Great Songs from My Favorite Year in Music: 1985, Part 46

ABC - "Be Near Me"



(Single Release: January 1985)

"The message is perfectly simple, the meaning is clear. Don't ever stray too far, and don't disappear."

The 80s were replete with remixes. 12" singles became stock-in-trade, with anywhere from at least one extended version provided up to, sometimes, and entire album's worth of dance mixes. I was a huge sucker for them. One band in particular that lured me in with the extended singles was ABC. Having scored hits on two previous albums (and more precisely, the first album, The Lexicon of Love), ABC was an already established pop act. But, their third album, How to Be a...Zillionaire!, found main band members Martin Fry and Mark White opting for a completely different look, if not sound. With pop songwriting skills intact, Fry and White recruited two new band members more for their looks than their musical abilities. Though this wasn't the first time that fashion won out over function, it might have been the first time that band members were hired because they looked good as cartoons. Regardless, the album became one of their most commercially successful, spawning four hit singles before they would go back into the studio two years later with an album that would mark a return to the look and feel of their debut. The quotation above is how the song begins and the rest of the song follows the same template of a simple pleading Motown style love song, just without the Motown sound, or at least a more 80s pop version of Motown. It even has a call and response section (possibly my favorite part of the song) that follows, "What's your reputation? Ecstasy. What's your destination? Next to me." I love it. But, one has to wonder whether, in some scientific fashion, whether these songs would have been as successful without the cartoony flash. We would need a control group, a version of ABC without the packaging. A second question follows of whether or not this type of image would be successful outside of 1985. Regardless, "Be Near Me" was ABC's highest charting hit in the US and still a personal favorite.

Great Songs from My Favorite Year in Music: 1985, Part 45

Simply Red - "Holding Back the Years"



(Single Release: 1985)
Every so often, a song hits the mainstream charts that I would never have expected. Over the last year, amongst the songs by Katy Perry, Lady Gaga, and Justin Bieber, there were also chart-topping hits by Mumford & Sons. I was both shocked and comforted. It made me wonder whether the same people were listening to all of these artists, or whether this was a unified rebellion by the people who don't usually listen to popular music, with usual eclectic tastes bonding together behind one band to have it infiltrate the mainstream. Somehow, I don't think it's that complicated, but it is nonetheless reassuring. Looking back to 1985, especially amongst the other entries I've made thus far on the blog, I would count Simply Red's "Holding Back the Years" as one of those surprising and comforting anomalies. It is a ballad in the older sense of the word, not a love song, but a narrative set to music, in this case downtempo and more than a bit melancholy. Mick Hucknall wrote the song when he was seventeen, his mother having abandoned him to live with his father when he was but three. "Strangled by the wishes of pater / Hoping for the arm of mater," he sings, though most listeners probably have paid scant attention to the meaning of the lyrics. This is one of a couple songs that make me feel sad about aging. I turn forty this year and it is becoming harder for me to cope with it. I remember turning thirty and hearing another song that always makes me feel sad about aging, Blur's "The Universal." Ten years later and I am no better at coping. But, like every well constructed song, it can be enjoyed without that lyrical dimension. The piano and horns, especially during the bridge, are soothing and reverent of an organic kind of music that was considered passé in the 80s. Hucknall's voice is full of passion. There are only a few voices in popular music I would consider transcendent. Alison Moyet, Marvin Gaye, Jeff Buckley, Robert Plant, Freddie Mercury, Tom Waits, and David Bowie are in that group, and I'd say that Hucknall is not too far behind. His belting of "holding" is certainly powerfully captivating. Just a few short years ago, I was in a small local grocery at the checkout and this song was playing on the overhead system. The somewhat sassy clerk looked up at the speakers, then looked at me with a puzzled expression. "Man, how long has he been holding on? It's time to let go..." I'll always remember that exchange whenever I hear the song and also use it as a way to make myself smile and get over the passing of time. As Damon Albarn sang, "When the days they seem to fall through you, well just let them go."

Great Songs from My Favorite Year in Music: 1985, Part 44

Falco - "Rock Me Amadeus"



(Single Release: June 1985)
One year after Miloš Forman directed the award winning film, Amadeus came Falco's loving, yet kitschy tribute. Falco, an Austrian pop star, had already become somewhat famous in the U.S. with "Der Kommisar," which was given an English language cover version by British band, After the Fire. "Rock Me Amadeus," however, became the first German language song to hit #1 in the U.S. charts. (I guess "99 Luftballons" didn't make the cut). The song has now become somewhat the butt of jokes in parodying the 80s, mostly thanks to its quite memorable, sing-song chorus, which, along with "Superstar" are the only recognizable English words. Family Guy, Muppet Babies, "Weird" Al, and Adam Sandler have all taken jabs, but the best is definitely The Simpsons' "Rock Me Dr. Zaius" from the Planet of the Apes musical. I can't help but enjoy this song. There is sort of an Adam Ant meets rudimentary rap kind of vibe. One particular YouTube caption claims that this is the best song ever. I can't back up that hyperbole, but I'll side against the naysayers at the very least. By the way, how many other pop songs are there about historic composers? "Lisztomania?" "Roll Over, Beethoven?" Is that it?

Great Songs from My Favorite Year in Music: 1985, Part 43

Heart - "These Dreams"



(Album Release: July 1985)
When I wrote about Madonna's "Crazy For You," I revealed my love of cheesy 80s female sung ballads, including Heart's "These Dreams." There was certainly a time, considering the rest of the music I've presented on this list and my circle of friends, that this was decidedly uncool. Since I didn't live in Seattle at the time, I couldn't even claim local spirit. Now it can be told. I do adore this song. It is one of the few tracks with lead vocals by Nancy Wilson as opposed to sister, Ann. Though, I'm not sure if that is what makes it stand out. It is a ballad amongst a deep catalog of rock classics, including "Barracuda," "Magic Man," and "Crazy on You." That could be why it stands out. It is also completely trapped in the amber that is the 80s. The synth sounds, which seem to take up most of the song, would normally be considered anathema to 70s rock bands such as Heart, but in the 80s, there seemed to be a "when in Rome" type philosophy (not in reference to the 80s band who sang "The Promise"). The video is even more entrenched in the 80s, with huge hair, deco inspired sets, and flashy outfits with shoulder pads. The visuals seem somewhat silly in hindsight and, well, they probably seemed that way at the time, too. Nancy does her crazy rock star kicks and guitar acrobatics, despite the fact that this song is a sleepy synth track. In other words, the actions in the video, by almost all the band members, don't match the style of the song. Despite all of the goofiness of it, I still really enjoy this song. Moving to Seattle was a validation I never expected. As soon as I got here, I no longer had to hide my love of Heart, and I don't mean of the classic rock songs that everyone loves; I mean the syrupy, polished, overproduced 80s stuff. It was OK. Heart is BELOVED up here. They can essentially do no wrong. By all accounts, I should despise this track. Despite the fact that it is co-written by Bernie Taupin, the lyrics are awful. "I walk without a cut / through a stained glass wall"?? The music is written by the guy who wrote "We Built This City." I would have thought he would have been exiled after that song. But, that has not affected me and now, in Seattle, I have found kindred spirits. Now, if I can only find a girl who is okay with my love of the Bangles' "Eternal Flame.'

Great Songs from My Favorite Year in Music: 1985, Part 42

Cyndi Lauper - "The Goonies 'R' Good Enough"



(Single Release: June 1985)
I've been seriously debating whether or not to include this song. It's not one of my favorites. I've never owned a copy. It's not that I don't like Cyndi Lauper. On the contrary, I think she has some great stuff. This song, however, is incredibly goofy and that is perhaps why it charms me so. Of course, it doesn't hurt that I watched The Goonies over and over again as a child. I was also into wrestling and thus enjoyed many of the cameos including that of wrestling superstar baddie as well as chewing gum and kicking ass They Live star, "Rowdy" Roddy Piper. All the Goonies kids appear here, too. And apparently, though I haven't been able to spot them yet, the Bangles cameo as female pirates. Are you kidding? Susanna Hoffs in a pirate outfit? Believe me, I've looked. Though the song is kitschy and has nostalgic value, I'm not sure it merits the huge two minute plus storyline intro and a seven plus minute running time, though at least the one I've presented here isn't the extended two-parter that goes for twelve minutes. Honestly, I think any appreciation I have for this song comes from its tenuous connection (at best) to the film. But, that was enough to tip the scales in favor of including it in this blog series. Or, maybe it's not enough. Oh well, too late.

Sunday's Playlist: 8-7-11

The Drums – “I Need Fun in My Life”
The Walkmen – “Woe is Me”
Broadcast – “The Little Bell”
The Sundays – “I Won”
Lonely Island – “Threw It on the Ground”
Michael Jackson – “P.Y.T. (Pretty Young Thing)”
Bad Lieutenant – “These Changes”
Stricken City – “Tak o Tak”
U2 – “I Still Haven’t Found What I’m Looking For”
The Smithereens – “Behind the Wall of Sleep”
Neko Case – “This Tornado Loves You”
Bomba Estéreo – “Palenke”
F#$@ed Up – “Running on Nothing”
Stina Nordenstam – “I Came So Far For Beauty”
Zero 7 – “Distractions”
Vampire Weekend – “California English”
Machines of Loving Grace – “Richest Junkie Still Alive (Sank Remix)”
Belle and Sebastian – “The State I Am In”
Porter Wagoner – “The Rubber Room”
The Cardigans – “Ironman”
Guided by Voices – “Smothered in Hugs”
The Other Two – “The Greatest Thing”
Les Savy Fav – “Poltergeist”
Santogold – “Lights Out”
Elbow – “Jesus is a Rochdale Girl”
Starsailor – “Poor Misguided Fool”
Crystal Castle – “Pap Smear”
Mumford & Sons – “Winter Winds”
My Morning Jacket – “Slow Slow Tune”
White Denim – “I’d Have it Just the Way We Were”
Devo – “March On”

Films of the 60s, Part 9: Is There a Ghost in My House?

“When I lived alone, is there a ghost in my house?” – Band of Horses



G-g-g-g-ghosts! I used to be terrified of ghosts. Stories from friends about attic hatches opening up on their own, apparitions, and urban myths would always give me the chills. There was just something particularly menacing about an unseen presence, even more an unseen malevolent presence that acts for unknown reasons, or even worse, is angry about you being in its space, which is usually a huge motivating factor in ghost fiction. Whereas before, I was about 90% sure I believed in ghosts, I am now at about 1%, just leaving open a small opportunity for mere possibility. What changed my mind? Oddly enough, ghost shows. Whether Hunters, Adventures, Lab, or other, I immersed myself in these programs, partly to rid myself of the fear, and partly because I just found them ridiculously entertaining. I don’t know if I can even explain how they came to make me an unbeliever, aside from years of specious science, arguable evidence, and iffy reasoning. In other words, the explanation for EVERY sound, temperature change, movement, etc. is ghosts, especially with Ghost Adventures. Ugh. I’m over it. That doesn’t mean I’m not interested in ghosts or ghost stories anymore. In fact, I’d say I’m probably more interested, but I take it as captivating fiction, not as scientific explanation for life after death. It seems lately, however, that American studios can’t write and film a good ghost story. Some of the best seem to be coming from different Asian countries. But, in the 60s, there were some really good ones, and perhaps a few cheesy, but fun ones as well.



13 Ghosts (1960, William Castle)

I’ve written previously about House on Haunted Hill, one of William Castle’s gimmicky films. Through such films as The Tingler (probably his most ingenious idea), he was able to make the movie going experience more of a communal and interactive one, something from which modern cinema can learn a little something. I won’t go into it here, but look up William Castle on Wikipedia and check out what The Tingler was all about. Anyway, 13 Ghosts was another one of those gimmick horror films, about a family who inherits a haunted house. No, it’s not an entirely original idea, but that wasn’t the point. There were a few curveballs here that made it interesting. For one, the house came with a spooky maid who provided exposition, played by Margaret Hamilton, aka “The Wicked Witch of the West!” For another, the ghosts were all sorts of weird, including some that made sense, such as Emilio the chef (who looks a whole lot like the Swedish Chef due to his cartoonishly large moustache), his unfaithful wife, and her lover (all of whom can be seen in the pic above), but also ghosts that made no sense whatsoever, such as a flaming skeleton, the headless lion tamer, and a ghost lion.

Really? A ghost of a lion? I won’t even get into the idea that there are animal ghosts, but does the idea of a ghost of a scary animal make it doubly scary? No. Scary plus scary does not equal scary, somehow. Anyway, onto the gimmick. The idea with 13 Ghosts is that ticket buyers were given “Illusion-O!” glasses, based somewhat on the 3-D premise of the red and blue plastic lenses that would reveal different layers of effect. With “Illusion-O!,” there was one full bar of red lens and one of blue lens. Viewers were then allowed to pick whether they believed in ghosts or didn’t and choose accordingly whether they wanted to see the red-colored ghost images or choose to hide them. Fairly ingenious, no? I can say that just by using a pair of 3-D glasses I got with the Batman Arkham Asylum game, the effect worked quite well. I was shockingly surprised!

This film was later remade with Tony Shalhoub and critics panned it fairly harshly, saying that it lacked scares. I found that critique quite odd as the original was hugely lacking in scares. In fact, the original is family friendly, and none of the characters seem to be all that concerned with the presence of ghosts. There is even a somewhat family sitcom-like happy ending, and the young boy of the family hoping that the ghosts come back. Sure, the ghosts punished the greedy lawyer and saved him from a bed that was going to crush him (you’ll have to see it to understand that statement), but still, he likes having ghosts around?

Other than the neat trick of the “Illusion-O!,” the effects in this film are terrible, and the suspension of disbelief needed is crazy. Flies on strings and floating Ouija boards are just two examples, and with the latter, the family still decides to stay the night and say they are just having a group hallucination! Ummm….yeah. As soon as I see a floating Ouija board planchette, I’m not trying to reason it out. Frankly, when I saw the family’s reaction, I felt they all deserved to die at that point. One of the worst effects is the sound of the ghosts. Some of them have the requisite low moan, but others have pitched and sped up voices so that they sound like the Chipmunks. Though I often get a chill when I hear the Chipmunks’ Christmas song, I don’t find it terrifying. But, even with its many flaws, the movie is entertaining and fun, even downright silly at times, making it a campy favorite, especially if you can get a hold of some 3-D glasses, or even the “Illusion-O!” lenses, which were briefly made available for the DVD release in 2002.



The Innocents (1961, Jack Clayton)

Henry James’ “The Turn of the Screw” is considered one of the western world’s most classic ghost tales. Published in 1898, the story has been told, retold, and made into plays and films many times over since then. “The Turn of the Screw” has everything I love about ghost stories. It is not one of those slasher or jump-scare kind of stories, but is instead based in a real-world setting and is entirely ambiguous. Throughout the story, we are left to wonder whether the ghosts in this story are real, are perhaps figments of the governess’ imagination or psychosis, or are metaphors for some other kind of malevolent evil. In other words, it mirrors the conflicting views on the actual existence of ghosts. If they are real, they are incredibly frightening just by their mere existence and suggested presence, and if not, they speak to the psychological state of the witness.

The Innocents, a British film that quite faithfully adapts “The Turn of the Screw,” is a masterpiece of psychological horror, even adding more elements that ratchet up the scares, including more of a gothic feel thanks to screenwriter Truman Capote, a Freudian sexual element, and the absolutely frightening trope of the devilish, high-voiced, proper, accented child. (Shudder). Is there anything scarier than a little English boy who seems possessed? Of course, with film, as compared to literature, there is not as much room left for interpretation, as the filmmaker has to decide what we, as the viewers, can actually see along with the governess. Should we see the ghosts or should we, along with the kids and the maid, see nothing? Either way, we are forced into one perspective. However, director Jack Clayton handles this deftly. Though we can see and hear the apparitions along with the governess, we are still left wondering how much of what we saw was real.

Though Miles and Flora, the children the governess is charged to take care of, exhibit actions that make us question their complicity in the existence of the spirits, or even in a possible evil plot to send the governess spiraling into madness, we can just as easily see it from the point of view of seeing the governess being affected by her own knowledge (the objects in the attic, the exposition from the maid, the scary nature of the manse itself, etc.), which she then projects onto the children. I love this film. It is certainly not your typical ghost story, going far beyond the usual jump scares and delving into psychological territory that adds further dimension to what could have easily been a two-dimensional adaptation. The acting is superb, the writing is captivating, and the overall direction and handling of the film as a whole is phenomenal. I hate movies that end up with one “in your face” easy answer, and this one leaves you talking about it long after the last frame slips through the projector (metaphorically).



The Haunting (1963, Robert Wise)

This is probably the most frightening ghost film of the three I’m presenting in this post. Directed by the great Robert Wise, who also brought us the first Star Trek film, The Sound of Music, and West Side Story, The Haunting is another one that was remade, but again, not nearly as well. Based on the novel by Shirley Jackson, the story follows a group of paranormal experts, which was well before its time, and their exploration of a spooky house. Again, not particularly original, but the way in which these scares are given is truly psychological and innovative. (Weird aside: my iPod, on shuffle, just brought up Les Savy Fav’s “Poltergeist.” Maybe I should rethink this whole “existence of ghosts” thing.) Anyway, Martin Scorsese puts The Haunting at the top of his scariest movies list, and while I might reserve that spot for The Shining, or perhaps The Exorcist, I certainly can’t fault Marty in his reasoning.

First of all, I’m shocked that this movie received a “G” rating. There are three deaths, including a hanging, within the first ten minutes. Kid-friendly, this movie is not. The weird experiences in the house seem to center around Nell, played by Julie Harris, who seems to be more and more attracted to the strange goings-on, almost compelled to become involved in the spirit world. As compared to most ghost films, very few of the scares are actual visual representations of ghosts, but rather terrifying sounds and slowly moving doorknobs and such. Frankly, I find this more terrifying than the former. Show me a ghost, such as the terribly superimposed ones within 13 Ghosts and I tend to laugh, but show me a doorknob slowly turning and my mind tends to go to places that I’d rather it not. I suppose that’s why in watching the numerous ghost hunting shows that exist, I am never all that scared, but if I were actually there, in the dark and hearing footsteps, I’d be mortified.

The Haunting takes its scares seriously and not as gimmicks or cheap thrills. Further, the ghosts have a seeming mission or goal and are not just random. We begin to get more and more clues to what these ghosts are all about as the investigators continue their experiments, but the full reveal at the end of the film is more satisfying than I could have imagined. The Haunting provides real scares and a compelling story. It even broke some taboos by having a character display some lesbian tendencies at a time when that certainly wasn’t as accepted as it is today. Do yourself a favor, watch this one with a good surround sound system, preferably late at night, and possibly alone.