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)