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2 episodes with Race with the Devil
2 episodes with Race with the Devil
2 episodes with Race with the Devil
RACE WITH THE DEVIL(1975) is a horror-action hybrid film where two couples, vacationing in a remote Texas town, unwittingly witness a satanic ritual. Their attempts to flee turn into a high-octane chase as the cult relentlessly pursues them, determined to silence any witnesses. With suspense, car chases, and shocking moments, the film blends terror with … Continue reading Ep. 07-23: Race with the Devil (1975) →
On this episode, Chelsea & Rick talk about some great films about cults. We revisit The Invitation as well as talk about The Sacrament, The Lodge, Race With The Devil & Red State. We also recap the first time we hosted trivia at Necromantic Brew Co & reveal what 4 rounds we'll be presenting in October! We talk about People's Temple, awful kids, Kevin Smith & more! Please subscribe, review & give us that 5 star boop!
You know now that I think of it, for a film called Race With the Devil, the Devil never actually makes an appearance. Odd.
Check the Vending Machines: A Weekly Pop Culture Discussion Podcast
Episode #267 Zach and Jason chat about the Olympics, Denzel Washington, E.T., Oshi no Ko Season 2, Warren Oates, and a ton more… before reviewing the latest M. Night flick, TRAP. Thanks for listening!
WoHos! BSers! (Blind Spotters, Get it?)Stefan came by and we had a ramble about two films that were personal blind spots for us, RACE WITH THE DEVIL & JAWS 2.We also talked about car trouble, break-ins and other weird experiences that inspire movies, and the recent films, LONGLEGS & MAXXXINE (no spoilers).We enjoyed this episode and hope you did too, because there is much more to come....in the form of a brand new podcast from Stefan and me...called Blindspotting!! We should have the first ep to you the first Mondays of the month starting in September 2024. We are making our selections for the first episode proper as we speak/as I type/as you read this. Support the Show.Interstitial Music Works is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.https://creativecommons.org/licenses/by-nc/3.0/Theme by Charles Michel "Aqui"Interstitial MusicKumiko (edited)Coma-MediaSubscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline
WoHos!Here is our Grim AF Part 2 pick: WHEN EVIL LURKS from Argentina. Mom & Mac Chat:Mac goes to see Megan Thee StallionWe hate firecrackers and fireworksMac's harrowing journeyThe nicest towing man doing itGo see Meg with your friends...And always pay for premium parking15:14: Mac talks WHEN EVIL LURKSComing up on the podcast:A bonus ep with Stefan MacDonald-Labelle who discusses one of his blind spots--RACE WITH THE DEVIL, and one of mine: JAWS 2. Also, stay tuned for our new collabo, "Blindspotting" starting in September!Georgia & John Macey from Comfortfilms Podcast (and Episodes 117 & will join us to talk Ti West's trilogy: X, PEARL, and MAXXXINE!On the main show Mac & I will finish out our regular season with Body Horror (Metallic) films: TETSUO: THE IRON MAN from Japan & TITANE from France and CULT FAVORITES: BRAINDEAD from New Zealand & REANIMATOR from the US. Support the Show.Interstitial Music Works is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.https://creativecommons.org/licenses/by-nc/3.0/Theme by Charles Michel "Aqui"Interstitial MusicKumiko (edited)Coma-MediaSubscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline
DownloadWelcome to episode 379 of LOTC. This week is all about the 70's, that's right, we are back with our journey through the decade of 1970 with the year being 1975. We are joined by the voice, the verb, the noun, the adjective, the man himself Greg Bensch. It's always lots of fun to have Greg on and he doesn't disappoint of this show. The crew is counting down their top 5 horror movies from 1975. Did our movies lineup with yours? Sit back and grab your favorite snacks and beverages and take a journey with us through the Land Of the Creeps.HELP KEEP HORROR ALIVE!!TOP 5 LISTSGREG B1. JAWS2. DEEP RED3. UNDER THE BLOSSOMING CHERRY TREES4. BLACKER THAN NIGHT5. THE DEVIL'S RAINDAVE1. JAWS2. DEEP RED3. WOLF GUY4. TRILOGY OF TERROR5. PICNIC AT HANGING ROCKPEARL1. TRILOGY OF TERROR2. THE ROCKY HORROR PICTURE SHOW3. THE DEVIL'S RAIN4. WOLF GUY5. JAWSBILL1. JAWS2. DEEP RED3. ILSA : SHE WOLF OF THE SS4. SHIVERS5. RACE WITH THE DEVILGREG1. DEEP RED2. JAWS3. THE ROCKY HORROR PICTURE SHOW4. WOLF GUY5. THE DEVIL'S RAINGREG BENSCH LINKSFACEBOOKTWITTER LETTERBOXD MOVIE RAMBLING & REVIEWSSPOTIFY LOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookHorror Movie PodcastJay Of The Dead's New Horror Movies PodcastYouTube ChannelLetterboxdDVD Infatuation PodcastThe Illustrated Fan PodcastBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastTwisted Temptress LinkLetterboxdIAN IRZA LINKSBLOG SITEFACEBOOKTWITTERINSTAGRAMLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website
This month The Johns hop into their RV and go on a road trip to watch Race With The Devil. Will this 70s craziness rock out? Or will it send us directly to hell? Listen and find out!
The Dead Harvey Podcast - For Indie Horror Filmmakers and Fans
Director Craig Meinhart & Actors Sean Carrigan & Terence Banks join us to discuss their plans for making a feature occult revenge horror film from their short, Beware! The Devil's Wrath.Beware! The Devil's Wrath website:https://www.bewarethedevilswrath.com/Dead Harvey links:YouTube: @deadharveyInstagram: https://www.instagram.com/dead_harvey/Facebook: https://www.facebook.com/deadharveyIntro and outro music by Tony Longworth.*Indie filmmakers: visit this website for free music for your projects: http://tonylongworth.com/freemusic/.
Steve & Izzy continue Road Kill Month, a month-long celebration of murderous movies on the highways and byways, as they discuss 1975's "Race with the Devil" starring Peter Fonda, Warren Oates, Loretta Swit, RG Armstrong & more!!! Does this movie star Dobber from Coach? How does this movie fit into the Manos Cinematic Universe? Are motorcyclists still environmentalists if they are transporting them in an RV? Haulin' Ass or Hall 'n' Oates?!? Let's find out!!! So kick back, grab a few brews, stick to the main roads, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
This Halloween Season, we are discussing our favorite Road Trip Horror Movies, including:Joy Ride (2001)Duel (1971)Vacancy (2007)The Hills Have Eyes (2006)Wrong Turn (2003)House of Wax (2005)The Houses October Built (2014)The Texas Chainsaw Massacre (1974)Race With The Devil (1975)Jeepers Creepers (2001)The Hitcher (1968)& more!Check out our updated website and sign up for our newsletter at AmericanHauntingsPodcast.comWant an episode every week, plus other awesome perks and discounts? Check out our Patreon pageFind out merch at AmericanHauntingsClothing.comFollow us on Twitter @AmerHauntsPod, @TroyTaylor13, @CodyBeckSTLFollow us on Instagram @AmericanHauntingsPodcast, @TroyTaylorgram, @CodyBeckSTLProduced and edited by Cody BeckOur Sponsors:* Check out Rosetta Stone and use my code TODAY for a great deal: https://www.rosettastone.com/Support this podcast at — https://redcircle.com/american-hauntings-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Hindsighters, what do YOU do to show your wives a good time? Well, if you're Frank (Warren Oates) and Roger (Peter Fonda), you whisk your wives off to Colorado in the fanciest RV money can find! For some added fun, Frank and Roger travel through Texas en route to Colorado, roughhousing on dirt bikes and playing witness to the grisly Satanic cult murder of a hot young woman. It's all in good fun until the cult in question sets it sights on Frank, Roger, their wives, and the beloved family dog as the next victims for sacrifice. The town is overrun by the Satanic cult and the local sheriff is literally of no help in this matter! What are the fellas to do to save themselves and their wives? Zoinks, gang!It's the Summer of Seventies on #HindsightisHorrifying! We apologize in advance that Mr. Brown will be selecting too many of these films for you to “enjoy”, so brace yourselves. Hosted on Acast. See acast.com/privacy for more information.
Deliverance (1972) Deliverance is a 1972 American survival thriller film produced and directed by John Boorman, and starring Jon Voight, Burt Reynolds, Ned Beatty, and Ronny Cox, with the latter two making their feature film debuts. The screenplay was adapted by James Dickey from his 1970 novel of the same name. The film was a critical and box office success, earning three Academy Award nominations and five Golden Globe Award nominations. Widely acclaimed as a landmark picture, the film is noted for a music scene near the beginning, with one of the city men playing "Dueling Banjos" on guitar with a banjo-picking country boy, and for its notorious, violent, brutal sodomy rape scene. In 2008, Deliverance was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." Race With The Devil (1973) Race with the Devil is a 1975 American action horror film directed by Jack Starrett, written by Wes Bishop and Lee Frost, and starring Peter Fonda, Warren Oates, Loretta Swit, and Lara Parker. This was the second of three films Fonda and Oates would star in together (The Hired Hand, 1971) was their first, and 92 in the Shade (1975) was their third). Race with the Devil is a hybrid of the horror, action, and car chase genres. Opening Credits; Introduction (1.04); Background History (20.15); Deliverance (1972) Film Trailer (21.45); The Original (24.37); Let's Rate (57.29); Introducing the Double Feature (1:02.27); Race With The Devil (1973) Film Trailer (1:03.30); The Attraction (1:05.30); How Many Stars (1:51.31); End Credits (1:58.50); Closing Credits (2:00.23) Opening Credits– Epidemic Sound – copyright 2021. All rights reserved Closing Credits: Take Me Home, Country Roads by Olivia Newton John. Taken from the album Let Me Be There. Copyright 1973 Festival Records Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used by Kind Permission. All songs available through Amazon Music.
Jim reflects back on a 1975 horror film that has developed quite a cult following over the years, "Race With The Devil," starring Warren Oates, Peter Fonda, Loretta Switt, Lara Parker and R.G. Armstrong. Two couples on a camping vacation witness the murder of a young woman during a satanic ceremony. It is a race against time - and the Devil - as they try to get help. Find out more on this episode of MONSTER ATTACK!, the Podcast Dedicated To Old Monster Movies.
Jim reflects back on a 1975 horror film that has developed quite a cult following over the years, “Race With The Devil,” starring Warren Oates, Peter Fonda, Loretta Switt, Lara Parker and R.G. Armstrong. Two couples on a camping vacation witness the murder of a young woman during a satanic ceremony. It is a race … Race With The Devil | Episode 354 Read More » The post Race With The Devil | Episode 354 appeared first on The ESO Network.
It's our inaugural episode of What Did We Just Watch, a monthly episode where we turn to our social media followers to determine what films we should first-time watch. For this episode, the films selected were Blades, a movie about a killer lawnmower, and Race With the Devil, a film about Peter Fonda racing for his life in an RV from a satanic cult!Check out the PVD Horror Instagram page for a check to select what we watch next month!Follow us on Social Media: @pvdhorror Instagram, Twitter, TikTok, FacebookWatch us on YouTube: https://www.youtube.com/channel/UCOyloOb0puVCXDjJ_ZiPYqgVisit our website: https://pvdhorror.com/Special thanks to DJ Cryptkicker for the intro and outro music. Be sure to find his music on social media at @djcryptkicker or the following:https://djcryptkicker.bandcamp.com/album/shock-around-the-clockhttps://music.apple.com/us/artist/dj-cryptkicker/1536351234https://open.spotify.com/album/1KUi9ntDa5eYughfOvfxNY
This week we're on the run from another Satanic cult, this time on dirt bikes! Peter Fonda and Warren Oates rock a salty 70's grindhouse performance and try to avenge a murdered pet in RACE WITH THE DEVIL (1975). Plus musical guest HORRIBLE EARTH appears courtesy of Horror Pain Gore Death Productions (horrorpaingoredeath.com)
Peter and Gideon get excited about a potential grand stand finish in the Third Test at the SCG, discuss more third umpire misadventures, and the genius of Josh Hazlewood and Pat Cummins. Email your questions, feedback, thoughts and top ten lists to - cricketetcetera@theaustralian.com.auSee omnystudio.com/listener for privacy information.
Christine was inadvertently chosen by The Devil as the woman with whom he shall create his unholy spawn, The Antichrist. The catch is, The Devil has to find her before the millennium ends, otherwise, his plan will be foiled. Enter Jericho Cane, a disgraced police officer who lost his wife and daughter some time ago. Arming himself with an arsenal bigger than that of most small countries, he decides to protect Christine from the destiny that was thrust upon her. Will he be able to stop the Devil with the power of love/machine guns/grenade launchers, or will Satan get his way? In the first segment, Chuy briefly goes over the technical/behind the scenes stuff of the movie, such as its budget and cast. For the second part of the episode, Mariah jumps in, and the topics we covered include life in the time of the end of the world/millennium, how crappy this movie is, existential diatribes, etc. :) Join us as we celebrate our 100th Episode! We are thrilled to have made it this far, and we want to thank everyone who has supported and been a guest on our little old show! We hope that you continue to enjoy our content. Here's to 100 more episodes of EMBL! :D --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/jmv125150/message
Happy HalloWarren, Junkions!Jump in the Winnebago with Brian & Cargill as they Race with the Devil to the end of Oatestober!This episode is a real (satanic) panic!
for nathaxnne walker "The Devil is dope" - The Dramatics Beyond the darkest depths of imagination, the outer rim of human experience, the forbidden rites thought forgotten, rediscovered. The annual tradition of the Halloween mix corrupted, made sinister, clawed loose from the crypt and into the stark sunlight of reality. Italian soundtracks to 1930's jazz to darkwave to stoner metal to house to folk to garage psychedelia and beyond. Remember: when you look Satan in the face, he looks back at you, with one eye open and one eye closed. *1. The Devil is Dope - The Dramatics *2. Headless - Tearist (Live on KXLU) 3a. "AKA Dr. Satan" (House of 1000 Corpses excerpt) *3b. House of 1000 Corpses - Rob Zombie 4a. Drive-In Movie Radio Spot - Night of the Living Dead & Blood and Black Lace (1968) *4b. In The Room Where You Sleep - Dead Man's Bones 5a. "Satan, our Lord and Master" (Alucarda excerpt) *5b. Main theme (from Beyond the Darkness) - Goblin 6a. "The great devil's advocates of the past..." (Anton LeVey interview excerpt) *6b. Cryptorchild - Marilyn Manson 7a. Race With The Devil radio spot *7b. Jekyll And Hyde - Jim Burgett 8a. Devil Shake Radio Ad (Murray the K 1966 broadcast) *8b. Evil Satan (Devil Shake remix) - Acid King 9a. Damien Prayer monologue (from Final Conflict: The Omen 3) *9b. Lucifer's The Light Of The World - King Dude 10a. The Devil's Widow trailer *10b. Me and the Devil - Soap&Skin 11a. "Jesus was talking about a place called hell" (The Burning Hell excerpt) 11b. Crackling fireplace sfx *11c. [Don't Worry] If There Is a Hell Below, We're All Going to Go - Curtis Mayfield *11d. Your Pretty Face is Going to Hell - Iggy Pop & The Stooges *11e. Man - Yeah Yeah Yeahs *11f. To Hell with Good Intentions - McKlusky *11g. We're All Going To Hell - The Bastard Fairies *11h. All Hell Breaks Loose - The Misfits *12. Headless (2015 mix) - Tearist *13. Death 2 - Flatbush Zombies 14a. A Nightmare on Elm Street Part 2: Freddy's Revenge (1985 teaser trailer) *14b. Nightmare (Maggot's Over Antwerp) - Spencer Tune 15a. Seance Piano Strings sfx 15b. The Call Of The First Aethyr - Aleister Crowley *15c. Swingin' At the Séance - Deep River Boys *16. Lipstick to Void (Under the Skin score) - Mica Levi 17a. Take It from Someone Who Used to Talk to Satan: Halloween Is a Bad Idea (CBN news segment excerpt) *17b. Ordinary Vanity (Silent Hill 2 score) - Akira Yamaoka *17c. On All Hallow's Ever - Killing Joke *18. Masquerade (The Adventure of Kohsuke Kindaichi soundtrack) - The Mystery Kindaichi Band 19a. "Faster and Faster" (Twin Peaks: Fire Walk With Me excerpt) *19b. Pink Room (Twin Peaks: Fire Walk With Me soundtrack) - Angelo Badalamenti 19c. Satanic Mass - Coven *19d. The Litanies of Satan - Diamanda Galás *19e. Witches & Devils - Albert Ayler 20a. Seven Doors of Death (AKA The Beyond) trailer *20b. Voci dal Nulla (The Beyond score) - Fabio Frizzi 21a. The Devil Within Her trailer *21b. Aloha From Hell - The Cramps *22. The Devil's Gonna Get You - Bessie Smith *23. Midnight Graveyard - Mother Sunday *24. Headless - Tearist
In this episode, the Retro Movie Geek crew is joined by Tyson Hanks (check out more from Tyson here), and they're geeking out over Race With The Devil (1975) and the car chases useless characters the cast the ending and much, much more! Synopsis: While on vacation in an RV, two couples witness a Satanic ritual involving a human sacrifice and then try to flee the scene. "If you're going to race with the devil, you've got to be fast as hell!" .......................................................................................................................... Be sure to pick up your very own copy of Nathan Tolle's amazing book Pumpkin Cinema: The Best Movies For Halloween! You can get it right HERE! .......................................................................................................................... Special thanks to Midnight Syndicate (find more Midnight Syndicate scares here) for letting us use the tunes Welcome to the Carnival and Mesonoxian Visitors from the album Carnival Arcane, for Spooky Flix Fest 2022! .......................................................................................................................... .......................................................................................................................... LISTENER FEEDBACK: Leave us your voicemail feedback at (484) 577-3876. Check out Darrell's other cool podcasts here. Check out Peter's Retro Reviews over at ForgottenFlix.com here. Check out The Forgotten Flix Podcast here. Special thanks to Kevin Spencer for the fantastic show logo! Special thanks to Hayden for the use of his fantastic music for our opening theme this episode! You can check out more from this amazing artist here! Special thanks to Retro Promenade for the use of music from the album Carpenter. Music use permitted under a Creative Commons license. CLICK HERE and get a copy of the album and support these fantastic artists!
Listen to how Sam Hart raced the Devil for his soul. --- Send in a voice message: https://anchor.fm/larry-bentley/message
Listen to how Sam Hart raced the Devil for his soul. --- Send in a voice message: https://anchor.fm/larry-bentley/message Support this podcast: https://anchor.fm/larry-bentley/support
Hello all you Ed-Heads, Timbos, and Candice Kraft Dinner consumers. Welcome to the frist week of Listener request month. This week we are covering the Peter Fonda, Warren Oats film Race with the Devil. From 1975, it hits that Satanic Panice vibe that we are all in love with. Though Candice has words to share with you modern, constitution supporting, pro choice satanists. Where are your robes, and blood orgies? Bitch asses. We cover PG titties, the need for speed, stunts which kill dudes and dummies alike! It's Listener Request month. Put in your requests! call the line 323-4-the-axe You know us, https://www.patreon.com/bloodybits Hit us up on twitter. you can check us out on twitter. Tim @yobogold Candice @HorrorHoochie69 and me @eddietheaxe
HOSTS:KurtSteveTaylor Tremble is a unique horror movie podcast that explores the different sub-genres of horror to find the best that horror has to offer. On this episode, the crew dives into Race With the Devil. You can send emails to us at mailbag@threeangrynerds.com. Do it, we love your emails. You can also join us on... Read More
HOSTS:KurtSteveTaylor Tremble is a unique horror movie podcast that explores the different sub-genres of horror to find the best that horror has to offer. On this episode, the crew dives into Race With the Devil. You can send emails to us at mailbag@threeangrynerds.com. Do it, we love your emails. You can also join us on... Read More
With summer vibes rolling in, Jim and Nick hit the road with a double dose of Recreational Vehicle terror as they discuss RACE WITH THE DEVIL and HITCHER IN THE DARK.
Your hosts are back with an episode of firsts: the first time they look at a cover performed by Judas Priest, and the first non-album (bonus) track on this show. "Race with the Devil" was originally a song by Gun in 1968, with the Judas Priest cover recorded in 1978 and unreleased until 2001 as a bonus track on the CD remasters. Tom and George drool over the groove of the guitar riff, Les Binks' impeccable drum fills, Rob Halford's soaring vocals, and compare the Judas Priest cover favorably to the Gun original.And of course, this podcast would be remiss if we didn't wish a big ol' round of congratulations to Judas Priest for their recent announcement as a 2022 Rock & Roll Hall of Fame Inductee! Your hosts give their initial reactions to the news and address some criticisms of the Hall, with a positive spin.Email: metalgodspodcast@gmail.comFacebook: https://www.facebook.com/metalgodspodcast/Twitter: https://twitter.com/metalgodspodMetal Gods Podcast is part of the Deep Dive Podcast Network. Check out https://twitter.com/deepdivepodnet?lang=en for more great pods dedicated to covering classic metal and rock artists in detail, and find a new favorite show!
In this episode we talk about the Sex Pistol, a very influential punk band and their one and only album Never Mind The Bullocks Here's the Sex Pistols, a Southern Rock band from Arkansas called Black Oak and their album Race with the Devil and an album by another influential band from the 70's called Wishbone Ash and their album No Smoke without Fire. --- Send in a voice message: https://anchor.fm/reviewsfromthecrawlspace/message
We're hitting the road in this episode - metaphorically, of course. Please don't attempt to drive through the state of Texas in real life. No good can come of it. But do listen to us; we're with Salem Horror Fest founder Kay Lynch, who brought us a double feature that tries to outrun death and chaos on the open road (spoiler: it doesn't work). We're talking about nightmarish and erotic coming-of-age horror thriller The Hitcher (1986), and satanic game of cat and mouse in a winnebago, Race with the Devil (1975). We've got a lot of smart and interesting thoughts on these movies, but we've also got Rutger Hauer getting his face spat in and apparently loving it, what it takes to make a convincing dead dog, a goblin mode cam, and us not knowing where the hell Amarillo, TX is (if you know, don't tell us. We prefer ignorance). Everything you need for an imaginary road trip! Bring snacks. Kay Lynch is the Founder/Director of Salem Horror Fest, independent Film Producer, and Event Producer for the George A. Romero Foundation. She has produced and promoted hundreds of events in the Art, Queer, and Horror communities all over the world and supported hundreds of independent filmmakers reach global audiences. A proud part of the Morbidly Beautiful Podcast Network. Our drive for intersectionality aligns well with the Morbidly Beautiful ethos. We love that MB is a nonprofit that gives back to the horror community, and are thrilled to be a part of the network! Show now also streaming on morbidlybeautiful.com! Movies Discussed: The Hitcher (1986), Race With The Devil (1975) Links: IG- instagram.com/nyfgpod Twitter- twitter.com/nyfgpod FB- facebook.com/nyfgpodcast/ Pod merch- https://society6.com/nyfgpod I am Not Your Final Girl by Claire C. Holland- https://www.amazon.com/Am-Not-Your-Final-Girl/dp/0692966633 Bandcamp- arieldyer.bandcamp.com Show art by Brian Demarest: instagram.com/evilflynn
Paul Anthony Gurvitz 6th july 1944 High Wycombe Buckinghamshire England is a multi platinum song writer who's musical journey started at the age of 15 . He bought his first guitar in a local store for 12 pounds and signed his first publishing contract at the age of 16 and has since written countless hits for many artist's including his first hit Race With The Devil with his band "GUN' which some say was the beginning of what they call metal music today. In 1964 he embarked on his touring and performing career as a guitarist with his bands The Londoners , The Knack , Parrish & Gurvitz which was produced by the infamous Sir George Martin and then switched to bass with Gun , Three Man Army , The Graeme Edge Band and The Baker Gurvitz Army which featured Cream drummer Ginger Baker. Now living in Arizona Paul is still an active song writer and has released several solo albums and is now embarking on another journey with his new band The New Army.. It all started back in the early sixties. I was listening to Elvis, Buddy Holly, Cliff Richard & The Shadows and at the age of 15 I bought my first guitar. My father at that time was the Road Manager for the Shadows, so I started to get a taste of the music scene. I taught myself to play a few chords and it wasn't long before I was playing in some local bands. My first professional gig was in France playing on US Army camps. From there I came to to England with the same band and started to play gigs around London, that group was called The Londoners. We were then booked to play the Star Club in Hamburg, Germany. After spending six months in the Star Club we began playing all over Germany at different venues. Once again I returned to London with The Londoners and decided to change the name of the group to The Knack. The Knack was signed to several different labels and recorded several singles for Pye and Decca. A short while after, the psychedelic era started and once again I changed the name of the band to The Gun. The Gun started to slowly get noticed around the London clubs and by 1968 had their first hit record, that was "Race With The Devil". It went to number 4 in the English charts and number 1 in most European charts. The Gun recorded 2 albums "Gun" and Gunsight". In 1971 The Gun broke up and I started a group called Parrish & Gurvitz, which was produced by George Martin. There were two albums recorded but only one was released called "Parrish & Gurvitz". That band toured the US and the UK. At the same time I was recording with my brother Adrian with "Three Man Army". After Parrish & Gurvitz broke up Three Man Army became a touring band and recorded three albums in all, "A Third Of A Lifetime", "Mahesha" and "Three Man Army Two . Three Man Army was getting ready for a fourth album but the drummer (Tony Newman) was asked to join David Bowie. That left my brother and I with no drummer, but not long after we teamed up with Ginger Baker and started a new group. This was "The Baker Gurvitz Army". B.G.A. (as it was called) recorded the first album titled "Baker Gurvitz Army" and then took on two more members for touring. The second B.G.A. album recorded was "Elysian Encounter" and the third was "Hearts On Fire". During the recordings of B.G.A., my brother and I teamed up with the drummer of the "Moody Blues" Graeme Edge, and recorded two more albums. The band was called "The Graeme Edge Band". The first album was "Kick Off Your Muddy Boots" and the second was "Paradise Ballroom". In 1976 the manager of B.G.A. was killed in a plane crash and that was the end of "The Baker Gurvitz Army". Support the show (https://cash.app/$PrimitiveManSoundz ) Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
Warren Oates and Peter Fonda just wanted to hop in their RV and take their wives on a ski trip. But a group of murderous Texan satanists had other ideas in Race With The Devil, the nearly forgotten horror/car chase hybrid flick! Certified Texan Anthony Abatte joins me to talk about this (literal) cult classic, and if Texas really has bands of roving satanists who hunt down tourists in RVs. He said no, but I'm still not sure.
With Phillip, Michael and Barry on hiatus, we're posting the final episode from our former movie podcast spinoff. Two young couples, Roger and Kelly Marsh (Peter Fonda and Lara Parker) and. Frank and Alice Stewart (Warren Oats and Loretta Switt) embark on a road trip that winds up having them being chased by an evil cult. Follow us on Twitter: @AShudders. Instagram: @openshudderspodcast. Email: openshudders@yahoo.com and movieshudders@aol.com. HAPPY THANKSGIVING --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/barry-marino-openshud/message Support this podcast: https://anchor.fm/barry-marino-openshud/support
This Peter Fonda, Warren Oates vehicle is literally a 36 ft camper. It's also a front runner for the horror on wheels genre. There's no devil, but a bunch of ne'er-do-well Texan Satanists armed with rattlesnakes chasing our heroes... why wouldn't you want to watch this?
This week on the show, it's Stacey's birthday! She picked this week's group watch, 1975's drive-in clasic Race with the Devil. Also on deck, a new Murder Minute from Lyrsa, the Week in Death, Bad News, and tons of fun horror reccomendations! Hey, why not call us on our hotline? (724) 246-4669! Check out the other Compañeros Radio Network shows: Movie Melt Songs on Trial Get Soft with Dr Snuggles Ballbusters Movies About Girls Classic In Search of the Perfect Podcast
This week we review the 1975 horror/action/car chase thriller Race With the Devil staring Peter Fonda, Warren Oats, Loretta Swit and Lara Parker. Follow us on Twitter: @BarryMarino5. Facebook Group Open Shudders Goes to the Movies. Email movieshudders@aol.com. Enjoy The Film On The Silver Screen,. BUT DON'T MAKE IT YOUR FINAL CREDIT --- Send in a voice message: https://podcasters.spotify.com/pod/show/barry-marino/message Support this podcast: https://podcasters.spotify.com/pod/show/barry-marino/support
On this week's episode Lindsay is joined by Cobwebs host Daniel Epler. And as they sit down in the Schlock and Awe Theatre they raise there hands in the Devil Horns for a Double Feature of The Devil Rides Out (1968) & Race With the Devil (1975). This is a episode where the Devil is in the details. Listen to Cobwebs Here Follow Cobwebs on Twitter @cobwebspod Follow Cobwebs on Instagram @cobwebspod/ Follow Daniel on Twitter @eplerdaniel Follow Schlock and Awe on Twitter @schlockandawe1 Follow Schlock and Awe on Instagram @schlockandawe1/ Follow Lindsay on Twitter @readandgeek Follow Lindsay on Letterboxd @ReadandGeek/ Please Rate and Review Here Original Music Composed and Performed by Anthony King
Boy oh boy, did we disagree about this one. A devil-worshipping cult terrorizes two vacationing couples who witness something they shouldn't. No doubt the sheriff will help them out. Starring Peter Fonda, Warren Oates, Loretta Swit, Lara Parker, and R.G. Armstrong. Directed by Jack Starrett, written by Lee Frost and Wes Bishop.
In this episode of the Bad Movie Night Podcast we talk about the 1975 action horror movie, Race With The Devil! Support our show and get the bonus podcasts! https://www.patreon.com/badmovienightshow For our video show and other episodes please visit www.Bad-Movie-Night.com Film: Race With The Devil Plot: Roger (Peter Fonda), his friend Frank (Warren Oates), and their wives (Lara Parker, Loretta Swit) are heading from San Antonio to the wilderness of rural Texas for some off-road motocross. What they find instead is a Satanic cult sacrifice, and they are unfortunate enough to be caught observing the ritual. Naturally, this doesn't sit too well with the cult members. Now Roger and Frank are on the run from what is apparently a very sizable Texan Satanist community. Director: Jack Starrett Year: 1975 Find Us On Social Media Facebook – http://www.facebook.com/badmovienightshow/ Twitter – http://twitter.com/_BadMovieNight Instagram – https://www.instagram.com/bad_movie_night/ Google+ – https://plus.google.com/102378654666304152117 Reddit - https://www.reddit.com/r/badmovienight
We go back to our format before the Oscar nominations. We're back in 1975 and we review race With The Devil.
Killer Mike and Evil Erika take it back to 1975 as they review and discuss Race With the Devil. Subscribe to their Patreon! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thfr/message Support this podcast: https://anchor.fm/thfr/support
The latest episode is up! I'm joined by @horrorjunkie103178 to discuss our favourite overlooked 1970's horror gems. From the weird combo of political thriller and supernatural horror of #BrianDePalma The Fury to the Peter Fonda action-packed Race With The Devil, we hope to give you some great ideas on what to watch next!
Todd is joined by Aaron Neuwirth from Out Now with Aaron and Abe to discuss the 1975 horror action hybrid Race with the Devil.
Mike and Mike head back to the 70's, arguably one of the greatest eras of filmmaking, to explore this devil movie classic featuring the rough and tumble duo of Warren Oates and Peter Fonda. This is the first part of our "Devil Movie" series.
Cerise and Vicky hop on their motorcycles and hit the highway in search of a crying bald eagle or some such thing, adding five road movies to their list along the way. Featuring special guest star Adam Curtis! 8:35 – Nomadland (2020, Chloe Zhao) – Cerise and Vicky sort through some powerful and mixed feelings about an honest, empathetic film that tries to address the issue of poverty without upsetting shareholders. 30:34 – Easy Rider (1969, Dennis Hopper) – Cerise and Vicky explore the process by which a countercultural statement becomes a life insurance commercial and find that the key is making a flawed statement in the first place. 46:49 – Race With The Devil (1975, Jack Starrett) – Cerise and Vicky chart the fiery, paranoid death of the hippie dream with the help of an amazingly surly Warren Oates. Many drinks are had. 1:03:24 – Lost In America (1985, Albert Brooks) – Albert Brooks buries yuppie strivers under the weight of their own delusions while Vicky cringes and Cerise laughs. 1:14:35 – My Own Private Idaho (1991, Gus Van Sant) – Cerise and Vicky find out that when you smush three movies together, they all turn out extremely gay.
Joseph Pearce is a Catholic apologist who has written bestselling books on G.K. Chesterton, J.R.R. Tolkien, and Shakespeare. In this episode, Joseph takes us on a journey through his past, his present and his future. The debt he owes to Chesterton plays a large part. We talk about everything from his knowledge on Shakespeare to his interview with Solzhenitsyn to how much he can bench press.
We review the Tara Reid-produced film BUS PARTY TO HELL (2020), originally titled PARTY BUS TO HELL! From streaming and rental veteran ROLFE KANEFSKY comes a sex-ified take on Race With The Devil where seven Jersey Shore-esque partiers run afoul of a desert-dwelling demon cult! Listen to our take on this direct to video blood and babes horror comedy. It's a "Party over here!" with this week's mini-sode of CULT and CLASSIC Podcast! Host/Reviewer: Nate Wyckoff Support this podcast
70 MOVIES WE SAW IN THE 70s: Ep 26 RACE WITH THE DEVIL (1975) The show must go on! Join Ben with special guest co-host Scott Lucas of Local H (!!) as they take on the legacy of 70 Movies We Saw in the 70s and the legacy of Jack Starrett’s satanic car-chase spectacular, RACE WITH THE DEVIL!!! Heretical highlights include: • See no evil! Listening to and reading about but not seeing the best movies of the seventies. • Hear no evil! Scott reveals the origins of THE SOUND OF METAL • Speak no evil! Ben talks shit about his miserable month at the Thalia Soho • Battle of the Cronenbergs: A HISTORY OF VIOLENCE vs THE FLY • RG Armstrong: Scooby Doo villain or crude pencil sketch? • Greatest eyewear ever: Peter Fonda vs Peter Fonda • Scott’s special feelings for SILENT RAGE • Ben’s special feelings for Concrete Blonde’s Joey • Mike’s RACE WITH THE DEVIL write-up And much, much, much more. Mike McPadden GoFundMe: gofund.me/9bd70663
I had a great time talking to Lara, she was so forthcoming and a lot of fun. I want to thank my pal David Selby for asking her to come on the show. We talk Dark Shadows, her feminist witch, then vampire. She talks about biting Johnny Carson and we discussed the horror film she starred in, Race With The Devil, 1975. When I first moved TO NYC it was on Channel 11 and scared me big time. The behind the scenes scoop she gave me was the real horror.. You will be very mad, not at Lara but the production team. It was an informative and interesting show. Thanks so much to Lara for coming on the show. She was fabulous. Mostly thanks to you, the listeners.. You are the best!! Grace xoxo Check out my Facebook page. I add new stuff constantly. I also have a group www.facebook.com/truestoriesoftinseltown/group www.facebook.com/truestoriesoftinseltown you can listen to podcast www.truestoriesoftinseltown.com https://podcasts.apple.com/us/podcast/true-stories-of-tinseltown/id136374488 https://open.spotify.com/show/6iTSF8pIrVTbZ8QqNidVUy?si=zn73ahjEQKOzrMtc-8VRhg You can also listen on google play, spotify, YouTube, player FM, I heart radio, amazon music and basically anywhere podcasts are played. I’m also on weekly at www.racketeerradio.com. Lots of great music and shows. I’m also on Pinterest, Tumblr, twitter and instagram. Stay safe and healthy everybody.. #LaraParker #classichollywood #classichollywoodstars #truestoriesoftinseltown #oldhollywood #Iloveclassichollywood #vintagehollywoodstars #vintagehollywood #classic TV #Darkshadows #Angelique
In honor of HBO's The Vow, we went back to the 70s to experience the terror of a Satanic cult. It's like Mad Max for hillbillies with Peter Fonda and Warren Oates. You can send us requests, comments or just say hello at codeunknownpod@gmail.com Click on the link for all our social media pages including our YouTube with easily digestible clips of our episodes: https://linktr.ee/CodeUnknownPod Artwork created by Gustavo Silva. Check out his Etsy shop here.
Welcome back to the podcast where the heatwave is the size of a tsunami… It’s NMRIH #23 On this episode, we are glad to have [...]
Welcome back to the podcast where the heatwave is the size of a tsunami… It’s NMRIH #23 On this episode, we are glad to have [...]
Race with the Devil (1975)
This week we kick off a Satanic Panic Summer Series with the remarkable 1975 film Race with the Devil directed by Jack Starrett. (This is Episode 305)Endorsements: •TonyoMystery of Chessboxing•JuliaoKing of Staten Island•DrewoGirls Rock AuctionoPen America Fellowship: Pen.org•JasonoJune 22 Castle of Horror Anthology Summer Lovin Event—page at Castle of Horror Page (https://www.facebook.com/events/256518529096052/)oHigh School USA (1983)'s many, many posters
On this episode of the show, The Mad Monkey decided to buy himself a fancy motor home (or RV for you hip kids at home). What better way to kick of 2020 than with a road trip? The boys load up and hit the road, looking for fun and adventure. Did they mention that the RV has a full bar, microwave, color tv and get this, a radio that gets four channels! However, late one night, The Mad Monkey witnessed a Satanic ritual and now your creepy emcees are on the run! While they fight off a group of old and vastly overweight Satanists. Listen in as they discuss the Mad Monkey's film pick of the week; 1975's "Race With The Devil" directed by Jack Starrett and starring Peter Fonda and Warren Oates. It's a high octane episode of Talking Terror! Stay scared and Hail Satan people!
Two couples vacationing together in an R.V. from Texas to Colorado are terrorized after they witness a murder during a Satanic ritual.
In which Skinner Co. watches Peter Fonda wait till the last 20 minutes to blow out the budget
In which Skinner Co. watches Peter Fonda wait till the last 20 minutes to blow out the budget
Chrononaut Cinema Reviews - a Skinner Co.\Way of the Buffalo Co-Production
In which Skinner Co. watches Peter Fonda wait till the last 20 minutes to blow out the budget
In which Skinner Co. watches Peter Fonda wait till the last 20 minutes to blow out the budget
THE DOOMED & STONED SHOW ~Season 5, Episode 52~ This has got to be one of the strangest disasterpieces of underground horror we've yet encountered. I speak of the 1977 B-movie The Demon Lover (aka The Devil Master), a central Michigan production from directors Jerry Younkins and Donald G. Jackson, who went on to be involved in no less than 40 other films (though arguably none as charmingly bad as this!). The main antagonist is Laval Blessing, leader of a coven of curious occultists who don't realize just how serious Laval is about the Craft. When he is spurned by his followers, Laval summons a hideous demon who goes on a bloody rampage, killing the former coven members one by one! The show features audio excerpts guiding the listener through its narrative, with musical interludes inspired by the film. Happy Halloween! PLAYLIST I WILL HAVE WHAT I WANT (00:00) 1.The Neptune Power Federation - "Flying Incendiary Club for Subjugating Demons" (01:30) ALL THE WAY (06:19) 2. Royal Sons - "The Devil's Knockin'" (08:09) METAPHYSICAL B.S. (13:02) 3. The Gun - "Race With The Devil" (15:26) SUMMONING (19:01) 4.Your Highness - "Devil's Delight" (21:11) THE DEVIL MADE ME DO IT (25:59) 5. Zodiac - "A Bit Of Devil" (27:47) I'M REALLY SCARED (32:23) 6. Restless Spirit - "Devils" (34:33) SOMETHING I GOTTA DO (39:02) 7. Dogbane - "Devil's Tramping Ground" (40:05) BLACK MAGIC WEIRDOS (44:09) 8. Of Deities and Dust - "Devil's Advocate" (45:47) THESE STRANGE RELIGIOUS MEETINGS (51:20) 9. Emerald - "Devil's Law" (53:53) STAY AWAY FROM THIS COVEN BUSINESS (59:56) 10. Barn Burner - "Blade Master" (1:00:43) DRUGS & ROCK 'N' ROLL (1:06:04) 11.Twin Temple - "The Devil (Didn't Make Me Do It)" (1:06:38) DEMON ATTACK (1:11:19) 12. Wytch Hazel - "The Devil Is Here" (1:12:15) THE MASSACRE (1:15:59) 13. Saint Karloff - "At The Mountains of Loudness" (1:17:36) NEVER THOUGHT IT WOULD END LIKE THIS (1:28:42) 14. Uncle Acid & the deadbeats - "I'll Cut You Down" (1:29:18) GET THE BASTARD! (1:34:15) 15. Kadavar - "The Devil's Master" (1:35:07) NO TIME TO BE A SISSY! (1:40:14) 16. High on Fire - "Devilution" (1:41:29) THE MASTER OF DARKNESS WELCOMES YOU (1:46:16) 17. Void of Sleep - "The Devil's Conjuration" (1:47:32) SEE YOU IN HELL! (1:51:31) 18. Electric Wizard - "Supercoven" (1:52:33) Ways To Listen: ▶️Spotify bit.ly/DoomedandStonedSpotify ▶️Google Play bit.ly/DoomedStonedGooglePlay ▶️Apple http://bit.ly/DoomedStoned ▶️Soundcloud soundcloud.com/doomedandstoned ▶️Mixcloud mixcloud.com/doomedandstonedofficial
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Chris and DK talk about THE WASP WOMAN, RACE WITH THE DEVIL, tons of D23 news, a few listener questions, and some other important topics!!
Programme allégé pour le mois d'août 2019, avec seulement 5 long-métrages évoqués dans ce Debrief mensuel de 24FPS, le podcast ciné avec ou sans spoiler ! Voici donc les 5 films évoqués sans spoiler par Julien et Jérôme dans cet épisode : Lords Of Chaos de Jonas Åkerlund (à partir de 0:02:55) Good Boys de Gene Stupnitsky (à partir de 0:24:45) Le Gangster, Le Flic Et l'Assassin de Lee Won-tae (à partir de 0:30:15) La Chute Du Président (Angel Has Fallen) de Ric Roman Waugh (à partir de 0:36:30) Fast and Furious: Hobbs and Shaw de David Leitch (à partir de 0:50:55) Bonne écoute, et n'hésitez pas à partager cet épisode auprès de vos amis fans de Black-Metal ! Crédits musicaux : Race With The Devil de Judas Priest, issu de l'album Sin After Sin (1977), et Won't Get Fooled Again de The Who, issu de l'album Who's Next (1971)
This week on the Talk Without Rhythm Podcast, I'm hitting the road with the late, great Peter Fonda, dodging Satanists and small-town Conservatives alike, in 1969's Easy Rider and 1975's Race with the Devil. [00:00] INTRO [01:59] The Good, The Bad, And The Odd Promo [02:43] RANDOM CONVERSATION [18:54] Easy Rider (1969) Easy Riders, Raging Bulls by Peter Biskind [50:00] Race with the Devil (1975) [01:14:25] FEEDBACK [01:21:47] ENDING MUSIC: Born to be Wild by Steppenwolf Buy Easy Rider (1969) Buy Race with the Devil (1975) Support TWoRP Contact Us talkwithoutrhythm@gmail.com
It’s a season of the Best of the Bs as Jack Starrett, director of Cleopatra Jones and Cry Blood, Apache, takes us on a Race With The Devil! Season 8: Simply the B-Est! is the best of the B movie directors and this one has some big names – Peter Fonda, Loretta Switt, and Warren […] The post KFEB 802: Race With The Devil appeared first on We Talk Podcasts.
"Oh Lord, Heaven knows we belong way down below!" Join me as I celebrate the upcoming release of #Fangoria's #SatanicPanic by comparing two copies of sinful celluloid. Listen to find out which devil will have his due...#PrepareForPrattle
Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar. Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike. The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital. The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it. Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly. Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley. [Excerpt: Elvis Presley, “Mystery Train”] The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people. It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show. Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff. That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records. Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this: [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”] Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label. Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them. Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville. By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness. The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe: [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”] Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames. It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was. Or, at least, the A-side was. The B-side, a song called “Be-Bop-A-Lula”, was a different matter: [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”] There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”. [Excerpt: “Don’t Bring Lulu”, Billy Murray] As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!” Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights. Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”: [Excerpt: Helen Humes, “Be Baba Leba”] That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music. And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era. But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”. So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit. At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway. But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent. During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used. [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section] “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956. A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was. But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang. What fewer people commented on was the song’s similarity to “Money Honey”: [Excerpt: The Drifters, “Money Honey”] The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing. The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things: [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”] The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK: [Excerpt: Gene Vincent, “Blue Jean Bop”] But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved. The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to. And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent. But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time. And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour. So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months. While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”: [Excerpt: Gene Vincent, “Lotta Lovin'”] That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman. Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood. The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner. [Excerpt: Gene Vincent, “Wear My Ring”] “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US. But he had a huge impact on the UK, thanks to a TV producer named Jack Good. Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him. Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll. Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…
Episode forty-one of A History of Rock Music in Five Hundred Songs looks at “Be-Bop-A-Lula” by Gene Vincent and the Blue Caps, and how Vincent defined for many what a rock and roll star was. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on “Smokestack Lightning” by Howlin’ Wolf. —-more—- Resources There are far, far more books on Gene Vincent than one would expect from his short chart history — a testament to how much he influenced a generation. The two that I used most are Race With the Devil by Susan VanHecke, and Gene Vincent and Eddie Cochran: Rock and Roll Revolutionaries by John Collis. Of the two, I’d recommend the latter more. There are many compilations of Gene Vincent’s early rock and roll work. This one contains everything he recorded up until 1962. And as always there’s a Mixcloud with the full versions of all the songs featured in today’s episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript [Excerpt: Ian Dury and the Blockheads, “Sweet Gene Vincent”] So sang Ian Dury, one of the greats of the rock and roll generation that came up in the seventies, a generation that grew up on listening to Gene Vincent. In the USA, Vincent was more or less regarded as a one-hit wonder, though that one hit was one of the most memorable of the 1950s, but in the UK, he was to become one of the biggest influences on everyone who sang or played a guitar. Gene Vincent was born Vincent Eugene Craddock, and he would have been perfectly happy in his original career as a sailor, until 1955. Then, something happened that changed his life forever. He re-enlisted in the Navy, and got a nine-hundred dollar bonus – a huge sum of money for a sailor in those days – which he used to buy himself a new Triumph racing motorbike. The bike didn’t last long, and nor did Gene’s Navy career. There are two stories about the accident. The one which he told most often, and which was the official story, was that he was not at fault – a woman driving a Chrysler ran a red light and ran into him, and the only reason he didn’t get compensation was that he signed some papers while he was sedated in hospital. The other story, which he told at least one friend, was that he’d been out drinking and was late getting back to the Naval base. There was a security barrier at the base, and he tried to ride under the barrier. He’d failed, and the bike had come down hard on his left leg, crushing it. Whatever the truth, his left leg was smashed up, and looked for a long time like it was going to be amputated, but he refused to allow this. He had it put into a cast for more than a year, after which it was put into a metal brace instead. His leg never really properly healed, and it would leave him in pain for the rest of his life. His leg developed chronic osteomyelitis, he had a permanent open sore on his shin, his leg muscles withered, and his bones would break regularly. Then in September 1955, finally discharged from the naval hospital, Gene Vincent went to see a country music show. The headliner was Hank Snow, and the Louvin Brothers were also on the bill, but the act that changed Gene’s life was lower down the bill – a young singer named Elvis Presley. [Excerpt: Elvis Presley, “Mystery Train”] The story seems to be the same for almost every one of the early rockabilly artists, but this is the first time we’ve seen it happen with someone who didn’t go on to sign with Sun – a young man in the Southern US has been playing his guitar for a while, making music that’s a little bit country, a little bit blues, and then one day he goes to see a show featuring Elvis Presley, and he immediately decides that he wants to do that, that Elvis is doing something that’s like what the young man has already started doing, but he’s proved that you can do it on stage, for people. It’s as if at every single show Elvis played in 1954 and 1955 there was a future rockabilly star in the audience — and by playing those shows, Elvis permanently defined what we mean when we say “rock and roll star”. The first thing Gene did was to get himself noticed by the radio station that had promoted the show, and in particular by Sheriff Tex Davis, who was actually a DJ from Connecticut whose birth name was William Doucette, but had changed his name to sound more country. Davis was a DJ and show promoter, and he was the one who had promoted the gig that Elvis had appeared at. Gene Craddock came into his office a few days after that show, and told him that he was a singer. Davis listened to him sing a couple of songs, and thought that he would do a decent job as a regular on his Country Showtime radio show. Soon afterwards, Carl Perkins came to town to do a show with Craddock as the opening act. It would, in fact, be his last show for a while – it was right after this show, as he travelled to get to New York for the TV appearance he was booked on, that he got into the car crash that derailed his career. But Tex Davis asked Carl to watch the opening act and tell him what he thought. Carl watched, and he said that the boy had potential, especially one particular song, “Be-Bop-A-Lula”, which sounded to Carl quite like some of his own stuff. That was good enough for Tex Davis, who signed Craddock up to a management contract, and who almost immediately recorded some of his performances to send to Ken Nelson at Capitol Records. Capitol at the time was the home of crooners like Frank Sinatra and Nat “King” Cole, and other than its small country music division had little connection to the new forms of music that were starting to dominate the culture. Capitol had been founded in the early 1940s by the songwriter Johnny Mercer, who wrote many standards for Sinatra, Bing Crosby, Tony Bennett and others, and also recorded his own material, like this: [Excerpt: Johnny Mercer, “Ac-Cent-Tchu-Ate the Positive”] Mercer was a great songwriter, but you can imagine that a record label headed up by Mercer might not have been one that was most attuned to rock and roll. However, in 1955 Capitol had been bought up by the big conglomerate EMI, and things were changing at the label. Ken Nelson was the head of country music for Capitol Records, and is someone who has a very mixed reputation among lovers of both country music and rockabilly, as someone who had impeccable taste in artists – he also signed Buck Owens and the Louvin Brothers among many other classic country artists – but also as someone who would impose a style on those artists that didn’t necessarily suit them. Nelson didn’t really understand rockabilly at all, but he knew that Capitol needed its own equivalent of Elvis Presley. So he put a call out for people to recommend him country singers who could sound a bit like Elvis. On hearing the tape that Tex Davis sent him of Gene Craddock, he decided to call in this kid for a session in Nashville. By this point, Craddock had formed his own backing band, who became known as the Blue Caps. This consisted of guitarist Cliff Gallup, the oldest of the group and a plumber by trade, drummer Dickie Harrell, a teenager who was enthusiastic but a good decade younger than Gallup, rhythm guitarist Willie Williams, and bass player Jack Neal. They took the name “Blue Caps” from the hats they all wore on stage, which were allegedly inspired by the golf caps that President Eisenhower used to wear while playing golf. Not the most rebellious of inspirations for the group that would, more than any other rock and roll group of the fifties, inspire juvenile delinquency and youthful rebelliousness. The session was at a studio run by Owen Bradley, who had just recently recorded some early tracks by a singer from Texas named Buddy Holly. The song chosen for the first single was a track called “Woman Love”, which everyone was convinced could be a hit. They were convinced, that is, until they heard Gene singing it in the studio, at which point they wondered if perhaps some of what he was singing was not quite as wholesome as they had initially been led to believe: [Excerpt: Gene Vincent and the Blue Caps, “Woman Love”] Ken Nelson asked to look at the lyric sheet, and satisfied that Gene *could* have been singing “hugging” rather than what Nelson had worried he had been singing, agreed that the song should go out on the A-side of Gene’s first single, which was to be released under the name Gene Vincent – a name Nelson created from Gene’s forenames. It turned out that the lyric sheet didn’t completely convince everyone. Most radio stations refused to play “Woman Love” at all, saying that even if the lyrics weren’t obscene – and plenty of people were convinced that they were – the record itself still was. Or, at least, the A-side was. The B-side, a song called “Be-Bop-A-Lula”, was a different matter: [Excerpt: Gene Vincent and the Blue Caps: “Be-Bop-A-Lula”] There are three stories about how the song came to have the title “Be-Bop-A-Lula”. Donald Graves, a fellow patient in the naval hospital who was widely considered to have co-written the song with Gene, always claimed the song was inspired by the 1920s vaudeville song “Don’t Bring Lulu”. [Excerpt: “Don’t Bring Lulu”, Billy Murray] As Tex Davis told the story, it was inspired by a Little Lulu comic book Davis showed Vincent, to which Vincent said, “Hey, it’s be-bop a lulu!” Davis is credited as co-writer of the song along with Gene, but it’s fairly widely acknowledged that he had no part in the song’s writing. Almost every source now says that Davis paid Donald Graves twenty-five dollars for his half of the songwriting rights. Far more likely is that it was inspired by the Helen Humes song “Be Baba Leba”: [Excerpt: Helen Humes, “Be Baba Leba”] That song had been rerecorded by Lionel Hampton as “Hey Baba Reba!”, which had been a massive R&B hit, and the song is also generally considered one of the inspirations behind the term “be bop” being applied to the style of music. And that’s something we should probably at least talk about briefly here, because it shows how much culture changes, and how fast we lose context for things that seemed obvious at the time. The term “bebop”, as it was originally used, was used in the same way we use it now — for a type of jazz music that originated in New York in the mid-1940s, which prized harmonic complexity, instrumental virtuosity, and individual self-expression. The music made by people like Charlie Parker, Oscar Peterson, Dexter Gordon, Dizzy Gillespie, and so on, and which pretty much defined what was thought of as jazz in the postwar era. But while that was what the term originally meant, and is what the term means now, it wasn’t what the term meant in 1956, at least to most of the people who used the term. Colloquially, bebop meant “that noisy music I don’t understand that the young people like, and most of the people making it are black”. So it covered bebop itself, but it was also used for rhythm and blues, rock and roll, even rockabilly — you would often find interviewers talking with Elvis in his early years referring to his music as “Hillbilly Bop” or “a mixture of country music and bebop”. So even though “Be-Bop-A-Lula” had about as much to do with bebop as it did with Stravinsky, the name still fit. At that initial session, Ken Nelson brought in a few of the top session players in Nashville, but when he heard the Blue Caps play, he was satisfied that they were good enough to play on the records, and sent the session musicians home. In truth, the Blue Caps were probably best described as a mixed-ability group. Some of them were rudimentary musicians at best — though as we’ve seen, rockabilly, more than most genres, was comfortable with enthusiastic amateurs anyway. But Cliff Gallup, the lead guitarist, was quite probably the most technically accomplished guitarist in the world of rockabilly. Gallup’s guitar style, which involved fast-picked triplets and the use of multiple steel fingerpicks, was an inspiration for almost every rock and roll guitarist of the 1960s, and any group which had him in would sound at least decent. During the recording of “Be-Bop-A-Lula”, the young drummer Dickie Harrell decided to let out a giant scream right in the middle of the song — he later said that this was so that his mother would know he was on the record. Cliff Gallup was not impressed, and wanted to do a second take, but the first take was what was used. [Excerpt: Gene Vincent, “Be Bop A Lula”, scream section] “Be-Bop-A-Lula” is by any standards a quite astonishing record. The lyric is, of course, absolute nonsense — it’s a gibberish song with no real lyrical content at all — but that doesn’t matter at all. What matters is the *sound*. What we have here, fundamentally, is the sound of “Heartbreak Hotel” applied to a much, much, less depressive lyric. It still has that strange morbidity that the Elvis track had, but combined with carefree gibberish lyrics in the style of Little Richard. It’s the precise midpoint between “Heartbreak Hotel” and “Tutti Frutti”, and is probably the record which, more than any other, epitomises 1956. A lot of people commented on the similarity between Vincent’s record and the music of Elvis Presley. There are various stories that went round at the time, including that Scotty and Bill got annoyed at Elvis for recording it without them, that Elvis’ mother had told him she liked that new single of his, “Be-Bop-A-Lula”, and even that Elvis himself, on hearing it, had been confused and wondered if he’d forgotten recording it. In truth, none of these stories seem likely. The record is, sonically and stylistically, like an Elvis one, but Vincent’s voice has none of the same qualities as Elvis’. While Elvis is fully in control at all times, playful and exuberant, Gene Vincent is tense and twitchy. Vincent’s voice is thinner than Elvis’, and his performance is more mannered than Elvis’ singing at that time was. But none of this stopped Vincent from worrying the one time he did meet Elvis, who came over and asked him if he was the one who’d recorded “Be-Bop-A-Lula”. Vincent was apologetic, and explained that he’d not been intending to copy Elvis, the record had just come out like that. But Elvis reassured him that he understood, and that that was just how Gene sang. What fewer people commented on was the song’s similarity to “Money Honey”: [Excerpt: The Drifters, “Money Honey”] The two songs have near-identical melodies. The only real difference is that in “Be-Bop-A-Lula” Vincent bookends the song with a slight variation, turning the opening and closing choruses into twelve-bar blueses, rather than the eight-bar blues used in the rest of the song and in “Money Honey”. Luckily for Vincent, at this time the culture in R&B was relaxed enough about borrowings that Jesse Stone seems not to have even considered suing. The follow-up to “Be-Bop-A-Lula” did much less well. “Race With the Devil” — not the same song as the one later made famous by Judas Priest — was one of the all-time great rockabilly records, but the lyrics, about a hot-rod race with the actual Devil, were, like “Woman Love”, considered unbroadcastable, and this time there was no massive hit record hidden away on the B-side to salvage things: [Excerpt: Gene Vincent and the Blue Caps, “Race With The Devil”] The single after that, “Blue Jean Bop”, did a little better, reaching the lower reaches of the top fifty, rather than the lower reaches of the top hundred as “Race With the Devil” had, and making the top twenty in the UK: [Excerpt: Gene Vincent, “Blue Jean Bop”] But there were three major problems that were preventing Vincent and the Blue Caps from having the success that it seemed they deserved. The first was Ken Nelson. He was in charge of the material that the group were recording, and he would suggest songs like “Up a Lazy River”, “Ain’t She Sweet”, and “Those Wedding Bells are Breaking up That Old Gang of Mine”. Vincent enjoyed those old standards as much as anyone, but they weren’t actually suited to the rockabilly treatment – especially not to the kind of rough and ready performances that the original lineup of the Blue Caps were suited to. And that brings us to the second problem. There was a huge age gap, as well as disparity in ability, in the band, and Cliff Gallup, in particular, felt that he was too old to be touring in a rock and roll band, and quit the group. Gallup was actually offered a regular gig as a session guitarist by Ken Nelson, which would have meant that he didn’t have to travel, but he turned it down and got a job as a high school janitor and maintenance man, just playing the occasional extra gig for pin money. When he was contacted by fans, he would get embarrassed, and he didn’t like to talk about his brief time as a rock and roll star. He never signed a single autograph, and when he died in 1989 his widow made sure the obituaries never mentioned his time with Gene Vincent. But Gallup was just the first to leave. In the first two and a half years of the Blue Caps’ existence, twenty different people were members of the band. Vincent could never keep a stable lineup of the band together for more than a few weeks or months at a time. And the third major problem… that was Vincent himself. Even before his accident, he had been an impetuous, hot-headed man, who didn’t think very carefully about the possible consequences of his actions. Now he was in chronic pain from the accident, he was a rock and roll star, and he was drinking heavily to deal with the pain. This is not a combination that makes people less inclined to rash behaviour. So, for example, he’d started breaking contracts. Vincent and the Blue Caps were booked to play a residency in Las Vegas, where they were making three thousand dollars a week – for 1956 a staggering sum of money. But Tex Davis told Vincent that the owner of the casino wanted him to tone down some aspects of his act, and he didn’t like that at all. It wasn’t even enough to convince him when it was pointed out that the man doing the asking was big in the Mafia. Instead, Gene went on stage, sang one song, found Tex Davis in the crowd, caught his eye, flipped him off, and walked off stage, leaving the band to do the rest of the show without him. Unsurprisingly, the residency didn’t last very long. Equally unsurprisingly, Tex Davis decided he was no longer going to manage Gene Vincent. Legal problems around the fallout from losing his management caused Vincent to be unable to work for several months. While both “Race With the Devil” and “Blue Jean Bop” were big hits in the UK, the closest they came to having another hit in the USA was a song called “Lotta Lovin'”: [Excerpt: Gene Vincent, “Lotta Lovin'”] That was written by a songwriter named Bernice Bedwell, who is otherwise unknown — she wrote a handful of other rockabilly songs, including another song that Vincent would record, but nothing else that was particularly successful, and there seems to be no biographical information about her anywhere. She sold the publishing rights to the song to a Texas oilman, Tom Fleeger, who does seem to have had a fairly colourful life — he wrote a memoir called “Fidel and the Fleeg”, which I sadly haven’t read, but in which he claims that Fidel Castro tried to frame him for murder in the 1940s after a dispute over a beautiful woman. Fleeger was soon to start his own record label, Jan Records, but for now he thought that the song would be suitable for Gene Vincent, and got in touch with him. “Lotta Lovin'” was quickly recorded at Gene’s first session at Capitol’s new studio at the Capitol Tower in Hollywood. The B-side was a ballad called “Wear My Ring” by Warren Cassoto, the future Bobby Darin, and Don Kirshner. [Excerpt: Gene Vincent, “Wear My Ring”] “Lotta Lovin'” went to number thirteen on the pop charts, and number seven on the R&B charts, and it looked like it would revitalise Gene’s career. But it was not to be. Vincent’s increasingly erratic behaviour — including pulling a gun on band members on multiple occasions — and Capitol and Ken Nelson’s lack of understanding of rock and roll music, meant that he quickly became a forgotten figure in the US. But he had a huge impact on the UK, thanks to a TV producer named Jack Good. Jack Good was the person who, more than anyone else, had brought rock and roll to British TV. He’d been the producer of Six-Five Special, a BBC TV show that was devoted to rock and roll and skiffle, before moving to ITV, producing its first two rock and roll shows, “Oh Boy”, and “Boy Meets Girls”. And it was Good who suggested that Vincent switch from his normal polite-looking stagewear into black leather, and that he accentuate the postural problems his disability caused him. Vincent’s appearances on “Boy Meets Girls”, dressed in black leather, hunched over, in pain because of his leg, defined for British teenagers of the 1950s what a rock and roller was meant to look like. At a time when few American rock and roll stars were visiting the UK, and even fewer were getting any exposure on the very small number of TV shows that were actually broadcast — this was when there were only two TV channels in the UK, and they broadcast for only a few hours — Gene Vincent being *here*, and on British TV, meant the world. And on a show like Boy Meets Girls, where the rest of the acts were people like Cliff RIchard or Adam Faith, having a mean, moody, leather-clad rock and roller on screen was instantly captivating. For a generation of British rockers, Gene Vincent epitomised American rock and roll. Until in 1960 he was on a tour of the UK that ended in tragedy. But that’s a story for another time…
Decades of Horror | Movie Reviews of 1970s Classic Horror Films
“If you’re going to race with the devil, you’ve got to be as fast as Hell!” An RV might not be the best way to go “fast as hell,” but hey, it is the 70s. Join your faithful Grue Crew – Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr – as they “speed” across […]
Willie and Tim try and figure out if everyone that lived in Texas in the 70’s were Satanists, and then they play their favorite game: Who Dropped Acid with Dennis Hopper?
On this episode of the Ghoul Squad podcast we rank ALL 5 FINAL DESTINATION FILMS from worst to best! This franchise is incredibly rocky so this episode was a blast to prepare for. Erik had never even seen FD 3-5! Sit back and relax while we talk this early 2000's film series! We both review HUGE FILMS in Us, Pet Sematary and The Curse of La Llorona! We also both review the What We Do In The Shadows FX series, Lords of Chaos, Shazam and the Hellboy reboot! Erik talks Castle Freak, Mercy Black, Black Summer, Thriller, Race With The Devil, the entire It's Alive trilogy and Pick Me Up. Keegan talks The Twilight Zone reboot! Buy a shirt! www.bit.ly/gsnewshirt Tweet us your favorite Final Destination film! @GhoulSquadFM Follow us on Instagram @GhoulSquadFM To see every episode of the podcast head to Anchor.FM/GhoulSquadFM Check out Erik's Spaghetti Western Instagram! Corbucci Squad Enjoy the podcast!
Your hosts Ben and Smokey take you on a truly horrific journey.Hear their opinions on pool cleaners, household appliances, unfortunate biological developments and the infuriating life of a Librarian.Oh and on this episode? Ben explodes. Several times.
Your hosts Ben and Smokey take you on a truly horrific journey. Hear their opinions on pool cleaners, household appliances, unfortunate biological developments and the infuriating life of a Librarian. Oh and on this episode? Ben explodes. Several times.
Tommy gives a devil of a time with this week's episode! We look at two AWESOME films from 1975 about Satanic cults - Race With the Devil and The Devil's Rain! Satanic Panic: "The History of the Satanic Panic in the US - And Why it's Not Over Yet" by Aja Romano, Vox Satanic Panic: Pop-Cultural Paranoia in the 1980s by Kier La-Janisse Race With the Devil: "The Gist - Race With the Devil (1975)" by Jeff Stafford, TCM The Devil's Rain: "The Devil's Rain: One of the Strangest Horror Movies of All Time" by Jim Knipfel
EP029 - Race With The Devil (1975) - "Kurt Russell's Easter Ham" by Not For Everyone Podcast
Strap in and prepare yourself for a filled to the brim episode of Shock Waves with you hosts Rob Galluzzo, Rebekah McKendry and Elric Kane! First up, we're joined by Dallas Sonnier, the new owner of Fangoria Magazine who gives us the first scoop on the resurrection of the infamous monster mag and what we can expect from this new iteration of Fangoria! Then, Blumhouse Producer and President of Production Couper Samuelson sits in for Ryan Turek to talk with us about all the latest horrors! Rob and Elric talk about the Netflix original THE RITUAL. Rob did a double feature of the new Criterion NIGHT OF THE LIVING DEAD with GET OUT, and also talks BASKET BASE, EATEN ALIVE and CREEP 2. Bekah watched RACE WITH THE DEVIL, AND NOW THE SCREAMING STARTS and HUMANOIDS FROM THE DEEP. Elric revisited THE FLY, FORTRESS, and has been enjoying CHANNEL ZERO: BUTCHER'S BLOCK. We're then joined by legendary director John Landis! In our nearly 2 plus hour chat, we get classic stories on Alfred Hitchcock, Michael Jackson, David Bowie, Tony Perkins, and many, many more! Kick back, relax, and enjoy the conversation!
Deathwatch may not sound like a book for kids but it won the Edgar Award for Best Juvenile Mystery. The movie Race With The Devil is probably not for the kids. Also not for the kids is Conan playing Grand Theft Auto. Cabel Sasser's Buggy Saint's Row. Good luck getting the image of Lex and his wife as the Spartan Cheerleaders out of your head. Jon's going to be a mod for Halloween, a la Quadrophenia. Moltz recalls Mischief Night. Lex wrote about Hurricane Sandy for The Magazine. Our thanks to Off The Grid for sponsoring this episode. Off The Grid is a family activity that makes it easy and fun for parents and kids to discuss their values and experiences with social media, online safety and responsibility, while learning about each other. Go to OffTheGridBox.com and enter code "TURNING" for a 20% discount! Follow us: @ttcashow. Lex Friedman can be found @lexfri, John Moltz can be found @Moltz and Jon Armstrong is @blurb.
Description: Nightmare on Film Street presents Part II from our Road-Trip of Horrors: RV OF DARKNESS! Kim and Jon are at the Overlook Film Festival (http://www.overlookfilmfest.com/) taking in four days of blood-soaked cinema. And- while you wait for their review.. It’s a BUY ONE, DOWNLOAD ONE FREE SALE on all Creepy Cultists, Creepy Vampires, and Creepy Tarantinos! Join us on this week’s episode, where we pit Peter Fonda’s satanic thriller Race with the Devil (1975) against Rober Rodriguez / Quentin Tarantino’s From Dusk Till Dawn (http://amzn.to/2i8sZ7h) (1996). GET ‘EM WHILE THEIR HOT! And as always, Cast your vote in our twitter poll @NOFSpodcast (http://www.twitter.com/nofspodcast) for your favorite RV of Darkness! Released: April 26, 2017 Download: iTunes (https://itunes.apple.com/us/podcast/nightmareonfilmstreet/id1153465996?mt=2) – Stitcher (https://www.stitcher.com/podcast/nightmare-on-film-street/) – Google Play (https://play.google.com/music/listen#/ps/I4mloxcwbr4gkpi2b4iwsyia2dy) – Soundcloud (https://soundcloud.com/user-769857489/) Support the Show: Patreon (https://www.patreon.com/nightmareonfilmstreet) – Merch (https://www.nofspodcast.com/merch/) – Advertise (https://www.nofspodcast.com/advertise/) – Leave a Review (https://itunes.apple.com/us/podcast/nightmare-on-film-street-horror/id1153465996?mt=2&ls=1)
Join your hosts Rob Galluzzo, Elric Kane, Ryan Turek and Rebekah McKendry as they catch up on all the latest horrors, and this week, there was a lot to catch up on! The entire gang reports back on Beyond Fest 2016 where they got to see DAWN OF THE DEAD 3D, SADAKO VS KAYAKO, THE BAD BATCH, THE AUTOPSY OF JANE DOE, THE MONSTER, RAW and much more! Elric survived the New Beverly's annual all-night horror marathon, which screened 35mm prints of RACE WITH THE DEVIL, THE HORROR OF BEACH PARTY, RAWHEAD REX, BAY OF BLOOD, SLAUGHTER HIGH and TICKS! Rob delves into Scream Factory's EXORCIST III Blu-Ray and the differences between both cuts, as well as LADY IN WHITE. Then we're happy to welcome to the show very special guest John Murdy, the creative director and executive producer of Universal's Halloween Horror Nights in Hollywood, California! We delve into the history of the horror mazes, the process of obtaining well-known properties, the work that goes into executing this event every year and much, much more. It's a candid peek behind the curtain from a genuine horror fan that loves this stuff as much as we do. Kick back and listen!
Special Guest: Paul MaslanskyAs part of the discussion of Paul Maslansky's sole directorial effort, Sugar Hill, Mike talked to Mr. Maslansky about his long and storied career as a producer, focusing on Race with the Devil, Damnation Alley, and The Silent Flute.
Many years ago, on the 18th of July 1981, as part of their fabled summer seasons of horror double bills, BBC 2 screened Race With the Devil - a mid '70s road movie/action flick/horror pic hybrid starring Peter Fonda and Warren Oates. And a young Mr Jim Moon was staying up late to watch it... Thirty five year later he's going back on the road again, and this time, he's doing a commentary!
Second week in a row without a regular Reddit Horror Club podcast, sorry folks. However, Ana really wanted to talk a bit about last week’s film before she headed out… Continue reading "Race with the Dark"
Second week in a row without a regular Reddit Horror Club podcast, sorry folks. However, Ana really wanted to talk a bit about last week’s film before she headed out… Continue reading "Race with the Dark"
Mike Tyson documentary TYSON, WALTER HILL's THE WARRIORS, WILLIAM FRIEDKIN'S CRUISING, and PETER FONDA double featch DIRTY MARY CRAZY LARRY and RACE WITH THE DEVIL
The Season of the Witch is over, and your High Priest and Priestess of Satanic Schlock Cinema are back with a demonic vengeance! This time out, they take on the 1975 movie, RACE WITH THE DEVIL! It’s a manly film, filled with men doing manly things in a manly way! Oh, and there are crazy cultists a-plenty. Also: is Monster Energy Drink really an instrument of the Devil? Cootie and X investigate! Throw in Ask the Goat, Drinking with the Devil and America’s favorite game of skill and chance, Three Questions, and you’ve got an audio program! Listen to it with your ears and feel it in your Islets of Langerhans!
The devil conjures up the single most random episode of Double Feature ever recorded. Did Gary Oldman really record the demon voice for the American dub of Baby Blood? What do Jennifer Tilly and Gary Oldman have in common? Hint: … Continue reading →
This week on Alcohollywood, recurring guest Derek joins us from the basement to talk Satanic panic movies with Race with the Devil! This 1975 Peter Fonda-Warren Oates road thriller follows these two easy riders along a two-lane blacktop to evil, as they (and their girlfriends) must use the incredible powers of their RV to hold off an increasingly encroaching horde of Satanists who catch them spying on their latest sacrifice. A gonzo combination of the ‘devil’s cult’ and road movie genres of the 1970s, the film certainly elicited varying reactions from us, including: Why do our protagonists have to steal library books? Is everyone in Texas a Satanist? Why does everyone immediately let their guard down as soon as the immediate danger is over? Should there have been more snakes? Learn the answers to these questions and more in our episode, along with our custom cocktail and drinking rules! NOTE: We didn't have time to work out the kinks of our new setup before recording this one, so this is still the same room-mic setup we've had for awhile. Stay tuned next week, though, since our sound should be totally changing! External Links: Clint's Recommendation: the BMW short film Beat the Devil (2003), dir. Tony Scott Clint's First Guest Spot on A Talking Cast!?! - Episode 37: Minute 36
Smutty Smiff joins us later in the program on this episode of The Rockabilly N Blues Radio Hour. Smutty is best known as the upright bass player for The Rockats, 13 Cats, Havalinas and more. He also hosts a radio show in Iceland which he gives us more details on in the program as well as a couple of requests for us like "Woodpecker Rock", "Barking Up The Wrong Tree", "Cast Iron Arm" and "Race With The Devil". Hear more classics from Jimmy Reed, Eddie Cocrhan, Carl Perkins, Arthur Crudup and more!! Intro bed- Link Wray- "Jack The Ripper" Voice Over- Rob "Cool Daddy" Dempsey Eddie Cochran- "Somethin' Else" Peanuts Wilson- "Cast Iron Arm" Music bed- Dick Dale- "Shake N Stomp" Levi Dexter- "The Man Who Counts" Nat Couty & The Braves- "Woodpecker Rock" Music bed- Joel Paterson- "Speedin' North" Starkweather Boys- "Abagail Blue" Lee Rocker- "Rock This Town" Music bed- Johnny & Dorsey Burnette- "Rockin' Johnny Home" Paul Burlison w/ Kim Wilson- "She's Hot" Smutty Smiff interview- part 1 The Havalinas- "High Hopes" Smutty Smiff interview- part 2 Gene Vincent- "Race With The Devil" Don Woody- "Barking Up The Wrong Tree" Hank Ballard- "Let's Go, Let's Go, Let's Go" 5, 6, 7, 8's- "Woo Hoo" Music bed- Monty Norman Orchestra- "James Bond Theme" Dr. Rubin's Pomade!! Jimmy Reed- "I Ain't Got You" Robert Gordon- I'm Coming Home :60 album spot Pat Dinizio- "Words Of Love" Willie Nelson- "Freight Train Boogie" Carl Perkins- "Her Love Rubbed Off" Music bed- The Ventures- "Memphis" Arthur "Big Boy" Crudup- "That's All Right" Elvis Presley- "That's All Right" Outro music bed- Marco Di Maggio- "Tiger Rag" Find out more about Smutty Smiff's radio shows: https://www.facebook.com/SmuttyX977/app_182222305144028 http://smokestackradio.com/content/smutty-smiffs-radio-jukebox/ http://www.visir.is/section/MEDIA98&fileid=SRC4AE07250-FE4E-47A0-85E0-873503EFBAEA# https://www.facebook.com/smutty.smiff.7?fref=ts
Two couples vacationing together in an R.V. from Texas to Colorado are terrorized after they witness a murder during a Satanic ritual. DirectorJack Starrett WritersLee Frost Wes Bishop StarsPeter Fonda Warren Oates Loretta Swit --- Send in a voice message: https://anchor.fm/gruesome-hertzogg/message Support this podcast: https://anchor.fm/gruesome-hertzogg/support
Movie podcaster and blogger Ryan McNeil of The Matinee Cast joins us for an enlightening conversation on the incredibly creative Michel Gondry. We focus on his beloved 2nd breakthrough success, ETERNAL SUNSHINE OF THE SPOTLESS MIND, as well as his anticipated follow-up but widely misunderstood THE SCIENCE OF SLEEP. In addition, Ryan reviews PICKPOCKET, Jim requests to see more films like RACE WITH THE DEVIL, and Patrick decides to talk about his love of the music video art form, since Gondry had such a tremendous impact and is considered one of the most uniquely conceptual directors.In a couple weeks, we will be talking about the winner of the listener's poll, Kathryn Bigelow. Please be sure to leave us a voicemail to play on the show at 224-366-9528. If you’re a movie blogger/podcaster and would like a guest spot on the show to talk about a filmmaker whose work you admire (or despise). Thanks again for listening and be sure to check out our updated upcoming schedule in the sidebar to see which directors we’ll be talking about soon! Questions are always welcome via email: directorsclubpodcast@gmail.com
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