Reviews

The theme of this 1971 show is Music, Music, Music, which is yet another trubute to composers, songs, and singers of the past. As such, in includes a number of pieces which were frequently performed, from early on with Brice, Jolson, and Miller, to more contemporary offerings.

Arthur Duncan does his usual routine to Big Noise from Winnetka, complete with windmills. Jimmy does I Left My Heart, Joe sings Be My Love, and Guy and Ralna perform Bye Bye Love. Bob Ralston once again converts Gershwin's 20 minute Rhapsody in Blue to 3 minutes, while the show's finale is Whoop Dee Doo. At the end, a cake celebrating LW's 68th birthday is rolled out on stage.

The 2002 wrap-around is hosted by Clay (died 2022) and Sally Hart. They perform two wedding songs they wrote, and reminisce about their time with LW.

I watched two episodes last night, featuring three cases: a woman with a tumor that hung down her back like a cape, a woman with a lipoid at the base of her spine, and a man with a ten-pound tumor on his right jaw.

It's clear this series seeks to exploit the popularity of Dr. Sandra Lee's "Pimple Popper" series, which has been on for a number of years. Although this is exclusively about tumors. It follows the exact same formula: a long background story of the patient, the procedure, and a follow up weeks later.

In this, it suffers from the same problem as Lee's show, lots of back story, little surgery. While the procedures are hours long, the time in the OR cumulatively is reduced to a relatively few minutes. So, effectively, the show centers on the patients' plight and the successful results. Thus it's more about the drama of the patients' condition, than about removing the tumor.

This episode has no theme, just the 1976 Season opener. As such there is quite a potpourri of music. It starts out with Glen Miller's "In the Mood," with no vocals. Other pieces include "Love Will Keep Us Together" by Tanya, "Feelings" with Guy and Ralna, a medley from "Show Boat," (Larry not hitting the low notes of "Old Man River"), and the Simonski's oft-repeated "Sisters."

Jimmy, Gale, Sally, and Mary Lou do "For You," and then in a prerecorded segment Joe does "I Hear Music." Arthur reprises his tribute to Bill Robinson with the same vocals and steps. The program closes with Norma doing "America" for the umpteenth time. In other words, lots of repeated songs.

The 2007 wrap around features an interview with Arthur (died 2023) who recounts the same stories he always does.

An OK show.

This 1975 show celebrates band music in a more melodic mode. It features the work of such leaders as Whiteman, King, Waring, Martin and, of course, Lombardo.

What has always been problematic with the "Salute to Bands" theme is that the top-heavy number of singers over-weighs the instrumentals. The same is the case here, as there are 11 vocals, 6 instrumentals, and 3 dances. Clay Hart and Ava Barber abandon the theme completely with the Western duet of Cool Water. Ralston sticks in a very abbreviated version of Tchaikovsky's Piano Concerto.

The wraparound from 2000 features Barney Lidell and Henry Questa (both died in 2003) with a backup combo. They reminisce about their time with the band and tell a few anecdotes of their experiences.

A well-done show overall of an oft-done theme.

This offering begins, as most others, with Easter Parade, the only piece that has anything directly to do with the theme. Other religious songs include Abide With Me, Peace in the Valley, and Fairest Lord Jesus. Somehow, two Christmas songs got in: The Most Wonderful Time of the Year and Jerusalem. Of the 20 songs performed, 9 are purely secular.

The 2000 wraparound is hosted by Tom Netherton (died 2018). As with other hosts, he expresses his praise for LW, and gives a summation of where his career had gone, the various concerts he was performing, and ends with his Christian testimony.

A pretty good show, running 55 minutes, including Netherton's vignettes. Average song length wa 2 minutes 51 seconds.

This 1960 show was what the Welk Show was originally all about. The continuation of the Big Band tradition past the time it had already died. The show presents a parade of great songs, and all the band leaders who were identified by them.

Before it had become a variety show, with a bunch of singers, it was a big band program. And here we see how the members come out of the orchestra and perform. Everyone had a wide range of musical talent,

The 2008 wrap around feature Rocky Rockwell (died 2013), who reminiscences about his introduction to Welk and his time with the band, including the anecdote of Pete Fountain's toupee.

Probably one of the top five shows of the whole series.

Charlotte Harris (died 2019) is the host for this 2001 wrap around as the theme is how Classical compositions were "borrowed" to create popular songs. Some of the composers represented inlcude Tchaikovsky, Chopin, Grieg, and Leoncavallo. Thus we get "I'm Always Chasing Rainbows," "Hot Diggity, Dog Diggity," "Tonight We Love," and many others.

This is the period of a number of newcomers: Gayle, Sandy, Mary Lou, Guy and Ralna, who are now the oldsters in real life, hitting their 70s and 80s.

Gayle show her piano artistry with a Bacarach piece played in the style of Bach and Beethoven. The trio of her, Mary Lou, and Sandy wear long, loose dresses, as Sandy is pregnant and that was always a no-no for Welk broadcasts.

Charlotte talks in detail about her life and professional experience, and does a duet with her second husband.

This 1978 show, hosted in a 1999 wrap around by Norma Zimmer (died 2011), suffers from the same flaw as other holiday-themed shows: next to no songs which are actually associated with the theme. We get the Heel-Toe Polka, Til There Was You, a Meredith Wison number to celebrate his presence in the audience, but no Harvest Home, We Gather Together, nor any other traditional song.

Norma gets a lot of air time from Escondido, talking at length about here family: husband, sons, grand kids; more than is found in most wrap arounds.

This is Cissy's last Thanksgiving show, as she was fired not long after for having friends and relatives write in complimentary fan mail.

This particular episode is not often shown, the more common one features Anacani.

This Halloween show from 1979 is rarely ever broadcast. The host of the 1999 wrap-arounds is Ken Delo (died 2016) who gets a good deal of time in, including future concert dates, a solo, and a backround song from "Phantom of the Opera" for the closing credits.

It opens with a costumed cast, which somehow changes wardrobe quickly for the next numbers, then back into costume again. Which implies some prerecording of songs. There is the usual lip syncing; Arthur's tap dance is done with no taps on his shoes, syncing there too. One other observation is Ralston without a wedding ring, marital strife was not uncommon on the show, witness Guy and Ralna.

As with other Halloweens, finding appropriate songs was a problem, while vocal numbers in some became instrumentals here.

All in all, not too bad for the late years of the series.

This 1976 show commemorates the US Bicentennial. Part II, which is a continuation, is generally not followed up. Apparently it didn't make the cut according to OETV.

There are two medleys which each take up over 3 minutes each: Stephen Foster and Cohan. "Dixie" and "St. Louis Blues" also run over 3 minutes. These are balanced out by a 1 minute+ dance number by Bobby and Cissy and Anancani's song. All in all, 15 pieces averaging 2 minutes 24 seconds. Typically for a Welk show.

Probably one of the best theme shows of the run, despite the abbreviated songs. Dale does "Shenandoah" for the umpteenth time. There's "Stars and Stripes Forever," and "The Battle Hymn of the Republic" to round it out.

The 2012 wrap around features Bobby, who has little to say.

This 1977 Salute to Nashville, one of two, the other from 1982, answers the musical question: What do you get when Champaign Music meets Country? Unfortunately, very little good. Arrangements for the band have little to do the Country sound. The same can be said for Norma's, Jimmy's, Semonskis' (minus one sister), solos. Kathie Sullivan's "Secret Love" is from "Calamity Jane," more a Western than Country song.

Problem is, Welk had one Country singer, Ava Barber, who pumps her new album on the show, and then slides in another during the rap around. She also gets some time in for her drummer husband. And that comes closer to the theme than any other. The second is lip synced rather obviously.

This 1978 program, which is repeated often, is one of five "Salute to.." of the season. Probably half of the pieces were covered by so many others, that they can hardly be considered "Sinatra's". "Old Man River," for example, belonged to Paul Robeson. "Just a Closer Walk With Thee" was Ernie Ford's song. Left out are "Come Fly With Me," "Send In the Clowns," and a number of early hits.

The 2006 wrap-around features OETV producer Bob Allen, who recounts the story of the PBS connection to LW Productions. On the one hand, a nice story, on the other, rather sad. This show reflects how many of the band and singers are now gone, the most recent being Arthur Duncan.

Of course, at 84, Allen is long retired, if still around. And the PBS beg-a-thons have moved away from Welk to Motown, folk, and rock productions; the next set of oldies, like me, with deep pockets.

This 1982 program is one of the last of the whole series. Its premise is songs the audience rated highly. As such, you get both the bands and the singers participating in a bunch of eclectic music..

Meredith Wilson is in the audience, and thus a medley from from "The Music Man," but only three songs. Norma sings "You'll Never Walk Alone." Cuesta does "Just a Closer Walk With Thee." Ralna has her wedding ring back on, though doesn't seemed thrilled doing " I Can't Stop Falling in Love With You" with Guy. Plus a bunch of other 2 minute pieces.

Overall, a pretty good end of the run show. LW is 79 at this point, and seems to have trouble reading the cue cards. The wrap around interview from 2007 is with the writer producer of the all the follow-up shows.

Also, RIP Arthur Duncan.

As with other episodes, this is constructed with two parallel story lines, both based on love. The first is 13 year-old Elizabeth's infatuation with the new minister, the second Miss Emily's on-going love for Ashley. The twist is that, in the former, the love is lost, due to the obvious age difference. In the latter, the love is found, through the discovery of a letter and symbol of Ashley's love for her. Really very well done all around, with an especially good job by Elizabeth's character. There is also a marked juxtaposition of the actions of Miss Emily's father in the past, with that of Elizabeth's.

In answer to the question of the piece Jason played during the daughter-father dance, it's a waltz by Chopin.

This 1981 program, part of the last season, is really themed on one of LW's books. It has a really nice collection of songs, both instrumental and vocal.

A few interesting things to point out, though. Jack and Mary Lou's tap routine shows them without taps. "Our married couple, Guy and Ralna" were separated, and every effort is made to hide the fact she no longer wore a wedding ring, although he did.

Beyond that, the drum duo of Paul and Jack is great. The Disney medley arranged by George Cates is excellent.

Always sad to realize that there are really only a handful of people are left from the band, not to mention the audience. But, when you realize this show is now 42 years old, it's understandable.

This on more music show PBS offers during its Beg-a-Thon. That it is centered on folk music just shows what demographic they realize has the deep pockets.

It features groups from the past, most of whose original members are dead, and have been replaced. Others, Like Glenn Yarborough, have also passed away since the 2002 production.

By in large, the music is excellent. The Brothers Four perform very well, as do the other groups.

The Smothers Brothers and Judy Collins serve as hosts. She is great. They perform the same schtick they've bee doing for over 50 years. Start a song, interrupt. Tom does his stupid routine. Start again. Interrupt.

While the show here says 2 hours, PBS cuts it to 90 minutes, with the same pledge break formula: 15 minutes of show, 10 minute break. All in all, 55 minutes of of show, 35 of selling DVDs. So, almost 40% advertising. Hence the 4 stars.

This 1967 show, as the title suggests, celebrates winter. The Lennon Sisters are still around, but by this time Aladdin had left. LW had started prerecording pieces by this time. In this case, Bobby and Cissy's dance in skating attire is immediately followed by a Joanne Castle piece where they're dressed completely differently.

As an episode from Welk's Golden Age, there is little to criticize. Only problem would be, as with other shows, is that fewer than half the numbers actually corresponded to the theme. This was the case with Halloween, Easter, and other holidays. And was never really resolved throughout the series.

Yes, the whole of this superb episode revolves around the admonition of the Roman poet Horace: "Seize the Day." It is the purpose of the space probe which, in 20 minutes of possessing Picard, presents a society's whole culture. It's repeated in father's advice to his daughter.

Patrick Stewart is absolutely brilliant. The expression on his face at the death of his wife is heart-breaking. His transformation into an old man is equally impressive.

Much the same may be said for the other actors. They so convincingly play their parts that the episode breathes sincerity.

It, along with "Darmok," is one of my favorite episodes.

This 1972 offering once again uses the theme of travel and places as its pretext. It is apparently one of PBS's favorites, judging from the frequency it is broadcast. The other 1600 shows gather dust in the vault.

Problem is, with a few exceptions, there is next to no relationship between the songs and the places. Somehow, the "Battle Hymn of the Republic" finds its way in, with no Civil War site as the background.

That it dates from this period is given away from the beginning with the avocado polyester sport coats worn by the band. But once color came to LW, fad hues and clothing habitually showed themselves.

All in all, an average show, but not as good as others during this time frame.

The 2010 wrap around features Bobby, who gives a litany of the places he and his family have traveled. A sort of "I've Been Everywhere" in prose.

This 1982 show is the antepenultimate of both the season and the series. It's supposed theme is "Southern California," but only one song, "California Dreaming," even mentions the state. Norma does "Sound of Music," the choir sings "America," and the band renders a terrible version of the "1812 Overture." Jimmy and Tom are nowhere to be seen No solos for Joe or Kathie.

The 17 songs performed take up 36 minutes, or the usual 2 + minutes per piece. This was customary throughout the 70s and 80s; too many people, not enough time. The lip syncing of prerecorded material is particularly obvious.

The 2007 wrap around features the Otwells, who recount their Welk and post-Welk career.

All in all, an average presentation, particularly for the end of line shows.

This 1973 program honors the work of Johnny Mercer and Henry Mancini, with the latter as a guest. Unlike his later appearance, in which he shows up with about ten minutes left, in a pre-taped segment, here he is first at bat.

The selection of songs is quite good, starting with HM playing "Days of Wine and Roses." Again, you get the same 2-minute apocopated versions, but anyone who has watched over the years is used to that.

The only question would be why PBS and OETV presented this the day before July 4th, when they had plenty of Independence Day offerings. But. Then, they pulled the same for Easter and Memorial Day.

This is one of the better--maybe the best--of the last two years of the shows run. A nice selection of songs which, more or less, stuck with the theme. A fairly complicated set, with a merry go round consisting of old time carved horses.

Absent was Ralna, this being the period of her psychological problems. But, back for some reason, was Buddy Merrill. Although he pretty much was in a backround role.

Wrap around guest was Rose Weiss, and her anecdotes about costuming.

This 1975 show is, as the title suggest, a salute to Hollywood; one of a number of the same theme presented throughout the Welk run. Credit PBS and OETV for broadcasting it on Memorial Day weekend, much like the tribute to Jerome Kern done on Easter Sunday.

It covers a wide range of movies: "The King and I," Sound of Music," "Butch Cassidy"...And, as usual, each song is abbreviated down to 2 minutes.

By this time, Welk is left with two violinist, Joe and Bob. Also, Myron is completely missing, with, of course, no mention of his absence. The wrap around features Gail Farrell (again), with the same anecdotes she always tells.

Not a bad offering, below the level if the 1955-68 shows, but better than the last few years.

Although Welk announces that this show is dedicated to the Dakotas, the lack songs about them belies the statement. They do, however, play a number of pieces during his stay in South Dakota.

What really stands out here is that the troupe still had not mastered lip-syncing, or instrument syncing, for that matter. Words come out without lips moving, and music without instruments played. This was something that never really did improve, especially with Larry Hooper.

All in all, not a bad show, and a good deal better than those of the late 70s and early 80s.

Let me start out by saying that WC still presents the best weather reporting on television, when their programming is in that direction. Unfortunately, much has changed over the years, and not for the better.

To begin with, all the programs have been homogenized; the titles of each segment mean nothing. Every one is from the same weather lab. This is most notable in what is still called Weather Underground, even though that basement set was long ago abandoned.

But even more disturbing was their move to "reality" television, broadcasting programs on wreckers, gold and jade hunters, ice pilots and whatever else, bought from Canadian producers. These take up 12 hours of the broadcast day on weekdays, and an astounding 18 hours on weekends.

Hence my 4-star rating, which reflects the value of their forecasting and reporting, and takes into account all the air time which has nothing to do do with that.