To Ape or Not to Ape, Part Two

In Part One of my non-award-wining series, I talked about what a powerful film the original “Planet of the Apes” (1968) is. From what I’ve read, Rod Serling had a lot of impact on the film’s social commentary. Is there anyone who has ever done that better than him? There are some seriously satirical scenes in POTA: a funeral, court proceedings, teenagers, religion vs. science. Take your pick.

Here’s one thing I noticed about the heroic astronauts in the film. There are four of them: two white guys, a black guy, and a blonde woman. The blonde dies first, then the black guy. Finally, the white guy who isn’t Charlton Heston dies. What kind of social commentary is that? I have no idea if that’s how it was in the book, but it’s just a little suspect. Naturally, the “all-gun, all-of-the-time” Charlton Heston is the sole survivor. Hmm.

In any event, I can’t say I’ve seen too many parodies of the film, but “Strange Brew” (1983) has one hilarious scene which really delivers (and also pokes fun at another Charlton Heston starring role.)

I have no idea which part of this is my favorite, but I will never stop laughing at “Mutants of 2051.”

As for POTA, I think the image of the lobotomized astronaut (white guy who isn’t Charlton Heston) comes off pretty funny. One could also make the argument that The Flintstones might have had some influence on the look of the “ape city” set, but I could be wrong.

In Part One, I also mentioned how silver seems to be the chosen color for space and quasi-futuristic clothing in POTA and elsewhere. Austin Powers definitely took that to a whole other level — especially Dr. Evil’s furniture wrapped in plastic outfit. Very groovy! I’ve been meaning to blog about the Ray Davies penned song “Apeman” by The Kinks so I think I’ll throw it in for good measure.

If you ask me, the lyrics to this song are brilliant! So how do I wrap up my thoughts on 1968’s “Planet of the Apes”?

Well, first there was a book…then an impactful film. Then another FOUR FILMS…and a TV show. There’s definitely a social commentary there.

Till next time, keep your Mojo on the Horizon!

To Ape or Not to Ape, Part One

I’ve had “Planet of the Apes” on my “To Blog About” list for quite some time. While I’d like to commit to doing a deep dive into the entire film series, I’m not sure that will happen. However, I have seen the original 1968 film more than once and I have to say that it was and STILL IS pretty mind-blowing to me.

I think I watched a TV show about the whole phenomenon when the 2001 film with Mark Wahlberg came out. The two things I remember are that Rod Serling of “The Twilight Zone” fame was involved in the original 1968 version and that it was based on a book by this French dude named Pierre Bouelle. (Apparently there were different titles for the book depending on where it was published: “Monkey People” in the UK and “Planet of the Apes” in the US.)

Speaking for myself, this was probably the first dystopian film I can remember seeing as a kid…even though I wasn’t familiar with the term until many years later. However, I think the QUALITY of the film is a big part of why it still resonates with me. For example, the soundtrack including “The Search Continues” was done by Jerry Goldsmith. Give the guy some credit for its eerie atmosphere on this one.

Apparently, Goldsmith’s soundtrack and the costumes by Morton Haack were both nominated for Academy Awards.

According to Wikipedia, a film producer named Arthur P. Jacobs spent quite a while trying to get the book adapted to film and hired sci-fi genius Rod Serling to write the screenplay. A little later Michael Wilson also involved and received a writing credit. Oh yeah, it was directed by Franklin J. Schaffner.

Here are a few of my observations and takeaways from the film. First, I think there are some powerful visuals in it. The most powerful one to me is the “scarecrows” guarding “The Forbidden Zone” featured in the pic. I don’t know if Rod Serling coined that term, but that visual is amazing. Another thing I like is the canyon setting in a large part of the film. (It was shot in Northern Arizona — Lake Powell and Glen Canyon from what I’ve read.) Something about the desert conveys a sense of desolation. One small thing I have always remembered is the “quasi-futuristic” silver backpacks worn by the astronauts in the film. For some reason, silver seems to convey that whole space vibe. ( Just look at Ace Frehley’s original KISS makeup and boots as proof…also Austin Powers and Miss Kensington.)

If you haven’t seen the entire film, I won’t ruin the ending for you, but I’ll say there’s a twist that will give M. Night Shyamalan a run for his money.

Till next time, keep your Mojo on the Horizon!

p.s. I think I’ll take a lighter look at the film in Part Two.

No-No-No-November

How is the month of November treating you? Where I live it’s cold and gray. We now have that extra hour of sleep a la Daylight Savings Time, but I feel like there’s a bit of a void in between the holidays. It’s too early to panic for Thanksgiving and Christmas. In the spirit of motivation, I’m going to share the one hit of Ohio band The Human Beinz called “Nobody But Me.” The video appears to be a swingin’ shindig.

I incorrectly assumed the song was written by someone in the band, but it was originally written and recorded by The Isley Brothers. The Isley version definitely has a more R & B feel and arrangement. However, the version I’m most familiar with is by George Thorogood & The Destroyers.

As someone who grew up in the 70s and 80s, I always enjoyed hearing the long list of different dances mentioned in the song: Shing a Ling, Skate, Boogaloo, Philly, etc. Was someone inventing one dance per week back then? I think Thorogood might mention some different ones in his version: Hustle, Bump, Pogo, and maybe one more? I think Austin Powers could groove to this song.

Till next time, keep your Mojo on the Horizon!

Mobilizing the Mods

I had to go to a work conference about 60 miles away recently and found myself thinking of a particular song throughout my journey. The song isn’t one of my all-time favorites, but it just popped to mind and I think it’s an interesting listen. I don’t know if anyone really thinks of this one as a road tripping song, but “Anyway, Anyhow, Anywhere” by The Who is the song in question. You might think of it as more an anthem of independence.

The song is right in line with a lot of other songs from the mid-sixties. It’s got a youthful, Mod innocence about it including a strummy guitar intro. At the same time you see and hear the elements that make them The Who in the video: windmill guitar, cascading drums a la Keith Moon…and raucous volume. I really enjoy the falsetto backing vocals from Pete Townshend and John Entwistle on this track. One interesting thing about this song is Roger Daltrey shares songwriting credits with Pete Townshend on it. Also, there’s a piano on it as well, which was played by Nicky Hopkins.

Years later, The Who would release “Going Mobile” on 1971’s “Who’s Next” album. This one is more of an RV anthem.

Roger Daltrey apparently didn’t participate in the writing or recording of this one. Sole songwriting credits go to Townshend on this one…and, yes, he apparently had his own mobile home.

Sadly, I have seen some news stories about The Who’s recent squabbles with drummer Zak Starkey. It makes me think they’ve become the old farts they were rebelling against as Mods, but I could be wrong.

Till next time, keep your Mojo on the Horizon!

Scorchin’ Summer Songs

It’s officially sum-sum-summertime and where I live it’s HOT! I feel like I hit the summer doldrums early this year — the warm weather has zapped some of my motivation. That said, I have some recommended listening to bring up my mood and yours. I would have sworn I already shared this one, but the first song which pops to mind is The Who’s take on “Heat Wave.”

I dig John Entwistle’s bass playing on this one and his backing vocals with Pete Townshend. The original version was by released by Martha & the Vandellas in 1963 and was written by the Motown songwriting team of Holland-Dozier-Holland. You have about 80 or more other versions to choose from including Phil Collins, Linda Ronstadt, Joan Osborne, The Jam, and The Nighthawks to name a few.

In my opinion, one of the best musical lyrics written about summertime presumably came from songwriter extraordinaire John Sebastian. The line is, “Hot town, summer in the city Back of my neck gettin’ dirty and gritty” from “Summer in the City” by The Lovin’ Spoonful.

Sebastian shares the songwriting credits with his brother Mark Sebastian and bandmember Mark Boone. Apparently Boone and John Sebastian both contributed to keyboards on the recording along with Artie Schroeck. I like the traffic jam sound effects in the tune as well. Here’s hoping your staying cool.

Till next time, keep your Mojo on the Horizon!

Jimi Hussar Experience?

An image of Jimi Hendrix popped into my mind today. It wasn’t really a certain song or a piece of concert footage. It was actually one of his iconic fashion “looks.” I started thinking about the dark colored military jacket you might have seen him wear. Apparently, this is associated with light cavalry units called “hussars“, which originated in Hungary. Give Jimi some credit, this is a pretty unique look. It’s almost as unique as the title cut from “Are You Experienced.”

You gotta love the fuzzy, psychedelic guitar on this track.! Hendrix devotee Eric Johnson also recorded this one and broke out his own hussar jacket for his performance.

While you can really out-Jimi, Jimi Hendrix, you can tell Johnson did his homework on this one. Getting back to the jacket, I guess a “dolman is either a military shirt, or a jacket decorated with braiding. ” The braiding is called “passementerie.” Thank God for Wikipedia!

You can actually purchase a Jimi Hendrix Funko Pop! figurine adorned with the aforementioned jacket — that is, unless you want to buy your own for trips to the grocery store.

Till next time, keep your Mojo on the Horizon!

A Short Day’s Night, Vol. 3

Recently, I woke up with an early Beatles tune in my head. It got me thinking about my own personal B.I.P. — that’s Beatles Immersion Phase — between the ages of say 15 and 17. I had the “Red” and “Blue” Greatest Hits albums and knew those songs really well. However, I had my mind blown when a friend of mine dropped by with The Beatles “Rock ‘n’ Roll Music, Volume 1” on cassette. It had a bunch of songs which were unfamiliar to me including the Lennon penned “You Can’t Do That.”

“You Can’t Do That” is an interesting tune. The song’s intro and outro are both kind of funky in an “excuse me” kind of way. You just sort of stumble into and out of the song itself. George Harrison starts the tune with some 12 string Rickenbacker guitar (and then stumbles out the same way on the outro).

John Lennon sings the lead while Paul McCartney and George provide backing vocals. There’s a chunky guitar solo with some call and response backing vocals. While it’s a catchy enough tune, Lennon’s lyrics are on the darker, jealous side. And, yes, this song was on “A Hard Day’s Night” and was the B side to “Can’t Buy Me Love.”

The longest song on “A Hard Day’s Night” was “I Should Have Known Better” at 2:43. “You Can’t Do That” and “Things We Said Today” tied for second-longest at 2:35.

Oh, and Ringo Starr played percussion on this one…drums, bongos, AND cowbell. Take that, Rolling Stones!

Till next time, keep your Mojo on the horizon!

Gimme Some Hammond

As I was scrolling through YouTube today, I found a video about how to play the Hammond organ part to a song which has been recorded around 200 times. The original version opens with a catchy bass riff played by a dude name Muff — real name Mervyn. A couple of the other guys in the band included Pete York, Muff’s brother Steve Winwood, and Spencer Davis. The song is called “Gimme Some Lovin’ ” by The Spencer Davis Group.

The Hammond organ, Steve Winwood’s lead vocals, and the occasional “Hey!” make up the rest of the catchy tune. Some might remember this is the song Jake and Elwood Blues were playing in the infamous cowboy bar scene during 1980’s “The Blue Brothers” film.

“That ain’t no Hank Williams song” is by far my favorite line in the epic film. Have you already heard the versions by Ike & Tina Turner, Olivia Newton-John, John Mayall, and Great White? If so you can take a different route and hear blues guitarist Feddie King’s take on it.

This is a good example of a catchy song whose lyrics are kinda flexible. Winwood’s vocals are great, but the lyrics are almost unintelligible to my ears. It has a good beat and is easy to dance to, I give it a “10.”

Till next time, keep your Mojo on the Horizon!

Creamy Ulysses

Cream. They were that 3 piece British supergroup or power trio from the late 60s. All three of the musicians (Eric Clapton, Ginger Baker, and Jack Bruce) were known for their improvisational musical ability, but they only lasted a few years as a band. If you’ve ever listened to much classic rock you’re probably familiar with their songs like “Sunshine of Your Love” and “White Room.” They also put their own spin on blues covers like Robert Johnson’s “Crossroads” (aka “Cross Road Blues”) and others.

I was turned on to another one of their songs years ago when I watched a documentary about 60s Rock or The British Invasion. “Tales of Brave Ulysses” featured bassist Jack Bruce on lead vocals.

The song’s lyrics were written by an Australian artist named Martin Sharp https://www.martinsharptrust.com/about-martin , and Eric Clapton came up with the music for it. Sharp also happened to design the Disraeli Gears album cover, which I’ve always liked. Psychedelic is the word generally used to describe the song, the album, and even its artwork. I’ve always liked the lyrics about “tiny purple fishes” and “the siren sweetly singing.” Apparently there are a couple of different paintings which depict the tale of Ulysses and the Sirens https://en.wikipedia.org/wiki/The_Sirens_and_Ulysses .

I searched for some covers of this song, but the one which stands out in my mind is this acoustic one. The song is in the key of D and features a descending bass line. In this version, the guitar’s low E string is tuned down to D, which is commonly known as “Drop D” or “Dropped D” tuning.

Cream also used this type of descending arrangement in the more popular “Sunshine of Your Love” as well.

Till next time, keep your Mojo on the Horizon!

Mojo Lee Roth

I’m sure I’ve already written a few things about The Doors, but this will be a bit more. While it’s true the name of this blog is derived from Jim Morrison’s personally invented pseudonym, they aren’t my favorite band of all time or my least favorite. I’ve found many people either or love or hate them. Personally, I like to ease into the day with some of their mellower songs. While I wouldn’t put this song into the mellow category, I recently found myself listening to their self-titled first album including the track “Soul Kitchen.”

Ray Manzarek’s keyboard is a big part of the song’s sound, but it has a great funky groove to it as a whole. I was surprised to find a cover version by former Van Halen frontman David Lee Roth on 2003’s “Diamond Dave” album.

It’s a pretty true to the original arrangement with Roth’s great one liner around the 3:00 minute mark. If you’d like to hear a different take on “Soul Kitchen” there’s always the instrumental version by Buddy Rich Big Band.

It’s interesting to hear this instrumental because Morrison’s lyrics are always such a big part of Doors’ song. Appropriately, it was recorded live at the Whiskey a Go Go.

Then there’s the high octane cover by L.A. punk band X.

Apparently their version was produced by Ray Manzarek. The original songwriting credits are shared by all 4 of The Doors: Morrison, Manzarek, Robby Krieger, and John Densmore. I could get into the whole inspiration for the song, but I must have learned to forget that part.

Till next time, keep your Mojo on the Horizon!