I like knowing that Dick had a solid career, and that “Daddy-O” wasn’t his “one and done.”
I mentioned it in another thread, but Steve Alaimo was badly served by both the music and sound quality in Wild Rebels. He was actually a capable singer, and he had a long career in the music biz. He was in three other movies, too. Including one with Rita Hayworth!
(There was an obscure, but fun, Psych-ish pop band in the 1960s called The Mojo Men. Later shortened to just “Mojo.” They had a founding member named Jim Alaimo, but I don’t think there was any familial connection. At least, I haven’t found one.)
And, of course, that loser who did the music to “Daddy-O” and then quickly faded into obscurity.
If RT has not yet retreaded Daddy-O, I look forward to them doing so and shoehorning in at least 5 riffs about how low he ultimately sunk with fare like Crystal Skull.
Probably a wise decision on their part, as it makes the founding pillar of the movie (Rod nearly had a future in the racing biz but was a victim of bad luck) even more absurd than it was in the version we saw. Seeing him discovered in a diner Beatniks-style by an agent would’ve had near-credibility if it came on the heels of this number.
I’d almost like to see a re-riff, just to see them work that into a running joke after hearing the tune… and your racing cars, why?
[nod] I was never a faithful Sopranos viewer, but I remember the story arc about a relative trying to get belated justice for a musician who got fleeced by the Mob. ( James Baldwin once quipped that finding the line where entertainment leaves off and organized crime begins is like the old ads saying “Which Twin Has The Toni™?”) Ergo, the idea in Beatniks that the agent would’ve been confused and helpless in the face of some two-bit thugs is nonsense. Rod, as a pawn between two warring factions of gangsters with two different ideas of how to get some ready cash? Now THAT would’ve been a movie!