Music Video of the Day: Take Me Away by Blue Öyster Cult (1983, dir. Richard Casey)


I really wish I hadn’t done Shooting Shark by Blue Öyster Cult last year because it would be a perfect fit here. Also, Burnin’ For You by Blue Öyster Cult just doesn’t cut it for me as far as being part of this surreal videos collection. That’s not going to keep me from referencing it in a later post. I just wish I had an excuse to do it before I do the post on the video where I’ll reference it.

Anyhow, let’s take a look at this one brought to us by the same director as Burnin’ For You. He also brought us Buck Dharma having a guitar battle with a Mad Max type character in Born To Rock.

The video starts off with some guy playing a game while we can hear aliens inviting people to join them. The guy has a chip on his neck for…reasons.

Meanwhile, in a giant circuitboard.

Now we meet our main character as she rides with the lead singer of the band to somewhere.

That looks suspicious.

Imagine, if this were a few years later. Then she could have gotten a ride from Admiral Al Calavicci.

Quantum Leap

Instead, she is taken to a gas station run by someone creepy.

Don’t worry honey, that light back there is just waiting around to make an appearance in the music video for Let It Go by Loudness.

Let It Go by Loudness (1986)

Let It Go by Loudness (1986)

I was more concerned about him. Wait…how do you know that?

We did a song called Godzilla, and not only are Loudness a Japanese heavy metal band, but that video ends with Godzilla showing up.

That doesn’t explain anything. What are those symbols?

Just step over that “Caution” sign. Also, that lock always closes on its own. I never understood why either since we can just hop the gate.

Seeing as this is a horror related video, they don’t have peripheral vision. That’s why these people go unnoticed.

Honey, who exactly are you singing to?

Never mind, I’m going to investigate whatever this is.

I didn’t notice till I was going through these screenshots that this light turned into a skull.

It has the same effect as the ending of Death Game (1977) except with better music.

Death Game (1977, dir. Peter S. Traynor)

There’s all sorts of weird stuff going on down there, including this guy.

She eventually screams and a nearby plane starts up. She appears inside and can’t get out.

Cult Tim Curry looks really happy to be taking her away.

The gas station was in on it all along.

He tries to stop things, but Cult Robert Z’Dar stops him.

Samurai Cop (1991, dir. Amir Shervan)

In the end, she’s taken away.

And the audience is left wondering just how long they’ve been there.

I think the moral of the story is that while you’re obsessed with leaving this world, someone you love can be suddenly taken away from you while you were completely focused on yourself. That’s my best guess. According to Songfacts, lead singer Eric Bloom was referring to aliens that he would go with if they were good ones. Obviously these ones weren’t good.

Nova of Aldo Nova wrote the music for the song, Eric Bloom ended up writing the lyrics, and it became a Blue Öyster Cult song. You might recall that director Richard Casey directed the music video for Fantasy by Aldo Nova.

John Marsh produced the video. He seems to have only worked on 4 music videos. He would go on to be an executive producer on Richard Casey’s film Horror On Highway Five (1985) and on a film my parents would watch on occasion called V.I. Warshawski (1991).

Enjoy!

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)

Music Video of the Day: Joan Crawford by Blue Öyster Cult (1981, dir. Richard Casey)


I have never seen Mommie Dearest (1981), so I can’t speak to the tie-ins with that film. Wikipedia does assure me that the music video is inspired by both the book and the film. That’s actually kind of interesting. I say that because the song can only be inspired by the book since the album this was on came out two months prior to the release of Mommie Dearest. The music video was released at the same time as the film. That means the song and music video were only inspired by the book. This is according to Billboard magazine, circa September 19th, 1981

Going purely off of the music video, it seems to be doing several things. The first being that Joan Crawford was a force to be reckoned with that should strike fear into people’s hearts if she were to suddenly come back to life. I wouldn’t say that part is explicitly directed at her daughter Christina, but people in general. The second thing would appear to be a commentary on stable studio actors who are all waiting to be stars or struggling to hold on to stardom (Crawford and Davis), and having no problem killing off anyone who got in their way. That part being represented by the Catholic schoolgirls who act like vampires. However, that could also all be part of the way Christina was raised by Joan Crawford. That’s what some sites imply. The music video also seems to be saying that the greatest horror is that she lived so much under the watchful eye of her mother that she became her until we see her broken free to be left silently wiping the makeup off her face by the pool. It could be that the entire video is supposed to be one of Christina Crawford’s nightmares. Of course it’s all speculation based on the music video. I have not seen the movie, nor read the book. I just couldn’t resist spotlighting this during October.

The music video was filmed at Beulyland in Los Angeles that was allegedly the former home of silent film star Mabel Normand, also according to the aforementioned release of Billboard Magazine.

Richard Casey directed it, and appears to have only done a handful of music videos before going on to do other work in film.

George Harrison produced it, but mvdbase assures me this is a different George Harrison than that of The Beatles.

Enjoy!

Music Video of the Day: Shooting Shark by Blue Öyster Cult (1983, dir. Francis Delia)


Lisa has subjected herself to many shark movies during the past week. I thought it was only appropriate to end July with a music video featuring a shark. It also happens to be one of the most bizarre music videos I have ever sat through. I guess it makes sense. Director Francis Delia also did Mexican Radio for Wall of Voodoo and Somebody’s Watching Me for Rockwell. No, this music video is weirder. It’s appropriate that this music video was released the year I was born. I do love the weird, and I am an odd duck.

How many music videos do you know that open with a human wearing a pterodactyl head while riding on a unicorn? It then cuts to the titular shark. What follows seems to be a modern day tortured noir-ish character who also goes through a last temptation of Christ situation, which includes the creepy head of an Asian girl coming out of a pot. This scene also comes complete with women who I’m pretty sure were borrowed from the set of She (1982).

However, that’s not all that happens. What is with the scene where he chases after the woman in the field, catches her, and she turns into a goat? That’s immediately followed by him seeing the ghost of a woman in his motel bed with his gun pointed at her.

In the end, he releases a dove. Why? Does it mean he has made peace with himself? That’s my best guess.

I can at least say this. I’m quite sure that the “Shooting Shark” refers to a comet. I’m also pretty sure The Man Who Laughs (1928) makes a cameo appearance.

One could dissect this music video scene by scene, but I won’t. Just watch it. It will only cost you about five minutes, and is well worth the odyssey it provides. Then come back to get a prescription for that nasty cowbell fever you are having right now.