Tag Archives: The Monkees

Rocky Horror Glee Show

There are some things that I’ll never understand.

I don’t get the fascination people have with reality television and celebretards. Nor do I get why there have been seventy-six editions of the Now That’s What I Call Music series to date, with no sign of stopping.

I also don’t understand how the CD releases from Glee have sold over five million copies so far, presumably to the same people who watch the show religiously. They’re simply collections of cover songs, organized by theme or artist, marketed to the same people who watch the show and buy the DVDs. (And Gleeks, you know that you are buying the DVDs and all the CDs.) Television hasn’t sold music this well since The Monkees.

The songs are well produced and arranged, of course, and the vocals are usually very good but (1) they’re usually straightforward covers, not reinvented arrangements and (2) the thrust of the show is the melodramatic, over-the-top theatrical production surrounding it. You’re not capturing that on an audio CD.

But I soon might have to make an exception.

 In October, Glee will broadcast a Rocky Horror Show episode. After wading through terrible rap tunes, Lady GaGa drivel, overblown Journey crap and an entire episode of Madonna dreck (saved only by the brilliant Jane Lynch performing “Vogue“), I’m thrilled that the majestic, fantastic Richard O’Brien opus will get its due. Hell, thirty five years later it’s still an iconic classic whose songs never fail to get me going…high praise after dozens of post-midnight screenings with props and audience participation.

The full track listing for  ”Glee: The Music, The Rocky Horror Glee Show” is as follows:

  1. Science Fiction Double Feature
  2. Damn It, Janet
  3. Whatever Happened To Saturday Night?
  4. Sweet Transvestite
  5. Touch A Touch A Touch A Touch Me
  6. There’s A Light (Over at Frankenstein Place)
  7. Time Warp

Glee has had three consecutive number one album releases and I suspect this will be their fourth. Hell, I might even have to break down myself and grab one.

I think my cat is reading my diary.

Meantime, tonight I will survive an onslaught of Britney Spears horse shit just for the ability to see the incredible Heather Morris (who plays Brittany, the dimmest bulb on television) get her turn in the spotlight. That should hold me over until Neil Patrick Harris returns for another guest spot.

Admittedly, my initial enthusiasm for the show has waned, but Lynch and Morris are consistently funny and the dynamic between gay Kurt and his dad (Mike O’Malley in a flawless performance) is some of the best work on TV, period.

And please…can Tim Curry make an appearance on October 26th?

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Happy Birthday, Billy Preston

Murray The K wanted to be the Fifth Beatle, but I think Billy Preston earned the title. Considering the legacy of the band and the state of society in those days, adding Billy Preston as a member of The Beatles might have ended racism in 1970.

Back in the 60’s, it wasn’t unusual for musicians to be all over a band’s album and get no credit whatsoever. Motown, Stax and other labels had crack house bands that made everyone sound great. Most pop acts were noted for their vocal performances while a session band did most of the work in anonymity. Highly paid work, mind you, but still behind the pop culture curtain.

Consider that most people were shocked when The Monkees admitted that other musicians played on their albums, and at the time they were just four actors pretending to be a band! Glen Campbell and Jimmy Page played on countless sessions before becoming famous under their own name, much like many of the classic songwriters (Neil Diamond, Carole King, Burt Bacharach, etc.) figured out that you could make a ton of money behind the scenes but a ton more out front.

Ringo says he can join!

Billy Preston – has he ever not been smiling? – added a great vibe to the Beatles sound. His solo in “Get Back” makes the song what it is, and the track is actually credited to “The Beatles with Billy Preston” – the only time in the band’s career outside of the Tony Sheridan era where another artist shares billing with them. Nice resume, Mr. Preston!

Sadly, we lost him in 2006, three months shy of his 60th birthday. So whether you know him from his long list of guest stints (everyone from Little Richard and Ray Charles to Johnny Cash and The Rolling Stones – the list is almost endless) or his own chart topping hits “Nothing from Nothing” and “Will it Go Round In Circles“, celebrate the memory of Billy Preston today.

Billy Preston on Wikipedia.

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Mixtape: I’ll Be You

 

Back when I had that kind of time, I participated in a monthly tape swap, and for a time I had to dub these puppies in real speed. When we finally got to the CD stage and I could burn a disc at 2x I thought I was in heaven. What used to be a serious committment – the group was usually 35-40 people, so imagine the time and money involved – now can be done dirt cheap and at lightning speed. (I still participate in one of these groups twelve years running, although we’re down to one or two trades a year.) 

I used to make the cassette art by hand; sometimes a drawing and other times a cut-and-paste job, then type and shrink the set list to fit on the inside flap and print them off on colored paper…cut them along the outline…fold and insert into the J-Card slot on every one. Like I said, I had that kind of time. If I find the original art for this one I’ll upload it someday, but I remember it was a variation on a Powerpoint silhouette image of a man holding a mirror. 

I love tribute records, so this mixtape (from March 1997) was a tribute to tributes. It’s a great set and these covers are well worth seeking out. Now I have to find the actual tape, because just reading these names has me jazzed. 

And I still miss Material Issue.

  

you be me for awhile and….I’LL BE YOU

SIDE ONE
Dance Dance Dance Manitoba’s Wild Kingdom (Handsome Dick and a couple of Dictators) pay homage to Brian Wilson
Pictures Of Lily The ‘oo, done with great passion by that great sideman Ian McLagan and the Bump Band
She’s Got Everything The Droogs, Aussies yet, service Mr.Davies’ classic well. Can’t believe there aren’t more great Kinks covers.
Time Has Come Today Willy (Mink) DeVille from last years fab “Loup Garou” record. This Chambers Brothers song still rules!
Pictures Of Matchstick Men Status Quo song covered by the pre-Cracker Lowery in the late, great Camper Van Beethoven. Respectful yet cool!
Charlot Choogle Would have picked a better T-Rex cover if I could have but Sky Blue nailed the Bolanisms better than anyone else did.
Sweet Hitchhiker The fabulous DM3 (wow, I’ve already been to Australia twice in seven songs!) absolutely rip this one up! Go Don!
Mr. Spaceman Miracle Legion from another spotty tribute disc. For all you who remember the Byrds as electric Dylan, try this instead.
I Can’t Let Go Still the best tribute disc ever made, eggBert’s “Sing Hollies In Reverse” featured wall to wall greatness like this Continental Drifters cut.
My Minds Eye Ah, the Small Faces. Northern Uproar did yeoman service on last year’s tribute. A must-have for all true pop fans!
S-L-U-T The Woods, America’s Rockpile, nail this Todd tune. I will not rest until the name Jack Cornell is known far and wide.
Handyman True Story: Frank thought they were cutting “Candyman” for a Sammy Davis tribute. Nah…he loves Otis Blackwell too!
Sweets For My Sweet Doc Pomus gets the Brian Wilson post-sandbox/Landry treatment. And Mike Love is an asshole.
Love Is All Around Christine Ohlman is recording again! If you remember Big Sound Records or Dusty Springfield, Trogg out with this!
And Your Bird Can Sing Weller and company grew tired of “The Jam is just aping The Who” rumors. So they aped the Beatles instead.
SIDE TWO
I’m Not In Love Chrissie and the Pretenders snapped out two covers for movies/TV – this 10cc track and “Angel In The Morning”
Town Without Pity Gene Pitney covered by Steppenwolf’s John Kay on heroin. Naah..it’s the wonderful Thin White Rope from “Spoor”
Daydream Believer The Monkees tribute is way cool, including this John Stewart song ably harmonized by Man Size Job? Who? Me neither.
Run To Me If there were any doubts that Material Issue could do it all, this will silence them. Haunting BeeGeeutiful song. RIP Jim.
Hard Luck Woman The Kiss tribute is pretty funny, and I gotta admit that when I realized this was THE Garth Brooks I almost had a seizure.
It’s The Little Things And you thought Sonny Bono couldn’t write hooks. He did work with Spector, y’know, so bow down for The Skeletons.
Listen To Her Heart Tom Petty as seen through the eyes of Truck Stop Love, produced at Ardent by some guy named Jody Stephens.
Don’t Want To Say Goodbye Last year the Raspberries tribute came out, chock full of great versions, few better than this homage by The Flashcubes.
Have You Seen Your Mother Baby, … Wow that’s a long title! Believe it or not, this is The Records from a free EP that came with the first run of their LP.
Build Me Up Buttercup David Johansen, post-Dolls and pre-Buster P. David always kicked ass live and paid props to great 60’s soul music.
When Something Is Wrong With My Baby Wow – Sam and Dave voiced by the immortal Herman Brood, who truly is a rock and roll junkie. Live track.
Back Of A Car When you hear this song now you wonder how Big Star wasn’t huge then. This is The Loud Family – same comment.
Earn Enough For Us Freedy Johnston does XTC (who appeared on their own tribute record in disguise!). Love the pedal steel!
No Matter What Closing the set with a song by “the next Beatles” (Badfinger) done by “the next Beatles” (The Knack). Oasis my ass.

As always, play loud, play often.

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Blast From The Past: Kenny Howes

Kickenbacker

When friends ask me how I can continue to get excited about finding new bands and artists to enjoy – as if a finite set of albums should be enough – I will mention someone like Kenny Howes. That’s usually followed by a statement (“Who??”) and an action (insert disc in player…turn up loud). Kenny is an example of a supremely talented artist who would be much better known if we only had a realistic process to get music to the masses. We’ve gone from freeform FM to playlists to formatted channels to American Idol, and still it takes two ears and a shitload of persistence to weed through the chaff and find the gems. 

When the powerpop movement started gelling in the 90s, there were a few magazines that centered on the movement and were critically informative to fans of the genre. Maybe not quite the lifeblood that Creem was to a disaffected suburban teenager back in the 70s, but certainly a hotbed of new names and sounds. It was there that I read about Kenny Howes and Rickenbackers and kick-ass covers and big fat power chords, and I was on that like flies on sherbert. The fact that Kenny was also a nice guy and funny as hell was just a bonus. 

I don’t want to make it seem like he’s that obscure; certainly his series of albums over the years and appearances at Poptopia, IPO and other festivals has garnered him a good following, albeit on the scale of an independent pop musician. But fame has nothing to do with quality, and I’ll stand Kenny’s albums up against anyone’s from that era. Hooks galore and a boatload of charm, and a great intersection between the delicate melodies of a McCartney and the power of The Who. If that sounds like familiar territory, all I can say is there’s a reason a bonus track on one of his albums is titled “Gonna See Cheap Trick” – and finding a more effervescent song about heading to the big rock show is a tall order. 

But enough about me

Here’s a review of Back To You Today I wrote for Consumable Online twelve years ago… 

 

Rickenbacker-wielding pop star Kenny Howes is back with his third record, yet another collection of ringing hooks and earnest vocals. The lo-fi production has its charms and drawbacks, sometimes framing songs in just the right minimalist setting but occasionally losing something in the fog bank. Overall, however, it’s another solid effort that sees Howes depart from his past formula and take a few chances. 

The title track is certainly an example of his strong suit – bouncy chorus, solid hook and quick guitar break. This formula reaches its zenith on “Exactly Like You”, a sing-along track that could lift a band out of the garage and onto a jukebox – even if it winds up being their only hit. The simple, fuzzy guitar break is perfect and you can almost see the audience swaying and hand-clapping along to the “Cathy’s Clown” beat. And underneath it all, Kenny’s trying to land a new girl by shredding all those losers he’s hit on before – like THAT will work. 

Sometimes the stretches don’t synch – “Something Really Great” sounds like Dylan doing the Monkees’ “Randy Scouse Git”, for example, and “Save You” is muddled angst. But “Never Left” sounds like the bonus track on the Pet Sounds box set, and the epic closer “Free Tattoo” sounds like Moon and Townsend sat in on the session. 

Cohesive it’s not – I think Kenny had a lot of snippets of ideas when he hit the studio and went for broke. Although you might find yourself skipping a tune here and there, there is enough immediate gratification to bring you back again, which is when you’ll discover the chestnuts that appeal to you. Howes played everything but drums (kudos to Kelly Shane) and wrote all the songs, and is a talent deserving your ear time

And he still is. Looks like we’ll be blessed with a DVD this year. 

Read up a bit on Kenny at Wikipedia and check his music out on MySpace

Kenny’s albums available at CD BABY

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Five More Enter The Hall…

Guarded by the Guitar Army

I must admit I was a bit surprised when I saw the list of artists elected for induction into the Rock and Roll Hall of Fame (the ceremony will take place March 15, 2010)

  • Abba – on their second nomination in ten years of eligibility
  • Jimmy Clifffirst nomination, though eligible for twenty-one years!
  • Genesis – also their first nomination, eligible for sixteen years
  • The Hollies – another first nomination after twenty-one years
  • The Stooges – finally, after eight nominations in sixteen years

Amazing to see that three of the artists were eligible for between sixteen and twenty-one years prior to even getting nominated, and then they get elected on the first try. That’s just odd. How do these bands never even get to the nomination stage and then make it all the way to the podium in one move? And what does that say about the rest of the talent pool still hanging by the telephone?

Alice Cooper is still waiting. So are Cheap Trick, Deep Purple, Todd Rundgren…and KISS, of course. I could name dozens more who made bigger marks than some of the current inductees – Rick Derringer, The Faces, Lou Reed, Mott The Hoople – but I’d just get pissed off again, even though I know in my heart that it just doesn’t matter.

But it’s great to see The Stooges finally beat the door down – one would expect that a band that had been nominated so many times would eventually break through. And maybe the election of The Hollies opens the door for The Turtles or Herman’s Hermits, and Abba legitimizes the induction of The Monkees. Outside of Guns’N’Roses, there aren’t many newly eligible bands in the next two or three years to provide fresh competition. (Want to feel old? Julian Lennon became eligible for induction in 2009.)

And I certainly can’t argue with any of the songwriter nominations except to say…what the hell took you so long? Mort Shuman (Doc Pomus’ partner), Barry Mann, Cynthia Weil, Ellie Greenwich, Jeff Barry, Otis Blackwell, Jesse Stone…the real crime here is that Ellie won’t get to take that bow since she passed away earlier this year. Of course, the Songwriters Hall of Fame was on the ball and elected them way back in the 80s and 90s (only Stone is not yet inducted).

Let’s hope Iggy rips ’em a new one come March.

About fucking time.

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T.G.I.F. – Ten from 1969

"Set the Wayback Machine for 1969, Sherman..."

If the concept of how quickly time passes hadn’t already stunned me three days ago – realizing that it’s been almost thirty years since John Lennon was killed – an email from my friend Siege would have packed a bigger wallop. But looking at his list of albums that were released in 1969 made me think (1) “holy shit, that was forty years ago” and (2) “wow…that was a great year for music”. 

It was another transitional year for me – less AM and more FM, less singles and more albums, Woodstock, etc. Several artists’ debuts made an immediate impact – CSN and The Allman Brothers along with some on my list below. Some 60’s artists were soon to depart but left great statements like Abbey Road and Turtle Soup. Credence released three albums that year, and The Monkees were already up to Instant Replay. Others like Johnny Cash, Marvin Gaye and The Kinks were shifting their priorities from singles to more thematic works. Bob Dylan released Nashville Skyline

Some artists who would become lifelong favorites were just getting started – Alice Cooper and Pretties For You, Fleetwood Mac with Then Play On, debuts from Yes and Warren Zevon and Mott the Hoople (which would soon see serious turntable time over the next couple of years from this soon-to-be disc jockey). The Moody Blues released two classics; supergroups were forming…I own or owned seventy-two titles on that list, and there are very few that I wouldn’t pull out and play right now. 

Any year in music is a pretty easy topic to research, and certainly the few years on either side of 1969 would also reveal a robust list of favorites and classics. But I took a trip through Siege’s tally and picked out ten that had particular impact on me then and still resonate now. I could easily shift the list on another day – great music being a subjective decision, after all – and your mileage may vary as well. 

But you’re here, so indulge me. Break one or more of these out and savor them; maybe you will relive some great moments of your own. And if you’re young enough to not have experienced these albums, take a plunge. Hell, I gave Death Cab For Cutie a shot, you owe me

So in no particular order… 

40 Years old and still kicking ass

In The Court of the Crimson King (King Crimson) — Still kicking today although they’ve been three or four totally different groups over the years. The album cover was only a mild tipoff compared to the psychedelic prog within; I’ve long argued that Ian McDonald was the MVP of this version of the band. An aural acid trip, an album truly worthy of adjectives like majestic and classic

Blind Faith  (Blind Faith) — Two thirds of Cream adds the bass player from Family and secret weapon Steve Winwood for a one-shot effort. Short and incomplete, its high points are timeless; great songwriting from Winwood and Eric Clapton, especially “Presence of the Lord” and “Can’t Find My Way Home”. 

Let It Bleed (Rolling Stones) — As the Stones weaned their way from Brian Jones and their blues based gameplan, as drugs and Jagger’s control-freak antics started to splinter a band into The Glimmer Twins and the other guys, as the music industry tripped headlong from pop singles into stranger days, the Stones might have fired their best shot across the bow. The bookend tracks (“Gimme Shelter” and “You Can’t Always Get What You Want”) are career-defining moments, and they didn’t even put their hit single (“Honky Tonk Women”) on it. 

Odessa (Bee Gees) — In which a pop band – already firmly established with a few hit singles – decides to experiment and challenge themselves to move on to the next step. Oh, how I wish they would have stayed this course instead of donning those ice cream suits a few years later. I expound in detail here

Everybody Knows This is Nowhere (Neil Young) — Consider this a club sandwich, with the opening, closing and middle tracks – three stone cold classics – the bread supporting the tasty filling. Hot on the heels of his debut, this first dalliance with Crazy Horse still resonates, soon to be followed up by After The Gold Rush to form one of the best opening trifectas any artist ever managed. Name another song where a one-note guitar solo (“Cinnamon Girl”) is even half as thrilling. 

Dusty in Memphis (Dusty Springfield) — I’ll admit it, I would have been perfectly satisfied with “Son of a Preacher Man” had I not read a review that piqued my interest and sent me in search of the album. Oozing soul (and yes, sex) this was a great marriage of voice, performers and material. (That English bird? Really? Yep.) 

Hot Rats (Frank Zappa) — Little did I know at the time that my initial Frank Zappa fascination would be even stronger forty years later and sixteen years (!) past his death. Because I was a fan of The Mothers of Invention, I was willing to open my eyes to the jazz and fusion I experienced here, although I can’t imagine anyone not loving “Peaches en Regalia”. Timeless majesty. 

The Stooges (The Stooges) — I’ll credit one of my older friends – as well as Creem Magazine, most likely – for making me give this more than one listen. Stereos were getting more sophisticated and progressive rock bands were flaunting daredevil instrumental virtuosity, but the Stooges were salmon swimming upstream. The Stooges first seemed like demonic sludge; the sound made when someone opened the gates of Hell and gave them a broken megaphone to broadcast with. Of course, after the initial shock, I was converted…and remain so. 

Tommy (The Who) — An opera about a deaf, dumb and blind pinball player. Sure Pete – have another toke. But although others (The Kinks, The Pretty Things) already had done it, The Who get credit for creating the first rock opera. Forget the semantics; this remains an incredible musical statement, from hit singles (“Pinball Wizard”) to underrated killers (“Sensation”); even the instrumental breaks and transitions are glorious. Skip the theatre and film musicals and slap on a pair of headphones for the original “Amazing Journey” 

Led Zeppelin (Led Zeppelin) — I know now that they ripped off old blues riffs and repurposed them; I know now that the band was really just the last version of The Yardbirds with Jimmy Page taking control, and I know that a few years later they would get so self-indulgent that I would sell the vinyl at a used store out of anger. (Ah, the folly of youth). But this first record was a kick in the nuts – this band really hit the ground running and killed on every track. (Rock perfection:  the percussive instrumental “Black Mountain Side” lulling you into a trance and then “Communication Breakdown” interrupting the haze and ripping your jugular apart. Plant’s scream before Page’s solo still makes the hair stand up on every pore in my body.) 

Rock me baby.

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T.G.I.F. – Ten TV Memories

Cheesey? Gouda nuff for me at the time.

Cheesey? Gouda nuff for me at the time.

R.I.P. Soupy Sales.

Nostalgia is an odd thing. I think no matter how hard you try to explain something to a future generation, life goes through so many changes so fast that what was important and relevant to one generation seems odd and arcane to the next. Try explaining how you were mesmerized by the technology of “Pong” on a monochrome 12″ monitor to a kid playing “Halo 3” on a 50″ HDTV with surround sound. I’m sure that children of today who text message each other as a primary method of communication will seem like cavemen to those communicating wordlessly through sensory implants sometime in the future.

I say this only because I know some will look at these clips and just not get it. And that’s okay, not everything transcends time. But it’s pretty amazing that as a child in New York City I was able to find plenty of entertaining diversions on television even though there were only three stations, and none of them broadcast 24/7. As an adult with digital cable, I’m stunned that there sometimes isn’t a single viable program during a particular hour. Perhaps it’s the ability for children to be open-minded enough to find the value in anything. Perhaps it’s the fact that it’s all been done so many times, I’m jaded.

But I fondly remember looking forward to certain programs after school and on Saturday mornings. One of these was The Soupy Sales Show, a “kiddie show” that featured corny puns, some zingers aimed way over kid’s heads, and two of the most unlikely sidekicks on television, Black Tooth and White Fang.  Soupy played his own girlfriend (in drag), a detective named Philo Kvetch (my favorite of his characters) and probably took more pies in the face than anyone outside of the Three Stooges. He wasn’t afraid of doing the silliest thing to get a laugh, and his charm radiated through the television set.

So Rest in Peace, Milton Supman, a/k/a/ Soupy Sales.

So with nostalgia on the brain – and with apologies to several other programs that could easily make this list – here are ten early childhood memories, some of which still pop up on television (and rightfully so):

 B&W TV

Soupy Sales – “Do The Mouse” and more. Most late night hosts consider interacting with the crew an integral part of the show, but you can tell from this clip just how loose and fun it must have been on set. It was always a bit crazy – including the famous incident where Soupy asked kids to tiptoe into their parents’ bedroom and send him all the pictures of the Presidents from their wallets – but he was one of a kind.

Popeye cartoons – Another show where the content was framed and introduced by an adult authority figure – in this case “Captain Jack McCarthy”, a local host posing as a sea captain in a yellow slicker. I seem to recall that the Popeye cartoons ranged from the classic Max Fleischer originals to the later King Features editions, but I was a mere Swee’pea at the time.

The Three Stooges – When dozens of previously filmed “shorts” were made available to television, someone got the brilliant idea of marketing them to children. The Three Stooges show was also staged with an adult authority figure (“Officer Joe Bolton was the guy in NYC) who would open the program and introduce the film and a cartoon. And parents were rightly concerned that a new generation of kids would want to poke each other in the eyes.

Abbott and Costello – Not to be confused with their movies, The Abbott and Costello Show was a half hour comedy program that was a framework for the duo to perform gags and burlesque routines under the guise of a sitcom. The show originally aired before I was born but was shown in syndication for years.

Shindig – Hard to believe there was more great rock’n’roll on television in the early ’60s than there is now. Check out the guests on this last episode and the legacy of artists who…uh…shindug. This was hip at the time.

Where The Action IsDick Clark’s follow-up to American Bandstand featured Paul Revere and the Raiders as the virtual house band and was loaded with great bands and songs for thirsty music lovers like me.

The Little Rascals – I’m sure they mixed in Our Gang comedies along with the Little Rascals flicks, but the premise was the same. And odd collection of precious and precocious children with little or no adult supervision, a dilemma and usually a lesson learned. Not a happy ending in real life, though.

Hullabaloo – Yet another font of great music, this show occupied the Monday time slot that eventually went to another staple of my youthful TV diet, The Monkees. The show tried to bridge the generation gap a bit by having established artists introduce newer ones.

Rocky and Bullwinkle – Hilariously subversive and one of the best written shows ever on the air. Like many children I enjoyed the campy stories, bad puns and funny characters (not to mention the additional features including Aesop and Son and Fractured Fairy Tales). As an adult, I’m getting the jokes I can’t believe the censors missed!

The Adventures of SupermanGeorge Reeves was already dead and gone by the time I was religiously watching the program at dinnertime every weekday. I must have seen every episode of this show fifty times each.

And for your bonus round…

The Bowery Boys – Also known as the Dead End Kids, the Little Tough Guys and the East Side Kids, the Bowery Boys were a more comic descendant of the Depression-era street kids from movies like Angels With Dirty Faces and Dead End. I’ve had a lifelong argument with my father about who the leader of the gang was, but that depends upon whether you are discussing the original crime drama films or the comedy flicks. Billy Halop was the film guy but Leo Gorcey was the undisputed leader of the comic programs. Saturday mornings will never be the same without Slip Mahoney and Sach (Huntz Hall).

I gotta investegrate this citation

I gotta investegrate this citation

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