Tuesday, December 15, 2020

Rolling Stones – "It's All Over Now" (1964)


Tables turning now

Her turn to cry


The first thing the Rolling Stones did on their first visit to America in 1964 was to drop in on legendary DJ Murray the K’s “Swinging Soiree” radio show.


Murray the K played a new record titled “It’s All Over Now” for the Stones, and they loved it.  “It’s All Over Now” had been recorded by the Valentinos, whose members included Bobby Womack (who had co-written the song with his sister-in-law Shirley) and his four brothers. 


Murray the K with the Stones

Only nine days later, the Stones recorded “It’s All Over Now” at Chess Records in Chicago.  (Oddly, the Stones didn’t play in Chicago on this tour.  They played in Minneapolis-St. Paul and Detroit, but instead of stopping in Chicago between those two performances, they stopped in . . . Omaha?)


Their record company wasted no time releasing “It’s All Over Now” in the UK as a single.  The record entered the British pop charts on July 2 and became their first #1 hit only two weeks later.


That’s just short of seven weeks from the Stones hearing the Valentinos’ recording of “It’s All Over Now” for the first time to their cover of the song hitting #1.  (Record companies didn’t f*ck around in those days.)


Bobby Womack

Bobby Womack later said in an interview that he had told Sam Cooke – the famous soul singer who had released the Valentinos’ version of “It’s All Over Now” on his record label – that he didn’t want the Rolling Stones to record it.  Cooke persuaded him to let the Stones cover the song, which proved to be a wise move.  After receiving his first royalty check for “It’s All Over Now,” Womack told Cooke that Mick Jagger could have any of his songs that he wanted.


*     *     *     *     *


I’ve been a Rolling Stones fan since I was 12 years old, but I never knew how they came to record “It’s All Over Now” until I heard the story that’s recounted above a couple of weeks ago on Steven Van Zandt’s “Little Steven’s Underground Garage” radio show.


I’ve been listening to “Little Steven’s Underground Garage” off and on for almost 20 years.  The show started out as a two-hour syndicated radio show, which usually aired on Sunday evenings on FM stations throughout the United States, but eventually got a channel of its own on Sirius XM radio – which is where I listen to it these days.


“Little Steven’s Underground Garage” focuses on sixties rock ’n’ roll bands – the various “Underground Garage” DJs mix records by well-known groups like the Beatles and the Stones with music from more obscure one-hit wonders and garage bands.  (Van Zandt has described his playlist as featuring “the bands that influenced the Ramones, the bands that were influenced by the Ramones, and the Ramones.”)  


Van Zandt – a long-time member of Bruce Springsteen’s E Street Band who for some reason was given a prominent role on The Sopranos – launched his own record label, Wicked Cool Records, in 2004.  The worst thing about “Underground Garage” is that it features a lot of Wicked Cool releases, which are rarely very good.


But I’ve discovered a lot of great sixties records by listening to “Underground Garage,” and I’ve learned a lot about the history of those records and the artists who recorded them from Van Zandt.  Either his knowledge of rock ’n’ roll history is encyclopedic, or he employs some very good researchers.  (I’m guessing it’s the latter.)


“Underground Garage” isn’t as good as Steven Lorber’s late, lamented “Mystic Eyes” radio show was, of course.  (That goes without saying.)  But it’s not bad.


*     *     *     *     *


Click here to listen to the Rolling Stones’ cover of “It’s All Over Now.”  (To paraphrase what Voltaire said about God, if Mick Jagger didn’t exist, it would be necessary to invent him.) 


Click on the link below to buy the song from Amazon:

 

Friday, December 11, 2020

Rice Marching Owl Band – "Rice Fight Song" (2008)


Stand and cheer!

Vict’ry’s near!

You could have knocked me over with a feather when I opened the Washington Post’s sports section yesterday and saw that columnist Chuck Culpepper had named the 2-2 Rice Owls as college football’s team of the year.

From Culpepper’s column:


The gold medal for team of the year goes to Rice, and you may quibble with that [choice], should you have a hankering for being wrong.


Culpeper picked the Owls “not just because Rice just pulled off the upset of the year, one of those occasional football upsets so inconceivable that the score cannot be true” but also because Rice’s 2020 season epitomized college football (and team sports in general) in the year of covid-19.  



You see, Rice was originally scheduled to play on September 3 against Houston, on September 12 against Army, on September 19 against LSU, and on September 26 against Lamar.  But all of those games had to be cancelled. 


After three more football-less Saturdays, the Owls finally took the field for their first game of the 2020 season on October 24.  Their opponent?  The always tough Middle Tennessee Blue Raiders – who were playing in their seventh game of the season.  Middle Tennessee eventually won the game 40-34 in the second overtime.  


Rice had a chance to win the game in the first overtime period, but an attempted field goal hit BOTH uprights and the crossbar TWICE before falling short.  (If it wasn’t for bad luck, the Rice kicker wouldn’t have no luck at all.)  


The Owls travelled to Hattiesburg, Mississippi the next week and dominated Southern Mississippi, 30-6.  The team looked to be on a roll, but the next two scheduled contests were cancelled.


Rice then lost to North Texas on November 21 and had their November 28 game cancelled before flying off to West Virginia to face the undefeated and 15th-ranked Marshall Thundering Herd.  The Las Vegas oddsmakers gave Rice no chance to win – they made Marshall 24.5-point favorites.


To add insult to injury, Rice’s starting quarterback was unavailable for the game, forcing the Owls to start a backup QB who hadn’t thrown a single pass in the entire 2020 season.


Despite all that, David beat Goliath TWENTY TO NOTHING!  (Yes, you read that right – they shut mighty Marshall out!)


“We were exactly who we wanted to be,” the Rice coach said after the game.  “It was intellectual brutality all over the field.”


Speaking of “intellectual brutality”:



Click here to read the entire Chuck Culpepper column.


*     *     *     *     *


Do you remember the “world’s shortest book” joke template?


You’d name a fictional title and say it was the world’s shortest book – for example, Italian War Heroes or Good Reasons to Vote for Democrats.


I don’t think that a book titled Great Moments in Rice University Football History would be the shortest book in the world, but it would be pretty short.


Such a book would definitely have a chapter on the infamous play in the 1954 Cotton Bowl when an Alabama player came off the bench to tackle star Rice running back Dicky Moegle, who was on his way to the end zone.  Click here to see that play.  (The referees awarded a touchdown to Rice, which ended up winning the game easily.)


Alabama needed twelve men
to stop Dicky Moegle

I’d also include the team’s improbable win over Texas A&M in 1974 – not so much for the game (although it was a very satisfying victory) but because the Rice Marching Owls Band’s halftime show so incensed the Aggie fans that they rioted after the game.  (Band members had to be escorted from the stadium back to their dorms by Houston policemen.)  Click here for a video about that game.


Of course, the book would recount Rice’s stunning 19-17 manhandling of the Texas Longhorns in 1994 – a game that was televised to a national audience because the baseball players’ union had gone on strike that year and forced the cancellation of the World Series.  Click here to watch the highlights of that game.  


Rice students celebrating the 1994 win over Texas

(That 1994 upset represents the only one of 43 Rice-Texas contests since 1966 that was won by the Owls, but it provided a small measure of payback to all those Texas fans who used to chant “What comes out of a Chinaman’s ass? Rice, Rice, RICE!” when the Owls and Longhorns faced off on the gridiron.)


Today, thanks to the 2020 Owls and their the-little-engine-that-could performance against fearsome Marshall, Great Moments in Rice University Football History is one chapter longer.  Click here to view  the highlights of that monumental upset.


*     *     *     *     *


Click here to hear a stirring marching band arrangement of the “Rice Fight Song.”


If you’d like to sing along, here are the lyrics:


Fight for Rice!

Rice fight on! 

Loyal sons arise!

The Blue and Gray!

For Rice today!

Comes breaking through the skies!

Fight, fight, fight! 

Stand and cheer! 

Vict’ry’s near! 

Sammy leads the way!

Onward go! 

To crush the foe! 

We’ll fight for Blue and Gray!


(Note: “Sammy” is the name of Rice’s mascot, which is an owl.  Athena’s bird, you know.)


Tuesday, December 8, 2020

Sina (ft. Deep Purple) – "Highway Star" (2019)


Nobody going to beat my car

It’s going to break the speed of sound

In the previous 2 or 3 lines, I introduced you to Sina, the young German drummer who has posted dozens of drum covers of classic-rock songs on her YouTube channel.  (You can click here to read that post.)


Sina’s videos have been viewed by millions of people from all over the world.  In fact, the video of her drum cover of the Dire Straits classic, “Sultans of Swing,” has been viewed almost 40 million times.


Sina

Without further ado, here’s part two of my conversation with Sina.


*     *     *     *     *


2 or 3 lines: I recently heard an interviewer ask Metallica’s drummer, Lars Ulrich, which classic rock drummers were his favorite.  He picked John Bonham of Led Zeppelin, Ian Paice of Deep Purple, Neal Peart of Rush, and Phil Rudd of AC/DC.  You've covered songs by all of those groups – do you agree with Ulrich’s choices? Or would you substitute Keith Moon of the Who, or Ginger Baker of Cream, or someone else?


Sina: I can not really answer this question.  I never really had a list of my five favorite drummers.  It kind of exists in my head, but the names change almost every day.  Also I think it’s really unfair to rate  drummers that way.  Each and every drummer of a famous band was the perfect choice for that band, otherwise the band would not have become famous.  Take Ringo – he might not be the most amazing drummer on the planet but I seriously doubt the Beatles could have found a better drummer for the job.  The Beatles wouldn't have worked with Keith Moon, and the Who would not have worked with Ringo.


2 or 3 lines: I know you are a big fan of Jeff Porcaro, who is best known for his work with Toto, but who was also a legendary studio drummer who recorded with an incredibly diverse group of artists – including Steely Dan, Michael Jackson, Aretha Franklin, Elton John, Jackson Browne, Don Henley, and Carly Simon, just to name a few.


Jeff Porcaro

Sina: If I had to name my favorite drummer, it would be Jeff Porcaro.  This is not only because of his work with Toto – although this was how I became aware of him – but also because he has proven that he can find the perfect drum part for every single song he has recorded in his career.  And that’s a lot of songs!


2 or 3 lines: I want to ask you about Keith Moon, who is my personal favorite of all the great drummers of his era.  One rock critic has written that Moon is “soloing all the time” when he plays.  We usually don’t think of drummers as soloists – their primary job is to keep time for the rest of the group – but I would say that Moon is clearly functioning as the lead musician on “I Can See for Miles,” which is just an amazing record.  Tell me what you think about Keith Moon.


Sina: Keith Moon was an amazing drummer and he was perfect for playing in the Who, but his style of playing would not have worked in all bands.  I also really like listening to him and I really enjoy covering Who songs.  I admire Keith's way of thinking in melodies instead of only focussing on the rhythm.  He also was able to completely lose himself in the music, which helped him to not only find the perfect ideas for a song but also play with this incredible energy everyone can see when watching and hearing him play.


2 or 3 lines: Have you covered “I Can See for Miles”? If not, why not?


Sina: I don't know why I haven’t covered that one yet.  Of course, I can not do every song at the same time!  I guess “I Can See For Miles” was never my favorite Who song.  It’s also not the most popular one on YouTube, so the opportunity has not presented itself yet.

 

Ginger Baker

2 or 3 lines:  One thing I noticed about Ginger Baker of Cream is that he seemed to use his toms a lot.    For example, in “Sunshine of Your Love,” he went 40 seconds using just his toms and bass drum – he never hit a cymbal during that entire time.  


Sina: There are a lot of things that set Ginger apart from other classic rock drummers.  I am no expert on the subject, but I think he wanted to find new ways to accompany a song.  You can hear a lot of very innovative ideas when listening to him play.  His playing also always seems perfect for the particular song he is playing at that moment.


2 or 3 lines: One of my favorites of your videos is your cover of Deep Purple's “Highway Star.”  You seem to be turned a little to the left when you are playing that song, and there are times when you are playing so fast that you sort of have to reach behind yourself and hit the right-hand cymbal without looking at it.  


Sina: Hmmm, I don't really know why I did that to be honest.  I know where my cymbals are, so I do not have to look anymore.  I guess because of the tempo of that song I did not want to turn my head all the time.  It would look like I was watching a tennis match!



2 or 3 lines: How long did you have to practice before you were ready to record “Highway Star”?


Sina: I did not have to put a lot of time into this.  I had already played this song with a band before, so I knew the basic structure.  I tried to copy the basic feel and groove of the original recording but I did not play every fill exactly like it is on the record – I just played what came to my mind.


*     *     *     *     *


“Highway Star” is a mind-blowing recording.  It’s six minutes long and played at breakneck speed – listening to it is exhausting, and I can only imagine how challenging it was for each and every member of Deep Purple to get through it – including Ian Paice, one of the best rock drummers ever.


That makes Sina’s drum cover of “Highway Star” all the more remarkable.  She’s a petite young woman, but her drumming on ‘Highway Star” is VERY physical – it’s almost shocking how powerful her performance is.


The video utilizes split screens as it progresses.  We go from one view of Sina, to two views, then three – at the four-minute mark, there are five different views of her drumming.  


That may sound like overkill but it’s not.  The standard head-on camera angle is good, but the overhead view and the stage-right view reveal additional aspects of her drumming.


A split-screen view of Sina

I found the views of her feet particularly interesting because you never see what a drummer’s feet are doing when he or she performs.  


I was a pretty good pianist back in the day, and I could handle playing the foot pedals of a church-type organ while my hands were occupied playing the keyboards as long as the pedal part was simple.  


But I find it mind-boggling to watch Sina’s Chuck Taylor low top-clad feet as she plays – they are working quite independently of each other, and also quite independently of her hands, and I’m not sure it my brain would ever be able to handle that.  


*     *     *     *     *


There’s not much for Sina to do during the first 35 seconds of “Highway Star,” but then all hell breaks loose.  


I love the sequence that begins just before the one-minute mark, which is where the first verse ends and the chorus begins.  Sina mixes supersonic drum fills (usually with her eyes closed) with attacks on her cymbals that seem to come out of nowhere – watch closely at 1:08, when she is turned slightly to the left concentrate on her snare, hi-hat, and left-side cymbal, but somehow manages to reach almost behind her body to nail her right-side cymbal three times.


But enough of my yakety-yak.  Better that I just shut up and let you watch Sina’s “Highway Star” drum cover for yourself.   


Click here to watch Sina covering “Highway Star.”  (That video has had over five million viewers, and it deserves to have five billion more.)



Friday, December 4, 2020

Sina (and friends) – "In-A-Gadda-Da-Vida" (2017)


In-a-gadda-da-vida, baby

Don’t you know that I’ll always be true?


I was doing research for a 2 or 3 lines post about “In-A-Gadda-Da-Vida” earlier this year when I stumbled across a YouTube cover of that song featuring a young German drummer named Sina.


Sina
We’re talking the l-o-n-g version of the Iron Butterfly classic, boys and girls – the version that lasted over 17 minutes, and occupied the entire second side of the group’s eponymous 1968 LP.


Most of the video is split screen, with individual windows not only for Sina, but also the singer and the lead guitar, bass, and keyboard players who performed with her.


Click here to watch Sina and her friends cover “In-A-Gadda-Da-Vida.”


*     *     *     *     *

  

Sina is 21 now.  She was several years younger when she recorded the “In-A-Gadda-Da-Vida” drum cover I watched on YouTube – and she looked even younger than she actually was.  


You rarely have a chance to focus on a rock drummer’s playing all the way from the start of a song to its finish – movies or videos of live performances usually show only brief snippets of the drummer.  


But Sina’s many YouTube videos usually capture every drum hit and cymbal strike.  In fact, some of them show views of her from two or three different cameras simultaneously, so you don’t miss a thing.



The drum parts in many of the classic rock songs she covers are incredibly complex, and often include rapid-fire sequences that I can barely follow.  (Her feet are often working quite independently of her hands.)  I find watching her videos to be absolutely mesmerizing. 


Maybe that’s because I always wanted to be a drummer.  Most rock music fans I know are wont to start playing air guitar after a few drinks at a party, but I’m an air drummer.


*     *     *     *     *   


After watching “In-A-Gadda-Da-Vida” and a dozen or so of Sina’s other drum covers, I e-mailed her and asked if I could interview her.  Fortunately for me and for you, she agreed to answer my questions.


Here’s part one of my conversation with Sina:


2 or 3 lines:  Sina, about how many classic rock covers have you recorded for YouTube?


Sina: I’m clueless! It depends if you also count the ones that are blocked or songs that we recorded from scratch or songs that launched on collaborator's channels. I would estimate about 150?


2 or 3 lines: Which one has been viewed the most?


Sina:  The cover of “Sultans of Swing,” by Dire Straits. That video has 38 million views as of today.


2 or 3 lines: I discovered your videos while doing research on "In-A-Gadda-Da-Vida" – I came across the YouTube video of you and some of your friends doing a cover of the album version of that song. Why did you choose to cover "In-A-Gadda-Da-Vida"?


Sina: I chose to cover this song because it was requested a lot. Of course I get a lot of requests for all kinds of songs every day, but this one I could not ignore!  To be honest, I did not know this song before reading about it in the comments to my other videos.  Of course, the epic drum solo almost begs for a cover.  I looked up the song on YouTube and found several covers of this solo, but no video was really accurate, so I decided to learn the whole 17-minutes-plus song, and learn every note of the drum solo.


2 or 3 lines: Did “In-A-Gadda-Da-Vida" require a lot of takes to get right?


Sina: I put a lot of time into learning this song, a lot more than I usually do.  I transcribed the whole solo and learned it by heart.  The groove part of the song was not so hard for me to do, so at the actual recording session it did not require a lot of takes.



2 or 3 lines: Do you attempt to play your covers exactly like the original drummer? Is it even possible to tell from listening to a record exactly what the drummer is doing?


Sina: That really depends. I try to sometimes do very exact covers and sometimes do more of a “freestyle” thing.  It also sometimes depends on how much time I have to learn a song and whether or not I know it very well.  It is almost always possible to tell exactly what a drummer is doing just by listening to the original recording.  Of course you can not hear things like what hand does he use to hit the cymbal.  But usually you can hear and distinguish the sounds pretty well and then imitate it easily.  Of course, if there’s a video, that’s a great help. :-)


2 or 3 lines: I understand that you departed from the recorded drum track on your “Sultans of Swing” cover.


Sina:  I grew up in a time when there were still CD players in the car.  My dad had a mix CD of his favorite songs that he played in his car all the time – including a live version of “Sultans Of Swing,” which was the only version of the song I ever knew.  When I wanted to make a drum cover of the song, I tried to learn the studio version, but found that difficult because I was so familiar with the live version on my dad’s CD.  So we found a drumless track of the studio version and I added the drums from the live version, which are much more energetic than the drums on the studio recording.  I assume that’s why it has become so popular on YouTube.


2 or 3 lines: How do you actually learn the drum part to a particular song? For other instruments, you can write the musical notes down and you know exactly what to play – you look at the music while you are practicing it. Is there a way to do that with a drum part? Or is it more just a matter of memorizing it while listening to the recording over and over?


Sina: Of course you can write down notes for drums as you would do with a piano or violin piece.  Personally, I prefer learning a song by listening to it.  If it is a difficult song it helps to watch a video of the original drummer playing it, or if there’s no video, you can slow the song down digitally to be able to hear details. 


2 or 3 lines: Tell us a little about how you actually record a cover. Are you usually able to get a version of the original recording with the drums silenced?


Sina: There are many drumless tracks to be found in the internet.  Just do a search on YouTube for “drumless tracks” and you find a lot.  If there is no drumless track available, we use the original recording and try to remove most of the original drums through filters.  This is not 100% reliable – sometimes you can still hear part of the original drum part.  So I have to be really exact with my drumming in order to cover all those random hits from the original recording.  Otherwise you would hear drums that I didn’t play.



2 or 3 lines: Are you left-handed or right-handed? I was a left-handed pianist, and most piano pieces have much more difficult right-handed parts. Do drummers use both hands equally, or are there certain things you tend to do with your dominant hand?


Sina: I am right-handed. I play like most right-handed drummers do, with the dominant hand on the hi-hat.  This makes sense because in a basic groove the hi-hat usually plays eighth notes while the snare does a backbeat on the second and fourth beats.


2 or 3 lines: Is there anything unusual about your drum kit, or how you position your drums and cymbals? Anything unusual about your playing style – for example, the way you hold your sticks?


Sina: No, not really.  I am currently trying to learn how to play with the traditional grip though.  That’s a pretty unusual technique for rock drummers, but there are exceptions – for example, Stewart Copeland of Police plays with the traditional grip.


(If you want to see what a traditional grip looks like, click here to see Sina’s brand-new cover of a live Elvis Presley performance of “Polk Salad Annie.”  Focus on the way Sina’s left hand holds the drumstick as she plays – that’s what drummers call a traditional grip.)


*     *     *     *     *


The next 2 or 3 lines will feature part two of my interview of Sina.  We’ll find out which classic-rock drummers are Sina’s favorites – and you’ll find out which of Sina’s classic-rock drum covers is my favorite.


While you’re waiting for that post to become available, why don’t you click here and join Sina’s YouTube channel?  You’ll have access not only to dozens of drum cover videos, but also to many videos featuring original music.


Or you can click here and become a patron of Sina on Patreon.


 

Tuesday, December 1, 2020

O'Kaysions – "Girl Watcher" (1968)


Whenever I detect

Members of the other sex

(You may think that’s the worst rhyming couplet in the history of song lyrics.  But it may not even be the worst rhyming couplet in today’s featured song.)

*     *     *     *     *


“Hogan’s Heroes” – a sixties sitcom set in a World War II POW camp – was one of the least likely hit television shows of my youth.  Who knew that America’s funny bone was ready to be tickled by a comedy featuring buffoonish Nazis like the monocled Colonel Klink and the clueless Sergeant Schultz:



“Hogan’s Heroes” was a hit right out of the box, and its star, Bob Crane, was nominated for the “Best Actor in a Comedy Series” Emmy in each of the show’s first two seasons.


But when the show’s six-year run ended in 1971, Crane had a hard time finding roles.  


*     *     *     *     *


While “Hogan’s Heroes” was still on the air, cast member Richard Dawson had introduced Crane to a Sony Electronics sales manager named John Henry Carpenter.  (Dawson, who later became famous as the host of “Family Feud,” was Crane’s best man when he married “Hogan’s Heroes” co-star Sigrid Valdis – whose real name was Patricia Olson.)


Crane and Carpenter became friendly and started going to singles bars together.  Crane was a big TV star, which made it easier for the pair to attract women.


The two men met several years before VCRs became generally available to consumers.  But as a Sony sales manager, Carpenter had access to professional videotape equipment, which he and Crane used to videotape themselves when they were tremperant le biscuit. 


*     *     *     *     *


Frustrated by the entertainment industry’s lack of interest in him after “Hogan’s Heroes” went off the air, Crane decided to take his career into his own hands.  He purchased the rights to a play called “Beginner’s Luck” and hit the dinner-theater circuit.  



Crane was in Scottsdale, Arizona to perform in “Beginner’s Luck” at the Windmill Dinner Theatre when he was found dead in his apartment on June 29, 1978.  He had been bludgeoned to death.


Carpenter was also in Scottsdale that day.  He had begun to schedule his sales trips to coincide with Crane’s dinner-theatre tours so they could continue to videotape their amorous liaisons.


*     *     *     *     *


After investigators found Crane’s naughty videotape collection, they were quickly able to identify Carpenter – who had flown to Arizona to hang with Crane a few days before his murder.  


Carpenter became the prime suspect in the case in part because blood matching Crane’s blood type was found in Carpenter’s rental car.  But this was before DNA testing, so prosecutors couldn’t prove that the blood in the rental car was Crane’s.


Over a decade later, the evidence in the case was re-examined and a photo showing what appeared to be brain tissue on one of the car’s seat was found.  Carpenter was arrested and tried for Crane’s murder in 1994, but the jury acquitted him.  (He continued to maintain his innocence until his death four years later.)


Crane had a son and two daughters by his first wife, Anne Terzian.  The son, Robert Crane, speculated that Crane’s second wife – the sole beneficiary under his will – had had good reason to kill him.  Perhaps that’s why the tombstone that Mrs. Crane purchased for Crane’s final resting place included only the names of the two daughters from his first marriage and ignored his son.


*     *     *     *     *


Crane and his second wife, Patricia Olson Crane, also had a son named Robert.  (It seems very odd to me that a father would give his first name to not just one, but two of his sons, but that’s what Crane did.)  The second Robert’s middle name was Scott, and he went by “Scotty.”


After the Carpenter acquittal, Scotty Crane and his mother shopped a script about Bob Crane’s sexcapades and murder titled Take Off Your Clothes and Smile.  



But before they could strike a deal with a producer, it was announced that a movie about Crane titled Auto Focus would be directed by Paul Schrader.  Best known as the screenwriter for Taxi Driver and three other Martin Scorsese movies, Schrader was once described as “a poet of male sexual pathology,” so he seemed like the perfect choice for a movie about Bob Crane.


Auto Focus is a compelling movie – also a very, very creepy one, thanks in no small part to the casting of Willem Dafoe as John Henry Carpenter.  (Crane is portrayed by Greg Kinnear, of all people.)


A. O. Scott of the New York Times said that the movie “gets to you like a low-grade fever, a malaise with no known antidote.  When it was over, I wasn't sure if I needed a drink, a shower or a lifelong vow of chastity.”


That pretty much sums it up.


*     *     *     *     *


Maybe it was just sour grapes, but Scotty Crane claimed that not only did the producers of Auto Focus steal the idea for the movie from Scotty and his mom, but also that they got a lot of the facts wrong.


From a 2002 article:


Scotty Crane, the son of the late “Hogan's Heroes” actor Bob Crane,  has been making the talk show rounds.   It seems that he's really upset about the upcoming movie, Auto Focus, about his father.  It's not that the film is nearly X-rated, it's that they got the facts wrong. . . .


Scotty documents dozens of inaccuracies in the upcoming film, such as [its claiming that Crane] photographed women without their knowledge [and that] he was into S&M and had dungeons all around the country.  


And the one that seems to bug him the most: that Bob Crane had a penile implant.  “First off, they didn't even have penile implants in the sixties and seventies.  In fact, silicone penile implants were not used before 1982 – four years after Bob's death.  And fat injection penile implants weren't used until the early nineties. Secondly, if he had had penile implants or injections, this would have been noted in his autopsy report, which you can view on www.bobcrane.com.”


Scotty knew that the bobcrane.com website (which no longer exists) included Crane’s autopsy report, because Scotty himself created the website and put that report on it.


Scotty Crane


Here’s more from that 2002 article:


Scotty has no problem with the things his father did do,  just the things his father didn't do.  And if you doubt this for one minute you can visit his web site where all the lurid details are documented.  If you feel like spending as little as $3.95, you can get a three-day trial pass to the X-rated portion of the bobcrane.com web site that includes clips from the stag films which star Bob Crane.  Even without paying Scotty offers photographic proof that his father had no need for a penile implant.  


Let that last sentence sink in for a moment . . . and then we’ll continue:


[According to Scotty,] Bob Crane was really open about what he was doing sexually.  He lived next door to “All in the Family” star Carroll O'Connor and invited him over to watch his homemade porn.  “Can you imagine Archie Bunker and Colonel Hogan in your basement watching stag films?” Scotty asked with pride.  “My father showed his pornographic photos and videos to everyone, including the press.”  


Some people think Scotty’s a Hollywood whore for trying to capitalize on his father’s name with a smutty web site.  “This is my father; this is what he did. I’ve been seeing these photographs since I was about two years old.”


(WHOA, NELLY!)


But wait . . . there’s more:


[T]he site isn’t all about just the sex.  Scotty’s offering a set of collectible “Hogan’s Heroes” action figures that are quite remarkable in their detail and resemblance to Hogan, Colonel Klink, and Sergeant Shultz.  But then they should be good – the trio costs $150.


*     *     *     *     *


A few days ago, I was driving in my car and minding my own business when “Girl Watcher” – a song I vaguely remembered from the sixties – came on the radio.


“Girl Watcher” seemed harmless enough when it was released by the O’Kaysions in 1968.  But the world is a very different place in 2020 than it was back then.  Today, a lot of people – especially people with an XX chromosome – would take exception to this little ditty, which is sung by an idle lout who spends his spare time leering at the hotties who pass by.



The song is chock full of lyrics guaranteed to raise the hackles of any believer in the “Me Too” movement.


For example, there’s this verse:


Hello there, female

My, my, but you do look swell

Could you please walk a little slower?


Which is followed by this equally creepy one:


I wonder if you know

That you’re putting on a show

Could you please walk a little closer?


But the creepiest part of “Girl Watcher” is the “Mmm, mmm, mmm!” that comes about 35 seconds into the song. 


*     *     *     *     *


When I was researching “Girl Watcher,” I learned that it was prominently featured in Auto Focus, the movie about Bob Crane that’s discussed above.


Which explains how 2 or 3 lines was inspired to delve into and write about the sordid details of Bob Crane’s life and death.  (And now you know the rest . . . of the story.)


Click here to watch a video of a bunch of pervy guys checking out passers-by of the female persuasion that uses “Girl Watcher” as its soundtrack.  


The video was apparently made to be shown on the Australian Broadcasting Company, a government-funded broadcast service modeled on the BBC.  (What were they thinking?)


Click below to buy the song from Amazon: