When the World is Running Down

Turn on my V.C.R., same one I've had for years
James Brown on the T.A.M.I show,
Same tape I've had for years
I sit in my old car, same one I've had for years
Old battery's running down, it ran for years and years.

-- "When the World is Running Down You Make the Best of What's Still Around" -- The Police, Zenyatta Mondatta (1980)

"Teenage command performance"

If you've never seen The T.A.M.I. Show (1964) or the The Big T.N.T. Show (1966), keep an eye and ear out for them! These are real life-affirming treats! I saw them so long ago in different formats (16 mm film, Beta video cassette) that the current underground DVD version of T.A.M.I. doesn't quite jive with my memories. It seems to be patched together, and though it may be complete, the sound quality is horrendous. Even so, it's better than nothing! First, my usual mantra in the form of a question: why haven't these been remastered and re-released in digital format? In this case, it may be mired in legal issues. Apparently Dick Clark owns the rights, and he didn't look too hot last time I saw him on TV. Please, please, please bring these out to the bigger world again!

“Don’t forget the Motor City”

Jack Nitzsche and Steve Binder, the guys who put The T.A.M.I. Show together, are rightfully famous for their work in music and film. Nitzsche worked with all sorts of singers and bands, and Binder directed the "Elvis Comeback Special" in 1968, the one where the King comes back in black, lean and hungry for his dramatic if relatively short-lived rebound.

What the heck is a T.A.M.I., anyway? Answer: Teenage Awards Music International, a scholarship program that didn't last long, I guess. More importantly, who performs on this particular special? Go-go dancers abound, including Teri Garr and Toni Basil! It'd be worth it just for them, too -- so cool! So crazy! Then you have the big bands and performers like Chuck Berry, who trades songs with Gerry and the Pacemakers, followed by Smokey Robinson and the Miracles doing their choreographed song and foot dance routine in front of 2,500+ screaming fans at the Santa Monica Civic Auditorium. Smokey and crew look spiffy, too, in their gentlemen's attire. They aren't the only ones to do Detroit proud. Next comes the youthful incarnation of Marvin Gaye, clean-shaven, finger-snapping and wearing an all-white Zoot Suit and bowtie. Backed by the Blossoms, he hits his stride with "Can I Get a Witness," which was covered by the Rolling Stones that same year. His "Hitch Hike" is given a cool treatment, too. You can see Teri Garr wiggle by with a Batman Riddler-like motif on the odd top she sports.

Next comes a teaser for the Beach Boys, who were cut out of some versions along the way (legal issues again?),* followed by the adorable Leslie Gore in well-sprayed hairdo. Her rendition of "You Don't Own Me" is really something to dig! The camera has some soft focus around the edges as it zooms in on her expressive face. A true freedom song, no question. Jan and Dean, who sound like the Beach Boys, have already skated in to introduce the show and have also provided a cheesy/corny theme song; after Leslie Gore they do their "Little Old Lady from Pasadena."

Billy J. Kramer and the Dakotas come next. They are low-key and don't really fit the energy of the other performers -- not their fault, though. Billy looks like Andy Kaufman playing Bobby Darin and sounds a little like Roy Orbison.

Things get crazy again when Diana Ross & the Supremes kick into gear. There's a telling shot of Queen Diana in the opening credits, applying lipstick. Her vocals are powerful, and even performing for a mostly teenage audience she looks like a tough customer. Full Motown regalia, of course. Don't forget the wig hats!

The Barbarians sound pretty cool, a little rough like a pop garage band and a little like the "shape of things to come" a la The Yardbirds. "Can't You Understand?" Groovy riff, groovier go-go dancing up on the stage set behind them.

Next comes THE PERFORMANCE -- when HEAVEN MEETS HELL ON PLANET EARTH: the Hardest Working Man in Show Business, Mr. Please Please Please himself -- the one, the only: JAMES BROWN and his Famous Flames! This section must be seen to be believed -- which is why he's the only one of the whole special singled out by Sting and the Police in their little anthem quoted above. It's just crazy to behold -- the booming bass line, the horns, the tuxedo dancers, James in complete mastery of the situation, great pompadour hair and flamboyant outfit. If you hate James Brown, though, you'll want to stab yourself -- just like you would listening to Live at the Apollo. I love it! He does the whole cape routine and everything. He and his Famous Flames end with an insanely wild version of "Night Train." Are you ready for the Night Train? (Screaming, biserk audience). One more time for the Night Train!

You almost feel sorry for the brand-spanking-new Rolling Stones, because they have to follow King James. Keith Richards once quipped that following him was one of the biggest mistakes of their careers -- and one of the hardest to bear. Still, the young Stones are great, too; plenty for everyone! Mick Jagger is Mick the Star, Keith is Keith -- gang's all there: Charlie Watts, Bill Wyman, even Brian Jones (lookng a little zoned out on something, no surprise there). The bad boys look pretty dashing, in fact, and Mick is already very charismatic with his performance -- there is no doubt who fronts the stage show. The crowd goes wild! "It's Off the Hook," man! Next they cover Irma Thomas's "Time Is On My Side," which I still like better when she sings it. But the audience eats it up! It's pretty funny when he does the talk-sing part, too, very campy. Appropriately, "It's All Over Now" is the last real song of the whole show, followed by them playing "It's All Right" or I'm All Right, or Somebody's All Right and something called "Get Together" -- when finally all the other performers pour out on stage, go-go dancers galore, to a crescendo ending of screams and wails. James Brown, of course, the former boxer, seizes center stage. All right, indeed!

The Big T.N.T. Show

I only got to see this one twice, and here it's Tina Turner who's the real revelation of raw power. Stand back, Ike! Bo Diddley is cool, and a loose array of other performers and bands as diverse as Ray Charles, Roger Miller (an underrated and ultimately tragic song writer if there ever was one), the Byrds, and the Ronettes, among others. Tina Turner's performance was a joy to behold, certainly.

The T.A.M.I. and T.N.T. shows were mangled and butchered together in a horrible thing called That Was Rock in 1984, with Chuck Berry not at his best as "narrator." (If you want to keep pure thoughts about Chuck, don't ever see Hail Hail Rock n Roll!)

*The missing Beach Boys section is appended to the underground DVD, and they sound good.

Are You Ready for the Night Train? All Aboard!