THE NEW JAM ALBUM OF STATION ID'S & SINGLES (Jam Productions, 1979)

 

Here is an interesting item, which is also a fun snapshot of 1979.  JAM Creative Productions is a production house for jingles, background music, and much more, and has been dominating from their Dallas headquarters for over 50 years! (By the way, the name comes from the initials of the founders, a married couple.)  They've had an incredible career of supplying high-quality jingles and music around the world.

These promotional sorts of LP's are always fun, if for no other reason than because you were never supposed to hear them, as they were never available in stores.  Instead, this extremely well-made album serves as a portfolio for everything the company could do. It would've gone to program directors and heads of radio stations, for them to evaluate their advertising needs.  You know as well as I do from your youth that jingles and call-letter identification could make or break a radio station, as it gave them a sense of identity.

Another compelling part of this record is how "1979" it is.  That was a weird time.  Disco was trying to be put to pasture, and the New Wave hadn't yet set in, so the culture in America was trying to figure out what the eventual 80's would sound like, and there was an extension of the mellow "singer/songwriter" vibe that was so big in the earlier part of the 70's.  As such, the album would fit in nicely in the "WKRP" era in sound.

Another fun thing is one of the narrators, whom people of that generation will recognize.  It's Mason Adams, who had that homespun, Jimmy Stewart's Dad type of voice that you could never believe was lying to you, no matter what he said.  We even had an LP of Halloween stories on this blog that he read.  I always knew him as the voice on commercials:  "With a name like Smucker's, it's GOT to be good."  I kept thinking about how ironic that was, because, you know....JAM.  And jellies.  

Anyway, I have said enough times that this is an enjoyable listen.  I relish the days where real singers sung with real instruments and real string sections and real everything.  The average 8-year-old ear doesn't care, but to anyone with sense, it sounds warm and real and like it exists in the actual world.  Sure, it was doing it the hard way, but the hard way is usually the best way.  Unless you are doing brain surgery or something. Use the robot for that.

LINK:  New JAM Album of Station IDs & Singles (1979)

THE WAR IN SPACE (International Poster/Press Brochure) Toho, 1977

 

Here is the last of my recent haul of international poster brochure-things.  This one is for 1977's THE WAR IN SPACE, which is an...interesting...Toho STAR WARS-inspired film from 1977. Lots of people dunk on this film, but I think it is a lot of fun.  I mean, I like MESSAGE FROM SPACE and I think STARCRASH is fun, too, so if you like those, you're in for a fun ride.

The flying ship in this film is called the Gohten, which is not Gotengo (Atragon), or even the new Gotengo from FINAL WARS, but they are all in the same cinematic lineage. Toho simply loves flying ships with drills on the front!

As a fun bonus, here is a real rarity, the poster flyer-thingy for Toei's LEGEND OF DINOSAURS AND MONSTER BIRDS!

THE SAGA OF BATTLESTAR GALACTICA (MCA, 1979)

 

Here's another one of those sorts of things that you just can't find anywhere else (and I looked).  After STAR WARS, every big movie seemed to have their own book-and-record, read-along condensed version for kids, but there could also be the long-playing version that skipped the book and the need to "turn the page when you hear this sound." This grown-up version used audio from the actual film, too.

This is the latter version, and in place of turning the page, it actually has new audio recorded by Lorne Greene as narration...which is actually strange, because he is often referring to his own character, which makes for some weird moments where Adama sound like he's speaking of himself in the third person.

This album walks through the initial movie that launched the TV series, in 49 minutes, and it's pretty well-done.  It made me want to go back and watch it again, so it must have been doing something right.  

Another interesting facet of this production is how it forced me to honestly evaluate the series as an adult, rather than when I was young and undiscerning: is it a shameless STAR WARS ripoff?  Back in the day, kids did not sit around on the playground and complain that Glen Larson was ripping George Lucas off.  Instead, we were thrilled to have new space fantasy to devour, while we waited for THE EMPIRE STRIKES BACK.

Now, however, I can more clearly see some of the reasons George was upset.  After all, some of his own people worked on it, and there are some issues and similarities, of course (suddenly we had another space "Saga").  I read that Lucas issued a laundry list of demans, including vehemently insisting the blasters "fire no beams," which explains why they always lit up at the ends.  I am not sure how he could really claim a copyright on that, but whatever.  In retrospect, Apollo and Starbuck are sort of two Han Solos, and if it were up to me, I would've dialed the music down quite a bit; it's one of the most obviously-borrowed items because it is just so bombastic.  You do have rebels--in a sense--and enemy soldiers that all look alike, which they at least made into robots (before Lucas did, come to think of it). And then there are the dogfights, which are hard to defend in their similarity...again, the same folks worked on them, after all.  

But there are lots of great original things to praise the series for as well.  The cast is great; the designs are amazing (did I mention Ralph McQuarrie worked on the ships?), from the vehicles to the uniforms.  The Cylons are incredible in every way, from appearance to their all-important unique sound.  In the film, the Ovion insect people are a stroke of genius, and the writers invented a casino planet long before the Mouse ever stole the idea and wasted it.

I could go on, but I believe that the series has earned its place in history, and should stand as its own thing.  Unfortunately, it succumbed to what I call the Curse of Television.  Namely, a television series does not usually benefit from the luxury of having a beginning, middle, and definite ending.  Instead, a series tries to last as long as it is allowed, and eventually, funding is cut long before anyone can envision a proper ending to the story, or a way to pull it off, and the show is cancelled.  It's been a problem for literal decades.  

.................and then, GALACTICA 1980 happened instead.  The less said, the better.

One more thing, and this is hilarious--notice on the front cover of the album, despite all of the available artwork from the show, somebody thought it would be a good idea to swipe the MATTEL 12-INCH ACTION FIGURE ARTWORK for their painting.  After all, Cylons probably look exactly like that, right? With the huge chest light and plastic gun beam...and giant backpack push-button sticking up?  It would be a lot of trouble to go watch the show, or ask for more reference photos, right?

LINK:  SAGA OF BATTLESTAR GALACTICA (1979)

GODZILLA 2000 Theatrical Coming Attraction Slide (Columbia Pictures, July 2000)

 

Here is a fast one today. Remember when, before the trailers, movie theatres would show still images, projected with 35mm slides? I guess they still do....I mean, I assume they still do, who goes to the actual movie theatre anymore?  Maybe if there was something good to go see, then people would...but, I digress, sorry--I figure today it's done digitally anyhow, but back in the day, they used slides (and before that, glass slides, such as this one used in 1963 for KING KONG vs. GODZILLA:

This technique goes back to the old "magic lantern" shows, which long ago used a flame as the light source...somehow.  Anyway, what we have here today is a 35mm slide sent out by Columbia Pictures for theatres to show, touting the release of GODZILLA 2000 later that summer!

And not too much later, either, because the slide is dated July 2000, and if I remember right, the movie came out in August (I got to see it in the actual theater, too)! And here is the right-side-up image with a light source behind it:

THE 8-BIT CONSTRUCTION SET (Beige Records, 2000)

 

Here is something I ran across that you won't find anywhere else, and it isn't on YouTube or anywhere to be found (you will see why in a moment).  This is a "DJ record," for lack of a better term.  It's ingredients, to make your own mixes and jams.  These were privately produced items, and never sold in stores.  We have actually looked at one in the distant past on this very blog, because there is a Godzilla-themed one that is quite rare today!

Goodness, that was 15 years ago.  Anyway, this record is divided into two sides, and instead of A and B, it's the ATARI and COMMODORE 64 sides:

Both sides begin with montages of samples and sound effects, followed by ten or eleven sampled beats, which are presented in SHORT LOCKED GROOVES.  Get your brain around this--in the space of an inch or so, there are 10 (or 11) tiny bands which your stylus will not advance between.  Thus, this record was nearly IMPOSSIBLE to convert, especially when you can't hear what you are recording until you are done.  What madness is this? How did I resolve this one?

In the course of making this blog, I have had to solve some unusual and wacky problems from time to time.  In this case, I set up a large magnifying lamp with bright built-in LED lights, clamped it to a nearby table, and used it to see the placement of the stylus as best I could with my failing eyes.  And, it actually was successful.  If you have ever messed with locked grooves, they can be quite stubborn to cooperate. But somehow, I got all of them!

The third band on each side is an original chiptune composition using the featured hardware.  These are quite cool.  The final and fourth band on each side is truly original indeed--they contain game programs for their respective systems, which can be recorded onto a cassette and uploaded, just like in the old days.  It doesn't tell us what these games are, but huge points for the innovativeness of the designers here.  Word of warning though, these tracks are unlistenable.  The Commodore one sounds like you are actually inside an MRI machine.

All in all, this is a really fun release, despite the recording challenges.  Kudos to the team who pulled this off, 26 years ago now! Enjoy.

LINK:  8-BIT CONSTRUCTION SET(2000)

GODZILLA vs. HEDORAH (International Poster/Press Brochure, 1971)

 

Here is a treasure--a sweeeeet poster for one of my top favorites, GODZILLA vs. HEDORAH.  Like the DESTROY ALL MONSTERS one we looked at the other day, this one also measures 20 & 3/8 inches by 14 & 3/8 inches.  Interestingly, though, this poster features--as its main design--the mock-up artwork with prototype Hedorah, what I refer to as "Steel Wool Hedorah."

I have always been baffled by this Toho mock-up, and they have never shied away from using it.  It's all over the place--here, I should point out, alongside actual finished pictures of what Hedorah's design turned out to be. It shows that this marketing piece wasn't simply made early in the process; it's just that they didn't care!

Then again, I am always reminded of that great Tsuburaya quote, when he was asked about the model horse he used in FRANKENSTEIN vs. BARAGON, and why it was left in, when it wasn't "realistic-looking" enough.  His answer was "because it was more interesting!" I think this says a lot, and this sense of wonder is a quality that is missing in a lot of the world today.

The back gives us several photos of the finished Hedorah, and then Steel Wool Hedorah one more time!

Anyway, there is the usual synopsis on the back.  This is an interesting read, and I think it's actually very well done.  I actually read something the other day that said that Hedorah was the result of material from outer space landing in pollution, and that is certainly not what this synopsis says.  Or the film, for that matter.  Admittedly, this would be a much better blog post if I could remember exactly where I read that....

Incidentally, there is no mention of Godzilla's very last act, probably for reasons of space.  If you are here reading this blog, then you probably know exactly what the white orbs were that Godzilla pulled out of Hedorah's remains: eyes.  However, lots of fans do not know this, and it was certainly several years before I knew it.  I grew up thinking these were eggs somehow, subconsiously, but I stumbled onto an interview with the director, who stated categorically that they were Hedorah's eyes.  If you recall, eyes are a specific theme of the film, in that there are several characters who receive eye injuries...not to mention the scene where Dr. Yano is experimenting with Hedorah tadpoles; he states something about the eyes being the effective parts of the creature.  I don't have it in front of me at the moment, but it's there.  So it actually makes sense that Godzilla destroys both eyes specifically.  This film is so awesome.

Have you seen the jugsaw puzzle of this image that's like 2000 pieces? I don't imagine it would be very fun at all.

According to a couple random YouTube videos that keep popping up for me lately, GODZILLA vs. HEDORAH is now finally being acknowledged as the classic that it is, and while I hope that's true, it always has been for me, so "whatever" to what some critic thinks.  This film has everything:  it's innovative in a lot of ways, much cleverer and more complicated than it appears on the surface, deliciously dark when it needs to be in just the right balance, and full of great action.  It never gets old.

Granted, giving it the title of SMOG MONSTER in the U.S. was seen as cheesy to the non-initiated, but I think even that is beautiful.  I mean, among other things, he is a Smog Monster. Unfortunately it comes across as "So-and-So Eats Cleveland" or something like that.  Oh well, most people have no taste and can't enjoy anything.  I've grown to completely accept that.  

The Deadly Asteroid (Hanna-Barbera GODZILLA, Season 2 Episode 13, 1979) Turner Screener VHS Tape!

 

And now, here is the other of the two Turner Network "screener" VHS tapes I recently acquired! This is episode #7913 of the Hanna-Barbera GODZILLA, or as we know it, Season 2, episode 13, which happens to be the very last episode.  

I have gone on at length about this episode, because I seem to have a special connection with it that I can't escape.  I happen to own a handful of original backgrounds and cels from this episode, and I did a special post that shows them all, as well as showing screenshots of what they looked like when used in the finished episode! You can see all of that in this post from a few years ago, right here.  What is interesting about that post is seeing how much of the finished backgrounds ended up obscured in the finished product.  And this is for a company famous for cutting corners.  You will see what I mean. Also, the way that the colors change slightly from production, to filming, to recording is also interesting to see.

I should point out something I completely neglected to mention in my other HB GODZILLA screener VHS post--these two episodes have NO TNT or Cartoon Network "bugs" in the bottom corner, which is sadly what you run into with the second-season episodes that circulate.  Why? Because they have STILL never had an official release on any physical media whatsoever.  Now, Toho did put them on their YouTube channel a couple years back, but they divided all of them into thirds that are about 7 minutes each.  They are good quality, but the one I discussed last time seemed to have a different audio mix than my tape, because the music and sound effects were much quieter.  So anyhow, these two episodes are worth downloading just for that reason.  Moving on...

The plot of this episode, once it gets going, really has more of a SUPERFRIENDS feel to it than GODZILLA.  Some Ice Aliens from planet Something have come to Earth, and in order to make it hospitable for them, have focused a beam on one of their moons (note: not an asteroid), and will simply slam it into the Earth, thereby making it a frozen wasteland where they can live. Makes sense, right?

Well, no, but it's Saturday morning cartoons, and I am not going to argue.  The day--and the world--are both saved by Godzilla, who grabs the flying saucer generating the beam, and uses it to push the moon back into space.....somewhere.  The aliens actually quickly follow and fly away, and there is a solid moment where you straight up expect Godzilla to blow their saucer out of the sky....but again, it's Saturday morning cartoons, and everyone just lets them get away.

Before we get to the download--since I've covered this episode before, here are some items that particularly struck me on this viewing:

The episode actually begins in a way very remniscent of the first GAMERA film, with some Eskimos in the Arctic Circle reacting to the aliens' flying saucer.  

Is photo-bombing still a thing? Godzooky knows how to do it.

Godzilla doesn't have a whole lot to do in this episode, but here he smashes ice walls with an ice club.

What happens when you have an episode about aliens made of literal ice carrying ice guns? You get:  a Brock-cicle....

...a Godzilla-cicle....

...and, a Godzooky-cicle, all in the same episode!

Here's another thing--this is one of MANY fictional franchise universes where famous landmarks no longer stand, because of some cataclysm, alien invasion, or what have you.  It's a very popular thing to do in fiction--how many can you name? I can think of a handful, just typing this...

Yep, there goes Big Ben....

And, there goes the Eiffel Tower...

Wait, NO NOT THE SPHINX! We take that personally around here!

Oh, well, it's...safe? That's BETTER?

Here is a WEIRD one.  So the crew gets hold of one of the aliens' ice guns, and sets it for "reverse," and melts several of the alien soldiers to puddles of water (I know).  Right before they escape in their flying saucer, there is a VERY quick pan over to the alien leader, who silently struggles to his feet and pushes some controls on the wall.  Before the camera stops on him, it briefly passes over what looks like a mound of reconstituted alien soldiers! Maybe it's supposed to be a pile of bodies, but the whole thing is bizarrely confusing, and never explained. The above photo are two combined screenshots, made from the quick pan.

Now that you've made it through all of THAT, you can see it for yourself!

GODZILLA - The Deadly Asteroid (1979)

Enjoy!

DESTROY ALL MONSTERS (International Poster/Press Brochure, 1968)

 

Here is an awesome one.  As Toho slowly began to expand their international presence over those early years, their marketing materials got fancier.  What was at first decent brochures (at some point) turned into glossy, smaller versions of the actual movie posters themselves, with press information and photos on the back.  This is super-fortunate for us in this case, because it just happens to be the incredible artwork for DESTROY ALL MONSTERS.

I have to say, the American poster can do no wrong, but I absolutely love the "film title card logo" version of the title used here.  Unfolded, these pieces measured the strange size of 20 & 3/8 inches by 14 & 3/8 inches (which admittedly probably works out to centimeters perfectly if I had checked...we are talking International here).  Still big enought to frame and have it look awesome, though.

Unfortunately, the beneficially-large size makes it too big to scan.  I mean, it could be stitched together, but trust me, you don't want me to attempt that. Besides, it would greatly slow down getting this post completed, and you probably want to see it this decade.  Here instead is the top half, so you can better read the text:

The synopsis is really very well done.  I like the frankness of the sentence "Their goal of course is domination of the planet Earth."  Also, the ending text poses the question of "Who will win?" and then immediately in the next line says "nevermind, Godzilla does."  I mean, it's not that there was ever any doubt, but let's just spoil it hard right off the bat!

The lower half repeats the same information in French and Spanish, which today is commonplace in a marketing piece, but back then, required a separate publication.  Also, we learn that 89 minutes equates to 2471 meters of film!

I have a couple more of these beauties coming up in the near future, so stay tuned.

GODZILLA DEVOURS WHITE CASTLE set of 4 Promotional Cups! (Louisiana Plastics, 1990)

  

Now it can be told! For the first time around here, feast your eyes on a completed set of all FOUR "Godzilla Devours White Castle" 1990 kids' meal cups!

The logo!

When I first started collecting these, I was convinced they looked so much alike, it would be impossible.  Now that I can see all four together, in living color, though, that's not the case at all.  

The reverse of the cups (somehow I got these mixed up between photos and had to edit a bit.) This photo is just in case you have to identify cups just from the logo side--they are all completely distinct from each other!

While the toys from the promotion (seen here) were produced by Strottman, International, these large cups were made by the Louisiana Plastics, Inc. (which was in Missouri, actually). I am assuming they were 32 ounces, from that number being on the bottom:

So I got to thinking...is there an easier way to identify these cups, since you never see the whole image at once? Then, a thought struck me.  A goofy thought, but...one that just might work.  By rolling them slowly on the scanner, I can now provide full images of the entire artwork for each cup! Such as it is.  It's...actually pretty bad.  Then again, I'm willing to bet you won't see this anywhere else!

If I'm counting right, that's 3 KING OF THE MONSTERS and 1 SON OF GODZILLA.  If you are trying to finish your set, I hope this guide will help! Stay patient, because they are out there and do surface every once in a while!