The Tenth Anniversary of Eclectic Avenue

A long time ago, in a city not so far away, a young man declared he wanted to be a writer, in order to share his love and passion for the music, movies and books that he loved so much. It took a long time, and several almost serpentine twists and turns in life for it to happen, but here I am many years later, writing about music, movies and books here at Eclectic Avenue (since 2011) and for CultureSonar, the excellent arts and entertainment website I began writing for in 2017. Since this month marks the tenth anniversary of Eclectic Avenue, I just wanted to say a few words of thanks to all the friends and colleagues who've said kind things about my work, and supported my writing throughout the years.

I have always dabbled in writing in one way or another, starting in my high school years, and moving on through college and into my subsequent jobs in the publishing and IT worlds. As with many things in life, there were those who supported me in my endeavors, and others who thought I was crazy to pursue my dream. After several tough years on the personal side of life in the early to mid 2000s, I decided to start my own blog in 2011, and Eclectic Avenue was born. That led to me meeting a great group of writers in the blogging community. I began participating in some blogathons, which got my work noticed by a larger number of people, and gained me some new readers. I even got some sincere kudos from some of the bands I covered (thanks, Early Elton) and a lot of support from my pal and musical compadre Gilda, with whom I'd worked on the well-regarded KISS fanzine, FIRE, back in the late 1980s and early 1990s.

Since Eclectic Avenue was doing well, I decided to expand my horizons. I submitted a piece to CultureSonar, a fantastic arts and entertainment website which features the work of some very talented writers penning articles celebrating the music, movies and books they care about the most. My first piece for CultureSonar, a story on Elton John's Don't Shoot Me, I'm Only The Piano Player, was published in February 2017, and I've been writing for them ever since. My work for CultureSonar has allowed me to write some great articles, and to interview Dave Mason, William Shatner and Phil Volk of Paul Revere & The Raiders, among others. I continue to write for CultureSonar, and I want to thank Al, Cindy and Drew of CultureSonar for their support of my work. It has been an honor and a privilege to be part of such a phenomenal group of writers.

The writing I do here at Eclectic Avenue, and for CultureSonar, continues to be a lot of fun for me, and never seems like work. I've been able to write about everything from classic films to a number of great albums, as well as share my reviews of some terrific live concerts, including shows by Todd Rundgren and Bruce Springsteen. In addition to being able to indulge my passion for writing, I also have a full-time job in the healthcare world, and I also share positive energy as a Reiki volunteer. I can honestly say that all of these things bring me a great deal of joy. I'm very grateful for these multi-faceted parts of my life. Eclectic Avenue has come a long way in ten years, and so have I. Thanks to all of the artists, producers and writers who've graciously allowed me to interview them over the years. A big thanks to all of my friends and colleagues for your ongoing support of my work: thanks for reading, for commenting on my pieces, and for sharing my stories with others. I look forward to sharing more of my work with you in the future.

The Enthralling Story of The Bee Gees

The Bee Gees are one of the best-selling groups in music history. They had numerous hits from the 1960s through the 1990s as performers, and also found success as writers and producers for other artists. Their story is filled with ups, downs, twists and turns, happiness, and heartbreak. How Can You Mend a Broken Heart?, an HBO documentary released in 2020, does a fantastic job telling the in-depth story of the band, from their beginnings in the 1960s, to their super-sized 1970s success, which was spearheaded by their contributions to the soundtrack to Saturday Night Fever. The film also details their fall from grace during the disco backlash, and their re-invention as hit-makers for artists like Barbra Streisand and Diana Ross. The story of their rise, fall and rise is captivating

How Can You Mend a Broken Heart? charts the group's early years with some terrific performance footage, featuring their early hits, such as "New York Mining Disaster 1941" and "I've Gotta Get A Message To You." In the wake of the British Invasion, their heavenly harmonies, and innate talent for crafting memorable pop songs, brought them great success in the mid to late 1960s. But in the latter part of the decade, the pressures of fame and internal rivalries within the group caused the band to break up. Their attempt at solo careers didn't work out, however, and the group reunited in 1970, finding success with the songs "Lonely Days" and "How Can You Mend A Broken Heart?" It was just the first of several times the brothers Gibb would successfully re-invent themselves.

When the group once again fell into a musical dry spell during the early-mid 1970s, their manager Robert Stigwood and his client Eric Clapton suggested they try recording in Miami, where Clapton had rejuvenated his career making his album 461 Ocean Boulevard in the studio located at that address. The band worked with legendary producer Arif Mardin, and began exploring a more R&B oriented sound. Songs like "Jive Talkin'" and "Fanny (Be Tender With My Love)" brought the band back onto radio playlists, and expanded their audience. Barry's unique falsetto vocals also played a significant part in the band's new direction, becoming a vital element of songs like "Nights On Broadway." The Bee Gees were back on top of the charts.

Then came Saturday Night Fever. Robert Stigwood wanted the band to contribute songs to the soundtrack of a little movie about disco dancing starring John Travolta, who was then best known for his role as Vinnie Barbarino on TV's Welcome Back, Kotter. No one could have predicted the film and its soundtrack album would go on to become such a phenomenal success, raising The Bee Gees profile into the stratosphere. As their younger brother Andy began his own career in music (aided by his brothers) and the disco craze took the world by storm, it seemed like there was nowhere to go but up for The Bee Gees. Their music was everywhere, and their follow-up to the Saturday Night Fever soundtrack, Spirits Having Flown, was another chart-topping album, spawning three number one hit singles.

Then came the backlash. Disco music had risen in popularity, and saturated the airwaves and record stores. It was inevitable that there would be a downturn. A Chicago DJ named Steve Dahl, who often spouted diatribes about how "Disco Sucks" on his radio show,  hosted a "Disco Demolition Night" on July 12, 1979 at Comiskey Park. Thousands of people brought disco albums to the ballpark to be blown up between the games of a scheduled White Sox doubleheader. The event turned into a free for all when fans stormed the field and caused significant damage after the records were destroyed. Sadly, as noted in the film, the event had overtones of racism and homophobia attached to it, but what it really signaled was the beginning of the end of the disco era.

Unfairly labelled as simply a disco-oriented act, The Bee Gees found themselves essentially blacklisted on the airwaves, with their subsequent releases, like 1981's Living Eyes, receiving little to no airplay on US radio. Hurt by this rejection, the band re-trenched, and re-invented themselves once again, finding new success as writers and producers for Barbra Streisand, Dionne Warwick, Kenny Rogers and Dolly Parton, and their brother Andy, before his untimely death in 1988. Their success as behind the scenes hitmakers rejuvenated the brothers, and they began to write and record once again as The Bee Gees. The trio started touring, and found that their fans were thrilled to see them performing live again. Sadly, both Robin and Maurice have now passed on in the intervening years, leaving Barry the only surviving member of the group.

How Can You Mend a Broken Heart?, directed by Frank Marshall, is a heartfelt, moving and insightful look at the history of the brothers Gibb, featuring archival interviews with Maurice, Robin and Andy, as well as new footage with Barry filmed specifically for the documentary. There are also interviews with Justin Timberlake, Eric Clapton and Nick Jonas regarding their thoughts on the band's legacy. The film doesn't shy away from the dark side of the band's story, but it justly celebrates the lasting impact and wonderful discography of the group. If you're a fan of The Bee Gees or Andy Gibb, this film is a must see; the phemonenal in-studio and performance footage alone makes it worth watching. You'll also be reminded about just how many incredible songs the band has provided for us over the years. How Can You Mend a Broken Heart? is currently available for streaming on HBO Max. Here's a link to the trailer for the film: https://www.youtube.com/watch?v=B5tncybE7Wg.

Ken Sharp's Marvelous "Miniatures"

Ken Sharp, the talented artist behind a number of terrific power pop records, including 1301 Highland Avenue and Beauty in the Backseat, has just released a phenomenal new album entitled Miniatures. What’s unique about the record is that the all of the songs are under two minutes in duration. This emotionally driven album is a heartfelt song cycle focused on life, love and friendship. Even though the thirty-two tracks on the record have a brief running time, they’ll have a lasting impact on you as a listener.

Songs like “Perfect Sun” and “Lorelei” will appeal to fans of the baroque pop sound of bands like The Zombies, The Left Banke, Belle and Sebastian and Arcade Fire. There’s also more than a passing nod to the Pet Sounds era work of Brian Wilson on “Jeanne I Will Remember” and “Susannah Silently Shining,” among others. Sharp hasn’t lost sight of his power pop roots, which you’ll find in the DNA of songs such as the British Invasion sounds on "Something’s Happening" and the Big Star essence of “Drivin.”

Sharp evokes a confessional, singer-songwriter vibe throughout the album, which has touches of pop, jazz and even a hint of folk. There’s a deep 1970s mood on songs like “Growing Up So Fast” and “You’ll Be Known,” and you'll definitely encounter stylistic echoes of Todd Rundgren and Laura Nyro. Miniatures is an intimate, low-key and acoustic-based affair, and thanks to the terrific production work by Sharp, there’s a marvelous array of instruments on display, including harpsichord, ebow, organ and mellotron. His expressive vocals and masterful guitar work are aided and augmented by special guests Fernando Perdomo and Kaitlin Wolfberg.

Embarking on a personal project like this can often have its drawbacks. When an truly artist bares his soul, the music sometimes doesn't connect with listeners. There are no such issues with Miniatures. Sharp’s thoughtful, introspective songs are instantly accessible and absolutely unforgettable. The beautiful tunes on Miniatures will touch your heart, make you smile and energize your soul. This wonderful album is one of Ken Sharp’s best works. Miniatures sounds better every time you listen to it.  I highly recommend checking out the record, as well as the other albums and singles in Ken's discography. Follow this link, https://kensharp.bandcamp.com/album/miniatures, to the album's bandcamp page, and this one, https://www.youtube.com/watch?v=MTIP3DW1Ju4, will bring you to the video for the song “Susannah Silently Shining.”

Hollywood Eden: An Absorbing Look at California Rock in the Early-Mid 1960s

There are a plethora of stories regarding the music that exploded out of the California pop/rock scene from the late 1950s through the mid-1960s, which was one of the more fertile periods in rock and roll history. Author Joel Selvin has written a unique and insightful chronicle of the singers, songwriters, producers, impresarios and (sometimes) shady hangers-on that inhabited the recording studios, bars, concert venues and nightclubs during that bygone era, which brought us unforgettable music from groups like The Crystals, Jan and Dean, The Beach Boys, and The Mamas and The Papas. Hollywood Eden: Electric Guitars, Fast Cars and the Myth of the California Paradise weaves a riveting, inter-connected tale of these artists, beginning at the point where a number of them first crossed paths in their high school years, where they first became obsessed with fast cars, girls and rock and roll music.

Hollywood Eden features fascinating details about the creation of songs like “Surf City” and “He’s A Rebel,” but the book isn't just about the music, it also tells the colorful stories of the people behind the songs. Selvin’s narrative features in-depth portraits of Phil Spector, Nancy Sinatra, Kim Fowley, Herb Alpert and teen idol Tommy Sands. Others float in and out of the compelling narrative, including Kathy Kohner, the real-life inspiration for Gidget, Jill Gibson (who briefly replaced Michelle Phillips in the Mamas and The Papas) and Barry Keenan, who engineered the kidnapping of Frank Sinatra, Jr. There’s a lot less than six degrees of separation between many of these supporting characters and Brian Wilson, Jan and Dean, Glen Campbell and Herb Alpert  than you might think, and Selvin connects the dots in compelling fashion.

Not everyone in Hollywood Eden comes off looking like a great guy, or gal. Some of the movers and shakers featured in the book would fit comfortably into the cast of a film noir flick. There's a dark side to the sun-dappled California dream, and Selvin's absorbing chronicle doesn't shy away from those details, while saluting the genius of musical innovators like Brian Wilson and Lee Hazlewood. Selvin has written extensively about rock and roll and the music business in previous books such as Here Comes The Night: The Dark Soul of Bert Burns and the Dirty Business of Rhythm and Blues, and Fare Thee Well: The Final Chapter of the Grateful Dead's Long Strange, Trip, and he really knows his subject matter. 

As the decade of the 1960s moved forward, songs like Barry McGuire’s “Eve of Destruction” and the music of The Byrds helped steer rock and roll in new directions. Artists, songwriters and producers began to adapt their work to the evolving times. Selvin notes these changes, marking a turning point in the era with Jan Berry's life-changing 1966 car crash, which occurred not far from the location of Jan and Dean's hit song "Deadman's Curve." This insightful, revealing and powerful book will open your eyes to both the light and the darkness inherent in the California dream, and the business of rock and roll. Hollywood Eden: Electric Guitars, Fast Cars and the Myth of the California Paradise (which will be released on April 6) is an engrossing history of the pre-psychedelic California rock scene, and it's a must read for fans of the genre.

Thriller's Uncanny "The Grim Reaper"

The 1950s and 1960s were a golden age for fantastical anthology shows on TV. Series such as The Twilight Zone, Science-Fiction Theater, Way Out, and The Outer Limits told memorable stories within the science-fiction, horror and fantasy genres. Even Alfred Hitchcock Presents dipped its toe into the horror end of the pool on occasion. One of the best shows of this type was Thriller, hosted by Boris Karloff, which ran on NBC from 1960-62. Thriller started out telling tales of suspense, crime and murder (akin to the Hitchcock series), but later in its first season the show took a sharp left turn, emphasizing tales of horror and the supernatural, adapting tales by Edgar Allan Poe, Richard Matheson, Cornell Woolrich, August Derleth and Robert E. Howard, and airing haunting original stories as well. While Thriller had a brief life on broadcast television, the series made a lasting impression on many viewers with its dark and intense stories, and gained a new generation of fans when reruns of the show aired in syndication on local stations. That’s where I first discovered the series in the 1970s, as a young science-fiction and horror fan.

One of the best episodes of Thriller is The Grim Reaper, the final entry in the series’ first season. The story grabs you right from the start: the prologue is set in the 1800s, when the father of a missing painter discovers that his son has killed himself after completing a very lifelike painting of that spectral harbinger of death, The Grim Reaper. After a sardonic introduction by Karloff, which ends with him walking towards the camera brandishing a scythe (!) the episode moves forward in time to the present. The story opens at the estate of the successful mystery writer Beatrice Graves, who is visited by her nephew, Paul. She introduces Paul to her new husband, a much younger man named Gerald, and her assistant, Dorothy. The wealthy Bea has a ghoulish sense of humor, having bought a hearse to use as her preferred mode of transport. She’s also re-christened her home with the name Graves End. Bea shows Paul her latest acquisition, the very painting of The Grim Reaper we saw in the prologue!

Paul tells his aunt that the painting is the reason for his visit. It has a cursed history, and many of its previous owners have died under mysterious and violent circumstances. He insists she should get rid of it, and informs her, Gerald and Dorothy that in the past, the painting has started to bleed just before its previous owners met their ends. Bea scoffs at the notion of a curse, and tells Paul she only bought the painting for the publicity, much like her hearse. Her nephew touches the painting, gasps, and turns back to the group, holding up his fingers, which are wet. There’s blood on the scythe! Is the painting really cursed? Is Bea fated to be its next victim? Before this chilling episode has ended, there will be some murderous twists to the tale, several of our main characters will be dead, and the grim visage of The Grim Reaper just hangs there, looking down on everyone….or does it?

The Grim Reaper has an eerie and claustrophobic feel, thanks to the excellent cinematography by Bud Thackery, as well as the taut direction by television and film veteran Herschel Daugherty. Most of the story takes place inside the house, and there’s a palpable sense of dread whenever the unearthly painting is onscreen. Thanks to the inventive camera work, it really does seem like it’s alive throughout the story. The dark and moody tone of the episode is aided immeasurably by Jerry Goldsmith’s atmospheric music score, one of the veteran composer’s very best efforts. The teleplay for The Grim Reaper was written by Robert Bloch, author of Psycho. Bloch adapted the story “The Black Madonna” by Harold Lawlor. He updated the original tale, changing the character in the title painting, as well as adding some of his trademark macabre humor. It’s one of his best efforts in both television or film.

The cast for the episode is excellent. If you only know Natalie Schafer from her role as Mrs. Howell on Gilligan’s Island, you’re in for a surprise. Schafer is terrific in The Grim Reaper, giving a superb performance that is filled with equal portions of humor and pathos, topped off a touch of élan. William Shatner, who plays Paul, is quite good as well, and his scenes with Schafer crackle with energy. There’s just a touch here of the “Shatner-isms” we’ve all come to know and love, but he chooses those over the top moments well. There’s a scene (spoiler ahead) where he gets to turn on a dime and is revealed to villainous, and it’s some of his best work as an actor. The fine supporting cast includes Elizabeth Allen as Dorothy, Scott Merrill as Gerald, genre stalwart Robert Cornthwaite as a lawyer, and veteran actor Henry Daniell, who portrays the father of the ill-fated painter in the prologue. Allen also appeared with Shatner in The Hungry Glass, an earlier episode of Thriller which was also scripted by Robert Bloch.

The Grim Reaper really draws you in with its slow burning sense of impending doom. Along with several other celebrated tales, such as “Pigeons From Hell,” “The Cheaters” and “A Wig for Miss Devore” and the aforementioned “The Hungry Glass,” it’s one of the strongest episodes of Thriller, a show that aired some of the most frightening tales of terror ever to grace a television screen. The show both creeped me out and delighted me when I first viewed the series in my younger days, and it remains one of my favorites. Thriller is definitely a series that’s worth digging into, especially if you haven’t seen it before, The show is currently available on Hulu, and there’s also a wonderful box set of the entire series that came out a while back, which is still available at retailers like Amazon. This post is part of The 7th Annual Favourite TV Show Episode Blogathon, hosted by A Shroud of Thoughts. Follow this link for more information, and to check out all of the excellent entries by my fellow bloggers: https://mercurie.blogspot.com/2021/03/the-7th-annual-favourite-tv-show.html.

The Haunting of "The Only Good Indians"

Stories about the sins of a character’s past coming back to haunt them are commonplace in horror fiction, but they’re rarely as well-crafted as Stephen Graham Jones’s novel, The Only Good Indians. This dark and powerful book is an atmospheric tale of a group of Native American men who are pursued by an entity intent upon ending their lives. When they were younger, these four friends hunted elk in an area restricted to tribal elders, and their actions resulted in a tragic event. Years later, a relentless spirit hunts the men down, intent upon taking revenge upon them for their past misdeeds.

The main characters in the story are members of the Blackfeet tribe, and Jone's masterful writing illuminates modern Native American culture in insightful and fascinating ways. In addition to the spine-tingling horror elements inherent in the novel, Jones tells an enthralling story about the younger generations of Native American tribes, and how they're torn between honoring their traditions and finding a place in the modern world. In fact, ignoring a tribal tradition is what set these four friends on a path to their eventual death and destruction.

As the story progresses, the malevolent entity takes down the men, each in a more violent way, until there is only one of them left standing. The horror sequences in the novel are creepy and unsettling, and will send chills down your spine. Jones often draws out the tension until a scene explodes into a terrifying and violent conclusion. Even if you're a seasoned horror fan who thinks they've seen it all, there are some disturbing and truly surprising moments throughout the story. The novel's climax features a bravura showdown between the vengeful entity and one of the main character's daughters, which ends in a way you might not expect.

If you're a fan of tales of ghostly revenge and retribution like Peter Straub's Ghost Story, you should really enjoy The Only Good Indians. Jones has written several excellent novels, including Growing Up Dead In Texas, and The Bird Is Gone. This compelling book just might be his best work yet. If you're looking to get lost in a moody, deeply frightening novel featuring well-developed characters and an absorbing story, set in a world you may not be familiar with, check out The Only Good Indians. Highly recommended for horror fans. 

Retro Movie: Flynn's "Rolling Thunder"

There have been many films which examine the experiences of the returning Vietnam veteran, from introspective stories such as Coming Home and Born on the Fourth of July, to dark and surreal tales like Platoon and Apocalypse Now. On the other end of the spectrum are movies like Sylvester Stallone’s Rambo films, and Chuck Norris’ Missing in Action series, which tend to be straightforward action stories, though First Blood, the initial entry in the Rambo series, tried to be a little something more than just another shoot ‘em up flick. Somewhere in between these types of movies is Rolling Thunder (1977), directed by John Flynn. The film stars William Devane as Major Charles Rane, who returns home to San Antonio after several years as a POW in Vietnam. He learns that his wife has taken up with another man, and also finds that his young son barely remembers him. Rane is haunted by memories of the torture he suffered during the war, but he tries to adjust to civilian life in a world that feels much different than the one he left behind. 

Rane’s hometown hosts a celebration honoring his return. They award him a brand new Cadillac, as well a set of silver dollars, one for every day he was a captive. Linda Forchet, a local woman who wore his ID bracelet in his honor while he was held prisoner, presents him with the car and the money. She offers to buy him a drink at the bar where she works as a waitress. She makes a pass at him, but he initially rejects her advances. He also has a tense meeting with Cliff, the man who’s taken up with his wife. Cliff is a local deputy, and has become something of a surrogate father to Rane's son. While Rane becomes resigned to the fact that his marriage is over, he makes a real effort to build a relationship with his son.

One day, after returning home from having a drink with Linda, a group of men are waiting for Rane. They’re bandits who want the silver dollars that were given to him. Rane attempts to fight them off, but they brutally beat him, and kill his wife and son. He survives, but his hand is mangled as a result of it being pushed into a garbage disposal by the thieves. While Rane is recuperating in the hospital, he’s visited by both Linda and Johnny Vohden, a fellow soldier who is also having trouble adjusting to life as a civilian. Johnny tells him he’s signed up again, and will be leaving soon. After Rane is released, he picks up Linda, telling her he wants to take a trip to Mexico. However, this is no romantic getaway. He plans to exact revenge on the men who wounded him and killed his family, and enlists Johnny's help.

 

Rolling Thunder is part drama, part revenge thriller and part action film. The movie has a more thoughtful vibe than most B movies or exploitation movies. Devane is excellent in the lead role. He does a fine job conveying the character’s emotional struggle. Rane can’t shake the memories of what he went through in Vietnam, and feels uncomfortable in his “normal” life. When his family is killed, he uses the skills he learned in the war to punish the men responsible. The fine supporting cast features a lot of familiar faces, including Dabney Coleman, James Best, Cassie Yates and Luke Askew. Linda Haynes, a veteran of several 1970s B movies, gives an excellent performance as Linda, turning what could have been a standard female role of the period into a full-bodied character. Her scenes with Devane are touching and well-acted. Director John Flynn really gives Devane and Haynes room to build their characters throughout the film. We get a real sense of these two lost souls slowly opening up to one another.

 

The script for the film is by Paul Schrader and Heywood Gould, from Schrader's original story. Schrader, who also wrote Taxi Driver, has noted in interviews that his original draft was significantly altered by the time it reached the screen. But his trademark mix of well-drawn characters and violent action is very much in evidence. Director John Flynn does a nice job of balancing the character oriented aspects of the film with its action scenes. Flynn had a solid career as a director, helming tough-minded action films like The Outfit and Best Seller. Rolling Thunder is a favorite of Quentin Tarantino, who named a company he founded, which specialized in re-releasing noteworthy B movies of the 1970s, after the film. Rolling Thunder is a solid thriller with strong performances. It's an interesting and offbeat entry in the cycle of Vietnam films. Heres a link to the trailer for the movie: https://www.youtube.com/watch?v=FwAcWb5K3HM.