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I watched this episode immediately after watching #126, TCOT Missing Melody. I have to say, that in my humble opinion the quality of music deteriorated from one to the other. The post-British Invasion pop/rock music of the mop-tops sounds rather repetitive and bland compared to the the more sophisticated and melodic jazz of the beatniks of just a few years earlier. Give me Constance Towers singing “The Thrill is Gone” with Bobby Troup’s jazz quartet over the Angels any day. Submitted by Anonymous, 6/4/2011.
Granted, recording studios are much more complicated today, but it is interesting that June Burgess knew exactly which console switch to flip (nothing is even labeled) in order to eavesdrop on Clete and Dotty. Woman’s intuition? Submitted by Mason Jar, 9/15/2011. + Perhaps, or woman’s experience? Submitted by gracenote, 10/5/2011.
In accent, rhythm, personality, voice and accent, this Brit singer Sandy was a clear manifestation of Peter Noone of Herman's Hermits, who had had their first hit in 1963. This episode reveals the danger of an adult show attempting to be "relevant" or "hip." cgraul 5.7.12
Is it just me, or does the impossibly cute Sue Ann Langdon have the best (indignant) pout in show business? And the handling of 'Sandy' couldn't have been more accurate, down to Clete's shockingly truthful statement that he molded the talent and made them popular, regardless of ability. It took the Beatles, and then the Moody Blues, to put a crack in the pop single ideology of most record companies; until they came along, the pop LP (if the artist had one) was a couple of hot singles and some filler music. mikereese 5.17.2012