For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
Death is a classy early punk band that packed politically charged lyrics with aggressive and funky playing. They’re great players, which shows in a lot of my favorite songs of theirs being instrumentals. Still, “Politicians In My Eyes” is an iconic track. Their catalog is a bit confusing. It consists of the occasional non-album single and three LPs recorded with the classic lineup, one of which was not released for decades; then they reformed without their deceased guitarist David Hackney and are still actively recording. On top of all this, the bundle has gone through many name changes. I’ve defined the band as whatever includes its two constant members, Bobby Hackney on bass and vocals and Dannis Hackney on drums. Another amusing discovery is that before David died, the other two members formed a new band called “Lambs Bread” and released several obscure albums. If you consider that even in the music labeled “Death” the guitarist changed, then there’s no reason not to consider Lambs Bread more of Death. The cherry on top is that the guitarist of reformed Death, Bobbie Duncan, had played in Lambs Bread. It is worth noting that much of Lambs Bread is so obscure that I couldn’t find it online. I will still list the info I found.
Another frustrating fact is that while a lot of 70s classic lineup demo material has been released, some doesn’t come with a recording date. The release with this problem is listed as being cut vaguely from 1974 to 1976. It’s also said to mostly predate the band’s 1975 studio recordings. How I’ve ordered things, any song without a known recording year I’ll assume is 1976, which leaves one album’s worth of material with confirmed dates of some 1973 or 1975 and a follow up. However, I suspect that if I did have all the dates the first album would be the 1973 tracks and a ton of demos, then the second would be the studio sessions and what came after. Fortunately, the sequences I’ve made are still strong regardless.
Alternate ideas for this album title were the group’s early name RockFire Funk Express, their first album’s name …For the Whole World to See, or my Spotify playlist Introduction By David. I picked the one I did as it’s been a little joke that’s run through my mind for a while. This album is a bit longer than I’d have liked, but some of the band’s completed albums are similarly lengthy. Also note that for the World album, originally Death were to record twelve tracks, but only got to do seven. This resulted in a little under thirty minutes. Thus, you can imagine that those twelve songs may have totaled around forty-five minutes if completed. Another concern is that the album is front loaded with too many instrumentals, but I wanted to preserve the actual sequencing for World within this one. Otherwise, I might have moved one of the instrus to around the middle of side b.
Death – Can You Give Me A Thrill??? (1979) – YouTube, Spotify
TRACKLISTING
SIDE A
“Can You Give Me A Thrill???” (Recorded Between 1974-1976)
“People Look Away” (Recorded Between 1974-1976)
“The Storm Within” (Recorded Between 1974-1976)
“David’s Dream (Flying)” (Recorded Between 1974-1976)
“We Are Only People” (Recorded 1976)
SIDE B
“North Street” (Recorded 1979 Or 1980)
“Restlessness” (Recorded 1979 Or 1980)
“Open Road” (Recorded 1979 Or 1980)
“Dannis On The Motor City Drums” (Recorded Between 1974-1976)
Anything I couldn’t find by Lambs Bread is simply not linked. However, you can find some of their material for purchase on their website: https://www.lambsbreadband.com/
“We’re Gonna Make It” (1992 (Featuring Death’s classic lineup))
“The Masks” (2011)
“Keep On Knocking” (2011)
“Cease Fire” (2017)
“Give It Back” (2018)
“World In Disguise” (2023)
There are modern-era live recordings and a documentary for those interested. Considering how there are no released demos of the studio material of the 70s and 80s other than just once, I bet there are some that were recorded, but not released. Hopefully they will be in due time. More new music, such as LPs, would also be nice.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
This project became a bit of a mess. I wanted to cover the many, many alternate versions of tracks. Just like Black Flag, Misfits loved to go in the recording studio just to do the same songs over and over, with most not released until compilations many years later. The various Box Sets are sequenced absurdly, with them being sorted in a very strange order. Releases claiming to be comprehensive tended to miss things. Also like Black Flag, Misfits is just okay. I think on average Danzig’s Conservative Merry-Men are better, for all their absurdity, but Damaged is still solid.
The first two albums are my fan albums (which feature no overlap with the two proper (extremely short) LPs), followed by a chronological mix of official albums and self-made compilations of alternate versions for those that don’t want to leave anything behind, other than the post-Danzig era.
Believe it or not, but Static Age is one of my all time favorite album covers. The music itself is okay. Halloween is a bit better, and the rest I’ve heard is just whatever, but I’ll still raise a glass to that cover.
“Static Age” (Remixed 1985 and Released on Legacy of Brutality)
“TV Casualty” (Remixed 1985 and Released on Legacy of Brutality)
“Some Kinda Hate” (Remixed 1985 and Released on Legacy of Brutality)
“Hybrid Moments” (Remixed 1985 and Released on Legacy of Brutality)
“Come Back” (Remixed 1985 and Released on Legacy of Brutality)
“Angelfuck” (Remixed 1985 and Released on Legacy of Brutality)
“Theme For A Jackal” (Remixed 1985 and Released on Legacy of Brutality)
“She” (Remixed 1985 and Released on Legacy of Brutality)
“Spinal Remains” (Remixed 1985 and Released on Legacy of Brutality)
“Where Eagles Dare” (Remixed 1986 and Released on Disc 1 of the 1996 Box Set)
“Skulls” (Remixed 1986 and Released on Disc 1 of the 1996 Box Set)
“Astro Zombies” (Remixed 1986 and Released on Disc 1 of the 1996 Box Set)
“20 Eyes” (Remixed 1986 and Released on Disc 3 of the 1996 Box Set)
“Violent World” (Remixed 1986 and Released on Disc 3 of the 1996 Box Set)
“Mephisto Waltz” (Recorded August 8, 1986)
“Hate Breeders” (Recorded August 8, 1986)
“Cough/Cool” (Remixed 1987)
“Braineaters” (Recorded September 10, 1987)
“Nike A Go Go” (Recorded September 10, 1987)
“Devils Whorehouse” (Remixed September 10, 1987)
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
Black Flag is a band that started off with a lot of recordings and not a lot of albums. Eventually they stabilized with few strays and a lot of albums. It seemed like a fun challenge to sort this all out despite not being terribly fond of the band. The product of the early tracks is an album I’m calling Nervous Breakdown. It contains every unique track pre-Damaged, not including anything re-recorded later. Surprisingly, the result is a shockingly short twenty minutes. Due to a lot of historically relevant alternate versions being left on the chopping block, I made an album of those alternates. There’s enough recordings between these two to make three full LPs. In between Damaged and My War are more alternates and four unique cuts. I decided to make a very short EP and a fuller alternate version album. Finally, two 1985 EPs are combined to create a disparate album, but not anymore than the official My War or Family Man. Minuteflag is left as an EP due to it being a collab with Minutemen and thus it’s own thing. Also, the alternate versions albums haven’t been listened to and were merely ordered in as close to recording date as possible.
In parentheses is the release a track came from.
Black Flag – Nervous Breakdown (1981) – YouTube, Spotify
TRACKLISTING
SIDE A
“Nervous Breakdown” (Nervous Breakdown) (Recorded January 1978)
“Fix Me” (Nervous Breakdown) (Recorded January 1978)
“I’ve Had It” (Nervous Breakdown) (Recorded January 1978)
“Wasted” (Nervous Breakdown) (Recorded January 1978)
Black Flag – I Can See You (1985) – YouTube, Spotify (Tracks either from the The Process of Weeding Out EP or the I Can See You EP. All apparently recorded March 1985.)
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
With my recent Buddy Holly fan album and story project, I canonized his two proper studio albums as having happened as I didn’t want to alienate those that would prefer to enjoy the official albums as is. My plan was to continue this methodology for the post-Buddy years. On top of that, considering the fact that Jerry Allison is by far the only consistent member, I came up with some fun albums based on the logic that any song with Jerry is the Crickets. I then listened to my albums with this concept in mind. While some may still prefer listening to the official albums as they are and slotting the stray track ones in, I have found many of the official and personal sequences problematic for a few reasons: Some of these tracks are quite bad and some albums have tracks that would fit better elsewhere. Thus, I’ve decided to publish my stray track sequences here, as well as certain story ideas that can’t be reused, then I’ll write the narrative around what I think would make the best albums, with new sequences that arrange any track how I see fit.
For those that are fans of Jerry Allison or Sonny Curtis, I hope I can do them justice by accumulating so many rare recordings, especially because some are quite solid. One example is that Allison, Curtis, and famed Crickets bassist Joe B. Mauldin did some better known recordings as the Crickets, but also some obscure ones under different names. Those obscure ones are gathered and treated like just any other Cricket track.
During the Bobby Vee and later Jerry Naylor eras of the group, there is shaky and unreliable personnel info. Thus, things are listed vaguely.
Any album without a tracklist is an official album, not a construction of mine (unless where noted).
Based on some research, I think that almost every recording credited to Sonny Curtis as a solo artist prior to his 1979 solo album features the then-current Crickets lineup. There’s a few cases where either a track from a Crickets album is released as a solo Sonny single or the personnel is simply known to include them. However, his first two singles and flipsides have worse odds of featuring them, but I still wanted to include those regardless. The other oddity here is from the 1955 recordings he did. Him and Buddy Holly did six songs together. Five were released on my Buddy Holly & The Two Tones project, but one more, “Queen of the Ballroom”, was excluded due to their being a version with Buddy on vocals. This track almost definitely lacks Jerry Allison, but I didn’t want any of these early rarities to go absent from these albums, so here they are.
The primary source I used for information was Praguefrank, as well as Discogs, Nor-Va-Jak Music, and the Discography of American Historical Recordings.
The first post-Buddy lineup
The Crickets & Their Buddies Volume 2 (1959) – Archive.org
TRACKLISTING
SIDE A
Billy Walker – “On My Mind Again” (Recorded April 8th, 1957)
Hal Goodson & The Raiders – “Who’s Gonna Be The Next One Honey” (Recorded May 2nd, 1957)
Hal Goodson & The Raiders – “Later Baby” (Recorded May 2nd, 1957)
Johnny “Peanuts” Wilson – “I’ve Had It” (Recorded November 10th, 1957)
The Roses (Robert Linville, Ray Rush, David Bingham) – backing vocals (track 3)
Buddy Holly – guitar (track 6)
Larry Welborn – bass (track 6)
Dudley A. Brooks – piano (track 8)
Johnny Mann, Alan Davies, Bill Lee – backing vocals (track 8)
The Crickets – In Style With The Crickets (1960) – YouTube, Spotify
PERSONNEL
Earl Sinks – lead vocals (tracks 2-6, 8-12)
Sonny Curtis – lead guitar (tracks 1-12), lead vocals (tracks 1, 7)
Joe B. Mauldin – bass (tracks 1-12)
Jerry Allison – drums (tracks 1-12)
Dudley Brooks – piano (tracks 1, 2, 3, 7)
The Roses – backing vocals (track 12)
Tommy Allsup – rhythm guitar (tracks 1-5, 7-10)
A common issue with the one-off singers is they can’t sing very well. Bobby Vee and Johnny Burnette are personal least favorites. However, there are some gems. David Box is excellent and by far the group’s best singer that went for a Buddy Holly-vocal style. “You Made Me Love You” also has phenomenal backing vocals.
The Crickets & Their Buddies Volume 3 (1960) – Archive.org
TRACKLISTING
SIDE A
Derrell Felts – “It’s A Great Big Day” (Recorded February 13th, 1959)
Jimmy Bowen – “You Made Me Love You” (Recorded February 21st, 1959)
The Everly Brothers – “(Til) I Kissed You” (Recorded July 7th, 1959)
The Everly Brothers – “Oh What a Feeling” (Recorded July 7th, 1959)
Jack C. Smith – “Honeysuckle Rose” (Recorded 1959, Released May 1960)
David Box – “Don’t Cha Know” (Recorded August 11th, 1960)
SIDE B
Derrell Felts – “Lookie Lookie Lookie” (Recorded February 13th, 1959)
Jimmy Bowen – “Eenie Meenie Minnie Moe” (Recorded February 21st, 1959)
The Everly Brothers – “Let It Be Me” (Recorded December 15th, 1959)
The Everly Brothers – “Since You Broke My Heart” (Recorded December 15th, 1959)
Jack C. Smith – “There’ll Never Be Another” (Recorded 1959, Released May 1960)
David Box – “Peggy Sue Got Married” (Recorded August 11th, 1960)
Derrell Felts – lead vocals, probably guitar (tracks 1, 7)
Sonny Curtis – lead guitar (tracks 2-4, 8)
George Atwood – bass (tracks 2, 8)
Jimmy Bowen – lead vocals, guitar (tracks 2, 8)
Don Everly – lead vocals, probably guitar (tracks 3-4, 9-10)
Phil Everly – lead vocals, probably guitar (tracks 3-4, 9-10)
Chet Atkins – guitar (tracks 3-4)
Lightnin Chance – bass (tracks 3-4)
Floyd Cramer – piano (tracks 3-4)
Jack C. Smith – lead vocals (tracks 5, 11)
David Box – lead vocals, lead guitar (tracks 6, 12)
Ernie Hall – drums (track 6)
Howard Collins – guitar (tracks 9-10)
Barry Galbraith – guitar (tracks 9-10)
Mundell Lowe – guitar (tracks 9-10)
Lloyd Trotman – bass (tracks 9-10)
Hank Rowland – piano (tracks 9-10)
Johnny Burnette & The Crickets – Dreamin’(1960) – YouTube
TRACKLISTING
SIDE A
“Dreamin’” (Recorded January 7th, 1960)
“Kaw-Liga” (Recorded January 7th, 1960)
“You’re Sixteen” (Recorded September 19th, 1960)
“I Beg Your Pardon” (Recorded September 19th, 1960)
“Singing The Blues” (Recorded November 29th, 1960)
SIDE B
“It’s My Way” (Recorded September 19th, 1960)
“That’s The Way I Feel” (Recorded November 28th, 1960)
“Little Boy Sad” (Recorded November 28th, 1960)
“I Love My Baby” (Recorded November 28th, 1960)
“(I Go) Down The River (Recorded November 28th, 1960)
PERSONNEL
Johnny Burnette – lead vocals (tracks 1-10)
Howard Roberts – guitar (tracks 1-2)
Glen Campbell – guitar (tracks 1-2)
Jerry Allison – drums (tracks 1-10)
Johnny Mann Singers – backing vocals (tracks 1-2)
Joseph Gibbons – guitar (tracks 3-10)
Vincent Terri – guitar (tracks 3-4, 6)
George Callender – bass (tracks 3-10)
Ernie Freeman – piano (tracks 3-4, 6)
Milton Pitman – guitar (track 5, 7-10)
Johnny Burnette & The Crickets – Let’s Think About Living (1961) – YouTube, Spotify
TRACKLISTING
SIDE A
“Let’s Think About Living” (Recorded November 29th, 1960)
“It’s Only Make Believe” (Recorded November 29th, 1960)
“Oh Lonesome Me” (Recorded November 29th, 1960)
“Dream Lover” (Recorded November 30th, 1960)
“You’re So Fine” (Recorded November 30th, 1960)
SIDE B
“Blue Blue Morning” (Recorded November 30th, 1960)
“Pledge Of Love” (Recorded November 30th, 1960)
“Honestly I Do” (Recorded September 22nd, 1961)
“Fools Like Me” (Recorded September 22nd, 1961)
“God, Country And My Baby” (Recorded September 22nd, 1961)
PERSONNEL
Johnny Burnette – lead vocals (tracks 1-10)
Joseph Gibbons – guitar (tracks 1-7)
Milton Pitman – guitar (tracks 1-7)
George Callender – bass (tracks 1-7)
Jerry Allison – drums (tracks 1-10)
Tommy Allsup – guitar (tracks 8-10)
Dick Glasser – guitar (tracks 8-10)
Clifford A. Hils – bass (tracks 8-10)
unknown – mandolin (tracks 8-10)
Bobby Vee & The Crickets – Rock Around With Bobby Vee (1961) – Archive.org
TRACKLISTING
SIDE A
“Stagger Lee” (Recorded September 12th, 1961)
“Party Doll” (Recorded September 13th, 1961)
“Come On Baby” (Recorded September 13th, 1961)
“Lonely Weekends” (Version 2) (Recorded September 20th, 1961)
“Mountain Of Love” (Recorded September 20th, 1961)
SIDE B
“No One Knows” (Recorded September 20th, 1961)
“I’m Feeling Better” (Recorded September 28th, 1961)
“Shanghaied” (Recorded September 1961)
“Keep A Knockin’” (Recorded September 1961)
“It’s Too Late” (Version 2) (Recorded September 1961)
PERSONNEL
Bobby Vee – lead vocals (tracks 1-10)
Tommy Allsup – guitar (tracks 1-7)
Red Callender – bass (tracks 1-7)
Jerry Allison – drums (tracks 1-10)
Cliff Crofford – lead vocals (track 7)
Sonny Curtis, Joe B. Mauldin, Howard Roberts, Earl Palmer, Ernie Freeman, and Gene Garf have been credited as being part of both sets of Bobby Vee recordings. The main four players listed above are probably on at least most of all the Bobby Vee tracks.
Bobby Vee & The Crickets – Bobby Vee Meets The Crickets (1962) – YouTube, Spotify (Personnel matches the previous Bobby Vee album.)
Despite Bobby Vee’s recordings with Allison being credited as The Crickets, the reunion of Sonny Curtis, along with newbies Jerry Naylor and Glen Hardin, is in my eyes the closest we get to more of the Crickets sound. Mauldin is sometimes credited as being part of the group from the early to mid 60s, but that does not seem to be true. Oftentimes, other players are credited as having partaken in them. There’s some very barebones recordings from 1961 of Allison singing that I suspect were recorded with help from the Bobby Vee-era lineup, but that’s just speculation. If there had been an album of this, I would have made them a Jerry solo album, but as just three recordings, they’re included here. This album probably would have only been released like this if the band needed material quickly, as the flow isn’t great. Still, these songs, as well as the whole Naylor era, are mostly good.
The Crickets – Fell In Love With A Face (1962) – YouTube, Spotify
TRACKLISTING
SIDE A
“Fell In Love With A Face” (Recorded February 2nd, 1962)
“Never Ever Told Me” (Recorded February 2nd, 1962)
“There’s No Better Way To Die” (Recorded February 2nd, 1962)
“Bottom Of The Sea” (Recorded February 2nd, 1962)
“I’m Not A Bad Guy” (Recorded March 9th, 1962)
“I Don’t Need A Friend” (Recorded September 18th, 1961)
SIDE B
“I Believe In You” (Recorded March 19th, 1962)
“The Real Thing” (Recorded June 4th, 1962)
“My Little Kim Ruth” (Recorded September 18th, 1961)
“It’s All Right With Me” (Recorded September 18th, 1961)
“Smooth Guy” (Recorded February 29th, 1960)
“So You’re In Love” (Recorded February 29th, 1960)
“Break It Easy” (Recorded June 19th, 1962)
PERSONNEL
Jerry Naylor – lead vocals
Sonny Curtis – lead guitar, lead vocals (tracks 11-12)
Red Callender – bass
Jerry Allison – drums, lead vocals (tracks 6, 9-10)
“Looking All Over Town” (Recorded October 17th, 1962)
“Teardrops Fall Like Rain” (Recorded October 17th, 1962)
“Farewell, My Bluebell” (Recorded October 23rd, 1962)
“The Ballad of Batman” (Recorded 1962)
“Batmobile” (Recorded 1962)
SIDE B
“Lost And All Alone” (Recorded April 3rd, 1963)
“Don’t Try To Change Me” (Recorded April 3rd, 1963)
“Surfin’ Special” (Recorded June 14th, 1963)
“April Avenue” (Recorded June 14th, 1963)
“A Harlem Girl” (Recorded July 17th, 1962)
“Brand New Doll” (Recorded July 17th, 1962)
PERSONNEL
Jerry Allison – drums
Sonny Curtis – lead guitar, vocals
Red Callender – bass
Jerry Naylor – lead vocals
Glen D. Hardin – piano
Tommy Allsup – guitar (tracks 5-6)
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
The Crickets – California Sun / She Loves You (1964) – YouTube, Spotify
PERSONNEL
Jerry Allison – drums
Sonny Curtis – lead guitar, vocals
unknown – bass
Jerry Naylor – lead vocals
Glen D. Hardin – piano
Buzz Cason – backing vocals
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
Despite my criticism of some of the one-off projects, this album is solid other than the Everly Brothers tracks. If it wasn’t obvious, Eddie Cochran is rivaled only by Holly himself and a few others, but that track is out of place for the Crickets. Still two great cuts, regardless.
The Crickets & Their Buddies Volume 4 (1964) – Archive.org
TRACKLISTING
SIDE A
Eddie Cochran – “Cut Across Shorty” (Recorded January 8th, 1960)
The Raiders – “Dardanella” (Released November 1961)
The Everly Brothers – “No One Can Make My Sunshine Smile” (Recorded September 20th, 1962)
The Everly Brothers – “Dancing On My Feet” (Recorded September 20th, 1962)
Lucille Starr – “The French Song” (Recorded October 24th, 1963)
Joe Carson – “Be A Good Girl” (Recorded February 10th, 1964)
SIDE B
Eddie Cochran – “Three Steps To Heaven” (Recorded January 8th, 1960)
The Raiders – “What Time Is It?” (Released November 1961)
Lucille Starr – “Sit Down And Write A Letter To Me” (Recorded October 24th, 1963)
The Everly Brothers – “The Facts Of Life” (Recorded January 16th, 1964)
Joe Carson – “Guess You Don’t Love Me Anymore” (Recorded February 10th, 1964)
PERSONNEL
Jerry Allison – drums (tracks 1-11) (Possibly not on track 10)
Eddie Cochran – lead vocals, guitar (tracks 1, 7)
Sonny Curtis – lead guitar (tracks 1, 3-7, 9-11)
Conrad ‘Guybo’ Smith – bass (tracks 1, 7)
Tommy Allsup – guitar (tracks 2-4, 8)
Unknown other musicians, possibly Bobby Keys on sax (tracks 2, 8)
Don Everly – lead vocals, probably guitar (tracks 3-4, 10)
Phil Everly – lead vocals, probably guitar (tracks 3-4, 10)
Billy Strange – guitar (tracks 3-4, 10)
Red Callendar and/or Pat Vegas – bass (tracks 3-4)
Ray Johnson – piano (tracks 5, 9)
Lucille Starr – lead vocals (tracks 5, 9)
Joe Maphis – guitar (tracks 5, 9)
Bill Pitman – guitar (tracks 5, 9)
Wilbur Pitman – bass (tracks 5, 9)
Herb Alpert – trumpet (tracks 5, 9)
Joe Carson – lead vocals (tracks 6, 11)
James Burton – guitar (tracks 6, 11)
Billy Mize – steel guitar (tracks 6, 11)
Bob Morris – bass (tracks 6, 11)
Billy Armstrong – fiddle (tracks 6, 11)
Bobby Bruce – fiddle (tracks 6, 11)
Glen D. Hardin – piano (tracks 6, 11)
Ray Pohlman – bass (track 10)
Hal Blaine – drums (probably on track 10)
Leon Russell – keyboard (tracks 10)
Harold Cliner – trombone (track 10)
Kenneth Shroyer – trombone (track 10)
John Audino – trumpet (track 10)
Anthony Terram – trumpet (track 10)
Sonny Curtis (Possibly with The Crickets) – Beatle Hits Flamenco Guitar Style (1964) – Archive.org
PERSONNEL
Sonny Curtis – lead guitar
Likely present
Jerry Allison – drums
Glen D. Hardin – keyboard
Tommy Allsup & The Crickets – The Buddy Holly Songbook (1964) – YouTube, Spotify
PERSONNEL
Lynn Bailey – bass
Jerry Allison – drums
George Tomsco – guitar
Tommy Allsup – guitar
Buzz Cason – piano
The Crickets – Surfing, Bo Diddley, and Beatles!! (1964) – YouTube
TRACKLISTING
SIDE A
“Don’t Breathe A Word” (Recorded June 14th, 1963)
“Bring Back My Surfboard” (Recorded June 14th, 1963)
“Don’t Say You Love Me” (Recorded June 28th, 1963)
“A Beatle I Want To Be” (Recorded Late 1963)
“So Used To Loving You” (Recorded Summer 1963)
“Right Or Wrong” (Recorded August 1st, 1963)
SIDE B
“Playboy” (Recorded December 12th, 1963)
“(They Call Her) La Bamba” (Recorded March 23rd, 1964)
“All Over You” (Recorded March 23rd, 1964)
“I Think I’ve Caught The Blues” (Recorded August 27th, 1964)
“Bo Diddley Bach” (Recorded June 1964)
“I Pledge My Love To You” (Recorded June 1964)
PERSONNEL
Jerry Allison – drums, lead vocals (track 10)
Sonny Curtis – lead guitar (absent from track 10)
Red Callender – bass (absent from track 10)
Jerry Naylor – lead vocals (absent from track 10)
Glen D. Hardin – piano (absent from track 10)
Buzz Cason – backing vocals, lead vocals (track 10)
Tommy Allsup – guitar (track 10)
George Tomsco – guitar (track 10)
Stan Lark – bass (track 10)
Glen D. Hardin and Joe B. Mauldin have sometimes been credited as playing bass. Ernie Freeman has been credited on piano.
“Lord Of The Manor” and the Carson tracks are the ones here I like.
The Crickets & Their Buddies Volume 5 (1968) – Archive.org
TRACKLISTING
SIDE A
Joe Carson – “Release Me” (Recorded February 10th, 1964)
Joe Carson – “Who’ll Buy The Wine” (Recorded February 10th, 1964)
The Everly Brothers – “I Used To Love You” (Recorded November 12th, 1965)
The Everly Brothers – “It’s All Over” (Recorded November 12th, 1965)
Rusty Steagall – “Motel Rooms And Coffee Shops” (Recorded March 1st, 1966)
SIDE B
Joe Carson – “I’ll Be There” (Recorded February 10th, 1964)
Joe Carson – “Fraulein” (Recorded February 10th, 1964)
Rusty Steagall – “Playboy Heart” (Recorded March 1st, 1966)
The Everly Brothers – “Lord Of The Manor” (Recorded February 27th, 1968)
Jammë – “Empty Feelings” (Recorded 1968)
PERSONNEL
Jerry Allison – drums (tracks 1-10) (Possibly not on tracks 3-4)
Sonny Curtis – guitar (tracks 1-4, 6-7, 9)
Joe Carson – lead vocals (tracks 1-2, 6-7)
James Burton – guitar (tracks 1-4, 6-7, 9)
Billy Mize – steel guitar (tracks 1-2, 6-7)
Bob Morris – bass (tracks 1-2, 6-7)
Billy Armstrong – fiddle (tracks 1-2, 6-7)
Bobby Bruce – fiddle (tracks 1-2, 6-7)
Glen D. Hardin – piano (tracks 1-2, 6-7)
Doris Hallcom – bass (tracks 3-4)
Jim Gordon – drums (probably on tracks 3-4)
Don Randi – harpsichord (tracks 3-4)
Leon Russell – keyboard (track 4)
Rusty Steagall – lead vocals (tracks 5, 8)
Don Lanier – guitar (tracks 5, 8)
Glen Campbell – guitar (tracks 5, 8)
Larry Knechtel – bass (tracks 5, 8)
Don Randi – keyboard (tracks 5, 8)
Terry Slater – bass (track 9)
Don Adey – lead vocals, rhythm guitar (track 10)
Timmy Smyser – bass (track 10)
Paul Downing – lead guitar (track 10)
These two Sonny Curtis albums, as well as some Crickets or Sonny material from around this time, are incredibly strong and deserved to have been released on Crickets albums. In fact, I’ll go as far as to say that Style is the best work covered in this post, being comparable in quality with Buddy Holly.
Sonny Curtis (Possibly with The Crickets) – The 1st Of Sonny Curtis (1968) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar
Glen D. Hardin – keyboard
Likely present
Jerry Allison – drums
Sonny Curtis (Possibly with The Crickets) – The Sonny Curtis Style (1969) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar
Likely present
Jerry Allison – drums
Glen D. Hardin – keyboard
Lee Dresser & The Crickets – El Camino Real (1969) – Archive.org
PERSONNEL
Rick Cathaway – bass
Jerry Allison – drums
Lee Dresser – lead vocals, guitar
Glen D. Hardin – piano
Eric Clapton & The Crickets – Eric Clapton (1970) – YouTube, Spotify
PERSONNEL
Eric Clapton – lead guitar, lead vocals
Delaney Bramlett – rhythm guitars, backing vocals
Stephen Stills – guitars, bass (track 11), backing vocals
Leon Russell – piano
John Simon – piano
Bobby Whitlock – organ, backing vocals
Carl Radle – bass
Jim Gordon – drums
Bobby Keys – saxophones
Jim Price – trumpet
Jerry Allison – backing vocals
Bonnie Bramlett – backing vocals
Rita Coolidge – backing vocals
Sonny Curtis – backing vocals
The 70s is the beginning of the downfall of the Crickets. This era is consistently okay, with this album of mostly Buddy Holly covers being one of the better efforts.
The Crickets – Rockin’ 50’s Rock’n’Roll (1970) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead vocals, lead guitar
Jerry Allison – drums, vocals
Jerry Scheff – bass
Glen D. Hardin – piano
This is one of the weaker albums I constructed simply because it spans from the mid 60s to the early 70s. It was one reason I found issue with this “stray track” idea. Note there’s two 1972 Sonny Curtis tracks I could not find: “Sunny Mornin’” and “Lights Of L.A.”.
The Crickets – Million Dollar Movie (1971) – YouTube
TRACKLISTING
SIDE A
“Million Dollar Movie” (Recorded Mid 1968)
“We Gotta Get Together” (Recorded August 27th, 1964)
“Everybody’s Got A Little Problem” (Recorded August 28th, 1964)
“Now Hear This” (Recorded January 1st, 1965)
“Thoughtless” (Recorded January 2nd, 1965)
“Rave On” (Recorded January 3rd, 1965)
SIDE B
“A Million Miles Apart” (Recorded Mid 1968)
“Last Call” (Recorded July 1966)
“Love Is All Around” (Recorded Fall 1970)
“Here, There And Everywhere” (Recorded Fall 1970)
“Unsaintly Judy” (Recorded Spring 1971)
“You Don’t Belong In This Place” (Recorded Spring 1971)
PERSONNEL (Only confirmed contributions listed)
Jerry Naylor – lead vocals (tracks 4-6)
Sonny Curtis – lead guitar (tracks 1, 7-12), lead vocals (tracks 7-12)
Jerry Allison – drums (tracks 2-6) (Probably on every track), lead vocals (track 2)
Glen D. Hardin – (Possibly plays piano on tracks 1, 7-12)
Buzz Cason – lead vocals (tracks 2-3)
Tommy Allsup – guitar (tracks 2-6)
George Tomsco – guitar (track 2)
Stan Lark – bass (track 2)
Lynn Bailey – bass (tracks 3-6)
Johnny Rivers & The Crickets – L.A. Reggae(1972) – YouTube
PERSONNEL
Joe Osborn – bass
Miss Bobbye Hall – congas, bongos
Jerry Allison and/or Jim Gordon – drums
Dean Parks and/or Larry Carlton – guitar
Herb Pedersen and/or Michael Georgiades – backing vocals
Gary Coleman – percussion
Larry Knechtel and/or Jim Webb and/or Michael O’Martian – piano/organ
A Long Way from Lubbock is an officially released album, though one frustrating issue is that it pointlessly takes recordings from the previous two 1973 albums. There were two much better ideas that could have been used for a follow up. There’s basically one album’s worth of strays listed below that have no overlap with previous albums. The other idea is to cut out the dud tracks and make these albums all much shorter. The Remnants album is bizarrely forty minutes long. The album listed below was all recorded in 1973, except for “Carolyn Walking Away”, where that’s just a guess.
The Crickets – A Long Way from Lubbock(1973) – Archive.org
TRACKLISTING
SIDE A
“That Is Not What I Need”
“Carolyn Walking Away”
“Rock’n Roll (I Gave You The Best Years Of My Life)” (Recorded October 1973)
“My Mama Sure Left Me Some Good Old Days” (Recorded October 1973)
“An American Love Affair”
“He’s Got A Way With Women”
SIDE B
“You Make It Way Too Hard”
“Ain’t Protestin’” (Demo version)
“Ain’t Protestin’” (Band version)
“Bony Moronie”
“I Like Your Music”
“Now & Then It’s Gonna Rain”
PERSONNEL
Sonny Curtis – lead vocals, lead guitar
Ric Grech – lead vocals, bass, piano
Jerry Allison – lead vocals, drums
Nick Van Maarth – lead vocals, guitar
Albert Lee – lead vocals, guitar, piano
Steve Krikorian – vocals
Lee Dresser & The Crickets – To Touch The Wind (1975) – Can’t find
PERSONNEL
Lee Dresser – lead vocals (tracks 1-12), guitar, banjo, harmonica (tracks 2-6, 8-12)
Larry McNeely – banjo (tracks 1-12)
Pat Smith – bass (tracks 1, 7)
Al Garibaldi – drums (tracks 1, 7)
Dan Crary – guitar (tracks 1, 7)
Pete Jolly – piano (tracks 1, 7)
Red Rhodes – steel guitar (tracks 1, 7)
Joe Osborn – bass (tracks 2-6, 8-12)
Jerry Allison – drums, hambone (tracks 2-6, 8-12)
Ron Dasaro – organ (tracks 2-6, 8-12)
Doug Gilmore – hambone (tracks 2-6, 8-12)
Glen D. Hardin – piano (tracks 2-6, 8-12)
Al Perkins – steel guitar (tracks 2-6, 8-12)
The Teesdale Street Choir – backing vocals (tracks 2-6, 8-12)
Originally this album spanned into the 80s with a few solo Sonny singles. Two issues with that is that those 80s tracks almost certainly lacked Jerry Allison and Sonny’s real solo career where Jerry was absent is quite confusing. Many of the released albums are unavailable online and I later found more stray tracks. There’s also some repeats from one album to another. Thus, you can think of this as the last release of his for quite a while with Jerry before they went separate ways into less documented music, though it’s quite short. I liked that the 1973 strays perfectly make up their own album, while this is everything after in the 70s. Note that a track called “When It’s Just You And Me” is from 1975, but isn’t accessible. If it was, it would make this one a bit longer.
The Crickets – Reunion(1978) – Archive.org (All tracks recorded in 1978 except where noted otherwise.)
TRACKLISTING
SIDE A
“It’s Only A Question Of Time” (Recorded July 10th, 1975)
“Where’s Patricia Now” (Recorded February 1976)
“The Breeze”
SIDE B
“Mulholland Drive”
“It’s Only Rock’n’Roll”
“Cruise In It”
“Rock Around With Ollie Vee”
PERSONNEL (Only confirmed contributions listed)
Sonny Curtis – lead vocals, lead guitar (tracks 1-7)
Jerry Allison – drums (tracks 3-7)
Joe B. Mauldin – bass (tracks 3-7)
Mauldin, Curtis, Jennings, and Allison
Note that half of Rollin’ and a 1982 track called “Dream Well All Of You Children” are missing. Also, the three Sonny Curtis albums listed below are not fan albums and instead are official. I’m writing out the tracklisting to make it more explicit what I do have. The personnel notes will be absent for solo Sonny due to this article being more about Jerry.
Sonny Curtis (1979) – Archive.org (Missing Two Tracks)
TRACKLISTING
SIDE A
“The Cowboy Singer”
“Walk Right Back”
“So Used To Loving You”
“Tennessee”
“Do You Remember Roll Over Beethoven”
SIDE B
“It’s Not Easy Being Fifteen”
“I Fought The Law”
“I’ll Stay With You” (Can’t find)
“Cheatin’ Clouds” (Can’t find)
“Ain’t Nobody Honest”
Sonny Curtis – Love Is All Around (1980) – Archive.org
TRACKLISTING
SIDE A
“Love Is All Around”
“You Made My Life A Song”
“Eager For The Edge”
“The Real Buddy Holly Story”
“Fifty Ways To Leave Your Lover”
SIDE B
“Wild Side Of Life”
“The Cowboy Singer” (Same recording as on the 1979 album)
“I Fought The Law” (Same recording as on the 1979 album)
“Walk Right Back” (Same recording as on the 1979 album)
“The Clone Song”
With one exception, the personnel for the Waylon Jennings albums won’t be listed due to how confusing it all is.
Sonny Curtis – 1981 and 1982 loose tracks – Archive.org
“Good Ol’ Girls” (From Rollin’ (1981))
“Married Women” (From Rollin’ (1981))
“Rollin’” (From Rollin’ (1981))
“More Than I Can Say” (From Rollin’ (1981))
“I Like Your Music” (From Rollin’ (1981))
“The Christmas Song” (Chestnut Roasting On A Open Fire) (1981)
“Together Alone” (1982)
“Love is All Around” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“Hung Up In Your Eyes” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“My Worst Enemy” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
“Party Of The First Part” (From Sonny Curtis (2007)) (Unsure of recording date, very roughly guessing 1982)
Waylon Jennings, Willie Nelson & The Crickets – WWII(1982) – YouTube, Spotify
PERSONNEL
Waylon Jennings – guitar, vocals
Jerry Allison – drums
Gene Chrisman – drums, percussion
Chips Moman – guitar
Reggie Young – guitar
Willie Nelson – guitar, vocals
Bobby Emmons – keyboards
Johnny Christopher – guitar, backing vocals
Bobby Wood – piano
Toni White – backing vocals
Mike Leech – bass
Jerry Bridges – bass
Waylon Jennings & The Crickets – It’s Only Rock & Roll (1983) – YouTube, Spotify
Waylon Jennings & The Crickets – Never Could Toe the Mark(1984) – YouTube, Spotify
Most of the Payne stuff feels like a parody of the band, with the new lead singer doing a bad Holly impression. It’s a shame Allison and Mauldin didn’t make Crickets albums with Waylon Jennings or Sonny, especially because most of the Crickets’ 60s and 70s songs lack Mauldin and now that he’s back they’re either inactive or making such poor material.
Gordon Payne & The Crickets – Jigger, Crank & Jive (1988) – Archive.org
TRACKLISTING
SIDE A
“Back Home In Tennessee” (Released 1988)
“Blackmail” (Released 1988)
“I Can’t Hold On Any Longer” (Released 1988)
“For A While We Helped Each Other Out” (Released 1988)
SIDE B
“I Got A Woman” (Recorded Late 70s-Early 80s)
“She’s Got A Right To Cry” (Recorded Late 70s-Early 80s)
“Do You Ever Think Of Me” (Recorded Late 70s-Early 80s)
“Let’s Do It Again” (Released 1988)
PERSONNEL
Gordon Payne – lead vocals, lead guitar (tracks 1-8)
Jerry Bridges – bass (tracks 5-7)
Jerry Allison – drums (tracks 1-8)
Joe B. Mauldin – bass (tracks 1-4, 8)
The Payne lineup
Gordon Payne & The Crickets – T-Shirt (1988) – Archive.org
“I Think I’m In Love” (From Spectrum (1987), though recorded in 1985)
“Now I’ve Got A Heart Of Gold” (From Spectrum (1987), though recorded in 1985)
“Monetta” (Recorded 1990)
“Evening Shade” (Recording date guessed 1990)
“I Fought The Law” (Recorded June 1990 in Torino, ITA)
Sonny Curtis – No Stranger to the Rain (Released September 1990) – Archive.org
“I’m No Stranger to the Rain” (Possibly the same recording that was on the previous album, Spectrum)
“Hello Mary Lou”
“You’re the Lesson I Never Learned”
“When Amarillo Blows”
“Back When Has Been Lover”
“I Saved My Last Name for You”
“Bad Case of Love”
“Think It Over”
“That’ll Be the Day”
“More Than I Can Say”
“Well, All Right”
“Rock Around with Ollie Vee”
“Midnight Shift”
Gordon Payne & The Crickets – Double Exposure (1993) – YouTube, Spotify
PERSONNEL
Gordon Payne – lead vocals, probably guitar
Sonny Curtis – lead guitar
Jerry Allison – drums
Joe B. Mauldin – bass
Glen D. Hardin – keyboard
Too Much Monday Morning is a shockingly good album that goes to show how much a shame it was that this lineup wasn’t more often all together. Naylor, and especially Sinks and Box are good, but Curtis’ voice feels more at home with the Crickets. After this album, the band would go back to being an oldies act, often redoing their own songs needlessly. Admittedly, not many people are out asking for the next hot Sonny Curtis and the Crickets album.
The Crickets – Too Much Monday Morning (1996) – YouTube, Spotify
The Everly Brothers, Eric Clapton, Nanci Griffith, Bobby Vee, Albert Lee, Waylon Jennings, Johnny Rivers – guest vocals
Many, many more guest performers. Only ones that have previously worked with the Crickets are listed here.
Mike Berry & The Crickets – About Time Too! (2005) – YouTube, Spotify
PERSONNEL
Sonny Curtis – lead guitar, rhythm guitar, lead vocals
Jerry Allison – drums, lead vocals
Joe B. Mauldin – bass, backing vocals
Mike Berry – lead vocals, backing vocals
Chas Hodges – piano, backing vocals, guitar
Chad Hodges & Jerry Allison – Before We Grow Too Old (2007) – Archive.org
PERSONNEL
Jack Clement – dobro
Jerry Allison – drums, lead vocals (tracks 7, 10)
Chas Hodges – piano, lead vocals, guitar
There seems to have been a whole album of John Beland tracks recorded, but this is the only one I could find. The Limitations’ “Well… All Right” I also can’t find.
The Crickets & Their Buddies Over The Years (2013) – Archive.org
TRACKLISTING
SIDE A
J.J. Cale – “I’m A Gypsy Man” (Released 1976)
John Beland – “True Love Never Runs Dry” (Recorded 1978)
Bobby Vee – “Buddy Holly Medley” (Recorded April 16th, 1989)
Dale Hawkins – “Rain On The Roof” (Recorded 1990s)
David Falconi (Might be misspelling his name) – keyboard (track 3)
Joe B. Mauldin – bass (track 3), possibly plays bass on tracks 4-7
Dale Hawkins – lead vocals, guitar (tracks 4-7)
Ray Flack – lead guitar (tracks 4-7)
Joe Osborn – possibly plays bass on tracks 4-7
unknown – piano (tracks 4-7)
Joell Le Sonier – accordion (tracks 8-9)
Margot Buchanan – backing vocals (tracks 8-9)
Sam Brown – backing vocals (tracks 8-9)
Sonia Jones – backing vocals (tracks 8-9)
Gerry Conway – drums (tracks 8-9)
Brian Hodgson – bass (track 8)
Paul Henry – guitar (track 8)
Rufus Thibodeaux – fiddle (tracks 8-9)
Nick Payne – harmonica (track 8)
Lonnie Donegan – lead vocals, rhythm guitar (tracks 8-9)
Sticky Wicket – washboard (track 8)
Vic Pitt – bass (track 9)
Chad Hodges – performer (track 10)
Dave Peacock – performer (track 10)
Albert Lee – guitar (track 10)
Track 2’s personnel information is especially confusing, but it does seem Allison, Mauldin, and Curtis are on it in some capacity.
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
For those not in the know, fan albums/album edits are the attempts of me and many others to take songs and put them on an album, typically they’re made to improve upon something, such as an existing album or to take non-album tracks and put them on an album.
The recent release of the “final” Beatles single got me wondering how long of a Beatles “reunion” album you could make and if that could become a fan album. Considering that the John Lennon demos come from the late 70s or early 80s, ideally the other tracks would come from that same time period. That didn’t get very far, so I decided to include cases after the band’s breakup where there’s just three members together and extend the timeframe out more. This created two issues. The album is still too short and there’s a severe lack of Paul. Paul and George almost never seemed to collaborate after the breakup. Thus, I turned to some sources that might be too strange.
The best is an edit of “Grow Old With Me” by “Rarebeatles” that surprisingly effectively mixes John’s vocal, George Martin’s orchestration, and the backing track of the Ringo cover that featured Paul on bass. An edit like this may have been an ideal “b-side” to “Now and Then”. Another source was the mid-90s jam between everyone but John, for obvious reasons. These may be too informal, but I like them. Note that tracks that don’t feature all three Beatles or were originally from released albums are excluded, to not have duplication. Finally there are two tracks from the “Everyday Chemistry” edit, which takes stems from different solo Beatles songs. They were mainly included to give more length and I simply like them.
This edit is not very fluid, due to the different sources, but I found it an interesting listen. Other similar concepts for this lower the number of Beatles needed to just two or stay in one time frame. Those are indeed more cohesive, so this should be looked at as an experiment to be more Beatley in numbers than style. This is pretty much the closest we’ll ever get to a “true” reunion we can actually make. I also worked on this project months ago and only now got around to finishing and releasing it. For those that want a little narrative for this album, here is what I thought of:
After John Lennon returned to music in 1980, he decided to get the other Beatles together to record an album. After some resistance, he barely managed this. The band began recording, often not together, before John tragically died. The others were not terribly keen on continuing the project, so took a break before realizing John would want them to finish it. Thus, they decided to play by their own rules and do some informal jams, as they were prioritizing having fun, before the daunting task of adding overdubs to some unused John recordings. Due to knowing that he wouldn’t be on every track, and being more interested in their solo projects, the remaining three figured why bother being on every track if it was already fine by their standards? A 1973 outtake called “I’m The Greatest” that happened to feature everyone but Paul was dug up and included as “the imagined single that carried us to this point”. Its mocking lyrics of Paul were favored by George and Ringo due to him not wanting to contribute his own songs to the LP. The album was then named 40 in reference to John. The cover was a then-recent picture of the band. The record received negative reviews, with critics noting the severe lack of cohesion. There was more praise for the tracks that used all the band members and didn’t draw from many or informal sources. Some considered just releasing the singles, “Free As A Bird/Grow Old With Me” and “Now And Then/Real Love”. The remaining members were not new to such criticism and didn’t much care, having solo careers waiting for them.
Mia Barcia-Colombo, Giovanna Clayton, Hillary Smith – cello (track 1)
Mike Valerio – double bass (track 1)
Linda McCartney – backing vocals (track 2)
Denny Laine – backing vocals (track 2)
Al Kooper – electric piano (track 2)
Herbie Flowers – bass (track 2)
Ray Cooper – tambourine (track 2)
Jeff Lynne – backing vocals, guitar, producer (tracks 3, 9)
Joe Walsh – guitar (track 5)
Jim Cox – piano (track 5)
Allison Lovejoy – accordion (track 5)
Rhea Fowler – violin (track 5)
Bianca McClure – violin (track 5)
Lauren Baba – violin (track 5)
Isaiah Cage – cello (track 5)
Billy Preston – organ, piano (track 7)
Klaus Voormann – bass (track 7)
Jérôme Leroy – conductor (track 1)
Paul McCartney, Giles Martin, Ben Foster – string arrangement (track 1)
Jack Douglas – string arrangement (track 5)
George Martin – orchestral arrangement (track 5)
This is a passion of mine and if one person likes what I do, I’ll feel honored. I like suggestions on what artist to cover next, so if you know of one you’d like me to look at, feel free to suggest ‘em!
Context for those unfamiliar with Red Dwarf(Spoilers for S01E01 of the show)
Dave Lister, played by Craig Charles, is the last man alive. He’s living in the mining ship “Red Dwarf” with a hologram of his dead roommate, Rimmer, played by Chris Barrie; a member of a species of evolved cats, “The Cat”, played by Danny John-Jules; a computer on the ship, Holly, played by Hattie Hayridge as of series three; and also as of series three, a robot, Kryten, played by Robert Llewellyn. Rimmer died due to a radiation leak that killed everyone on “Red Dwarf”, except for Lister and non-humans.
“The Last Day” is the first episode to really focus on Llewellyn’s Kryten. Whether or not one counts “Kryten” as a Kryten-focused episode is a matter of debate. Regardless, Llewellyn pulls in a much better performance here than previously, giving reason to his “robotic” and narrow minded behavior. He does a good job of keeping the character’s inhuman qualities, while giving him some emotions and feelings. This episode also shows everyone as not only a team, but tolerant of that dynamic. Kryten doesn’t ever seem to understand the bond living beings can have for each other. That being said, he genuinely seems to like the others to a degree. Apparently androids are not supposed to enjoy their work, but Kryten often seems to. According to this episode, Kryten doesn’t, but wants to get in “Silicon Heaven” when he dies.
My personal theory was someone at some point reprogrammed Kryten to actually like chores, though it was imperfect, with the dislike of it sometimes coming out. Regardless, him genuinely liking that, and how that might contrast with what the others want and feel about it, is more interesting as it’s generally different than a real person. Even if a person likes chores, imagine doing them often everyday and with little else to do? It’s also arguable that him taking the load off things by doing chores and being another character to interact with has leveled tensions, so he brings in a contrasting personality.
Lister does get some development, as well. Namely, a big part of the “Kryten” episode is that Lister doesn’t seem to like that he’s treated as just a servant. That comes up again here, with him not wanting Kryten to always make him breakfast. However, for the most part he is content with treating him like that, though you can tell Lister often views Kryten as a real friend. For better or for worse, this inconsistency and use of Kryten makes Lister less likable. No one here is supposed to be, so that’s fair enough. It’s a shame that this dulls the clashing personalities of Lister and Rimmer, as Rimmer has been fine using Kryten as just a servant. At least have someone point out how Lister has changed. On another note, we learn more of Lister’s past, being abandoned by his parents as a baby. Ideally, this could’ve come up in an episode more about this. “Marooned” would’ve been a great place for this development.
The Cat is weirdly unselfish. An arguable reason why is he enjoys feeling the team support and the attention that yields him. Lister in particular likes Cat. He’s even excited to give something to Kryten. A possible explanation is he knows he would probably be able to get it back from Kryten later. Rimmer is weirdly absent from this episode. He does take a little opportunity to try and assert dominance over a character, but Chris Barrie overall isn’t in his normal scene stealing mode.
The episode takes a while to get going, with the setup being a bit dry. It even takes some time to introduce Rimmer and longer for the Cat. The party with everyone discussing their feelings and trying to give Kryten a good time works as character development, showing their comradery, and also as comedy. A favorite is Kryten getting drunk and falling off his chair. Surprised that didn’t rile up the studio audience, like how the smeg ups can. That scene had me dying. The positive momentum continues with Gordon Kennedy as Hudzen, who is intimidating while also getting laughs.
I’m glad this was the last episode of the series. We’re maximizing the time with Kryten, thus increasing the impact of his leaving. The fact that at this point he was only in one series makes it believable he was only a one off and could’ve actually left here.
SPOILERS
This episode is more true to one of the original ideas of the show than most, that the world of the show is incredibly cruel. Holly, as an example, seems to be aware there is more to life than what they do, but is confined to how they are, not even having a body. Kryten and the other service droid suffer trying to fulfill orders, apparently in a misguided attempt to get into Silicone Heaven, which may not even be real. For everyone else, they have more of a natural drive to live which is often challenged in violent ways.
Defeating the purpose of a service droid, Hudzen almost killed everyone. Sure, he was insane, but you would think the developers would want to avoid that. Apparently Lister is a target due to being “barely human”. What does that even mean? If Lister is the only human still alive, why would the machines be sold to humans specifically? Just sell the product to who or whatever. It’d be like if products were made today specifically for dinosaurs. Before things get violent, Rimmer gets out of the way. I had wondered why, though this actually makes sense considering he still has human emotions and thus would have that trigger instinct to avoid getting hurt.
In the next episode, Kryten is being taught how to lie. If that had been before this episode, the lie here would work much better. Kryten at one point makes a joke that involves saying something not true. While the whole bit is quite good, it should’ve been saved for later.
SERIES OVERVIEW
Series three tightens the dynamic of the characters and changes the formula a bit. It focuses more on crazy and foreign entities come to trip everyone up, with Lister, Rimmer, The Cat, and Kryten tackling four corners of a comedy troupe. The tradeoff of this is that Holly and to a lesser extent The Cat are underutilized. Still, both are not only still funny, but get some very good material.
Character drama was pretty central to the first two series, but now it’s more muted and the focus is on action. The one episode that is very character focused, mostly featuring Lister and Rimmer talking, needs an incident to cause that situation. In the early series, they did that just because. Both tones work well. What probably would’ve been for the best story wise is if you’d get a mix of both. Maybe one episode is pure action, then the next pure drama, sometimes with the comedy at the front, sometimes a bit more subdued.
In terms of those characters, they feel quite different when being little more than a certain “funny role”. They feel less like real people and are thus less relatable, though it’s hard to deny the humor that comes from that. This also goes against Rimmer’s consistent desire to be taken seriously. Here he lays on just being a funny and stern guy. In fact, all the characters change up their personalities for the sake of what the story needs of them. Two notable examples are how Kryten goes through a whole arc in his series two appearance, seeming ready and able to be his own individual that can do things like insult someone, but he was then basically reset to how he was and is now essentially going on the same journey, but much slower. When he said in “The Last Day” that he is finally having fun, my mind just went to him riding a motorcycle around the universe last series. Servicing the arc are the generally funny scenes of him being subservient to others. He is underplayed usually, which is for the best as Llewellyn’s acting leaves something to be desired.
The other example is how The Cat sometimes doesn’t seem to care about anyone and other times does. The reason might be that Cat has value in being part of the “Red Dwarf Posse” and likes that feeling. He also seems to respect his crewmates more. A broader case is how mainly in this episode, the Dwarfers are being needlessly confrontational. While that goes with their general energy and spirit, it goes against their selfish desires. They sometimes get into danger when it’s not necessary and sometimes even to help another. While the first two series work better as narratives, especially one that develops from one episode to the next, series three beats them out solely by being funnier and doing nothing else superiorly. Even the weaker installments have some good stuff, so there aren’t even bad episodes. Still, the dull periods are definitely there.
Rank from weakest to best: “The Last Day”, “Backwards”, “Marooned”, “Bodyswap”, “Timeslides”, “Polymorph”.
The Thing is rightfully considered a great atmospheric horror movie that strives in showcasing the insanity of human beings in these sorts of stressful situations, with the otherworldly terror here adding a new layer to the dread. The movie establishes its slow creepiness from the get go, with the opening titles being white text on a black background, with the sound initially silent before music slowly starts. The acting is mostly very good, as is the tense dialogue. The characterization is a little token at points and the effects are mixed. Some of the effects are fantastic, while others don’t hold up, looking too much like dummies or sculptures. Some of the bad ones are prominent enough that their faults are easy to spot, when the movie could’ve been careful to mask them.
Many of the characters are more muted than I originally thought in previous viewings. A notable example is Keith David as Childs, who is relatively uninvolved. Many of the others just serve as fodder to make you wonder if they’re the thing or not. Thomas G. Waites as Windows is the weakest actor, notably when complaining about not being able to get in contact with anyone, not that his performance is so bad as to sink the movie. A scene of Nauls and Windows shouting comes off a little comical due to the lack of other noises. Perhaps the actors thought there’d be more noise added in post, so it’d make sense for them to be as loud as they are?
The opening shot of the arctic is handheld and rugged, looking like documentary footage. That mirrors the general discomfort we’re supposed to have with this closed off and unloved space, where it’d be dangerous to even go outside for a long period of time. The core of the movie is Kurt Russell as R. J. MacReady. He gets the most focus in the story, despite not being very strongly defined. He for the most part seems to have a moral compass, though he is in some ways very unlikable. There doesn’t seem to be much reason why he is the main character due to him not having much more insight or significance throughout the story than the others, other than at points being considered the leader.
SPOILERS
The Norwegian seemingly was going to throw a grenade at the dog, which may have resulted in people being killed. That would cause the others to distrust him. There’s a shot of someone trying to find the grenade after it’s dropped. That was probably left in by mistake. It could be explained as there being a second person that was in the helicopter that got out to get the grenade. How did MacReady understand the danger of the thing before he went to where the dogs were? Him hearing their barking seemed to be what was supposed to have caused that.
MacReady shooting Clark and a dog makes him hard to like when the movie wants you to. They sink him to at best careless and at worst malevolent. Moments like the others wanting to trap him outside in the desperate cold seem to exist to get you on his side, but if we’re supposed to be then why include his moments of cruelty? Any potential commentary intended about him is so easy to miss it might not even be there or be intended. The scene of the Bennings-Thing screaming is rightfully an iconic moment, bathed in an uncomfortable dark mood, especially with the creature eventually being lit ablaze, creating illumination. Clark witnessing the murdered dogs is very impactful, with us feeling his pain. However, this character and his story doesn’t get resolved. He ultimately is killed unceremoniously by MacReady. It would’ve made more sense for MacReady to have killed all the dogs, so Clark later trying to jump him would be retaliation.
The Norris-Thing is another special effects highlight, especially seeing the head separate and try to run away. Just before, Copper losing his arms doesn’t look very realistic. Later on, Windows’ death scene makes for probably the worst special effect, with the use of a dummy being extremely obvious. When MacReady says they all won’t make it out alive, the others don’t seem very phased in response. The movie could’ve included some foreshadowing to this, like if the characters he talked to were either shown to be eager to return home and see their families or were carefree and willing to do dangerous things, something for MacReady’s line to follow.
There doesn’t seem to be much point to who dies and when, save for MacReady making it to the end. At the point where it’s just him, Garry, and Nauls; it being them would make more sense if they had a specific bond established. Maybe they exceptionally disliked each other, but now have an understanding and are content to work together? Garry and Nauls are soon killed off with little fanfare. Some of the characters, like Windows and Nauls before their deaths, made really dumb decisions. Characters like the two mentioned and Clark have deaths that seem crammed in, like they were forgotten about in the script, then at the last second their deaths were written in. Thus, the pacing and stakes are janky, with certain things being established, like Blair going mad slowly and Garry being a good marksman, only for the movie to end with a succession of progressively faster and meaningless kills that negate much point to the cast. There’s little reaction to someone these people have personally known dying. Other deaths like Norris’ and Bennings’ are necessary and they work well because of that.
MacReady is ultimately proven to be a terrible leader. The movie glorifies him a little, such as with him being the focal point, being the one to defeat the thing, and ultimately surviving to the end. When the others think he’s been replaced with the thing, we’re supposed to want him to make it. However, by the end of the movie everyone except him and Childs explicitly dies, sometimes by MacReady. They might have been better off getting a competent leader or letting MacReady freeze to death. There’s not even much reason to think that he successfully destroyed the thing. It’s suspected and not contradicted that any piece of a thing that escapes destruction could grow and reform. It’s likely some of it could’ve escaped the burning base, especially because the thing can survive in the cold. Considering the enormity of having to destroy every molecule of the thing, how could anyone ever hope to kill it? There’s also some tension as to whether or not Childs is really the thing, with MacReady seeming to think that’s possible. That being said, MacReady earlier in the movie saying that if everyone except him was a thing, they’d all just kill him could potentially be foreshadowing for this ending, with Childs being still human as if he wasn’t he’d kill MacReady.
The ending is best left ambiguous. The lack of resolution creates for a poignant and impactful takeaway, though it is a little annoying for those invested in what will happen next and if the thing was really destroyed or not. A lot of endings you could imagine might have plot holes, such as the aforementioned unlikelihood of truly killing every last bit of the thing. It’s best to be able to imagine your own resolution. If you are to take any of the sequel media as canon, then MacReady explicitly failed to destroy the thing, which is unsatisfying due to all that was sacrificed for him to perhaps accomplish that.
OVERVIEW
Due to things like character dynamics not coming to much and some plot contrivances, this movie isn’t as flawless as it is to some, including myself the first time I watched it. I thought I’d like it more on a repeat, but alas. Despite the criticisms, the mystery, tension, performances, among other aspects rightly push this movie to the level of “classic”. I recommend The Thing to all, as most would.
It’s easy to imagine an alternate universe where Russell returned for sequel after sequel, which expands on what the thing is and his character, with a fan favorite The Things and an unloved CGI-fest The Thing: 2000.
Context for those unfamiliar with Red Dwarf(Spoilers for S01E01 of the show)
Dave Lister, played by Craig Charles, is the last man alive. He’s living in the mining ship “Red Dwarf” with a hologram of his dead roommate, Rimmer, played by Chris Barrie; a member of a species of evolved cats, “The Cat”, played by Danny John-Jules; a computer on the ship, Holly, played by Hattie Hayridge as of series three; and also as of series three, a robot, Kryten, played by Robert Llewellyn. Rimmer died due to a radiation leak that killed everyone on “Red Dwarf”, except for Lister and non-humans.
“Timeslides” uses a favorite formula for Red Dwarf. Think up a weird or nonsensical sci-fi idea and let our characters just play around in it. The more mayhem, the better. No time for explaining how the timeslides even work, we have adventuring to do. Any explaining would only hurt, as the concept doesn’t logically make sense, so don’t try to make it. There’s some well-worked in character moments, as well. The opening joke is a favorite, as is the snowball one. Same with Rimmer’s “You’re unhappy, aren’t you?” Probably the best is, “It’s my duty, my duty as a complete and utter bastard.” Even the boxing gloves line is great. Perhaps there’s just something in Chris Barrie’s delivery? It’s interesting seeing how Kryten spends his free time. We once again see Lister depressed (sadly there wasn’t resolution to this plot point). On top of that is insight into Lister’s past, mainly his music career.
Rimmer really takes the cake here, having a lot of the brightest highlights. He’s such a git, and specifically a well fleshed out git, that it’s easy to relate to his behavior and laugh at his failures, but also his successes. It’s impossible to not be drawn in and want him to win on at least some level. There are many great Rimmer character moments in this episode. Beyond seeing his childhood and family life, we see some insight on how he views his friendship with Lister and feelings on his life at that point. He at one point refers to himself as a bastard.
SPOILERS
When Lister walks in one of Rimmer’s photos, we get a visual equivalent to an expository dump. Shame Chris Barrie didn’t do a more unique voice for his brother. Similar shame we didn’t see Lister’s fight with Hitler. Kryten mentions preventing Kennedy’s assassination… who would’ve thunk it? The frame of the photo of Lister in the bar was much smaller than the space the group has in the actual bar.
After time changes, how would Rimmer be there or remember the past life? It appears that Kryten, the Cat, and definitely Lister reverted to not knowing the show’s timeline, but Rimmer and Holly do. Without Lister, why would Rimmer have been revived as a hologram? How would he be able to set up a photograph if neither him nor Holly can touch anything? Maybe the scutters, though they’re only so able? We see Rimmer enter Lister’s dining room from Lister’s point of view. Shouldn’t there be a cameraman in the room? Why does Rimmer act like Lister would know who he is?
It’s interesting to consider what Rimmer’s true desire is in taking Lister from his wealth. You could argue that it’s to make him suffer, so Rimmer doesn’t have to do so alone. This could yield from a hatred for Lister, prioritizing his own happiness over Lister’s, or caring about Lister enough to not want to be away from him. If you say, “It was to make himself rich”. That’s possible, but why would he try to talk Lister out of it instead of just going straight to himself as a child? While the ending doesn’t make sense, it is very funny. Rimmer’s alive! (Diamanda Hagan has a good explanation, though.) The explosives should have been set up in advance, though. I didn’t like the ending as a kid as it messes with continuity, but that’s not necessarily true.
This episode adds to the motif of Red Dwarf. Nothing truly good happens to the characters. Things can seem like they’ll definitely work out, but then everything comes apart in the end. Someone like Rimmer can only get a taste of being human, and also Hitler’s sandwich, before it all falls apart again.
OVERVIEW
“Timeslides” is a very well realized bit of comedy and is so much fun to watch. It’s got laughs and character. There are unfortunately plot holes, but they’re pretty minor to the overall experience. This episode should’ve been before “Bodyswap”, so the ending has more impact.
Context for those unfamiliar with Red Dwarf(Spoilers for S01E01 of the show)
Dave Lister, played by Craig Charles, is the last man alive. He’s living in the mining ship “Red Dwarf” with a hologram of his dead roommate, Rimmer, played by Chris Barrie; a member of a species of evolved cats, “The Cat”, played by Danny John-Jules; a computer on the ship, Holly, played by Hattie Hayridge as of series three; and also as of series three, a robot, Kryten, played by Robert Llewellyn. Rimmer died due to a radiation leak that killed everyone on “Red Dwarf”, except for Lister and non-humans.
It’s easy to have high hopes for “Bodyswap”. Being unable to touch anything would obviously be very distressing. An episode that focuses on what that’d be like, and specifically the insanity that’d come from it, is a great idea. While we get some fantastic scenes related to that, with Rimmer being his normal lovable self, the episode at points gets caught in its own engine. Jokes can go where you’d expect them to. They are still fine in their own right, but the episode so obviously wasting potential is saddening. The first few minutes covering a different story before the main one suggests there was a lack of ideas here.
It would’ve really helped to not have Barrie and Charles lip sync the other. The actors imitating the other in their own voice could provide an added comedic potential, seeing their takes on the other (we would later be able to hear such a thing with the audiobooks). There’s an awkwardness to the delivery as is. Especially because of Chris Barrie’s ability to impersonate, this element isn’t nearly as bad as it could’ve been.
How much the leads trust or show respect for the others varies from episode to episode. If Lister didn’t trust Rimmer, this whole episode wouldn’t have happened. The Cat agrees to help Lister… a little. He seems to otherwise be keeping to himself, as is typical. There are some fun moments that are unintentional foreshadowing for later series. We see the Cat’s piloting skills in action. Considering series eight, it’s amusing that Rimmer mentioned Canaries.
Miscellaneous comments include: It’s a little infuriating that the catalyst for the initial conflict is Lister touching something immediately after saying he shouldn’t. The Cat gets a good line in the scene, though. The arm joke is hilarious, probably the best of the episode. I’m curious if the reason Captain Hollister doesn’t appear is because they couldn’t get Mac McDonald back. Regardless, it grounded the show in the early episodes to have more references and appearances by the original Red Dwarf crew. It’s a shame they didn’t appear more often. It wouldn’t have been hard to work them into an episode like “Timeslides”.
SPOILERS
I’d like to think the reason the Cat doesn’t want to abandon ship is because he’d rather die than go without his suits. It doesn’t make sense why Kryten would hand Lister’s mind to the Cat. Kryten would be the best person to take care of it. It’s representative of Rimmer and the Cat in that in what they believe to be their last moments, they just insult each other. The self-destruct twist is a great way to resolve this plot. Why include Holly knowing there wasn’t a bomb? Why wouldn’t she reveal that? There are some implications with past crew members being able to take over Lister’s body. Couldn’t you argue that Hollister should have it, as he was the highest ranking? If unused robot bodies are found or made, couldn’t they be used to bring everyone back?
It’s hard to believe Rimmer ever wanted to really help Lister. When he asks to have his body, he talks like he has an ulterior motive, which was probably to have the sensation of touching things. He doesn’t come off particularly sincere when describing how he’d help Lister. If Lister was so afraid of using the mind swap when he thought his life depended on it, why would he use it more times for a less necessary reason? As pure speculation, what if the reason we never visually saw Rimmer swap with Lister (or later the Cat) was because that might contradict established continuity on how holograms would work? We see Lister’s trusting nature when he keeps giving Rimmer more chances. The Cat asking Lister why he’s dressed as Rimmer further suggests their friendship. He’s apparently concerned by why he would be wearing such clothes.
There could’ve been a better reason for Kryten to follow Rimmer’s command. It doesn’t make sense why he would here. Him accepting orders to hurt another person would be dropped later. He’s also unbelievably gullible for trusting him. A possible solution for this is to say that Kryten’s corrupted files have caused him to make such poor decisions. Perhaps they were later fixed? Another way to really help this episode is to have more escalation of stakes. Most of the scenes have a formula of “Rimmer says he’ll get Lister’s body in shape, then he continues to be careless”. What if Lister and Rimmer progressively had more to be afraid of? The ending, with Rimmer running away with Lister’s body, is hilarious. That being expanded upon, with some obstacles getting in the way of retrieving Rimmer, would’ve improved the bit.
OVERVIEW
Definitely a quality episode, but it’s a shame it wasn’t even better. “Better Than Life” has some similarities to here, but that one lets us inside Rimmer’s horrible, horrible head.
Context for those unfamiliar with Red Dwarf(Spoilers for S01E01 of the show)
Dave Lister, played by Craig Charles, is the last man alive. He’s living in the mining ship “Red Dwarf” with a hologram of his dead roommate, Rimmer, played by Chris Barrie; a member of a species of evolved cats, “The Cat”, played by Danny John-Jules; a computer on the ship, Holly, played by Hattie Hayridge as of series three; and also as of series three, a robot, Kryten, played by Robert Llewellyn. Rimmer died due to a radiation leak that killed everyone on “Red Dwarf”, except for Lister and non-humans.
“Polymorph” does have the feeling of an “event” episode. It’s an Alien parody; the lighting is very distinct, with dark, rich, gorgeous blues; and starts with a warning about its contents, which was not actually necessary, but was done for the sake of atmosphere. The stakes are solid. The episode doesn’t promise anything it can’t deliver on. It’s not serious and it makes the story all that much funnier. It features an amusing subversion of horror tropes, we get a very clear look almost immediately at the alien, who looks absurd. Most of the cast utilize their fluidity with each other and manage to be very and consistently charming. There is a shameful exception…
The exposition and Kryten apologizing to Rimmer both can feel a little tedious. For the former, you could argue it’d be better to show and not tell. For the latter, it’s not particularly funny. The big issue with both is that Robert Llewellyn feels so awkward and uncomfortable, overacting a little, like he doesn’t know how to take the character. There’s even a scene where it looks like he’s reading from a script. If he isn’t, he at least gives such an awkward impression. The other five main actors from series one-three were way more at home in their roles from the word go. At the very least, these bits have good comedic payoff and aren’t too long. A scripting issue is that the script just moves on to Rimmer talking about another matter, as if the “apologizing” scene hadn’t been there. There are other little elements that suggest a lack of care in ironing out small details.
Miscellaneous comments include: Where is the voice at the beginning coming from? The episode would build better atmosphere without it, though it leads to a reasonably good joke. The contrast between how the monster is described and shown is quite clever. The episode name appearing on screen answers what this creature is called. Holly and Kryten both have to share giving exposition on the alien. Before series three, Holly did that and ultimately Kryten will do that.
SPOILERS
There’s a case of bad continuity where Kryten says he can’t find the underwear, despite it being clearly visible. The heat-seeking bazookoid blasts don’t go after Kryten, though wouldn’t he be producing heat? Some say the Polymorph would not have been able to latch onto Rimmer, but it seems reasonably easy to find an excuse for how that would be possible. Maybe there could be a holographic extension? It’s a little disturbing that the Cat almost got killed by friendly fire, dying for no real reason. “Oh, look, it’s bonehead’s mum.” is perhaps my favorite line. That one’s been stuck in my head for years now!
We see more of Rimmer’s family life. Rimmer is delusional on a friendship he had with his brothers as a child and it is possible that his mother is the type to sleep with his friend, then insult Rimmer. Rimmer mentions everyone should escape in Starbug. Later in the show, they would be Starbug bound. Rimmer’s “guilty” gag is a favorite, as is that scene with his mother. “Alphabetti Spaghetti!” is one of the all time classic lines of Red Dwarf.
The ending was a bit disappointing. While the way the Polymorph was bested was really funny, it was so quick. A little bit of action here or there would’ve helped. A better ending that wouldn’t have been more expensive would be if the group constantly beat on boxes they think are the Polymorph, then at one point they go somewhere, there’s a beat of silence, then the Polymorph appears.
OVERVIEW
This is one I was laughing with constantly. The material here is very good. The second half is especially funny, as the core story has been set up already; it’d be nice to have gotten more of that. Still, the first half is very solid.
The Filme Diary 