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.
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!
The Farewell is the type of film to hold up a mirror to you and ask how you’d handle the situation at play. The central issue is that protagonist Billi Wang, played by Awkwafina, is expected to hide from her own grandma, Nai Nai, played by Zhao Shu-zhen, that the latter has cancer and only a few months to live. Billi has also spent most of her life in America and is mostly uninvolved with her relatives. As such, Billi functions as an audience surrogate who witnesses the livelier other family members. While every other member goes along with the lie, there is variety in both how strongly they feel about doing this and how well they manage to hide it. Sewed in throughout is analysis of cultural divides, how they inform our supposedly objective morals, and how they can affect one family. Such struggles are portrayed through scenes of characters eating and conversing.
It isn’t explicitly said if Nai Nai would want this hidden from her, though she did follow along with this custom for other family members. Perhaps she would’ve rather told them or maybe she really did feel hiding it was right? Speaking of being more open, when the family eats and argues, the discussion can get heated and at least make the audience uncomfortable, though the other characters are not even focused on particularly strongly, with us not seeing their reaction. What we do see more strongly is either characters struggling to keep in the big lie or having their own separate lies. Any lie that is kept is done with the noble intention of not worrying other family members. As an American, I am very used to and can relate to these “little lies” about things like your relationships and employment.
Seeing the family stress with these lies could leave you feeling that logically, one should not hold these lies. Especially because Billi’s uncle at one point says that the reason the American-raised Billi can’t handle this is that America is more individualistic, like it’s the responsibility of the person with cancer to deal with it, but China sees it as the responsibility of the whole family. You can imagine that what Nai Nai or others may prefer is to let the lies out and let everyone cope with them together, instead of bottling them in. The opinionated arguing of earlier could be seen as a consequence of this behavior.
If someone, let’s say, is offended by another, they may just hold it in and it thus seeps out in these sorts of ways. Someone like Billi’s mom might feel an obligation to be more open and honest with Billi about what she thinks is best and is often really hurtful to her, possibly due to her various stressors. Billi not being so open about this to her mom might result in that sort of negative behavior continuing needlessly. The uncle on the other hand probably feels fed up with Billi, though he doesn’t understand that she didn’t choose to be acclimated into American culture and their way of thinking. Billi also doesn’t understand there might be a deeper and caring reason for hiding this that she just wasn’t in the position to comprehend.
There is certainly a case to be made for the lie. As an example, Nai Nai continues to exercise and take care of herself. Some might just give up on such behavior if they think it won’t matter. This also comes back into play later. Billi’s mom even says at the beginning that the fear of cancer is what kills someone, not the disease itself. While it is a bit silly that everyone has to contrive an event just to see her, that does mean it’s based on joy and something happy going on, instead of something sad. One of the best shots in the film is of the whole family taking a group photo. Lulu Wang’s directing really shows how this whole thing is making everyone feel and the complexity of their emotions. Due to the groom of the wedding they’re attending not seeming very happy, it does leave you wondering if he wishes he could’ve gotten married on different terms where everybody isn’t coming into this with their own baggage and needs.
SPOILERS
One of the big heart jerker scenes is at the end when Billi confesses to her grandma that her fellowship was rejected, when she had been lying about that. Nai Nai thus offers a warm and loving response, as opposed to something like feeling she should try harder. That breaks the tension and leads to a sense of relief for Billi and arguably could be a message that at least the small lies should be revealed. Billi’s mother’s cold exterior being broken by her crying in front of Billi can also show how good it feels to be vulnerable in front of a loved one, despite how embarrassing or telling it might be. It makes the mom more of a character, someone hiding her emotions, rather than just someone that is over opinionated.
On the other hand, Billi shouting at the end mirrors her grandma’s advice on how to relieve negative emotions. If the grandma was worried about dying, maybe she wouldn’t be in a position to help her and thus pass on a positive message? Text at the end says that Lulu Wang’s grandma is still alive, which suggests it was true that hiding the secret is what kept her going. Note that the grandma is certainly alive as of 2020 and if she is still going in the current year of 2023, then she’d have managed ten years after the diagnosis. It does seem that if the past sick family members that Nai Nai among others hid this information from had been told of their illness, it wouldn’t have worsened their longevity. If they did live much longer than expected, that would have been an important thing to note.
The screenplay for the film is very clever, with different things being hidden from others, sometimes in front of the person others want out of the conversation. The characters that speak Chinese and not English being cut out of English conversations and non-Chinese speakers kept out of Chinese ones mirrors how cultural divides can make people, even family, feel excluded from and unable to understand the others. One of the more haunting examples of this is when Billi and a doctor discuss how bad Nai Nai’s cancer is and the ethics of lying with Nai Nai present and happily sitting, unaware of what they’re discussing. Billi’s uncle crying in front of everyone may suggest that separation will lessen, as he’s doing the sort of thing everyone was afraid of Billi doing.
OVERVIEW
It’s hard to get over the distress everyone feels from hiding so much. Between the more American approach and Chinese approach to hiding this sort of thing, the best would perhaps be to be honest about all this, but still encouraging to never give up on bettering yourself. The judgment of others, especially your family, can shut you down, so in theory such behavior should cease. It is apparent that this “judgmental” way of acting can give relief, like to Billi’s uncle who gets sick of Billi’s view, feeling it’s selfish. Arguably it’d be better to still express any reservation, just in a nice way. It is difficult to imagine how one would nicely criticize another person on a fundamental level, like their way of thinking. Even if they do things like not raising their voice, it would still probably cause a mess. Thus, my idea on the “best” option is more based on our current understanding of human mentality, when maybe what we really need is to move beyond it?
The Farewell doesn’t offer answers. Lulu Wang probably doesn’t have any, seeing as she was essentially in Billi’s position of wanting to be honest, but feeling compelled to maintain a lie and never telling her grandma. Many of the conversations in the film feel like real ones Lulu might have had or witnessed, leaving it up to the viewer to interpret what it all means or says about the apparent subjects of cultural divides and lying. The movie is so powerful in how the sharp writing focuses on simply telling you these struggles and problems exist. The acting is consistently realistic, with plenty of comments said leaving one to wonder if something is being lied about, even if it’s something that isn’t brought up again or relevant to the plot. In just showing us how these issues manifest in a situation, you’re left with a story that feels very human, layered, and more importantly open ended.
The Irishman is a slow burner. A lot of its runtime is dedicated to long discussions of the business and politics of its characters. While that does make for a rich and layered story, which would be very satisfying to those either interested in gangsters or those that will watch this movie multiple times, a lot of it ultimately is superfluous. The movie gets away with that by having it be an important theme of the story, which does indeed matter throughout. Point is, don’t expect something like Bill Bufalino’s knowledge of the law to still be relevant by the final act. There are many moments that are less about discussing affairs and more about intense character scenes or at least action.
To discuss the elephant in the room, the de-aging technology is not perfect. Especially when protagonist Frank Sheeran, played by Robert De Niro, is at his youngest, the effect is off-putting. Quickly the story gets going and you forget. When the characters eventually age up to middle age, the actors in their late 70s look more convincing. De Niro basically always sounds and behaves like an old man. Regardless, he proves why he’s a master of acting with his performance. Despite often being just off to the side, his realism sells you. His aging and lifestyle slowly making him wary and cautious of his surroundings is so electrifying to watch. The continual usage of De Niro, as opposed to having a younger person play Frank in the beginning, allows us to not feel disconnected and just see this one man in a cold, yet personal way. Maybe one day, possibly after director Martin Scorsese has died, there will be an attempt to improve the special effects and have everyone look more authentically whatever age they’re supposed to be? Less forgivable are when someone is fighting and you can tell the victim is not actually being hit or when Frank fights anyone period. They probably could have worked around it so the man himself does not look so silly pretending to fight like he is young.
The other more notable role is Al Pacino as Jimmy Hoffa. Pacino manages some laughs with how animated he is, though this is at the cost of having as much depth as De Niro. Still, you can tell his behavior is refined by constantly dealing with people and learning what bothers him. The character is written much better, with him more than most letting power come to his head and often thinking that because he maybe once had control he always will. Joe Pesci as Russell Bufalino by comparison is almost forgettable, though very solid in whatever he needs to give to the story. This story being based on the recollections of the real Frank Sheeran suggests that these are representations of how these people were perceived, not how they really were. That can explain everyone being less developed than Frank. The comedy scenes, which often involve Jimmy, might be a bit much to some, but they fill this same purpose of coming off as memories or in some way foreshadowing something about the characters.
While the narration initially seemed to distract from getting into the story, it does represent the theme of people just becoming distant memories. People can be known more for their deaths or one thing about them, when they really were a far more complicated thing. The visuals that accompany the narration are always attractive, as is the look of the film in general.
SPOILERS
Throughout the narrative, powerful men that often feel unstoppable are killed unceremoniously, very suddenly reduced to nothing, with others moving on around them. It is painful to Jimmy when he dies in a spiritual way by going to prison, with everyone essentially wanting him to quietly go away. Frank may feel more security from the resources he’s gained by shooting people, especially as those around him go to prison or die, but he is aware that essentially something is gunning for him, time. While he has hardened himself to the best of his abilities from confronting what he did, shown in when he lacks remorse for his actions at the end, that sense of it all eventually coming for him persists. When he is tasked with shooting Jimmy, he hesitates initially, as if feeling like this will continue a cycle that will eventually reach him. The camera focuses on Jimmy’s body, representing Frank processing what he’s done.
Characters like Frank’s daughter, Peggy, are horrified by what Frank has done, though due to his line of work he must be cold, though humanity shines through when he tries to justify his behavior by saying it was to keep his family safe. Jimmy’s death also represents how everyone will eventually live on, by being remembered. The long shot of the body shows that Jimmy will become mostly associated with his death beyond anything else. He will also live on in Frank. Frank in turn will live on in the mind of Peggy, who sees him as not even deserving of a conversation. He’s asked at the end to tell his story, as everyone he’s ever had to protect is gone. Frank will continue as a tale. This also serves to make the fact that we’re here watching this movie part of the narrative. Frank does not like these terms of how he will exist after death. Him having his door left open at the end is another way of attempting to “live on”, do what he knows best to try and look out for or escape death, as well as from being cut off from others, thus trying to preserve himself in the minds of as many people as possible. Ironically, he is confined to a wheelchair and needed someone else to leave the door open. His power and story has more or less ended and he hates to know it.
While some have pointed out him killing Jimmy as a crucial mistake in his life, us going all the way to the end of Frank suggests that it doesn’t really matter, as Frank will still be alone. It was stated everyone else died already, so Jimmy probably would have died of natural causes by then if he escaped murder. This also mirrors how old these actors are. They might not have it in them to do this type of movie for much longer, with them eventually being stories as well.
OVERVIEW
The Irishman’s long runtime does benefit the narrative. The murders of the beginning and the youth of Frank eventually become distant memories, representing a major theme of the story. While Frank does keep himself at a bit of a distance from everyone, including the audience, this intense look at his life leaves us feeling the withering and age of both who is depicted and the actors, who are not much younger than the former. Just like with most people, you are mostly cut out from them, but you can still witness their behavior, with us only speculating how they must be feeling. Some of the confessions of the real Frank being disputed only goes to show how people are reduced to others’ ideas over the truth.
Batman admittedly looks a little silly here in costume.
The Dark Knight Rises famously makes no sense. Virtually every step of the way there’s a giant stretch in logic or at least believability. This messy tone is established as soon as the first scene. It’s a completely mindless and superfluous action set piece where the big baddie of Bane may as well be a cartoon character. He seems to just exist to be evil. By contrast, the Joker in the last film had clear goals. The mild humor in the dialogue doesn’t do it any favors. Most of the plot beats of this whole story are extremely basic, with little to distinguish it from any other story about a disheartened and defeated hero getting back in the game. The overly witty or comic dialogue just goes to show how little it has to say. Characters can even just say some thought provoking phrases in hopes of getting an emotional response from the audience, sacrificing realism. Admittedly, this was also in the first two films of the series.
The movie is generally better when we actually see Batman, as it typically has the most action that actually forwards the plot. Some of the themes of the series are prevalent, like how Batman may be strong in a lot of ways, but he has serious limitations that can create issues, such as how he distracted the police from Bane. As an extension of this, possibly the best part of this effort is that things get extremely bad and desperate for everyone. One reason The Dark Knight is so good is because of the constant terror that goes on around it. Rises arguably gets even worse for its characters, with you wondering how anyone would ever get out of it.
Christian Bale’s performance as Bruce Wayne is a lot stronger here than in Begins. He is surprisingly out of the spotlight, at points leaving you wondering when he will come back into his own movie. There are some often joked about moments of his silly gravel voice or facial expressions, but you can also feel his fatigue, angst, and struggle to find purpose for himself; which he often tries to mask. The first film in this series asks a lot of Bale by comparison. The actor seems to be best at making himself look different to fit a role. Here, he really does look sickly, though not so much acting like it, seeing as he can do so much fighting. It doesn’t make sense how he could get back to being Batman so easily. Michael Caine as Alfred Pennyworth pulls some decent drama, though him and Bale clearly struggle with the theatrical lines and Alfred’s eventual absence barely makes an impression on our lead. It is very understandable Alfred would be sick of the reckless actions of the Wayne family.
Anne Hathaway as Selina Kyle is almost a parody of underwritten female characters. She looks pretty and functions around Bruce. There’s one scene of her criticizing the power structures Bruce has taken advantage of, but this just seems manufactured to make her seem deep. Of course any kind of criticism of Bruce may as well not be here, considering how the character develops. Hathaway isn’t strictly bad, however. It would be difficult to get much out of this role. Her advocacy for stealing from rich people almost seems like a token effort to fight against claims of these movies being pro-Conservative. Tom Hardy as Bane is solid as a physical presence, though the cheesy or straight up comic dialogue makes him hard to take seriously.
There’s a lot of plot conveniences. If it wasn’t for complete chance, things would go very differently. While some revelations and surprises come, they don’t serve the greater narrative. The movie easily could’ve simply continued where the last movie left off. We’re introduced to the “Dent Act”, which has arguably gotten people unfairly thrown in prison, at least according to Bane. This law, as well as how this affects the prisoners, could be really fascinating. Maybe we really get inside the head of a prisoner? Maybe we see some awkward confrontation between what the public has been told about Dent and Batman vs what is true? At least we get a look at a cop, John Blake, played by Joseph Gordon-Levitt. His arc is one of the better handled here, though he and the returning James Gordon spend a lot of time running around and getting into action set pieces. Speaking of which, the action is noticeably worse than before. The hits are weightless, with a lack of emotions behind them. The shoddiness of the production is so bad that some of the punches by characters obviously don’t hit the other actor. One benefit over the first outfit of the series is that the pacing has improved, with cuts not being nearly as jarring.
SPOILERS
A theme of this movie is people figuring out that Bruce Wayne is Batman. You’d think it would be foolish for Bruce to tell anyone when he does or concerning when someone figures it out on their own. However, that never proves to be any conflict, it only provides a few shocks. Apparently Blake figures out that Bruce is both Batman and didn’t unjustly kill Harvey Dent. What if this gave him some idea as to how corrupt the police system was earlier than it did? If he was supposed to figure that out at the end, why include this big revelation of him figuring everything out so early on? Shouldn’t he be mad at Batman for hiding the truth?
One of the big sins of the movie is after Bruce confronts one of his greatest challenges, he acts basically the same. Sure, it’s entertaining seeing him get in those dire stakes, and the movie also does decent in getting him out in a fair way, but it should still affect his mindset and condition more than they do. The exception to this is him learning to fear again, but that is surrounded by a lot of fighting, as if he’s not getting into serious injuries or facing the same emotional stressors. A lot of this movie feels like retreading, like how the Joker and now Bane let themselves get captured, as that was part of their plan. Imagine if we had something a lot bolder, with the prisoners now-free causing more havoc than they do?
Moments like the football field collapsing, with one person with the ball in hand inadvertently outrunning the explosions is shot as something to be laughed at. Think of a bit in a comedy show where everyone surrounding the main character realizes something or is afflicted with something, while the lead is clueless. The police leaving the dirty place they were trapped in for three months in basically clean clothes and later when a crowd opens fires on them, with only about one casualty, also make the movie laughable. One of the more famous ridiculous scenes is when Batman has very little time to get a bomb away from the city, but he spends precious seconds saying goodbye to everyone.
Bane went out so easily. Why didn’t someone just shoot him in all that time if it was that simple? What was the point of building him up so much if his demise wouldn’t reflect that? Part of what made Bane interesting was that he was unstoppably strong where even Batman would lose a fight to him. Admittedly after training more, Batman simply fights him again and wins. Apparently Bane’s often exposed mask makes him vulnerable, which is unbelievably dumb. Instead of Bruce having to overcome some greater struggle to beat Bane, it was essentially just a matter of him in the first fight not happening to hit his mask or not bringing a gun. When Selina Kyle kills him, we repeat the theme from last film of killing sometimes being necessary.
One of the stronger elements of the story is the theme of the relevance of Batman. It seems it was best for Batman to go away, which in turn leaves Bruce feeling rejected and unable to move on from his problems. As such, he is not afraid to die when the time comes, as that would free him. This is overcome by having to embrace fear in order to escape prison. He arguably hopes to be needed again. The perceived death of Batman at the end represents him finally being able to move on, especially because he now has another female interest, even if they lack chemistry. Some issues with this are that nothing is stopping him from going back to his depressed state afterwards, as the situation apparently reverts to normal, only Bruce is now physically stronger and has an added ally in Selina. Bruce pretending to be killed and presumably starting a new identity implies that Bruce is inseparable from Batman. By contrast, this movie was about Bruce moving on and continuing life without him. Both entities having faked their deaths at the same time would lead people to think Bruce was Batman.
There are many more noted issues with this film. Not to get too deep in them, but some more include us having little reason to trust Miranda. Why not have her be dating Bruce from frame one? John just being an orphan is seemingly how he figured out Batman’s identity. The “Death or Exile” trials are just filler, wasting potential. What if Bruce needs something from someone, such as Gordon, but he is either killed or busy being exiled? Gordon’s exile may as well be cut out due to adding nothing. The hopelessness of the story would be emphasized if a beloved character died, especially if they had some important information they didn’t get to share. Bane’s death doesn’t have anything to do with him or tie into his character. Bruce really should’ve told at least his friends he’s still alive. Why even fake his death? Is there any reason to suggest Bruce and Selina will work together as a couple? They barely got any positive time together.
More notably, the setup of a new hero and Bruce retiring is supposed to be a feel good message, but Bruce should have plenty of reason to worry. Why would Bruce think John Blake will do good with the power he’s been given? Bruce has trusted Ra’s al Ghul, Harvey Dent, and now Miranda in the past, and they’ve all tried to cause chaos. Also, based on the established conflict of whether Bruce should accept he can’t be Batman anymore, the movie doesn’t decide if he should be or not. Him essentially totally saving the day unharmed would suggest he can still be, but him retiring implies he shouldn’t. As such, his arguing with Alfred amounts to less, especially because Bruce already wanted to retire last film.
OVERVIEW
Due to the use of killing enemies, if not by Batman than by his allies, the movies interestingly seem critical of Batman. The daringness to criticize its hero makes for a unique-feeling series, despite other issues. Based on the darker tone of the trilogy and the theme of no black and white characters, ending with some sort of condemnation of Batman would make a lot of sense, so it’s sad this ending doesn’t provide. Mainly because of some decent catharsis for Bruce, with Bale giving a decent performance, this is still better than Batman Begins. The hopelessness is another prime factor. While it is true that a lot of movies have plot holes, and thus it is something that can be forgiven to a degree, The Dark Knight Rises is so littered with them that you cannot even get into the story. I would say “See for Cillian Murphy’s amusing cameo”, but really just skip this, as well as Begins, and watch The Dark Knight!
Gravity is a novelty. Its story and visual look are very unconventional, so on its own it’s interesting due to its advancements in digital effects and unique plot. The film focuses on Sandra Bullock as Dr. Ryan Stone, who is often thrown around and consistently disoriented. She is decent enough as an audience surrogate, though has almost no personality or character traits, which makes the story really fail as a typical movie. If the special effects were really stunning or the drama really thrilling, maybe that would be enough? The lack of development of Stone makes her feel like a video game character, which makes sense when matched with the CGI and fake-looking graphics around her. This makes for a really awkward viewing experience.
Stone doesn’t learn anything or change at all. Not to excuse that, but the movie doesn’t even commit to that, as we get a few moments of vulnerability or backstory for her. These matters, like her daughter having died, don’t functionally contribute anything. That information could be removed or replaced easily. There’s little meaningful stakes, with it often apparent Stone will get in some trouble before moving on. George Clooney as Matt Kowalski is an odd choice for someone to play an astronaut. He does some of his normal quipping and acting like an asshole, sometimes being comic relief. This does lead to one of the main issues with the story, especially when trying to get into it.
Bullock and Clooney are Hollywood actors. They look like Hollywood actors. There’s little sense of “we are seasoned scientists or astronauts getting down to business”. Their lack of emotional depth and understanding of their scientific dialogue makes it feel like two people playing characters. Lesser known actors would’ve been ideal. Perhaps if you showed this movie to someone who didn’t know who Bullock or Clooney were then this would not be an issue?
Some of the directing is solid, with it succeeding in making us feel distress or claustrophobia, which adds to this film working more as an experience to slip into, rather than a proper movie or story. Shots of Ryan trying to relax or something sudden happening draw you in with the use of wide shots or changing the speed of the camera. The opening of the film is also effective. You might expect a movie like this to open on a normal environment that gets tense, like if we saw everyone go to space and then things start going wrong. We get added intensity from starting unfamiliarly. 3D effects however almost always date movies and this is no exception, especially when watching a 2D version of it. Little things can come into focus, as they’re supposed to be 3D.
SPOILERS
The opening just feels like a series of events with little pacing or fluidity. Building tension and establishing relationships would work to make this feel more like a narrative. Everything is just fine before it isn’t. Events occurring seemingly randomly is a frequent issue, such as when Kowalski and Stone are making their way shortly before a jam, wherein Kowalski quickly sacrifices himself. Ryan is afraid of losing him, but we don’t see her traumatized or lonely or anything. She just keeps on her way. You’d think Ryan would be more distressed by everyone having died. Her later imagining Matt is a nice moment that implies she’s holding it in, though we should’ve gotten more. There also isn’t any reason to “hold it in”. The few emotional scenes, such as of Ryan accepting that she will die, aren’t used to let us into her, they are intended to mine easy sympathy for her.
OVERVIEW
People analyze themes in the movie, though they play more as window dressing than as something that feeds into the story. They’re incidental. Still, Gravity is quite short. Some of these sorts of stories want to feel excused to be absurdly lengthy, so it’s appreciated that this one decided to be short enough to keep its charm running throughout, though some just won’t be able to meet the film on its terms and will just be constantly bored.
Midsommar wastes little time throwing us into the depths of a tragic and realistic scenario. The protagonist of Dani, played by Florence Pugh, is in a dark and unloving environment, cut off from everyone and left unable to have any control in a situation where she would obviously so badly want it. Pugh’s performance of anguish and desperation makes this the best scene of the film. While she in turn goes to her boyfriend Christian, played by Jack Reynor, for emotional support after the death of her family, this doesn’t bring fulfillment as she needs a lot and he was already somewhat checked out. While Christian is in the eyes of many unlikable, he is somewhat sympathetic as he clearly wants more from his life and doesn’t know what to do. It’s arguably honorable of him to not go through with breaking up with Dani after her family dies.
Other than the dynamic of Christian and Dani, much of what is set up in the opening scenes matters much less once they get to Sweden and meet the commune. The movie would basically still work if you started it with Christian, Dani, and their friends arriving in Sweden, though there is subtextual significance. Dani’s experiences with the “Hårga commune” could be seen as an exaggerated metaphor for dealing with grief and how one finds where to go after losing something of significance. While various moments of the film can be looked at as either Swedish folklore, very fictionalized Swedish folklore, or something to be ripped apart to derive a deeper meaning, a lot of what happens are simply horror tropes. The movie is here to creep you out.
Many of the characters that went to the commune with Dani and Christian are far less interesting and seem more like filler and something for the leads to play off of. They have essentially nothing to contribute to the story. The commune does spooky things just for the sake of it and at the ending there’s someone who simply explains some of the mysteries you may have had about the story. The slow build pacing seems to be moving towards a bigger ending, but we basically just end with that explanation and an admittedly important resolution of the Dani and Christian plot while not touching other aspects, like Dani’s family, Christian’s argument with his friend Josh, their desire to write a paper about the commune, and the inbred character, among other elements.
SPOILERS
We see less and less of Dani’s emotions, especially as she affiliates herself more with the commune. This is all covered in stages, like when she starts cooking with the girls and wearing a little of their white clothes, only to eventually completely adopt it. To take this as a metaphor for dealing with loss, after she jumped to Christian for support and didn’t feel she was getting it, she would understandably want something else. The commune not only accepted her, but provided empathy and support in her time of need. She is also escaping the drab and depressing scenery of modern life for a more organic and social one. Cults often recruit vulnerable people that have recently gone through something very negative. It doesn’t make sense that Dani would be so willing to go along with them, even the killings, but much of the movie is depicted with surreal and dreamlike hazes, like it’s not supposed to be taken at face value. She at points sees herself with grass growing off of her and by the end is covered in real flowers, like she is being taken over. Her being drugged could also be here to address this, possibly to provide for those wanting a “logical” explanation.
It is weird that Dani and company would be mostly tolerant of two elders jumping off a cliff publicly early on. Maybe you could say they were drugged to care less, but two of the people involved are clearly extremely upset by this and react more realistically? The audience seeing closeups of the deaths puts us in Dani’s mind. She just experienced death, so would this not deepen her trauma? Something about this scene that is brilliantly creepy is the explanation for this, that the elders are avoiding the suffering of old age and taking part in a rebirth. This does seem like the type of logic one might actually use to justify this, especially seeing as many don’t want to live to be very old. Dani’s tolerance is a bit more understandable this way as it’d be nice to think her family’s death is part of a great and natural thing.
Us seeing Christian’s perspective on things, like at the end where he is being used for his sperm, then runs around, sees the other character’s dead bodies, and gets killed himself can feel unnecessary, as this is Dani’s story. To tie it to Dani, she might see him as worth scorn due to him wanting to break up with her and then cheating. Before this climax, he is the only person not wearing white for a time, as if he’s a toxin to be expelled. Him dying represents her committing to this perceived solution to her trauma and leaving the last seen remnant of her life behind. Her choosing to kill him also finally gives her power, which can feel great to have even if you are not using it for a good reason. Christian earlier being alone nude can represent him losing his power and when a group of girls cry in unison with Dani, they’re giving her the support to feel stronger. This also shows that those that give you support in a time of need can very well manipulate you.
OVERVIEW
Midsommar doesn’t seem like it’d satisfy on a rewatch or even from one watch by someone who doesn’t want to look inside a movie. Many of my interpretations could very well be unintended, so the film is really just what you make of it. As it stands, you can’t deny the decent visuals and acting, even if sometimes the movie is focusing on something a little off topic.
Tangerine on the surface functions as a tried and true comedy about brassy ladies who are seldom willing to not be big personalities, though is more notable and memorable for its subjects. Kitana Kiki Rodriguez as Sin-Dee Rella and Mya Taylor as Alexandra turn in quality dramatic performances when need be. They do seem like real people at points, though in ways they can conversely fill the archetype of loud and boisterous paired with more quiet and subdued. They make the film, especially when they’re funny. Still, the comic sequences don’t play into the larger story. Particularly scenes that are just trying to get laughs could be removed.
The movie looks a little strange, mainly in the color, due to being shot on an iPhone. If it wanted a “street look”, there probably was a better option, as the film just looks a little flat. Movies like Bamboozled had a more interesting and complimentary aesthetic. Sean Baker’s directing however is very strong, creating a dynamic look that helps distract from the cheapness of the other factors.
Sin-Dee does have a few moments of over animation which take her out of relatability. She is also sometimes very unlikable. Her violent behavior towards one character is somewhat played for laughs, when it really is horrific. Obviously, someone can have valid feelings and an electric personality, while being abusive, but the movie not showing her as in the wrong is objectionable. Especially because seeing as she was doing this to a prostitute, it could be implied this is considered okay, as prostitutes are depicted as “used to it” or “mattering less”.
SPOILERS
Mickey O’Hagan as Dinah is numb and unflinching to all that happens to her, seemingly because it’s all happened so much. This is sadly barely touched on and doesn’t fit well with the more comedic scenes. Dinah never gets very much focus. A unifier between her, the two leads, and Razmik is that all four are working more or less throughout the film and are worse for wear by the end. Sex is also a big focal point of the issue here. Sin-Dee, Dinah, and Alexandra get in conflict with each other because of someone having sex with someone else. Those three women seemingly got into those situations by just doing their job or what’s expected of them. By contrast, Razmik is mainly responsible for his own downfall. It seems he left his family’s holiday dinner as he wanted to give head to a hooker, which feels like a contrivance to get him in trouble. When Razmik does so to Alexandra, we focus on him doing it for a long time, perhaps to let us take in as much as possible what this act would be like.
Us seeing Sin-Dee without a wig, then Alexandra giving her hers is a powerful moment due to it showing the two in a vulnerable position, taking off a projection of femininity. Them opening up like this is seemingly what could cause their friendship to improve, though it’s questionable if they’re even in a different place than at the start. It seems Alexandra knew it was wrong beforehand to sleep with Sin-Dee’s boyfriend and now she still knows that. Sin-Dee arguably only changes if she will take to heart her friend doing this, but she didn’t learn anything else, like from dating pimps, abusing another prostitute, or making life harder for a random client. She possibly doesn’t even learn anything about Alexandra, due to the ending implying they’ll makeup.
OVERVIEW
Due to the fluid nature of the structure, especially with certain prominent characters being out of the picture other than for certain moments, there seems to be little point to the narrative itself. What does Sin-Dee’s behavior accomplish for her or the other characters? Not much, we just see her and others deal with her, then move on with no or little growth. The point is clearly to see a real human struggle not often focused on, the life of a black transgender prostitute. It’s not some big tragedy or significant embrace of any of those factors, but just letting us see these events play out.
Thus, if Tangerine was made in a society without racism, transphobia, or objections to sex work, it would not be exceptional. It’d seem like a pointless movie about some misadventures, with the most interesting part being a handful of good performances. Seeing as we don’t live in that world, the movie is very much worth seeing, though there are other similar movies that have more to say and also are better stories. The Watermelon Woman is one favorite.
Joker is a little ham-fisted on its own, as its commentary on society isn’t as original as it seems to want to be. However, it works a lot better at being a piece on the mental state of the Joker. In fact, the whole of the movie works better when looked at as essentially the Joker making a movie about himself. The fact that he causes what he does, but never seems to have any kind of loyalty or desire other than to laugh does seem like a morbid Joker joke. He’s willing to make himself a mockery, but he still gets in the parts where he criticizes society in his own way, as you imagine he might want to do.
Joaquin Phoenix as Arthur Fleck provides an excellent and compelling performance. He really nails the complexities required to pull this off, even down to his posture being unnatural. Arthur’s look on his face when he’s told to return the sign is so creepy. He carries the story, which has a risky structure of essentially following our lead through little events. That structure does create issues, especially with the finale that goes off of where the film was originally covering, but it’s still easy to get into and stay in the movie because of Phoenix. “I used to think my life was a tragedy, but now I realize it’s a fucking comedy.” is such a good line.
There are no bad performances, but Phoenix is a huge focus and really steals the show. I am a fan of the comedian Sam Morril, so it was fun that he got a cameo. There’s basically just one apparent dream sequence near the beginning. To set up that element better, there should’ve been a few of those.
SPOILERS
Arthur’s mother thoughtlessly saying she doesn’t think her son is funny is a sad moment. Arthur’s confrontation with the three men on the train in some ways seems dreamlike, especially when the men mock Arthur, when you’d think they either wouldn’t or would do it in a more realistic way. It also makes you wonder if maybe the men weren’t doing anything and Arthur just imagined them essentially aggravating things. Some of the killings Arthur did were self defense.
The Joker imagining his romantic relationship shows that he has always been deeply ill and there was not as much of a decline as it seems. It does make sense it wasn’t real, as why would his love interest have been okay with him stalking her? Scenes like the exploration of Arthur’s mother and how she treated him don’t serve a greater purpose in the story, which is a little frustrating, but do seem possibly intended to teach the viewer that these sorts of situations can at first garner sympathy or be caused by well intentioned parents.
You’d think that when Arthur said to his former coworkers that he was celebrating his mom’s death that they’d be deeply unsettled by that, instead of seeming unphased. When Arthur kills his mother and later one of the coworkers, how did he not get arrested basically immediately? At one of them, there was a witness. A good way of showing Arthur’s character is you think he put the chain on his door so he could eventually kill his coworker that’s a dwarf. It’s ultimately suggested that he probably just did that as a joke. That coworker was not harmed by him.
One of the policemen shot a protester for no valid reason. It’s pretty emblematic of our culture that the Joker kisses a woman without asking on television and no one seems to care. When Arthur starts telling inappropriate jokes on the show, why wouldn’t the broadcast be pulled or at least he be told to leave? As much can be said for when he commits a murder on the show. The broadcast stays rolling for a while. Arthur saying on television that the rich don’t know what it’s like to be poor and don’t care is pretty offbeat, seeing as Arthur doesn’t otherwise seem to care about people.
OVERVIEW
While it’s not wrong to have themes like the ones covered here, how violent criminals are created and develop followings, be so unsubtle, this seems to come at the cost of the story. The messaging consumes the final act, with little development of things like Arthur’s seeming attempts to live a normal life or his relationship with his love interest. Treating this as a prequel to another Batman film is ideal, as it sets the stage for just how wild and out of control this character is. Thomas Wayne would be less of a stand in for any disliked politician and more so a fixation of the Joker, which is a lot more interesting.
The film’s director and writer, Todd Phillips, said Joker was not political. I say that’s bologna.
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.
The Monks are generally known and defined by their one and only LP, as if nothing else was ever made. While that’s not far from the truth, there is a little more they did. That material is consistently less hard hitting than the famous album. The group are still surprisingly strong at infusing psychedelia and pop, with the drumming a particular highlight. That being said, these aren’t must-listen recordings by any means. While The Sonics managed to get almost a second full length worth of hard edged tracks, and all the way to a third of very quality work, these stray Monks would almost best be described as a different band. If you like the famous Black Monk Time and want more of it, you should go to other bands with a proto-punk style, as Black is all you’ll get from the Monk pot. If you want decent rock tunes and interesting alternate versions of songs, then here you go, what is essentially another group.
These two album names were apparently considered to be the names of potential follow-up albums. I don’t think they’re great titles, especially because of the change in sound for one and the same songs of the other, but I thought it was cute to do. If albums of new material had come out under those names, it probably wouldn’t have been like what’s below, with album-only tracks that were never recorded.
The three “fan albums” are Silver Monk Time, which details demos and live cuts of what’s on Black and also… Gold Monk Time, which features no overlapping songs with Black. The third are stray “modern” recordings by members of the band. Just for fun, also included is the live reunion album and more solo projects, as well as a list of what exists, but I couldn’t find.
THE MONKS – SILVER MONK TIME
TRACKLISTING
SIDE A
“Boys Are Boys (1964)”
“Monk Time”
“Love Came Tumblin’ Down”
“Space Age”
“We Do Wie Du”
“Boys Are Boys (1965)”
“Pretty Suzanne”
“Higgle-Dy Piggle-Dy”
SIDE B
“Oh, How To Do Now (1965)”
“I Hate You”
“Boys Are Boys (1966)”
“Oh, How To Do Now (1966)”
“Complication”
“I Can’t Get Over You”
“Cuckoo”
THE MONKS – GOLD MONK TIME
TRACKLISTING
SIDE A
“Monk Chant”
“I Can’t Get Over You”
“Cuckoo”
“Love Can Tame the Wild”
“He Went Down to the Sea”
“Pretty Suzanne”
SIDE B
“Hushie Pushie”
“There She Walks”
“Julia”
“P.O. Box 3291”
“I Need U Shatzi”
“Yellow Grass”
“I’m Watching You”
GARY BURGER & DAVE DAY – IT IS CHARLES TIME
TRACKLISTING
SIDE A
The Spectors – “Oh, How To Do Now” (1993)
Alec Empire & Gary Burger – “Monk Time” (2006)
The Fall & Gary Burger – “Higgle-Dy Piggle-Dy” (2006)
The Havletones & Dave Day – “That’s My Girl” (2006)
SIDE B
Charles Paul Wilp & The Monks – “It Is Charles Time” (2006)
Faust & Gary Burger – “Beware (The Transatlantic Feedback)” (2006)
Dave Day – Having A Party With Dave Havlicek (1994)
Dave Day – “I Want The Right To Be Free” (1997)
Dave Day – “Don’t Ha Ha” (1997)
THE MONKS ARE
Gary Burger – lead guitar, lead vocals, tambourine
Larry Clark – organ, backing vocals, piano, tambourine
Dave Day – banjo, rhythm guitar, banjo guitar, tambourine, backing vocals
Roger Johnston – drums, backing vocals
Eddie Shaw – bass guitar, backing vocals, trumpet, brass instruments
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!
The Filme Diary 