Podcasts about The Frantics

Mikel's gone, but the show must go on -- with an all-new third chair and maybe just a tad more soundboard! TL Foster joins Matt and Chris on a more permanent basis, and this all-new VGA triumvirate reboots the show with a very appropriate Top 5: Modern Reboots. Then we duke it out over the Capcom Fighting Collection 2, rip and tear into more DOOM: The Dark Ages, wax nostalgic about Retro Classics on Game Pass, and break down the latest videogame news.  Question of the Week: Tell us one of the game ideas Hideo Kojima has hidden away on his USB drive.  Break song is "Boot to the Head" by The Frantics. Vidjagame Apocalypse theme by Matthew Joseph Payne.

This won't be the last time you hear the Rolling Stones but this is the episode wherein we discuss "The Last Time" from early 1965. After acknowledging the chorus copped from the Staple Singers, we move on to the riff, the riff, the riff! We also note the strange connection to German Oompah music. The second in the parade comes from their producer and manager Andrew Oldham and his Orchestra. Obviously, this is a rearrangement rather than a cover, and obviously, it's infamous in the wake of Verve's "Bittersweet Symphony." It's totally tubular! In '66 to North Carolina's Nomads gave the song the garage treatment and the vocals are snottier and the kick drum is busier! The same year Phil & The Frantics authored a version with strange strangled vocals, an added organ with "Gloria" flourishes and it's the most oompah of all. We break the mold for "Do You Understand Me" by The Jujus, a song which steals the riff but scrambles it a bit - it's a classic! The last word goes the Who, who covered the song in 67 who underplay the riff and focus on Pete Townshend's thundering chords and Keith Moon's wild drumming. Oompah!

The Sanctified Band was driven from their homes on Chincoteague Island, forced to live in floating arks, and persecuted up and down the Eastern Seaboard... and all they really wanted was freedom to worship as they pleased. https://order-of-the-jackalope.com/wild-frantics/ Key sources for this episode include Harry J. Collins, Jr. and Floyd L. Hagan, Sr.'s History of Christ's Santified Holy Church; Kirk Mariner's Once Upon an Island: The Story of Chincoteague; Vinson Synan's The Holiness-Pentecostal Movement in the United States; and contemporary newspaper reports. This week we're promoting our friends The Apocrypals -- a podcast where two non-believers read through the Bible but try not to be jerks about it. Join comics writers Benito Cereno and Chris Sims as they journey through the Good Book from Acts to Zephaniah, with stops in the Apocrypha along the way. https://apocrypals.libsyn.com Email: jackalope@order-of-the-jackalope.com Bluesky: https://bsky.app/profile/orderjackalope.bsky.social Discord: https://discord.gg/Mbap3UQyCB Facebook: https://www.facebook.com/orderjackalope/ Instagram: https://www.instagram.com/orderjackalope/ TikTok: https://www.tiktok.com/@orderjackalope Tumblr: https://orderjackalope.tumblr.com Twitter: https://twitter.com/orderjackalope YouTube: https://youtube.com/@orderjackalope I'll be presenting at the Intelligent Speech conference on February 8, 2025! Register now at https://intelligentspeechonline.com/ and get 10% off with the promo code JACKALOPE! The Ancient and Esoteric Order of the Jackalope is a secret society devoted to sharing strange stories and amazing facts. No topic is off limits -- if it's interesting or entertaining, we'll do an episode about it!

Picoteamos en las compilaciones Born Bad. editadas en los 80. Discos piratas que aglutinaron bandas y artistas de sonido cavernario, salvaje, afilado, lascivo y provocador, singles de los años 50 y primeros 60 que unos padres respetables no querrían que sus hijos e hijas escucharan. Grupos, artistas y canciones que sirvieron de caldo de cultivo para la música que décadas después hicieron los Cramps y otros pecadores del rock’n’roll.Playlist;(sintonía) THE FRANTICS “Werewolf”THE SHADES “Strollin’ after dark”JET POWERS “Go girl go”HERBIE DUNCAN “Hot lips baby”BUDDY LOVE “Heartbreak Hotel”SPARK PLUGS “Chicken”NAT COUTY and THE BRAVES “Woodpecker rock”BILL ALLEN and THE BACKBEATS “Please give me something”THE READYMEN “Shortnin’ Bread”THE FENDERMEN “Mule skinner blues”KIP TYLER and HIS FLIPS “Jungle hop”KAI RAY “I want some of that”CARL PERKINS “Her love rubbed off”DEL RANEY’S UMBRELLAS “Can your hossy do the dog?”THREE ACES and a JOKER “Booze party”MACY SKIPPER “Bop pills”SHORTY LONG “Devil with the blue dress on”LONNIE ALLEN “You’ll never change me”JACKIE LEE COCHRAN “Georgia Lee Brown”FREDDIE and THE HITCHHIKERS “Sinners”DUANE EDDY and THE REBELS “Girl in a death row”Escuchar audio

Paul Chato is a Canadian comedian and writer, the president of a web design company, and a former television executive. Chato grew up in the first planned community in North America, Don Mills. Graduating from Don Mills Collegiate  in 1973, he went on to graduate from Ryerson Polytechnical Institute in Radio Television Arts. From Ryerson, he went on to become an art director with Kelly's Stereo Mart and from there joined Rick Green to form Green and Chato, a two-man comedy team. In 1979, Green and Chato joined up with Dan Redican and Peter Wildman to form the comedy group The Frantics. From 1989 to 1991, Chato was head of television comedy at CBC Television.  Apart from his continued association with The Frantics, Chato is the president of Your Web Department (formerly Electramedia), an international web development company. Chato has a channel of IT-related comedy tech on YouTube and Odysee, named Call Me Chato, where he reacts to entertainment media as a "former Network executive". He also has a channel of social commentary and news reaction called aPauling News. --- Support this podcast: https://podcasters.spotify.com/pod/show/matt-brown57/support

THE ARWEN LEWIS SHOW - Featuring Don Stevenson, Moby Grape After years of playing a circuit of R&B clubs and events and speakeasies in the Pacific Northwest, Don Stevenson trekked down to the Bay Area in the summer of '65. He'd recently joined The Frantics. The following summer he co-founded the iconic San Francisco band, Moby Grape. Playing ballrooms, like The Fillmore and Avalon, the Grape instantly became the darlings of the Bay Area, and the object of a massive bidding war. In the early weeks of '67, the fivesome shuffled between San Francisco and LA with record company executives from Columbia, Atlantic, and Elektra elbowing each other out of the way, with contracts and pens in hand. Signing with Columbia, Moby Grape recorded their debut in a handful of sessions in the spring of '67. The album came out a few days after Pepper and a couple of weeks later, the Grape played a killer set at the Monterey Pop Festival.   As a songwriting-singing drummer, Don Stevenson was a trailblazer, opening the door for the likes of Levon Helm and Don Henley. Moby Grape's self-titled LP isn't just one of the best debuts in history, it's one of the best albums ever cut. It's now over half a century after those heady days and today Stevenson is putting out his third solo album, Limited Engagement—Volume 1. Produced by Jamie Collins- SoundSuiteMusic, and featuring such talent as Tim Bovaconti (Burton Cummings Band), Dane Clark (John Mellencamp Band), and Dale Ockerman (Doobie Brothers), the album includes 11 stellar tracks tapping into all the genres Moby Grape explored so many years ago.   With another dozen tracks in the can, Stevenson's next album is right around the corner and he's looking into the past, present, and future all at once. At 82, Don Stevenson has every bit as much energy as those two generations younger and you'll witness this when his band hits the stage at Massey Hall. Having shared the bill with the likes of Jimi Hendrix, Janis Joplin, Steve Miller, The Byrds, BB King, Buddy Guy, Sly Stone, and a host of others, Don Stevenson is no stranger to event concerts, like Chest Fever. Prepare to be bowled over by a seasoned icon. Don Stevenson - https://mobygrape.us The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ The Arwen Lewis Show is Brought to you by John DeNicola and Omad Records https://www.omadrecords.com/ On Instagram, Follow Arwen Lewis Here: @thearwenlewisshow @arwenlewis www.thejeremiahshow.com On Instagram @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

  2:33:20 – Frank in New Jersey, plus the Other Side. Topics include: Mr. Canoehead synchronicity, The Frantics, new album Hackney Diamonds by The Rolling Stones, Sonic Superstars, Super Mario Bros. Wonder, Serendipity Interloper, chewing gum review – Grenades Gum (Super-Uber Mint, Wild Spearmint, Peppermint Bang), 1994 Cinetropolis article, Crystal Pepsi, PlayStation Home, Dr Pepper Ten, new […]

2:33:20 – Frank in New Jersey, plus the Other Side. Topics include: Mr. Canoehead synchronicity, The Frantics, new album Hackney Diamonds by The Rolling Stones, Sonic Superstars, Super Mario Bros. Wonder, Serendipity Interloper, chewing gum review – Grenades Gum (Super-Uber Mint, Wild Spearmint, Peppermint Bang), 1994 Cinetropolis article, Crystal Pepsi, PlayStation Home, Dr Pepper Ten, new Eddie […]

Singles Going Around- Moanin' At Midnight (Halloween Mix)Here's this years Halloween Mix!The Vettes- "Devil Driver's Theme"The Frantics- "The Werewolf"Howlin Wolf- "Evil"Dr John- "Zu Zu Man"The Munsters- "The Munster Creep"Gibby Haynes- "Paul's Not Home"Ronnie Cook & The Gaylads- "Goo Goo Muck"The Ramones- "I Don't Wanna Go Down To The Basement"Robert Johnson- "Hell Hound On My Trail"Sam The Sham & The Pharoahs- "Little Red Riding Hood"The UK Subs- "I Walked With A Zombie"Jack Nitzsche- "The Last Race"Bo Diddley- "Aztec"The Phantom- "Love Me"The White Stripes- "Jack The Ripper"Muddy Waters- "Hoochie Coochie Man"The Flying Burrito Brothers- "Christine's Tune"The Vettes- "Devil Driver"Mildred & The Mice- "Spider Bite"The Novas- "The Crusher"Link Wray- "Fatback"Kenny Neal- "Swamp Creature"Junior Wells- "Hoodoo Man Blues"Harry Choates- "Devil In The Bayou"Borris Pickett- "Monster Mash"The Black Belles- "Honky Tonk Horror"Howlin Wolf- "Moanin At Midnight"(The devil doesn't understand moaning)

Dolton Records: Good guys countdown featuring the hits and misses of the Seatle-based label called Dolton, providing large-scale pop oldies output from the Fleetwoods, The Ventures, Vic Dana and the Frantics.

Mafalda Duarte é a nossa convidada e o Wilson Almeida senta-se na cadeira rotativa para nos trazer algo muito especial. Quanto a jogos que jogámos… (inala forte e…) Stray, Good Job, Diofield Chronicle, Unravel Two, Mario Party, Frantics, Lost in play, Two-Point campus, Cult of the Lamb, Contrast, Choices That Matter: And The Sun Went … Continue reading #240 – Mafalda Duarte – Nerd Monkeys →

This time out go north to Canada with us to meet The Frantics, a great comedy troupe who blend sharp sketches with witty songs that have earned them a loyal following for over 40 years. From their birth in the fertile Toronto comedy scene circa 1979, to a long-running CBC radio show, to a late-career reunion that spawned from an old sketch gaining new fame on the Dr. Demento show -- the Frantics keep serving up great characters along with a catch phrase that will stick with you like a "boot to the head!" As always find extended cuts in the comments at laughtracksradio.com and thanks for sharing our shows!

Erick Lee Purkhiser (October 21, 1946 – February 4, 2009), better known by the stage name Lux Interior, was an American singer and a founding member of the American band The Cramps - exponents of trash culture and 'psychobilly' music - from 1972 until his death in 2009 at age 62. In this episode Lux Interior's favorite and obscure 7 inch records, as played by himself in a much sought-after, classic Hollywood radio show he hosted in July of 1984. Lineup: One Way Streets, Bob Hocko, Swamprats, June Jackson, The Trashmen, Link Wray, Bill Carter And The Rovin' Gamblers, The Tides, Earl Hagan & The Interns, Mad Mike And The Maniacs, Billy Strange, Ted Weems & His Orchestra, Ray Anthony & His Orchestra, Gradie O'Neal, The Enchanters, Sam Space, The Cadettes, Archie Bleyer, Vic Mizzy, The Spark Plugs, The Frantics, The Five Blobs, The Troggs, Ward Darby And The Raves, Cozy Cole, The Deadly Ones

On this theme episode, we feature 4 moody organ-driven slow-burn songs from the 1960s centered on the eternal rock'n'roll question: should I stay or should I go? We begin this quartet of quandary with Phil and the Frantics and their haunting ballad "I Must Run" (2:32). Sure, it rips off the Zombies, but those guys don't move fast, so Phil and the boys are ahead of the pack in more ways than one. Second thoughts arise with The Cryin' Shames and their weeper "Please Stay" (43:26). Joe Meek's final hit job (well, before he murdered his landlady)! The boil keeps rolling with the third song of the show - "Baby Let's Wait" by The Royal Guardsmen (1:23:43). These guys shoot Snoopy down and tackle a slice-of-life narrative tune of young love written by the estimable songwriting partnership of Lori Burton & Pam Sawyer. It's great, but we gotta move on- so we say our sayonaras with "Bye Bye" by The Ban (1:50:45). The organ rolls and the band rocks - totally snotty garage attitude to mask the teardrops caused by all these sad songs!

Episode one hundred and thirty-eight of A History of Rock Music in Five Hundred Songs looks at “I Fought the Law", and at the mysterious death of Bobby Fuller. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifteen-minute bonus episode available, on "Hanky Panky" by Tommy James and the Shondells. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com No Mixcloud this week due to the large number of tracks by the Bobby Fuller Four Resources Information about the Crickets' post-Holly work comes from Buddy Holly: Learning the Game, by Spencer Leigh. There are two books available about Bobby Fuller -- the one I consulted most is Rock and Roll Mustangs by Stephen McParland, which can be bought as a PDF from https://payhip.com/cmusicbooks I also consulted I Fought the Law: The Life and Strange Death of Bobby Fuller by Miriam Linna and Randell Fuller. One minor note -- both these books spell Bob Keane's name Keene. Apparently he spelled it multiple ways, but I have chosen to use the spelling he used on his autobiography, which is also the spelling I have used for him previously. There are several compilations available of the Bobby Fuller Four's material, but the best collection of the hit singles is Magic Touch: The Complete Mustang Singles Collection.  And this is an expanded edition of the Crickets' In Style album. Erratum I say Sonny Curtis wrote "Oh Boy!" -- I meant Sonny West. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A warning, before I begin. This episode, more than most, deals with events you may find disturbing, including graphic descriptions of violent death. Please check the transcript on the podcast website at 500songs.com if you are worried that you might be upset by this. This episode will not be a pleasant listen. Now on with the episode... More than anything, Bobby Fuller wanted desperately to be Buddy Holly. His attitude is best summed up in a quote from Jim Reese, the guitarist with the Bobby Fuller Four, who said "Don't get me wrong, I thought the world of Bobby Fuller and I cared a lot for him, so I say this with the best intentions -- but he was into Buddy Holly so much that if Buddy Holly decided to wear one red sock and one blue sock and Bobby Fuller found out about it, Bobby Fuller would've had one red sock and one blue sock. He figured that the only way to accomplish whatever Buddy Holly had accomplished was to be as much like Buddy Holly as possible." And Reese was right -- Bobby Fuller really was as much like Buddy Holly as possible. Buddy Holly was from Texas, so was Bobby Fuller. Buddy Holly played a Fender Stratocaster, Bobby Fuller played a Fender Stratocaster. Buddy Holly performed with the Crickets, Bobby Fuller's biggest hit was with a Crickets song. Buddy Holly recorded with Norman Petty, Bobby Fuller recorded with Norman Petty. Of course, there was one big difference. Buddy Holly died in an accident when he was twenty-two. Bobby Fuller lived to be twenty-three. And his death was no accident... [Excerpt: The Bobby Fuller Four, "I Fought the Law"] After Buddy Holly quit the Crickets in 1958, they continued recording with Norman Petty, getting in guitarist Sonny Curtis, who had been an associate of the band members even before they were a band, and who had been a frequent collaborator with Buddy, and vocalist Earl Sinks. But while they kept recording, Petty didn't release any of the recordings, and the group became convinced that he wasn't really interested in doing so. Rather, they thought that he was just using them as leverage to try to get Buddy back. "Love's Made a Fool of You" was the record that made the Crickets lose their faith in Norman Petty. The song was one that Buddy Holly and Bob Montgomery had written way back in 1954, and Holly had revived it for a demo in 1958, recording it not as a potential song for himself but to give to the Everly Brothers, reworked in their style, though they never recorded it: [Excerpt: Buddy Holly, "Love's Made a Fool of You"] When Holly and the Crickets had parted ways, the Crickets had recorded their own version of the song with Petty producing, which remained unreleased like everything they'd recorded since Buddy left. But on the very day that Buddy Holly died, Petty shipped a copy of the tape to Decca, express mail, so that a single could be released as soon as possible: [Excerpt: The Crickets, "Love's Made a Fool of You"] The Crickets never worked with Norman Petty again after that, they were so disgusted at his determination to cash in on the death of their friend and colleague. Petty continued to exploit Holly's work, getting in a band called the Fireballs to add new instrumental backing to Holly's old demos so they could be released as new singles, but the split between Petty and Holly's living colleagues was permanent. But the Crickets didn't give up performing, and continued recording new material, mostly written either by Sonny Curtis or by the group's drummer Jerry Allison, who had co-written several of the group's earlier hits with Holly. "More Than I Can Say" was written by Curtis and Allison, and didn't make the top forty in the US, but did become a top thirty hit in the UK: [Excerpt: The Crickets, "More Than I Can Say"] That was later also covered in hit versions by Bobby Vee and Leo Sayer. The B-side, "Baby My Heart", wasn't a hit for the Crickets, but was covered by the Shadows on their first album, which made number one on the UK charts. That performance was one of the few Shadows records at this point to have vocals: [Excerpt: The Shadows, "Baby My Heart"] The group's first post-Holly album collected all their singles without Holly to that point, plus a few new filler tracks. The album, In Style With the Crickets, didn't chart in the US, but was a success in the UK. Around the time that album was released, Earl Sinks quit the group, and became a songwriter. He collaborated with Buddy Holly's old musical partner Bob Montgomery on a variety of hits for people like Brenda Lee, and in the seventies went back into performing for a while, having minor solo country hits as Earl Richards, and then bought a chain of abbatoirs. Allison and Curtis supplemented their income from the Crickets with session work -- Allison backed the Everly Brothers on "Til I Kissed You": [Excerpt: The Everly Brothers, "Til I Kissed You"] and both of them played on Eddie Cochran's last studio session, playing on "Three Steps to Heaven", with Curtis playing the electric lead while Cochran played the acoustic: [Excerpt: Eddie Cochran, "Three Steps to Heaven"] After that, the group went on tour in the UK as the backing band for the Everly Brothers, where they coincidentally bumped into Cochran, who told them "If I knew you guys were coming, I'd have asked you to bring me a bottle of American air.” They would never see Cochran again. Shortly after that tour, Sonny Curtis was drafted -- though while he was in the army, he wrote "Walk Right Back" for the Everly Brothers, as we discussed in the episode on "Cathy's Clown": [Excerpt: The Everly Brothers, "Walk Right Back"] Joe Mauldin gave up on music for a while, and so for a while The Crickets consisted of just Jerry Allison, new singer Jerry Naylor, and guitarist Tommy Allsup, who had played with Holly after Holly left the Crickets. That lineup recorded the "Bobby Vee Meets the Crickets" album, with Bobby Vee singing lead: [Excerpt: Bobby Vee and the Crickets, "Well... All Right"] Curtis would return once his time in the army was over, and eventually, in the 1970s, the group would stabilise on a lineup of Curtis, Mauldin, and Allison,  who would play together more or less consistently until 2015. But for a few years in the early sixties there was a lot of lineup shuffling, especially as Allison got drafted not long after Curtis got out of the Army -- there was one UK tour where there were no original members at all, thanks to Allison's absence. When Curtis was out of the group around the time of the Bobby Vee album, Snuff Garrett tried to get a friend of his to join as the group's new lead singer, and brought him to LA, but it didn't work out. Garrett later said "He and Jerry didn't hit it off in the way I imagined. After a few months, it was over and the guy started playing clubs around LA. I did demos with him and took them to my boss, the president of Liberty, and he said, ‘You've got enough of your friends signed to the label. You've signed the Crickets and Buddy Knox and they're not doing much business, and this guy can hardly speak English.' I said, ‘Well, I think he's going to be something.' ‘Okay,' he said, ‘Drop one of the acts you've got and you can sign him.' I said, ‘Forget it.' A year later, he was an international star and his name was Trini Lopez" Lopez's big hit, "If I Had a Hammer", was recorded in a live show at a club called PJs: [Excerpt: Trini Lopez, "If I Had a Hammer"] PJs was owned by a gangster named Eddie Nash, who is now best known as the prime suspect in a notorious case known as the Wonderland Murders, when in 1981 four people were horribly beaten to death, either with the assistance of or to send a message to the porn star John Holmes, depending on which version of the story you believe. If you're unfamiliar with the case, I advise you not to google it, as it's very far from pretty. I bring this up because PJs would soon play a big part in the career of the Bobby Fuller Four. Bobby Fuller was born in the Gulf Coast of Texas, but his family moved about a lot during his formative years, mostly in the Southwestern US, living in Lubbock, Texas, Hobbs, New Mexico, and Salt Lake City, Utah, among other places, before finally settling down in El Paso. El Paso is a border town, right up close to the border with Mexico, and that meant that it had a complicated relationship with Juarez, the nearest large town on the Mexican side of the border. Between 1919 and 1933, the selling and consumption of alcohol had been made illegal in the United States, a period known as Prohibition, but of course it had not been criminalised in Mexico, and so during those years any time anyone from El Paso wanted to get drunk they'd travel to Juarez. Even after Prohibition ended, Juarez had a reputation as a party town, and Randy Fuller, Bobby's brother, would later tell a teen magazine "You can grow up in El Paso and get really bad -- it's Juarez that makes it that way. Whatever personality you have, you have it 100%. You can go to Juarez and get drunk, or stay in El Paso and get religion" Of course, from the outside, that sounds a whole lot like "now look what YOU made ME do". It's not the fault of those white people from Texas that they travel to someone else's city in someone else's country and get falling-down drunk and locked up in their jails every weekend, but it's the fault of those tempting Mexicans. And when Bobby and Randy Fuller's older brother Jack disappeared in 1961, while Bobby was off at university, that was at first what everyone thought had happened -- he'd gone to Juarez, got drunk, and got locked up until he could sleep it off. But when he didn't reappear after several days, everyone became more concerned. It turned out that Jack had met a man named Roy Handy at a bus depot and started chatting with him. They'd become friendly, and had gone off to do some target shooting together in the desert. But Handy had seen what looked like a wad of thousand-dollar bills in Jack's sun visor, and had decided to turn the gun on Jack rather than the target, killing him. The thousand-dollar bills had been play money, a gift bought for a small child who lived nearby. Because of the murder, Bobby Fuller moved back to El Paso from Denton in North Texas, where he had been studying music at university. He did enroll in a local college, but gave up his studies very quickly. Bobby had been something of a musical prodigy -- his original plan before going to North Texas State University had actually been to go to Juilliard, where he was going to study jazz drumming. Instead, while Bobby continued his drumming, he started living a party lifestyle, concentrating on his car, on women -- he got multiple women pregnant in his late teens and early twenties -- and on frequent trips to Juarez, where he would spend a lot of time watching a local blues musician, Long John Hunter: [Excerpt: Long John Hunter, "El Paso Rock"] Meanwhile, a music scene had been growing in El Paso since the late 1950s. A group called the Counts were at the forefront of it, with instrumentals like "Thunder": [Excerpt: The Counts, "Thunder"] The Counts splintered into various groups, and one of them became The Embers, who Bobby Fuller joined on drums. Fuller was also one of a tiny number of people at this time who actually had a home studio. Fuller had started out with a simple bedroom studio, but thanks to his parents' indulgence he had repurposed a big chunk of their house as a studio, including building, with his brother Randy, an echo chamber (though it didn't work very well and he stuck with tape echo). It was in that home studio that the Embers recorded their first single, "Jim's Jive", with Fuller on drums and Jim Reese on lead guitar: [Excerpt: Jerry Bright and The Embers, "Jim's Jive"] That was released on a tiny local label, Yucca Records, which also released the Embers' second single -- and also released two Bobby Fuller solo singles, starting with "You're in Love": [Excerpt: Bobby Fuller, "You're in Love"] That was recorded at Fuller's home studio, with the Embers backing him, and became the number one single locally, but Yucca Records had no national distribution, and the record didn't get a wider release. Fuller's second single, though, was the first time his Buddy Holly fixation came to the forefront. Fuller was, by many accounts, *only* interested in sounding like Buddy Holly -- though his musical tastes were broad enough that he also wanted to sound like Eddie Cochran, Ritchie Valens, and the Crickets. But that was the extent of Fuller's musical world, and so obviously he wanted to work with the people who had worked with Holly. So his second single was recorded at Norman Petty's studio in Clovis, New Mexico, with Petty's wife Vi, who had played keyboards on some Buddy Holly records, on keyboards and backing vocals: [Excerpt: Bobby Fuller, "Gently My Love"] But as it turned out, Fuller was very underwhelmed by the experience of working with Petty, and decided that he was going to go back to recording in his home studio. Fuller left the Embers and started performing on his own, playing rhythm guitar rather than drums, with a band that initially consisted of his brother Randy on bass, Gaylord Grimes on drums, and Jim Reese on lead guitar, though there would be constant lineup changes. Two of the many musicians who drifted in and out of Fuller's revolving band lineup, Larry Thompson and Jerry Miller, were from the Pacific Northwest, and were familiar with the scene that I talked about in the episode on "Louie, Louie". Thompson was a fan of one of the Pacific Northwest bands, the Frantics, who had hits with tracks like "Werewolf": [Excerpt: The Frantics, "Werewolf"] Thompson believed that the Frantics had split up, and so Fuller's group took on that name for themselves. When they found out that the group *hadn't* split up, they changed their name to the Fanatics, though the name on their bass drum still read "The Frantics" for quite a while. Jerry Miller later moved back to Seattle, where he actually joined the original Frantics, before going on to become a founder member of Moby Grape. Fuller started his own record label, Eastwood Records, and put out another solo single, which covered the full breadth of his influences. The B-side was "Oh Boy!", the song Sonny Curtis had written for Buddy Holly, while the A-side was "Nervous Breakdown", which had originally been recorded by Eddie Cochran: [Excerpt: Bobby Fuller, "Nervous Breakdown"] Everything was very fluid at this point, with musicians coming and going from different lineups, and none of these musicians were only playing in one band. For example, as well as being lead guitarist in the Fanatics, Jim Reese also played on "Surfer's Paradise" by Bobby Taylor and the Counts: [Excerpt: Bobby Taylor and the Counts, "Surfer's Paradise"] And Bobby's record label, renamed from Eastwood to Exeter, was releasing records  by other artists as well as Bobby and the Fanatics, though none of these records had any success. In early 1963 Fuller and his latest lineup of Fanatics -- Randy, drummer Jimmy Wagnon, and guitarist Tex Reed -- travelled to LA to see if they could become successful outside El Paso. They got a residency at the Hermosa Biltmore, and also regularly played the Rendezvous Ballroom in Balboa, where the Beach Boys and Dick Dale had both played not long before, and there they added some surf instrumentals to their repertoire. Bobby soon became almost as keen on surf music as he was on rockabilly. While in LA, they tried all the record companies, with no success. The most encouragement they got came from Bob Keane at Del-Fi, the label that had previously been Ritchie Valens' label, who told him that the tapes they brought him of their El Paso recordings sounded good but they needed better songs, and to come back to him when they had a hit song. Bobby determined to do just that. On their return to El Paso, Bobby Fuller and the Fanatics recorded "Stringer" for Todd Records, a small label owned by Paul Cohen, the former Decca executive who had signed Buddy Holly but not known what to do with him: [Excerpt: Bobby Fuller and the Fanatics, "Stringer"] Fuller also opened his own teen nightclub, the Teen Rendezvous, which he named after the Balboa ballroom. The Fanatics became the regular band there, and at this point they started to build up a serious reputation as live performers. The Teen Rendezvous only stayed open for a few months, though -- there were complaints about the noise, and also they booked Bobby Vee as a headliner one night. Vee charged a thousand dollars for his appearance, which the club couldn't really afford, and they didn't make it back on the doors. They'd hoped that having a prestigious act like Vee play there might get more people to come to the club regularly, but it turned out that Vee gave a sub-par performance, and the gamble didn't pay off. It was around this time that Fuller made his first recording of a song that would eventually define him, though it wasn't his idea. He was playing the Crickets In Style album to his brother Randy, and Randy picked up on one song, a Sonny Curtis composition which had never been released as a single: [Excerpt: The Crickets, "I Fought the Law"] Randy thought the Crickets' actual record sounded horrible, but he also thought the song had the potential to be a really big hit. He later explained "The James Dean movie Rebel Without a Cause had made a big impression on me, and I told Bobby, 'Man, let's do that one... it oughta sell a million copies'. Everyone was into the whole rebel thing, with switchblades and stuff like that. It just seemed like a natural thing for us to do." Fuller recorded his own version of the song, which once again became a local hit: [Excerpt: Bobby Fuller, "I Fought The Law (El Paso version)"] But even though the record did get some national distribution, from VeeJay Records, it didn't get any airplay outside the Southwest, and Fuller remained a local star with absolutely no national profile. Meanwhile, he was still trying to do what Bob Keane had asked and come up with a hit song, but he was stuck in a musical rut. As Jim Reese would later say, "Bobby was a great imitator. He could sing just like Holly, McCartney, Lennon, or Eddie Cochran. And he could imitate on the guitar, too. But Bobby never did Bobby". To make matters worse, the Beatles came on to the American musical scene, and caused an immediate shift in the public taste. And Bobby Fuller had a very complicated relationship with the Beatles. He had to play Beatles songs live because that's what the audiences wanted, but he felt that rock and roll was *American* music, and he resented British people trying to play it. He respected them as songwriters, but didn't actually like their original material. He could tell that they were huge Buddy Holly fans, like him, and he respected that, but he loathed Motown, and he could tell they were listening to that too. He ended up trying to compromise by playing Buddy Holly songs on stage but introducing them by talking about how much the Beatles loved Buddy Holly. Another person who was negatively affected by the British Invasion was Bob Keane, the man who had given Fuller some encouragement. Keane's Del-Fi Records had spent the previous few years making a steady income from churning out surf records like "Surf Rider" by the Lively Ones: [Excerpt: The Lively Ones, "Surf Rider"] And the Surfer's Pajama Party album by the Bruce Johnston Surfing Band: [Excerpt: Bruce Johnston, "The Surfer Stomp"] But as surf music had suddenly become yesterday's news, Del-Fi were in financial trouble, and Keane had had to take on a partner who gave the label some financial backing, Larry Nunes. Now, I am going to be very, very, careful about exactly what I say about Nunes here. I am aware that different people give very, very, different takes on Nunes' personality -- Barry White, for example, always said that knowing Nunes was the best thing that ever happened to him, credited Nunes with everything good in his career, and gave him credit on all his albums as his spiritual advisor. However, while White made Nunes out to be pretty much a saint, that is not the impression one gets from hearing Bob Keane or any of Bobby Fuller's circle talk about him. Nunes had started out in the music business as a "rack jobber", someone who ran a small distribution company, selling to small family-owned shops and to secondary markets like petrol stations and grocery stores. The business model for these organisations was to get a lot of stock of records that hadn't sold, and sell them at a discount, to be sold in discount bins. But they were also a perfect front for all sorts of criminal activity. Because these were bulk sales of remaindered records, dead stock, the artists weren't meant to get royalties on them, and no real accounting was done of the sales. So if a record label "accidentally" pressed up a few thousand extra copies of a hit record and sold it on to a rack jobber, the artists would never know. And if the Mafia made a deal with the record pressing plant to press up a few thousand extra copies, the *record label* would never know. And so very, very, quickly this part of the distribution system became dominated by organised crime. I have seen no proof, only rumours, that Nunes was directly involved in organised crime, but Bob Keane in particular later became absolutely convinced he was. Keane would later write in his autobiography: “I wondered if I had made a deal with the Devil. I had heard that Larry had a reputation for being associated with the Mob, and as it turned out three years later our relationship ended in deception, dishonesty, and murder. I consider myself very lucky to have come out of my relationship with Nunes in one piece, virtually unscathed." Again, this is Keane's interpretation of events. I am not saying that Larry Nunes was a mobster, I am saying that Bob Keane repeatedly made that accusation many times, and that other people in this story have said similar things. By late 1964, Bobby Fuller had come up with a song he was pretty sure *would* be a successful single, like Keane had wanted, a song called "Keep on Dancing" he'd written with Randy: [Excerpt: Bobby Fuller, “Keep On Dancing”] After some discussion he managed to persuade Randy, Jim Reese, and drummer DeWayne Quirico to move with him to LA -- Bobby and Randy's mother also moved with them, because after what had happened to her eldest son she was very protective of her other children. Jim Reese was less keen on the move than the others, as he thought that Fuller was only interested in himself, not in the rest of the Fanatics. As Reese would later say, "Bobby wanted us all to go to California, but I was leery because it always had been too one-sided with Bobby. He ran everything, hired and fired at the least whim, and didn't communicate well with other people. He was never able to understand that a musician, like other people, needs food, gasoline, clothes, a place to live, etc. I often felt that Bobby thought we should be following him anywhere just for the thrill of it." Eventually, Fuller got them to go by agreeing that when they got to LA, everything would be split equally -- one for all and all for one, though when they finally made a deal with Keane, Fuller was the only one who ended up receiving royalties. The rest of the group got union scale. Keane agreed that "Keep on Dancing" could be a hit, but that wasn't the first record the group put out through one of Keane's labels. The first was an instrumental titled "Thunder Reef": [Excerpt: The Shindigs, "Thunder Reef"] That wasn't released as by the Fanatics, but as by The Shindigs -- Keane had heard that Shindig! needed a house band and thought that naming the group after the show might be a way to get them the position. As it happened, the TV show went with another group, led by James Burton, who they called the Shindogs, and Keane's plan didn't work out. The Shindigs single was released on a new Del-Fi subsidiary, Mustang, on which most future records by the group would be released. Mustang was apparently set up specifically for the group, but the first record released on that label was actually by a studio group called The Surfettes: [Excerpt: The Surfettes, "Sammy the Sidewalk Surfer"] The Surfettes consisted of Carol Connors, the former lead singer of the Teddy Bears and writer of "Hey Little Cobra", and her sister Cheryl. Carol had written the single with Buzz Cason, of Brenda Lee's band, and the session musicians on that single included several other artists who were recording for Del-Fi at the time -- David Gates, Arthur Lee, and Johnny Echols, all of whom we'll be hearing more about in future episodes. Almost simultaneously with the Shindigs single, another single by the Fanatics was released, "Those Memories of You": [Excerpt: Bobby Fuller and the Fanatics, "Those Memories of You"] That single, backed by a surf instrumental called "Our Favourite Martian", was released on Donna Records, another Del-Fi subsidiary, as by Bobby Fuller and the Fanatics, which made the other group members furious -- what had happened to one for all and all for one? Randy Fuller, who was a very aggressive young man, was so annoyed that he stormed into Bob Keane's office and frisbeed one of the singles at his head. They didn't want to be Bobby's backing band, they wanted to be a proper group, so it was agreed the group's name would be changed. It was changed to The Bobby Fuller Four. Jim Reese claimed that Keane and Fuller formed The Bobby Fuller Four Inc, without the other three members having participation, and made them employees of the corporation. Reese said "this didn't fit in with my concept of the verbal agreement I had with Bobby, but at least it was better than nothing". The group became the house band at the Rendezvous, playing their own sets and backing people like Sonny and Cher. They then got a residency at the Ambassador Hotel in Hollywood, and then Jim Reese quit the band. Fuller phoned him and begged him to come back, and as Reese said later "I again repeated my conditions about equal treatment and he agreed, so I went back -- probably the biggest mistake I ever made." The group's first single as the Bobby Fuller Four, released on Mustang as all their future records were, was "Take My Word": [Excerpt: The Bobby Fuller Four, "Take My Word"] The record was unsuccessful -- Keane's various labels, while they were better distributed than Bobby's own labels back in El Paso, still only had spotty distribution, and Mustang being a new label it was even more difficult to get records in stores. But the group were getting a reputation as one of the best live acts in the LA area at the time. When the club Ciro's, on the Sunset Strip, closed and reopened under its new name It's Boss, the group were chosen to perform at its grand reopening, and they played multiple four- to six-week residencies at PJ's. The next record the group released, "Let Her Dance", was a slight rewrite of "Keep on Dancing", the song the Fuller brothers had written together, though Bobby was the only credited writer on the label: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] That was the first single they recorded at a new state-of-the-art studio Keane had opened up. That studio had one of the first eight-track machines in LA, and a truly vast echo chamber, made up from a couple of unused vaults owned by a bank downstairs from the studio. But there were big arguments between Fuller and Keane, because Fuller wanted only to make music that could be reproduced live exactly as it was on the record, while Keane saw the record as the important thing. Keane put a percussion sound on the record, made by hitting a bottle, which Fuller detested as they couldn't do it live, and the two would only end up disagreeing more as they continued working together. There's a lot of argument among Fuller fans about this -- personally I can see both sides, but there are people who are very much Team Bobby and think that nothing he recorded for Mustang is as good as the El Paso recordings, because of Bob Keane diluting the raw power of his live sound. But in an era  where studio experimentation was soon to lead to records like "Strawberry Fields Forever" or "Good Vibrations", I think a bit of extra percussion is hardly an unforgivable dilution: [Excerpt: The Bobby Fuller Four, "Let Her Dance"] KRLA radio started playing "Let Her Dance" every hour, at the instigation of Larry Nunes -- and most of the people talking about this have implied that he bribed people in order to get this to happen, or that it was through his alleged Mob connections. Certainly, he knew exactly when they would start playing the record, and how frequently, before they did. As a result of this exposure, "Let Her Dance" became a massive local hit, but they still didn't have the distribution to make it a hit outside California. It did, though, do well enough that Liberty Records asked about putting the record out nationally. Keane came to a verbal agreement, which he thought was an agreement for Liberty to distribute the Mustang Records single, and Liberty thought was an agreement to put out the single on their own label and have an option on future Fuller recordings. Liberty put the record out on their own label, without Keane having signed anything, and Keane had to sue them. The result was that the record was out on two different labels, which were suing each other, and so it hardly had any chance at any kind of success. The legal action also affected the next single, "Never to Be Forgotten": [Excerpt: The Bobby Fuller Four, "Never to Be Forgotten"] That's often considered the best of the band's originals for Mustang, and was written by the Fuller brothers -- and both of them were credited this time -- but Liberty sued Keane, claiming that because they'd released "Let Her Dance", they also had an option on the next single. But even though the group still weren't selling records, they were getting other opportunities for exposure, like their appearance in a film which came out in April 1966. Though admittedly, this film was hardly A Hard Day's Night. Indeed, a lot of people have claimed that The Ghost in the Invisible Bikini was cursed. The film, which went through the working titles Pajama Party in a Haunted House, Slumber Party in a Haunted House, Bikini Party in a Haunted House, and Ghost in a Glass Bikini, was made by the cheapy exploitation company American International Pictures, and several people involved in it would die in the next four years, starting with Buster Keaton, who was meant to appear in the film, but had to back out due to his health problems and died before the film came out. Then on the first day of filming, a grip fell to his death. In the next four years, two of the film's young stars, Sue Hamilton and John Macchia, would die, as would Philip Bent, an actor with a minor role who died in July 1966 in a plane crash which also took the life of Peter Sachse, an extra on the film who was married to a cast member. Three more stars of the film, Francis X Bushman, Basil Rathbone, and Boris Karloff would also all be dead within a handful of years, but they were all elderly and unwell when filming started. I don't believe in curses myself, but it is a horrible run of bad luck for a single film. To make matters worse, the group weren't even playing their own music in the film, but lipsynching to tracks by other musicians. And they had to play Vox instruments in the film, because of a deal the filmmakers had made, when the group all hated Vox instruments, which Jim Reese thought of as only good for starting bonfires. For the next single, Keane had discussed with Fuller what songs the group had that were "different", but Fuller apparently didn't understand what he meant. So Keane went to the rest of the group and asked them what songs always went over well in live performances. All three band members said that "I Fought the Law" should be the next single. Bobby disagreed, and almost got into a fistfight with his brother over it -- they'd already released it as a single once, on his own label, and he didn't want to do it again. He also wanted to record his own material not cover versions. But the others prevailed, and "I Fought the Law" became the record that would define the group: [Excerpt: The Bobby Fuller Four, "I Fought the Law"] "I Fought the Law" became the group's breakthrough hit. It made the top ten, and turned the song, which had previously been one of the Crickets' most obscure songs, into a rock and country standard. In the seventies, the song would be recorded by Hank Williams Jr, the Clash, the Dead Kennedys and more, and all of them would be inspired by the Bobby Fuller Four's version of the song, not the Crickets' original. Around this time, the group also recorded a live album at PJs, in the hope of duplicating Trini Lopez's success with his earlier album. The album was shelved, though, because it didn't capture the powerhouse live act of the group's reputation, instead sounding rather dull and lifeless, with an unenthused audience: [Excerpt: The Bobby Fuller Four, "Oh Boy!"] While "I Fought the Law" was a huge success, it started a period of shifts within the band. Shortly after the PJs album was recorded, DeWayne Quirico quit the band and moved back to El Paso. He was temporarily replaced by Johnny Barbata, who would later become a member of the Turtles, before Fuller's preferred replacement Dalton Powell was able to get to LA to join the band. There seems to have been some shuffling about, as well, because as far as I can tell, Powell joined the band, then quit and was replaced by Barbata returning, and then rejoined again, all in about a six month period. Given the success of "I Fought the Law", it only made sense that at their first recording session with Powell, the group would record more tracks that had originally been on the Crickets' In Style album. One of these, their version of "Baby My Heart", went unreleased at the time, though to my taste it's the best thing the group ever did: [Excerpt: The Bobby Fuller Four, "Baby My Heart"] The other, "Love's Made a Fool of You", became the group's next single: [Excerpt: The Bobby Fuller Four, "Love's Made a Fool of You"] "Love's Made a Fool of You" was also a success, making number twenty-six in the charts, but the group's next session, which would produce their last single, was the cause of some conflict. Keane had noticed that soul music was getting bigger, and so he'd decided to open up a sister label to Mustang, Bronco, which would release soul and R&B music. As he didn't know much about that music himself, though of course he had worked with Sam Cooke, he decided to hire an A&R man to deal with that kind of music. The man he chose was a piano player named Barry White, still several years from making his own hit records. White had had some success as an arranger and producer already, having arranged "The Harlem Shuffle" for Bob and Earl, on which he also played piano: [Excerpt: Bob and Earl, "The Harlem Shuffle"] Despite White's remit, the records he produced for Bronco and Mustang weren't especially soulful. "Back Seat 38 Dodge" by Opus 1, for example, is a psychedelic updating of the kind of car songs that the Beach Boys and Jan and Dean had been doing a couple of years earlier: [Excerpt: Opus 1, "Back Seat 38 Dodge"] White was present at what became the final Bobby Fuller Four session, though accounts differ as to his involvement. Some have him arranging "The Magic Touch”, others have him playing drums on the session, some have him co-producing. Bob Keane always said that the record had no involvement from White whatsoever, that he was there but not participating, but various band members, while differing on other things, have insisted that White and Fuller got into huge rows, as Fuller thought that White was trying to turn his music into Motown, which he despised. The finished record does sound to me like it's got some of White's fingerprints on it: [Excerpt: The Bobby Fuller Four, "The Magic Touch"] But "The Magic Touch" flopped -- it departed too far from the updated Buddy Holly sound of the group's hit singles, and audiences weren't responding. “The Ghost in the Invisible Bikini” came out and was an embarrassment to the band – and on July the eleventh the next in that horrible series of deaths linked to the film happened, the plane crash that killed Philip Bent and Peter Sachse. On July the sixteenth, William Parker, the long-serving chief of the LAPD, had died. If, hypothetically, someone wanted to commit a crime in LA and not have it investigated too closely, the few days after Parker's death, when the entire department was in mourning and making preparations for a massive public funeral, would have been a good time to do so. Two days after Parker's death, July the eighteenth 1966, was going to be the crunch point for the Bobby Fuller Four. They had a recording session scheduled for 8:30AM, but they also were planning on having a band meeting after the session, at which it was likely the group were going to split up. Jim Reese had just got his draft notice, Bobby and Randy were getting on worse, and nobody was happy with the music they were making. They were going to finish the album they were working on, and then Bobby was going to go solo. Or at least that was what everyone assumed -- certainly Ahmet Ertegun had been sniffing round Bobby as a solo artist, though Bobby kept saying publicly he wanted to continue working with the band. There were also later rumours that Morris Levy had been after Bobby, and had even signed him to a deal, though no documentary evidence of such a deal has surfaced. It seemed that if there was to be a group at all, it would just be a name for any random musicians Bobby hired. Bobby also wanted to become a pure recording artist, and not tour any more -- he hated touring, thought people weren't listening to the band properly, and that being away from home meant he didn't have time to write songs, which in turn meant that he had to record what he thought of as substandard material by other people rather than his own original material. He wanted to stay in LA, play clubs, and make records. But even though making records was what he wanted to do, Bobby never turned up for the recording session, and nor did he turn up for the group meeting afterwards. The group's next single had been announced as "It's Love Come What May": [Excerpt: Randy Fuller, "It's Love Come What May"] When that was released, it was released as a Randy Fuller solo single, with Randy's voice overdubbed on top of Bobby's. Because there was no use putting out a record by a dead man. Here's what we actually know about Bobby Fuller's death, as far as I can tell. There are a lot of conflicting claims, a lot of counternarratives, and a lot of accusations that seek to tie in everyone from Charles Manson to Frank Sinatra, but this is as close as I can get to the truth. Bobby and Randy were living together, with their mother, though Randy was out a lot of the time, and the two brothers at that point could barely stand to be in the same room with each other, as often happens in bands where brothers work together. On the night of July the seventeenth, Bobby Fuller left the house for a couple of hours after getting a phone call -- some people who were around said he was going to see a girlfriend named Melody to buy some acid from her, but she says he didn't see her that night. Melody was a sex worker, who was also reputedly the girlfriend of a local nightclub owner who had Mob connections and was jealous of her attachments to other men -- though she denies this. Nobody has ever named which club owner, but it's generally considered to be Eddie Nash, the owner of PJs. Melody was also friends with Larry Nunes, and says she acted as a go-between for Nunes and Fuller. Fuller got back in around 2:30 AM and spent some time having beer with the building manager.  Then at some point he went out again -- Bobby was a night owl. When his mother, Lorraine, woke up, she noticed her car, which Bobby often used to borrow, wasn't there. She had a terrible bad feeling about her son's whereabouts -- though she often had such feelings, after the murder of her eldest son. She kept checking outside every half hour or so to see if he was coming home. At 5PM, two musicians from El Paso, Ty Grimes and Mike Ciccarelli, who'd come to LA to see Fuller, pulled into the parking lot near his apartment block. There were no other cars nearby. A car pulled in beside them, but they didn't pay any attention. They went up the stairs and rang the doorbell. While they were ringing the doorbell, Lorraine Fuller was out checking the mail, and noticed her car, which hadn't been there earlier. She opened the door. Ty Grimes later said "When we walked back to Mike's car, Bobby's car was now parked next to Mike's, and he was laying in the front seat already dead. We also saw his mom being helped toward the apartment." Fuller had been dead long enough for rigor mortis to have set in. While Lorraine Fuller later said that his hand had been on the ignition key, there was actually no key found in the car. He had apparently died from inhaling petrol. His body was covered in bruises, and the slippers he was wearing looked like they'd been dragged across the ground. His body was covered in petrol, and his right index finger was broken. Bob Keane has later said that Larry Nunes knew some details of the crime scene before he was told them. According to the other members of the band, there was an eight hundred thousand dollar life insurance policy on Bobby's life, held by the record company. Keane didn't get any money from any such policy, and stated that if such a policy existed it must have been taken out by Nunes, who soon stopped working with Keane, as Keane's labels collapsed without their one remaining star. The death was initially ruled a suicide, which would not pay out on an insurance claim, and later changed to accidental death, which would. Though remember, of course, we have only the word of Bobby's other band members that any insurance policy existed. No real police investigation was ever carried out, because it was such an open-and-shut case. At no point was it ever considered a murder by the famously corrupt LAPD. Bob Keane hired private investigators to investigate the case. One of them was shot at, and the others gave up on the investigation, scared to continue. The autopsy report that was issued months after the fact bore no resemblance to what any of the witnesses said they saw of the state of Fuller's body. More than thirty years later, Keane tried to get the information the LAPD held about the case, and was told that it could only be accessed by a family member. Keane contacted Randy Fuller, who was then told that the entire case file was missing. So all we can go on as far as the official records go is the death certificate. Which means that I lied to you at the start of the episode. Because officially, no matter what impression you might have got from everything I just said, Bobby Fuller's death *was* an accident.

For Episode 60, we're celebrating every garage rock fan's favourite high holiday: All Hallow's Eve! So we've assembled a pentagram of terrifying tunes - and ALL FIVE are about werewolves! The first bite comes from The Frantics (5:15). Their 1960 instro “Werewolf” evokes the chill of nighttime and the horror of human transformation with some Vincent Price-esque narration and many atmospheric effects. Our second stab at the topic comes from Morgus and the Daringers, released that same year (30:16). Their take (also titled “Werewolf”) might seem lighthearted, but that's only if you think lupine attacks on beatniks are something to be celebrated! The third in this unholy list of lycanthropy comes in the guise of those pesky Kingsmen (1:09:23) . The Joey Levine-penned “Wolf of Manhattan” shows what happens when the turn-skin escapes the forest for the bright lights of the city – he'll take a bite out of the Big Apple! The fiendish fourth is “Werewolf and Witchbreath” by The Troll (1:28:12). The lyrics to this one are a gurgling incantation to unseen spirits, and the song is a heavy hymn to hellish hallucinations (translation: it's psychedelic). We're back in the forest for the final howl, which comes from Michael Hurley, whose spooky, folky 1971 tune “The Werewolf” is an empathetic look at the monster we try to run away from (1:53:37). Was it … inside us the whole time?!?!?!

(0:46) Jarett Charowsky from Comic Factory IV is back! The brothers play cathcup with him and what has been happening since the last get-together. We talk about getting the vaccine and planning for the second shot, that current state of shutdown and how it's impacting his business, specifically how it relates to the big box stores. Every year, Jarett saves up to take his son to Disney World which (obviously) has been cancelled the last two years. We also take a bit to talk about local talent and about supporting all the creatives we have in our city. (26:24) When we were younger, and radio was god, and after the advent of the cassette tape, there was an art to recording songs off of the radio. How did we do it? What technology did we use to capture these songs? (34:11) Comedy on the radio was a big thing and we all spent time listening and recording various talents like The Frantics, Air Farce, CODCO, and Dr Demento. (37:41) What are some of our favourite rides at various at Disney World, The Winnipeg Ex, the Lobster Festival in Shediac, NB, and at Niagara Falls, Ontario and other fairgrounds? (45:31) We offer our view on digitized music versus streaming music, from Spotify to downloading music to an Ipod, just was is the difference between building the playlists yourself with your own digital collection versus streaming it on a service. Is it better to own the music, or rent it? We cover it all from ripping CDs, buying a digital copy in MP3 format, to IPODs (whatever happened to them?), compression rates, CDs that were locked, and the Itunes Store getting away from digital music. #bluestore #covid19 #cassettetape #music #radio #ipod #digitalmusic #themeparks #rides Website: www.seanmcginity.ca Meet The Geeks: http://mtgcomic.thecomicseries.com/ @seangeekpodcast on Twitter, Instagram and Facebook @toddgeek on Twitter @fastfretfingers on Instagram @ToddGeeks Tech Talk on Facebook @the_real_meet_the_geeks on Instagram @castoshq @mbpodfest Support this podcast

(0:46) Jarett Charowsky from Comic Factory IV is back! The brothers play cathcup with him and what has been happening since the last get-together. We talk about getting the vaccine and planning for the second shot, that current state of shutdown and how it's impacting his business, specifically how it relates to the big box stores. Every year, Jarett saves up to take his son to Disney World which (obviously) has been cancelled the last two years. We also take a bit to talk about local talent and about supporting all the creatives we have in our city. (26:24) When we were younger, and radio was god, and after the advent of the cassette tape, there was an art to recording songs off of the radio. How did we do it? What technology did we use to capture these songs? (34:11) Comedy on the radio was a big thing and we all spent time listening and recording various talents like The Frantics, Air Farce, CODCO, and Dr Demento. (37:41) What are some of our favourite rides at various at Disney World, The Winnipeg Ex, the Lobster Festival in Shediac, NB, and at Niagara Falls, Ontario and other fairgrounds? (45:31) We offer our view on digitized music versus streaming music, from Spotify to downloading music to an Ipod, just was is the difference between building the playlists yourself with your own digital collection versus streaming it on a service. Is it better to own the music, or rent it? We cover it all from ripping CDs, buying a digital copy in MP3 format, to IPODs (whatever happened to them?), compression rates, CDs that were locked, and the Itunes Store getting away from digital music. bluestore #covid19 #cassettetape #music #radio #ipod #digitalmusic #themeparks #rides Website: www.seanmcginity.ca Meet The Geeks: http://mtgcomic.thecomicseries.com/ @seangeekpodcast on Twitter, Instagram and Facebook @toddgeek on Twitter @fastfretfingers on Instagram @ToddGeeks Tech Talk on Facebook @therealmeetthegeeks on Instagram @castoshq @mbpodfest

This week the kids want to learn about Poop. So we dive right in... Interviews: Ian Kerr-Wilson, curator Museum of Steam and Technology guides us through "Sitting Pretty: the history of the toilet" Rodrigo Venturelli, Plan B Organic Farm talks about the closed-loop of poop Music: "A piece of pie," The Frantics, Boot To the Head. "The Faucets are dripping," Malvina Reynolds, The Best of Broadside. "25th Floor," Patti Smith, Easter. Poetry: "The Gardener" Shel Silverstein, Falling Up. Tech: Beatrice Ekwa Ekoko Randy Kay

We discuss beating Citeh at the Etihad, u23s Champions, NoRoomForRacism, European Super League, Liverpool and Scum. We also interview Anthony, the drummer from Frantics another Leeds fans' band and are played out to their single BEEHIVE. GIVEAWAY: Each Month we giveaway an A3 Print of The Adelites artwork, you must be a subscriber on YouTube to win, simply subscribe and comment on any video! Good Luck. THE ROARING PEACOCK: The Roaring Peacock podcast discusses Leeds United Football Club, 3 average guys, one normal podcast. In a world choc-full of LUFC podcasts, we stand out as being decidedly mediocre. The Roaring Peacock podcast was voted the 675th best Leeds United podcast by a couple of drunk guys at The Duncan. SOCIALS: You can follow us on twitter (@theroaringpeacock), facebook (@theroaringpeacock), instagram (@theadelites), on your favourite podcast player, on Twitch (TheRoaringPeakoch) but not on the street, don't follow us there, don't do that. YOUR HOSTS: The Roaring Peacock Main Cast this week is: Adonis @theadelites, Barney @BarneyLUFC21 and Wardy @SamWardLUFC FOLLOW THE GUYS ON TWITTER OUR GUEST: Anthony from @Frantics__ FRANTICS ON SPOTIFY: https://open.spotify.com/artist/1scEtjZDkwqVJuSZtHkKQ9 THANKS: Our stats come from @lufcstats, @lufcdata, @FocusOnLeeds and @leedsutdacademy Our music comes from The Light Show @TheLightShow2 Special Thanks to all the Peacock and all our Family and Friends. Special Thanks to: Alex @Riotbadger, Ellie May @ellufc and Tom Sparke @sparkeface for the footage and comic TAGS: #THEROARINGPEACOCK #TRPMAINCAST #LUFCPOD

PLAYLIST 4/15/21 - Joey Ramone's 20th deathversary Sloppy Seconds - "You Can't Kill Joey Ramone" - 'Endless Bummer' The Vindictives – “Gimme Gimme Shock Treatment” – ‘Leave Home' Toilet Boys - "Carbona Not Glue" - 'The Song Ramones the Same' The Cuffs – “I Just Want To Have Something To Do” – 'Poland 4 Ramones' The K7s – “Censorshit” – ‘Mondo Bizarro' The Flower Leperds – “Commando” – ‘Gabba Gabba Hey: Tribute to the Ramones' Tife Tife - "I Believe in Miracles" - 'Poland 4 Ramones' Cool Millions – “The KKK Took My Baby Away” – ‘The Song Ramones the Same' Los Ramones – “Now Yo Quiero Sniff Some Glue” – ‘¡Oye Vamos!' Tom Waits – “Return of Jackie and Judy” – ‘We're a Happy Family: A Tribute to the Ramones' Mojo Nixon – “Rockaway Beach” – ‘Gabba Gabba Hey: Tribute to the Ramones' Love Camp 7 – “Sheena is a Punk Rocker” – ‘Ramones Maniacs' Wilmer X - I Can't Make it on Time" - 'The Song Ramones the Same' The Lemonaids - "Oh Oh I Love Her So" – 'They're Alive' The Frantics - "I Wanna Live" - 'Ramones Maniacs' The New Rochelles – “Crummy Stuff” – ‘Animal Boy' Children of Bodom – “Somebody Put Something in My Drink” – ‘Hate Crew Deathroll' The 5.6.7.8s – “Howling at the Moon” – 'Do You Remember Rock 'n' Roll High School? Adios Joey Ramone!!' The Nomads – “I Remember You” – ‘The Song Ramones the Same' The Hellacopters – “What'd Ya Do?” – ‘The Song Ramones the Same' Senzabenza – “My Head is Hanging Upside Down (Bonzo Goes to Bitburg)” – ‘Uppers' Maryslim – “I Believe in Miracles” – ‘The Song Ramones the Same' Hanks - "We Want the Airwaves" - 'Hoy Los Ramones, Mañana El mundo: Tributo A Ramones' Missles – “Blitzkreig Bop” – 'Do You Remember Rock 'n' Roll High School? Adios Joey Ramone!!' Hanson Brothers – “Joey Had to Go” – ‘My Game'

Always try to remember that happiness is a choice.  The happy music we've selected to share this week should bring a smile to your face and maybe even a dance step to your feet.  Here's Al Soyka, The Dynatones, The Frantics, Doctor Kielbasa, The Joe Tomsick Band, The Accordion Polka Band, Frankie Yankovic & His Yanks, Henry Mancini, Bobby Vinton, Myron Floren, The Lawrence Welk Orchestra, Ben Selvin, Harry Richman, Art Mooney, Louis Prima, Mitch Miller, Django Reinhardt & Coleman Hawkins, The Tiroler Volkstumliche Musikanten, Blaskapelle Bad Bayersoien, Ernst Hutter & Die Egerlander Musikanten, Kermit Steuben, Zugspitze Buam, You Moods, and The Polka Brothers.  Enjoy!

POG was an incredible sci-fi interview tv show that featured Will Eisner Jack Kirby Ray Bradbury among their guests. Rick hosted and co-created the show and was a staple of Canadian Television Comedy on hit shows like Red Green and the sketch comedy troupe The Frantics. Today Rick does a lot of work helping people with ADHD . It's a fascinating conversation.

I sent out a late night Hail Mary of a message at about 1am. All it said was “Who’s awake? Let’s podcast!” A few minutes later, I had a response from my old college buddy Chris Mizzoni. Chris has had a 25+ year career in the animation industry and has written a pair of very […]

O.T.R. " Free & Easy " live Radio show (Dab+) Le Havre France . Sunday the 12th - 2020 - Wildcliff ( Patryck Albert ) present , playlist 67 : Horace Heller , William Penn-Fyre , Del-Mars , Allen Smithee , spot!, I Punti Cardinali , Johnny Bond , Darell Rhodes , Don Bowman , Johnny Carlton , Spot! , Mojo Men , Arthur Dreyfus , Tommy Scott & Scotty Lee, Thursday 's Children , Frantics , Satan in the high wheel , Burning Bush , Sons of Barbee Doll , spot! , Invictas , spot! , Bobby Wayne , Alvie Self , Wayne Cyrtis , Glenn Barber , Billy Barton , Jack Clement , spot! ...... Rock'n 'Roll on !

This is The Spoon, where Peter Anthony Holder is our guest, and we all have holes.  Music By  Supergrass  Tony Christie  Buddy  Spoon Feeding  Idle Games   `  Peter James ~ Roy Grace novels  The Frantics  John Wick series    The Men Of The Spoon Robbie RistChris Jackson Thom Bowers The Spoon on FacebookSubscribe via iTunesEmail: the_spoon_radio@yahoo.com

In this ADHD Podcast Episode Tara McGillcuddy and Rick Green talk about Productivity and Creativity when you have ADHD. This interview originally aired at the ADHD Awareness Expo. Rick Green created the groundbreaking website , as well as two ground-breaking documentaries on adult ADHD: ADD & Loving It?! and ADD & Mastering It! ADD & Loving It?! became a runaway hit on PBS (U.S.), earning critical acclaim, a New York Festivals award for Best Medical Documentary, and kudos from educators, coaches, doctors, and adults with ADHD. Since then Rick and his wife Ava have produced 16 full-length videos on every aspect of ADHD featuring 75 experts.  Most recently he produced an epic, 5 video series, ADD Medication: Straight Answers to Big Questions. After graduating with a BSC. in Physics, Rick created public programs for the Ontario Science Centre.  In 1979 he became a full-time comedian, writing and performing in 700 episodes of television and radio. With a gift for blending information and humor, Rick is best known for his series History Bites; the alternative fiction literacy series Prisoners of Gravity; the long-running comedy series The Red Green Show; and The Frantics comedy troupe. A frequent public speaker, Rick was honored as one of ‘University of Waterloo’s Top 50 Science Graduates,’ and his work in ADHD recently earned him an appointment to the prestigious Order of Ontario ADHD Support Talk Radio is an award winning Podcast for Adults with ADD / ADHD. Co-hosts Tara McGillicuddy and Lynne Edris are joined by Adult ADHD experts and they cover important topics related to Adult ADD / ADHD. Podcast guests include Dr. Edward Hallowell, Dr. Stephanie Sarkis, Dr. Ari Tuckman, Laurie Dupar, Terry Matlen and many more. Tara McGillicuddy is the Producer, Owner and Co-host of the ADHD Support Talk Radio Podcast. You may contact Tara with general questions or feedback about the podcast, Lynne Edris is the Co-host of the ADHD Support Talk Radio Podcast. You may contact Lynne with feedback about her episodes or if you are interested in having her interview you as a guest.

Derek Sorrells returns to conclude the story of his drumming career, including his stints with The Frantics and London Calling (with Jaime Rowe) and his meeting with a tall caped demon named Gene Simmons. To hear on Stitcher, click here! To hear on iTunes, click here!  

Drummer Derek Sorrells drops By the Woodpile to talk about his time keeping the time for artists Johnny Q Public, Miss Angie, The Frantics, Homesick and others. To hear on Stitcher, click here! To hear on iTunes, click here!   [Correction: We stated that Oran Thornton wrote "Jesus Freak" when in fact he played on "Jesus Freak". Lo siento.]  

On today’s episode, we interview Paul Chato, who was a voice actor who played Paploo on Season 1 of Ewoks. Paul was an accomplished comedian from the Canadian comedy troupe “The Frantics” and now runs… More

Good guys countdown featuring the hits and misses of the Seatle-based label called Dolton, providing large-scale pop oldies output from the Fleetwoods, The Ventures, Vic Dana and the Frantics.

Medverkande denna gång är: Fredrik, Danny, Carl och gäst; den härlige Alexander Cederholm. GÄST I FOKUS (Tid: 0t 02m 04s) Alexander är tillbaka, så vi tar en recap på vad som hänt honom under senaste året sedan han sist var med. SPEL I FOKUS (Tid: 0t 07m 11s) Denna gång är det extra fylligt, med dels två VR upplevelser från Alexander, exempelvis Ghostbusters via The Void, men har tar även upp Playstation Link spelet Frantics. Sedan har vi Dannys intryck från det stämningsfulla spelet "The Vanishing of Ethan Carter" samt energiskt hyllande av "Surviving Mars" från Fredrik. Don´t believe the hype, or do it... ;) NYHETER (Tid: 0t 53m 38s) På nyhetsbiten tar vi upp ang. V-Rallys återkomst, Dannys Boyle som regissör till kommande James Bond film och hur Star Wars: Battlefront 2 kommande uppdatering ska rätta många tidigare misstag. VECKANS DISKUSSION (Tid: 1t 07m 55s) Arkadracing för hela slanten! Var kommer det ifrån, hur står vi oss till det, och hur ser framtiden ut för spelgenren?  ÖVRIGA NÖRDÄMNEN (Tid: 1t 38m 23s) Denna gång snackas det om sci-fi rullen "Annhiliation",  äventyrsfilmen "Tomb Raider" och så tar Alexander upp animen "Food Wars". LYSSNARFRÅGOR (Tid: 2t 02m 18s) Slutligen kommer vi in på lite frågor från Twitter och mail; b.la. om expansioner och spelgenres som passar oss bäst. Dessutom försöker en hårt ansatt Nördliv panel besvara den tuffa frågan; vilka karaktärer i Avengers är Nördlivarna?  info@nordlivpodcast.se★ Support this podcast on Patreon ★

NOTA: Resubido el programa debido a un fallo en la música de fondo al empezar a leer los comentarios, que ya está solucionado. Bienvenidos a GAMELX, vuestro podcast de videojuegos en clave social. Esta semana traemos un "estamos jugando", esos programas que nos gusta traer de vez en cuando para contar todo lo que hemos probado en las últimas semanas. Por lo tanto hablaremos de juegos como Secret of Mana, Deiland, Dead Rising IV, Assassin's Creed Origins, Frantics, Uncharted el Legado Perdido, Horizon Zero Dawn y Mafia III. Además, nuestro compañero Toni nos contará su experiencia visitando el PS Talents Games Camp de Valencia, situado en el edificio Lanzadera, ya que fuimos invitados por PlayStation España y allí fue nuestro becario, a cubrir la noticia. Han participado: - David Bernad "Berni" (@bernilost) - Rafa García "Potorro" (@rafagarvas) - Alberto González "Gunkaiser" (@gunkaiser) - Fernando Luis Borrás "Eike" (@Eike_Saeba) - Toni González "ToniG" (@Toni62011) Síguenos: Web: http://www.gamelx.es Twitter: http://www.twitter.com/gamelx Facebook: http://www.facebook.com/gamelxfm YouTube: http://www.youtube.com/gamelxtv iTunes: https://itunes.apple.com/es/podcast/gamelx-fm/id573962600 RSS: http://feeds.feedburner.com/gamelxfm

NOTA: Resubido el programa debido a un fallo en la música de fondo al empezar a leer los comentarios, que ya está solucionado. Bienvenidos a GAMELX, vuestro podcast de videojuegos en clave social. Esta semana traemos un "estamos jugando", esos programas que nos gusta traer de vez en cuando para contar todo lo que hemos probado en las últimas semanas. Por lo tanto hablaremos de juegos como Secret of Mana, Deiland, Dead Rising IV, Assassin's Creed Origins, Frantics, Uncharted el Legado Perdido, Horizon Zero Dawn y Mafia III. Además, nuestro compañero Toni nos contará su experiencia visitando el PS Talents Games Camp de Valencia, situado en el edificio Lanzadera, ya que fuimos invitados por PlayStation España y allí fue nuestro becario, a cubrir la noticia. Han participado: - David Bernad "Berni" (@bernilost) - Rafa García "Potorro" (@rafagarvas) - Alberto González "Gunkaiser" (@gunkaiser) - Fernando Luis Borrás "Eike" (@Eike_Saeba) - Toni González "ToniG" (@Toni62011) Síguenos: Web: http://www.gamelx.es Twitter: http://www.twitter.com/gamelx Facebook: http://www.facebook.com/gamelxfm YouTube: http://www.youtube.com/gamelxtv iTunes: https://itunes.apple.com/es/podcast/gamelx-fm/id573962600 RSS: http://feeds.feedburner.com/gamelxfm

Welcome to the newly relaunched TWIG flagship show. Every week TWIG will bring you a variety show full of segments ranging from news, reviews, interviews, and everything in-between to satisfy your geeky appetite! This week in geek: Introductions Frantics PS4 Review Tech News Genrecon Interview Weird News Satan’s Pantry Jumanji: Welcome To The Jungle Review …

Welcome to the newly relaunched TWIG flagship show. Every week TWIG will bring you a variety show full of segments ranging from news, reviews, interviews, and everything in-between to satisfy your geeky appetite! This week in geek: Introductions Frantics PS4 Review Tech News Genrecon Interview Weird News Satan’s Pantry Jumanji: Welcome To The Jungle Review …

El programa de esta semana corre a cargo de Aimar Alonso, Marc Fernández y Alfonso Gómez, quienes disertan sobre los rumoreados Battlefield V (su campaña incluiría múltiples historias) y Grand Theft Auto 6 (ambientado supuestamente en Miami y Sudamérica). También participan Antonio Santo, con un repaso al primer año comercial de Nintendo Switch; Jorge Garmendia, sobre los últimos compases de PlayStation Vita y José Carlos Castillo, respecto al último lanzamiento de la serie PlayLink (Frantics). Cierra nuestro habitual Rincón del Oyente, donde damos respuesta a vuestras notas de audio. Recordad que podéis hacérnoslas llegar a través del WhatsApp del programa (635 14 43 66). Level Up! es el podcast de fsgamer.com, medio oficial de Fun & Serious Game Festival.

In dieser Ausgabe vom PWRUP Podcast berichten wir euch über die gamescom 2017. Zimmy, Lisa und Maren sprechen gemeinsam über die vorgestellten Videospiele und ihre Erlebnisse auf der diesjährigen gamescom. Natürlich haben wir auch eine Timeline für die Skipper parat: 00:01:31 Pizza Connection 3 00:07:46 Gwent – The Witcher Card Game 00:14:25 Skyrim (Nintendo Switch) 00:18:40 SNES Mini 00:22:43 Super Mario Odyssey 00:25:43 Metroid: Samus Return 00:28:08 Everspace 00:29:42 NIS America / Flashpoint Lineup 00:38:53 Sony PlayLink (Wissen ist Macht, Frantics, Hidden Agenda) 00:47:30 Gamescom-Partyeskapaden 00:50:44 Call of Cthulhu 00:56:01 1C Company Lineup 01:01:12 Last Day of June 01:05:43 Anno 1800 01:09:09 Ace Combat 7: Skies Unknown 01:16:01 Ni No Kuni ll 01:20:58 Battalion 1944 01:24:03 The Crew 2 01:30:16 Metal Gear Survive 01:36:05 Pro Evolution Soccer 2018 01:42:46 Maren in den Besucherhallen und im Cosplay Village 01:48:46 Wertschätzung vom Retrobereich 01:50:50 Monster Hunter: World 01:52:42 Marvel vs. Capcom: Infinite 01:58:10 Need for Speed: Payback 02:00:30 Die Sims 4 (Konsolenversion) 02:03:22 Star Wars: Battlefront ll 02:07:53 Dungeons 3 02:10:06 Tropico 6 02:11:55 Detroit: Become Human 02:14:26 Yakuza 6 02:15:26 Unsere Most Wanteds der gamescom 2017 Alle genannten Spiele aus dem Podcast und noch mehr kannst Du selbstverständlich über unsere Partnerlinks kaufen, bzw. vorbestellen und uns damit ein klein wenig unterstützen… coole Sache! Danke an Ronny Sarne für die Bereitstellung der Intromusik: @ronny-sarne

Planète Sauvage episode 69 avec invité Marc Lamothe / DJ XL5. On découvre musicalement le film Plage Sauvage (v.f. de Wild and Vicious Beach), un film d'exploitation des années 60 situé dans le sous genre des films de plage : Le film déviant de plage rock and roll avec un monstre. Nous suivons deux bandes rivales, les Zuma Knights et les Howlin' Wolves qui se disputent la plage et les vagues sur fond de rock n' roll, de surf et de loup garou. Nous entendons entre autres The Ventures, Dick Dale, The Frantics, Joe Meek tout en suivant les aventures de nos héros.

Planète Sauvage episode 69 avec invité Marc Lamothe / DJ XL5. On découvre musicalement le film Plage Sauvage (v.f. de Wild and Vicious Beach), un film d’exploitation des années 60 situé dans le sous genre des films de plage : Le film déviant de plage rock and roll avec un monstre. Nous suivons deux bandes rivales, les Zuma Knights et les Howlin’ Wolves qui se disputent la plage et les vagues sur fond de rock n' roll, de surf et de loup garou. Nous entendons entre autres The Ventures, Dick Dale, The Frantics, Joe Meek tout en suivant les aventures de nos héros.

Inside Jokes - Sunday April 2nd 2017 - The Frantics (Peter Wildman & Dan Redican) & Ian Sirota 

This is episode 1 of the Best of Frantic Times. FT was a half-hour radio show on CBC that ran from 1981 to 1984. The idea behind Best of Frantic Times was to take the best of the 120 episode, 1000 plus sketches that were originally broadcast and turn them into a series of podcasts. We did not want this to be a trip down memory lane, though there will be a some of that, but a reintroduction to a show that is still funny today. Have fun. Welcome to the Best of Frantic Times. The Frantics are a Canadian comedy troupe featuring Paul Chato, Rick Green, Dan Redican and Peter Wildman. Featuring: Human Race, Students Run Parliament, Give Her Someone Better, Buster Café, Deal With The Devil (with intro), Not So Famous Last Words, Backstabbing Family, Hire A Student, Gardening Fight , CDN Wildlife – Dead Animal On Road, Heavy Metal Shop Song.

Live from The Social Capital Theatre in Toronto, Illusionoid strikes again! And while Paul’s away the boys will play… with TWO special guests! We’re joined by Dan Redican, member of the legendary Canadian comedy troupe The Frantics, and Sunnyside TV … Continue reading →

Dan Redican is a Canadian comedy institution. On top of being part of the sketch troupe The Frantics, star of Puppets Who Kill, and a bad guy in my favourite comedy The Wrong Guy, Dan has also been behind the scenes of some of your favourite shows like Kids In The Hall, and now Sunnyside. His utopia is very kind, relaxing, and I feel like I interrupted him a bit but I was excited! He was awesome. Enjoy!   Follow the show on Twitter @UtopiaToMe   Follow Chris on Twitter @ChrisLockeFun  Learn more about your ad choices. Visit megaphone.fm/adchoices

18 GENNAIO 2015 The Frantics - Werewolf Allah-Las - No Werwolf The Thanes - Dishin’ The Dirt Hookworms - Retreat The Mentalettes - Lovers’ Wasteland Mamuthones - Don’t Be Choosy King Gizzard & The Lizard Wizard - Am I In Heaven? Magic Castles - Dragonfly Chatham Rise - Gone Old Testament - Trip Light The Myrrors - Escape Attempt Dead Sea Apes - Alejandro Puma Pumku - Liquid Skies Rockfour - Route 66

Movie Meltdown - Episode 275 Coming to you "live" from the 25th annual WonderFest! This week we welcome special guest co-host, film and TV designer Eric Chu, to sit in with us for our discussion about Gareth Edwards’ version of "Godzilla". Plus we hang around for a bonus segment where we address all the other problems in Hollywood. And as we enjoy the simple pleasures of a balloon, we also mention… Gerry Anderson, Monsters, The Enterprise, Space 1999, Wrestling match, Peter Sellers, the kiss of death, Samuel L. Jackson, my mom was an X-Men extra, Superman 2, a traveling exhibition, Slither, being a tease, telling an origin story, hoping for the end of the world, the Star Trek reboot, Operation: Larvae, Edgar Wright, Jamie Anderson, the money shot, 120 minute short story, Battlestar Galactica, the action figure robot and the monster in the other, The X-Men: First Class, Kabuki, Mystery Team, The Thrilling Adventure Hour, Chu-thulhu, the microwave disc on the back of a car, Batman Begins, Jeff Foxworthy, Top of the Food Chain, legitimizing our geek passions, The Frantics, TOHO, Jaws: The Revenge, Raymond Burr, King Kong, Pacific Rim, The Amazing Spider-Man 2, that’s the only puppet I play with…, Richard Lester, Turn Off the Dark, actors in half make-up smoking cigarettes, Matthew Broderick, destroying the hive, false advertising, the tail slam, Mechagodzilla, James Gunn, Godzilla noir, The Avengers: World Police, ripped continuity, Marvel should double down, and playing ping pong with giant crab monsters. Spoiler Alert: Full spoilers for the 2014 “Godzilla” and a random spoiler for “X-Men: The Last Stand” as well. You have been warned.   “You wanna get into the fight… with Gareth Edwards.” 

In which Thom & Andru are back to being a duo after an unprecedentedly long string of guest episodes, and immediately begin deconstructing their own show. Amid all manner of curtain-pulling and audience-polling, they also wax on (and off) about recent movie adventures, including reviews of John Carter and The Fall, a midnight screening of Serenity, the HDTV learning curve, and entertainment/food combos with unfortunate consequences. All this, plus a tease of upcoming listener events, and more than a little bad math. Music by The Frantics.

Set List: The Frantics-Werewolf / Claudine Clark-Walking in a cemetary / Fabienne Delsol-Chilla & Fever / Harlem Hamfats-Hoodooin woman / Big Ed-Superstition / Bulldog Breed-sheila's broomstick ride / Buchanan Brothers-Flying saucers / Checkers-Ghost of my baby / Jett Powers-Stranded in the jungle / King's 5-Voodoo man / Lonnie Johnson-Blue ghost / Juke Boy Bonner-Runnin shoes / Ike Turner-She makes my blood run cold / Curtis Knight-Strange things / Swingin' Neckbreakers-No costume, no candy / Sonics-The witch / Tito & Tarantula-After dark........Fake wounds wash off in the morning and waking up in the drunken tank only partially dressed like Captain Jack Sparrow or Lady Gaga sucks worse than a vampire. While Halloween seems to have surpassed St. Patrick's Day as the most drunken holiday, it has some inherent differences, but requires similar guidelines. To make things safer for you this Halloween we at the DRR Show headquarters found this Halloween Survival Kit on Etsy by the Canton Box Company: The contents of "fun" Halloween Survival Kit will help keep you safe during the most bewitching time of the year! All the contents are held in a wooden box for safe keeping. Contents include: CRUCIFIX: Helps fend of vampires and a variety of other evil creatures and spirits.WOODEN STAKE: Exterminates vampires when driven through the heart.HOLY WATER: Can be tossed on all evil creatures. Also comes in handy for the occasional exorcism.SILVER BULLETS: For when you cross paths with werewolves. These should be shot straight into the heart of the werewolf.GARLIC BULBS: To keep vampires at a safe distance – always keep on hand!MIRROR: Keep with you when you are crossing covered bridges – you’ll know exactly when to duck when that sneaky Headless Horseman comes up behind you. Also a handy item if you’re trying to sniff out ghosts or vampires since they do not have reflections and will not show up in the mirror.SALT: Toss a ring of salt around yourself when you are in the company of a witch - she won’t be able to touch you as long as you’re standing within the ring of salt!Thanks for listening....tell your drinkin' buddies about us!! We're non-fattening and go good with a glass of milk.....