Jason Bateman: Actor & Director

by Jav Rivera

As a child of the '80s, I grew up with a lot of high-concept sitcoms. Shows like "Diff'rent Strokes" or "Silver Spoons" focused on wealthy families trying to relate to the commoners. More often than not these involved children who helped bridge that gap. And for every good kid there was always a snotty bad kid. For "Silver Spoons," that character was Derek Taylor, played by child actor Jason Bateman.

Jason Bateman as Derek Taylor and Ricky Schroder as Ricky Stratton

Even as a kid, I leaned towards Bateman's character. I didn't agree with his villainy per se, but I thought Derek was a more compelling character than Ricky. Bateman, as an actor, didn't seem to play to the camera as much as Schroder. So it came as no surprise when I learned (as an adult) that the reason Bateman was replaced in the second season was due to the fact that NBC was concerned about Bateman's popularity outshining Schroder's. "Silver Spoons" continued on for another four seasons, and Bateman got his own show, "It's Your Move." It didn't last long, but it would be one of the many projects that began to shape the actor and future director.

Jason Bateman got his big break on the Michael Landon series "Little House on the Prairie." From there he was cast in small roles in a variety of other television shows. Eventually, he landed the Derek role on "Silver Spoons." This is when his popularity started to grow. Though recognizable, none of his shows lasted much more than one season.

Valerie Harper and Bateman ("Valerie")

That is until "Valerie," starring Valerie Harper. The series lasted 6 seasons, from 1986 - 1991, and was where Bateman got his first chance working behind the scenes. Bateman may have only directed three episodes, but at the age of 18, he was the youngest member of the Directors Guild of America.

Now that Bateman had directing experience on "Valerie," he went on to direct other shows including "Family Matters," "Brother's Keeper," "Two of a Kind," "For Your Love" and "Do Not Disturb." The early-to-mid '90s weren't Bateman's most popular era during his career, but then he was given a gift from Mitchell Hurwitz in the form of the much-loved series "Arrested Development." For those of you who aren't familiar, the show follows the Bluths, a wealthy, dysfunctional family who lost everything. Bateman plays Michael Bluth, the one son who's trying to save the company, and essentially, the family as well. The show was a success as far as fans, critics, and several awards, but unfortunately it couldn't get the viewership needed for FOX to keep it on the air. It was cancelled after three seasons but fan support brought it back, this time as a Netflix (semi) Original series.

It's hard to shed new light on "Arrested Development" since so many articles have already been written about it. And justly so. It's in my top three favorite shows and most of the show's fans are devoted, hardcore lovers of the Bluth family. The cast includes Tony Hale (as Buster), Alia Shawkat (as Maeby), Michael Cera (as George Michael), Jessica Walter (as Lucille), Jeffrey Tambor (as George Sr.), Portia de Rossi (as Lindsay), David Cross (as Tobias), Will Arnett (as GOB), and Ron Howard (as the Narrator).

What's interesting is that Bateman almost didn't get the role of Michael, due to his waning career at the time. But after he auditioned, Mitchell Hurwitz, who created the series, didn't want anyone else. In an interview, Hurwitz stated that he was so impressed by Bateman's portrayal that he ran down the hall to tell Bateman not to audition for a different series. I honestly couldn't imagine Michael Bluth played by anyone else. And just like Bateman, I couldn't imagine any of these actors being replaced.

L-R: Tony Hale (Buster), Alia Shawkat (Maeby), Michael Cera (George Michael), Jessica Walter (Lucille), Bateman (Michael),
Jeffrey Tambor (George Sr.), Portia de Rossi (Lindsay), David Cross (Tobias), and Will Arnett (GOB)

Bateman directed one of my favorite "Arrested Development" episodes entitled "Afternoon Delight" (season 2, episode 6). This, I think, is where Bateman began to use editing as a comedic tool. There's a running joke in the episode about GOB Bluth's expensive suit. GOB, played by Will Arnett, argues that his suit deems him worthy of avoiding any social interactions and physical labor. Not only is the joke funny because of how many times it's used, but also how GOB's sentence gets edited throughout the episode.

Scene from "Arrested Development" L-R: Jessica Walter, Will Arnett, and Jason Bateman

For me, this felt like Bateman's comeback. Since "Arrested Development" in 1999, Bateman has had a steady work of great films including Juno, Extract, Up in the Air, and the popular Horrible Bosses. He's also taken on more serious projects like Shawn Levy's 2014 film This Is Where I Leave You and Joel Edgerton's eerie 2015 film, The Gift. But I have to mention his scene-stealing bit part on Joe Carnahan's 2006 film Smokin' Aces. I'm sure the makeup department deserves some credit for making his character Rip Reed look as disgusting as possible, but it's Bateman's performance that stands out.

This is where I first noticed Bateman's hidden abilities. He's mostly worked on comedies, and usually plays the straight man character, but there seems to be a lot more to him. He's lent his voice to various animated series including "King of the Hill," "Justice League Unlimited," and the under-appreciated series "Sit Down Shut Up" which deserved many more seasons. He was also the uncredited narrator for the NBC series "Growing Up Fisher" starring J.K. Simmons, and voiced the fox, Nick Wilde, in Disney's Zootopia.

In 2010, I remember seeing posters all around town for his film The Switch with Jennifer Aniston. I didn't know anything about the movie and figured it was another stereotypical romantic comedy, so I didn't bother with it. Many years later I found it on Netflix and upon remembering the poster, I decided to give it a shot. Since that day, I've watched The Switch half a dozen times, and it never gets old.

Bateman stars as Wally, an introverted man with harsh personality traits and a bleak outlook on life; of course he describes himself as a realist. Jennifer Aniston co-stars as Kassie, a woman who's reached a point where she's ready for a baby, despite being single. She decides to go through an artificial insemination procedure and asks her best friend, Wally, to help her find a donor.

Seemingly unnoticed, Aniston and Bateman have worked together on several films, each time as very different characters in very different relationships. The two have always had great chemistry onscreen so it was nice to finally see them in such an intimate partnership. The Switch does tread on rom-com waters but it's such a unique story with heart-warming performances that I never felt like I was watching a trendy date movie. Besides the two leads and their supporting cast, Jeff Goldblum, Juliette Lewis, and Patrick Wilson, there's another actor who made the movie stand out: Thomas Robinson, as Kassie's son Sebastian.

As odd as it may be to think this, there's something really cute about a child having such introspective -- and often negative -- thoughts. Maybe it's just the way Robinson delivers his lines. And although the entire movie is great, I mostly love the scenes between Bateman and Robinson. The two played off of each other naturally, and in their own way the two created an onscreen bond much like that of Dustin Hoffman and Justin Henry from the film Kramer vs. Kramer. In fact, there's even homage to the 1979 film in a scene where Bateman and Robinson are making pancakes together. For me, The Switch is one of those movies that I'm ready to re-watch as soon as it ends.

In the past few years, Bateman has widened his talents seemingly under the radar. In 2013, Bateman starred in and directed the film Bad Words. Though he had directed several TV shows, this was his first feature film, and in my opinion, a successful debut. It walks a fine line between comedy and drama without ever watering down either genre.

Bateman stars as Guy Tribly, a forty-something spelling bee contestant competing against children. His character comes across as crude for nearly the entire film and Bateman plays the character unapologetically. Whether he's trash talking his competition, like telling a boy that his parents are getting a divorce or psyching out a girl about her first period (using a packet of ketchup), Tribly's not at all concerned about how he wins. It co-stars Philip Baker Hall, Rohan Chand, and the always great Kathryn Hahn.

We're introduced to Tribly's world through one of his spelling bee competitions and a narration by his character. Without revealing too much, the narration sets the stage for a somewhat mysterious character and his many poor choices. On a side note, the marketing department nailed it perfectly when they created the movie poster for Bad Words, a close-up photo of Bateman in mid-sentence. And it's safe to say that the next word begins with an "F". I don't know whose idea it was, but I really hope it was Bateman himself, as it embodies the character and film in a very unflattering way.

Already a fan of Bateman's acting, I was beyond impressed by Bad Words and hoped he would direct more. Then just a few months ago, out of nowhere, I discovered his second feature film as a director, The Family Fang, on the STARZ app. It was technically completed in September of 2015, but I never knew about it until recently. Talk about under the radar! In my defense, the film had a limited release in the United States, roughly 50 movie theatres in 2016.

The Family Fang focuses on a family of performance artists whose parents go the extreme to justify their art. Once again Bateman both starred and directed, but this time he co-stars with some heavy hitters. Nicole Kidman, who bought the rights for the novel by Kevin Wilson on which the film is based, also stars as Bateman's sister. Their father is played by Christopher Walken, who could have easily been awarded for his performance, Kidman too for that matter. Maryann Plunkett plays their present day mother. In the flashback scenes, Kathryn Hahn and Jason Butler Harner play their younger mother and father. Hahn and Harner shine as the younger versions, matching extremely well with the Walken and Plunkett versions.

Like Bad Words, The Family Fang plays with both comedy and drama elements, though because of the storyline the film falls more into the drama category. Credit is due to Bateman's performance as well, but it's his direction that deserves the accolades. Bateman expertly blends the past and present as we are slowly given insight into all the characters. It seems as if Bateman has already honed his skills as a director in the short couple years since Bad Words. So what came next for Bateman? Netflix.

In July of 2017, the Netflix Original series "Ozark" was released. Bateman stars as the main character Marty Byrde, a money launderer whose partner gets him into hot water with the Mexican cartel. Bateman channels a much darker and more layered character than he's ever played. His performance alone has already gained some positive attention. His cast mates, also turning some heads, include Laura Linney (The Truman Show) as Marty's wife and Jason Butler Harner (The Family Fang) as an obsessed FBI agent. They're supported by Julia Garner (We Are What We Are) as Ruth, a 19-year old criminal out to steal Marty's cartel money, Skylar Gaertner ("Daredevil") as Marty's 13-year old son Jonah, Sofia Hublitz as Marty's 15-year old daughter Charlotte, and veteran actor Harris Yulin as the Byrde's live-in tenant Buddy. That doesn't even begin to cover all the supporting actors who help make this one of the best -- and darkest -- Netflix Originals to date.

In fact, the series is so good that I've already watched all ten episodes twice, catching more the second time. Bateman directed four of the ten episodes including the first ("Sugarwood") and last ("The Toll"). He's clearly got a handle on his directing skills and it would seem a waste if he didn't continue. It was recently announced that the show has been renewed for a second season, and though the future of "Ozark" after that hasn't been determined yet, executive producer Chris Mundy envisions a total of five seasons if Netflix agrees to it. I personally hope that happens.

Bateman has long-since established himself as a film and television star. Following his career, you can see the stages of his development as an actor and director. Though only 48 years old, he's already a screen veteran, and one of the few success stories of child actors. I imagine he will continue acting, especially with new "Arrested Development" episodes on the way, and I hope that his directing career has just started.

For more information, visit IMDb: http://www.imdb.com/name/nm0000867

TRIVIA: Jason Bateman's co-star from "Valerie," Steve Witting, has appeared in many of Bateman's projects including Bad Words, The Family Fang, and "Ozark."

Summer Soundtrack

by Lisa Adamowicz Kless

Where I live the weather changes often, so when summertime comes around, it's a reason to celebrate warmer temperatures and more chances to be outdoors. There just seems to be an inherent understanding that it's a season to slow down a bit, relax, and have as much fun as possible. For me, part of that is a good road trip; I love to travel as often as I can and will take whatever opportunity pops up during the summer. There are some songs that I've kept on replay over the past few months that--if I was packing up and heading out right now--would be part of my adventure playlist. In the meantime though, I just keep replaying them and daydreaming about my next getaway.

Some Kinda Wonderful--Betty Who

I've been a fan of Betty Who's music over the past couple of years, but I'm still slowly making way through her discography. Stumbling on to this song recently, I was hooked. A catchy, pop-py, fun four minutes from the Australian artist, I use the word "catchy" very purposely here. Once you get caught up in it, this is one of those songs that you hear a few times and then you just can't stop listening to. Not only that, but the video for it seems to embody the whole spirit of the summer: breaking out of the routine of everyday life to stop whatever you're doing for a little while and have a really great time. And c'mon, admit it--an impromptu party in a boring public place would be incredible fun.

No Such Thing As a Broken Heart--Old Dominion

I can't say that I'm necessarily a country music fan, but there are a handful of artists and songs that I really enjoy. Flipping through the radio one day, I caught the tail-end of this song, immediately liked its message, and tried to find out who it was by. I didn't have any luck at first; I mistakenly thought it might be sung by Hootie member-turned-country artist Darius Rucker (see why I don't label myself a big country fan?). Turns out that it's by the group Old Dominion. If there's one thing that's universal to everyone, it's the challenges that each of us inevitably face in life. This song is an acknowledgement of that, but more importantly, an upbeat reminder to stay strong and keep going through the daily struggles; after all, the song begins with a spoken lyric of "Keep your chin up." And with a fun video that's a cartoonish nod to old-school video games, I've had this one on repeat too.

Jump in the Line--Harry Belafonte

From the first few notes when "Jump in the Line" bursts forth, it's hard to suppress an urge to get up and dance--probably thanks to the repeated "shake, shake, shake" lyrics. A Calypso song that has been covered by many artists since it was composed around 1946, I'll admit that I first heard it in the closing scene of the spectacularly kooky Tim Burton film Beetlejuice. I don't know if it's my love for the movie that's endeared this song to me ever since, or if it's totally the merit of Belafonte's version. Whatever the case, even though the tune is good for listening to any time, there's something about playing it in the summertime that really brings out that festive mood.

Bless My Heart--Angaleena Presley

This solo track from Angaleena Presley, a member of the (currently on hiatus) country group Pistol Annies, is another that I've played at least a dozen times since I ran across it. I'm not from the South, but I do know that if someone says, "Bless your heart," it's truly not meant as the well-wish that it appears to be. Presley lays it on the line in this song, warning the petty, mean-spirited person she's singing about not to cross her. This song may not seem quite as "upbeat" as the other ones that I've shared so far, but it's every bit as addictive for me. With its classic country sound and the judge-not-lest-ye-be-judged lesson, I can picture listening to this on a stretch of wide open road with breathtaking scenery, windows down, in absolutely no rush to get where I need to go.

Life is Better with You--Michael Franti

Coming back to the idea of the ups and downs of everyday life, Michael Franti adds his take. Since summer is fleeting in the corner of the world where I live, once it and autumn have come and gone, the people who live in my region of the U.S. have to hunker down for winter; one that sometimes feels like it goes on way too long. I might argue this point with myself come February, but in all honesty, I think the stark contrast makes us appreciate the beautiful, warmer weather just a little more deeply and savor it a tiny bit more. The seasons of weather and life ebb and flow, and as Franti says, "some days are better than other days," but everything is always better with loved ones who add moments of joy and help us through.

So, there you have it, readers--some of the songs that have been making my summer even better so far. What about you? Are there any songs that have been part of your summer soundtrack, or are favorites from summers past? Feel free to share them with us in the comments.

Chris Isaak's Beyond The Sun

by Jav Rivera

There must be some kind of magic at Sun Studio in Memphis, Tennessee. The studio was home for musicians like Elvis Presley, Jerry Lee Lewis, Roy Orbison, Carl Perkins, and Johnny Cash. There's a distinct sound that comes from that studio and it is unlike anything else. In 2011, Chris Isaak recaptured that magic in his album, "Beyond the Sun."

The deluxe version of the album consists of 25 tracks honoring some of the most iconic music that came from Sun Studio. There are also two original songs written by Isaak. Those two sound so much like that of Presley, Orbison, and Lee Lewis that I hadn't noticed they were written by Isaak until I read the liner notes.

Chris Isaak

"Beyond the Sun" is proof of how much Isaak cherishes the history of rock music, and the liner notes read almost like a mini-biography of the Sun Studio era. There's no question of the amount of respect he has for those musicians. It's also clear by the same liner notes, as well as in interviews, that Isaak regards his band to the highest degree.

To appreciate his sentiment, you might need some background on recording music. Today, just about anyone can plug in a guitar and microphone to a computer and record something. There are endless software programs that can tweak, improve, or flat out replace mistakes. Before this technology, however, bands had to rehearse a song until it was perfect. From there they would all gather in a small studio and record the song from beginning to end without error. Take after take, the band would play until they got the best -- most flawless -- version.

As easy as it would have been to use today's technology, Isaak and his band chose the latter. They booked time at Sun Studio, and recorded all 25 tracks just like Elvis or Johnny Cash would have. The result is a record that sounds so authentic to the Sun Studio era that if you didn't know any better, you'd think that Isaak and company hopped inside a time machine. Prior to "Beyond the Sun" any Isaak fan would have told you that he has one of the tightest bands around. They gel so well you wonder if they're just a bunch of clones. And for me, this album is the finest display of their talent.

L-R: Scott Plunkett, Hershel Yatovitz, Rafael Padilla, Rowland Salley, Chris Isaak, and Kenney Dale Johnson

Sun Studio is no stranger to historians and music aficionados. It's a place of legend and even a tourist stop. It's amazing how a small building has made such a huge impact on music, history, and America. I hate to think how different music would sound today if it weren't for this little space in Memphis.

Through the liner notes, I learned about Sam Phillips -- someone who seems to be under-appreciated by the general public. Phillips can be credited for creating the Rock and Roll sound, and also for finding some of the greatest artists, including Jerry Lee Lewis, Roy Orbison, and Elvis. Isaak tells a wonderful story about an article he read about Phillips, but instead of repeating the end of his story, I'll entice you by saying that it's worth it to seek out the liner notes to read it for yourself.

 706 Union Avenue, Memphis, TN 38103

Prior to "Beyond the Sun," there was another album that featured music from the Sun Studio era. Released in 2001, it was entitled "Good Rockin' Tonight: The Legacy of Sun Records," and was produced by Ahmet Ertegun (founder of Atlantic Records). PBS' American Masters also featured Sun Records on one of their episodes. Paul McCartney, Jimmy Page and Robert Plant, Elton John, Bob Dylan, Tom Petty, and many more can be found paying homage to the Sun Record Company. Chris Isaak even has a track on it -- his cover of "It Wouldn't Be The Same Without You." And though this record is full of wonderful artists, the tracks are, for the most part, covered in the artists' own style and not quite the authentic sound that Isaak captured for his 2011 record.

Album cover and back sleeve for "Good Rockin' Tonight: The Legacy of Sun Records"

Given Chris Isaak's style -- which is highly-influenced by the Sun Studio era -- it makes more sense then that "Beyond the Sun" feels like a better representation. Below is a list of my favorite tracks from the album, beginning with my absolute favorite ("That Lucky Old Sun"). Keep in mind this album is great from beginning to end; the list below just happens to be of songs I crank the volume up slightly higher for:

• "That Lucky Old Sun"
• "My Happiness"
• "Miss Pearl"
• "Live It Up"
• "How's the World Treating You"
• "Trying to Get to You"

Ever since I was young, I've had a love/hate relationship with covers. Some artists know how to take someone else's song and make it their own, keeping the spirit of the song intact. Others just want to make a quick buck by covering a famous song. "Beyond the Sun" is all love. No one else but Chris Isaak and his band could have done what they did.

For more information, visit Isaak's official website: www.chrisisaak.com

TRIVIA: While in college, Chris Isaak was an amateur light heavyweight boxer.

Here's Looking at You, TV Moms

by Lisa Adamowicz Kless

Next Sunday is Mother’s Day here in the US, which got me thinking about some of the fictional moms on TV shows that I’m either watching right now or have loved in the recent past. TV mothers have evolved since the earlier days of television; moms like Donna Reed and Harriet Nelson are beloved matriarchs of a bygone era, but most modern moms are written much more realistically, making them more relatable. There are a lot of these modern TV moms that I could highlight, but I’ll stick with just a few. Whether they’re drinking coffee like a fiend, spontaneously bursting into song, or making their way through an enchanted forest, all of these fictional mothers have traits that would make them cool real-life moms; unless, of course, you're a teenager--then you're likely embarrassed by your parents no matter who they are.

Ginnifer Goodwin as Snow White

Snow White/Mary Margaret (played by Ginnifer Goodwin)--Once Upon a Time

I had heard of the series "Once Upon a Time", but was a little hesitant to check it out. In all fairness, I didn’t know much about it, only that it was based on traditional and newer fairytale characters. I finally decided to give it a go though, and found myself sticking with it. The premise intrigued me, and there are some really fun CGI effects and scenery (not to mention lots of fantastic costumes). As I kept watching and became drawn into the characters and their storylines, I started to get emotionally invested and now have a handful of favorites. Among them is Snow White, a.k.a. Mary Margaret, played by Ginnifer Goodwin. I don’t want to give any spoilers, but on Once, Snow is a mom, and the kind of mom that earns her a place in this article.

Once’s Snow White is a departure from the Disney standard; rather than being a feathery-voiced damsel in distress, Snow White is pretty badass, and an example that a mother can be bold and self-sufficient. She’s kind and has the best of intentions, yet tough and more or less fearless. This Snow White is handy with a bow and arrow too; in flashbacks and in the present day, we see her facing off against the bad guys (and gals) and not shying away from going into a battle. One of my favorite aspects of “Snow White, the mom” is that she’s also the epitome of patience and encouragement. As a real-life mother, her children would be lucky to have her in their corner; understanding and reassuring, but fiercely protective when need be.

L-R: Louise, Gene, Bob, Tina, and Linda Belcher

Linda Belcher (voiced by John Roberts)--Bob’s Burgers

I’ll ‘fess up right away and admit that Linda Belcher isn’t my #1 favorite character from the animated series "Bob’s Burgers" (that distinction goes to Louise, the pink-bunny-ears-wearing, smart-aleck, always-makes-me-laugh younger daughter). However, Linda’s offbeat personality and let’s just say--somewhat unique--way of parenting makes me laugh every time I watch the show too.

I can’t say that I’d necessarily relish having a mom who adores dinner theater and has a penchant for breaking into song at the drop of a hat, as she often does. But as kooky and sometimes slightly annoying as she can be, her positive traits outweigh anything else. Linda accepts and encourages her kids tremendously, even when the situation is a little dubious and should have been thought through. She’s often misguided, which leads to all sorts of crazy misadventures on the show, but she has a certain optimism and joie de vivre that’s endearing. As a real-life mom, kids could do much worse than Linda. Even as a cartoon, there’s something about her lack of perfection and always-trying attitude that is incredibly realistic. And like Linda, the vast majority of mothers love their children beyond measure and are simply just doing their best.

Fun sidenote: Before he was on "Bob’s Burgers", John Roberts was a YouTube sensation for videos where he imitated his own mom. The voice he uses in those impersonations sounds a lot like Linda Belcher. Thanks, John’s mom!

Lorelai and Rory Gilmore

Lorelai Gilmore (played by Lauren Graham)--Gilmore Girls

I should probably be completely upfront that, though this list isn’t in any particular order, I’m a huge fan of the series "Gilmore Girls". That said, it may not surprise you that Lorelai Gilmore is probably my all-time favorite TV mom of the last decade or so.

To rein myself in (since I could talk about "Gilmore Girls" for days), the short version for anyone not familiar with the show is this: single mom Lorelai raises her teenage daughter, Rory, in a small town called Stars Hollow. Even though she’s independent, to quote Joe Cocker and the Beatles, she “gets by with a little help from (her) friends” and neighbors.

Quirky, fun, and armed with rapid-fire quips and sarcasm, Lorelai is a big personality. Having been a teen mom who left home to venture out on her own, Lorelai learned a lot of parenting skills on the fly, which helps make her another believable fictional mother. She, too, is just doing her best, and it’s her mistakes and doubts that make me appreciate her and identify with her a bit.

In Rory’s social circle, Lorelai is undisputably the “cool mom,” and even though they butt heads now and then, she and Rory have an incredibly close relationship. In real life, Lorelai would be the type of mother that most of us would probably want to have. Luckily, it's easy to "visit" Stars Hollow and hang out with her whenever we'd like through the magic of television.

So now that I’ve shared some of my favorite recent TV moms with you, let us know which fictional moms you can't help but love (and maybe secretly wish were your own), readers.

One-Hit Wonders

by Dave Gourdoux

The ultimate one-hit wonder?

"In the future, everyone will be famous for fifteen minutes."             
                                                                            -Andy Warhol

For years now, one of the enduring iconic stories of the rock and pop universe has been the rise and fall of one-hit wonders. We’re all familiar with the story arc – the stars of time and fate and luck and talent all suddenly align in such a way as to propel previously unknown acts into fleeting and temporary superstardom, and then they crash and fade just as quickly as they emerged. As long as there is a pop music scene, there have always been and there always will be one hit wonders, either waiting on the fringe of the culture to rise to the top or spiraling uncontrollably out of the public consciousness.

Who are these fireflies that so quickly burn out, and what is their story? Well, as we’ll learn in this brief look at eleven of my favorite one hit wonders, with stories of rapid rises and fantastic falls, "the possibilities are endless."

About this list: as old as I am, the list is heavy with songs from my youth, the sixties and seventies. I’m old and grumpy enough to offer no apologies for that.  Obscure and cheesy as some of these selections may seem to younger generations, they all occupy permanent residence in my memory.

Hear then, in chronological order, eleven of my favorite one-hit wonders:

1. “96 Tears,” by ? and the Mysterians, 1966

With its infectious organ riff and low-budget production, "96 Tears" ranks right up there with the best of the '60s garage band songs. At the time the song was recorded, the band was exactly that: a completely unknown garage band, consisting of the sons of migrant workers who’d settled in the Saginaw, Michigan area. Somehow they recorded "96 Tears," and drove around promoting it to local radio stations around Michigan. It first became a regional hit  until they caught their break and signed a deal with a big record company, and the rest is history.

A couple of follow-up singles were moderately successful, reaching as high as 22 on the U.S. charts. The band has survived many breakups and lineup changes to persist to this day. The only constant has been the lead singer, Question Mark, or ?, who claims to be from Mars and to have walked with dinosaurs.

2. "I Fought the Law," by the Bobby Fuller Four, 1966

One of the most covered songs in rock history (most notably by the Clash, and in a politically charged 1978 re-write by the Dead Kennedys), the song also inspired John Mellencamp to write (or rip-off?) his 1983 single, “Authority Song." The song features the familiar, almost percussive guitar styling of the late, great, Buddy Holly.

The reason it sounds so much like Buddy Holly is that it was written by Sonny Curtis, who was a friend and high school classmate of Holly. After Holly’s death, Curtis replaced him as singer and lead guitarist in Holly’s band, The Crickets. He later penned the theme song to the Mary Tyler Moore Show, "Love is All Around."

The reason Fuller never had another hit was that a few months after releasing “I Fought the Law,” his dead body was found in an automobile parked outside of his Los Angeles apartment. There were no signs of physical trauma, and though an autopsy was performed, the cause of death remains murky, with both “accident” and “suicide” boxes checked with question marks after them on the death report. Speculation abounds that he was actually murdered. Theories have persisted that the culprits were either the Manson clan, the LAPD, or the mafia.  Whatever the cause was, Fuller’s death remains one of the great unsolved mysteries in rock and roll history.

   

 

3. "Israelites," by Desmond Dekker, 1968

Though Dekker had a long and distinguished career in Jamaica as a Reggae master, "Israelites" was his only entry on the U.S. charts. Aside from being a wonderful little piece of music, "Israelites" is noteworthy in that it is probably the first reggae song to hit the U.S. top forty, ahead of Paul Simon’s “Mother and Child Reunion” (1970), Johnny Nash’s “I Can See Clearly Now” (1972)  and Eric Clapton’s cover of Bob Marley’s “I Shot the Sheriff” (1973).

Whether the song is technically reggae or its predecessor, ska, it is indisputably unique when compared to anything else we’d heard on American air waves before. The guitar work is subtle and accents the off beat, while the vocals are sung with a heavy Jamaican accent, making the lyrics difficult to understand.

Dekker said he wrote the song after hearing a young couple arguing about money, and how the work the young man was doing wasn't paying enough. This explains the opening lyrics, "get up in the morning slaving for bread, sir / so that every mouth can be fed." From there the song becomes something of a Rastafarian anthem, a lament for the impoverished and the destitute.

Dekker passed away in 2006. Although he didn't make the U.S. charts again, he remained musically active, and was held in high esteem in the reggae community.

4. "Pictures of Matchstick Men," Status Quo, 1968

The opening guitar lick to this weirdly infectious little gem is so ridiculously easy that even I could play it. But then the rhythm guitar, bass and drums kick in, and the effect is pretty cool. The lyrics are vague and psychedelic, and the chord progression and that silly little four note guitar lick are just catchy enough to stick in your head long after you’d ever want it to.

The song has been covered a few times, most notably by Ozzy Osborne in the late '70s. As for the band, Status Quo, it appears that they put out a few albums and vanished, and I couldn’t find much of anything of any interest about them. "Pictures of Matchstick Men" is so weirdly bizarre  that it speaks for itself.

                   

5. "Spirit in the Sky," Norman Greenbaum, 1968

One of the great guitar-driven gospel tinged songs ever recorded. The guitar riffs create a groove that evoke Jimmy Page, while the lead guitar fills in the spaces with just enough cosmic-ness to evoke the great beyond.

Lyrics like “I’ve got a friend in Jesus” bely the fact that Greenbaum was, and is, Jewish. He wrote "Spirit in the Sky" after watching Dolly Parton and Porter Wagoner sing a gospel song on television. The song has since appeared in numerous Hollywood sound tracks, perhaps most famously in Ron Howard’s Apollo 13.

Greenbaum continues performing to this day, and has recorded a few albums over the years, but never had any level of commercial success that approached the  magnitude of “Spirit in the Sky.”

6. "Na Na Hey Hey Kiss Him Goodbye,” Steam, 1969

This was just solid, mainstream pop music, performed by a band that never existed (similar to another great one–hit wonder, the fictitious “The Archies” and the big hit single, “Sugar, Sugar.”). The song was written and recorded by a couple of studio musicians who supposedly thought it was so bad they didn’t want their names associated with it. So the fictitious band “Steam” was assigned to the song, and when it surprisingly went to number one in the charts, a real band was hastily put together. This manufactured band lacked anything remotely resembling a stage presence (as the video shows).

Despite all that, I still love the song and the innocence it conjures up in me. It reminds me that I grew up in a time where not only such sweet and innocent music could chart, but also that times were so innocent that record companies would throw together a bunch of guys who had nothing to do with the recording of the song and send them out on tour to support it. For some reason I can’t adequately explain, now, almost fifty years later, it all feels more sweet than cynical.

7. "I Can See Clearly Now," Johnny Nash, 1972

Probably the biggest selling reggae song of all time, although the off-beat is buried a bit beneath a poppy arrangement, meaning you have to listen a little bit closer for the reggae rhythms than on “Israelites.” But the song, with Nash’s soaring falsetto and its hypnotic hooks, was a huge hit, dominating the top-forties airwaves for what seemed like months.

Nash had a long career, recording from 1958 thru 1985, and it’s a little bit unfair to call him a one-hit wonder, as he had several other songs hit the U.S. charts, with the follow-up single to “I Can See Clearly Now”, a song called “Stir it Up” that I have no memory of now, briefly reaching number twelve on the U.S. charts. He makes the list because “I Can See Clearly Now” was so huge that one is left wondering why in such a long career he never approached the top ten again.

8. "Last Song," Edward Bear, 1972

Some songs bring back memories that are so vivid they overpower any attempt to hear them objectively. “Last Song” is, for me, such a song. I know it’s terrible, schmaltzy pop, but it was on the radio at a time when I was susceptible to its gooey sentimentality, and hearing it now takes me back to the time when I’d just turned fourteen, at the height of my pubescent, shy and lonely misfit period, and the endless list of cute girls I had hopeless crushes on.

As for Edward Bear, it was neither man nor beast, but rather an unexceptional Canadian pop-rock band that was around for a couple more unexceptional years, years that included lineup changes and members dabbling in Scientology. The highlights of their career appear to be limited to achieving fame for “Last Song” and for once opening for Led Zeppelin. The name Edward Bear was taken from the “proper” name of Winnie the Pooh.

9. “In a Big Country,” Big Country, 1983  

For a brief time in the early '80s, Big Country was Scotland’s answer to Ireland’s U2, gathering critical acclaim for their unique sound, making electric guitars sound like bagpipes. They made it all the way to a guest shot on "Saturday Night Live" and a world tour, but were never able to follow the anthemic “In a Big Country” with a second hit single.  After playing on the Band Aid project “Do They Know It’s Christmas” and backing Roger Daltrey and Pete Townshend in separate solo projects, they fell out of fashion, and found themselves dropped from their record company in 1991. They hung around for the rest of the nineties and finally broke up in 1999, with alcoholism playing a role in their dissolution.

10. "Take On Me," Ah-Ha, 1985

The song is unexceptional but catchy '80s new wave, notable for its keyboard-driven riff and the singer’s Roy Orbison-like, octave-crushing falsetto. What makes it stand out is the song's video, one of the great videos of the MTV era. A rare combination of art, charm and humor, the video transcends the song even while remaining faithful to its catchy rhythm. It's impossible to watch the video and not smile.

Although "Take On Me" has been the band's only U.S. hit, they are still together and have remained very popular in their native Norway, winning 10 "Norwegian Grammy" awards over the years.

11. “A Girl Like You,” Edwyn Collins, 1994

No, this song wasn’t, as is often assumed, recorded by Iggy Pop or David Bowie, although it’s an easy mistake to make, given Collins baritone vocals,the disco-punk rhythms, the infectious groove, and the hypnotic guitar licks.

Collins has never charted again in the U.S., but he still performs in his native U.K. This might not seem like a big deal until one considers that in 2005, Collins suffered and survived two cerebral hemorrhages that resulted in aphasia, an inability to comprehend and formulate language because of damage to specific brain regions. He was left able to speak only four phases (“yes”, “no”, “Grace Maxwell” (his wife’s name), and “the possibilities are endless”). Amazingly, he recovered and within two years was able to resume playing music and performing.

•  •  •

From the tragic mystery of Bobby Fuller to the rise and fall of Big Country to the steady perseverance of Desmond Dekker and Ah-Ha to the inspirational triumph of Edwyn Collins that renders any position on any top 40 chart as the meaningless distraction it really is, stories of one-hit wonders prove that the possibilities are indeed endless, that fate really is fickle, and that in the grand scheme of things, our fifteen minutes of fame aren't really that important.

So there you have it, my latest little list.  I know there are dozens of more one -hit wonders in the annals of popular music history ("99 Red Balloons" and "Chevy Van" immediately come to mind, although in the case of "Chevy Van," it won't leave soon enough), but these eleven have, to me, at least, some value, whether artistic (like "Israelites") or sentimental ("Last Song"), to me personally. I'd be interested in what one-hit wonders that you find any value or interesting stories in.