Music Video of the Day: Sound Of The Screaming Day by Golden Earring (1967, dir. ???)

I was a fool to think Golden Earring showed up with Radar Love in the early 1970s.

They actually date back to the early 1960s. In fact, Barry Hay wasn’t even the original lead-singer. He came onboard in 1967. It’s weird to not hear Hay sing on a Golden Earring song even if that song is from a very different period. They weren’t even Golden Earring then. They were originally called The Golden Earrings. They had a pop-sound during this time.

The only thing weirder to me than not hearing Hay sing a Golden Earring song, is hearing him dial back the power of his voice to sing this kind of song. I’m well aware that This Is Spinal Tap (1984) already covered this kind thing, but it’s no less strange to me to come across this. It’s up there with listening to Bon Scott singing in the Australian pop-group The Valentines.

Then there’s the video for the song.

Hay looks more like he does from the 1980s onward,

When The Lady Smiles (1984)

in the 1960s,

than he did during the 1970s.

Radar Love (1974)

Radar Love (1974)

I guess that was just a phase.

The video is very 1960s–much like Radar Love is to the 1970s. It’s one of those videos that essentially turns a band into silent comedians, complete with mud wrestling.

That sequence goes on for quite awhile.

My personal favorite part of the video is when Hay pops out of the water playing an invisible flute.

I also like when one of the members of the band reaches out to turn the camera as a way to create a spin transition. It’s a nice little thing.

Along with Hay’s vocals sounding wrong, this video would not tell you that they would go on to do something like Clear Nite, Moonlight.

Speaking of that video, I made error when writing about it. I missed the obvious foreshadowing of the violent end in the form of the “So Little Time” license plate at the start of the video.

Clear Nite, Moonlight (1984)

To put that correction in a new post, is the main reason I did this post on another Golden Earring video. It’s also a fun video, regardless of my reason for doing it today.

The reason I put the date of release as 1967 is because according to Wikipedia, this was a single that was released in 1967 separate from any of their albums. That explains why Hay is here, but not on the album that they released in 1967, Winter-Harvest.


Music Video of the Day: Black Hole Sun by Soundgarden (1994, dir. Howard Greenhalgh)

No, I won’t do three separate posts for the three different versions of this video. The differences are too small for that to make any sense. They’re all here–at least when this post goes up they should be. We’re gonna back into the original version.

First things first, the release date that I found is sometime in June of 1994. According to Wikipedia, a couple of weeks later, the blackhole most of us probably remember was added in to give us the version posted above.

The second thing is that you’ll notice Cornell is wearing something around his neck.

Apparently, that was a fork necklace given to him by Shannon Hoon of Blind Melon. Hoon would die one year after the release of this video. There’s a reason I bring that up. It leads to the previous version of the video.

In this video you’ll see a side-by-side comparison of the two versions. The black hole isn’t shown as much. Whether that’s good thing or not, is up to you. I prefer it being there. The other effects are different or missing.

The thing I found interesting is the following:

While the bees were in the original, the more explicit reference to the bee-girl from the music video for No Rain by Blind Melon wasn’t. I have no idea if that is Heather DeLoach or not. I didn’t come across anything that said one way or another.

Regardless of whether it is or isn’t, I wonder why she wasn’t there to begin with. Maybe they weren’t sure they had the rights. Seeing as Shannon Hoon didn’t pass away till over a year later, my guess is that someone looked at that shot and thought the reference would go over people’s heads, so if they were going to give the video a facelift anyways, then put her in there.

Thank you, YouTube comments. I wouldn’t even know the following version exists without them. I hate those sections, and usually wish they would go away, but this time they lead me to this alternate, or uncensored version.

The only thing I noticed here is that the guy on the TV in this one has the phone number 1-800-TRUTH displayed below him.

I didn’t see any other differences when I watched it. There could be since someone mentioned that the black hole is missing. I didn’t notice it missing any less than the second version. I could be wrong though.

It doesn’t come as much of a surprise to me that the band says this video “was entirely the director’s idea.” They also went on to say that “our take on it was that at that point in making videos, we just wanted to pretend to play and not look that excited about it.”

They succeeded at that. I always wondered why they looked so disinterested. However, Thayil said that it was one of the few Soundgarden videos they liked. Them looking the way they did makes them look like they are the heart of darkness at the center of this black hole pulling this Blue Velvet-like idyllic landscape and characters towards their destruction.

If you want an analysis of the song, then look at the video below. It’s kind of funny watching that knowing Cornell said he wrote it in about 15 minutes.

When I was kid in middle school to high school, I knew about this video, but it was past its rotation time. It would pop up every once in awhile. Today I’ve seen it plenty of times. Then, it was like a 5-6 minute event to get to see it again.

There are numerous credits attached to this video.

The first is director Howard Greenhalgh. He’s done over a 100 music videos.

Megan Hollister produced it, Ivan Bartos shot it, Stan Kellam edited it, and both Ian Bird and John Wake did the specials effects.

They all seem to have stuck to music videos.


30 Days Of Surrealism:

  1. Street Of Dreams by Rainbow (1983, dir. Storm Thorgerson)
  2. Rock ‘n’ Roll Children by Dio (1985, dir. Daniel Kleinman)
  3. The Thin Wall by Ultravox (1981, dir. Russell Mulcahy)
  4. Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)
  5. Here She Comes by Bonnie Tyler (1984, dir. ???)
  6. Do It Again by Wall Of Voodoo (1987, dir. ???)
  7. The Look Of Love by ABC (1982, dir. Brian Grant)
  8. Eyes Without A Face by Billy Idol (1984, dir. David Mallet)
  9. Somebody New by Joywave (2015, dir. Keith Schofield)
  10. Twilight Zone by Golden Earring (1982, dir. Dick Maas)
  11. Schism by Tool (2001, dir. Adam Jones)
  12. Freaks by Live (1997, dir. Paul Cunningham)
  13. Loverboy by Billy Ocean (1984, dir. Maurice Phillips)
  14. Talking In Your Sleep by The Romantics (1983, dir. ???)
  15. Talking In Your Sleep by Bucks Fizz (1984, dir. Dieter Trattmann)
  16. Sour Girl by Stone Temple Pilots (2000, dir. David Slade)
  17. The Ink In The Well by David Sylvian (1984, dir. Anton Corbijn)
  18. Red Guitar by David Sylvian (1984, dir. Anton Corbijn)
  19. Don’t Come Around Here No More by Tom Petty And The Heartbreakers (1985, dir. Jeff Stein)
  20. Sweating Bullets by Megadeth (1993, dir. Wayne Isham)
  21. Clear Nite, Moonlight or Clear Night, Moonlight by Golden Earring (1984, dir. Dick Maas)
  22. Clowny Clown Clown by Crispin Glover (1989, dir. Crispin Glover)

Music Video of the Day: Tonight I’m Yours (Don’t Hurt Me) by Rod Stewart (1981, dir. Russell Mulcahy)

If you want something dark and serious, then I point you to yesterday’s A Movie A Day post that Jedadiah wrote. I’m not doing that today.

Yesterday, I did the apparently famous, but still obscure version of The Tide Is High by Blondie, where Debbie Harry rolls around on a circular pink bed. Since I brought that to people’s attention, then I might as well do the batshit Rod Stewart video that is Tonight I’m Yours (Don’t Hurt Me).

The video starts normally enough. It’s a song for a night on the town, so we’re getting some shots of the city.

Oh, that’s clever. It’s a much better way to introduce the song and artist than superimposed text.

I guess we’re going down to this pool. That looks like Stewart down there.

Ah, it is Stewart.

Some women in the pool. Makes sense. The video needs some sex appeal for people who aren’t attracted to Stewart.

What’s going on here? Is she head-banging to Rod Stewart?

Why is she getting out of the pool in a scuba outfit?

Do I even want to know what is happening here?

I’m beginning to think that they hired a bunch of women, brought out racks and boxes of stock outfits, and told them to just pick whatever feels right–then ad-libbed a lot of the video. This lady seems to have really gotten into the dominating teacher role. Back into the pool for you!

I think this guy fell in the pool during filming.

Did a fight actually break out on set during filming? Did they think that would be funny? Was this planned?

These two picked out the slumber party outfits. I’m really glad they came with pillows. Otherwise you could try to explain this as two lesbians having a night out who happened to hear the party going on outside. With the pillows there, we are assured that this is yet another thing that makes no sense.

I see nothing odd about this though.

A little Old Hollywood musical bit.

The lady with the piano leg looks like the most planned out part of this video.

And this looks like the least planned part of the video to me. I’m pretty sure she had no direction, so she just started shaking a tree.

Is this some kind of an orgy?

This lady is the one who has me convinced the outfits were picked out at random. Why would there be a detective here? She shows up in several shots as if she’s spying on them.

I could probably list drugs as a co-director on this video, couldn’t I?

Speaking of drugs, here’s what Songfacts says:

The video did well on MTV, which was new at the time and had no choice but to play lots of Rod Stewart videos, since he made so many. It was directed by Russell Mulcahy and shot at the Sunset Marquis in Los Angeles, where scores of beautiful women are scene larking about in and around the pool and on the balconies as the band performs.

According to Mulcahy, Stewart had a little too much fun the night before and didn’t want to do the video. Mulcahy told him he was going to shoot the video with or without him, so he found the strength to do it.

That explains why Stewart looks worn out. It also explains a fair amount of the craziness. It’s not hard to imagine taking Stewart and the band out of the video, and still having something that works.

Paul Flattery produced the video, and while I’m sure he has some stories to tell, I want hear from Peter Lippman. He was the production manager.

There’s rarely anything useful in the comments section on a music video. The following is an exception:

Kind of geeky comment, but this video would be a hell of a lot easier to film today with the new drone technology!

I haven’t come across a wilder Rod Stewart video…yet.


Music Video of the Day: The Tide Is High by Blondie (1981, dir. Brian Grant)

First Version
Second Version

This is the third and final version of The Tide Is High. It was made a year later by Brian Grant.

The reason I even knew this existed was because of an entry on mvdbase that described it for me.

Though this videos starts exactly the same way as the previous, it quickly changes with a mix of new and old footage (including the famous circular pink bed scene) with a few still pictures tossed in for good measure.

I read “famous circular pink bed scene”, and figured it had to be out there somewhere if it is so famous. It took a fair amount of digging, but I found it. It was worth the trouble.

The video starts off the same way as the other two except it freeze-frames on the faces of the guys in the band. There are some pictures in the video as well as freeze-frames such as the cover of the single. We see it in close-up, then backed up in order to show the whole band. That shot is the cover of the album the song is on.

Then the pink bed makes an appearance. I guess I was expecting something along the lines of It’s Raining Men by The Weather Girls or that ridiculous scene from Chatterbox! (1977). I wasn’t expecting to see Debbie Harry rolling in a circular pink bed.

Then there’s the shots with her looking at a number ‘1’ in a manner that makes it looks like she wants to have sex? What else are you supposed to read from these looks, given that they are included with her rolling around on a circular pink bed? I’m not 100% what they were shooting for there. It is memorable though.

Horny Vader makes no appearance in this version. But we do get a spaceman on a conveyor belt??? I have no clue about this part.

There are some shots of the band playing, and this is where this version adds something completely missing from the other two.

The Tide Is High was originally written in 1966 by John Holt and performed by the group, The Paragons. When Blondie covered it, they added the reggae sound, which is the trademark of this particular song. Yet, any reference to that fact were noticeably missing from the other two versions. While it seems odd to be here with Debbie rolling around on a bed, we do see a part that ties in to the reggae part of the song.

No rocket this time around. The video ends with the footage of Debbie arriving on the street to leave with the rest of the group.

There you go. That’s the version with the “famous circular pink bed scene.” It must be so famous that it has been all but expunged from the net.


Music Video of the Day: The Tide Is High by Blondie (1980, dir. Hart Perry)

This is the second version of The Tide Is High (first version). Any sexual stuff is gone. Even Horny Vader only makes a confusing appearance at the end–without any buildup.

The video stays the same until the squatting-Debbie scene. That’s when a video effect kicks in that brings in other footage on top of the floor.

From then on, things are different. Here are some examples.

They still leave in the rocket, but the video comes across like it was supposed to be about a disaster that the band was fleeing, which is how they end up on the space station, or whatever that is supposed to be.

The video says it is the “director’s cut.” That wouldn’t surprise me for a couple of reasons.

  1. Director’s cuts of videos happen. There’s one of Wrecking Ball by Miley Cyrus and Heart-Shaped Box by Nirvana.
  2. There seems to be a drop in quality when you hit the new footage. That suggests that it was recovered and inserted back in with the higher quality stuff that wasn’t cut.
  3. It doesn’t seem to fit the lyrics. It’s more trippy. I’ll give it that. I assume somebody else thought so too, which is how we got the first version as well the third one.

The third one brings back the sexual stuff in a big way. But it also brings an element of the song to the video that neither of these do.


Music Video of the Day: The Tide Is High by Blondie (1980, dir. Hart Perry)

Thank you, Lisa!

Since she did a song by Blondie yesterday, it gave me the idea to do The Tide Is High seeing as it’s kinda weird. It turns out, there are at least three versions of this video–each one different enough to merit a separate post. Yay! Ugh.

This is the first version of The Tide Is High. If you poke around online, then you’ll usually run into this one, with slight variations of the ending.

We start off the video by panning across the boys in the band as they look up, wondering what is taking Debbie so long.

Cut to Debbie’s place, and we see fish filing up her windows. And by fish I mean as close to showing sperm as they could get.

After we see that some of the “water” is leaking into the room, watch Debbie look out a window, and sing to the camera, we cut to a horny Darth Vader watching Debbie.

More of the “water” leaks into the room, so Debbie very precisely squats down and pulls a towel off what looks like a radio.

Debbie then proceeds to mop up some of the “water”, and then ring it right back out onto the floor. I get the feeling that isn’t a blonde joke.

Meanwhile, the guys are outside standing like they are at a urinal.

Horny Vader continues to look at Debbie in a variety of ways, such as the one below.

Debbie does eventually come downstairs so that the band can get into a car, and she can sing out the window.

When she’s done, we are treated to some people…

who had no idea they would end up in video where the audience is meant to think they are looking at a penis.

The phallic object takes off, and after separation, they all go through a brick wall. Just go with it.

Then it cuts to four women in blonde wigs, wearing swimsuits, while carrying a half-naked man. Sure.

Now Debbie taps Horny Vader on the shoulder. He turns around to reveal he’s some sort of combination of Vader and a Cylon?

Debbie seems to have no problem with this turn of events.

This is were you’ll get slight variations. This version does continue a little longer by cutting back to the girls and the half-naked guy.

Once in a while, I came across a version that would not cut back to the five whatevers, but instead go to the following shot where some people run towards the camera.

I’ve included that version below. I don’t know if that was intentional, censoring, or just that during that particular airing they cut the video short, and we are seeing something else for a few seconds. My bet is on censoring.

There are versions that just fade to black while Debbie dances.

If you think I was jumping to conclusions about the sexual stuff–I wasn’t. One of the other versions is more explicit in that area.


Music Video of the Day: Talk To Ya Later by The Tubes (1981, dir. Russell Mulcahy)

By the time you read this, I will probably be having a tube put down my throat to measure pressure caused by my esophagus. I might also have another that I have to wear for 24 hours as I try to stress test my body’s acid reflux. This should be an interesting couple of days. I probably won’t get back to these posts for a little while. Since there are tubes involved, I might as well do another music video by The Tubes.

I already mentioned it back when I did She’s A Beauty, but The Tubes helped get MTV on their feet. This video was in heavy rotation on MTV. It wasn’t on the radio. Yet, they found out that in Tulsa, Oklahoma, where they had a high concentration of cable subscribers, The Tubes were selling in record stores. This gave MTV evidence that their network could sell records.

Since last time I didn’t quote the section about this from the book, I Want My MTV, here it is:

Bob Pittman [one of the founders of MTV]: We needed to be very scientific about the impact MTV was having on the record industry. So I sent John Sykes and Tom Freston to Tulsa, Oklahoma. And one night, Sykes and Freston called me very excited. They’d been to a record store, and the store had suddenly sold out of the Tubes, and we were the only people playing the Tubes, so it had to be because of us. We had our first evidence that MTV was selling records.

Songfacts also tells this story:

This was the song that proved the power of MTV to sell records. The network launched on August 1, 1981, and “Talk To Ya Later” was in hot rotation. Very few radio stations played the song (or anything by The Tubes) in America, but a few months after MTV went on the air, Tubes records were selling out in Tulsa, Oklahoma. At the time, you couldn’t get MTV in New York or Los Angeles, but lots of people had cable in Tulsa and the cable system carried it. Local radio wasn’t playing The Tubes, so MTV was the only explanation for the sales surge. The network used this information to convince record companies that they had to make music videos (delivered to MTV free of charge, of course) to promote their artists, and many did.

When you go to listen to the video, then you’ll hear something weird. For some reason, the volume is low for awhile, and then goes up for no reason that I could figure out. I have no idea if that was intentional, or a mistake made when they put this video up.

I don’t want to talk about Russell Mulcahy for the umpteenth time. The song speaks for itself, and the video sets the story in a chaotic TMZ-like fashion. My favorite part of the video is the insertion of stills that are cut into the video–a moment that people will see, but without context.

Hopefully, this whole thing won’t be too hard, and I can get back to these posts sooner rather than later.