Mr. Mixtape-ptlk, Track #10: "You Can Get Him – Frankenstein" by The Castle Kings (1961)

There's nothing like an old school, rock 'n' roller about monsters battling it out to get everyone movin' on the dance floor. Well, except for me, of course, because hitting the dance floor is just not my style. But I don't mind spinning the platters for you at Halloween.

You Can Get Him – Frankenstein, a single released in 1961 by the Castle Kings on Atlantic Records, is a great party tune with a chorus made for singing along. The people behind the record certainly had a knack for such tunes. Two of the song's published co-writers were Phil Spector and Ahmet Ertegun. Neither one should need any introduction to anyone by this point, but just in case you've had your head locked in a box, Ertegun co-founded Atlantic Records and was responsible for discovering and launching scores of artists over a 60-year career. Spector, besides being a murderer and a nutcase, is quite simply one of the most innovative and important songwriters and record producers in history.

More importantly to our purposes here, the third songwriter, Ed Adlum, went into the movie business after his band, the Castle Kings (for whom he played guitar), broke up after releasing only two singles with Atlantic. In 1972, he co-wrote, produced, and directed Invasion of the Blood Farmers, which is just about as appetizing a film as its title makes it sound. But that film is equalled by his next film, Shriek of the Mutilated, in 1974. While Adlum only produced and co-wrote Shriek, I like that terrible film just a little bit better than Blood Farmers because of one factor: the all-important monster quotient. Shriek of the Mutilated has a Yeti. A man in a really horrid looking Yeti costume, but a Yeti nonetheless.

You Can Get Him – Frankenstein definitely fulfills the monster quotient as well. But before we dig into that, let's listen to the song and check out the lyrics below...

You Can Get Him – Frankenstein by The Castle Kings
(Ahmet Ertegun, Ed Adlum, & Phil Spector)
Atlantic Records 2107

"Well, you can get him, Frankenstein
You can get him, Frankenstein
You can save that girl of mine
You can get him, Frankenstein
Ohhhh, you can get him, Frankenstein

Well, here comes my baby walkin' down the street
She looks so pretty and she looks so neat
A Wolf Man comes from behind a tree
A Wolf Man howling, "Ahhh-weee!"
I ran to the phone and I put in a dime
I called my good friend Frankenstein

Well, you can get him, Frankenstein
You can get him, Frankenstein
You can save that girl of mine
You can get him, Frankenstein
Ohhhh, you can get him, Frankenstein

Well, my baby called me up in the middle of the night
Dracula was messin' in the pale moonlight
Vampires, bats and rats and all
She said, "Help, help", that's why I called
She said, "You'd better call Transylvania 999
And dig my good friend Frankenstein"

Well, you can get him, Frankenstein
You can get him, Frankenstein
You can save that girl of mine
You can get him, Frankenstein
Ohhhh, you can get him, Frankenstein

[Sax solo]

Well, I called my baby on the telephone
Her mama said she was not at home
I called Transylvania 999
I got no answer from Frankenstein
I switched on the TV to Channel 9
There was Frankie and Susie doin' the pony time

Well, you done got her, Frankenstein
You done got that girl of mine
You done got her, Frankenstein
You done got that girl of mine
Frankenstein (Frankenstein)
Frankenstein (Frankenstein)
Bring me back that girl of mine

Hey, Frankenstein, bring me back that girl of mine"

I have always found it interesting that in a lot of the Universal Monster mashups, there was often an attempt to allow the viewers to connect to at least one of the monsters in an emotional way. Early on, the easy connection was the Frankenstein Monster, most likely to the humanity imbued in the characterization via the talent of Boris Karloff. Once other actors, such as Bela Lugosi and Glenn Strange, took over the role of the Monster, the torch of identity was passed to Lon Chaney, Jr. as the Wolf Man, who at least turned into a guy you could have a conversation with part of the time. In Bud Abbott and Lou Costello Meet Frankenstein, his Wolf Man is practically the hero of the film in combatting the combined evil of the others in the film.

In this song, the Frankenstein Monster (referred to as simply Frankenstein) is, at the outset of the lyrics, the hero of the day according to the singer (Frank Tinelli of the Castle Kings). Situations crop up involving both the Wolf Man and Dracula in which the singer's girlfriend is threatened, and both times he gets on the phone to call up Frankenstein to rescue her. (I like the visual image of Frankenstein's Monster sitting around waiting for phone calls to rescue her.) But maybe he calls him to the rescue one too many times, which is the lesson to be learned from the song. On the third verse, he calls his "baby," but she isn't home, and a follow-up to the monster finds him unavailable as well. In a humorous twist ending that ties into a popular teenage trend of the day, it turns out the girl and the monster are both dancing together on a local show on television. So, by the end of the song, Frankenstein has gotten her, and not him, after all.

Frankenstein may be able to get him and/or her all he wants, but what I can't get is enough information about the Castle Kings, outside of the scant details to be found online. Apart from the "B" side to this song – a rockin' raveup version of Loch Lomond – the group only released one other single, The Caissons Go Rolling Along/Jeanette, the following year (1962), before disappearing from the recording world. Adlum worked as an editor for Cashbox magazine before getting into film briefly. The other Castle Kings were Frank Tinelli, Jimmy Walker, and a fourth member that I have identified in an autographed photo that I found on the Discogs site as Billy, but with no last name.

I tried calling Transylvania-999 but didn't get anything. If only I had Frankenstein's latest phone number to help rescue me from this dilemma...

RTJ

The Monkees in Monstrous Peril #2: "The Monstrous Monkee Mash" (1968)

The Monkees "The Monstrous Monkee Mash" (January 22, 1968)
Dir.: James Frawley

Mike: "I gotta hand you one thing, Pete."
Peter: "What's that?"
Mike: "You've got a great respect for fear."
Peter: "You're right. It scares me to death."
Mike: "What?"
Peter: "Fear does."
Mike: [turns and sighs deeply]

The Monkees faced off against monsters a few times during their two-season run on the air, but never so many different creatures at one time than in The Monstrous Monkee Mash, the 50th episode of the series. I suppose you could say this was their version of Bud Abbott and Lou Costello Meet Frankenstein, with a plot involving a Dracula-type of vampire not only trying to turn brainless Peter into the new Frankenstein's Monster (much like Lou's lack of wits made him a perfect candidate for Bela Lugosi and Lenore Aubert's evil machinations in the older film), but also Davy into a new Dracula and Micky into a Wolf Man. But will Mike (the smart one) settle for just being a smelly mummy?

The Monstrous Monkee Mash was directed by TV veteran James Frawley, who not only helmed 32 of the 58 episodes of The Monkees series overall, but also won a Primetime Emmy for directing the very first episode of the show (Royal Flush). Coming so late in the series run, the episode seems less concerned with selling the Monkees' music (there is only one song featured in the usual music video breaks), which in this case is just fine as it allows for more extremely ridiculous hijinks involving the quartet of monsters driving our heroes crazy.

Like many Monkees stories, The Monstrous Monkee Mash wastes no time in diving right into the action. We see an exterior shot of a castle on a cliff overlooking a stormy sea at night, and then inside we meet a very flustered Davy Jones, who has gotten more out of his date that evening than even he expected. He walks into the room alongside a voluptuous, black-clad woman named Lorelei (Arlene Martel, who played Spock's would-be bride T'Pring in Amok Time), and Davy says, "Gee, Lorelei, when you said you lived by the water, I didn't think you meant a swamp!" He laughs nervously, and when he tries to hang his umbrella on a suit of armor nearby and it takes a swing at him with an axe, he gets even more nervous. Next to the armor is what looks like a painting, but is quite clearly just an open frame hanging in mid-air, and standing inside it of it is a man with a bluish face wearing a Count Dracula-style cape (Ron Masak). When Davy asks about the painting, Lorelei tells him it is her uncle, and he asks, "Oh, really? How long was he dead when he posed for that painting." The man in the painting turns to Davy and gives him a raspberry salute with his tongue.

He clicks a switch on a novelty lamp that has a bat sitting on its top, and we hear the bat say, "I vant to drink your blood!" Lorelei wants to give Davy a present, but he is reluctant. She throws her arms around his neck and puts a necklace over his head and then kisses him. Hypnotized, he can only remark "What a kiss! I've never felt this way before!" She replies haughtily, "You fool! It was not my kiss! It was the magic necklace!" The figure from the painting steps forward, looks their prize over, and says that even though Davy is a little short (they always have to get the short jokes in on Davy, but, yeah, he was pretty small at 5'3"), he will make the perfect specimen to become... DRACULA REBORN! He laughs wickedly as the opening music sequence with the familiar Monkees theme and video style hijinks plays.

At the Monkees' pad (i.e., apartment or home, for you youngsters), Micky awakens with a start as a figure seems to be creeping through the darkness. It is only Peter, and Micky begs him not to scare him like that. Mike wanders in angrily and tells them to quit scaring each other and to turn on the light. Of course, when he does, all three of them scare each other. They start to worry that Davy hasn't come home from his date yet, but Mike says that Davy gave him a telephone number they can call. (The non-committal way that Mike dials the phone is hilarious.) The voice on the other end of the phone is Count Batula (Masak) laughing maniacally and nothing more. Without hesitation, Mike says, "I think Davy's in trouble. We'd better go help him." The other two agree and then go hide their heads under blankets. Mike turns to the camera and says, "And once again, courageous American youth leaps into the fore... or five."

Back at the castle, Batula puts Davy through vampire training, making him drink tomato juice first to get used to the color, and giving him a special cape so he can fly (he crashes into a nearby wall). The Monkees arrive and are not happy in the least about being invited into the spooky castle. Davy has been chained in the dungeon where he finds he is roommates with a Wolf Man. They bond quickly. The Monkees are shown reacting in wild ways to all of the scary stuff in the living room (the suit of armor, the bat lamp), and there is a really neat insert where Micky is asked to do another take on his scream from an offscreen voice which is most likely Frawley the director. This is the sort of thing, alongside the rapid-fire cutting, that kept this series, as silly as it seems in retrospect, extremely refreshing and far removed from the stale confines of much TV of its era.

As I alluded to earlier, Batula soon figures out that Peter does have a brain in his head and will therefore be ideal to serve as his new Frankenstein Monster. When the lamp does its "I vant to drink your blood" line, Peter tells it "That's not a nice thing to say," so the lamp says "I vant to sip your blood" instead, and Peter replies, "Much better." When the boys, as a group, finally figure out that they are at the mercy of vampires, Peter says, "What a time to be caught without a turtleneck."

Davy convinces the Wolf Man he is getting a rotten deal from his hosts, and acts as his agent to get the Wolf Man a "better percentage of the profits, cookouts on the weekends, and... he wants to play his own music." (Surely inside references on a couple of those items.) Lorelei confronts Peter all alone, and he tries to leave. When she asks why, he says, "It's just that I finished reading all these books." "My goodness," she replies with mock surprise, "All 600 wall-yumes?" Lorelei pulls the same kissing/necklace stunt on Peter (with basically the same lines) as she did on Davy, making him her slave. The Wolf Man tries to carry Peter off for his own, but Batula uses his magical power on the Wolf Man: a string of Frankfurters.

Mike and Micky explore the castle and run into a mummy, whom they chide for being smelly and filthy, making the monster stomp off in shame. They realize Peter is gone by stating, "He's gone!" which is a standard catchphrase used in a great many Monkee episodes. They find a secret door and Mike disappears, and Micky finds himself face to face with the Wolf Man. "You'd oughta get a haircut," Micky tells him, "or they won't let you in Disneyland!" Micky runs from the werewolf but is found by Lorelei. For the third time, we get the kissing/necklace bit, and when Micky replies with the same response, Lorelei tells him to shut up in disgust. Mike finds himself on his own and opens a sarcophagus, revealing the mummy once more. He runs away and happens upon Batula and Lorelei making their plans. Mike tries to make notes, but Batula gets confused, so Mike has to ask him for an eraser. Batula gives him one, but they don't even notice him.

In the dungeon, Davy and Micky are chained to the wall, and they both decide to have one of their fantasy sequences to find out what it might be like to be an actual monster. The two of them suddenly show up as Dracula and the Wolf Man. Then Batula steps in and they order him out of their fantasy sequence, but Batula tells them to try to take off their monster makeup. It won't come off, and we see the camera and director's chair as they tell the crew to cut the fantasy. But Batula tells them it is no fantasy but reality, and they are under his power. My favorite line of the episode happens as Batula and his fiends push Peter and the monster into the moratorium to perform the operation. With great joy (and speed of tongue), Batula announces, "Hurry! Here we are in my beautiful moratorium in my beautiful castle in the dungeon with a beautiful fake backdrop... ready to start!" (I love how this episode keeps breaking the fourth wall over and over again. It is something the Monkees did in most episodes to a degree, but this one has some really great turns at it.)

Mike has been hiding in the sarcophagus with the mummy, and has convinced the creature to hand over its wrapping so that Mike can disguise himself. When he comes out of the sarcophagus, we see the mummy inside wearing long red underwear. Batula is ready to start the operation, but he mistakes a bone chisel for a scalpel. When he asks what a bone chisel is used for, Mike says, "It's used to split!" and then he takes off with whom he believes to be Peter on the gurney. Mike frees Davy and Micky, still in their monster makeup, from the dungeon, but Batula uses his mind control to have them attack Mike. Mike tries to wake up Peter on the gurney, but it turns out to be the actual Frankenstein Monster, and Peter turns out to be back with Batula, who turns on the energizer switch to activate the monster.

With just a couple of minutes left in the episode, we finally get a musical sequence, built around the song Goin' Down. The fast-paced tune, punctuated with horns and featuring scat-style singing from Micky, accompanies a series of gags involving the two wolfmen competing over a fire hydrant, Mike giving Batula an exploding cigar, Davy's height (or lack of it) coming in handy when being attacked by a taller, stiff-armed Frankenstein Monster, Mike messing around with the monster's electrodes, Batula and Davy doing a riff on the vaudeville mirror routine (directly referencing the Groucho version from Duck Soup), and a dance-off between Lorelei, the suit of armor, and the Frankenstein Monster.

The Monkees, of course, escape during all of this madness. At the end, they are seen standing in the living room of the castle, and to show once more the connection of this episode to Bud Abbott and Lou Costello Meet Frankenstein, there is a closing confrontation with the Invisible Man as there is in the film. Or is there? A book floats in midair in front of them, but Mike pulls out a pair of scissors and cuts a wire to show that it is nothing more than special effects. "Tinsel and fabric!" says Micky in a mock W.C. Fields voice and we get the closing credits with the Monkees theme again.

It's as giddy a frolic as the first episode in the series, and you get the idea these guys could have continued on for more seasons if the whole Monkees franchise wasn't coming apart at the seams behind the curtain. The boys were already fighting for more control of their image and music, and the series would not go past the second season. Later in the year, a surreal (in the truest sense of the word) feature film called Head would be released, directed by show creator Bob Rafelson and co-written by Jack Nicholson (!) in which the Monkees would distort and mock their squeaky clean TV personas. The film would be a flop at the box office (but naturally became a cult classic) and their heyday at the top of the music charts was all but over. Peter would leave the group by the time their seventh album, Instant Replay, was released early in 1969, and two albums later, their ninth album, Changes, only featured Davy and Micky, with Mike Nesmith moving on to a successful solo career.

I am a huge fan of the Monkees music, but because of my early exposure to the TV series, I think of them equally as a comedy team as I do as a musical group. Their wacky skits and antics were entirely formative to my way of seeing the world, and perhaps, in a detrimental fashion, affected how I dealt with the "normals" I have encountered throughout my life. I have never been able to take even the most gut-wrenching situation entirely seriously, and as much as I like to point to the Marx Brothers as the progenitors of this attitude in my being, I have to give equal credit – as others in my life would be sure to render equal blame – to the "don't give two shits" positioning of the Monkees on their TV show.

Of course, we are now in 2016, with a new Monkees album, Good Times! (featuring all three living members), has made it to the Top 20 on the Billboard album chart (Rolling Stone even gave it 3½ stars). They are also on tour, though Nesmith only makes sporadic appearances (as he has for years). But the Monkees, far beyond what anyone thought they would, are still with us. The show is still in syndication here and there, especially with the big revival in cable channels that specialize in "rerun" television. They are even still on DVD and available online. But while they got big boosts from series revivals on MTV in the '80s and '90s, I think The Monkees TV series has somewhat fallen between the cracks since then. And to really proclaim love for the Monkees, you have to love The Monkees TV series. It's part of the whole package. Check it out if you have never seen it. It's a delight.

RTJ

*****

And in case you haven't seen it...

Bay It, Don't Spray It, Wolfie!!!

Sure, you might recognize these two good fellows, but you may not believe the form in which they arrive. Yes, it is quite clearly the Wolf Man and his on again/off again pal, the Frankenstein's Monster, and they are most definitely in some degree of officially licensed Universal Monsters design here in these pretty nifty toys that I obtained in 1991.

But what are they? Well, take a look at the corner of Frankie's mouth (my favorite part of the sculpt is that sneer he has) and what looks like an odd gap in Wolfie's teeth. These guys are nothing more than water squirters (or really, they will squirt whatever weird thing you want them to squirt, you sickos...) released by a company called Happiness Express, Inc. ("H.E.I." on the bottom of the toys). Also on the bottom is a matching 1991 copyright date for Universal ("U.C.S.").

Honestly, these were fun for a few days, but you could only squirt so many people with them  – back and forth – or pull pranks on the unknowing, before the game got old. I suppose others might have used them for other liquids (and therefore, other types of games) beyond water, but just like with plastic squirt guns, you start to wonder if you should really be drinking out of painted rubber in any amount.

It is remarkably hard to find much in the way of information about these toys. I found someone selling the Wolf Man on eBay, but they had no extra information. I did find someone online in a monster forum who mentioned these were manufactured exclusively for Woolworth's

Since Anchorage, Alaska still had a Woolworth's downtown (barely hanging on, like everywhere) in 1991, it is very likely that I purchased mine there. Woolworth's closed its doors everywhere in the world (there was still one in Fairbanks, Alaska at that point too) in 1997, but I remember finding a lot of unique baseball card sets branded with the company's name at the Anchorage store, and I used to find many cool toys, costume ideas, and music bargains in those too crowded shelves and pathways. (My fondest memory of the place was a little diner area at the front where I used to always buy a grilled cheese sandwich, fries, and a Dr. Pepper, but it was cleared out a few years prior to the store's ultimate closure. The place is now a gift shop, I believe.)

Found on eBay this morning.
Don't know about other
characters.

I did find someone selling an official Dracula squirter head from the same 1991 Happiness Express series on eBay (it was going for just under twenty bucks), but as to other characters in the series, I do not know. I really hope that there is a Creature from the Black Lagoon head out there somewhere, since he was heavily promoted along with these guys by Universal in that period (as he should). A Bride of Frankenstein would be really great to see too.

RTJ

[The pics of the Wolf Man and Frankenstein's Monster are of my own toys. Feel free to repost as you wish, but please credit this blog.]

Rixflix A to Z: Abbott and Costello Meet Frankenstein (1948)

Director: Charles T. Barton

Universal, 1:23, b/w 

Crew Notables: Bud Westmore (makeup), Walter Lantz (animation), Eddie Parker (stunts) 

Cast Notables: Abbott and Costello, Lon Chaney Jr. (Lawrence Talbot/The Wolf Man), Bela Lugosi (Count Dracula), Lenore Aubert (Dr. Sandra Mornay), Jane Randolph (Joan Raymond), Glenn Strange (The Monster), Frank Ferguson (Mr. McDougal), Vincent Price (the voice of the Invisible Man), Charles Bradstreet (Prof. Stevens) 

TC4P Rating: 7

Abbott: I know there's no such person as Dracula! You know there's no such person as Dracula!

Costello: But does Dracula know it?

As it was with me, this is the film that the youthful monster enthusiast should perhaps first see before progressing on to the older, darker fantasies that preceded it in the Universal canon. Not that I had any choice in the matter; it was by sheer providence that this was my cinematic introduction to Universal's versions of Dracula, the Frankenstein Monster, and the Wolf Man (and to a far lesser degree, the Invisible Man). I certainly knew of the creatures; it's hard for someone in our culture not to know those names, whether interested in the genre of horror or not. But this film provided a major catalyst for me, and it was not long before I was scouring the Eagle River Public Library and the library at my elementary school for more information on these and similar creatures and films.

Two elements of this film with whom I was already fairly well acquainted at the time were Abbott and Costello, having first seen them in a television double feature of Hold That Ghost and Abbott and Costello Go to Mars one Christmas morning the winter before I saw this film. But my first introduction to the pair was on an Old Time Radio cassette which held on one side the complete radio show in which they performed their famous "Who's on First?" routine (a Danny Kaye broadcast was on the other side), and to say that I played the hell out of that tape would be backed up by the fact that I eventually wore the thing out to the point where I purchased another copy of the same cassette tape a couple of years later. My baseball fanaticism of those years had also unwittingly bought me a ticket into the slapstick-and-wordplay world of Abbott and Costello; it was my increasing interest in horror movies that would seal the pact forever. My worlds came together.

That the film is excellent entertainment, even outside of being a fun monster mash, is seemingly a happy accident. This is Bud and Lou at their sharpest, and even the flintiest throwaway gag bounces back, if not with laughter, then an amused smile from the viewer. The opening credits reveal the creatures to us in charming animation produced by Walter Lantz, and even makes sure to include the fourth monster at large in the film: Lenore Aubert, a femme fatale scientist who pretends to be enamored of Costello so that she may steal his brain later in the film. This is not out of respect for his grey matter, but rather for his lack of it. Aubert's employer, Count Dracula, wants to place it in the Frankenstein monster so that he will become more "pliable," to use the Count's term. Larry Talbot, the Wolf Man, played with earnest charm by Lon Chaney, Jr., shows up to convince Bud and Lou to help him stop Dracula. Only Costello believes him, as usual, and mistaken identity monster chaos becomes the order of the day.

Everyone in this film, even Bela Lugosi, seems to be having a great time, and maybe that is why it still plays so well today, much more so than the later Abbott and Costello monster films where the elements sank back into the formula they were meant to subvert. While the monsters don't really get to be themselves fully in this family comedy – only one person dies at the Monster's hands and Wolfie only gets to scratch someone, though Drac does get to make a conversion for two points (those points being on the ends of his fangs, that is...) – the film itself, while a comedy, always takes the situation of their mounting threat to humanity seriously. Surprisingly, the monsters are not belittled in any way, but paid the respect due to the truly terrifying amongst the creatures of the night. It seems more like someone just planted Bud and Lou into the middle of the monsters' normal machinations, instead of taking a formula Abbott and Costello comedy and just adding monsters to it. However they did it, the results are still marvelously entertaining and the film is a must for perennial Halloween viewing. It is in my household anyway.

Most importantly, after this film, I knew for certain that Dracula was a real person, if even Dracula himself might not acknowledge it. But, to my joyous surprise, there was so much more to learn about the Universal Monsters. It would just take a little while for me to "collect 'em all" on my viewing list.

RTJ

[This review was edited and updated with new photos on 11/14/2016.]