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


http://www.dailymotion.com/video/x1xuu9

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.

Enjoy!

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.

Enjoy!

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.

Enjoy!

Music Video Of The Day: Atomic by Blondie (1980, directed by David Mallett)


Hi!  Lisa here, filling in for Val, with today’s music video of the day!

Before anyone asks, my selection of this music video has absolutely nothing to do with the current situation between the U.S. and North Korea.  To be honest, when I picked this video, I didn’t even know that was going on.  The fact that I picked Atomic at a time when everyone is freaking out about nuclear war is just one of those coincidences that helps to keep life interesting!

No, the reason I picked this video was because I’m getting ready to finally watch T2 Trainspotting but, before I watch T2, I have to rewatch the original Trainspotting.  Sleeper’s cover of Atomic is prominently featured in Trainspotting and I have to admit that I’ve always liked that chorus of “Your hair is beautiful.”  I’ve always loved my hair.

(My boyfriend got excited when I told him I would be featuring this song because apparently, he used to listen to it while running down pedestrians in Grand Theft Auto.  And, actually, I can imagine this would be a pretty good driving music.)

Anyway, I did some research to see if I could explain just what exactly this song is actually about.  It turns out that the song is actually about nothing.  Courtesy of Songfacts, here is Blondie’s lead singer, Debbie Harry, on how Atomic came to be:

“He (Blondie Keyboardist Jimmy Destri) was trying to do something like ‘Heart Of Glass,’ and then somehow or another we gave it the spaghetti western treatment. Before that it was just lying there like a lox. The lyrics, well, a lot of the time I would write while the band were just playing the song and trying to figure it out. I would just be scatting along with them and I would just start going, ‘Ooooooh, your hair is beautiful.'”

While the video takes place in a post-apocalyptic world (and features artist Jean-Michel Basquiat as the man who takes away the horse at the beginning), the song actually has nothing to do with nuclear war.  It’s actually not about anything.  It’s just a good song!

Enjoy!

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.

Enjoy!

Music Video of the Day: Radar Love by Golden Earring (1974, dir. ???)


I’ve done three Golden Earring videos at this point. However, I feel as if I have been talking about Orson Welles films from the 1950s onward as if Citizen Kane doesn’t exist.

If there is one song that people know by Golden Earring, then it’s Radar Love. This thing has been a staple of rock radio for decades. It’s one of those songs you can put on, and people instantly know what kind of station they have come across, as well as the decade the song comes from. It’s so 70s it hurts.

The song has been covered, used in games, on TV, and in movies so many times that there is an entire website devoted to this one song. I can’t say I have ever come across that before.

But we’re here for the video.

First things first, look at Barry Hay. Look at him!

The bolero jacket. The top. The pants. And that hair. The hair!

I’ve only seen him top that look with the one he had in the video for Something Heavy Going Down.

Something Heavy Going Down (1984)

Something Heavy Going Down (1984)

The difference being that the red jumpsuit with the gigantic boombox was done on purpose for the video. By looking at another 70s Golden Earring video, that appears to have been Hay’s standard look back then. It’s glorious.

I like the fake freeze-frame this video opens up with. I have no idea why it’s there, but I think it’s a neat way to start off the video.

I’m assuming that since this appears to have been their musical introduction to the world, they did these closeup shots of the band members in order to visually introduce them to the world.

But why do that if you’re not going to put their names there? That seems a little weird.

Then again, this is something that happens.

Who exactly does he think he’s throwing that guitar to?

This is made even dumber by the fact that they immediately cut to him with the guitar back in his hands.

At least the leap over the drum set is a way of capping off the video.

Overall, I like the video. They didn’t just stick the camera in front of them while they performed on a stage. It’s edited in such a manner that brings you into the performance. They added some creative elements to it. Despite the lack of names under them, I think it was clever to use the instrumental opening portion of the video for that purpose before showing us them in action. I can see this video doing well going around the US and European TV shows that they couldn’t be on in order to stand in for a live performance.

So there it is. I now feel comfortable doing more Golden Earring knowing that I have spotlighted the video for the song that kicked off their career.

Enjoy!

Music Video of the Day: Hiroshima Mon Amour by Alcatrazz (1984, dir. ???)


After leaving Rainbow as their lead singer, Graham Bonnet and others formed the group Alcatrazz. While I didn’t know who he was until I sat down to write this, young Swedish guitarist Yngwie Malmsteen appears to have benefited the most from the group–as opposed to Graham Bonnet. He was only 20 when the album that had Hiroshima Mon Amour on it was released.

The following is from an interview Bonnet gave with Songfacts:

Songfacts: And then what are some memories of writing the song “Hiroshima Mon Amour”?

Graham: I saw a movie when I was in school called Hiroshima Mon Amour [a 1959 French film]. We played in Japan a lot, and I thought this would be a nice little tribute to what happened. I was always horrified by what happened. And Hiroshima, my love, it was like, goddamn, you know, I didn’t want that to happen again. So I read up a little bit about it, and that’s how that came about. It was something I thought should never have happened. It was just a horrible thing. I couldn’t believe that the Americans would do this, or anybody would do that to anybody. It was sort of a protest song in a way.

It’s been a little over a year since I watched Hiroshima Mon Amour, so I can’t speak to any potential similarities between this and the film.

Music Video of the Day: Clowny Clown Clown by Crispin Glover (1989, dir. Crispin Glover)


Move over, David Lynch. Decades before you and your Crazy Clown Time, George McFly did Clowny Clown Clown.

Glover brought us this glorious piece of songwriting and the corresponding music video to us earthlings in 1989. Well, at least that’s when his album, The Big Problem ≠ The Solution. The Solution = Let It Be, came out. I’m assuming the video came out at the same time.

I love the genre listed on Wikipedia: Outsider music. I had no idea that was a label given to some music.

That’s it! As much cult success as this video seems to have had over the years, much like David Hasselhoff’s cover of Hooked On A Feeling, I can’t find anything on this.

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)
  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)

Music Video of the Day: Clear Nite, Moonlight or Clear Night, Moonlight by Golden Earring (1984, dir. Dick Maas)


First things first, the title. The official posting of the video lists the title as Clear Nite, Moonlight. However, both the greatest hits album I have and mvdbase list the song as Clear Night, Moonlight. That’s why I included both in the title of this post.

This song is from Golden Earring’s 1984 album N.E.W.S., that has what must not only be their most controversial song, but video–When The Lady Smiles.

I’m spotlighting this video for a few different reasons. The first is that I love the song, and wanted to share it. The second reason is that I like the darkness of the video–literally and figuratively–that is juxtaposed with an upbeat song that makes you want to sing along. The same is true with When The Lady Smiles, which probably explains how it got used in such a weird context, despite the lyrics. I’ll talk about that video another time.

The last is the ending.

We see the band abandon their beat-up vehicle after pulling up to a house.

They help a woman down from her room past her sleeping father.

They steal her father’s car.

They rob a car dealer, and kill him in the process.

They go to a cafe.

We see she is having a good time despite the murder.

In fact, when her father says, “Bloody murder,” we cut to her smiling.

They nearly die by crashing head-on into a truck.

They go to a drive-in theater where we see her cry, and Hay look confused and sad when the film eats itself. I’m assuming it is a film with Rudolph Valentino in it.

Then we some matching on action between Hay trying to start a lighter and people loading guns.

Then a kid is taken to sit on a tow truck.

The car stops.

We zoom in on the kid, and we can see and hear bullets filling the car, which presumedly kills everyone inside.

I have no idea why that last part happens. The kid doesn’t even look like he comes from the 1980s.

Edit: I messed up when originally posted this. I missed the “So Little Time” license plate at the start, which foreshadows this ending. It doesn’t come out of nowhere.

Clear Nite, Moonlight (1984)

I also think that the video is meant to take place in the 1950s, and not just have a retro look to it. That might explain the appearance of the kid.

The whole video has this otherworldly feeling about it that seesaws between comfort and unease, happiness and death, and then screeches to a halt with the cops unloading on the five passengers with what sounds like every gun they have, all in front of kid watching as he eats.

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)
  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)

Music Video of the Day: Runaway by Bon Jovi (1984, dir. Michael Cuesta)


Back to the book, I Want My MTV, again. One thing I’d like to make clear before I start is that if there is one group that dominates that book, then it’s Bon Jovi.

Doc McGhee [managed Bon Jovi, Mötley Crüe, Scorpions, and Skid Row at the height of each band’s career]: I’d just starting to manage Bon Jovi when we did the video for “Runaway.” There’s a chubby girl who’s a runaway, but she has laser eyes, and the band is playing in a warehouse that’s burning. In the ’80s, every video had to look like Escape from New York. Something had to be on fire, and you had to be in an alley that was wet, or else you couldn’t shoot a video.

Seen here! A chubby girl.

Also, lasers!

Okay, so McGhee’s memory might not be so good. I can give him a break on both counts. I have to imagine that in 1984, he was bombarded with so many models trying out for these parts that Jennifer Gatti actually does look chubby reaching back around 30 years in his mind.

You might know Gatti from playing Ba’el on Star Trek: The Next Generation.

Star Trek: The Next Generation — Birthright, Part II (1993)

Cut to a few years later after the rocky start with Runaway:

Doc McGhee: I mean, MTV was playing so much Mötley and Bon Jovi, I’d have to tell them, “You’re overexposing my artists. If you don’t take them off the air, I’m not going to give you another video.” I was fighting to get less airplay, not more.

Len Epand [was a video production executive for PolyGram Records]: Once Bon Jovi established a winning style on “Bad Name” and “Livin’ on a Prayer,” we pulled their prior videos out of circulation. They were all deemed embarrassing, or at least not the right image. We notified all video outlets, including MTV, that they were no longer licensed for use. I doubt they ever appeared on broadcast again.

Luckily, the video is up officially on YouTube. While not being fond of the video, the band apparently still plays the song during concerts. It’s on the greatest hits album of there’s that I have. I can understand why they pulled this video back then. They had hit on a winning image with videos like Livin’ On A Prayer. They ran that formula into the ground, but still, it worked.

Len Epand: For “Runaway,” we used a commercial director named Michael Cuesta, who had no music-video experience.

I can’t only find one other credit for Cuesta–Crow Dog (1979). I’m not even sure that entry on IMDb is him because there is another Michael Cuesta who has been successful as a producer and director.

Bob Montgomery (Robert Mont) was the producer. I can only find a couple of music video credits for him.

Enjoy!