But the notion of phoning up people cold is so Nineties. “Some of it’s really sick,” Thom Yorke told Select in May 1993. Together they terrorized the Gotham area via telephone, pleading with unsuspecting piano tuners to help “get my fuckin’ dawg out from inside the piano … he’s a Rottweiler,” urging strangers to “fuck my wife up the ass,” or doing battle with rigid receptionists. It was the product of Johnny Brennan and Kamal Ahmed, two childhood friends from Queens who called themselves the Jerky Boys. In the early Nineties, fellow Thames Valley alt rockers Chapterhouse passed Radiohead a bootleg tape of prank phone calls that had been making the rounds in the New York comedy underground. The title comes from a Jerky Boys prank-call skit.
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We didn’t really know how to use the studio.” They would learn fast, leading to 1995’s The Bends, beginning a creative run that has few rivals in modern rock.Īs Pablo Honey turns 25, here are 10 fascinating facts you might not know about Radiohead’s debut album.ġ. I like the first album, but we were very naïve. “The first one was quite flawed, and hopefully the new one will make more sense. “The second album is going to be much better than the first,” Thom Yorke told Melody Maker not long after the release of Pablo Honey. The band very nearly foundered trying to escape the mammoth success of “Creep,” but in doing so they redefined their creative goals.
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The song would be their free pass to the MTV age and beyond, and also their cross to bear. Their wish would be granted with “Creep,” the transatlantic smash which, for good or ill, eclipses everything else on the album. Singer Paulette McWilliams on Her Years With Marvin Gaye, Michael Jackson, and Steely DanĬhasteness, Soda Pop, and Show Tunes: The Lost Story of the Young Americans and the Choircore MovementĮven though they railed against the very premise on “Anyone Can Play Guitar,” Pablo Honey sounds distinctly like the work of a bunch of guys who want to be rock stars. Reviewed at the AMC Meyer Park 14, Houston, Feb. Hill music, Ira Newborn production design, Dan Leigh set decoration, Ronnie von Blomberg costume design, John Dunn sound (Dolby), Michael Barosky associate producer, Jonathan Glickman assistant director, J. Brennan, Kamal Ahmed.Ĭamera (Technicolor), Ueli Steiger editor, Dennis M. Screenplay, Melkonian, Rich Wilkes, John G. Executive producers, Tony Danza, Emilio Estevez. At its sporadic best, pic has something of the same beery and bawdy anarchic spirit that propelled the original “Animal House” and its many slob-comedy clones.Ī Buena Vista release of a Caravan Pictures presentation from Touchstone Pictures. Even when they’re nowhere near a phone, the two leads manage to get laughs with physical shtick and sarcastic silliness. “Jerky Boys” gets a surprising amount of mileage from a gimmick that is nothing more than a foul-mouthed variation of the old “Do you have Prince Albert in a can?” gambit. The latter bit is just one of many that will cause the politically correct crowd to fume. The thin narrative exists only as an excuse for Johnny and Kamal to do their thing as precocious impostors on and off the phone.ĭrawing heavily from the cast of characters they introduced on their comedy albums, they pretend to be a nightclub magician, a hot-headed gangster, a pair of roadies and, while hiding from Mafia hoods, a couple of bathroom-stall Romeos.
He believes there really is a Chicago crime boss behind Johnny and Kamal, and he’s bent on getting the Jerky Boys to lead him to this criminal mastermind.Īt once contrived and simplistic, the plotting in “Jerky Boys” is fairly slapdash and almost totally irrelevant. Trouble is, a hardboiled cop (Brad Sullivan) isn’t nearly so perceptive. (They’re even taken to a nightclub where Tom Jones - yes, the real Tom Jones - belts out a soulful version of Lenny Kravitz’s “Are You Gonna Go My Way.”) Just as naturally, the mob boss (Alan Arkin) quickly sees through the ruse.
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Naturally, Johnny and Kamal introduce themselves as the hit men, and are treated with the utmost professional courtesy by their underworld hosts.
Johnny calls the mob headquarters, passes himself off as anotorious Chicago hood and gets the goodfellas to believe two hit men will need their hospitality. When a former high school classmate (James Lorinz) gets a little too cocky about his low-level job with the local Mafia branch, the Jerky Boys decide to have some fun. Chronically unemployed and proud of it, Johnny and Kamal are thirtysomething loafers who spend most of their time making the kind of prank phone calls that, in real life, have already generated two top-selling comedy albums.
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