When they sang, on their first live album, “I ain’t never had too much fun,” Commander Cody
and His Lost Planet Airmen weren’t joking. Boy, were they ever fun! And like the song said,
there was never too much of it. Commander Cody and His Lost Planet Airmen were a freakin’
Here was a band—eight players strong—that did it all: rockabilly, Western swing, jump blues,
boogie-woogie, honky-tonk country, vintage R&B, straight-up rock ’n’ roll, sometimes all rolled
up into one irresistible conglomeration. If it was real, it was in their mix, the very definition of
Americana long before there was a kind of music called Americana.
And they made it all sound like a great big party.
On September 26, 2021, the “Ol’ Commander” himself—pianist, vocalist, de facto bandleader
and all-around good-natured guy—George Frayne, lost his battle against an unspecified illness
(rumored to be cancer). He was 77 when he died in Saratoga Springs, N.Y., his longtime home.
In a post on his Facebook page, Frayne’s wife, Sue Casanova, wrote:
“Early this morning
As I lay my head upon his shoulder
George’s soul took to flight
I am heartbroken and weary
And I know you are too
Thank you so much for all the love you gave
And the stories you shared.”
Commander Cody and His Lost Planet Airmen had formed in Ann Arbor, Michigan, coming
together from all over the U.S.A. George Frayne IV was born in Boise, Idaho, on July 19, 1944.
The others in the band—vocalist Billy C. Farlow, guitarists/vocalists Bill Kirchen (lead) and
John Tichy (rhythm), bassist “Buffalo” Bruce Barlow, fiddler and saxophonist Andy Stein,
drummer Lance Dickerson and pedal steel guitarist Steve Davis had arrived from such far-flung
locales as Alabama, California, Connecticut, Michigan, West Virginia and New York. The
band’s name was derived from combining a 1950s serial character named Commando Cody with
the title of a sci-fi film, Lost Planet Airmen.
In 1969, the octet relocated to Berkeley, California, where they quickly built a following at local
clubs while also putting on frequent free outdoor concerts and opening for all manner of bands.
Although CC & His LPA were the antithesis of the jam-based psychedelic bands still holding
forth at the Fillmore and the Avalon ballrooms—and avoided the stuffy, studious approach that
made so much of the budding country-rock of the era seem just a bit too precious—they were
embraced by the same audiences that enjoyed those other approaches. The Cody outfit sang
songs of truck drivers and the women who missed them covered obscure country and rockabilly
singles threw in some gospel, preached unabashedly about the joys of intoxication, and made it
At the helm of all of this was Frayne, a skilled pianist with a gravelly voice, a lascivious,
rebellious streak and a wicked sense of humor. They would have been a great band with any
competent piano player sitting there, but their namesake gave them definition. Even with eight
guys on the stage, fans couldn’t take their eyes off the piano player.
Signed to the independent Paramount Records, Commander Cody and His Lost Planet Airmen
released their debut album, Lost in the Ozone, in late 1971. While every track was a gem, a few
were highlights: The title track, written by Farlow, was a celebration of being out there, and
“Seeds and Stems (Again)” piled on the metaphors and sob stories to tell a tale of loss and
loneliness (“Well, my dog died yesterday, and left me all alone”). Cover tunes, among them
Buddy Holly’s “Midnight Shift” and “Beat Me Daddy, Eight to the Bar,” a scorching boogie-
woogie once recorded by the pop Andrews Sisters, gave FM rock radio DJs plenty to choose
But it was “Hot Rod Lincoln” that everyone loved. Originally recorded by country artist Charlie
Ryan in 1955, the speedy rockabilly-esque saga began with the declaration, “My pappy said,
‘Son, you’re gonna drive me to drinkin’ if you don’t stop drivin’ that hot rod Lincoln,’” and got
wilder with each successive sung-spoken line, guitar lick and sound effect. The single reached
number 9 on the Billboard chart in 1972, their only real hit, and boosted the band’s national
profile considerably beyond the New York and Bay Area bases where they were already filling
up theaters and college gyms.
For the follow-up album, 1972’s Hot Licks, Cold Steel & Truckers Favorites, Bobby “Blue”
Black came in on pedal steel guitar. The album, which mixed a few new originals with more
covers (including a pair of Little Richard nuggets), was somewhat slicker in production than its
predecessor, and was followed by Country Casanova in 1973. Live From Deep in the Heart of
Texas, recorded at Armadillo World Headquarters in Austin, Texas, in November 1973, was
next, giving listeners who had not yet experienced the raucous jubilation of a Cody show their
first official taste.
None of these albums were big sellers. The next one, simply titled Commander Cody and His
Lost Planet Airmen—their first release for the major Warner Bros. Records—reached number
58, the highest position they would ever attain. But it didn’t matter—what the band lacked in LP
sales they more than made up for with concert tickets, as word continued to expand about their
thoroughly exhausting, impeccably played gigs.
The making of that album, however, would later be the subject of a book, Star-Making
Machinery, by Geoffrey Stokes, that detailed the overall nastiness of the labyrinthine music
business while doubling as a chronicle of the slow, steady disintegration of the Lost Planet
Airmen. There would be a couple more albums—1975’s Tales From the Ozone; and another in-concert set, 1976’s We’ve Got a Live One Here!—before it all fell apart, the musicians going
their separate ways.
Post-LPA, guitarist-singer-songwriter Kirchen became a highly regarded figure in the Americana
genre, while Stein became successful as a session violinist. Some of the others stayed in music, some did not. Frayne himself soldiered on, forming several new groups with names like the
Commander Cody Band and Commander Cody and His Modern Day Airmen. He continued to
perform live well into the 2000s and to release new albums on a succession of labels.
Beyond that, Frayne continued to pursue his other great love, art. Having earned a college degree
in sculpture and painting from the University of Michigan while the Lost Planet Airmen were
still in their infancy, he created artworks that were used with various Commander Cody projects
(his brother, Chris, also painted, providing album covers for several of the band’s releases).
Among Frayne’s most oft-praised works were portraits of automobiles, reflecting another
lifelong interest of his. Frayne published a book, Art, Music and Life, in 2009.
Frayne also worked in the video and film media—a video he made for his solo track “Two Triple
Cheese Side Order of Fries” is held in the Museum of Modern Art’s permanent video archive.