Retrospection

90. Disco Jason

In our Halloween episode we're slicing and dicing our way through, Friday 13th Part 3, from 1982. Along the way we discuss what a Herbie/Jason crossover could be like, Paul homages himself, and Colin gives Paul garden furniture advice. How can you resist? Music is by Harry Manfredini. 

89. Nine Inches of Solid Wood

Join us as we travel down the cul-de-sac that is the short lived American series, The Highwayman, from 1987-88. Along the journey we wonder how a rural sheriff has so many Police cars, we take a stop at the exposition car park, and reverse into a conversation about stealth. Music is by Stu Phillips. 

88. If We Were Chickens

In this episode we're spacing out with the film, Saturn 3 (1980). Along the way we talk about the troubled production of this Kirk Douglas, Farrah Fawcett, and Harvey Keitel, sci-fi thriller; we discover Paul's opinion of Fawcett, complain about airlocks in ceiling and wonder why people don't call killer droids nice names. Music is by Elmer Bernstein. 

87. What a Turnip

In this episode, we're wading through Congo from 1995. Along the way, Colin discusses cloning Paul while he reveals his risky band name, and we discuss a technique for leech removal. Music is by Jerry Goldsmith. 

86. That's Tachyons For You

In this episode we're on the run with a rat-pack of fugitives from the Federation, as we're joining the crew of the Liberator (sorry, Scorpio) with Blake's 7 (sorry, no Blake). This much-loved BBC sci-fi series ran from 1978-1981  and we're dropping in on series 4, episode 11 "Orbit".

Along the way Paul proves to be a naughty boy, we find the right amount of crazy, and our favourite guest star, "The Bear" makes a reappearance.

Music is the theme from Blake's 7 by Dudley Simpson. There's also a brief appearance of the Fingermouse theme performed by Rick Jones.

 

 

85. Underground Rumblings

In this episode we're slipping down subways, and twisting our way through tunnels as we step underground with the cult favourite American TV show, Beauty and the Beast from 1987. Along the way Colin explains what Paul's role really is, Paul tells his sock story... again, and we moan about ITV's lack of surprise. Music is from the series by Lee Holdridge.

84. Not a Crackle, or a Woggle

In this episode we're monkeying around with Beneath the Planet of the Apes from 1970. Along the way Colin moans about haughty telepaths, and Paul suspects that Dr. Zaius bought his medical degree online. Music is the opening theme of Beneath the Planet of the Apes by Leonard Rosenman, and a brief snippet of "Big Fat Oranguman" by Jungle Jim.

83. Go Bonkers or Go Home

In this episode we're singing along to the  short lived American series, Cop Rock, from 1990. Along the way we spend too much time talking about a different show (My Mother the Car), discuss the etiquette of urinal conversation and Paul vents his dislike of a certain composer. Music by Randy Newman and Mike Post. Vocals added to "Back to You" by INOSSI. Used under Creative Commons license, Creative Commons — Attribution 3.0 Unported — CC BY 3.0

Track can be found at (58) Melodic Rock, Guitar Instrumental [No Copyright Sound] [ FREE USE MUSIC ] - INOSSI - Back to You - YouTube

and Back To You (Free download) by INOSSI | Free Listening on SoundCloud

 

82. Emotions and Potions

In this episode we're full of swords, sorcery and silliness as we take a look at, She, from 1984. Along the way Paul gets annoyed by out-of-sync headbanging, we decide which is better to be, a Robot Frankenstein or headless, and ponder the availability of make up in a post-apocalyptic world. Apologies to Charles Aznavour and Elvis Costello. Music by Phil Campbell, Justin Hayward and Rick Wakeman.

81. Bend the Bell

In this episode we're taking a look at the culture shaping, cult UK TV series, The Professionals, which ran from 1977 to 1983. Along the way we air our grievance that Lewis Collins was never Bond, Paul pretends he can do a forward roll, and we both get nostalgic about the classic days of a tights wearing bank robber. Music is by Laurie Johnson.