Category Archives: Opera

Agguato Ostinato - Ennio Morricone - Uomini E No (Original Motion Picture Soundtrack) (CD, Album)

LibriVox volunteers record chapters of books in the public domain, and then we Album) the audio files back onto the net. We are a totally volunteer, open source, free content, public domain project. LibriVox volunteers narrate, proof listen, and upload chapters of books and other textual works in the public domain.

These projects are then made available on the Internet for everyone to enjoy, for free. There are many, many things you can do to help, so please feel free to jump into the Forum and ask what you can do to help! Spero che comprendano quanto li ho amati. Per ultima Maria ma non ultima. Il necrologio scritto in prima persona da Ennio Morricone. Photogallery 18 foto.

Puntuale la nota di cordoglio del Quirinale. Desidero far giungere alla famiglia del Maestro il mio profondo cordoglio e sentimenti di affettuosa vicinanza». Sono vicino ai Album) in questa triste giornata».

Su Twitter gli fa eco il premier Giuseppe Conte: «Ricorderemo sempre, con infinita riconoscenza, il genio artistico del Maestro Ennio Morricone. Ci ha fatto sognare, emozionare, riflettere, scrivendo note memorabili che rimarranno indelebili nella storia della musica e del cinema».

Il precedente Oscar, quello alla carriera dello aveva sempre visto come una specie di premio di consolazione. E di consolazioni il Maestro non ne voleva: se premio doveva essere, che fosse un premio al suo lavoro. Il mio pensiero va agli altri nominati e in particolare allo stimato John Williams», illustre collega americano autore del tema di Star Wars che in quella occasione dovette cedergli il passo, disse con la statuetta in mano.

Alla vigilia, Morricone aveva definito gli Academy Awards «una specie di lotteria» che, in cinque precedenti occasioni nel con I giorni del Album)nel con Missionnel con Gli intoccabilinel con Bugsby e nel con Malena aveva lasciato lui, razionale giocatore di scacchi, a mani vuote.

Curioso se consideriamo che, solo dietro grande insistenza di moglie e figlio, aveva accettato la proposta Agguato Ostinato - Ennio Morricone - Uomini E No (Original Motion Picture Soundtrack) (CD suo Album) fan Tarantino. Click to enlarge. Track listing: 01 Fucilazione Versione Lunga Customers who bought this product also purchased. I Mongoli 2CD. Goldsmith Agguato Ostinato - Ennio Morricone - Uomini E No (Original Motion Picture Soundtrack) (CD 20th Vol.

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Afscheid - Volumia! - 10 Jaar Volumia! Live In Ahoy (DVD)

Glennis Grace19 juniis een Nederlands zangeres. Toen ze nog best jong was deed ze al mee aan de soundmixshow en hierdoor heeft ze een aantal singles opgenomen. Ze ging door naar het songfestival, daarna ging ze door met zingen, hoewel ze nog weinig goede hits scoorde.

Ze heeft ook meegedaan aan Sterren dansen op het ijs chevron right. Glennis Grace en Tino Martin steken 'Zonder jou' in een nieuw jasje. Tino Martin en Glennis Grace hebben de klassieker Zonder jou in een nieuw jasje gestoken.

In de Acoustic Casino Sessions gaat Tino Martin regelmatig in duet met een collega uit het artiestenvak. Glennis Grace GlennisGrace. Volgen Ontvolgen Dit hebben we al maanden, klaagt de Whitney Houston-imitator. Datum do 25 nov.

Aanvang Zaal open Locatie Grote Zaal. Glennis Grace kan niet wachten om weer met haar band te gaan spelen en nieuwe muziek te laten horen. Glennis bracht veel tijd door in de studio waar een aantal prachtige nieuwe nummers ontstonden. Ook mochten Afscheid - Volumia! - 10 Jaar Volumia! Live In Ahoy (DVD) live favorieten vanuit het theater niet op het album ontbreken Glennis Grace heeft op Instagram boos gereageerd op de ophef die ontstaan is nadat de organisator van het festival 'Vier het Leven!

Neem contact met ons op voor meer informatie. Bij ons kun je bekende artiesten boeken voor elk evenement, zoals een festival of bedrijfsfeest Glennis Grace. Via Twitter laat de dolenthousiaste zangeres weten. Glennis Grace wist dinsdagavond lokale tijd in Los Angeles de jury van America's Got Talent opnieuw tot superlatieven te brengen.

Jurylid Simon Cowell noemde haar optreden 'briljant, classy, fantastisch'. Jurylid Howie Mandel beschreef het effect van haar optreden met een reactie van vriend en. Van singles tot verzamelalbums, van klassiek tot rock, je vindt het op Marktplaats Glennis Grace. Ze sleepte hiermee een platencontract in de wacht en haar eerste single I'm Gonna Be Strong behaalde nog datzelfde jaar de dertiende plaats in de Nederlandse Top We wensen de familie, vrienden en nabestaanden heel veel kracht en sterkte Glennis Grace: Het is tien keer drukker dan voor mijn deelname aan 'America's Got Talent' Muziek De Nederlandse Glennis Grace 41 bewees vorig jaar haar immense zangtalent nog eens in.

Glennis Grace uit de Jordaan, een wereldster in wording. Volgende week. Een avond uit met Glennis Grace! Geniet van ons Italiaans 3-gangen menu Tradizionale en onze beroemde zingende bediening van Pasta e Basta met als hoofdgast Glennis Grace Het ongekende talent van Glennis Grace zien we voor het eerst als ze in als jarig meisje de Soundmix Show wint als Whitney Houston, maar het grote publiek leert haar in kennen door haar deelname aan het Eurovisie Songfestival in Kiev. Na haar Russische avontuur zoekt Glennis de samenwerking met songwriter en producer Evert Abbing wat resulteert in een reeks prachtige.

Tijdens de clubshows in het najaar hoor je dus niet alleen haar vertrouwde muziek en covers van haar inspiratiebronnen maar verwacht ook heel veel nieuw en eigen werk Glennis Grace' finale-optreden in America's Got Talent vannacht was 'sensationeel' volgens de jury.

Maar - je gelooft het niet - zelfs in de finale krijgen de kijkers nog 24 uur om te stemmen. It's So Hard is de derde single. Het nummer doet het goed, maar is lang niet zo succesvol als Nobody's Wife.

Bij concerten, zoals tijdens Noorderslag, roept de begeleidingsband nogal wat kritiek op. Anouk houdt echter stug vast aan haar begeleiders en ziet haar publieke optredens een enorm succes worden. Tijdens de Koninginnenach in Den Haag op 29 april trekt Anouk zoveel publiek dat de boel uit de hand dreigt te lopen en de politie besluit haar optreden voortijdig te stoppen.

Dit jaar heeft de zangeres op grote Europese festivals gestaan. Met veel Afscheid - Volumia! - 10 Jaar Volumia! Live In Ahoy (DVD) staat ze ook op Parkpop. Iets minder vergaat het haar op Pinkpop, waar Anouk een ei naar haar hoofd gesmeten krijgt. De zangeres antwoordt met het uittrekken van haar besmeurde T-shirt en het onverdroten voortzetten van haar optreden. Sacrifice, geschreven door Orfeo Bouman en Simon van Amerongen, tevens goede vrienden van de zangeres, is de vierde single.

Het liedje behaalt een mooie zevende plek in de hitlijsten. Met drie keer platina voor het album Together Alone is Anouk, na Marco Borsato, de best verkopende Nederlandse artiest van het jaar. Het is Anouk's eerste echte tour door Nederland. Behalve door haar begeleidingsband wordt ze bijgestaan door het rapduo D.

Ondertussen gaat in Amerika een grote publiciteitscampagne van start. De hoogste positie ooit door een Nederlands product behaalt. Ondertussen treedt Anouk door het hele land op. De tour wordt evenwel onderbroken door een keelontsteking die de zangeres noopt het een tijdje rustig aan te doen. Tussen alle bedrijven door gaan de voorbereidingen voor de nieuwe cd gewoon door. Omdat ze in Nederland geen rust kunnen vinden reizen Anouk en Bart regelmatig naar de Algarve in Portugal om aan nieuw materiaal te werken.

De demo's voor de nieuwe cd, waarop ze wordt begeleid door haar eigen band, klinken zo goed dat Anouk en mixer Erwin Musper besluiten ze de nummers te remixen in plaats van de nummers opnieuw op te nemen.

Dit resulteert in Urban Solitude, net als Together Alone een solide rockplaat met aanstekelijk up tempo materiaal en aansprekende ballads. Het is een gevarieerd en zeer persoonlijk album dat Anouks gevoelens en gevarieerde smaak weerspiegelt.

Zo bevat de pakkende eerste single R U Kiddin' Me zomaar een stukje ska, is Michel een gevoelige akoestische ballad, en gaan rock, funk en hiphop broederlijk hand in hand in The Dark en Don't. Ondertussen start de kaartverkoop voor haar nieuwe tournee, ditmaal Tournedos genaamd, waarbij Anouk een tour langs 17 zalen maakt. Meer dan De Amerikaanse frisdrankgigant is tevens hoofdsponsor van haar tournee. Anouk is de grote winnaar bij de TMF Awards. Ze wint er maar liefst vier.

Bovendien sleept ze twee Edisons in de wacht. Ze wordt door het publiek gekozen tot Beste Artiest en de jury kiest haar in de categorie Beste Zangeres Nationaal als winnares. Het album Urban Solitude wordt uitgebracht met bonus cd met daarop live opnames en twee videoclips. Anouk biedt op haar internetsite een aantal collectors items te koop aan. Fans kunnen via e-mail een bod doen op een gesigneerd Urban Solitude Songboek of een speciaal shirt met capuchon.

De hoogste bieders krijgen het artikel opgestuurd. De opbrengst van de veiling gaat geheel naar de Dierenambulance in Den Haag. De single Break Down The Wall komt uit en is alleen te bemachtigen door spaarpunten van Pepsi in te leveren bij het postkantoor. Na Afscheid - Volumia! - 10 Jaar Volumia! Live In Ahoy (DVD) maanden volledige rust is Anouk voldoende hersteld om naar Amerika te gaan voor nieuwe opnames.

Het eerste Nederlandse optreden na haar gedwongen rustperiode is op 8 december in de Jaarbeurs te Utrecht tijdens een feestje vanwege het 7 jarig bestaan van Radio Dyzack verzorgt het voorprogramma.

Het concert op 15 februari in het LVC te Leiden, in het kader van de Week van de Nederlandse Popmuziek, wordt afgezegd omdat Anouk een operatie moet ondergaan. Op 27 februari wordt het nummer Michel tijdens de Edison Music Awards door het Nederlandse publiek verkozen tot beste single van het jaar. Eind maart verschijnt Lost Tracks, een album met niet eerder uitgebrachte nummers zoals duetten met zangeres Sarah Bettens van K's Choice en The Anonymous Mis, alternatieve en akoestische versies van oude nummers en alle tot dan toe gemaakte videoclips inclusief de nog nooit vertoonde 'forbidden version' van Sacrifice.

Na de tour besluit ze met een nieuwe begeleidingsband in zee te gaan. Anouk staat op de grote festivals geprogrammeerd. Ze speelt voor de tweede keer op Pinkpop, Parkpop en Werchter. Anouk tijdens Parkpop met maar liefst Foto : Daylight. Het juryrapport looft haar veelzijdigheid, uitstraling, inzet en haar concerten. Ondanks dat Anouk hoogzwanger is, geeft ze daar een miniconcert waarbij ze de nieuwe nummers Hail, Who cares en het bekende Michel ten gehore brengt.

Ze wordt op gitaar begeleid door Lex Bolderdijk. Op 18 april bevalt Anouk van een zoon, die de namen Benjahmin Kingsley mee krijgt. De vader is haar levenspartner Remon Stotijn, zanger van de rap formatie Postmen. EliZe is geboren in Utrecht en opgegroeid in Bussum. Ze is 23 jaar oud en woont inmiddels in Amsterdam. Zingen heeft EliZe van haar moeder. Dat het zangvirus haar in zijn greep had, schemerde al op jonge leeftijd door. Als EliZe niet sliep, zong en danste ze. Het werd pas echt serieus toen EliZe Afscheid - Volumia!

- 10 Jaar Volumia! Live In Ahoy (DVD) op achtjarige leeftijd door de auditie van Kinderen voor Kinderen worstelde. Na vier jaar bedeelde dirigent Majel Lustenhouwer haar met het nummer 'Poster' voor het eerst een solo toe. Het jaar daarop nam ze met 'Het Tietenlied' afscheid van het kinderkoor. EliZe besloot het daar qua zang niet bij te laten en sloot zich aan bij Non Stop, een musicalkoor.

Daarin werd haar gevraagd of ze deel wilde nemen aan de Kinderen voor Kinderen Theatertour. Bedenktijd had EliZe niet nodig. Bij die tour, gepresenteerd door o. Henk Westbroek, werd EliZe weer herenigd met dirigent Lustenhouwer. Ook op deze uitvoering volgde Afscheid - Volumia!

- 10 Jaar Volumia! Live In Ahoy (DVD) staande ovatie van het publiek en uitte de gehele jury, onder wie Simon Cowell en Mel Blovende kritieken. Hiermee was ze door naar de kwartfinale, die als liveshow wordt uitgezonden. Een dag later vond de uitzending plaats waarin de uitslag werd bekendgemaakt. Grace had genoeg stemmen van de kijkers gekregen, waardoor ze zich plaatste voor de halve finale.

Na het optreden gaf de jury haar wederom een staande ovatie en lovende kritieken. In de finale op 19 september vertolkte Grace het nummer Run van Snow Patrol. Het publiek was enthousiast en meerderen gaven aan dat Grace de nummers beter vertolkte dan Rexha, maar toen kon er al niet meer gestemd worden.

Voordat de uitslag bekend werd gemaakt, werden van de tien finalisten eerst de vijf afvallers bekendgemaakt die de top vijf niet hadden gehaald. Grace viel hierbij af. RTL 4 zond de documentaire op 23 september uit.

Uit Wikipedia, de vrije encyclopedie. Glennis Grace. Een vetgedrukt getal geeft aan dat dit de hoogste notering betreft. Artiesten Nieuws 9 december RTL Nieuws 18 mei Geraadpleegd op 27 juni Algemeen Dagblad 27 juni Geraadpleegd op 28 juni Geraadpleegd op 8 augustus Algemeen Dagblad 8 augustus Geraadpleegd op 23 augustus RTL Nieuws 23 augustus Het Parool 12 september Doet maar in een emmertje Juffrouw Toos Oubollig en toch lollig.

Het lied van Oranje Ik ging naar Bommel om de brug te zien Ik wil dat ons land juicht. Pappie loop toch niet zo snel Pappie, ik zie tranen in uw ogen Patsy. Nu DVD. Kom van dat dak af! Reuzenrad Rocky Rozen die bloeien Rozen voor Sandra. Biografie Discografie Rene Schuurmans.

Mijn allereerste zoen Website Zoek meer In de tent - Live in America In het theater. Scheiden doet lijden Sjakie van de hoek Sneeuwwitte vredesduif Spiegelbeeld. Sinterklaas pagina. Alle songteksten Biografie Discografie Skik Zoek meer Bezoek de site. Biografie Discografie Stef Bos. Teddybeer Teddybeer Twee reebruine ogen. Een beetje vent wordt geen agent Ik weet Tante Sjaan Toch is er eentje.

Zeer veel songteksten Zoek in alle zoekmachines. Biografie Discografie. Ben jij ook zo bang Het beest in mij Morgen misschien Net als in de film Niks na de dood Stiekem gedanst Zoveel te doen.

Vergeet m'n naam Vrijgezel 44mm Apple watch bandjes. Als je weggaat in de nacht Bedankt lieve ouders Bedankt piraten Biografie Blauwe kinderogen Discografie Het kleine cafe aan de haven Nog meer songteksten Vader Abraham Videofragmenten Zo is het leven Zoek in alle zoekmachines Zou het erg zijn lieve opa.

Je veux de l'amour Liefde voor muziek Maria, maria ik hou van jou Meisjes Vlaanderen boven Zij houdt van vrijen Zjoske schone meid. Verjaardags- en andere liedjes. Hij kreeg bekendheid als leadzanger van de Heerlense band Volumia! In het najaar van gaf hij nog wel een concert in de Heineken Music Hall. Ook schreef hij het danslied Bewegen voor de editie van Kinderen voor Kinderen. In en nam hij deel aan het programma De beste zangers van Nederland.

Hij presenteerde ook het programma Zij gelooft in mijwaarin ex-gedetineerden een nieuwe kans krijgen om een liefde te zoeken.

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Posted in Opera | 9 Comments

The Eleventh House Blues

No Cover Charge! Blues lovers and players have made Jamey's their home away from home, and know that The Eleventh House Blues is the best place to come for some really good and inexpensive eats, ales on tap from Crooked Eye Brewery, fresh ground coffee and espresso, great music, and friendly people.

The vibe is home-like and cool, and the sound is out of this world. Jamey's provides a full The open mic jam runs from 1 pm to 3 pm, and the smoking hot Philly Blues Kings lays down a set from noon to 1 pm to get things rolling. Blues lovers new and old can come to play, eat, drink, chat and enjoy a day soaked in the blues. Many guests also like to host gatherings or parties during the brunch, as there are tables and chairs for dining, and comfortable seats to listen to the music - and it does not cost them a thing to meet up there!

Plus, it is wheelchair accessible, and has plenty of free local parking. Being right in the center of downtown Lansdowne, next to the train station, there is abundant public transportation as well. Check out the mouth watering brunch menu on our menu page. No reservations are needed. Just load up some friends and head on down! Your set should focus on blues music only.

Please do not attempt other genres or you may be cut off. You must sign The Eleventh House Blues name and instrument on the clipboard list first if you want to play. Guests will play between 2 to 4 songs depending upon the backlog of guests. Please have your set list and keys ready.

Keep the tunes simple so everyone can play without learning your material. Tune up before you get up to play. Singers should bring their own mic. If you use our mic, you will be handed a sanitary cover to place on the mic before use, and self-remove to the trash after you are finished.

Keep each song under 5 minutes. The jam is for beginners as well as experts, but players should be at least moderately proficient on their instrument of choice. Control dynamics. If you can't hear the vocalist or the lead instrument, then consider yourself too loud.

Watch your volume and turn it down, if asked. Players should vacate the stage area as quickly as possible, so the next group can get up. You can sign up again at the bottom of the list after your set.

Everyone gets a chance to play once. Every Thursday! Jamey's is proud to be the newest home base for the Philadelphia region's world class jazz community. We welcome players and lovers of all things jazz to come and hang your hat and enjoy an evening of outstanding live music, at no cover charge, in our cool and classy listening room and restaurant. We feature a full professional The Dave Reiter Trio lays down the backing for some out of this world jazz to happen, and you never know who might show up to join in.

Reiter is a long time jazz pro, and is equally at home on the 7 string guitar, Nord keyboard or our top of the line Hammond organ setup. Bill Marconi is on drums, his name is known to jazz aficionados around the world. Holding down the bottom on most nights, is first-call Philly bassist, George Livanos. Doors open at 6pm for dinner, no reservations needed, and the music generally starts at 8pm.

There is abundant local free parking, and we are a few steps from the Lansdowne train from Philly. We feature fresh cold ales on tap from the Crooked Eye Brewery, Fresh brewed Green Street Coffee, espressos and our excellent dinner menu earns rave reviews Our friendly staff is at The Eleventh House Blues service.

Won't you join us for a great night out? Your set should focus on jazz music only. It's recognized as one of the top small venues in the region, if not in the entire country!! It's doesn't get any warmer than being in Jamey's House! It's simply brilliant. Thank you for everything done to perfection. It was more than just the great sound, stage and set up. It was clear to me that there was such respect for the musician from the moment I walked in.

It's really a gem. Everybody try and get a date there!!! Just leave some room for us because we're definitely going back!!! A hidden, intimate live music venue with impeccable sound. Sat at long tables next to total strangers and it felt like being with family.

Delicious food and great craft beer the night I was there. Two big thumbs up. Thanks for contacting us. We've received your submission. President Trump has granted clemency to nearly 90 people since taking office — and can continue to exercise that power until President-elect Joe Biden is sworn in at noon on Wednesday.

The deadly Jan. Contact The Author Name required. Email required. Comment required. January 22, am Updated. President Donald Trump signs the pardon for Alice Johnson. Just before the Bluesmobile crashes through the Toys"R"Us, a man asks if they have a "Miss Piggy", while holding up a a stuffed Grover toy. This is a nod to the cameo appearance by Frank Ozthe man who provides both Muppets' voices a toy version of two more Muppets Oz also performed are visible in the same shot: Animal is sitting next to the counter and Cookie Monster is visible on a shelf in the background.

Paul Shaffer was an original member of the Blues Brothers Band, and was supposed to be in the film. According to Shaffer's memoir, he was also working on " Gilda Live ," and John Belushi fired him for being disloyal to the band. Dan Aykroyd's original script was so long that, as a joke, Aykroyd had it bound in the covers of the Los Angeles Yellow Pages. When John Belushi wasn't on-set, he went everywhere in Chicago. When he did, everybody was slipping him vials and packets of coke.

That was in addition to what he could procure, or have procured, for himself, often consumed in his trailer, or at the private bar on-set he had built for himself, his longtime friends, the cast, and any visiting celebrities. Carrie Fisherwho John Landis had warned to keep Belushi away from drugs if she could, said almost everyone who had a job there also dealt, and the patrons could and did The Eleventh House Blues almost anything there.

The exteriors and many interiors at Daley Center were shot on-location, including the shot of the Bluesmobile plowing through the courthouse lobby. In a interview for Universal, John Landis credited mob help, for getting permission from the Cook County Board of Commissioners for this alluding to the Board being mob-controlled at that time. He signs the receipt "R. Daley", a reference to the late Chicago Mayor Richard J. Daleyfor whom the plaza through which they drove with the Pablo Picasso sculpture was named.

John Wayne 's son Ethan Wayne was a stunt driver on the film. Every time the window in Elwood's apartment is visible, a train goes past. John Candy orders three orange whips. This line was not scripted; Candy just improvised. While also a cocktail, Orange Whip provided refreshments for the crew, and costumer Sue Dugan was the daughter of the Director of Sales for Orange Whip, Kenny Dugan, who asked the brand be mentioned in the film.

Mike Johansen named his cat Orange Whip. The popularity of the film boosted Ray-Ban's Wayfarer sunglasses, which were then experiencing some renewed popularity thanks to the rise of the "New Music" movement. From a few thousand sold through the mids, sales rose to eighteen thousand duringpartly because of the film, bringing the model out from the verge of withdrawal.

Their later use in the similarly Chicago-set Risky Business solidified their renewed popularity. The scene where Jake and Elwood are sneaking out of the concert into the tunnel was actually filmed underneath Chicago in a defunct electric narrow-gauge railway system. The railroad was used to carry coal and freight its ashes out of town. Later, one of the tunnels under a river was breached and the tunnels flooded, filling most of the basements in downtown Chicago with riverwater.

The horn section doesn't play in the song. In the original script, the Illinois Nazis were trying to buy the orphanage, and set it up as their new headquarters. When Jake and Elwood are stuck in traffic, backed up by Nazi marchers, they ask a cop what is going on, and he tells them, "Those bums won their court case, so they're marching today.

After the local governments provided various impediments to the Nazis' march, they eventually took the matter to the Supreme Court, which led to a decision in favor of the Nazis' First Amendment right to Freedom of Assembly.

The group subsequently did hold several Nazi rallies, but in Chicago instead of Skokie. According to Dan Aykroydmany theaters in the American South refused to show the film because they felt that there were too many African-Americans in it. Aykroyd believes the film would have done even better at the box office if not for the racism in the American South.

Little Richard was asked to appear and perform in this film. He declined, because he was only performing gospel music at the time this film was made. All the people in the concert were fans of the Blues Brothers. The limousine seen outside the Chez Paul belonged to the owner of the restaurant. He almost had a heart The Eleventh House Blues when the stunt driver smashed through a letter box on his first attempt at parking. In the mall chase, the woman who throws up cake and screams is deaf stuntwoman Kitty O'Neil.

The record label president who offers the Blues Brothers a recording contract identifies himself as representing "Clarion Records, the largest recording company on the eastern seaboard.

Lobbying from the Italian-American community ensured that the line "The Mafia's out there" was re-dubbed to "The Mob's out there" when the film was shown on television.

When Carrie Fisher is in the hair salon doing her nails, and reading the instruction manual for the flamethrower, the three pictures on the table are Fisher's character and Jake Blues.

In every picture, Jake is wearing his sunglasses and hat. Right before shooting the final scene, which required him to do all sorts of on-stage acrobatics, while performing at the Hollywood Palladium in front of an audience of hundreds of extras, John Belushi tried out some kid's skateboard, and fell off and seriously injured his knee.

Lew Wassermanthe head of "Universal Pictures," called the top orthopedist in Los Angeles, and made him postpone his weekend until he could shoot Belushi up with enough anesthetics to get him through filming. Over five hundred extras were used for the next-to-last scene, the blockade of the building at Daley Center, including two hundred National Guardsmen, one state and city police officers, with fifteen horses for the mounted police and three Sherman tanks, three helicopters, and three fire engines.

Dixie Square Shopping Center was used to film the shopping center sequence. Merchandise was purchased wholesale to stock shelves and whatever was not destroyed was returned. The sequence involved three hundred collisions, involving one hundred twenty cars, of which sixty vehicles were destroyed. Later, as Jake and Elwood leave the diner with Matt Murphy and Blue Lou, the argument can still be heard going on in the background.

If you look closely, as the camera tracks Blue Lou darting into the Bluesmobile, the argument has escalated into a fight. While at the phone booth, Elwood asks Jake "Who you gonna call?

Furthermore, the part of Peter Venkman was initially written with John Belushi in mind, though due to Belushi's untimely death, it went to Bill Murray instead. The place was famous for its rowdy fights. It has been closed for many years now. It was even rumored that Landis and Spielberg engaged in a rivalry, the goal of which was to make the more expensive film.

Its been suggested that it was amiable, since they were both friends at the time and have cameos in each others film. Elwood removes his hat three times in the film: when going to sleep in his room, to break the window to get into the Palace Hotel, and towards the end of the movie, when the Bluesmobile falls apart. His sunglasses are removed once in the scene where he quits his job at the glue factory "to become a priest".

Jake is seen without hat and sunglasses for the opening sequence in the prison, until he is given them by the corrections officer. His face is not seen at this time. Later, he removes his sunglasses once, when he is talking to Carrie Fisherbut never removes his hat. In the DVD and cable versions, Elwood doesn't wear sunglasses when he quits his job.

Impound Vehicle. Prospects for a successful release did not look good. Dan Aykroyd and John Belushi had left " Saturday Night Live " at the end of the previous season, reducing their bankability. Belushi's fame had taken a further hit after the commercial and critical failure of " " at the end The Eleventh House Blues the year. The bridge off which the Illinois Nazis drive during the car chase was in downtown Milwaukee, Wisconsin.

It was a ramp as part of an interchange that had not been fully developed. Later, that ramp was torn down and replaced. It also appears on the cinema sign behind where the Nazi Pinto crashes through the road. This is an Easter egg co-writer and director John Landis slips into all of his movies as a homage to Stanley Kubrick it's a line from " A Space Odyssey.

This line can also be heard as Michael Jackson watches his movie in the Thriller video, directed by John Landis. Retrieved 26 July Select singles in the Format field. Select Silver in the Certification field. Johnny Cash. The Johnny Cash Show.

Dyess, Arkansas Farm No. Folsom, California. Authority control MusicBrainz release group MusicBrainz work. Categories : singles singles Songs written by Johnny Cash Johnny Cash songs Billboard Hot Country Songs number-one singles of the year Song recordings produced by Sam Phillips Songs about California Songs about trains Songs about prison Songs involved in plagiarism controversies Works involved in a lawsuit Sun Records singles Columbia Records singles songs American rock-and-roll songs Rockabilly songs.

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Breakdown

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Choose the cover you need. Cover at home? Of course. Captain Carter Were the First Avenger? Next, with Free Guy topping the box office this past weekend, there's no better time to take a look at a key scene from the movie starring Ryan Reynolds. Listen as director Shawn Levy explains to The New York Times how they attempted to mimic the visual style of a video game, right down to Breakdown camera movement, in this scene where Reynolds' character Guy becomes aware that there's a part of this world he's been missing out on.

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Severed Heads - Dead Eyes Opened (Vinyl)

But it all worked the way it was meant to. Within five months of its domestic release, Is This It had sold overcopies. With the door kicked open by the Strokes, other New York bands who would never have expected to receive international attention became the focus of it, often with a similarly classicist bent. There was some protection in the idea that there was this romantic moment happening among musicians, but that didn't really exist.

The answer was consistently no. By the mid-aughts, classic New York punk had been so thoroughly gutted of its meaning that CBGB and Ramones shirts were conspicuously worn in multiple mainstream rom coms without a shred of irony. The situation got so dire that this very website called for a moratorium on CBGB shirts nine years ago.

Sadly, that call seems to have been ignored. Correction: This article has been updated to clarify the number of band members in the Strokes. By signing up to the VICE newsletter you agree to receive electronic communications from VICE that may sometimes include advertisements or sponsored content. We really felt like we were in Derry. All the exterior stuff was done in Stanley Park and I remember being amazed it was so woodsy and so far removed.

It was shot over a three-month summer period in VancouverBritish Columbia, Canada. For the opening scene where Laurie Winterbarger is murdered by Pennywise, Simmons' shots were done while Curry wasn't on set; Wallace stood at the laundry area of the backyard giving her simple directions for emotions. He turned to me and said "Hi! Filming It was not without difficult sequences.

The scene where the blood-filled balloon explodes in Beverly's bathroom required multiple takes due to how difficult it was to get the timing of the explosion right. In explaining why directing a screen version of a King story was difficult, Wallace summarized, "Stephen King is so good with language that he can make almost anything sound incredibly scary. Some of King's images translate to film.

Some are simply ethereal, like smoke. A lot of Wallace's directing was influenced by films he worked on with John Carpentersuch as Halloween and The Fog A trick table, puppeteers underneath, a handful of creepy little cookie models, a group of characters taken by surprise. So much depended on the details. Kersh scene, Wallace place several incidental details, such as Mrs. Kersh's teeth being rotten like Pennywise's, to give the audience a clue something was up; the scene also ends with Beverly Marsh in the middle of the street, with intentionally no extras around to add to the creep factor.

The majority of the special effects were done practically without digital alteration, [6] such as puppeteers being used to animate the fortune cookies in the Chinese restaurant scene. While It's lair features many cocooned humans, Sally Ray and J. Matalon sculpted only six of them, four children and two adults, for close-up shots. To work with the deadline, Mixon divided the design team of each It creature into four artists: "Each artist was given a considerable amount of freedom with his creations, with occasional input from Warren or myself to make sure we were adhering to Wallace's vision.

When designing Pennywise, Mixon focused on making him look as "friendly" as possible: "This creature is trying to lure children in, so he's not going to be a monster at first. Mixon began working on a head cast for the Pennywise character after Curry was cast in the role; he also designed three clay molds for testing.

According to director Wallace, "Tim [Curry] objected strongly to all the rubber. He had recently been in several movies Severed Heads - Dead Eyes Opened (Vinyl) covered him in prosthetics and I'm sure he felt all the glue and latex would just get in his way. He was right, of course. With those eyes, and that mouth, and his crazy, sardonic sense of humor, less turned out to be more in the makeup department.

In the scenes when the clown became vicious, Curry wore yellow lenses [63] and two sets of sharp teeth throughout shooting: a smaller set he could talk while wearing, and a less flexible but far bigger set for more horrifying shots. Dan Platt sculpted a puppet replication of Pennywise specifically for the stop motion scenes, with painting done by Mixon and the hair by Jack Bricker. Norman Cabrera sculpted the design of the werewolf. Only the "stunt" and "beauty" pairs are seen in the final miniseries.

For the part when Mrs. Kersh is revealed to be Alvin Marsh's corpse, Florence Peterson was still playing the character. The scene when the Losers find Stanley's decapitated head in the refrigerator was done via a split screen effect; it consists of one shot of Masur wearing a Jim-McLoughlin-designed "severed neck" with black areas filled in by another shot of the refrigerator without the actor. I had a problem with the spider. King was able to conjure it up in his head, but it was difficult to bring to the screen.

We set the tone and parameters in the first part of Severed Heads - Dead Eyes Opened (Vinyl) movie with Pennywise. But when you get to the spider, you move into a different world. It was supposed to be a horror movie, not Jason and the Argonauts. Joey Orosco, with some help from Henry Mayo, [68] used his idea to create a design that included the abdomen and multiple limbs of a spider; and shouldershipsand torso -attaching legs of a human; the body parts went through more than 16 concept sculptures.

As Wallace explained, the spider was far less "beefy and muscular" and more "lean and mean" then what was in the concept drawings; its face was also not suppose to be as visible as it was in the final cut, although he blames himself for letting that happen.

Brent Baker was inside the spider, previously going through three months of training in using it, where there was a video monitor showing him how the spider was moving: "It got a little stuffy, but they had a place where they could stick in a little hose if I wanted water or some fresh air. As Mixon described controlling the spider, "We used a certain amount of animatronics for the head, and the body had some of my crew members inside it.

Once we got it into place, we couldn't move it around too much, because it was pretty unwieldy. For some reason, they shot it in super slow motion, so it's no wonder it looks like it's not moving!

It was capable of more than what you saw onscreen. The final spider figure disappointed both the cast and Wallace. As the producers were about to throw away the spider, Bart's father Tom rushed to Fantasy II to obtain it; as of Januarythe spider resided in a Houston, Texas warehouse owned by Bart's parents Tom and Barbara.

It was composer Richard Bellis ' first score since his career "came to a screeching halt for some unknown reason" in Bellis' use of motifs and ostinatos in It were inspired by the works of Bernard Herrmann.

Bellis took a long time figuring out the first interval of the title theme, since he considered the use of a tritone overused in horror. The choice of calliopedrums, and bells for Pennywise's circus theme was obvious to Bellis; however, how he would use the bright-toned circus instruments was challenging in composing the theme for an evil clown. As Bellis described his thinking process, "Does the music have to be evil too?

Besides, calliope music is usually very busy— I use this instrument as a scoring instrument or will that just be distracting?

Maybe I can use it in a register lower than an actual calliope is capable of playing and just with single notes. And what about a sort of "demented" carousel?

Maybe I can create something that uses my major seventh interval? In the beginning of ItWinterbarger sings " Itsy Bitsy Spider " while riding on a bike, [25] which foreshadows the titular antagonist's spider form.

Wallace and the producers disliked the score particularly the title music according to Bellis. The first release of the score was in Februarybut only as a minute suite on the album Richard Bellis: Film Music Volume 1.

On October 18,guitarist Eric Calderone released his electric guitar cover of Bellis' circus theme for It. You'll know that this is no slasher film where stupid teenagers almost volunteer to be victims and bleed all over the screen. This is the terror of the unnatural, delivered by threats and special effects, not by corpses.

AllMovie suggested It pushed the television barriers not only with its amount of blood, but also with its themes of child endangerment. As It was a television production, its content had to follow Broadcast Standards and Practices. For instance, since blood could not come out of body orificesblood instead had to come out of physical objects such as sinks and photo books. However, the skeleton was supposed to be wet as it had just emerged from a river. The censorship It dealt with made it more of a psychological horror product, something different from most popular horror productions at the time.

It also features comic touches to its otherwise scary plot [86] [87] and was labeled by a retrospective review as being a campy production for its "fake-looking" It forms, the over-the-top performances of the main cast, and bizarre story elements, such as adults being terrified by balloons. However, this very appearance in combination with his evil acts is recognized as the major element of terror in the miniseries. ABC originally did not want King seeing the footage of It until after it was broadcast; however, the author threatened the network that he would not do any promotional interviews if he did not see it first.

King explained in a September Fangoria interview that he had seen the first hour of the miniseries, and that the rest was currently being edited. It was initially planned to air on ABC in May [92] before being moved to the " sweeps month " of November, [93] specifically the nights of November 18 [94] and November Just before the broadcast, a variety of predictions were made by television writers about how big It 's ratings would be.

Journalist Janos D. Froelich analyzed the final product of It as looking cheaper than ABC's previous sweeps month big events, which made her less faithful about it being successful.

It turned out to be the biggest success of for Capital Cities, owner of ABCgarnering nearly 30 million viewers over its two-night premiere. Nielsen to be recording it. Television experts reported "rave" [41] and not-so-fond reviews of It from television critics. Louis Post-Dispatch writer Eric Mink cherished it as "a gripping, bloody horror romp that will leave most of your major muscle groups aching from long stretches of constant tension.

Some critics highlighted its priority on character development over the typical horror traits of blood and gore, [80] [] [81] Richmond elaborating it was "all the more disturbing and believable by the fact that we are forced to care about these people as individuals. However, many writers also panned It 's long length and padding, [] [] [83] [] [] The Washington Times writer Rick Martin criticizing its lack of scary moments over a four-hour running time.

The most praise came towards It 's first part, a common highlight being the performances of the child actors [] [84] [] [] [] and its development of the Losers. The part had the most "impact" of the miniseries because it focused on children, a very "vulnerable" demographic of people, analyzed The San Diego Union writer Robert P. But we're also reminded what a soothing salve friendship was. Keller wrote the Losers' bonding "never lurch into the sentimental, but are deeply, powerfully moving all the same," also finding the back-and-forth flashback technique to be the miniseries' "most effective" aspect.

The second part garnered more criticism, a recurring con being the adult actors. Mal Vincent felt the adult characters unintentionally looked like "psychopaths" seeing It's mind images, but also liked the performers of the grown-ups more than most other critics: "they do manage, just as importantly, to suggest camaraderie and friendship which, considering they are mostly stars of competing TV series, is an achievement in itself.

The ending of the miniseries garnered the most disappointment with critics, even those most favorable toward the miniseries. InIt was re-released on VHS on a single cassette tape and was altered, removing the end credits from part 1 and the opening credits of part 2. These edits carried over to all future releases of the miniseries. While the climax may be somewhat unavoidably unsatisfying, it is nostalgically remembered for its strengths, including its unforgettably gruesome Pennywise portrayal, its memorably shocking moments of on-screen visceral horror [ Stephen King's It is considered by most fans to be the most terrifying made-for-television horror film of all time.

More time and more money would've helped in the visual effects department, but I think we did okay with what we had, and what we had, above all else, was a brilliant cast and brilliant material. Stephen King and I corresponded after the fact, and he felt as I did about the show's strengths and weaknesses, but overall was very complimentary. The site's consensus reads, "Though hampered by an uneven second half, It supplies a wealth of funhouse thrills and an idelible turn from Tim Curry as Pennywise.

Many retrospective pieces have spotlighted Curry's version of Pennywise, [] [] [] [8] [49] being called by several publications and scholars as one of the most terrifying clown characters in film and television.

Collins described it as "the stuff sleepless nights are made of. He gloats, he giggles, he taunts, he devours the scenery like the monster himself devours middle-schoolers — and he generally sears his way right into the brain of the viewer.

Collins and James Smythe of The Guardian claimed the miniseries to have a cult status[] [] Smythe using Curry's portrayal as the main reason: "To this day, it's Pennywise that people turn to if you ask them to picture a scary clown. Far more people than ever read the book have seen pictures of Curry's Pennywise, or have watched clips, or remember their siblings forcing them to watch it with them.

However, the other parts of the miniseries have faced more divided opinions. Smythe, while finding the miniseries enjoyable overall, also found the writing to be "clunky" and the other performances to be "soapy. Rozsa was also one of the few reviewers to dislike the child performers, describing their line delivery as "unconvincing.

Jonathan Barkin, in a review, wrote that the first part, while the best of the miniseries, suffered from "awkward attempts to tie everything together," where what is only shown is "the smallest of snippets and there aren't really any solid connecting lines. His overall criticisms includes its flashback structure and cheap television look, especially when it came to the spider and the "lazy" choice of close-up shots for Pennywise's scary faces.

There have been several internet memes using gifs of the scene where Pennywise meets Georgie. While King has admitted to enjoying the miniseries, calling it a "really ambitious adaptation of a really long book;" [6] Wallace, who only read the novel years after finishing Itstated in that he found the miniseries to be inferior to its source material. It ' s commercial success began a wave of miniseries adaptations of Stephen King works, such as The Tommyknockersanother miniseries where Cohen wrote the script; Rose Redand The two-part late s film version of It Chapter One and Chapter Two feature references to the miniseries.

A doll replica of Curry's Pennywise is seen in Chapter One in the scene where Richie encounters a room of clown dolls in the house on Neibolt Street; [] the doll was also included in the film's trailer.

It's very dated, you know? In Mayan Indiegogo campaign was created for Pennywise: The Story Severed Heads - Dead Eyes Opened (Vinyl) ITan independent documentary film about the production and lasting impact of the It miniseries. In Augustit was announced that Pennywise: The Story of IT co-producer Campopiano was producing a short alternate history sequel film to the miniseries titled Georgie.

From May 22 to May 29,the company Horror Decor sold Pennywise dolls as part of their Killer Carnival Punks collection that also featured doll versions of the clown from Poltergeist and Gunther from The Funhouse Factory Entertainment has released several products based on the miniseries: a lunchbox, Severed Heads - Dead Eyes Opened (Vinyl) a 15" Premium Motion Statue of Pennywise with an audio card playing some of Curry's lines, [] and a plush doll of the clown.

On July 25,HalloweenCostumes. On February 16,the National Entertainment Collectibles Association released various toys of the miniseries' Pennywise, such as a 2" tall scaler mini of Pennywise, [] an 8" bobble head of the character, [] a 6. In MarchJapanese company Kotobukiya, as the first product of their Dokodemo horror statue series, released a 3" ARTFX figure that replicates It 's shower scene, specifically the part when Pennywise comes out of the drain.

Ina episode Indian television adaptation of the miniseries, Wohwas broadcast. In SeptemberThe WB announced a two-hour telefilm remake of the It miniseries written by Peter Filardi and produced by Mark Wolper, both of whom previously worked on the version of Salem's Lot. From Wikipedia, the free encyclopedia. Redirected from It film. For the novel, see It novel. It by Stephen King. It 's child cast, which included Jonathan Brandis leftSeth Green middleand Emily Perkins rightgarnered praise from reviewers.

Convention photos of various cosplays of Curry's Pennywise, which has been the main reason for the miniseries' cult following according to writer James Smythe. Dayton Daily News City ed. January 1, ISBN USA Today. The Seattle Times. Archived from the original on March 30, Retrieved December 28, September The Hollywood Reporter.

Retrieved September 11, Retrieved October 21, June 8, Archived from the original on September 21, In Gamera 3: Revenge of IrisGamera's cute and friendly appearance is completely replaced by a much more violent and ferocious one. Gamera's head is even smaller in proportion to his body, and his eyes are also much smaller. The spiky crest atop his head is much more pronounced and resembles a mohawk. Gamera also has a small crest of spikes on the underside of his chin which look like a beard.

Gamera's shell is much larger in proportion to his body, and is composed of overlapping independently-moving spiky plates. The spikes from these plates extend over the edges of Gamera's shell, making them visible in his silhouette.

Gamera's arms are more bulky and muscular, while his hands are considerably less human-like with shorter digits and a greatly reduced thumb. His elbow claws are even larger and located closer to his hands. Gamera's legs are also much bulkier. Gamera's High Mobility flight mode now features smaller fin-like structures which protrude from his shell to act as air brakes.

The demonic Trauma Gamera which appears in Ayana Hirasaka 's nightmares looks mostly like Gamera himself did in G2but the most noticeable difference is his head.

Trauma Gamera's head is covered in spikes while his jaws are filled with jagged teeth. His eyes have no pupils and as a result appear emotionless and evil. Trauma Gamera's skin is a sickly grayish-blue, and his shell is covered in cascading uneven jagged spikes. True to his intended purpose as a guardian for the EarthGamera is concerned with the well-being of all life and selflessly puts himself into harm's way to defend other creatures from threats.

Because he fights for the greater good of all life on Earth, Gamera is not specifically concerned with just protecting mankind and as such often unintentionally causes collateral damage during his battles, such as when he first lands in Fukuoka in Gamera: Guardian of the Universe to hunt down Gyaos. This is taken to the extreme in Gamera 3: Revenge of Iriswhen Gamera finds himself overextended by the rapidly increasing worldwide Hyper Gyaos population and fights desperately and recklessly to kill two of them in Shibuya, causing major destruction to the area and killing countless civilians.

Even in such situations, Gamera will deliberately take action to save individual humans if he can. Examples of Gamera protecting individual humans or groups of humans include in Gamera: Guardian of the Universe when he defends Mayumi NagamineYoshinari Yonemori, and a child from a Gyaos' sonic scalpel, in Gamera 2: Attack of the Legion when he holds back the Mother Legion just long enough for the helicopter carrying Asagi Kusanagi and several civilians to take off, and in Gamera 3: Revenge of Iris when he defends a boy in Shibuya from Hyper Gyaos and later when he rescues Ayana Hirasaka from Iris.

Through the use of a magatama left behind by the civilization that created himGamera forms a telepathic bond with Asagi Kusanagi, granting him additional strength and a direct connection to humanity. Through this bond, Asagi remarks that she can read Gamera's thoughts, and repeatedly insists that he is deliberately fighting for all of mankind and other life on Earth. After Gamera is forced to sever this bond to defeat Legion, he seemingly becomes more reckless and less concerned with minimizing collateral damage, though as previously mentioned he still saves individual humans when given the opportunity.

Gamera is a guardian monster who was genetically engineered by the super-ancient civilization that spawned the myth of Atlantis. The Atlanteans are believed to have created Gamera by collecting the life energy of all life on Earth, known as "Mana," within a single vessel.

When the Atlanteans' previous creation, Gyaoswent out of control and threatened to destroy their civilization, they created Gamera as a last-ditch effort to stop the creatures. While Gamera was able to eliminate most of the Gyaos and force the rest into hiding, he was too late to save Atlantis.

However, in their last act the Atlanteans sealed Gamera away in an atoll with several magatama and an obelisk explaining his purpose, hoping that he would defend future generations should Gyaos reemerge and threaten the world again. In Gamera 3: Revenge of Iristhe skeletons of several Gamera-like creatures are discovered on the ocean floor.

The character Kurata Shinya proposes that these were "beta versions" of Gamera; failed prototypes that were discarded once the Atlanteans successfully created Gamera himself. The Gamera vs. Barugon mangaset between the events of Gamera 2 and 3takes this notion further and explains that the Atlanteans created several other failed prototype guardians, including BarugonZigraJigerand Irisin order to defeat Gyaos prior to creating Gamera. This manga however is not necessarily held to be canon.

Matt Frank 's The Last Hopean officially-licensed prequel graphic novel to the trilogy, depicts Gamera's entire origin, explaining that the Atlanteans used Mana to engineer multiple Gameras to combat the Gyaos which turned on them after defeating the Garasharp that menaced their civilization. All of the guardians were killed in the ensuing battle except for one last Gamera, who destroyed the Atlantean capital to ensure Gyaos would not return as a result of the city depleting Earth's Mana.

The surviving Atlanteans then sealed Gamera within the atoll with the obelisk warning future generations about Gyaos' return. While Gamera heavily resembles a giant turtle, director Shusuke Kaneko explained in an interview that "there are no turtles" in the universe of the trilogy, and as such no one recognizes Gamera as one, only calling him a "monster. In addition, the English subtitles for G1 have Yoshinari Yonemori call Gamera a "giant turtle" at one point, although this oversight is not present in the Japanese dialogue.

G3 also makes a connection between Gamera and East Asian mythology, suggesting that he is the Black Tortoiseone of the four guardian spirits held to protect the city of Kyoto. While transporting plutonium off the coast of the Philippinesthe Japanese freight ship Kairyu-Maru ran aground on a floating atoll, narrowly avoiding a disastrous radiation leak.

The atoll then mysteriously floated away, prompting a joint investigation between Yawata General Insurance and the Japanese maritime authority to locate it. The investigation party, led by insurance investigator Naoya Kusanagi and Coast Guard officer Yoshinari Yonemori, finally discovered the atoll and investigated it. They found numerous magatama scattered about, along with a stone obelisk which they unearthed.

When Yonemori touched the obelisk, he noticed that it was unusually warm and could hear a faint heartbeat. Suddenly, the obelisk shattered and the atoll split open. Yonemori was knocked into the sea, and could see a gigantic figure swim out of the collapsing atoll.

Noticing that the creature was swimming directly toward FukuokaYonemori quickly boarded a helicopter and flew to the city to warn the JSDF. When he arrived, he found the JSDF already undertaking an operation to trap three giant man-eating bird-like creatures inside the Fukuoka Dome. When the creatures finally arrived, two were successfully sedated and caged, while the third escaped through the still-open roof.

As the creature flew toward the open ocean, the sea monster rose from the waves and smacked it with his hand, sending the creature crashing into a refinery which exploded and killed it. The monster then came ashore and made his way to the Fukuoka Dome, alerting the two caged winged creatures. They escaped from their cages utilizing their supersonic scalpel beams and flew away. The monster then jettisoned into the sky and began spinning like a flying saucer before soaring away into the night sky.

Yonemori visited Kusanagi at his home to discuss recent events. Kusanagi revealed that the magatama found on the atoll were composed of an unknown metal, which he believed could be the mythical orichalcum described in Plato's writings on Atlantis. While Atlantis was said to exist in the Atlantic Ocean, Kusanagi explained that the Atlantis myth may have been grounded in fact and simply spread across different cultures under different names.

Furthermore, the rune characters on the obelisk matched those of ancient peoples of Japan, and were successfully translated. Yonemori allowed Kusanagi's daughter Asagi to keep one of the magatama, which began to glow when she touched it. Analysis of Gyaos' DNA showed that they possessed only two chromosomes, which were perfect in every way and could have only been the result of genetic engineering.

Gyaos must have turned on the ancient civilization which created them, who created Gamera in return in order to stop them.

To make matters worse, Gyaos had the potential to reproduce asexually, which could prove disastrous. When Gyaos was sighted in a Japanese village, Dr. Mayumi Nagamine traveled there to investigate. She found the village under attack, and attempted to help a young boy cross a bridge to safety. Yonemori arrived to help her, and as they crossed the bridge a Gyaos swooped down to try and eat them, only for a fireball to narrowly miss striking the creature. Gamera emerged from the forest, and promptly killed the Gyaos with another fireball.

However, the last Gyaos flew overhead and fired its supersonic scalpel at the humans on the bridge, only for Gamera to block it with his hand. Gyaos fled, with Gamera giving chase. This proved to Nagamine, Yonemori, and Kusanagi that Gamera was on their side, but unfortunately the Japanese government deemed him the greater threat and insisted on capturing the last Gyaos alive.

Asagi felt strangely drawn to Gamera, and insisted that a cab driver take her to the scene of the battle. As she watched Gamera being struck by artillery, Asagi began to develop injuries corresponding to his. She begged Gamera to flee as Gyaos flew overhead and fired its supersonic scalpel at him. Gamera seemed to heed Asagi's warning, as he soon took flight and fled back to the ocean.

Asagi collapsed and was brought to a hospital. Yonemori and Nagamine believed that the magatama Asagi had touched had granted her the role of Gamera's priestess, and psychically connected the two of them. Kusanagi was hesitant to believe this at first, but finally came to accept it. While Asagi slept in her bed, Gamera rested on the ocean floor, his injuries gradually healing. In Gamera's absence, the last Gyaos was able to feed and grow unchecked, finally evolving into the 85 meter Super Gyaos.

The winged creature flew to Tokyowhere it fed on the helpless populace. It fell dormant by daybreak, and the JSDF attempted a surprise assault against Gyaos, knowing it possessed an aversion to light. However, Dr. Nagamine pointed out that Super Gyaos had developed shield plates over its eyes, and it was able to evade the JSDF's missile strikes.

Some of the guided missiles hit the Tokyo Towercausing it to break in half. Gyaos then made its nest on the Tower's ruined observation deck. True to her prediction, Gamera emerged from underground and blasted Gyaos' nest with a plasma fireball, setting ablaze and causing its eggs to splatter on the ground below.

Gyaos took flight with Gamera in pursuit, and the two monsters began a midair dogfight across Tokyo. Gamera was shot down by Gyaos, and the two monsters began a tooth-and-claw battle in the streets. Gamera extended his elbow claw and sliced Gyaos' leg, then knocked his foe into a building. Gamera took flight while Gyaos chased after him, with both monsters reaching the upper atmosphere. Gamera bit down on Gyaos' leg and began to free-fall back to Earth. Unable to free itself from Gamera's grip, Gyaos severed its own foot with its supersonic scalpel to escape.

Gamera crashed into a refinery, and was consumed in a fiery explosion. Just as Gyaos seemed victorious, Asagi clutched her magatama and clasped hands with her father. All of the fire was absorbed by Gamera, who stared down Super Gyaos for a final showdown. Gyaos charged its supersonic scalpel, but before it could fire it Gamera breathed an incredibly strong plasma fireball which decapitated Gyaos.

Gyaos' headless corpse fell backward and exploded, leaving Gamera triumphant. Gamera looked at Asagi before returning to the ocean. Asagi remarked that she was no longer able to read Gamera's Severed Heads - Dead Eyes Opened (Vinyl).

Nagamine said it was likely that more Gyaos eggs had survived, and that Gamera might not be there to save mankind next time. Asagi replied that she was sure Gamera would come again. One year after Gamera defeated Gyaosan alien species called the Symbiotic Legion planted a gigantic Pod in the city of Sapporowhich threatened to launch its seed into outer space and spread the species to other planets, taking out the city in the process.

Gamera surfaced from the Sanriku coast and flew to Sapporo, touching down near the Legion Plant. Gamera breathed in the highly concentrated oxygen around the plant and used it to form a powerful high plasma fireball which he fired at the plant. He then approached the plant and uprooted it, then obliterated it with a second fireball. Enraged, countless Soldier Legion swarmed over Gamera, bringing him to the ground. However, the Legion were distracted by a nearby electrical transformer, which enabled Gamera to fly back into the ocean.

When the Legion erected a second Pod in Sendai, Gamera flew to the city to stop it before it seeded. However, he was knocked out of the sky when the gigantic claws of the Mother Legion burst from the ground and struck him. Mother Legion revealed herself and battled Gamera to buy time for her colony's plant to seed.

Gamera held back Mother Legion from the two nearby helicopters that were evacuating civilians from the city, one of which was carrying Asagi. Mother Legion stabbed Gamera through his shell multiple times with her claws before the second chopper was finally able to take off safely. Legion blasted off part of Gamera's shell with her Microwave Shell beam fired Severed Heads - Dead Eyes Opened (Vinyl) her horn, then burrowed back underground leaving Gamera badly injured. Undeterred, Gamera made his way to the Legion Plant and uprooted it.

Realizing he was too late to stop it from firing its seed, Gamera threw himself in front of the plant's flower, taking the full force of an explosion which leveled the majority of Sendai.

Sendai was reduced to a crater, with Gamera sitting motionless and seemingly dead in the center. However, the Mother Legion easily withstood the JSDF's onslaught and destroyed their forces with her Microwave Shell as she travelled south through the Kanto region towards her target. Asagi insisted that Gamera was still alive and would not let the Legion win, and travelled to the ruins of Sendai with Sapporo Science Center curator Midori Honami.

There, they saw many other people who had gathered to pray for Gamera's return. As if answering those prayers, energy began to swirl above Gamera, taking the form of a magatama before flowing into his body. Gamera was revived as Asagi's magatama shattered in her hand, severing her psychic connection to him.

Gamera landed in front of Mother Legion and bombarded her with plasma fireballs, all of which she blocked with her Interference Wave Claws.

He then tried to fight her, but was again overpowered. The JSDF began to support Gamera, opening fire on Mother Legion and severing several of her claws, disabling her ability to block incoming attacks. Meanwhile, an NTT engineer named Obitsu was able to prevent the Soldier Legion swarm from affecting the battle by luring them to a power substation where they were eradicated by missile strikes. Gamera grabbed Mother Legion's horn and with all of his strength was able to tear it off.

Mother Legion roared and collapsed to the ground, but her eyes suddenly turned red and she stood right back up. Mother Legion fired red strands of energy from where her horn once was, piercing through Gamera's body. As Mother Legion broke through the last defense line before Tokyo, Gamera summoned a huge amount of glowing energy into his body. The plastron of his shell opened and from it he fired a huge beam of plasma which incinerated Mother Legion, ending the Legion's threat to mankind.

Gamera victoriously soared into the sky while the JSDF looked on and celebrated the victory they achieved with the help of Gamera. In the aftermath, Honami noted that Gamera was not specifically protecting humanity but rather all life on Earth, and hoped that mankind would never do anything to make Gamera its enemy. Byclutches of Gyaos eggs began to hatch all over the world, giving rise to huge numbers of larger evolved Hyper Gyaos.

In addition, a graveyard of what appeared to be Gamera skeletons was discovered on the ocean floor off the coast of Japan. Gamera began to hunt down the Hyper Gyaos across the globe, tracking two of them down into Shibuya. Gamera struck one Gyaos with a high plasma fireball, causing it to crash into a railway station below.

Gamera landed and approached the maimed creature, then executed it with a second fireball, causing an explosion that damaged the surrounding area. When the second Gyaos flew overhead and attacked, Gamera began recklessly launching fireballs to attempt to kill it, causing major damage throughout Shibuya. The Gyaos fired its supersonic scalpel, which nearly hit a little boy before Gamera shielded him with his hand. Multiple plasma fireballs connected with Gyaos in rapid succession, causing it to explode and rain chunks of burning flesh onto the terrified citizens below.

In his desperate attempt to kill two Hyper Gyaos, Gamera caused thousands of casualties in Shibuya. In the aftermath of the disaster, Mayumi Nagamine met with Asagi Kusanagiwho had been studying abroad over the last three years to try and understand Gamera and the civilization that created him now that her bond with him was severed. She explained to Dr. Nagamine that she had learned of a concept called Mana, which was the energy of all living things on Earth.

She explained that Gamera drew power from Mana, and had depleted a huge amount of it to revive himself and destroy the Mother Legion. Conversely, Gyaos thrived in environments where Mana was low, explaining why they had suddenly reappeared in force and why Gamera was so desperate to stop them. Even though she could no longer read Gamera's thoughts, Asagi still believed Gamera was on humanity's side and trusted him to do the right thing.

In the meantime, other parties had begun to plot against Gamera. Ayana Hirasakaa high school student in the village of Minami Asuka in Nara Prefecture, blamed Gamera for the death of her parents during his battle with Super Gyaos in Tokyo four years earlier. In a shrine within the village said to house the demon called the Ryuseicho, Ayana discovered a strange creature that hatched from a stone egg, as well as a black magatama which psychically bonded her to it.

She named the creature Iris and vowed to raise it to take revenge on Gamera for her. Iris escaped from the shrine and began feeding on animals in the forest, growing in size and then attempting to fuse itself with Ayana. While Ayana's classmate Tatsunari Moribe rescued her from the fusion, Iris proceeded to go on a rampage through the village, killing half of its inhabitants including Ayana's adoptive family.

Nagamine and her old ally Tsutomu Osako traveled to the village in the aftermath of the rampage and recovered tissue samples from Iris, which lab testing showed contained DNA identical to Gyaos prior to the fusion and completely new mutated DNA after.

Nagamine determined that the creature must be a mutation of Gyaos, which caught the attention of Cabinet Secretary Mito Asakura and computer programmer Shinya Kurata, both of whom were of the belief that Gamera needed to die in order to save the world from human civilization and that Iris may be the key to killing him.

They took Ayana from the hospital and brought her to a shrine in Kyoto, where Asakura tried to find a way to control Iris, believing herself a descendant of the Atlanteans. When Nagamine and Asagi learned about this, they traveled to Kyoto to recover Ayana and try to leave the city with her.

They confronted Kurata, who argued that Gyaos existed as a means of population control and that Gamera stood in the way of that. He also discussed the Gamera skeletons that were recently discovered, suggesting they were "beta versions" of Gamera that the Atlanteans created before Gamera himself, who was a living vessel they infused with Mana.

Kurata believed that although Gamera was no longer psychically linked to Asagi, he was still connected to humanity, which was his weakness.

However, travel was halted by a typhoon that was descending on the city.

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Worried Blues Aint Bad - Johnny Shines - Country Blues (Vinyl, LP, Album)

Fontana agreed that Elvis had borrowed the Bellboys version after seeing them perform the song live. Just weeks after they had seen Bell and the Bellboys perform, "Hound Dog" became Elvis and Scotty and Bill's closing number for the first time on May 15,at Ellis Auditorium in Memphis[] during the Memphis Cotton Festival before an audience of 7, Whatever Presley got from hearing Freddy Bell's version, which was sometime in April oflasted a couple of months only.

In fact he sang it 21 times, live, at concerts and on television, using Bell's vocal arrangement but which also included his own blues version, at half speed, and only at the end, until he recorded it with what was undeniably, his own arrangement based not just on Scotty Moore' tremendously modern guitar work but his own rage and disgust at what had taken place the night before, at Steve Allen' s Tonight show, when he was forced to sing the song to a bassett hound, and dressed in tails while simultaneously facing an audience of 40 million.

And once he recorded it, it was his version which he chose to deliver, although by the end ofhe'd added inflections from the Thornton version as well. Larry Birnbaum described Elvis Presley's rendition of "Hound Dog" as "an emblem of the rock 'n' roll revolution".

Agreeing with Robert Fink, who claims that "Hound Dog" as performed by Presley was intended as a burlesque, "troping off white overreactions to a black sexual innuendo", [] Freya Jarman-Ivens asserts that "Presley's version of 'Hound Dog' started its life as a blackface comedy", in the manner of Al Jolsonbut more especially "African-American performers with a penchant for 'clowning' — Louis ArmstrongDizzy Gillespieand Louis Jordan.

When asked if Bell had any objections to Presley recording his own version, Bell gave Colonel Tom ParkerPresley's manager, a copy of his Teen Records' recording, hoping that if Presley recorded it, "he might reap some benefit when his own version was released on an album. It was his second appearance on Berle's program. Fontana had added a drum roll between verses.

The performance started in an upbeat tempo in the style of the Bellboys, but dropped to a half tempo for the dramatic finish. Unfortunately for Presley, the mainstream public did not find the sexually-charged performance amusing, and controversy erupted. Letters of protest LP into the station, critics called the performance vulgar, moral watchdogs raised concerns about juvenile delinquency, and even the Catholic Church published an opinion piece entitled "Beware Elvis Presley".

Allen refused, insisting he would control the performance so it would not offend the public's sensibilities. Steve Allen, who was notoriously contemptuous of rock 'n' roll music and especially songs such as "Hound Dog", ensured that the performance had a comedic bent, cracking jokes and presenting Presley with a signed prop toilet paper roll as a play on the name of the genre.

Although Ed Sullivan had publicly stated he would never invite Presley onto his show, the ratings success of Presley's appearance on The Steve Allen Show convinced him to reconsider. On September 9,with the song topping several U. During his second appearance on October 28, Presley jokingly introduced the song as "one of the saddest songs we've ever heard," before playing it in full.

This proved to be Presley's last live performance on American television. For 7 hours from 2. Fontana on drums, and backing vocals from the Jordanaires. Despite its popularity in his live shows, Presley had not planned nor prepared to record "Hound Dog", but agreed to do so at the insistence of RCA's assigned producer Stephen H. Sholeswho argued that "'Hound Dog' was so identified with Elvis that fans would demand a record of the concert standard.

Though he usually slowed it down and treated it like a blues number in concert, in the studio Elvis wanted the song to come off as fast and dynamic. We'd listen to the demo, most of the time, and we'd take it from the demo. After listening to it we actually thought it was awful and couldn't figure out why Elvis wanted to do that. As session pianist Emidio "Shorty Long" Vagnoni left to work on a rehearsal for a stage show, Stoker plays piano on this recording of "Hound Dog".

Gordon also related that Elvis very much knew in his mind what he wanted the final results to be so they didn't spend a lot of time working out tempos.

He said he's never been able to figure out how you did that. I don't know either," Like three takes before was really the one you should use. That was it. We had done the thing, "Hound Dog". I think it was printed somewhere that we did it about forty or sixty … I don't know, give or take.

But if someone was counting it off, just a couple notes and we stop, that's a take. You know? Musicologist Robert Fink asserts that "Elvis drove the band through thirty-one takes, slowly fashioning a menacing, rough-trade version quite different than the one they had been performing on the stage.

Scotty Moore's guitar is feral: playing rhythm he stays in the lowest register, slashing away at open fifths and hammering the strong beats with bent and distorted pitches; his repetitive breaks are stinging and even, when he begins one chorus in the wrong key, quite literally atonal And the Jordanaires, a gospel quartet who would provide wonderfully subtle rhythmic backup on the next song Elvis recorded at the session, 'Don't Be Cruel', are just hanging on for the ride during this one, while drummer D.

Fontana just goes plumb crazy. Fontana's machine-gun drumming on this record has become deservedly famous: the only part of his kit consistently audible in the mix is the snare, played so loud and insistently that the RCA engineers just gave up and let his riffs distort into splatters of clipped noise. The overall effect could not be more different from the amuse, relaxed contempt of Big Mama Thornton; it is reminiscent of nothing so much as late s white punk rage — the RamonesIggy Popthe Sex Pistols.

In the end, Presley chose version 28, declaring: "This is the one. Later reissues of the single by RCA in the s designated the pair as double-A-sided. Stoller learned of the Presley cover from Leiber after returning from vacation in Europe.

He expressed some disappointment in the success of the cover: "It just sounded terribly nervous, too fast, too white. But you know, after it sold seven or eight million records it started to sound better.

His version is like a combination of country and skiffle. It's not black. He sounds like Hank Snow. In SeptemberDemocratic congressman Emanuel Celler expressed disgusted at "the bad taste that is exemplified by Elvis Presley's 'Hound Dog' music, with his animal gyrations". When 'Hound Dog' came across the radio, there was nothing in my mind that said, 'Wow, what a great song, I wonder who wrote that? Presley's "Hound Dog" sold over 4 million copies in the United States on its first release.

It was his best-selling single and, starting in Julyit spent eleven weeks at number one—a record not eclipsed until Boyz II Men 's " End of the Road " held at the top for 13 weeks in Billboard ranked it as the number two song for Despite its commercial success, "Elvis used to say that 'Hound Dog' was the silliest song he'd ever sung and thought it might sell ten or twelve records right around his folks' neighborhood.

In fact, I encouraged him to record it. After the ratings success of this program, on July 31,Presley returned to perform in Las Vegas for the first time since his unsuccessful performances in April and May Booked for a four-week, fifty-seven show engagement at the International Hotel, which has just been built and has the largest showroom in the city, "this engagement breaks all existing Las Vegas attendance records and attracts rave reviews from the public and the critics.

It is a triumph. During this concert, Presley introduced "Hound Dog" as his "special song. At one point, he decided to dedicate his next number to the audience and the staff at the International: 'This is the only song I could think of that really expresses my feeling toward the audience', he said in all earnestness, before bursting into 'Hound Dog'. Presley performed "Hound Dog" in his historic Aloha from Hawaii Via Satellite concert that was the "first entertainment special to be broadcast live around the world," on January 14, Eventually it was seen in about forty countries by one billion to 1.

In DecemberRolling Stone magazine ranked it No. The commercial success of Presley's RCA version of "Hound Dog" precipitated a proliferation of cover versions, answer songs, and parodies. It reached number 18 on the Kent Music Report [] and appeared at number 21 on the Go-Set year-end chart. No recorded version is known to survive.

John Lennon also recorded "Hound Dog" during his huge rehearsal of early Rock and Roll classics for the Madison Square Garden concert that was released on the unauthorized album S. John Winston Ono Lennon. Tony Sheridan who was asked to join the young Beatles also recorded the Presley version of "Hound Dog".

Among those artists who have recorded non-English versions of "Hound Dog" are: []. Encouraged by the decision of the U.

Supreme Court in Campbell v. Acuff-Rose Music, Inc. Over the years "Hound Dog" "has been the subject of an inordinate number of lawsuits", [99] and "would eventually become one of the most litigated songs in recorded music history". By the end of at least six "answer songs" that responded to 'Big Mama' Thornton's original version of "Hound Dog" were released.

By the end of March, "Bear Cat" was in stores, prompting Billboard to describe it as "the fastest answer song to hit the market". Common practice, of course is to regard the answer as an original. Currently publishers are putting up a fight to protect their originals from unauthorised or infringing answers. On April 4,Robey wrote to Phillips that, "unless contracts are signed and in the office of Mr. Harris Fox by Wednesday, April 8,I will be forced to take immediate steps with Court Actions", [99] hoping "this will not cause any unfriendly relations, but please remember that I have to pay when I intrude upon the rights of others, and certainly must protect my own rights.

It appears they do not think too highly of writing an answer to a hit unless a license is obtained and permission to write a parody is given by the publisher. Their requests for payment having been ignored, Robey and two other music publishers initiated unprecedented legal proceedings in April against the record companies that released these competing songs, alleging copyright infringement.

Capitol, The S ended on a bum note for rock 'n' roll: Chuck Berry was on the verge of being convicted for having transported a minor across state lines; Elvis was in the army; Little Richard had left popular music for the ministry; Jerry Lee Lewis had effectively been blacklisted for having married his year-old cousin; and Buddy Holly, Richie Valens, and the Big Bopper all of whom had scored major hits during 8 had died in a plane crash.

As early asdefenders of pop music's old guard, represented by ASCAP officials and songwriters-performers associated with ASCAP, mounted an attack on rock 'n' roll by linking it to the rise of BMI and by accusing BMI of manipulating public taste owing to its undue influence in the broadcast media. Several rounds of public hearings resulted. Control: Billy H. The analyses of 8MI's power, while inaccurate, could have been applied quite fairly to the position of ASCAP before BMI-affiliated music began making inroads in the pop music mainstream during the late In media accounts of payola, one is struck by how politicians were so quick to believe that the popularity of rock 'n' roll was due to either a conspiracy with 8MI or payola; in other words, they thought that the music was so horrible that there had to be some form of external coercion involved for people to want to listen to it.

A new form of rock 'n' roll emerged that was designed to please both politicians and teenagers. The main variety of this new rock 'n' roll, "teen pop," was promoted by a nationally syndicated television show, American Bandstand, hosted by Dick Clark, a figure at once youthful and nonthreatening. Teen pop adopted older techniques of pop music pro duction to late- S' popular music, incorporating aspects of rock 'n' roll while reinstating the separate roles of songwriter, instrumentalist, and singer that had been collapsed by artists like Chuck Berry and Little Richard.

American Bandstand largely featured the stars of teen pop, known as "teen idols": good-looking young people from the Philadelphia area where American Bandstand originated singing music that was produced with a vague resemblance to rock 'n' roll.

Equally striking as the official, public response to rock 'n' roll was the disparate fates of Alan Freed and Dick Clark: The Jewish Freed rose to success by playing black popular music to white kids and by promoting concerts at which both performers and audiences were integrated.

The clean-cut, All-American Clark's signature show, American Bandstand, featured a virtually all-white audience and was cautious about integra tion on the air. The following article from Life describes the payola hearings of late early and focuses on the host of American Bandstand, Dick Clark.

This article reproduces many of the criticisms and stereotypes found in early media reports on rock 'n' roll, even suggesting in the open ing paragraph that a teenager murdered his mother because she refused to let him watch American Bandstand. More evenhanded than some other mainstream reports of the time, the article gives space to the views of fans of the show in order to explain why they like it.

And while the familiar condescending tone is present, most of the comments critical of rock 'n' roll are ascribed to the members of the Senate committee. Along the way, a history and explanation of payola is presented and contrasted with the specifics of Clark's business operation so as to anticipate his ultimate exoneration.

Then in the morning Billy took out a rifle and shot his mother dead. Millions of American teen-agers feel just as strongly about Dick Clark, though no others have vented their feelings so violently.

Last week their loyalty was LP to the supreme test, for Clark was up before Congress to answer for mayhem of another kind. For six months the Harris Committee had been investigating payola in music and broadcasting, and had dt'veloped a greedy image of the whole industry. A long succession of disk jockevs admitted taking payments from mtlsic companies. But the one man the committee had always been gunning for was Dick Clark, the biggest disk jockey of all and a symbol.

But tlwir skepticism did not alter Clark's mien as he sat on the stand giving off the same air of proper respectahilitv he dncs on TV He wore a blue suit, button-down shirt and black loafers.

Every strand of his hair was ncatly lacquered into place. His voicc had the bland, dulcet tone of the TV announcer that he is. Pelt'rson and David G. He is out to sell his highly select adult. Source: Pt'ter BUllzt'!. TIME, Inc. It was an image he had peddled not only on the air but in a book of adolescent etiquette called Your Happies! In this work he made a strong pitch for neatness and good manners, pausing briefly for little homilies: "Don't make the mistake of thinking those TV cameras arc branches of the United States mint.

Contrary to popular opinion, dollar bills don't come out of them like bread from a bakery oven. After all, he was in a unique spot to profit by his error. Most disk jockeys perform on radio. Clark is on TV Most others are only on local stations He is on a na tional network and he reaches some 16 million people with his stock in trade, rock 'n' roll.

This form of music is alien to most adults, for whom it has all the soothing charm of a chorus of pneumatic drills. Payola as a Compliment The same adults who disparage rock 'n' roll unwittingly helped get it going. When long-playing records came in, grown-ups stopped buying single records. Manufac turers of singles had to aim their products at teen-age taste and rock 'n' roll became the staple.

The singles are easy and cheap to make and record companies are expelling a constant flow, But the big problem is selling them. First the records get a test run in such "break-out" cities as Cleveland, Boston or Detroit to see which can be sold-or which the public can be conned into buying.

A sure way to boost the songs has been to put money on the line to disk jockeys. Many deejays were proud to be bribed, for, in their curious little fraternity, payments be came a status symbol. Isn't this the great est compliment'" A large number of fraternity brothers felt the same way, for the Federal Trade Commission estimates that disk jockeys accepted the compliment. Generally the recipients deny that there is any connection between paying and playing. But re marked Congressman John Moss of the committee, "Some kind of telepathic com munication seems to take place.

By intellectual osmosis between the disk jockey and the record manufacturer, money is passed and records get played. It is old stuff in the music business. He got it performed in public by giVing a share of the royalties to Sir Charles Santley, a leading baritDne of the time. Sir Charles was still collecting his payoff when the tunE' was played at Sullivan's funeral.

In the U. Later, top stars like Al Jolson and Eddie Cantor were offered enor mouslv tempting payola deals-and in the '30s maestros of big-name bands got a cut of the royalties for playing new tunes on network radio. Until the payola scandals broke, disk jockeys had no pangs of conscience about benefiting from a practice with such a tradition. Payola was simply the way they did business and they imagined that everyone else did it that way too, "This seems to be.

It is primarily built on romance: 'I'll do for you. What will you do for me"? He did not rely on com'entional cash payola but worked out a far more complex and profitable system. It hinged on his nu merous corporate holdings which included financial interests in three record com. The music, the records and the singers in volved with these companies gained a special place in Clark's programs, which the committee said gave them systematic preference.

A statistical breakdown showed how his system worked. In a period of 27 months Clark gave far less air time to a top star like Elvis Preslev than to a newcomer named Duane Eddy, one of the several singers whom he has helped make into a star. Clark had no stake in Preslev. Rut firms in which he held stock both managed and recorded Eddy.

Maybe I did so without reallzing it,". Once he owned it, Clark played it 27 times in less than three months and it went up like a rocket. Many of his deals afforded Clark a special tax brt'ak.

Once he was a stockholder, Clark found Jamie records very attractive. Clark granted the accuracy of thesp figures but explained, "I followed the ground rules that existed. Although he denied he had taken payola he admitted, paradoxically, that one of his record com panies had passed out payola to get its wares plugged. Coming back again and again to rock 'n' roll, the committee members strongly implied that Clark had deliberately foisted it on teen-agers. Clark replied, "Popular music has always become popular because of young people.

You can't force the public to like anything they don't want. If they don't want it, it won't become a hit. You're a product of it. Seated in the front row were two sisters from West Orilnge, N.

To them the loveliest Sight of all was Dick Clark. The reason 16 Candles took off is because we liked it. They SilY he didn't play enough Bing Crosby. Look, his show isn't for grandmothers.

And Frank Sinatra, who needs him? Already the danger signals are up. At least one disk jockey, a Miami man, says that ABC has already lined him up as Clark's re placement, just in case-and he is waiting for word to catch the next plane north. But the sponsors had better think twice before dropping Clark.

The teen-agers feel an almost fanatical bond with him. An investigator for the committee named James Kelly ran into this fanaticism rig! Kelly's wife has a year-old sister and they used to be great pals. But ever since Kelly started prying into Dick Clark's affairs, the girl has cut him absolutely dead.

The conclUding article for this chapter, published in the New York. Age, an African American newspaper, explores an aspect of American Bandstand's "all-American" appeal ignored by the previous article.

New York Age With all of the publicity focusing on disc jockey payola, we arc concerned about another matter which has never seemed to bother many people. This is the question of Negro participation on the various TV bandstand programs. If there's one shining star in the constellation of Alan Freed's career. Largely as a result of his efforts, several Negro singing groups are top successes today because of his encouragement and fairness.

At the same time, his "Big Party" has always had Negro kids right in there putting down" tough "slop" with the best of them. Have you "ven seen N"gm kids on Dick Clark's program? Perhaps,, few times, but the unspoken rule operates-Negro kids simply have been quietly barr"d from the" American Bandstand. Further Reading Adams, Val. Blitz, Stanley, and John Pritchard.

Phoenix: Cornucopia Publications, Clark, Dick. New York: Ballantine Books, Jackson, John A. New York: Oxford University Press, Peterson, Richard A. Simon Frith and Andrew Goodwin, New York: Pantheon Books, Discography Avalon, Frankie, and Fabian.

Madacy Records, The 50's Decade: Teen Idols. Clair Records, The payola hearings, one of the most publicized aspects of popular music as the S ended and the s began, highlighted some of the dominant Album) in the mainstream: The early wave of rock 'n' roll, represented by Alan Freed and promoted by independent recording companies, lay dormant while teen idols coexisted with continuations of previous popular styles embodied in soundtrack themes and new versions of standards.

A closer inspection of popular music circahowever, leads one to resist such tidy characterizations. It is true that music industry centers, such as the Brill Building in New York City, did revive some of the production practices of Tin Pan Alley, but not all their efforts can be dismissed as "schlock-rock. Thus, the period witnessed the emergence and success of numerous. By the li.

The frequent collaborations of Brill Building songwriters, most of whom were Jewish, with young African American female singers marked the most recent reemergence of a partnership observed in chapter 1 in the discussion of Irving Berlin's career. While most of the earlier writers on the girl groups quite rightly trace the emergence of "girl" vocal groups back to and the Chantels' hit "Maybe," the particular convergence of production-songwriting teams based in the Brill Building with female vocal groups first came to prominence in the Shire lies' late- 1 9 60 hit, "Will You Love Me Tomorrow," which initiated one of the dominant trends of the era.

More hits followed by the Shirelles and other artists, such as the Marvelettes and the Crystals, in which a particular ap proach to vocal arrangement and a typical range of subjects coalesced. Z Vocal arrangements relied on a modified call-and-response approach, adapted primarily from African American gospel practice, with the lyrics frequently arranged to simulate a dialogue between lead and backing vocalists.

Lest the forgoing description of the participants in the genre appear monolithic, it is important to note that many girl group recordings occurred outside the orbit of the Brill Building, that some of the singers were white e. In the fifties, there had been two very scparate strands of popular music on the one hand, rock 'n' roll, and on the other, the showbiz songs written by the professional songwriters of Tin Pan Alley.

The mostly Jewish songwriters of Tin Pan Alley traditionally looked to Italian Americans, with their suitably romantic good looks and operatic vocal style, as per formers of their songs. The imitation-Elvis, teen-boy pop idols of the late fifties and early sixties were essentially a continuation of this tradition. At the same time, how ever, the music industry was changing.

The songwriters of Tin Pan Alley were no longer all middle-aged men churning out novelty songs; a new breed of young men and women songwriters was coming up who looked to black artists to perform their songs. Pete Waterman explains: What happened in the early sixties is that white guys, people like Barry Mann, and white girls like Carole King met, for the first time, black artists.

So you had black artists singing doo wop, but you had white songwriters writing white melodies. There were these amazing black girls singing Jewish melodies that didn't quite work out; here was a new form of music. Because of the white clement, girls like Carole King, arrangers put strings on the records which doo-wop bands could never have afforded. You had major companies like Liberty and Roulette making records with full orchestras' They would pay the money, and they were white; the only black thing about the records was the artists and the manage ment.

Suddenly you had this dichotomy of cultures; and it worked, it worked perfectly. These cultures were being forged together not just by a happy blending of musi stvles, however; the essential element that bound the black artists and the white iong. They were, however :Iirectlyor indirectly, part of a teen culture built on the legacy of fifties' rock 'n' roll ",hose tendencies towards "aural miscegenation"-as Gerry Hirshey calls it in her 'ook Nowhere 10 HUH-had so disturbed the establishment both morally and.

She was hired by a music publisher, Don Kirshner, one of the first. Aldon, as his company was called, was part of the Brill Building on Broadway, where virtually everyone in the music business congregated.

There was a frantic atmosphere of ,vheeling and dealing in the building, almost like that of the stock exchange; songs were written, demos were cut, and tracks were recorded and released, all at a speed which noW seems quite incredible; a song could be written in the morning, recorded in the afternoon and re leased a few days later on one of the many small labels that operated out of the Brill.

It was a production line, as Carole King pointed out to writer Paula Taylor in We each had a little cubby hole with just enough room for a piano, a bench, and maybe a chair for the lyricist-if you were lucky.

You'd sit there and write, and you could hear someone in the next cubby hole composing some song exactly like yourself. In the offices of another publisher, l. A big brass musical note adorns her front door, and the theme is continued throughout the apart ment, even to treble and bass clefs on the wallpaper in the bathroom and piano-key motifs on the toilet seat.

Still working in the music business, and looking a million dollars with a Dusty Springfield hairdo, Ellie beams warmly at me, welcomes Ine like an old friend and settles back to entertain me with stories of those early days.

Chain smoking her way through a heavy cold, which only improves her husky New York tones, she remembers the past with affection: I went to Leiber and Stoller's office to wait for my appointment. A hundred bucks a week! I'm flying here. And I have my own cubby hole where I can write my stuff to my heart's content, and who knows who I might meet There were many small labels in the Brill Building that offered you the op portunity to just run up there and say, "Hey, listell to this song.

If you played a song and they liked it, they'd say, "Let's think. Do we know anyone who can do this? Do you? If it didn't, so what, no big deal.

Not any more. Now it's album, album H was a happy time. Monetarily stupid, maybe, but on a creative level you just weren't bothered with any problems. All you did was come in and hone in on your craft. We were very grateful to be signed to a music publisher and get our weekly little paycheck.

We always got our royalties. But we never knew to ask about retaining songs. Who knew those songs would live on? A whole industry was by this time building up around TV shows like American Bandstand, which not only introduced a never-ending stream of wooden boy idols to the nation's teenagers but also created hundreds of dance crazes.

When the Goffins came up with "The Locomotion," a new dance tune, they asked their babysitter-who had inspired the song by her style of dancing-to cut the demo for them. Kirschner liked the demo so much that he released it as it was on his new Dimension label, and in no time, "The Locomotion" had rcached the number-one spot.

Little Eva, as she was now called, became an overnight sensation; such a huge success by an unknown artist on a nt'W label was extraordina ry. Having been feted in Europe and America, in less than two years Eva's career was Over. TIle tale of Little Eva showed the industry both at its best and at its worst. Often, a sin gle individual would perform some or all of these functions; many songwriters set up their own labels, produced, and even sang on the records.

The speed at which a11 this happened meant that a trend could be quickly spotted and exploited. TIle sheer volume of records that such a system produced made it likely that a certain percent age at least would chilrt. The ildvantages of tilt' system were that it allowed for an extraordinary degree of creative fleXibility and a fast response to an ever-changing market so that the small labels could make it. MlHl0lithic recording corporations like RCA Victor, although they had all the financial muscle, simply could not keep up with what was going on.

But tlwre were clear disadvantages for the artists, as the Shirellps had already seen. Singers were at the very bol! Dlll of the hierarchy. Producers could take their pick from the Illilny talented young blilck singers who were desperate to succeed and sold their skills chmp.

Little EVil at least had her moment of fame. The other girls that King and Coffin werE' writing for did not fare so well. The Cookies were a trio who provided backing VOGlls for many of the releases on Aldon's label, and who also recorded songs writ t.

The doo-wah, doo-wah choruses and the young, sweet voices of the Cookies dis guised the fact that wbat was being described here were not the joys of coy feminin ity but its awful restrictions. As with Little Eva, Aldon was keener to make the most of the Cookies while the going was good than to help the group sustain its popularity over the long term.

The group never got the attention they deserved, and soon disappeared from view. Over at Leiber and Stoller's, Ellie Greenwich was beginning to rival Carole King as the songwriting queen of teen pop. She had arrived in the business inlater than Carole King, and began by teaming up with several different writers until she settled into a partnership with Jeff Barry.

In the early days, she remembers: Most of the women in the industry were background singers or lyricists. There were very few women that played piano, wrote songs and could produce a session, go into a studio and work those controls. The studio would be booked from two to five and those singers would go in there and read off the songs; maybe they'd do seventeen songs in three hours. I'd write a song and go in and put the background parts on myself; 1 learnt about overdubbing and laying down tracks, so a different sound started coming out.

Ellie had not set out to be a producer, but she soon found herself becoming one: Myself and Carole King We also sang. So we'd go in and make demos on our songs and they sometimes sounded great. The publishers would take the demo off to a record label who would say, "OK, let's put this out. Not only was Ellie the songwriter finding herself in the position of producer, she was also effectively becoming an artist too.

Since record companies were beginning to re lease the demos they got from publishers as records, Ellie soon became the voice be hind a host of fictitious teen groups: Acase like that was the Raindrops, which was just myself and Jeff doing all the voices.

We did this demo for a group called the Sensations; it was a song called "What A Guy," which we thought would be great for them. We made the demo, and the publishers said, "This could be a record. There is no group. So we released it as a record by "The Raindrops. There really wasn't a Raindrops As the tales of little Eva and her sister Idalia and of groups like the Shirelles and the Cookies demonstrate, the creative flexibility of the Brill Building could work to the disadvantage of the singers.

The fate of recordings, such as "Let's Turkey Trot" and "Hula Hoppin,''' showed that singers were often viewed as interchangeable parts. In what is probably not a paradox, the most widely celebrated figure connected with the singer-songwriter genre was male: producer songwriter Phil Spector b. Although this sound has often been inaccurately compared occasionally by Spector himself to the textural approach of European Romantics, such as Richard Wagner, what Spector shared with Wagner was a grandiosity of vision and a tendency toward self-aggrandizement.

His sound was Widely influential, and Spector repre sented a shift of power in the music business to people who were of the same generation as the audience,S a trend that intensified with the alignment of songwriter and performer that came to dominate American popular music in the wake of the girl groups.

Darlene Love b. A particularly' disturbing case on:urn. I aIn reft'rring to his arn! These t'vcnts set:"lllPd to cap ypars of n:. Kllluly-f "l"r. While Spector allowed her to make record ings under her own name, she also appeared on recordings attributed to any number of other groups whose names existed as trademarks con trolled by Spector. Both the structure of the music business and the anonymity-by-design of the performers make it little wonder, then, that Spector's notoriety has far outstripped that of the people who sang and played and arranged and engineered on the recordings that are associated with him.

Here, Darlene Loye takes up the story. When I visited her, she was ltv ing in style at the Royal Shakespeare Company in Stratford on Ayon, during the firs run of the musical Carrie, which later bombed on Broadway. We sat in her dressingl room oyerlooking the riYer, and she told me: I first met Phil in Los Angeles through his partner Lester Sill, because I was d"ing ,1 lot of sessions for Lester singing back-up.

I was called in to do "He's A Rebel. Something had happened with their friendship at the time. Phil owned the name of the Crystals. During that time, producer, owned groups' names so they could record anyone they wanted under any name. Phi] gave me mv name, in fact; at thaI time I was called Darlene Wright. So I got about 1, dollars. There was nothing they could do; indeed, they were helpless without Spector. To this day, Dee Dee Kennibrew of the Crystals, who did finally manage to retrieve the group's name from Spector and work under it, refuses to acknowledge Darlene Love's part in the Crystals' career, Darlene's slory is, howeYer, that Spector, like so many other producers in the business, paid no regard to anyone's names, including her own: When we Wf'nt to record with Phil WE' never knew which record was going to he by who.

After "He's A Rebel," the next thing he wanted wa, another record. But I didn't get it. But no. When I heard it on the radio, they announced that it was by the Crystals. I asked for a contract again with "Da Ron Ron. We didn't sign contracts in the end until after "Da Ron Ron. To all intents and purposes, groups like the Crystals appeared only to exist now in Spector's imag ination as concepts for the next single.

The public did not seem to mind or notice what was going on. You know, [ started off inand in I started a solo career. That's kind of unusual. It helps that no one has ever rf'ally seen me. I'm a fresh idea. Further Reading Bradby, Barbara. Brown, Mick. New York: Alfred A. Knopf, Clemente, ]01u1. Emerson, Ken.

New York: Viking, Spector, Ronnie with Vince Waldron. New York Harper Perennial, Warwick, Jacqueline. Wolfe, Tom. New York: pocket Books, But it was a huge hit, and we became Bob B.

Soxx and the Blue Jeans. Nobody knew who [ was at all. They were trying to figure out if there was one person doing all the singing on Phil's records. The sound or aesthetic is reminiscent of early Steel Pole Bathtub, but maybe a bit more polished. It seems every generation has its Tournament. Long story short: he thinks that the novel is a dramatic portrayal of human beings being literally digested through the bowels of the universe. And that angel up on top of the tree, the one with the smile on its face?

By Ultraphallus. Artists: C. As we all know, Yeh has many faces—that as a master of drone and his lesser known facade of jazz improvisational artist, having played with the likes of master musician LaDonna Smith.

I only wish I could have been there to take in the entire gig, but as these outtakes are probably highlights, I can only say kudos to the players in these inspiring, high-energy cuts. How about a long-player, fellas? December 2, Posted by rippost Uncategorized Leave a comment. Von Trier has reached me and shaken me. Getting down to The Lounge on Elm after Pam got off late from work was a push. Let me tell you this, though.

Never rely on those fucking GPS machines in your Crackberry or like device. That dumb digital voice was telling Pam to turn entirely too late to actually make the 3 lane shift across Friday night Big D traffic. This in itself is nearing is an excursion which may turn out to be an adult version of Mr. The Axemen are an amiable and humble bunch and all seemed to be conspiracy buffs, with mini-rants on, of course, Kennedy, but also Waco.

I can only speak for myself, but I was Worried Blues Aint Bad - Johnny Shines - Country Blues (Vinyl too frazzled by this point to get my point across and any meaning which might have arrived at its intended destination was mostly debris the result of a night of pile-ups and trying to crunch too much into too little space. I mentioned that within the diversity NZ bands have represented over the years that there seems to be a shared aesthetic emanating from that beautiful, tiny island.

Dragan noted that it might have something to do with the economics for artists there. He said that there was a lot of equipment sharing happening, so it stands to reason that NZ seems to represent emulations, this in the grandest sense of the word, where it means that a scene is a cohesive whole. And great to hang out with Lee, with our usual conversation, and even better that Pam was finally able to make it out and participate. I found out along the way that Borbeto is playing in Houston sometime this upcoming week.

One other thing: The Axemen and Times New Viking are playing Birmingham this upcoming Wed—so do yourself a favor and support both of these great bands. You can find a tight historical summary of The Axemen here. Spread the word. And of course, what blogroll would be complete without the cursory tribute to Mutant Sounds.

Hat tips to all, but the roll has just begun. What was that? I will…along with a slew of great blogs. Very enjoyable. The real treat is the music itself. Discog available here. This shit is heavy on freak vox, so if the glottis is your g-spot, then smile. Keenan Lawler — The entire discog. Clocks fall off of walls. Ants wear tophats. Not in the sense that his style or approach is similar, but in the sense that Lawler proved to me once again that the guitar can be versatile, shocking and new. His playing absolutely gorgeous.

The results are unique. I choose to use that word without any superlatives. The music speaks for itself. If they happen to show up in your little burg, be sure to step out, float to the gig and dance. Godspeed to SJ. I go through major kicks, kicks colossal enough to match and double my chemical nadirs. If it is, there are plenty of groovy, muy mainline fucked titles from which to choose. October 6, Posted by rippost ArtMusic Leave a comment. I recently ended a blog because of an infestation of one stubborn spider.

They haunt my nightmares and my email. Anyone who knows me understands that I absolutely do not see these blogs as a never ending journey, but a portrait, or better fragments in time and therefore subject to its confines.

This by no means that this music was released this year. I find it nearly impossible with the glut of releases in their plethora of formats to keep track of even a fraction of them with any authority. Somniferum, rife with poor profreading [sic] skills, Lee Jacksonmy good friend here in Dallas who thoughtfully pens Womblife and is an ex-colleague and present pal I met via the now legendary Swedish psych journal Broken Face Hi Mats! She will pay for that.

Broken Face was, of course, a proper hard copy print zine—something I wish we had more of these days. I like what I can hold in my hands. As usual the blog will cover whatever I feel like writing about or not that particular day.

I will republish a few things back from Rip Post which I think remain relevant today, but for the most part, expect more art, less politics. The first thing I can recommend is the 16 CD reissued masters of Beatles material. Also included is an interview with Megafaun, who seem to be one of the most well-rounded bands out there today.

There are also a few reviews I penned in the following. These things take time. Not all of them, but it would necessarily create that option. The first band,though, is a fairly new band to me: Megafaun.

In fact, it was that record which lead me back into exploring what Table of the Elements were up to. I rather unconsciously forgot all about them and what they were putting out, so I missed out on several years of TOTE releases. It was my good fortune to randomly download that LP via Soulseek. I can think of very few bands who can even approximate the vocal presence of this trio. They make clean getaways mixing absolutely stellar songs with and endless but well tempered throng of hooks from which to draw.

They sneak in bits of tape experimentation and ambience, lending their music a nearly unwitting surreal, stream of consciousness perspective. They dip into many sonic wells for inspiration: bluegrass and folk, avant sound art and sonic sculpture, concrete dabbling, incorporation of drone characteristics, barber shop quartet seriously, maybe the only band who could have pulled it off outside of something Brian Wilson might conjure.

A good percentage of the strings employed comes from the banjo. Rarely do we hear blistering Kentucky picking. Because of that, we get a rarefied take on bluegrass and folk, often sporting psychedelic aspects bandied throughout a recording.

The time spent on making the most of these innovative songs is obvious. Megafaun are hardly ever anything but delightfully unexpected. The decontexualization works is a Technicolor wonderland which segues into electronic explorations, both ostensibly formless and improvised.

On the off chance that sine manipulations are composed, well all the better that something so unconventional would be formulated on paper.

It would be an interesting score to look at, particularly if one were to take in song after song. The longest day features not only the male voice, but a welcome female forging a harmonious duet. As with most of their more conventional material, the songs are impecabbly arranged and build as skillfully and gorgeously as they inevitably end. I may work out more on this band.

This is the Summer of Megafaun. The trio, plus longtime friend Justin Vernon a. Megafaun was born from those ashes and proceeded to record the remarkable album Bury the Square in Brad, Phil, and Joe have been playing in bands together sinceafter meeting at jazz camp in Wisconsin as teenagers.

With the end of DeYarmond Edison, a paradigm-shift was imminent. That same spirit informed the album, which was self-recorded in three bedrooms, a kitchen, a yoga studio, a living room, a basement, and in a forbidden university piano studio that they had to break into to find an in-tune piano.

The stylistic spaces we inhabit during these improvisations can span influences from dissonant 50s electronic music, musique concrete, and free jazz; to a melodic consonance associated with traditional American folk and popular song forms, as well as some traditional influences from other parts of the world African, Cuban, South American Rhythms. Really, we feel all these musical styles academicly-based or notwhen incorporated in the improvisational life of this band, become part of our own folk tradition.

There are the moments, present in every song, that will turn heads toward speakers, turn eyes toward the sky, and turn all notions of music on their sides, if just for one shimmering and genuine moment. And then, almost anywhere this Summer, you can go see them live — and hear it all again, for the first time. We are attracted to people who are always searching and always honest. Both are incredibly psychedelic but the latter is probably the more outward of the two.

Probably time to think of bed. Turns out there going to be in Austin with Bon Iver fairly good folk stuffbut for nearly 32 bucks after fees.

Might as well be in Belgium. Both Pam and I smoked a boat load last night. I think she took more than just two hydros—which is fine—I have no problem with that, but she was so cute and chatty. It Worried Blues Aint Bad - Johnny Shines - Country Blues (Vinyl rather idiosyncratic though.

So two other bands of tight relations really got to me. Because of the membership of the izers, they seem to be a little further out and less tethered to conventional form than do their seed. That makes the Renderers no less alluring, even often puzzling in the way they use notes as pure expression over any scaled or predetermined approaches to making music.

Foxy D sent me some great stuff this year. And they also sent me a load of shit as well. I often find it hard to write about electronic music, particularly stuff that might fall loosely under the horrid acronym IDM. There was Autechre…then there were the rest. I often wonder if they send me that tripe on purpose. I'd Mr Theresa Carly Ethan Paul David Christmas Michael Luis Natalie Sheridan Julian Jason George Ross Brooke Niles Todd Alison Rick Rose

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Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD)

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Dating for expats info. Living in Germany is an incredible opportunity to rediscover and reinvent yourself, including the romantic side of your life. The heady optimism of the s and early 30s to the patriotic and inspiring tracks of wartime and the s. It was a time when music made us tap our toes, push back the carpets and dance! Our collection covers the great performers of the era and compilations that evoke a particular time or theme.

From love songs to big bands, cool jazz to the sounds of the flappers. Whatever your preference or occasion, Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD) Perfect is the perfect sound accompaniment. Our customers love the crystal clear quality of our digitally remastered recordings that take away distracting hisses and crackles to reveal the purity of the original artists.

They also love the fact that every CD comes with comprehensive additional information about the music, the artists and the era. And our instant download MP3s are encoded at kbps. It all adds up to the ultimate vintage music experience. All you need to do is to decide which of our collections to dive into next! In the early '90s, Compact Discs eliminated the separate sides, allowing artists to more easily create a continuous 74 minutes of music.

I've been debating the merits of a "perfect album" with co-workers for some time now. The perfect album is about much more than a collection of hit singles. In Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD), a perfect album creates a pervasive emotional journey in which the listener can get lost.

There are no wasted notes, songs, or Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD).

Not every song Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD) to be great, but everything must serve a role in creating the larger work that is the album. It does not need to tell a story like those often contained in "concept albums," although concept albums do hit many of my criteria by design.

I'd also like to hear your selections for perfect albums. Posted by Redd Five on 13 January Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD) at Share this blog Perfect Partners - The Untouchables (7) - Cool Beginnings Rare And Unreleased 1981-1983 (CD) Twitter Reddit Email.

You made me work for it. I never heard of Steven Wilson. Listening to Hand. Some beautiful instrumentals in there. Posted by Redd Five on 13 Jan 18 at Incredible album Posted by oMike on 13 Jan 18 at PerfectTUNES Optimizing your music collection can be a daunting task, from albums missing artwork, duplicated tracks, to corrupted tracks.

Correcting these issues can be a time consuming task. No longer, imagine a trained professional on hand to help, PerfectTUNES is that professional, an application which: Album Art automatically add missing covers Cover art is used both to identify albums when browsing, as well as for the visual appeal when playing a track. Missing or low resolution cover art, does not cut it these days when typically a collection might be controlled through a high resolution tablet.

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Surrender - Elvis Presley - The Top Ten Hits (CD)

US 3 Platin 14 Wo. US 55 6 Wo. US 11 8 Wo. US 11 Gold 11 Wo. Puppet on a String Girl Happy. US 14 Gold 10 Wo. UK 15 10 Wo. US 33 Gold 7 Wo. UK 22 7 Wo. US 95 1 Wo. Frankie and Johnny Frankie and Johnny. UK 21 9 Wo. US 25 Gold 8 Wo.

Traditional Film: Frankie and Johnny. US 45 8 Wo. UK 6 10 Wo. US 19 7 Wo. UK 18 8 Wo. US 41 8 Wo. Spinout Spinout. US 40 7 Wo. UK 21 5 Wo. US 33 8 Wo. UK 38 5 Wo. US 63 5 Wo. US 92 1 Wo. US 56 6 Wo. US 78 5 Wo. US 44 6 Wo. Big Boss Man Clambake. US 38 6 Wo. Guitar Man Clambake. UK 19 13 Wo. US 28 16 Wo. US 67 5 Wo.

Male Almost in Love. UK 15 8 Wo. UK 44 3 Wo. US 90 2 Wo. Let Yourself Go Speedway. US 71 5 Wo. UK 22 11 Wo. US 72 7 Wo. Almost in Love Almost in Love. US 95 2 Wo. Film: Live a Little, Love a Little. US 69 4 Wo. UK 11 Silber 11 Wo.

US 12 Gold 13 Wo. Memories Elvis TV Special. US 35 7 Wo. In the Ghetto From Elvis in Memphis. DE 1 Gold [9] 20 Wo. CH 2 14 Wo. UK 2 Gold 18 Wo. US 3 Platin 13 Wo. UK 21 7 Wo. US 35 Gold 8 Wo. Suspicious Minds From Memphis to Vegas. DE 7 18 Wo. AT 13 3 Mt. CH 42 1 Wo.

UK 2 Platin 22 Wo. US 1 Platin 15 Wo. UK 8 11 Wo. US 6 Platin 15 Wo. UK 21 12 Wo. US 16 Gold 9 Wo. US 9 Gold 12 Wo. The Wonder of You On Stage. UK 1 Silber 26 Wo. US 32 Gold 9 Wo. US 11 Gold 10 Wo. US 21 Gold 9 Wo. UK 6 11 Wo. US 33 7 Wo. US 53 7 Wo. UK 23 9 Wo. US 36 9 Wo. US 51 6 Wo. UK 6 16 Wo. US 40 9 Wo. UK 8 Silber 12 Wo.

US 66 6 Wo. DE 31 4 Wo. CH 72 4 Wo. UK 7 Gold 10 Wo. Separate Ways Separate Ways. US 20 Gold 12 Wo. Filmdokumentation: Elvis on Tour. Always on My Mind Separate Ways. CH 39 2 Wo. UK 9 Silber 24 Wo. US 17 12 Wo. Fool Elvis Polk Salad Annie On Stage. UK 23 7 Wo. US 41 9 Wo. Raised on Rock Raised on Rock. UK 36 7 Wo. US 39 12 Wo. UK 40 3 Wo. US 17 13 Wo. Help Me Promised Land. US 14 13 Wo. Promised Land Promised Land. My Boy Good Times.

UK 5 Silber 13 Wo. UK 31 4 Wo. US 35 9 Wo. Bringing It Back Today. US 65 5 Wo. Pieces of My Life Today. Green, Green Grass of Home Today.

UK 29 7 Wo. UK 37 5 Wo. US 28 11 Wo. Moody Blue Moody Blue. US 31 13 Wo. Way Down Moody Blue. DE 15 10 Wo. AT 19 1 Mt. CH 94 1 Wo. UK 1 Gold 17 Wo. US 18 Platin 21 Wo. Pledging My Love Moody Blue. My Way Elvis in Concert.

UK 9 Silber 8 Wo. US 22 Gold 12 Wo. UK 13 6 Wo. UK 3 Silber 10 Wo. UK 41 6 Wo. Guitar Man Remix Guitar Man. US 28 14 Wo. Remix von Felton Jarvis, Original von Loving Arms Guitar Man. UK 47 6 Wo. UK 59 2 Wo. UK 51 3 Wo. US 71 7 Wo. UK 61 3 Wo. UK 30 9 Wo. UK 48 6 Wo. UK 68 2 Wo. America the Beautiful. UK 69 1 Wo.

A Little Less Conversation Remix vs. DE 8 20 Wo. AT 3 Gold 22 Wo. CH 1 Platin 31 Wo. UK 1 Platin 16 Wo. US 50 Gold 9 Wo. DE 51 5 Wo. AT 23 8 Wo. CH 19 9 Wo. US 94 2 Wo. Remix von Paul Oakenfold, Original von Blue Christmas Christmas Duets. O Come All Ye Faithful. UK 48 1 Wo.

UK 1 Wo. UK 1 24 Wo. UK 1 98 Wo. DE 1 DE. AT 3 AT. CH 1 CH. UK 13 UK. US 10 US. DE 7 DE. AT 11 AT. CH 4 CH. UK 51 UK. US 27 US. DE 38 DE. AT 26 AT. CH 21 CH. UK UK. US US. AT — AT. UK 18 UK. US 14 US. DE 10 DE. CH 2 CH. UK 58 UK. US 38 US. DE 45 DE. AT 6 AT. It peaked at number 4 on the Billboard Top LP's chart. The album is dominated by the songwriting team of Doc Pomus and Mort Shumanwho Surrender - Elvis Presley - The Top Ten Hits (CD) written the chart-topping " Surrender " and the double-sided hit single " Marie's the Name His Latest Flame " backed with " Little Sister ".

Although like its predecessors in and — Elvis Is Back! Blues and Blue Hawaiia pattern that would continue to hold for Presley through the mids. The July 13,Compact Disc reissue altered the running order of the album, and included five bonus tracks in two sides of one single, one b-side, and two tracks from the compilation album LSPElvis for Everyone.

The three single sides had been recorded at the sessions that yielded the balance of the album on March 18 and 19, Surrender - Elvis Presley - The Top Ten Hits (CD) the nature of the Elvis for Everyone LP, compiled from sessions spanning a ten-year stretch, RCA opted not to Surrender - Elvis Presley - The Top Ten Hits (CD) it as part of Surrender - Elvis Presley - The Top Ten Hits (CD) reissue program, appending its songs as bonus tracks to other albums as appropriate.

The bonus tracks were all recorded at Studio B in Nashville. Pot Luck was reissued on the Follow That Dream label in in a deluxe 2-disc CD collection containing the original album along with numerous alternate takes from the original recording sessions. From Wikipedia, the free encyclopedia. Elvis Presley.

ISBN The Rough Guide to Elvis. United States : Rovi Corporation. Library and Archives Canada. Arkiveret fra originalen 8. The Official Charts Company. Music Canada. Arkiveret fra originalen 5. Arkiveret fra originalen 6. Top Pop Singler — Record Research. ISBN Top Country Songs: to Billboard Books. Navnerum Artikel Diskussion. Publicity foto for Jailhouse Rock Henvisninger og fodnoter. Infoboksen er senest revideret dato. Elvis Presley. US : Guld [9].

US: Guld [9]. Elvis' Christmas Album. Elvis Is Back! His Hand in Mine. US: Platin [9]. Something for Everybody. How Great Thou Art. From Elvis in Memphis. Elvis Country I'm 10, Years Old. Love Letters from Elvis. Retrieved January 4, Harrison, Ted Elvis People: The Cult of the King. The Death and Resurrection of Elvis Presley. Hasty, Katie May 7, Higginbotham, Alan August 11, The Observer.

Hilburn, Robert February 6, Los Angeles Times. Hilburn, Robert October 30, July 24, Hopkins, Jerry Elvis: The Final Years. Elvis in Hawaii. Bess Press. Elvis — The Biography. Hoy, Peter October 27, Humphries, Patrick Elvis the No. Andrews McMeel Publishing. Jancik, Wayne Jezer, Marty South End Press. Jorgensen, Ernst Kamphoefner, Walter D In Kluge, Cora Lee ed. Peter Lang. Kennedy, Victor; Gadpaille, Michelle Cambridge Scholars Publishing. Keogh, Pamela Clarke September 18, Kirchberg, Connie; Hendrickx, Marc Kolawole, Helen Surrender - Elvis Presley - The Top Ten Hits (CD) 15, Kubernick, Harvey The Complete '68 Comeback Special.

UPC Lewis, Randy August 16, Lisanti, Tom Lott, Eric; Uebel, Michael In Stecopoulos, Harry ed. Race and the Subject of Masculinities. Lynch, Rene August 16, Retrieved August 17, Marcus, Greil Marsh, Dave In Marsh, Dave; Swenson, John eds.

The Rolling Stone Record Guide 2nd ed. Times Books. Penguin Books. In Brackett, Nathan; Hoard, Christian eds. Marsh, Stefanie December 21, Probably — but I don't see it as a bad thing". The Times. Martin, Douglas June 5, Masley, Ed August 15, Pittsburgh Post-Gazette. Retrieved January 31, Mason, Bobbie Ann Elvis Presley. Matthew-Walker, Robert A Study in Music. Midas Books. Mawer, Sharon a. Archived from the original on December 17, Mawer, Sharon b.

Archived from the original on April 15, Miller, James Milly, Jenna August 26, Moody, Nekesa Mumbi April 2, Associated Press. Retrieved April 14, Moore, Scotty; Dickerson, James That's Alright, Elvis. Schirmer Books. Morrison, Craig Go Cat Go! Moscheo, Joe The Gospel Side of Elvis. Center Street. Moyer, Susan M. Elvis: The King Remembered. Sports Publishing LLC.

Myrie, Russell Nash, Alanna Nash, Alanna; et al. Elvis and the Memphis Mafia. National Park Service. Archived from the original on December 30, Retrieved January 7, August 16, Retrieved December 30, O'Malley, Sheila April 4, Osborne, Jerry Elvis: Word for Word. Palladino, Grace Teenagers: An American History.

Pendergast, Sara; Pendergast, Tom James Encyclopedia of Popular Culture 4th ed. James Press. Pilgrim, David March Jim Crow Museum of Racist Memorabilia. Archived from the original on January 6, Pleasants, Henry In Frith, Simon ed. Pomerantz, Dorothy October 25, Retrieved January 6, Ponce de Leon, Charles L. Presley, Priscilla Elvis and Me.

Putnam's Sons. Ramsland, Katherine Archived from the original on November 5, Recording Industry Association of America. Archived from the original on July 1, Retrieved February 8, Robertson, John Omnibus Press. Rock and Roll Hall of Fame. Retrieved July 22, Rodman, Gilbert B. Rogers, Dave Rock 'n' Roll. Rolling Stone. April 15, Archived from the original on June 25, Archived from the original on July 5, Retrieved November 20, Rose, Lacey October 24, Sadie, Stanley, ed.

Salisbury, Harrison February 3, Scherman, Tony August 16, Sexton, Paul August 3, Retrieved January 21, Sexton, Paul October 28, Album Honors". Slater, Nigel August 11, Slaughter, Todd; Anne E. Nixon The Elvis Archives. Smith, Liz November 10, Stanley, David; Coffey, Frank The Elvis Encyclopedia.

Virgin Books. Stein, Ruthe August 3, San Francisco Chronicle. Szatmary, David Tasker, Yvonne In Codell, Julie F. Tennant, Forest June Practical Pain Management.

Tillery, Gary Quest Books. Trust, Gary June 2, Trust, Gary January 8, Turner, John Frayn Frank Sinatra. Taylor Trade Publications. Victor, Adam Overlook Duckworth. Voice of America. October 27, Wadey, Paul January 8, The Independent. Archived from the original on July 13, Waters, Lindsay Spring Boundary 2. S2CID Retrieved February 25, Wertheimer, Neil Total Health for Men.

Rodale Press. Whitburn, Joel Billboard Top Singles — Billboard Books. Joel Whitburn Presents the Billboard Albums 6th ed. Record Research. The Billboard Book of Top 40 Hits 9th ed.

Williams, Todd August 20, Creative Loafing. Archived from the original on July 4, Williamson, Joel Elvis Presley: A Southern Life. Wilson, Bee Sandwich: A Global History. Wolfe, Charles Woolley, John T. American Presidency Project. University of California, Santa Barbara. Retrieved May 15, Everet, Todd August 17, Retrieved September 21, Blazeski, Goran April 23, The Vintage News. Arcadia Publishing. November 16, Retrieved November 17, Allen, Lew Elvis and the Birth of Rock.

Cantor, Louis Dickerson, James L. Cooper Square Press. Goldman, Albert Gatto, Kimberly; Racimo, Victoria Regnery History. Elvis: The Last 24 Hours. Klein, George It Books. Roy, Samuel Elvis: Prophet of Power. Branden, ISBN Elvis: What Happened?

Bantam Books. Loving You King Creole G. Worldwide 50 Gold Award Hits Vol. Sumner Stephen H. Elvis Presley singles. Awards for Elvis Presley. American Music Award of Merit. Country Music Hall of Fame s. Grammy Lifetime Achievement Award. Rock and Roll Hall of Fame — Class of Alan Freed Sam Phillips. John Hammond. Authority control. CiNii Japan. Namespaces Article Talk. Views Read View source View history. Help Learn to edit Community portal Recent changes Upload file.

Download as PDF Printable version. Wikimedia Commons Wikiquote. August 16, aged 42 Memphis, TennesseeU. Heart disease. Humes High School. Singer actor. Lisa Marie Presley. Riley Keough granddaughter. Presidential Medal of Freedom posthumously; Vocals guitar piano.

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B&C - Utada Hikaru - Movin On Without You (CD)

Distance Remastered by Utada Hikaru. First Love by Utada Hikaru. Face My Fears by Utada Hikaru. Prisoner Of Love by Utada Hikaru. Similar Artists. LiSA 68 fans. Shiro Sagisu 2 fans.

Aimer 25 fans. Hiroyuki Sawano 17 fans. UVERworld 33 fans. Miura Jam 11 fans. G I-DLE fans. Utada 12 fans. League of Legends fans. Japan Anime 50 tracks - 3 fans. Anime Openings, Endings, Insert Songs 1 tracks - 8 fans.

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Rovi Cooperation. Retrieved 19 March Archived from the original on 11 July Recording Industry Association of Japan. Retrieved 18 April Retrieved August 14, Music TV Program.

RIAJ in Japanese. Retrieved 18 September Archived from the original on 7 September March Edition] PDF. Archived from the original PDF on 22 January Oricon Bulletin in Japanese. Archived from the original on 13 January Nielsen Business Media.

Retrieved 16 February Archived from the original on 28 September Retrieved 18 August Retrieved 25 October Music TV. Retrieved 2 November Archived from the original on 8 November Retrieved 29 May Gaon Music Chart in Korean. Korea Music Content Industry Association. Archived from the original on July 14, Retrieved July 18, Retrieved September B&C - Utada Hikaru - Movin On Without You (CD), Archived from the original on August 30, Retrieved June 4, Archived from the original on Utada Hikaru - Addicted to You".

Archived from the original on June 20, Retrieved May 12, Utada Hikaru - Movin' on Without You". Archived from the original on June B&C - Utada Hikaru - Movin On Without You (CD), Utada Hikaru - First Love".

Count Down TV. Archived from B&C - Utada Hikaru - Movin On Without You (CD) original on 9 October Utada Hikaru songs. Authority control MusicBrainz B&C - Utada Hikaru - Movin On Without You (CD) group MusicBrainz work.

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Pretty Vacant - Sex Pistols - Kiss This (Cassette)

Lydon had previously denounced previous journalistic works regarding the Sex Pistols in the introduction to his autobiography, Rotten — No Irish, No Blacks, No Dogswhich he described as "as close to the truth as one can get". He later had a small role in the film The Independent. The song appears on Bambaataa's compilation album Zulu Grooveand was arranged by Laswell after Lydon and Bambaataa had acknowledged respect for each other's work, as described in an interview from I knew he was perfect because I'd seen this movie that he'd made [ Copkiller ], I knew about all the Sex Pistols and Public Image stuff, so we got together and we did a smashing crazy version, and a version where he cussed the Queen something terrible, which was never released.

John Lydon: We went in, put a drum beat down on the machine and did the whole thing in about four-and-a-half hours. It was very, very quick. Most of the tracks on were written by Lydon and Bill Laswelland the musicians were session musicians including bassist Jonas Hellborgguitarist Steve Vai and Cream drummer Ginger Baker. This line-up released Happy? After this album, inLydon put PiL on indefinite hiatus.

Describing the book, he stated that it "is as close to the truth as one can get, looking back on events from the inside. All the people in this book were actually there, and this book is as much their point of view as it is mine. This means contradictions and insults have not been edited, and neither have the compliments, if any.

I have no time for lies or fantasy, and neither should you. Enjoy or die. The format of the show was a look back at events in popular music and culture occurring on the particular broadcast calendar date about which Lydon would offer cynical commentary.

The series was originally developed as a radio vehicle for Gimarc's book, Punk Diary —79 Pretty Vacant - Sex Pistols - Kiss This (Cassette), but after bringing Lydon onboard, it was expanded to cover notable events from most of the second half of the 20th century.

He wrote all the songs and played all the instruments; for one song "Sun"he sang the vocals through a toilet roll. In NovemberLydon appeared on Judge Judy fighting a suit filed by his former tour drummer Robert Williams for breach of contract, assault and battery.

He proved he still had the capability to shock by calling the show's viewers "fucking cunts" during a live broadcast. The television regulator and ITV, the channel broadcasting the show, between them received only 91 complaints about Lydon's language.

In a February interview with the Scottish Sunday MirrorLydon said that he and his wife "should be dead", since on 21 Decemberthanks to delays caused by his wife's packing, they missed the Pan Am Flight that was blown up over LockerbieScotland. After I'm a Celebrity In lateLydon appeared in an advertising campaign for ' Country Life ' butter, on British television.

Lydon defended the move by stating that the main reason he accepted the offer was to raise money to reform Public Image Ltd without a record deal. Although Lydon spent years denying that the Sex Pistols would ever perform together again, the band re-united with Matlock returning on bass in the s, and continue to perform occasionally.

Further performances took place in Europe from — Inthe Rock and Roll Hall of Fame inducted the Sex Pistols, but the band refused to attend the ceremony or acknowledge the induction, complaining that they had been asked for large sums of money to attend.

Lydon commented "The money that I earned from that has now gone completely — lock stock and barrel — into reforming PiL".

Lydon was criticized [48] [49] [50] for giving a statement to The Independent newspaper, in which he said: "I really resent the presumption that I'm going there to play to right-wing Nazi Jews. If Elvis-fucking-Costello wants to pull out of a gig in Israel because he's suddenly got this compassion for Palestiniansthen good Pretty Vacant - Sex Pistols - Kiss This (Cassette) him.

But I have absolutely one rule, right? Until I see an Arab country, a Muslim country, with a democracy, I won't understand how anyone can have a problem with how they're treated. I support no government anywhere, ever, never.

No institution, no religion — these are things that all of us as human beings do not need. When I go to a place like Israel, it's not to support anti-Arab sentiment or pro-Israeli government, it's to play to the people. During an April tour of Australia, Lydon was involved in a television interview for The Project that resulted in a publicised controversy, as he was labelled "a flat out, sexist, misogynist pig" by one of the panellists on the Australian programme.

The altercation occurred with host Carrie Bickmoreand the description was provided by panellist Andrew Rochford after the interview was prematurely terminated by Bickmore's colleague Dave Hughes. A compilation of Lydon's lyrics, Mr. Rotten's Songbookwas published in The limited-edition book includes the words to every song he wrote during his entire career, punctuated by his own original sketches and cartoons.

Lydon explained the origin of his stage name, Johnny Rotten, in a Daily Telegraph feature interview in he was given the name in the mids, when his lack of oral hygiene led to his teeth turning green. He explained that it was not done out of vanity: "It was necessity Lydon has been married to Nora Forster, a publishing heiress from Germany, since InLydon and Nora became legal guardians of Ari's twin teenaged boys; as Lydon explained "[Ari] let them run free.

They couldn't read, write or form proper sentences. One day Ari said she couldn't cope with them any more. I suggested they came to us because I wasn't having them abandoned. They gave us hell, but I loved having kids around. Lydon and Forster primarily live in Venice, California where they have resided since the early s, but keep a residence in London. InLydon revealed that Forster was in the mid-stages of Alzheimer's disease. I am her full-time carer and I won't let anyone mess up with her.

For me, the real person is still there. That person I love is still there every minute of every day and that is my life. It's unfortunate that she forgets things, well, don't we all? I suppose her condition is one of like a permanent hangover for her.

It gets worse and worse, bits of the brain store less and less memory and then suddenly some bits completely vanish. Lydon has been a fan of Oscar Wilde since he studied his works at school, when he came to the conclusion that "his stuff was fucking brilliant. What an attitude to life! What a genius. Lydon is a visual artist. His drawings, paintings and other related works have featured prominently in the works of PiL and his solo career throughout the years, the most recent example being the cover to This is PiL.

Lydon became an American citizen inin addition to his British and Irish citizenships. Lydon's parents raised their sons as Roman Catholics and Lydon calls himself a Catholic. I see no evidence of God. God is probably Barry Manilow. Since his rise to public attention, Lydon has remained an outspoken critic of much in British politics and society. He comes from an emigrant working class background and is opposed to the class system, describing how private schools "tend to turn out little snobs.

They're taught a sense of superiority, which is the kiss of death They're absolutely screwed up for life. It's a much better environment with girls in the class. You learn a lot more, as diversity makes things more interesting.

Lydon criticised the paramilitary organisations involved in The Troubles in Northern Ireland, remarking that the Provisional Irish Republican Army and the Ulster Defence Association were "like two mafia gangs punching each other out They both run their extortion rackets and plague people to no end. Despite the fact that he wrote and sang " Anarchy in the U. Appearing on the BBC's Question Time on Pretty Vacant - Sex Pistols - Kiss This (Cassette) JulyLydon questioned the notion of a parliamentary inquiry into the banking industry, saying "How on earth is Parliament going to discuss this really when both sides, left and right, are connected to this?

This doesn't just go back to Brownthis is part of the ongoing problem. Mr Diamond comes from Wall Street Both parties love this idea. They are fiddling with rates. They are affecting the world and everything we used to count on as being dependable and accurate is being discussed by these argumentative chaps. If I nick a motor I'm going to be up before the judge, the rozzers.

Hello, same thing. On the same episode of Question TimeLydon was critical of the announcement that the British Army was to be reduced in size, saying: "One of the most beautiful things about Britain, apart from the [ National Health Service ] and the free education, is the British Army.

Lydon describes himself as a "pacifist by nature" and expresses admiration for Mahatma Gandhi. Lydon said, "I don't like the idea of one-parent families. It's very tough on the kids. They grow up missing something. I find the same with same-sex marriages; there is something missing. There is a point to male and female — and for a child to develop, it needs both those aspects. In a interview broadcast on BBC Radio 1, Lydon alluded to the sexual abuses committed by Jimmy Savileas well as the suppression of negative information about Savile by mainstream Pretty Vacant - Sex Pistols - Kiss This (Cassette) forces, many decades in advance Pretty Vacant - Sex Pistols - Kiss This (Cassette) it becoming a public scandal.

Lydon stated: "I'd like to kill Jimmy Savile; I think he's a hypocrite. Retrieved February 24, — via robertchristgau. Christgau, Robert October Retrieved January 21, Cooper, B. Lee Taylor Trade Publications.

Eddy, Chuck Da Capo Press. Erlewine, Stephen Thomas a n. All Media Network. Archived from the original on September 10, Erlewine, Stephen Thomas b n. Archived from the original on March 26, Fletcher, Tony Fricke, David April 27, Gerstenzang, Peter July 24, Archived from the original on April 17, Retrieved May 10, Gimarc, George Hal Leonard Corporation.

Glover, Tony September 13, Archived from the original on April 14, Graff, Gary Visible Ink Press. Gross, Joe In Brackett, Nathan; Hoard, Christian eds. Hermes, Will Hilburn, Robert November 17, Los Angeles Times. Archived from the original on March 4, Kaye, Ben Consequence of Sound. Archived from the original on August 15, Retrieved September 30, Larkin, Colin Encyclopedia of Popular Music 4th ed.

Oxford University Press. Kogan, Frank University of Georgia Press. Matsumoto, Jon September 29, McLeese, Don November 4, Chicago Sun-Times. Jawbone Press. Pilchak, Angela Contemporary Musicians: Profiles of the People in Music. Reynolds, Simon Robb, John The Quietus. Smith, Chris Strauss, Neil In Schinder, Scott ed. Rolling Stone's Alt Rock-a-rama. Strong, Martin Charles The Great Rock Discography. The National Academies.

Strongman, Phil Chicago Review Press. Taylor, Steve The A to X of Alternative Music. Weisbard, Eric; Marks, Craig, eds. Spin Alternative Record Guide. New York: Vintage Books. Wicks, Todd In Graff, Gary ed. Willis, Ellen November 19, The New Yorker. Red Patent Leather.

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Posted in Opera | 9 Comments