Joan Rivers BBC2 CAN WE TALK

We all know Joan Rivers had a flop talk show in 1986... Fox's "Late Show," which she hosted from Oct. 9 of that year until May 15, 1987 (ending the same week as "Hill Street Blues" btw). But earlier in the year she had a DIFFERENT flop talk show... "Can We Talk?" on BBC2. I came across this curio while looking for a clip of Kenneth Williams, from the "Carry On" films. Turns out he was the guest on episode 3 (of six) in the show's only season (British seasons being really short). On imdb, someone who must have watched the entire run had this to say:

"It was the kind of tacky, tasteless rubbish for which American television was once notorious ( and which we in the U.K. now seem to have adopted as the norm for chat shows ). Guests included the late Christopher Reeve, Kenneth Williams, Samantha Fox ( whom she asked if she was a virgin ), Kermit the frog ( yes, really ) and Bernard Manning, the latter famously humiliating co-host Peter Cook with: "You used to be very funny once, Peter.". Rivers' interviewing technique was atrocious, most of the questions concerned sex, and as a result the show looked tired after just one edition. Cook's contribution to the show was negligible, it was painful to watch this comedy genius reduced to playing second fiddle to the ghastly Rivers. Fortunately, the show did not get a second season."

Sounds a lot like her American show, actually, which didn't seem that bad from the clips I've seen. The two shows even look similar, visually. No sign of her late husband Edgar in the credits, but UK comedy legend Barry Cryer is listed as a script associate on imdb.

The episodes are listed as March 10, 17, 24, 31 and April 7 and 14, 1986. This was during a long break in between her guest-hosting stints on "The Tonight Show." In fact, after the BBC2 show ended, she would host just one more week for Johnny before they had a falling out over her move to Fox.

The only info I can find on specific episodes is that #3 included Kenneth Williams, Dudley Moore, Phil Collins, and Samantha Fox. The rest of the guest list on imdb is pretty epic: Christopher Reeve, Cher, Kermit, Joan Collins, Jacqueline Bisset, Rupert Everett, Susan George, Tracey Ullman, George Hamilton, Twiggy, Barry Manilow, Marvin Hamlisch, Bob Monkhouse, Depeche Mode, Ray Parker Jr., Michael Barrymore, Su Pollard, Cynthia Payne, Bernard Manning, Feargal Sharkey, Russell Grant and Arcadia (a Duran Duran offshoot). Dr. Ruth and Dame Edna are listed as appearing in two episodes, while Nancy Reagan is listed as an uncredited phone cameo. Almost all of these guests were famous in America, too, and I have to think this was Joan's way of showing NBC she could headline a show?

The two clips I found are Dudley Moore and then Kenneth Williams.

For more on Joan's talk shows, check out her 1969 series "That Show."

Chicago's Greatest Hits - vinyl or CD?

Chicago has released numerous hits compilations since their last big hit (1989’s “What Kind of Man Would I Be?”)… but none of those compilations are available on vinyl. For that, you’d have to reach back to their 70s/80s heyday, and you still might not get a complete picture of the group.

{NOTE: I am converting all roman numerals to digits, for clarity.}

The Christmas, 1975 release “Chicago 9” sampled material from their 1969 debut through 1974’s “Chicago 7” (except #3). They would continue to hit the Top 40 through 1978, with the first two singles off of “Hot Streets” (aka Chicago 12). After that, though, “Chicago 13” (1979) and 14 (1980), despite containing some fine music, didn’t generate any hits. Columbia Records rounded out their contract with 1981’s “Greatest Hits Vol. II” (now considered Chicago 15), which covered the material from 8-12, plus a few earlier tracks.

The group jumped to Warner Bros. the next year, where albums 16, 17, 18, and 19 came out at two-year intervals and generated another batch of hits. Christmas 1989’s “Greatest Hits 1982-89” (Chicago 20), collected 12 of those.

That would leave 17 charting singles unaccounted for – five of which hit the Top 40.

While Chicago was signed to Warner Bros., their old label made a habit of releasing occasional compilations of old material. To their credit (or perhaps due to legalities), Columbia did not try to title them with roman numerals and disrupt the group’s sequence of studio albums. 1983’s “If You Leave Me Now” overlaps with Chicago 9 and 15 and grabs one charting single (#32 “Another Rainy Day in New York City”) and one which didn’t chart (“Song For You,” their last Columbia single). But 1985’s “Take Me Back to Chicago” is much better: seven charting singles and two album tracks (though the title track was on Chicago 15).

The next compilation, 1991’s “Group Portrait,” did a great job of summarizing the Columbia years – but it left off the underrated (and polarizing) “Street Player,” which didn’t touch the Hot 100 but did reach #91 on the R&B chart in 1979. "Group Portrait" never made it to vinyl and is also non-canonical.

So is the solution just to go with the CD compilations? I don’t think so.

Chicago 23 and 24 were single CDs released in 1997-98, and they leave off a lot of great cuts in favor of some new material (which would hit the Adult Contemporary chart). Chicago 31 (the 40th anniversary hits compilation from 2007) has the same problem. And all the notable cuts from those albums are on 2002’s “Very Best of Chicago” double CD (though even then, they leave out "Street Player," "Gone Long Gone," "Thunder and Lightning" and "Listen").

In 2003, Chicago released “The Box” (#28) followed by 2005’s “Love Songs”; neither one is on vinyl (and the latter is another superfluous rehash).

So, if you must buy vinyl Chicago compilations, stick with 9, 15, 20, and “Take Me Back to Chicago.” This still leaves out four charting Columbia singles (plus one that didn't), four on Warner Bros. (including the generally disowned remake of "25 or 6 to 4"), plus two charting singles released after the 1969-89 golden era (see table below). I would also love to see albums tracks "Where Do We Go from Here," "A Hit by Varèse," "Mississippi Delta City Blues," and "Byblos" included. Maybe they can put out a 60th anniversary boxed set with 9, 15, 20, "Take Me Back" and one extra disc with the material above.

As for new material released after 1989, there's Chicago 21 (1991), 22 (1995, the Big Band album), 30 (2006), 32 (2008, but recorded in 1993), 36 (2014), and 38 (2022... which is Joe Thomas fantasy camp product; look him up). All other releases since 1991 have been compilations, Christmas albums, live albums, or re-recordings.

SINGLES DISCOGRAPHY:

Mar-70: Make Me Smile (#9)

Jun-70: 25 or 6 to 4 (#4)

Oct-70: Does Anybody Really Know What Time It Is? (#7)

Feb-71: Free (#20)

Apr-71: Lowdown (#35)

Jun-71: Beginnings [reissue]/Colour My World (#7)

Sep-71: Questions 67 and 68 [reissue] (#24)/I'm a Man (#49)

Jul-72: Saturday in the Park (#3)

Oct-72: Dialogue (Part I & II) (#24)

Jun-73: Feelin' Stronger Every Day (#10)

Sep-73: Just You 'n' Me (#4)

Feb-74: (I've Been) Searchin' So Long (#9)

Jun-74: Call on Me (#6)

Oct-74: Wishing You Were Here (#11)

Feb-75: Harry Truman (#13)

Apr-75: Old Days (#5)

Aug-75: Brand New Love Affair (Part I and II) (#61)

Jun-76: Another Rainy Day in New York City (#32)

Jul-76: If You Leave Me Now (#1)

Mar-77: You Are on My Mind (#49)

Sep-77: Baby, What a Big Surprise (#4)

Jan-78: Little One (#44)

May-78: Take Me Back to Chicago (#63)

POST-KATH:

Oct-78: Alive Again (#14)

Dec-78: No Tell Lover (#14)

Mar-79: Gone Long Gone (#73)

Aug-79: Must Have Been Crazy (#83)

Oct-79: Street Player (#91 – R&B)*

Jul-80: Thunder and Lightning (#56)

Oct-80: Song for You (n/a)

WARNER BROS. ERA:

May-82: Hard to Say I'm Sorry (#1)

Sep-82: Love Me Tomorrow (#22)

Jan-83: What You're Missing (#81)

Apr-84: Stay the Night (#16)

Jul-84: Hard Habit to Break (#3)

Nov-84: You're the Inspiration (#3)

Feb-85: Along Comes a Woman (#14)

POST-CETERA:

Aug-86: 25 or 6 to 4 [re-recorded] (#48)

Oct-86: Will You Still Love Me? (#3)

Mar-87: If She Would Have Been Faithful... (#17)

Jun-87: Niagara Falls (#91)

May-88: I Don't Wanna Live Without Your Love (#3)

Sep-88: Look Away (#1)

Jan-89: You're Not Alone (#10)

Apr-89: We Can Last Forever (#55)

Nov-89: What Kind of Man Would I Be? (#5)

Jul-90: Hearts in Trouble (#75)

Jan-91: Chasin' the Wind (#39)

The 1971 Toyota Corolla that ran forever

In 2018, this article was published in Hemmings... somewhere. I'm not sure if it was just on their website, or in one of their magazines: "Hemmings Motor News," "Classic Car"... or "Muscle Machines," which I doubt. Ironically, it would have been better for the magazine they had ceased publishing in 2017, "Hemmings Sports & Exotic."  I'm posting it here because it's impossible to find since they redesigned their site (and removed the name of the owner; it now just says "Hemmings Contributor"). I only found it by searching forever under the mistaken belief that the car had traveled a million miles. I was lucky enough to speak with the elderly owner in 2019, and he said his curiosity about cars began as a kid, when he lived across from a service station and the owner would let him come by and watch and tinker. And the car was still going strong! In his honor, here's a commercial the same model mentioned in this article, featuring Frank Bonner from WKRP.

This Corolla just keeps rolling

One owner, 610,000 miles and no shortage of stories to tell

In 1971, I purchased a new Toyota Corolla for $2,135, primarily because of the new hemi-head engine. After 36 years, I'm still delighted to wheel it down the freeway at 70 mph. It's taken me 610,000 miles, and never left me stranded, although once I had a close one.

I do all of my own maintenance and repair, except setting the ring and pinion; the first major event was an unexpected differential overhaul at 84,852 miles. The good news came when a diligent parts man found that the 1960s Corona 3.7:1 gearset (versus the stock 4.11:1) would bolt right in. Revs and fuel consumption went down.

In 1976, at 87,584 miles, the engine was losing compression and burning oil. One Saturday, since it needed repair and I have an insatiable curiosity about how things work, I put the car on jackstands and, by evening, only the bare body shell remained: drivetrain out; doors, hood and deck lid off; seats and upholstery out; front suspension pulled; dashboard removed.

Over the next four months, I disassembled every nut and bolt of the entire car except the transmission, because I had bought a low-mileage five speed. Everything was scrutinized, cleaned, lubed or replaced if any wear showed, down to the window regulators and door latches and new wiper motor brushes. The engine deterioration was a fluke; the rings in every cylinder were broken, and the walls deeply scored. Bungled assembly at the factory? Some car carrier jockey revving it to 6,000 rpm on a cold startup? I'll never know.

The brake and clutch cylinders were rusted, so new ones went in, and I used the best-kept secret of auto repair, silicon brake fluid. Thirty years and 500,000 miles later, they are shiny like chrome and have never leaked a drop.

I also performed a few modifications: added a leaf to each rear spring and de-arched them, Koni shocks and struts, cut one coil from each front spring, fabricated a two-inch exhaust system with a long (quiet) glass pack muffler, built new seat mounts and moved the front seats back four inches and installed an electric fan from a Honda. I also removed the choke butterfly and shaft for a little more airflow. It starts at -25F with a couple of squirts from the accelerator pump. Wanting still lower freeway revs, I fitted Nissan Maxima alloy wheels--15 inches in back and 14 inches in front. At 70 mph, I could then turn a comfortable 2,700 rpm (factory stock was 3,900) with 32-35 mpg.

At 182,823 miles, the pinion bearings were again noisy, and I installed a 1974 low-mileage rear axle after swapping in my special-ratio gears. Although not down to the metal, I replaced the brake discs and shoes, and those are still in the car. I use the brakes very little; I'll broadside a corner rather than braking, and often drive 250 miles to Portland without touching them.

With 115,000 miles on the rebuilt engine, which was running well, I re-placed it with an import "60,000 miles max" 3-TC (1,800cc) container engine for $250, replaced the throw-out bearing and clutch disc and rebuilt the transmission. On startup, a piston was ticking audibly, and I suspected it was scored. The mechanic agreed, and they refunded me $125. I kept driving it, and in about 40,000 miles, the noise stopped.

As an investment in safety, at 231,167 miles, I rebuilt the front suspension. The steering gear had always needed adjustment every 20,000 miles. "Normal," said the dealer. Adjustment ran out at 251,000 miles, so I replaced it. It has never been adjusted since.

Starting in 1987, I was driving the car for work, regularly covering all of Oregon, and the old doll was hitting a good stride. My preventative maintenance, using Toyota kits, included a rebuild of carburetor, fuel pump, alternator, starter, water pump and replacement of the fan belt and all cooling system hoses, needed or not, every 100,000 miles. The car was never washed and the damaged sheetmetal began to show superficial rust.

I drove the junkyard engine for another 60,000 and replaced it in December of 1991 with a 1981 3TC engine and five-speed from a $150 wreck I purchased that had 137,000 miles since new. In June of 1992, I replaced the carrier and pinion bearings, and in September of 1993, rebuilt the transmission. (Synchronizers and main shaft are a little fragile.)

By the end of 1993, the Toyota's odometer had reached the 400,000-mile mark. At this time, I was in my 60s and mellowing a little (I'm currently 75). I no longer felt the need to take every corner with the rear end hanging out. I retired in 1997.

The engine that I installed in 1991 now has just over 410,000 miles on it since leaving the factory. It is using some oil (a quart every 1,800 miles) and the compression is down 10 pounds in two cylinders.

My closest scrape with being stranded came in 1991. About halfway through a shortcut on a desert road, the steering wheel whipped to the right and the car slewed sideways. The cause was apparent: The right front wheel was partially folded underneath the car because the inner pivot bolt of the lower suspension arm had fallen out.

I walked back 50 feet and located the bolt, but I had no idea where the nut was. I raised the car with the jack and used several rocks as makeshift jackstands. Reasoning that on acceleration, the right- hand motor mount will press downward, I removed the nut from the motor mount bolt and secured the suspension bolt with it. After tossing away the rocks and letting the car down, I pressed on and reached my destination at 3 a.m.

I have three rules for automotive longevity:

1.) Before driving away, warm the engine one minute in summer and two minutes in winter;

2.) Don't lug it or over-rev it. Keep it in the 2,500 to 4,000 range;

3.) Change the oil and filter faithfully at 3,000 miles and use the best oil;

Several years ago the AAA calculated that the average middle class family, driving two typical SUVs which are traded in every five years, making payments requiring maximum insurance and where all maintenance is performed by a shop, pays 54 cents per mile. I tracked every expenditures for my Corolla for a full year: fuel, oil, filters, tires, all replacement parts and insurance, and the cost came to 5.2 cents per mile.

My friends roll their eyes, and my wife won't ride in it anymore. Bosses have asked me to park on the street rather than in the company parking lot. Strangers view me with contempt and scorn. It's all pure joy--I love it.

A little trivia: If the average speed in my Corolla has been 40 mph for 610,000 miles, I have sat behind the wheel for 24 hours a day for one year, eight months, 26 days, eight hours and 36 minutes.

Jon Lovitz on THE PAPER CHASE

"The Paper Chase” was a 1971 book, then a 1973 movie, then a CBS television series for the 1978-79 season... and then it was brought back by fledgling cable network Showtime! They aired 7 monthly episodes in 1983… and then new episodes every summer in 1984 (12), 1985 (12), and 1986 (6). Season two encompasses the 1983-84 episodes, season three is 1985, season four (when they graduate) is 1986. This is from the season two finale on August 21, 1984: Jon Lovitz plays an angry law student. This episode ("Billy Pierce")  also includes Lynn Swann and was directed by Corey Allen of "Hill Street Blues" Pretty good acting by Lovitz; I tweeted this and he responded by saying it was his first acting job and then -- for two years -- nothing! And then came SNL...

Ira Needleman on SNL

The non-Lorne Michaels years were hit-or-miss for "Saturday Night Live" but here’s a definite hit… IRA NEEDLEMAN from May 5, 1984! Gary Kroeger says this film bought him another season on the show.

And I have just learned that Bebe Neuwirth is one of the dancers! She’s most visible at 0:22 (lower right) and then again at the end. That means the only “Cheers” stars never to appear on SNL were Nick Colasanto (Coach, who passed away in early 1985) and Shelley Long (Diane, who was supposedly slated to host during SNL’s 10th season 1984-85, but Long’s pregnancy and a writer’s strike made that impossible). Ted Danson, Kirstie Alley, George Wendy, Woody Harrelson and Kelsey Grammer have all hosted, and John Ratzenberger (Cliff) made a cameo with his fellow castmembers when Kirstie hosted in 1991.

When Siskel & Ebert appeared on the SNL "Film Fest" (March 2, 1985), they were inexplicably lukewarm on Needleman. Siskel felt it was implausible that Needleman's seeming discomfort with video dating technology precluded him from production an epic, MTV-style video. (This is more apparent in the prologue, which is not included in the video below). I really like S&E but they often missed the point when it came to comedies (e.g. Pee Wee's Big Adventure, Fast Times at Ridgemont High, Silver Streak, being just a few examples)

SNL's "Nude Beach" sketch aka "Penis sketch"

When Tom Hanks hosted the 14th season premiere of "Saturday Night Live" on October 8, 1988, it came after a six-month writer's strike. In fact, he had also hosted the second-to-last show of season 13, meaning he hosted episodes 245 and 247. (Judge Reinhold hosted #246).

This sketch was cut, but would become very well known the FOLLOWING week, when it was re-done with host Matthew Broderick. In this version, rookie SNL writer Robert Smigel has a small role... he wrote this sketch as a response to NBC/GE firing all of its censors (aka "continuity editors"). There's also a cameo from an elderly actor who looks familiar, but I can't place. Hanks does a good job, but Kevin Nealon's ending monologue isn't in this version... his delivery is also better the next week. So, Broderick's gets the edge.

 

And here's Broderick's version:

Columbia House 8-tracks for some reason

If you enjoy 8-tracks (for some reason), you'll enjoy this. A parody of the Columbia House ads, by Chris Shapan. Notice they also give you the option for reel tape! Which was an actual thing from CH until 1984... 8-tracks lasted until 1988 or '89, though. Here's my CH reel directory. I'm not as interested in 8-tracks, and there were far too many of them, for me to ever make a database.

Peter Boyle as "Joe Bash" (1986)

In the spring of 1986, ABC was finishing up a punishing season. Old favorites like "Benson" "The Fall Guy," "The Love Boat," "Hardcastle and McCormick" and "Ripley's Believe It Or Not" were about to end their runs in the ratings cellar. "Webster" would follow a year later. Series attempts by Redd Foxx, Robert Wagner ("Lime Street"), and Jeffrey Tambor ("Mr. Sunshine") tanked, as did the prestigious ensemble crime dramas "Lady Blue" and "Our Family Honor." The "alphabet network" had just six shows in the Top 30: "Dynasty" (#7), "Who's the Boss" (#10), "Monday Night Football" (#15), "Growing Pains" (#17), "Hotel" (#22), and "Moonlighting" (#24). After a decade of success, ABC (and CBS) were suddenly getting trounced by programmer Brandon Tartikoff and a resurgent NBC.

What did America want? PETER BOYLE!

"Joe Bash" was created by Danny Arnold and co-developed by Chris Hayward... the pair most recently known for "Barney Miller." The other "developer" was Philip Jayson Lasker; the trio wrote all six episodes of "Joe Bash." Arnold directed all but one episode.

The show debuted at 9:30 p.m. on Friday, March 28, against the second half of ratings powerhouse "Dallas." That didn't help, nor, in my opinion, did the show's title (meant to sound "aggressive" according to Arnold).

Still, the series was critically acclaimed. Boyle's partner was played by Andrew Rubin, best known as George Martin in the first "Police Academy" film. Guest/recurring roles included a lot of familiar faces: Jack Gilford, Larry Hankin, Val Bisoglio, Lawanda Page, Delane Matthews, Reni Santoni, Dino Natali, Rosanna DeSoto, Marilyn Sokol, and Pat Corley. Sadly, the 1980s were full of stylish single cam dramedies that never caught on but would be all over Netflix today... the only successful one I can think of was "The Wonder Years."

ABC probably didn’t market the show very well, as their audience wasn’t interested: in 1986, they were all about lame multi-camera sitcoms geared towards teenagers and shot on bright, flat looking videotape. “Joe Bash” was none of those things.

Incidentally, the music was by Jack Elliot, who wrote the themes to "Barney Miller" and also "Night Court."

The only "Joe Bash" video that seems to be online is episode 4 (“Janowitz”), in two parts below. An episode guide follows.

EPISODES

#1: "Pilot" (March 28, 1986) with Michael Cavanaugh, Robert Trebor, Hubert B. Kelly, Lisa Dunsheath

#2: "Cash" (April 4, 1986) with Michael Cavanaugh, Dino Natali (Angelo), Larry Jenkins (Mugger), LaWanda Page, Robert Trebor, Jack Bernardi, Darrow Igus, Vincent Guastaferro, Ruth Jaroslow

#3: "Feinbaum" (April 11, 1986) with Sam Scarber (Sam), Jack Gilford (Feinbaum)

#4: "Janowitz" (April 25, 1986) with Pat Corley, Sully Boyar, Sy Kramer

#5: "Joe's First Partner" (May 2, 1986) with Joseph Mascolo (Capt. Charles Taylor), Pierrino Mascarino (Irv), Marilyn Sokol (Betty), Dean Dittman, Tom Rosqui... directed by John Florea

#6: "Romance" (May 10, 1986) with Reni Santoni (Carlos), Rosanna DeSoto (Maria)

Oscars In Memoriam: Compare and contrast

With all the talk of the Oscars In Memoriam -- and who got left out -- I have to say that every year there seems to be just a handful (6-8) of really notable omissions. Why not just make the montage 30 seconds longer? I know it's a slippery slope, but at the same time, the montages were not really under fire for many years... seems to be a phenomenon of the past decade. If you're interested, here's a few Oscar ceremonies I randomly found online, from the past few decades; decide for yourself (although some might not include the In Memoriam).

2002 (the best montage, in my opinion)

2001

1998

1995

1994

1991

1990

1985

1981 pt1

1981 pt2

1979 (partial)

1978 (in memoriam only)

1977 (partial)

Does the original cast of SNL still hold up?

Any time a recent SNL sketch (or article) is posted on social media, it seems that half the comments are "I remember when SNL was funny and not political." Well, not only has the show always been political, but it's been funny -- if wildly erratic -- since 1975. Most of these comments come from people referring to the original cast "with Bill Murray and Eddie Murphy" (although neither of them joined the show until well after the "original cast").

So what would happen if you took a young person and showed them such golden oldies as the "AM/FM" sketch or Chevy Chase as President Ford? They'd be baffled. I find those funny because I understand the references, but a lot of people do not.

SO a few years ago, I made a compilation of sketches which I thought DID hold up even today. This is what you could show a young person who doesn't understand why "cheeseburger cheeseburger cheeseburger" had such appeal 40+ years ago. I've added links where I could find them, and will add more as they turn up. (Those with an asterisk are not from the official SNL YouTube channel).

Cold open: The Wolverines (10/11/1975)

Monologue: The Castration Walk (4/16/1977)

Commercial: Jewess Jeans (2/16/1980)

Sketch: Jaws II (11/8/1975)

Sketch: Extreme Stupidity (12/11/1976)

Sketch: Nick Rails (2/10/1979); this is not the one with the Star Wars theme (1/28/1978)... but it's my favorite

Sketch: Gilda and Chevy in bed (2/18/1978)

Commercial: Royal Deluxe II (9/24/1977)*

Sketch: Word Association (12/13/1975)

Song: King Tut (4/22/1978)

Weekend Update: Some Girls (5/26/1979)

Sketch: Refrigerator Repairman (10/7/1978)

Sketch: Exorcist II (12/13/1975)

Sketch: Julia Child (12/9/1978)

Sketch: Fred Garvin (3/17/1979)

Sketch: Judy Miller (10/29/1977)

Sketch: Candy Slice in the studio (12/9/1978)

Commercial: Bass-O-Matic '76 (4/17/1976)*

Sketch: Richard Benjamin in a Scottish restaurant (4/7/1979)

Sketch: Lord & Lady D-Bag (5/24/1980)

Song: King Bee (1/17/1976)*

Sketch: Buck Henry rushing home to use the bathroom (11/10/1979)

Good nights: Last episode (5/24/1980)

Beatles countdown: American Top 40

For the 11^th anniversary of “American Top 40” in 1981, Casey Kasem and his team assembled the 40 biggest hits (based on chart metrics) by the Beatles – together, and solo. Almost all of these topped the chart:

1-Hey Jude (1968)

2-I Want To Hold Your Hand (1964)

3-(Just Like) Starting Over (John) (1980)

4-Silly Love Songs (Paul) (1976)

5-My Sweet Lord/Isn't It a Pity (George) (1970)

6-Get Back (Beatles with Billy Preston) (1969)

7-My Love (Paul) (1973)

8-She Loves You (1964)

9-Help! (1965)

10-We Can Work It Out (1965)

11-Coming Up (Live At Glasgow) (Paul) (1980)

12-Yesterday (1965)

13-I Feel Fine (1964)

14-Can't Buy Me Love (1964)

15-Come Together/Something (1969)

16-Let It Be (1970)

17-A Hard Day's Night (1964)

18-Band On the Run (Paul) (1973)

19-Hello Goodbye (1967)

20-You're Sixteen (Ringo) (1973)

21-Paperback Writer (1966)

22-Woman (John) (1980, #2)

23-Listen To What the Man Said (Paul) (1975)

24-Uncle Albert/Admiral Halsey (Paul) (1971)

25-Eight Days a Week (1965)

26-Love Me Do (1964)

27-With A Little Luck (Paul) (1978)

28-Ticket To Ride (1965)

29-Photograph (Ringo) (1973)

30-The Long and Winding Road/For You Blue (1970)

31-Give Me Love (Give Me Peace On Earth) (George) (1973)

32-All You Need Is Love (1967)

33-Live and Let Die (Paul) (1973, #2)

34-Junior's Farm/Sally G (Paul) (1975, #3)

35-It Don't Come Easy (Ringo) (1971, #3)

36-Twist and Shout (1964, #2)

37-Please Please Me (1964, #3)

38-Goodnight Tonight (Paul) (1979, #5)

39-Penny Lane (1967)

40-Nowhere Man (1966, #3)

I was surprised to see so many disks from the Top 5 which were not chart toppers, but obviously they were in the Top 40 for several weeks and notched up more airplay. In fact, one #1 single (John’s “Whatever Gets You Through the Night,” from 1974) didn’t make the list at all – probably since it dropped off so quickly. Also not making the grade were:

Instant Karma (John) (1970, #3)

Imagine (John) (1971, #3)

No No Song (Ringo) (1974, #3)

Let 'Em In (Paul) (1976, #3)

Oh My My (Ringo) (1973, #5)

George’s “All Those Years Ago” was not included, probably since it was still on the chart in July ‘81. It would peak at #2 for three weeks around this time. Had AT40 made another Beatles special, I’m sure it would have made the cut. And the following songs almost certainly would have:

Ebony & Ivory (Paul w/Stevie Wonder) (1982)

The Girl Is Mine (Paul w/Michael Jackson) (1982, #2)

Say Say Say (Paul w/Michael Jackson) (1983)

Nobody Told Me (John) (1984, #5)

Got My Mind Set On You (George) (1987)

Not included in the AT40 special, obviously, are two British chart-toppers (#4 “Lady Madonna” and #8 “The Ballad of John and Yoko”). My theory about why they missed in America is that the former – being their last Capitol single before the “switch” to Apple -- was under-promoted. And “Ballad” was denied airplay in parts of the country for its use of the word “Christ.” Plus, it came out too soon after “Get Back” (which was still on the charts). Both songs are still popular today, as are the following… they’ve appeared on several Beatle hits compilations, but weren't in the AT40 countdown for the reasons indicated:

*From Me to You (1964)-a massive UK hit, and their first official chart-topper there. In America, it was relegated to the B-side of "Please Please Me" in 1964, and only charted at #41 (after previously charting at #116 as an A-side in 1963)

*Maybe I'm Amazed (Paul) (1970)-one of Paul's most famous songs was never released as a single. A live version hit #10 in 1977 and gets airplay on oldies stations today.

*Mull of Kintyre (Paul) (1977)-a massive UK #1; it was the biggest-selling single of all time for many years. In the US, it was the flip side of "Girls School" (which hit #33)

*Pipes of Peace (Paul) (1983)-like "Mull" six years earlier, this was a UK #1. In the US it was the flip side of "So Bad" in 1984 (which hit #23)

*What Is Life (George) (1970, #10)

*Jet (Paul) (1973, #7)

*Watching the Wheels (John) (1980, #10)-the three songs above get heavy airplay on oldies and classic rock stations, they’ve been used in other media, but they weren’t massive hits on original release.

 

For reference, the 40 biggest Beatles (group only) singles were compiled in the 2006 book, “Billboard’s Hottest Hits.” Interesting how things changed in 25 years, with several songs ranking relatively higher than they did in 1981:

1-Hey Jude

2-I Want To Hold Your Hand

3-She Loves You

4-Get Back

5-Let It Be

6-Can't Buy Me Love

7-Yesterday

8-We Can Work It Out

9-I Feel Fine

10-Help!

11-Hello Goodbye

12-A Hard Day's Night

13-Come Together/Something

14-Twist And Shout

15-All You Need Is Love

16-Love Me Do

17-Paperback Writer

18-Ticket To Ride

19-The Long And Winding Road

20-Eight Days A Week

21-Penny Lane

22-Please Please Me

23-Do You Want To Know A Secret?

24-Yellow Submarine

25-Lady Madonna

26-Nowhere Man

27-Got To Get You Into My Life

28-Revolution

29-She's A Woman

30-The Ballad Of John And Yoko

31-Day Tripper

32-The Beatles Movie Medley

33-Strawberry Fields Forever

34-And I Love Her

35-P.S. I Love You

36-Eleanor Rigby

37-I Saw Her Standing There

38-Ain't She Sweet

39-Matchbox

40-Free As A Bird

Electric Recording Co. v. VMP: The Doors in Mono

There has been much controversy around the recent Electric Recording Company’s mono reissue of the 1967 debut album by The Doors. What it seems to boil down to is Mike from The In Groove saying the record sounds bad, and MichaelFremer of “The Tracking Angle” saying the tape has issues, so that’s why it doesn’t sound great, so the ERC issue is an accurate recreation.

To me, that means they’re both right; it’s just a question of whether you want a record that sounds good to you, or something authentic?

If you want something that will probably sound good to most people, Vinyl Me, Please reissued this album in 2021. While the ERC edition cost about $500 and is sold out, you can still get the VMP for under $70 (it only recently sold out). And the VMP sounds excellent because they (digitally) addressed some of the tape issues that Fremer elaborates on. It also looks cooler (green vinyl with a white promo-style label), has a very nicely done jacket (on ridiculously heavy stock), recreates the original inner sleeve (which ERC also did), and includes a re-created French EP!

This does raise issues around what a reissue should be. I’ve seen this hashed out since the 1980s: should a reissue 1) reflect the highest possible fidelity, or 2) reflect what the very first pressing sounded like, or 3) what the artist INTENDED things to sound like?

So, is the VMP what the Doors wanted it to sound like (had technology allowed) in 1967? If Bruce Botnick is endorsing it (as Fremer points out), I think that’s good enough. And clearly they — or Elektra -- weren’t happy with the mono back in ‘67.

But ERC’s selling point is originality, and that’s fine for some listeners, too.

If all this seems confusing, consider the very first UK pressings of The Beatles’ “Rubber Soul” (“loud cut”) and “Revolver” (with the wrong mix of “Tomorrow Never Knows”). By all accounts, neither is what the group wanted, nor is “Rubber Soul” of the highest possible fidelity. And that’s why they weren’t recreated or used as reference for the 2014 mono box. Yet there are plenty of people who seek them out and would pay handsomely for an ERC-like recreation.

My review of the VMP version:

The 1982-83 television season

The 1982-83 season had some notable hits (Cheers, St. Elsewhere, Newhart, Knight Rider, Remington Steele, Family Ties, The A-Team) as well as notable flops (Ace Crawford Private Eye, Gloria, Goodnight, Beantown, Square Pegs, The New Odd Couple, Ripley's Believe It or Not!, Silver Spoons) and even a couple shows which would catch fire later (Buffalo Bill, Mama's Family). Here's a night-by-night breakdown, for some reason.

SUNDAY:

“60 Minutes” was the top-rated show on all of TV. “Archie Bunker's Place,” “The Jeffersons,” “One Day at a Time” and “Trapper John” were all in the teens and winding down, creatively at least. After ABP was one-season wonder “Gloria” -- a strange concoction. Only ABC could muster any heat, with a 9pm movie.

 

MONDAY:

What a rad lineup! “Square Pegs,” “Private Benjamin,” “MASH,” “Newhart,” “Cagney & Lacey”... unfortunately, only “Newhart” would survive into the next year (though “Cagney” would return in spring '84 after viewer outrage). Again, only ABC could muster any heat, with “That's Incredible” and then another 9pm movie.

 

TUESDAY:

ABC's traditionally strong slate was showing its weakness at 8pm: “Happy Days” and “Laverne & Shirley” plunged to the low 20s thanks to “The A-Team.” On CBS, that meant Disney (and later, Tim Conway's "Ace Crawford") were in the ratings cellar. A 9pm movie did okay for CBS (#27) up against ABC’s lineup: “Three's Company” (#6), “9 to 5” and “Hart to Hart.” BTW that meant NBC's 10pm “St. Elsewhere” ranked a lowly #87.

 

WEDNESDAY:

ABC had “The Fall Guy” (#14) and “Dynasty” (#5). So CBS couldn't gain any traction with “Seven Brides for Seven Brothers,” “Alice,” or “Filthy Rich” (a proto-“Designing Women”). NBC had “Real People” (#30) at 8, but then from 9-11p did terribly with various combinations of “The Facts of Life,” “Family Ties,” “Buffalo Bill,” “Quincy,” “Taxi”... and "The News Is The News," which sounds just like "Yesterday," proposed in 1980 by Herb Sargent (SNL). It was essentially an expansion of "Weekend Update" to a nightly series.

 

THURSDAY:

"Must See TV" wasn't quite a hit yet, so CBS was flying high with #2 “Magnum,” #7 “Simon & Simon,” and #20 “Knots Landing.” NBC had “Fame” (with Yummy Award-winner LEE CURRERI!!!!!!!), “Cheers,” “Taxi” and “Hill Street Blues” (#21), billed in promos as the Best Night of Television on Television. ABC had several shows which are well-remembered today but weren't doing so great in '82-83: “20/20,” “Too Close For Comfort,” “Benson,” “Greatest American Hero”... plus a string of weird flops (“Joanie Loves Chachi,” “Condo” w/McLean Stevenson) and British adaptations (“Reggie” and “Amanda's”).

 

FRIDAY:

Another big night for CBS, a few years before stiff competition from ABC’s TGIF: “Dukes of Hazzard,” despite its weird recasting, still managed to come in at #30 (tying “Real People”), followed by #2 “Dallas” and #8 “Falcon Crest.” Among many floundering series on the other networks, standouts (for various reasons) include ABC's “The New Odd Couple” and NBC's “Knight Rider” and “Remington Steele.”

 

SATURDAY:

Seemingly a dumping ground for all three networks, except #9 “Love Boat” on ABC. CBS offered Disney at 8p (soon replaced by “Wizards & Warriors”) followed by a 9p movie.

The Beatles on 45

Here's a chronological history of US (mostly) Beatles 45s for anyone wondering how to get the most complete collection. I am only including cuts from their EMI recordings from 1962-70; no outtakes or reunion material or early disks backing Tony Sheridan (for example). This also tries to make sense of the colored vinyl 45s released in the mid-90s. If you have a jukebox and want to fill it with even more Beatle cuts (and save a lot of room), I recommend looking into the British or Mexican EPs released in the 60s and early 70s.

Vee Jay 498: Please Please Me/Ask Me Why

The Beatles’ American debut was their second UK single – a big hit in England but a flop in the US on tiny R&B label, Vee-Jay. Also released on Capitol in Canada (72090), where it did well.

 

Vee Jay 522: From Me To You/Thank You Girl

The Beatles’ third UK single was a big hit, so Vee Jay tried releasing it – for another flop. Again, it did well in Canada on Capitol (72101).

 

Swan 4152:  She Loves You/I’ll Get You

Vee Jay had flopped with two singles which had been massive UK hits. The label then canceled the release of the group’s first American LP and also failed to pay royalties, voiding its contract. So, the Beatles’ massively popular fourth UK single instead was released on Philadelphia-based Swan Records. Like previous American releases, it flopped, but did well in Canada (Capitol 72125). Swan reissued the disk in the wake of Beatlemania and it topped the charts. After Swan’s contract ran out in late 1964, however, Capitol never reissued this single – possibly because both sides were already included on the chart-topping LP, “The Beatles Second Album.” It was finally available again in 1994 on Capitol colored vinyl (“For Jukeboxes only!” according to the label) as #S7-17688.

 

Capitol (Canada) 72144: Roll Over Beethoven/Misery

I have no idea why these cuts – one each from the group’s first two UK albums – were coupled together and released in Canada in 1963. But the disk hit #2 there and sold decently as an import into the US (hitting #68). In 1965, it came out on the rare green swirl Capitol Starline budget reissue label (#6065). The b-side had also appeared in the US on Vee Jay, but would disappear until Capitol’s 1980 “Rarities” album.

 

Capitol 5112: I Want To Hold Your Hand/I Saw Her Standing There

Capitol finally takes a chance and releases the group’s fifth UK single, hitting pay dirt. Reissued on Capitol colored vinyl (S7-17689).

Vee Jay 581: Please Please Me/From Me To You

Vee Jay realized it could sell records by getting the heat from Capitol’s massive Beatles campaign. Not wanting to take a chance, they took two big UK hits – which had previously been flops in the US – and combined them. Reissued -- along with five other Beatle 45s -- on Oct. 11, 1965, on the very rare Capitol Starline label (green swirl) #6063, but never on Capitol colored vinyl for some reason.

 

Tollie T-9001: Twist And Shout/There's A Place

Vee Jay uses its offshoot label to get another Beatle record in the charts. Also reissued in 1965 on the Starline label (#6061), and again on Capitol colored vinyl in 1994 (S7-17699). The a-side was also issued as a promo-only single in 1986 to capitalize on its use in “Ferrie Bueller’s Day Off.” The b-side was an orphan from the UK “Please Please Me” LP when it was reconfigured into Capitol’s “The Early Beatles.” Its only other US appearances would be on Vee Jay’s version of the UK LP (“Introducing the Beatles”) and on Capitol’s 1980 “Rarities” album.

 

Tollie T-9008: Love Me Do/P.S. I Love You

Vee-Jay (and its new subsidiary, Tollie) had won the rights to continue releasing Beatle product until October, 1964, and used that time to rush out what had been the group’s debut UK single. A minor hit in 1962 England, but a #1 in 1964 America. Reissued in the 1965 Starline batch (#6062) and on Capitol colored vinyl (S7-56785).

 

Capitol 5150: Can’t Buy Me Love/You Can’t Do That

After several non-Capitol releases (and the accompanying legal action from EMI), Capitol puts out the first hotly anticipated track from the group’s upcoming film. Reissued on Capitol colored vinyl as S7-17690.

 

Capitol (Canada) 72144: All My Loving/This Boy

Beatles records were selling so well that this Canadian disk sold well enough in the northern US to chart at #45 as an import – no doubt helped by the fact that the A-side was the first song performed by the group during its first epoch-shattering appearance on “The Ed Sullivan Show” (February 9, 1964). Finally officially reissued by Capitol (US) in 1971 on the red-and-orange-scheme “target” label.

 

Vee Jay 587: Do You Want To Know A Secret/Thank You Girl

Vee Jay continued slicing-and-dicing the 16 Beatle tracks it had access to, this time giving George his first a-side vocal (and last until 1969) and notching a #2 hit. The b-side was leftover from the company’s flop second attempt to get a Beatle hit in 1963.  Popular enough to be reissued on Capitol Starline in 1965 (#6064).

 

Capitol 5222: A Hard Day’s Night/I Should Have Known Better

With so many Beatle disks spinning past cash registers, Capitol puts out only its third attempt – and third chart-topper.  Also a UK #1, but with a different B-side (“I’ll Be Back”) which would be the version reissued on Capitol colored vinyl (S7-17692).

 

Odeon (German) 45-O 29502: Sie Liebt Dich/Komm Gibb

EMI’s German affiliate successfully convinced the British company that it could only sell records sung in its native tongue. The Beatles dutifully recorded German vocals for its massively popular fourth and fifth UK a-sides for release in that country. The odd disk would see its b-side included (as a novelty) on Capitol’s third US LP. For some reason, the company ignored the a-side… which would be picked up by Swan Records as #72162. Apparently, someone at the tiny Philadelphia firm assumed they had rights to ANY version of “She Loves You.” The disk still made it to #97 in the charts.

 

Capitol 5234: I'll Cry Instead/I'm Happy Just to Dance With You

Capitol 5235: And I Love Her/If I Fell

Four of the seven cuts from the UK “A Hard Day’s Night” LP hadn’t been released as 45s yet. Capitol now had sole right to Beatle records in America – so it put out the songs. But with the film out of theaters by this point, they were minor hits.

 

Capitol 5255: Matchbox/Slow Down

Two songs from the UK “Long Tall Sally” EP had already appeared on “The Beatles Second Album.” So these two were oddly coupled and sent out as a single, reaching #17 and #25, respectively.

 

Capitol 5327: I Feel Fine/She’s A Woman

The Beatles’ eighth UK single was a Christmas chart-topper – and did the same in America at the beginning of 1965.

 

Capitol 5371: Eight Days A Week/I Don’t Want To Spoil The Party

Two cuts from the UK “Beatles For Sale” LP became a US #1 single.

 

Capitol 5407: Ticket To Ride/Yes It Is

Capitol 5476: Help!/Im Down

The group’s ninth and tenth UK 45s topped the charts on both sides of the Atlantic – the former sporting the “Help!” film’s original title (“Eight Arms to Hold You”). The latter was reissued on Capitol colored vinyl (#S7-17691).

 

Capitol 5498: Yesterday/Act Naturally

Two songs pulled from the non-soundtrack side of the UK “Help!” LP – a massive #1 in America. Reissued on Capitol colored vinyl (#S7-18901).

 

Capitol Starline 6066: Kansas City/Boys

I’m not sure who decided that two cover songs needed to be coupled and released on the budget label, but here’s the sixth and final Beatle disk in the Starline series. Perhaps the releases were intended to make up for the gap between material from the UK “Help!” and “Rubber Soul” LPs? Charted at #102.

 

Capitol 5555: We Can Work It Out/Day Tripper

The Beatles’ 11^th UK single was another Christmas chart-topper – and did the same in America at the beginning of 1966. Reissued on Capitol colored vinyl (#S7-18895).

 

Capitol 5587: Nowhere Man/What Goes On

In 1964, Capitol had pulled two cuts from the LP released by the group at Christmas – and got a chart topper in early ’65. A year later, they tried the same thing. But “Nowhere Man” only made #3 in America in early 1966. Reissued on Capitol colored vinyl (#S7-18894).

 

Capitol 5651: Paperback/Writer Rain

Capitol 5715: Eleanor Rigby/Yellow Submarine

Capitol 5810: Strawberry Fields Forever/Penny Lane

Capitol 5964: All You Need Is Love/Baby, You’re A Rich Man

For the rest of 1966, Capitol would follow the Beatles’ wishes and conform US single releases to those in the UK. For 1967, it was written into their new 9-year EMI contract. All reissued on Capitol colored vinyl as, respectively, #S7-18902, 17696, 17697, 17693.

 

Capitol 2056: Hello, Goodbye/I Am The Walrus

Capitol 2138: Lady Madonna/The Inner Light

In late 1967, Capitol ran out of numbers in its 5000 series, and rolled it over to the 2000 series – hence the change in catalog numbers. While “Hello, Goodbye” hit #1, “Lady Madonna” only got to #4. I wonder if that’s because it was the group’s last release on Capitol proper, before they started their own Apple label (to be manufactured and distributed by Capitol). Were the promo men a bit miffed? I also wonder if the same thing didn’t happen in mid-1975, when Capitol realized that three of the four Beatles were leaving at the end of the aforementioned 9-year contract: Paul’s three singles in 1975 hit #1, #12, and #35. John, George, and Ringo, however, were leaving and saw their sales rapidly decline.

 

Apple 2276: Hey Jude/Revolution

Apple 2490: Get Back/Don’t Let Me Down

Apple 2531: The Ballad Of John And Yoko/Old Brown Shoe

Apple 2654: Something Come Together

Apple 2764: Let It Be/You Know My Name (Look Up The Number)

Four more US chart-toppers which conformed to their UK counterparts… while Apple 2531 only got to #8 in America, likely due to many stations banning it for use of the word “Christ.” Only three of these were reissued on Capitol colored vinyl: “Hey Jude” (#S7-17694), “Something” (17698), and “Let It Be” (17695).

 

Apple 2832: The Long And Winding Road/For You Blue

Someone (likely Allen Klein) talked the Beatles into letting Capitol release another US single from the “Let It Be” album – another #1 (and their last). Reissued on Capitol colored vinyl (#S7-18898).

 

Apple (Netherlands) 5C 006-04982: All Together Now/Hey Bulldog

There wouldn't be any "new" US or UK Beatle singles until 1976, when EMI was free to repackage the group's material without getting permission. However, this 1972 single of two cuts from the "Yellow Submarine" LP was likely a tie-in to the film being reissued. See Capitol S7-18893 below.

 

Capitol 4274: Got To Get You Into My Life/Helter Skelter

A 45 to promote the “Rock and Roll Music” album in America. This hit #8 while Paul’s “Silly Love Songs” was on its way down the chart, and “Let ‘Em In” was on its way up – giving him three Top 40 entries in the same week. That was a feat which hadn’t been achieved since… 1964, when The Beatles did it. Reissued on Capitol colored vinyl (S7-18899).

 

Capitol 4347: Ob-La-Di, Ob-La-Da/Julia

Two cuts from “The White Album” which only reached #49 in 1976. Reissued on Capitol colored vinyl (S7-18900).

 

Capitol 4612: Sgt. Pepper's; With A Little Help From My Friends/A Day In The Life

A maxi-single with three cuts from “Sgt. Pepper,” likely as a tie-in to the 1978 issue of the album as a picture disk. Reissued on Capitol colored vinyl (S7-17701).

 

Capitol S7-17488: Birthday/Taxman

Capitol S7-17700: Here Comes The Sun/Octopus's Garden

Capitol S7-18891: Across The Universe/Two Of Us

Capitol S7-18897: Here, There And Everywhere/Good Day Sunshine

More singles which were only released in the Capitol colored vinyl series, combining popular tunes from the same albums (on each) and giving George (and even Ringo) more 45-placings.

 

Capitol S7-18893: It's All Too Much/Only A Northern Song

A colored vinyl single of the two remaining (George) songs from the “Yellow Submarine” LP which were NOT released on the 1972 Dutch single above. Get both 45s and your jukebox can have the entire film soundtrack!

 

Capitol S7-18896: Lucy In The Sky With Diamonds/When I'm 64

Capitol S7-18890: Magical Mystery Tour/The Fool On The Hill

Capitol S7-18892: While My Guitar Gently Weeps/Blackbird

Capitol S7-18889: You've Got To Hide Your Love Away/I've Just Seen A Face

Capitol S7-19341: Norwegian Wood/If I Needed Someone

More singles which were only released in the Capitol colored vinyl series, each combining two popular tunes from one album. The last (“Norwegian Wood”) was issued on black vinyl for some reason; it’s green vinyl counterpart was a limited edition from Collector’s Choice music, numbered 18888.

 

Notice that each of these last ten 45s couples two songs from every UK Beatle album after 1964 – and pulls two from the double “White Album.” Appropriate. Also, there were essentially two batches of 14 colored vinyl singles… and a third batch could have easily been made from the remaining 10 Capitol and 4 Starline releases. Perhaps this was planned and never happened?

Sitcom directors and the ratings hex

I’ve always had a theory that three-camera sitcoms which did NOT have a consistent director were somehow ratings-cursed. The shows here are all classics and deserved higher ratings. But for two reasons, I feel they had a hex: 1) the lack of a regular director (even though the on-air product was always first-rate), and 2) network programmers who kept moving the shows around, then killing them off too soon. “Barney Miller” is likely the exception here since it ran for eight seasons and often hit the Top 20 in a consistent time slot (Thursdays at 9pm). In its later years, it also was shot less like a conventional multicam sitcom. Anyhow, have a look at the diverse number of directors for these shows...

 

"The Odd Couple"

The show's first season was shot single-cam, on a closed set, an approach which necessitates multiple directors. But even for seasons 2-5, it was all over the map. The most frequent directors were quite accomplished:

Jerry Paris (18 episodes)

Jack Donohue (14)

Hal Cooper; Mel Ferber (11)

Frank Buxton (9)

Beyond that, I get the sense they were letting anyone who could handle directing do the job -- usually one of the show’s writers or producers, though there are definitely some notable directors like Jay Sandrich, George Tyne, and Alan Rafkin:

Bruce Bilson; Garry Marshall; Jay Sandrich (6 episodes)

Harvey Miller (5)

George Tyne; Norm Gray (4)

Alan Rafkin; Bob Birnbaum; Jerry Belson (3)

Alex March; Charles R. Rondeau; George Marshall (2)

Charles Shyer; Dan Dailey; Dick Michaels; Jack Winter; George Tyne and Bob Birnbaum (1)

 

“WKRP in Cincinnati”

This show is the poster child for constant schedule changes. Seems like every time audiences found the show, CBS moved it. And the same with directors – each time someone notched up an impressive string of episodes, they were snatched up by another show:

Rod Daniel (23 episodes) -- by the way, that's his picture above

Will Mackenzie (17)

Asaad Kelada (15) – left for “The Facts of Life”

Linda Day (11) – left for “One Day at a Time”

The rest of the run has a large number of castmembers/show staff mixed with some surprising names like John Stamos’ uncle, or George Gaynes (of later of “Punky Brewster” and the Hugh Wilson-directed film, “Police Academy”):

Frank Bonner (6)

Michael Zinberg (4)

Nick Stamos; Dolores Ferraro (3)

Hugh Wilson; Dan Guntzelman (2)

George Gaynes; Jay Sandrich; Howard Hesseman; Gordon Jump (1)

 

“NewsRadio”

Tom Cherones left “Seinfeld” after its fifth season to helm “NewsRadio,” eventually directing 57 episodes. The remainder went to a mix of people – almost all of whom are well-known sitcom directors. I guess the ratings never materialized because the show -- like its radio cousin, “WKRP” – kept getting moved around. Or maybe it was just too smart:

James Burrows (7 episodes) – Burrows often directs the pilots for multicam sitcoms, but here he stuck around and did the first four shows, returning for three more near the end of season two.

Alan Myerson; Judi Elterman (5)

Patrick Maloney (4)

Gregg Heschong; Leonard R. Garner Jr.; Michael Lembeck (3)

Lee Shallat Chemel; Peter Bonerz; Skip Collector (2)

Dave Foley; Joe Furey; Peter Baldwin; Rich Beren (1)

 

“Barney Miller”

An interesting mix here, but Noam Pitlik directed 102 episodes from seasons 1-7. The show almost ended at that time according to thisHal Linden interview, but everyone agreed to return for an eighth and final season (1981-82). Unfortunately, Pitlik had signed on to become a regular director for “Taxi,” taking over for James Burrows, who was leaving to begin formulating “Cheers.” And fittingly, after “Barney” ended in the spring of ’82, its Thursday 9pm time slot was taken over (on another network) by “Cheers.” Anyhow, back to “Barney” directors, there are a LOT of people who did just one or two episodes, probably because of the long shoots and endless rewrites. Still, the show looked remarkably consistent on-air (again, this exercise doesn’t mean these shows weren’t excellent; it just means that I suspect they had a ratings hex). Even showrunner Danny Arnold, who didn’t do much directing by this point in his career, gets into the act… I wonder if he stepped in when a previously hired director dropped out or suddenly had issues with the production schedule? That’s a LOT of times as a sub!

Danny Arnold (12 episodes)

Bruce Bilson (10)

Lee Bernhardi (8)

Max Gail (5)

Gennaro Montanino (4)

Alex March; David Swift; Hal Linden; Jeremiah Morris (3)

Alan Bergmann; Homer Powell; Lee Lochhead; Tony Sheehan (2)

Allen Baron; Bill Davis; Bob Finkel; Dennis Steinmetz; John Rich; Mark Warren; Richard Kinon; Stan Lathan; Danny Arnold & Alex March (1)