." This is the very copy that my late father would read to us. I took this photograph at my parents' home in June 2018, during the prep to get their home ready for the market.

Friday, December 20, 2024

Friday 80s Flashback for December 20, 2024


[Still Hot Those House Flowers] -- December and the winter holidays put me in mind of jazz and classic rock, because those were the genres my late father most played on his stereo system while I was growing up. I mean, sure, he played some holiday fare, too. But if he was tooling around the house, he needed some old rock music. And if he was cooking or baking, then jazz was the soundtrack of choice.  

This week's Flashback album would have qualified for that soundtrack. 

Forty years ago this week, on December 18, 1984, Winton Marsalis released Hot House Flowers, his third studio album as a leader. And while Hot House Flowers garnered some mixed reviews (you can read this one from WaPo, if you can get past the paywall), it was a commercially successful album. Not only did this record peak at #90 on the Billboard 200 and #53 on the Billboard R&B Albums chart, it also reached the #1 spot on the Top Jazz Albums chart. Oh, and Hot House Flowers picked up another accolade the following year, in 1985: it snagged the Grammy Award for Best Jazz Instrumental Performance, Soloist. 

What I find interesting about this album is that Marsalis opted for the jazz plus strings formula rather than augmenting the jazz arrangements with synths – and this was the 1980s! So, Marsalis has a who's who in jazz (including is brother, Branford Marsalis) riffing over understated string arrangements by Robert Freedman. And while some critics at the time weren't too keen on it, like that WaPo critic, I find the strings to be softly supporting, and I think it works. Maybe it's because I don't always hear the strings. Maybe it's that Winton Marsalis understood how to work with the various standards he was covering. But I think the approach also works on the title track, the only one he wrote on the whole album. 

Anyway, if you like jazz and need a nice instrumental background while you're wrapping presents, give this one a spin. 

FlashbackHot House Flowers (December 18, 1984)




And that's all till next week. Dedicated 80s-philes can find more flashbacks in the Prophet or Madman archives or via Bookended's 80s Flashback tag. As always, your comments are welcome on today's, or any other, flashback post. And if you like what I'm doing here, please share the link with your friends. If, however, you don't like the flashback, feel free to share it with your enemies.

I'll see you in seven!

Thursday, December 19, 2024

Superman ... and Metamorpho!

So, the teaser trailer for SUPERMAN (2025) came out today. For the most part, I'm trying to remain cautiously optimistic about the upcoming film. But two scenes in the trailer do ratchet up my potential excitement for the film, and both of them tease the first live-action appearance of ... Metamorpho the Element Man!

Writer Bob Haney and artist Ramona Fradon co-created Metamorpho in 1965. He has been a solo hero as well as a member of several teams, including the Justice League. 


Image description: Two screen grabs from the SUPERMAN teaser trailer and a comic book scan. Top left is a screen grab showing the Stagg Industries logo above Superman (Metamorpho worked for Simon Stagg in the comics). Bottom left is a screen grab showing a closeup of Metamorpho. Image to the right is a scan of The Brave & The Bold Vol. 1 #58, the second appearance of Metamorpho. 

Friday, December 13, 2024

Friday 80s Flashback for December 13, 2024


[Hallelujah 40] -- Forty years ago this week, Leonard Cohen released his seventh studio album, Various Positions. This was also his first studio album since 1979's Recent Songs. The new album was well-received, with compliments on its "lucid and beautiful production" (Rolling Stone) and recognition as "a stunning return to form" (AllMusic). Various Positions did not chart in the US, but it fared very well in Spain, Portugal, and Scandinavia, and even garnered moderate success in the UK (peaking at #52 on the charts).

The two singles were "Dance Me to the End of Love" and "Hallelujah." Yeah, that "Hallelujah." While it didn't get much attention in 1984, covers of the tune pretty much blew up in 1991 (John Cale) and 1994 (Jeff Buckley). And now it's pretty much a standard.

Even if you're not a fan of Cohen's vocal stylings, and I am, you have to give him credit as an important songwriter of great skill. 

FlashbackVarious Positions (December 11, 1984)




And that's all till next week. Dedicated 80s-philes can find more flashbacks in the Prophet or Madman archives or via Bookended's 80s Flashback tag. As always, your comments are welcome on today's, or any other, flashback post. And if you like what I'm doing here, please share the link with your friends. If, however, you don't like the flashback, feel free to share it with your enemies.

I'll see you in seven! 


Operation: Jail the Justice League!

Two page splash from Justice League of America Vol 1 #61

The above image is a two-page spread of the Justice Leaguers triumphing over a bunch of crooks. It is from a story titled "Operation: Jail the Justice League!" 

I first read that story in the treasury-sized DC Limited Collectors's Edition presents SUPER FRIENDS # C- 41 (1976). In that book, the story is told as a flashback to Wendy and Marvin of the Super Friends TV series:

Limited Collectors' Edition Vol 1 C-41 page 3

But it originally appeared in Justice League of America Vol 1 #61 (March 1968). As a kid in the mid-1970s, I did not know older stories were reprinted. I probably didn't even care. So, why am I writing about "Operation: Jail the Justice League!" today? Well, I now own a copy of that 1968 comic. Picked up issues #61 and #65 for my collection this week! 

Justice League of America issues #61 and #65

Happy collecting! 

Friday, December 6, 2024

Friday 80s Flashback for December 6, 2024


[Pulse] -- I knew nothing of the pioneering jazz drummer, Ronald Shannon Jackson, until his second go-round with Last Exit in 1988. But he had been on the scene from 1966 until his death in 2013, and he amassed 165 credits [Discogs]. I have not backtracked through all of his works. I'm primarily interested in RSJ with Last Exit, the Decoding Society, and his solo work. That latter category is where today's Flashback comes rom. 

Now, I'm not entirely certain when Ronald Shannon Jackson released Pulse, but I do know it was in 1984 and AOTY lists the release date as December 3, 1984. So, Pulse turns 40 years old this week!

AllMusic categorizes Pulse as a Jazz album in the styles of Fusion and Hard Bop. Discogs more broadly lists the album's styles as Free Jazz, Poetry, Free Improvisation, and Spoken Word. Discogs might be the more complete description as Pulse features Ronald Shannon Jackson recitation over drum solos, the kind of solos you might expect from an icon of jazz, funk, and the avant garde. As such, Pulse is a sparse album, specifically in terms of personnel. Ronald Shannon Jackson handled the drums, of course, as well as the aforementioned vocals. Two other performers contributed to two of the ten tracks: Onaje Allen Gumbs played piano on "Lullabye For Mother" and Michael S. Harper provided his voice to "Those Winter Sundays." Beyond that, only the producers – David Breskin and Ron Saint-Germain – are listed in the liner notes. 

This is not an easy listen, particularly if you are not accustomed to jazz drum solos. But it is a rewarding one, at least in my opinion. And if you need a break from all the holiday tunes, this album will certainly cleanse your aural palate. 

FlashbackPulse (December 3, 1984)




And that's all till next week. Dedicated 80s-philes can find more flashbacks in the Prophet or Madman archives or via Bookended's 80s Flashback tag. As always, your comments are welcome on today's, or any other, flashback post. And if you like what I'm doing here, please share the link with your friends. If, however, you don't like the flashback, feel free to share it with your enemies.

I'll see you in seven!

Wednesday, December 4, 2024

Super Finale

Tyler Hoechlin (L) as Superman and Elizabeth Tulloch (R) as Lois Lane;
they are standing in profile in front of a rubble-strewn street.
[From Superman & Lois]


Well, that happened. And by "that" I mean the series finale of Superman & Lois (2021-2024). By now, there have been numerous posts and reviews, many of which addressing this series' position as the final comic book inspired show on CW, musing on the quality of the show, sharing glimpses of the work behind the scenes, and probably spoiling key moments for folks who have not yet viewed the episode. 

I'm not doing any of that. 

Well, I'm probably offering a bit of a spoiler here. So, if you are among those who have not viewed the episode which aired two nights ago, stop reading. And definitely do not scroll down to the second image in this post. Go watch the show and then come back here.

Ready?

I love that the reveal of the Super Family – Superman flying with his costumed sons as well as Steel and his daughter (Starlight) – shows the creative team paid attention to the source material... the comics. First, Jordan and John are differentiated by one's emphasis on red and the other on blue. This echoes not only an imaginary tale from Superman in which Supes was split into Red and Blue counterparts (Superman Vol. 1 #162), but also when DC comics brought the split into modern canon by creating the electrified Superman Red and Superman Blue (circa 1998 in Superman Red/Superman Blue #1 and Superman Vol. 2 #132).

Second, because Jordan and Jonathan are Superboys – Superboy Red and Superboy Blue, if you will – their uniforms reflect two different iterations of the Superboy character in the comics. Just look closely at their respective uniforms. Jordan's outfit looks very much like the New 52 Superboy while Jonathan's very much aligns with that of the 1990s Superboy who launched during the Reign of the Supermen storyline and then got his own series. Also, please note my reason for saying that Jonathan's uniform aligns with the 1990 design: It is because he, wisely, does not use the leather jacket or sunglasses (though the alt-universe Jonathan did sport the jacket). The other difference between comics and this TV series was that both of the comic book Superboys were clones, while Jordan and Jonathan in the series are the actual sons of Clark and Lois. 

So, here is an image capture of that in-flight scene from the finale along with a few comic covers to show what I think were some inspirations for the show's creative team:

Super Family in flight and the covers of four comic books that might have influenced the scene. 


Anyway, I loved the TV series and I'm sad it had to end to make room for the upcoming cinematic rebirth of Superman.