The Blue Jean Committee leads the "soft rock" way on Documentary Now - Season 1

The Blue Jean Committee album cover tells you most of what you need to know about Season 1 of Documentary Now! I had watched a sporadic handful of these episodes when they were released back in 2015, but it was fun to go back and revisit them in order. While Fred Armisen, Bill Hader, and Seth Meyers' mockumentary take on the VH1 style rock documentary are the last two episodes in Season 1, they are the only true must-see parts of the season.

I'm not saying the other episodes aren't worth watching. “Sandy Passage,” a takeoff of Grey Gardens, is my second favorite, with Hader playing the dancing daughter of a singing elderly woman played by Armisen. The first episode of the season spoofs the strange, hushed, and procedural way documentaries have unfolded as a genre over the years. It's hilarious in the first 20 minutes as it builds this odd relationship and living situation between the mom and daughter, but then gets a little overly silly in the last five minutes as the story descends into a horror tale. 4.5 out of 5 stars

Next up, Jack Black plays a TV-show host who sends Hader and Armisen as reporters to cover the Mexican drug trade in “DRONZES: The Hunt for El Chignon.” It's highly watchable while somehow also being an inessential takeoff of Vice-style, hard-hitting journalism. 3.5 out of 5 stars

“Kunuk Uncovered” is the least essential episode in the season, taking a look at a fictional Inuit hunter who is remembered fondly in this strange spoof of Nanook of the North. 3 out of 5 stars

“The Eyes Don’t Lie” is a send-up of crime procedural docs, with a bunch of silly southern characters increasingly leading the finger in the Sign Spinner Murder Case towards Hader and Armisen’s doofy characters. It gets funnier and funnier as the trial crescendos. 4.5 out of 5 stars

Sandy Passage

“A Town, A Gangster, A Festival” documents an Al Capone Festival that takes place every year in a small rural community in Iceland. But then change happens. Another village in Iceland introduces a Jimi Hendrix Festival to appeal to a more youthful audience. Nevermind, because the power of groupthink keeps this Capone-obsessed town on track for believing its festival is still a great idea. 4 out of 5 stars

“Gentle and Soft: The Blue Jean Committee” is the season-ending two-parter. From Hader and Armisen's characters growing up in sausage school in Chicago to their transformation from blues band to California superstars and back to retirement in the Chicago sausage factory and a Malibu ocean pad, respectively, this yacht-rock band’s arc includes testimonials from legends like Daryl Hall, Kenny Loggins, Chuck Klosterman, Cameron Crowe, and others. Hader’s falsetto on the hit “Catalina Breeze” seals their hall-of-fame pedigree, even though the entire hit-filled album was recorded over the course of just 72 hours. The meat tradition in the guys’ upbringing is threatened when they discover they’re booked at the Hollywood Bowl for an animal rights benefit. But they refuse to “turn their backs on the sausage community.” The way things end up is really pretty deep and touching. This is the heart of Documentary Now!’s first season. (And for a little more, see the band's completely different "Massachusetts Afternoon" origin story on Saturday Night Live - thanks for the head's up Jeff Young!) 5 out of 5 stars

RIP Randy Meisner

Randy Meisner was the original bass player for Eagles (please, not the Eagles) before Timothy B. Schmit joined. He, like Schmit, also played for a time in the band Poco. Meisner was obviously a key player in the yacht rock era, a time when rock music was probably at its apex of mass popularity. While he was not a lead singer in Eagles, he was on one key song, "Take It to the Limit," which became the band's first million-selling single. He died in L.A. at 77 of breathing problems.

Yacht rock - a way of life - gets its own bible

Comedian Fred Armisen leads off the must-have tome, The Yacht Rock Book: The Oral History of the Soft, Smooth Sounds of the 70s and 80s, by the prolific Greg Prato, with a foreword that claims “the feeling I get from hearing punk is similar to hearing yacht rock. It has a kind of aggressiveness to it because it’s so delicate.” Walter Egan probably more accurately notes that yacht rock grew out of a “more melodic version of The Beatles.”

Some of the interesting nuggets from the book include:

• Captain and Tennille got their start as back-up touring musicians for the Beach Boys.
• As if the connection to yacht rock for The Beach Boys wasn’t clear enough already, Beach Boy Bruce Johnston actually wrote “I Write the Songs” for Barry Manilow.
• Quincy Jones began to bring some of the yacht rock production values and sound over to R & B. George Benson’s album Give Me the Night was yacht-soul and many of the same players on it went on to play on Michael Jackson’s Thriller. So it could be said Thriller is yacht adjacent.
• The guys that started out backing up Linda Ronstadt realized they had something good and went on to form the Eagles.
• The reason yacht rock is so melodic, with great instrumentation and harmonies, is that many of the same musicians played on many of the sessions. For instance, the Toto guys played a lot of the music on Thriller.
• Michael McDonald and Don Henley made appearances on Christopher Cross’s monumental 1979 self-titled debut.
• Many of those interviewed in the book agree that “What a Fool Believes” by The Doobie Brothers is the defining song of the genre.
• Timothy B. Schmit was not only bassist for the Eagles, he was a great session player and sang on the classic Steely Dan albums Aja, Pretzel Logic, and The Royal Scam.
• The fashion shifted from beards and bellbottoms in the 1970s to a Miami Vice look in the MTV '80s. Take a look at Hall and Oates on the cover of Voices for exhibit #1 of the latter.
• The minute John Oates got out of high school, in 1966, is when he started growing a mustache.
• Daryl Dragon - the Captain of Captain and Tennille - is a constant star of the book, and he admits at one point that he wore his famous hat because he was going bald and couldn’t grow the customary long hair of rockers in the 1970s. He also talks about how he mostly hated doing the duo’s hit variety TV show and had to learn over time how to be a performer like that, even though audiences loved his quiet persona.
• Orleans singer Lance Hoppen pretty accurately notes that the Studio 54 disco era was the height of rock n’rolls waves of debauchery, with a cocaine epidemic that many people didn’t make it out of. The big record company bonuses of the time helped fund the debauchery.
• On the other hand, Air Supply and others like Tennille, were one of those massive groups during that time that, for them, a wild night might have been having a bottle of wine.
• Barry Gibb of the Bee Gees once supposedly said that if any pop song can't be finished writing in 15 minutes, then work on it should cease.
• Ambrosia’s hits like “You’re the Only Woman,” “How Much I Feel,” and “Biggest Part of Me” resulted from playing a standing run of shows at a lesbian bar.
• Christopher Cross wrote “Ride Like the Wind” on acid and what he sings in the middle came to him while his band jammed on Paul McCartney and Wings’ “Nineteen Hundred and Eighty Five.”
• Cross wrote the theme from Arthur with Burt Bacharach at the legend’s mansion.
• The book declares Rupert Holmes’ “Escape (The Pina Colada Song)” the national anthem of yacht rock. Holmes tells the story of how he was pondering what would happen if he answered a personal ad in The Village Voice, which led to the lyrics for the song.
• Billy Joel almost didn’t put “Just the Way You Are” on The Stranger because it was too mellow and they wanted to be a rock band. But then Linda Ronstadt walked into the studio, heard it, and convinced them they had to include it.
• One time a bunch of superstar musicians were hanging out and Brian Wilson gave them all parts to play for a makeshift jam. But Iggy Pop had to leave because he thought the dude was too crazy. Let’s say that again: Iggy Pop through Brian Wilson was too crazy!
• David Bowie’s stylist told Hall and Oates he would immortalize them on their 1975 self-titled glam-looking release. And Oates says it is indeed the only album cover of theirs that people ever talk about.
• Bob Seger helped out by pitching in “Heartache Tonight” when Glenn Frey had a bit of writer’s block during the making of The Long Run, in 1980, a time when yacht rock was about to slide out of fashion.
• Videos were part of the death knell for yacht rock. A few camera-ready faces, like Daryl Hall's, translated to the new format, but singer/songwriters like Ruprt Holmes and Christopher Cross were not a good fit for MTV and the likes of the Buggles.
• The term “yacht rock” began its slow explosion into the national consciousness when a comedy video series about the genre became one of the first viral campaigns the year YouTube launched in 2005 and Jimmy Fallon also started playing clips on his late-night show.
• Some of the belief in why yacht rock can have a revival, and a genre like grunge might not, is that people can go out, drink, dance, and have fun to the music, no matter how old they are.
• Cross, one of the seemingly most soft of the soft yacht rockers actually grew up playing with Texas buddies like ZZ Top and Stevie Ray Vaughn. He apparently can play a mean lead electric guitar.
• Tenille sang backup on Pink Floyd’s The Wall - talk about a bridge out of and away from yacht rock!
• Captain and Tenille finally got divorced in 2014 because Daryl Dragon in not nearly as sociable as her.
• Many artists carry on the tradition, including some bands I love like Mac DeMarco, LCD Soundsystem, Lemon Twigs, Kendrick Lamar, and John Mayer, and some that I like a little like Tame Impala and Bruno Mars. Plus comedians love the genre, especially Jimmy Fallon, Will Ferrell, Bill Hader, and Fred Armisen.
• Oates despises the terms “blue-eyed soul” because it’s racist and inaccurate and “yacht rock” because it makes absolutely no sense. Hard to argue with an innovative master like him.

Most of the other artists interviewed in this oral history agree that they, unlike Oates, like the term yacht rock. I think it definitely describes a type of 1970s-80s well-produced rock abounding with hooks. There are probably around 100 songs that fit the tag and also are melodically undeniably great pop. I think Hall and Oates have dozens of great songs, but probably only a dozen or so hit the connection to yacht rock. But that still may make them the greatest yacht rockers of all.

Sail on, sailors, with this 5 out of 5 star essential book.

The Warriors: Book Versus Movie

Because The Warriors was released in theaters in 1979, it has always been considered part of a relatively cheesy era (like yacht rock, which was at its peak at the time).

But not only was it famous for knocking Star Wars out of the number-one box-office spot, it was really influential to me when when I first saw it as a freshman at Southern Illinois University. I watched it again and again, both scared of the gang life it depicted and transfixed by the thought of getting to New York City someday.

I think it sparked my love affair with subway systems, as much of the action takes place on late-night platforms and in trains filled with the dregs of society and people with long and unfortunate backstories that we'll never know.

The movie, ranked as my 22nd overall, does a great job of personalizing and humanizing each of the members of The Warriors, a gang framed for the killing of the city's top gangster and has to make it back to their home turf of Coney Island without being picked off in all the enemy territories they have to make it through on the way.

There are many differences between the film and the book that is the basis for the film, which was written by Sol Yurick (pictured) in 1965 and which I just finished reading. Based on the book and film, it appears New York City didn't change much between 1965 and 1979. It was a fascinating, dangerous, and dark place, filled with Times Square prostitutes, unruly and barely-parented street children, and suspicious and violent policemen.

In the book, the title "The Warriors" refers to all the gangs of the city, which are attempting to band together to overthrow all the non-gangsters before the plan quickly turns into chaos. The Coney Island gang is actually named The Dominators in the novel. And they are much less lovable than in the movie, going so far as to brutally rape a girl and viciously murder a mostly innocent passerby.

Other key differences: All the names of the gang are changed, six of the Warriors make it home from that fateful night whereas only four of the Dominators do, and there is really no framing of the Dominators for the top gangster's murder as are the Warriors in the movie.

The book is a great and quick read. The negatives are that I kept waiting for one of the gang members to fall into the subway or meet some of the other endings that the movie gangsters so deliciously met. Some of the scenes are overly long considering that much less often happens in them compared to the unrelenting action of the film. The good news is that if you love the movie, then there are enough differences to make the book well worth reading.

**** out of ***** stars