Tuesday, October 18, 2011

Tuesday's Overlooked Films and/or Other A/V: a whole lot more links (thanks for your patience!)


Due to work concerns, I'll be tied up for most of the morning, so will have to post the full list for today's Overlooked in the afternoon...sorry for the delay!

Andy Ashcraft interviews Jackie Kashian: The Dork Forest

Bill Crider: Home from the Hill (trailer)

Brian Arnold: The Children's Television Workshop--of Horror!; Tourist Trap (1979)

Chuck Esola: Forbidden World

Dan Stumpf: Bela Lugosi Meets a Brooklyn Gorilla

Eric Peterson: Roadracers

Iba Dawson: films of the Hughes Brothers

Ivan G. Shreve: Project Keaton

James Reasoner: Madron

Jerry House: The Phantom (1943)

John Charles: Madhouse (1981) (aka There Was a Little Girl)


Juri Nummelin: Lo squartatore di New York (aka The New York Ripper)

Kate Laity: Do Not Adjust Your Set

Marty McKee: Prophecy

Michael Shonk: Rocky Jordan

Molly Brown: "When Tickling Goes Wrong (Part 1)"

Randy Johnson: Along the Great Divide

Richard A. Lupoff: Interviewed, interviewing Kurt Vonnegut, his old radio partner interviewing Rita Moreno, and more

Ron Scheer: Decision at Sundown

Scott Cupp: Greg the Bunny

Stacia Jones: The Unknown (1927); Carole Lombard, her face and certainly her legs

Stephen Gallagher: The Shining (miniseries, courtesy Ed Gorman)

Steve Lewis: Martians Go Home!; Abandoned (1949)

Todd Mason: five (at least arguably) overlooked good law-drama series (please see below)***

Walter Albert: It's in the Bag; Guilty as Hell (1932)

Yvette Banek: Mission: Impossible (the original); The Seven Dials Mystery; Why Didn't They Ask Evans?

Related matters:


BV Lawson: Media Murder

George Kelley: American Horror Story

Martin Scorcese: The 11 Best Horror Films (courtesy Mike Stamm)

Patti Abbott: The Ides of March; Patti's Reginald Marsh (beware the Sights of Marsh!) charity story challenge (see my two entries in the blogposts below)

Richard Robinson: "Crawl Out through the Fallout"

***Five Legal Drama Television Series That Are (arguably) Overlooked, At Least in the States (all better than, say, L. A. Law, if on balance less good than The Good Wife)...and far more briefly than I'd like, since it's been a long and busy day...

The Associates was perhaps the best lawyer sitcom we've had so far, and only for a piece of one season (Night Court was a crashing disappointment, for those of us hoping for another Barney Miller). 13 episodes from 1979-80.

Shannon's Deal: The first John Sayles television series, and a fine opportunity for Elizabeth Peña, Jamie Sheridan and even Richard Edson (as Wilmer) to demonstrate their acting chops, with scripts which ranged from rather good to wonderful. A 1989 pilot film and eleven episodes, 1990-91. Ridiculous.

Kavanagh, QC: John Thaw as a barrister probably is just part of the cultural surround in the UK, but this series has had a very marginal life in the States, despite producing 28 long, solid episodes over its 1995–2001 production (of which this chopped and channeled fan video is perhaps not the best representation, just the best I could find yesterday...certainly, I don't remember the music being so intrusive in the episodes).

100 Centre Street: Sidney Lumet's series, one of the best vehicles for Alan Arkin so far and with a solid cast down to very small supporting roles, and overlooked in the crush of great programming in 2001 (33 episodes, into 2002), with this as one of the few highlights on cable station A&E.

Harvey Birdman, Attorney-at-Law: 40 episodes, running about 11 minutes each, offered between 2000-2007 (and wrapping in part because voice-cast-member Stephen Colbert was called away to other duty), this was one of the first surreal humor series to follow Space Ghost: Coast to Coast into the "Adult Swim" bloc on cable channel The Cartoon Network. Like most of those early series, only even more gleefully, this ransacked the characters from Hanna-Barbera cartoons and put them in remarkable circumstances (the Scooby-Doo gang face trial for driving under the influence, for example).

Abbott vignette challenge, too: "Slow Thursday Night"

For description of the Abbott vignette challenge, please see my previous post, and even better, see Patti Abbott's blog for the links to and posting of other participants' vignettes (which everyone else keeps referring to by that unnecessary and not terribly descriptive term "flash fiction"...it's fiction so flash, it should have its wig snatched--one anthology at least used the less undescriptive term "sudden fiction" to describe what has been called "vignettes" in literary terms for at least a century or three; there's a foolish notion about that a vignette "can't tell a story," but, as Algis Budrys used to note, "the manuscript is not the story").
Reginald Marsh, "Why Not Use the 'L'?" 
















Slow Thursday Night 
So I'm riding the eastbound train, because it's the day between Ash Wednesday and Good Friday, and apparently my bank is an observant Catholic, or maybe more likely Anglican or willing to insist as much, and it'll be closed tomorrow. So if I want to take Julia out Friday night, I have to go put the touch on Davy, my cousin, who owes me twenty bucks. If he hasn't blown his entire paycheck already (he gets paid every week...he doesn't get much more than twenty, but Julia and I aren't exactly going to drop in at Cafe Society or the Stork Club...but something a little better than the second-run film joint and a diner would be nice). I figure my chances of catching Davy at home are a lot better on Thursday night than on Friday, and I'm sure you'd agree if you knew Davy. Estelle really didn't know what she was getting when she married him, though she always sighs and says she went into this with her eyes open. Except at the track or around a poker table, Davy's a lucky guy. 

Worst comes to worst, perhaps Estelle can stake me a fiver...and worst stays worst, I pay her the fiver back rather than make her take it out of her man's hide. She makes more as a legal secretary than Davy makes as a pipefitter, as he's still a journeyman, and she's at one of the whiteshoe firms. Estelle really should've just landed herself a lawyer. But I'll admit, Davy's a charmer...I don't think I'd let any of my other cousins get into me for twenty, unless they were sick or about to be evicted. Ten of it, no surprise, was to help him keep his arm in one piece, if arms are one piece. I'm not a total fool...I handed it over to the six for fiver myself. (Davy coughed up the rest of it, at least, all on his own. Miracles do happen.)

We go underground. There's this college-girl type standing in the doorway, reading the World-Telegram, she looks a bit like she could be Julia's sharper-featured sister...same coloring, just all acute angles on the nose and chin...I prefer Julia's smaller, rounder nose, and cheekbones that don't quit. Behind college girl, in the seat, a Negro man is snoring quietly, and next to him a woman who looks like she might be a secretary in a office that does some business; she's not wearing anything flashy-looking, despite a bright green coat. Aside from me, and a guy down the other end of the car by himself, that's all the people in the caboose...if subway trains have cabooses. That guy down at the end seems a little twitchy, and has a small bag he keeps putting to his face. I assume he has a flask or a small bottle of something potent in there. 

About ten stops shy of Davy and Estelle's, this forlorn-looking young woman gets on, as the college girl gets off, and walks back to the middle of the car. I can't help but wonder if she's a streetwalker, though there's nothing flashy about her, either...she just looks tired in a certain way that I associate with poorly-paid hookers. Though maybe not...maybe she's just having a rough go. The twitchy guy definitely notices her, too, and after the next stop walks over and sits behind her. Offers her the bag. Apparently, it isn't booze...he's inhaling out of the bag. A cheap date. She doesn't take him up on his offer, which seems to annoy him, and he sees me watching, so he staggers up toward me.
 
"You finding you like the floor show, Mister?" he says, only slightly slurring his words. "You think you found your evening's entertainment? Well, this here's a magic act...for my next trick," he says as plops into the seat behind mine, "will be to knock your block off." 

I don't say anything, just give him the eye. I'll let him talk himself out...he doesn't seem too intimidating. He takes a big blast out of the Sterno or whatever he has in the bag, and lets his head fall back for a few seconds, then brings his gaze back, more or less, to me. "You wanna hit?" He means the bag. "No, thanks." 

He seems to take my rejection better than he had the tired woman's. More for him, I guess. He looks around the front of the car, as if he'd failed to notice the others before now. "Ha, the old man don't need none of this, him sawing the logs." The secretary stares straight ahead, not about to break out of her reverie. The pro, still back toward the middle of the car, is leaning her head against her hand, her elbow in the windowsill. Her turn to enjoy the floor show. 

"'Why not use the 'L'?" he reads off, so he can't be so far into that bag yet he can't see, unless he's memorized the sign. "You know why I don't use the L, buddy? You remember that movie? With the big ape running around the city knocking over the L? That's why. You never know when some big ape is gonna come along..." He doesn't finish the thought, or perhaps he did. He takes a big slug of the fumes out of the bag...I could faintly smell it now, and I'd definitely guess Sterno. He then falls on the floor. "Why not use the L?" he says loudly, then again, shouting, "Why not use the L?!?" 

The Negro man says, "Because I can't get a decent nap on the L. Too much light. Why don't you settle down, down there, and see what I mean?" The guy on the floor doesn't reply. The secretary looks from the Negro man, to the twitch, then to me, smiles just a bit, and then begins staring off in the distance again, losing interest. A few minutes later, both the men are snoring. Back at the middle of the car, the pro has laid her head back, and has a slightly less grim expression on her face. We're just a handful of beautiful dreamers...what with me expecting to see some money back from Davy. That was how I leave them when I get off at the next stop.

(Copyright 2011 by Todd Mason)

Monday, October 17, 2011

Abbott challenge vignette: "Off Season"

Patti Abbott has issued a challenge to the world, for people to write a vignette (she is asking for a thousand words or less) based on or inspired by the visual art of Reginald Marsh, a particular favorite of hers. Much of his work reminds me of what Edward Hopper paintings might look like if they had been rendered by John Groth instead.

The "official" unveiling day for the vignettes is Tuesday, but as that's Overlooked Film and/or Other A/V Day for me (and, I hope, for a number of the vignette writers), I'm posting the vignette I wrote this morning now. I might have another up by Monday night (Patti is hoping to put five dollars toward a gift to the East Harlem Union Settlement Association for every vignette people write and make her aware of. Bankrupting Patti for charity, of course, is the kind of writerly machismo the world is full of, among many other things the world is full of...)

"Coney Island Beach #1" by Reginald Marsh

Off Season

I needed to get away from people, as much as possible...not the easiest thing to do in the city, but an afternoon of relative solitude, not simply ignoring the folks all around, was what I needed. It was late October, overcast and with a stiff wind but not yet too cold. Why not Coney Island?

I expected it to be deserted, or close enough, the last bitter-enders like myself strolling down the beach and looking at the shuttered arcades, perhaps a hamburger stand or three where you could still get an egg cream till they, too, admitted winter was coming, and abandoned the beachfront altogether till next spring. One thing for certain: the shipping lines and the railroads might've been feeling the pinch, in terms of a lack of long-distance travelers in the hard times we were having, but there was no shortage of attractions still out on Coney...even the tattiest sideshow buildings still seemed to have relatively fresh paint on them. I guess a nickel's subway ride out this way, and spending perhaps a quarter or so more on the day's activities, if you could afford it, or just bringing your towel and swimming suit if you couldn't, was what folks could still do. I walked further down the beach, woolgathering, and somehow didn't see the bathers till I was almost in the middle of them.

They crawled over each other, in that cool breeze but nonetheless all wearing their bathing clothes, some more revealing than I would've expected at Coney. They were packed and piled two bodies high in spots, but if they were enjoying themselves, it didn't show too clearly on their faces...given the weather, I'm not too surprised...if I hadn't been walking rather briskly, my overcoat might not've been enough. And they were quiet...not completely so, but it was as low a murmur of conversation as I recall ever witnessing in a crowd that large and so closely packed, who weren't the audience for something. Hell, most audiences were noisier. No one was sneezing or coughing. A surprising number (again, even for Coney) were kissing and otherwise demonstrating a serious affection...but, again, it somehow seemed less passionate than desperate. No one seemed to be inhibited by the children interspersed among the crowd. Surprisingly, or not, there was a full-fledged if small candy store open just up off the beach from the huddled mass; maybe that's what the draw was to this little patch of sand.

As I walked up to the newsstand out front, a kid, maybe ten years old, very pale (cold from swimming?) stood, staring at the rack. I figured he probably wanted a comic book or something, but I followed his gaze and saw he was staring at a copy of St. Nicholas magazine...and not a recent one, but one my parents might've read when they were kids, back before the turn of the century. But it didn't look used or yellowed. The kid just stared at it, almost as if he was afraid to touch it. I figured he was probably broke, and his trunks didn't have a pocket in them anyway...if someone was selling back issues of forty year old magazines for their cover price, I could be a big spender and toss a whole dime on a counter. If it was less, better yet.

"You want that, kid?" The kid slowly turned his gaze from the magazine to me. He didn't say anything, and his slightly hangdog expression didn't change. It didn't start getting creepy till after I asked, "That St. Nick magazine...would you like it?" and he still didn't say anything, or do anything but continue to stare. He didn't crack a smile. But I picked up the magazine and walked through the doorway and to the counter. "How much is this?"

The counterman was no more talkative than the kid. I was holding a dime, and he nodded at me, and held his hand out for it, so I dropped it in his palm. He rang up 10c on the old register, but as I turned to leave, he hadn't dropped the coin in the drawer, just seemed to be inspecting it, turning it as if he hadn't seen its like before. Stepping back outside, I handed the magazine to the kid, who nodded once without thanking me or saying anything else, and took it and walked back down the beach, occasionally lifting his eyes from the magazine's pages to look back at me. I decided that these might be at least in part a community of deaf-mutes, or something similar, though the newsstand, now that I looked at it closely, was the damnedest thing...current issues of some of the pulps and Mechanix Illustrated and Ken cheek by jowl with issues of the old McClure's, and The Dial and something called The Black Cat which turned out to be a non-pulp story magazine.

I walked back down the beach, and sat down at the outskirts of the small crowd, deciding that I didn't need so much time alone right now, if it meant figuring out what was going on. I couldn't quite make out the rare conversations going on among the assembled, quiet ones, everyone murmuring or lightly whispering. Again, many were embracing, kissing, some actually petting, I was slightly amused and appalled to note. And the swimming clothes of the folks seemed to be an odd mix, as if from different eras and perhaps from different places, though that wasn't too uncommon at the beach...I hadn't noted before that a few were actually naked, though they mostly were obscured from sight by the outer members of the pack. Some of them, however, were clearly copulating. Perhaps even more surprising, some throughout the crowd were just as clearly not, though those folks seemed to be the ones most likely to be completely engaged in those quiet, intense conversations. It was an overcast day, but it wasn't so dark that it wasn't strange that it took so long for me to finally note that this was an obviously racially and ethnically mixed crowd...was this some sort of naturist cult, some sort of Communist orgy?

I sat alone, not quite ignored by the people nearest me, for what seemed like a half hour...the sky darkened a bit, as the sun moved behind me, as I sat facing the crowd, and the ocean. Relatively few of them swam. A woman, naked, was among those, and she was easy to watch, I'll admit. Olive complexion and dark hair that was, I could tell even as wet as it was as she walked up the beach toward me, shot through with some premature gray.

She sat down next to me, already mostly dry. "You're not one of us." She said it flatly.

"No, I'd have to say I'm probably not. Who are you, and why are you all huddled up like this...for warmth?" I attempted a joke, but it wasn't all that unlikely, I'd decided, given their garb and activities. The aquatic ones, as few as they were, seemed almost insane.

"It's not the kind of warmth you mean," she said. "Where we're from, one doesn't have too many opportunities for...gentle or intimate interaction."

"So you're all making up for lost time?" My half-jokes weren't getting any reaction from her. "Where are you from?"

"You don't know it yet. With luck, you'll never know it." I tried to let that sink in. "We'll be gone soon. A few of us at a time get a day, a day in a very long stretch of time, to go somewhere such as this American beach, and talk and have other sorts of conversations, and then we go back. Where we can't have much conversation at all, where the experience we have here and now serves mostly as contrast...and reminder...of what we have given up, what is taken from us..."

She didn't continue. "So..." I began, not sure how to ask or even what to ask next. "You try to make the most of this day? Everyone seems so strangely muted, for such a...party."

"It's where we go back to, and what's waiting for us. That weighs heavily on all of us. Particularly when we consider the children." Two had silently run by, not quite joylessly.

"So...can you tell me where you'll be going back to?" I didn't know if I was at least risking offense to this beautiful creature. I was not above dallying with a cult member, if it came to that, but in the event she offered, I would probably have to decline, since I had no prophylactic...and no desire to contract a social disease, which I suspected those in her little community might share rather frequently. Maybe the candy store--

"We're past caring about such things," she said, with what almost sounded like a hint of amusement...and as I puzzled about how she seemed to be answering my thoughts rather than my question, she continued, "as we are past caring about any Earthly matter."

I certainly didn't know what to make of that, other than to feel my cultish suspicions were clearly correct, when I saw that she had turned to look directly into my eyes, and had begun reaching gently for my face with her right hand. I didn't flinch, even as she said, "Goodbye, Daniel." I hadn't told her my name, I realized just as I felt the faintest brush of her fingertips on my temple, and then suddenly all was darkness.

I came to not more than a few minutes later, to judge by the sunlight, still fighting its way through the overcast. I sat up to find myself alone on the beach, with no trace even in the sand of the huddle of cheerless souls, or of the woman I'd been speaking with. Looking behind me, there was no sign that the small candy store had ever been there. I saw my own footprints.

You can imagine that that wasn't an experience I've been able to forget. I wasn't any more surprised than you might expect to see a photo of the woman, quite randomly, some fifteen years later, as I flipped through a true-crime magazine in a barber shop while waiting. Maria Calveri, who with her lover had killed her thuggish husband in his sleep, with the hope of collecting on his insurance. She and her lover had been hanged in 1925.

Perhaps I was fortunate in not also meeting him that day, in 1936.

(Copyright 2011 by Todd Mason)

Friday, October 14, 2011

FFB: 5001 NIGHTS AT THE MOVIES Pauline Kael (Holt, Rinehart & Winston 1984)


As the primary film reviewer for most of William Shawn's ever more self-indulgent reign as editor of The New Yorker, Pauline Kael's column in that magazine was always a bit of a mixed bag, and that's reflected in the 1984 edition (the expanded first paperback edition of the 1982 Holt hardcover)(the image here is of a later edition of the paperback) of her capsule review collection (as taken from the "front of the book" "Goings On About Town" section of the magazine's issues). She was better-educated in the other arts than, say, Siskel and Ebert, and grossly moreso than the likes of Gene Shalit and Rex Reed, to judge by their output, among the most famous film reviewers of their day (and she was one of the few with a level of comparable name-recognition), and had a trenchant wit at times; she also displays a snobbery toward whole fields of film that seems less marked by ignorance (given, for example, how often she returned to horror film as a subject of both these capsules and her longer reviews) than by a desire to comport with the snobbery of the perceived audience, which I'd say is even more pathetic. Driven as the contents of this book were, in part, by what the revival and more eclectic houses would offer in NYC, this volume has in some ways a wider and more engaging remit than the similar Ebert or even the Scheuer or Maltin tv-oriented volumes, ranging back through time but also outward to more foreign films and documentaries...even as some of her worst writing is snide dismissal of films such as Cat People (1942)--while praising aspects of this film, particularly, backhandedly. Some of her other worst is still-just celebration of the likes of High School (1968), bad in large part because it was cramped by her format, while her quick analysis of the strengths (at least for some of its audience) and weaknesses (all-around) of Billy Jack and similar films is rather good...better than the others are likely to come up with, even with similar short takes, if they were even to take on the likes of the cinema verite documentary or some of the more obscure foreign films represented here. Laboring under fixed ideas, some rather eccentric to be kind (her review of How the West Was Won is largely a forum for her resentment of this, of all films', insult to US history and notions of manifest destiny), she was never a critic for the ages, but by the too-often weak standards of film reviewing, she was certainly in the upper middle rank, even if overcredited as a paragon; she was neither Dorothy Parker nor James Agee, of course, but wasn't actually comparable, either, even if also by no means dismissable (both points her colleague John Simon was quick to make in reviewing her collected criticism).

For more of this week's books, please see Patti Abbott's blog.

Tuesday, October 11, 2011

Tuesday's Overlooked Films and/or Other A/V: more links


I suspect some more links will be popping up...and, as always, thanks to everyone who has contributed and to those of you reading (and please let me know in comments if you'd like to add your blogpost entries to our exercise here).

Bill Crider: Barbarella (trailer)

Brian Arnold: Ghost Story (1981)

Dan Stumpf: The Mystery of the Hooded Horseman

Evan Lewis: Satan Met a Lady

Iba Dawson: The Hitch-Hiker (1953)

Ivan G. Shreve: The Fugitive and other recent dvd sets

James Reasoner: The Edge of Night

Jerry House: The Intruder (1960)(aka Shame aka I Hate Your Guts!)

John Charles: El Rostro del asesino (aka Hand of the Assassin); Konga

John F. Norris: Supernatural (1933)

Kate Laity: Caravaggio






Lee Goldberg: Escapade (1978);
"Remaindered"

Michael Shonk: Philip Marlowe (1959-1960)

Patti Abbott: Where the Sidewalk Ends

Paul Brazill: The Debt (aka Dlug) (1999); The Collector (aka Komornik) (2005)

Randy Johnson: Hell Below

Ron Scheer: The Westerner (1940)

Scott Cupp: The Warrior's Way

Stacia Jones: Beserk (1967)

Stan Burns: Lady on a Train

Steve Lewis: Campbell's Kingdom





Todd Mason: Five US Jazz Performance TV Series (see below)

Walter Albert: A Festival of Charley Chase Shorts

Yvette Banek: The World of Henry Orient

Related matters:

Dan Stumpf: Dr. No

George Kelley: Shakespeare in Love

Iba Dawson: Bullitt

Stephen Gallagher: Chimera for Sale...

Steve Lewis: The First Annual Mystery*File Top Ten 'Tec Poll, May 1980

Five US Jazz Performance TV Series I can recommend:

Stars of Jazz was a fairly straightforward performance series, hosted by pianist and composer Bobby Troup, and originating as a local series on KABC in Los Angeles in 1956, was on ABC nationally in 1958. Troup could be a bit awkward in his hosting duties, but the performances tend to triumph...those which are still audible, at least...as with this episode featuring the Pete Jolly Trio and, for 1956, Billie Holiday in fine voice (and on to hawk her autobiography Lady Sings the Blues), in the second half of the episode (it seems at least one Holliday song might be missing as presented between the two clips).


Jazz Casual was Rolling Stone co-founder Ralph Gleason's similar, San Francisco-based series, appearing on NET, the National Educational Television service (the predecessor to PBS), sporadically from 1961-1968; lack of commercial interruption made for that much more time for the music, even as Gleason, a fairly opinionated fellow, might argue with his guests at times (famously with Mel Torme, whom Gleason was reading out of jazz...so why have him on?). Jazz Casual was extensively reissued on DVD over the last decade, often with misleading claims it was the first US series devoted to jazz performance.


Jazz Scene, USA was a commercially syndicated series in 1962-63, hosted by Oscar Brown, Jr. and produced by Steve Allen's company. As with the previous entries, brief interviews and performance, though Brown was a bit more comfortable in interlocutor mode (and would return to such duties in 1980 for PBS with From Jumpstreet)


from From Jumpstreet:


Sunday Night, which for its second season became Night Music, was produced 1988-90 by the Saturday Night Live unit and offered to NBC's owned and operated stations, and syndicated to any game station in other markets. I've highlighted video from this eclectic series before, but they were usually quite happy to have jazz players mixed in with the blues, rock, classical and world-music performers they hoped to feature with every episode...and to wrap up with everyone playing together, whenever possible.




Pianist Ramsey Lewis hosted an hour concert on PBS entitled Legends of Jazz: The Jazz Masters in 2005, but while PBS didn't pick up the resulting 13-part series, Legends of Jazz with Ramsey Lewis, in 2006, the public-broadcasting syndicator American Public Television picked up that ball and ran:




There have been other series, ranging from Omnibus to Playboy After Dark to such dramatic series as Frank's Place which have been excellent showcases, as well, as well as any number of one-off episodes of various series and one-time-only documentaries and concerts...

Monday, October 10, 2011

Bangles: SWEETHEART OF THE SUN (Waterfront/Fontana Records 2011)

The Bangles, now formally down to the three founding members, have produced the album the Bangs (as they were known in 1982, before deciding not to be confused with other bands called the Bangs) might've offered...a relatively lean, intentionally nostalgic harkening back to the direct influences, when they were part of the LA neo-garage/psychedelic rock movement that would eventually be tagged the Paisley Underground, and less of the ever-fuller sound of their 1982 Faulty Products EP The Bangles (re-released by Faulty owner Miles Copeland's better-established IRS Records, who perhaps hoped to have another Go-Go's in their stable, without having to create one out of whole cloth as they would a few years later with the failed American Girls), and their first full-length album, All Over the Place (CBS, 1984), the latter also the first recording after bassist Annette Zilinskas left to be replaced by ex-Runaway (Ms.) Michael Steele. The crunchy guitar-driven power-pop of the brilliant first CBS album was largely supplanted by a more "radio-friendly" sound for the next two CBS albums, their commercial breakthrough Different Light (1986) and their final CBS offer, Everything (1988), which also followed such odd developments as Prince (Rogers Nelson) offering his womanfriend, rhythm guitarist Susanna Hoffs, a song (credited to "Christopher") for the second album, and a CBS-TV series from Scholastic Productions, the dire children-oriented sitcom Charles in Charge (beginning Fall 1984), having an original opening theme that was almost a note-for-note plagiarism of the melody of the Bangles' early 1984 recording "Dover Beach" (albeit performed much less engagingly). CBS machinations among other pressures caused the band to break up after that third LP; they went on to various projects, with lead guitarist Vicki Peterson even touring with the reunited Go-Go's to spell the pregnant Charlotte Caffey. When the Bangles reformed, first to do a single, "Get the Girl," for an Austin Powers film soundtrack (Hoffs's husband was the director of The Spy Who Shagged Me [1999]), then eventually to record a reunion album, Doll Revolution (2002), which, rather as with fellow Angelenas the Go-Go's and their full-length reunion album God Bless the Go-Go's (2001), demonstrated the band members' dealing with concerns of women now in their forties, and yet not tired nor simply nostalgically reaching back to their old sound...in fact, as the concert video The Bangles: Return to Bangleonia: Live in Concert (recorded 2000; released 2007) suggests, their long-term love of such bands as the Byrds extended to taking on an almost country-rock sound in this later work, particularly in the performance of such new songs as "Ride the Ride" and "Nickel Romeo."

Despite the presence of lush power-pop guy and long-term Hoffs collaborator Matthew Sweet as co-producer and occasional instrumentalist here, the tracks are relatively lean, the eleven original songs (and one cover, of the Nazz's "Open My Eyes" for an infusion of the Who via Todd Rundgren) are interesting in the small countermelodic figures that pop up in several spots and other songcraft elements of their fellow Paisleys and their mutual inspirations (see Where the Action Is for a partial accounting of them); the vocal harmonies are as deft as you might expect, and the instrumentals are as crisp as one could ask for...so, if the band as it existed in 1981 had thirty years of professional experience behind it, this is pretty much what they might've sounded like:







A fragment of the studio version of "Open My Eyes":


A live version from a year back (and you have to doubleclick for full screen, or open in its own window, to see Debbi Peterson as she counts off and sings co-lead):


And, to illustrate my point, here's "Dover Beach" (1984):


And, with apologies, the original version of the Charles in Charge opening theme: