Joyce Frazer, who sounds quite young, has a strong clear voice with perfect diction, and she delivers the romantic ballad "I Went To Your Wedding" with conviction, to a lush orchestration. This song, penned by Jessie Mae Robinson, was recorded by many artists, including Patti Page, Alma Cogan, Dawn Barraclough, Florence Wright, Sammy Kaye, Dick James, Steve Gibson and The Red Caps, Spike Jones, and Hank Snow. Patti Page scored a no. 1 hit with it in 1952, while Steve Gibson and The Red Caps' version stalled at no. 20 the same year, and then in 1953 Spike Jones' comedy take on it also reached no. 20. Joyce Frazer's version is at least as good as any of the others, but unfortunately as a new unknown singer she lost out.

The flip side is a slow atmospheric ballad, in the style of the "Japanese Farewell Song," and here again Frazer displays her impressive vocal range. The track is enhanced by Ray Martin's intricate arrangement incorporating oriental sound effects.

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On the "A" side of this 78, June Hutton and her then husband, the celebrated arranger / conductor Axel Stordahl (with "The Boys Next Door" vocal group) deliver a superb version of the romantic ballad "Say You're Mine Again." The song has a wonderful melody, and accomplished vocalist Hutton is supported to good effect by an appropriately subtle arrangement and low-key input from the male backing singers. " Say You're Mine Again " was originally recorded by Perry Como , who had a no. 3 U.S. hit with it in 1953


The flip side of the Hutton / Stordahl disc is "The Song From Moulin Rouge (Where Is Your Heart?)" , which is similar in style and equally as impressive. "Say You're Mine Again" was a no. 21 U.S. hit in 1953, and more successful in the U.K. where it rose to no. 6 (her only hit there). "The Song From Moulin Rouge" did not chart separately for Hutton, but the original version by Percy Faith & His Orchestra (with vocalist Felicia Sanders) was a no. 1 U.S. hit.

June Hutton was born on 11 August 1919 in Illinois, U.S. During the 1940s "swing" era, she was a very popular band vocalist, and from 1941-'44 she was a member of Charlie Spivak's vocal group "The Stardusters," appearing with the band in the 1944 film "The Pin-Up Girl." Later that year, she replaced Jo Stafford in Tommy Dorsey's renowned "Pied Pipers" vocal group, and then in 1950 she went solo. From 1953-'54, she had three minor U.S. hits (the above-mentioned "Say You're Mine Again" ; "No Stone Unturned", no. 24 ; and finally "For The First Time", no. 26). All three were recorded with Axel Stordahl, but subsequent releases failed to even enter the Hot 100, and with the impact of rock 'n' roll from the mid-'50s onwards Hutton's singing career waned (like that of many other solo performers).

A few years later, June Hutton retired from showbusiness and disappeared off the radar. Finally , she died on 2 May 1973, aged just 53 (reportedly of lung cancer) in Encino, California.

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The " A " side of this single is Irish-born Rose Brennan's superb version of the much-recorded " Band Of Gold " ( NOT to be confused with Freda Payne's later smash hit which shared this title ). Brennan is supported to good effect by male backing singers , and the track is lavishly orchestrated. The flip side is her engaging take on Joni James' minor U.S. hit " My Believing Heart " , a tuneful ballad marred to some extent by rather saccharine lyrics.

Rose Brennan released 15 singles in the U.K. between March 1955 - October !964 , but unfortunately she scored only one ( minor ) hit , the rather strident " Tall Dark Stranger " which stalled outside the Top 30 at no. 31 in early 1962.

Finally , by the mid 1960s Rose Brennan had retired from the music business.She was born on January 1 1931 ; and , as far as I'm aware , she is still alive , aged 88 , living somewhere in the South of England.

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" Wake The Town And Tell The People " is a captivating mid-tempo song with smart lyrics , performed with zest by Rose Brennan to a swingin' big-band style arrangement. It was an American hit in 1955 for Les Baxter ( no. 5 ) , and also Mindy Carson ( no. 13 ) , but chart success eluded Rose Brennan. The flip side , " Ten Little Kisses " , is a catchy up-tempo number with a light springy arrangement , very typical of the mid-1950s.

Rose Brennan was born in a suburb of Dublin on January 1 1931. From 1951 - 1966 she sang with the Joe Loss band in England , performing on the radio as well as in concerts. Then in 1966 she left the music business in order to run a public house with her husband in West London.

Between March 1955 - October 1964 Rose Brennan released a total of 15 solo singles in the U. K ., yielding a very disappointing result of just one minor hit. This was " Tall Dark Stranger " , which stalled just outside the Top 30 at no. 31 in early 1962.

Finally , as far as I'm aware , Rose Brennan is still alive ( aged 88 ) , living somewhere in the South of England ( in the vicinity of the River Thames ? ).

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The A side of this 78, "C'n I Canoe You Up The River ?", is a quasi-novelty up-tempo number, on which Arthur Godfrey's distinctive vocal is augmented to good effect by male backing singers, to a sparkling arrangement. The flip side, "A Marshmallow World," is a fairly well-known Christmas song, on which Godfrey is joined by the Chordettes and the Cherry Sisters. Very melodic and mellow, but neither side of the record charted in the U.S.

Bing Crosby had a minor American hit (no. 24) in 1951 with "A Marshmellow World" (slightly altering the spelling of "Marshmallow"), but the song is probably best-known for the 1963 updated and rousing version by the Phil Spector protege Darlene Love.

Finally, the acclaimed American radio and television broadcaster Arthur Godfrey was born in Manhattan, New York, on 31 August 1903. He died from emphysema in Manhattan on 16 March 1983, aged 79.

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The charming ballad " Chanson D'Amour ( Song Of Love ) " has been recorded by various acts thru the years. Pop duo Art & Dotty Todd had a no. 6 U.S. hit with it in 1958 , and nineteen years later Manhatten Transfer went all the way to no. 1 in the U.K. The Fontane Sisters' excellent take on the song reached no. 12 in 1958. The flip side of their disc , " Cocoanut Grove ", is another very appealing song , faster than " Chanson D'Amour " and enhanced by the sisters' spirited vocals and a compelling Hawaiian-style arrangement.

The Fontane Sisters were Geri , Bea and Marge Rossi , from New Jersey , and they began their recording career on the RCA Victor label , scoring two Top 20 hits , before moving to the Dot label in 1954. There they scored seven Top 20 hits , including the million-selling no.1 hit " Hearts Of Stone " in early 1955. However , by the late '50s musical tastes were changing , and the sisters' last Hot 100 entry was " Jealous Heart " ( no. 94 , in late 1958 ). The Fontane Sisters largely retired from the music business in 1961 , cutting just one more single ( " Tips Of My Fingers " ) and an album in 1963. By then they had ceased touring , saying that they were tired of being on the road and did not want to be involved in the rock 'n' roll scene. Finally , Geri died on 13 September 1993 ; Bea died on 25 March 2002 ; and Marge died on 3 December 2003.

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Buddy Weed was a highly-acclaimed American jazz pianist / arranger / session musician who worked prolifically in the musical genres of " swing " and jazz from the early 1940s - early 1980s , primarily with big bands but also solo artists. In addition , he performed as part of The Buddy Weed Trio , with Tommy Kaye and Felix Griobe , on records and gigs.

On the " A " side of this disc , the trio perform a jaunty little number called " Ready To Go Steady ". However , it is too jazzy, noisy and syncopated for me , and , in my opinion , a more mellow version issued at the time by the 5 DeMarco Sisters is much superior. The girls harmonize flawlessly on the track , to a slick arrangement incorporating a great instrumental break , and the appealing melody is emphasized much more effectively than on Buddy Weed's take on the song. Unfortunately it is not on this website , but it is available on YouTube if you're interested.

Finally , Buddy Weed was born in New York on January 6 1918 in New York ; and he died in Arizona on May 25 1997 , aged 79.

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The " A " side of this single is English singer Janie Marden's cover version of Jonie James' 1955 U.S. no. 6 hit " You Are My Love ". It is a charming romantic ballad with a lilting melody , set to an appropriately restrained arrangement , but unfortunately Janie Marden failed to chart with it.

The flip side is another cover , a song quite similar in style to " You Are My Love " but more intense - " A Teenage Prayer " is enhanced by Janie Marden's heartfelt vocal. In America , three versions of this winsome song entered the Hot 100. Gale Storm did best at no.6 , while Gloria Mann ( whose version is my favorite ) trailed behind at no. 19 and , much lower down the chart , Kitty White stalled at no. 68. There is really little to choose among the four versions. While my favorite is Gloria Mann's , in my opinion Janie Marden's is as good as any of the others even 'though it flopped in the U.K.

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" A Teenage Prayer " is an attractive romantic ballad , on which English singer Janie Marden delivers a heartfelt vocal to an appropriately restrained arrangement. In America , three versions of this song made the Hot 100 in 1956. Gale Storm did best , at no. 6 . followed by Gloria Mann ( no. 19 ) , and much further down the chart Kitty White stalled at no. 68. In my opinion , there is little to choose among all four versions , and Janie Marden's take on it is at least as good as any of the others 'though her version bombed in the U.K.

My copy of this " 78 " disc isn't a one-sided demo. The " A " side is Janie Marden's impressive cover of Joni James' " You Are My Love " , which was a no. 6 U.S. hit for James in !955.

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Firstly, there have been many record labels called "Bell" thru the years. This one, specifically called "Bell Record," was just one of several "budget" labels specializing in "copies" of current American hits, and it released well over 200 singles between 1954-'60.

Four of these, all in 1957, featured Janet Eden, an outstanding vocalist with a strong clear voice. On the "A" side, ably supported by male vocal group the Michael Stewart Quartet, she delivers a potent version of the Dell-Vikings' 1957 no. 4 hit "Come Go With Me," which became a rock 'n' roll classic. There is a change of musical style on the flip side, where Eden tackles country singer Patsy Cline's no. 17 hit "Walkin' After Midnight " with impressive results. She manages to sound quite like Cline, and the arrangement replicates the original.

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" Life Is Just A Bowl Of Cherries " dates back to 1931 , when Rudy Vallee had a no.3 U.S. hit with it. It is a slow ballad , with reflective lyrics , and Jaye P. Morgan delivers it in an appropriately relaxed manner. It reached no. 26 in the U.S. charts at the start of 1954 , but I actually prefer the flip side. " Operator 299 " is an appealing quasi-novelty number , with lyrics about a girl anxiously trying to contact her boyfriend on the 'phone. Morgan sings it with gusto , to a jazzy arrangement incorporating telephone sounds.

Jaye P. Morgan was born in Colorado in the U.S. on 3 December 1931 , and in the mid '50s she had seven Top 20 hits in America , her biggest being " That's All I Want From You " ( no.3 , in 1955 ). However , her recording career declined in the early '60s , whereupon she turned to acting and was moderately successful on television and in films. She was also a regular television game show panellist during the '70s , and she continued in showbusiness to a lesser degree until about 2004 , when she retired.

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Firstly , I am not really a fan of opera , but I like both these tracks , particularly the " b " side , which I think should have been the top side. Both are from the 1934 American musical film " One Night Of Love " , which was set in the world of opera and in which Grace Moore appeared. " One Night Of Love " is a beautiful love song with a wonderful flowing melody. It is delivered with intensity by Grace Moore , whose soaring soprano is supported by the Metropolitan Opera Male Chorus , to a sumptuous orchestration by Wilfred Pelletier. The official " A " side , " Ciribiribin " , is a jaunty number in three-quarter time which dates back to the late 19th. century and has been recorded thru the years since then by many artists , including Gracie Fields and Jeannette McDonald. It is faster than the " b " side , quite catchy , but too over-elaborate and with too many musical frills for me. In 1934 , " One Night Of Love " was a no. 1 hit in America for four weeks while " Ciribiribin " reached no. 15.

The operatic soprano / film and musical theater actress Grace Moore was born in Tennessee , U.S. , on December 5 1898. She quickly became a highly-acclaimed award-winning star , and during the 1930s and 1940s she performed in concerts across America and Europe , with a wide repertoire including not only operatic arias but also English , French , Italian , and Spanish songs. During the Second World War , she also entertained American troops abroad.

Finally , Grace Moore sadly died in a 'plane crash near Copenhagen Airport on January 26 1947 , at the very young age of 47. Also killed in the crash was Prince Gustaf Adolf of Sweden.

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This single comprises two quasi-religious songs, recorded by the under-rated English singer Steve Conway. Both songs are very familiar, having been recorded by many other acts, and Conway receives full support on both tracks from the Hastings Girls Choir, to appropriately restrained arrangements. There is little to choose between them, but I prefer the melody and lyrics of " At The End Of The Day".

Steve Conway was born in Hackney, East London, on 24 October 1920, and he was originally a dance-band singer before signing with Columbia records in 1945. He had a very pleasant mellow voice, and between 1945 - 1951 he recorded approximately 100 songs, mostly religious ballads or what were known as " standards." He also toured the U.K. variety circuit. However, he had suffered from rheumatic fever as a child, which left him with a weak heart, and sadly he died in London on 19 April 1952, aged just 31, after heart surgery.

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I am not really a fan of stage musicals or this type of music generally. "This Is My Lovely Day," however, the duet between Georges Guetary and Lizbeth Webb from the stage musical "Bless The Bride," is one of my favourite songs. "Bless The Bride" opened at the Adelphi Theatre in London's West End in 1947, and "This Is My Lovely Day" quickly became one of the most requested items on BBC radio. Its popularity was further enhanced by its association later in 1947 with the wedding of the then Princess Elizabeth and Lt. Philip Mountbatten. "This Is My Lovely Day" is a beautiful song with a wonderful melody, enhanced by the superb performances of the two vocalists - truly mesmerizing.

I am less keen on the flip side. It is tuneful, but the vocal delivery sounds affected and old-fashioned, and I could have done without the "spoken dialogue" mid-way through the song.

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This disc appears to be Ruth Rydell's sole release, available in 78 format only. The "A" side, "On The Carousel", is a jaunty sing-along style number, very tuneful. Rydell delivers it with zest, accompanied by backing singers who are well to the fore, and the track is enhanced by a scintillating arrangement incorporating fairground sounds and whistling. The flip side is a compelling emotional ballad, which provides Rydell with more scope to display her vocal prowess. I was unable to locate a copy of this record on the London label, so in the end I had to settle for the American release on the obscure BBS label.

Finally, I can find no information on the Internet about Ruth Rydell. Can anyone out there assist with this?

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The "A" side of this single, "The Key To The Kingdom," is a rather ponderous piece, played in a leaden manner by Williams, with a choir adding to the overall sense of solemnity.

The flip side is better, a lightweight tuneful number with Williams' tinkling piano supported to good effect by spirited backing singers. Unsurprisingly, this single bombed, as both sides were totally out of sync with what was charting in early 1959.

Nebraska-born Roger Williams released many singles and albums between 1955-1980. His first single, "Autumn Leaves" in 1955, was his biggest hit (no. 1). He also entered the Top 20 with three other singles ("Almost Paradise," no. 15 in 1957; "Near You," no. 10 in 1958; and finally "Born Free," no. 7 in 1966).

Williams was a very popular live entertainer; known as "the pianist to the Presidents," he played for nine Presidents of the United States. Roger Williams died of prostate cancer on 8 October 2011, aged 87, in Encino, California, having played concerts up to a short time before his death.

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My copy of this disc is a one-sided demo , just " Silent Lips " . This song was a minor U.S. hit ( no. 68 ) for Georgia Gibbs in 1957 , and Lanigan's take on it is quite similar , 'though I prefer it because her vocal is more spirited than Gibbs' and the arrangement by Ron Goodwin is more interesting. " Silent Lips " is a catchy and tuneful up-tempo number , but unfortunately it failed to chart for Cynthia Lanigan.

I know little about this English singer Cynthia Lanigan ( a.k.a. Lanagan ), apart from the fact that she performed occasionally on the radio. On the evidence of " Silent Lips " , she is clearly an accomplished singer with a clear voice and excellent phrasing , but unfortunately after the failure of this single and her previous single also on Parlophone she vanished off the radar.

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The " A " side of this 1942 record , " Conchita " , is an engaging novelty song with tongue-twisting lyrics , which was featured in the film " Priorities On Parade ". It is a tuneful number set to a rhythmic arrangement , and the American mixed-gender vocal group the Marshalls deliver it with gusto , displaying their impressive harmonies and counter-harmonies. The song was recorded by various other artists, including Glen Miller , Bing Crosby , Dinah Shore , and the King Sisters , but , perhaps surprisingly , none of the versions entered the American charts.

I prefer the flip side. " My Devotion " is a charming and melodic ballad , a typical example of a war-time song with lyrics conveying the loneliness resulting from separations. The Marshalls' smooth choral version enhances the song , but unfortunately it bombed. It was a U.S. hit in 1942 for several acts , including Jimmy Dorsey , Vaughan Monroe , and the King Sisters , but Charlie Spivak fared best , reaching no. 2. My favorite version is by Tab Hunter , but his 1961 take on the song flopped.

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" When The Saints Go Marching In " has of course been recorded by numerous singers. Rosalind Paige delivers it with gusto , her light voice matching the mellifluous accompaniment by the Nassau Jazz Band. The flip side is another old standard , less tuneful than the " A " side , and here again Paige is supported to good effect by the excellent jazz band.

I failed to obtain a copy of this record on the London label , in either 45 or 78 format , so in the end I had to settle for buying a copy on the U.S. New-Disc label , in 78 format.

Finally , Rosalind Paige , who worked as a literary agent for many years , died of cancer on 20 February 2014 , aged 88 , in New York City.

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The "A" side of this disc is a big ballad, with a robust vocal by the American baritone singer Richard Hayes and a sumptuous orchestration by Joe Reisman. The only problem is, the song isn't good enough to warrant all this effort, and unsurprisingly it failed to chart in America.

The flip side is much better. "Out In The Cold Again" dates back to 1934, and since then it has been recorded by many artists including Dean Martin, Johnnie Ray, Ferlin Husky, Brenda Lee, Kay Starr, and Dinah Washington. It is a superb song with a striking melody and smart lyrics. Richard Hayes is accompanied on the track by a doo-wop style male vocal group; something of a departure in musical style for the balladeer, and it was a no. 9 U.S. hit in late 1951.

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" Beloved , Be Faithful " is an outstanding ballad , with a terrific melody which is quite similar to a song entitled " Forever And Ever ". Eve Young and Snooky Lanson duet commendably on it , to an appealing arrangement by Eve Young's then husband Jack Pleis.

Unfortunately , the flip side " In The Middle Of A Riddle " is a truly dreadful song , just as bad as its title. The pair do their best with it , but it's a lost cause.

Around the end of 1952 Eve Young changed her name to Karen Chandler , who is probably best-remembered for her American hit " Hold Me , Thrill Me , Kiss Me " which climbed to no. 5 in early 1953.

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"Sentimental Music" was considered good enough to be recorded by a host of American stars, including Bing Crosby, Patti Page, Rosemary Clooney, and Tex Beneke. Yet, in my opinion, it is a slow nondescript ballad with a melody that is average at best and very trite lyrics. Significantly, none of those who bothered to record "Sentimental Music" had any chart success with it.

The flip side, "I Still Feel The Same About You," is better but not outstanding. It is a kind of rock-a-ballad with a pleasing melody and reflective lyrics about a broken romance. Georgia Gibbs, accompanied by the Owen Bradley Sextet, had a no. 18 U.S. hit at the start of 1951, while Eve Young's equally-good version bombed.

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Rosemary Squires was born in Bristol , England , on December 7 1928 , and her first single " Band Of Gold " was released in February 1956. She faced stiff competition from rival versions by artists including Rose Brennan , Petula Clark , Kit ( a.k.a. Kay ) Carson , and Don Cherry , and hers quickly sank without trace. She was accompanied on " Band Of Gold " by the Roland Shaw Orchestra , in a relatively simple interpretation which was at odds with the over-blown productions on most of the other versions , and this might partly explain the single's failure. However , Squires has a very appealing pure voice with perfect pitch , and her take on " Band Of Gold " is very engaging,

Rosemary Squires released a total of 14 singles in the U.K. between 1956 - 1967 , but none of them even entered the U.K. Top 40. Undeterred by her lack of success on vinyl , she forged ahead and managed to establish herself quickly as a highly-acclaimed vocalist in the jazz / big band / easy listening genres of music , performing for many years internationally in concerts and cabaret. Her career started in 1940 , at the young age of 11 , and lasted right thru into the 21st. century.

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On this 78, the English singer Virginia Somers delivers sublime renditions of "Lovin' Spree" and "Cross Over The Bridge", associated primarily with Eartha Kitt and Patti Page respectively. She has a very appealing pure voice with perfect diction, enhanced by Reg Owen's slick arrangements on both tracks.

In my opinion, "Cross Over The Bridge" is a stronger, more commercial song than "Lovin' Spree", and it should have been promoted as the "A" side. In any event , both are at least as good as any other versions which I've heard..

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The "A" side of this single, "Do You Miss Your Sweetheart?", is a sentimental ballad about separation. It is taken at a slow tempo, to a fox trot arrangement, and the band led by Jurgens is augmented to good effect by vocal input from Harry Cool. Rather surprisingly, this disc failed to chart in the U.S. for Jurgens, who was then (1942) at the zenith of his career. The flip side is quicker in pace, a spirited version of one of Rodgers' & Harts' lesser-known compositions "Ever'thing I've Got", which appeals to me more than the top side because it's got more spark.

The song "Do You Miss Your Sweetheart?" was also recorded by a mixed-gender vocal group called The Marshalls, released on the Hit label in 1942 in competition with Jurgens' take on the song. Theirs is a smooth choral version, in the style of the Ray Charles Singers, with an appropriately restrained arrangement, and I prefer it to Jurgen's version because, in my opinion, the simplicity of the track enhances the appealing melody. The flip side of the Marshalls' disc, "Under A Strawberry Moon," is an attractive rhythmic number, also delivered in an unembellished fashion. Unfortunately this record bombed, and it is on neither this website nor YouTube.

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What an absolute joy it was to sit through 8 - 9 hours of pure genius at work. After watching Episode 1 I was a little worried about what way the documentary was going. It wasn't unlike the original film as there was a lot of angst and heaviness going on and at the end George left the band. At the start of the Episode there was an awful lot of very fast cutting and at times was a little distracting, added to that there were clips of film overdubbed from an audio only source which looked a little weird so between that and all the aforementioned angst I was left feeling a little deflated. Day 2 and I settled down to watch Episode 2 which was so very different to the first one. I started to feel very positive and engaged with film. The boys were really having a great time and the good humour and banter was amazing to watch. It wasn't until they brought Billy Preston into the fold that the whole thing magically started to take shape. I would go as far as to say that if Billy Preston hadn't been brought onboard the album might never have happened, such was the positive influence he had on the other four guys it gave them room to concentrate on doing what they do best, writing some incredible music. This continued througout the whole of Episode 2 and into Episode 3 which for me only had 1 awkward moment when Paul looked as if he wasn't really into doing the rooftop gig but as we already know, the show went on. Barring my hesitancy about Episode 1, Peter Jackson has done us all a huge favour by letting us in on what it was really like to make the album and it wasn't anything like the funereal film that was released first time around. It was full of joy, happiness and humour and has changed my outlook on what it was really like, it was absolutely wonderful to watch. It's a much more positive and uplifting experience than the original film and I'm only sorry it didn't go on for another 8 hours!. Absolutely brilliant and a very highly recommended must see. Just can't wait now for the release of the Blu-Ray and if it's released soon it will be top of my Christmas list.

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I went to see this movie 11/01/2019 on release. When the opening credits came up and as soon as I saw "BBC Films" I knew I was in for something quite special. This film is a masterclass in how to make great movies. The actors are, to put it quite simply, amazing. John C Reilly and Steve Coogan _are_ Laurel & Hardy. They are so convincing that at times it was hard to believe that it wasn't really them in the flesh. They seemed somehow to summon up the spirit of L&H and allow them to possess they're bodies, it was remarkable to watch. John C Reilly's Oliver was absolutely incredible, he had it all, the voice, the mannerisms, the body movements and the singing voice. It was an incredibly moving performance that had you smiling and teary eyed at the same time. This is one not to miss, and one which i'm sure will become a classic. 10/10 from me

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This is a fabulous package which has been authorised by all the original band members. The studio albums, and the live albums have been re-mixed and re-mastered. This was some task. There are also eight live shows that have not been released previously although some have appeared in bootleg form over the years. Some 30 discs in total. The lavish hardback book is very informative and has statements, comments and anecdotes from all of those concerned. There are some lovely pictures of the lads and several that include promo material, posters, flyers, newspaper and magazine articles.
The poster book has some interesting and rare posters on show. Each box set contains individually signed photos of the band along with some other posters and period promotional material. Well worth having if you're a Wishbone Ash "Nut"

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The Spinout soundtrack album is a prime example of how Elvis' recording career was mishandled in the mid-1960s when the movie soundtracks took priority over everything else. Frankly, you can safely ignore everything on Side A and the first 3 tracks of Side B, except maybe if you want to compare Elvis' version of lead track Stop, Look and Listen with Ricky Nelson's original or even the Bill Haley version that, oddly, was recorded around the same time Elvis did his. Elvis' version ends weirdly - almost as if it's been truncated.

No, the sole reason for wanting this album is for three of the best tracks Elvis ever recorded - and they were buried at the back of the soundtrack as bonus filler. In particular, the 5-minute-long cover of Dylan's "Tomorrow is a Long Time" is, in my opinion, the best vocal performance Elvis ever reccorded, full stop. Based on gospel singer Odetta's version, its relaxed pace, philosophical lyrics over a modern-country backing and Elvis' smooth vocal (apparently this was recorded at something like 6 am after an all-night recording session, so if Elvis was sleepy, it worked) is like nothing he recorded before or since. Sadly, the Beatles had yet to break the length barrier for singles with Hey Jude, so there was no way this would have been released on a single unless it was edited down - but what a track it would have been if included on an album like Elvis is Back. And the fact it rarely appears on compilations is a real puzzler.

The two other tracks are also amazing - Down in the Alley is the hardest blues Elvis had recorded since Reconsider Baby, and I'll Remember You was a lovely ballad along the same lines as Presley's recent successful single "Love Letters" (a charity named for its writer was the beneficiary of Elvis' Aloha from Hawaii concert a few years later).

Elvis experts often point to the How Great Thou Art gospel album and Guitar Man single, both from 1967, as the first stirrings of his Comeback, which climaxed in 1969 with the Memphis sessions and his return to Vegas. Had the Colonel or RCA put these three songs on a non-soundtrack album, tossed Down in the Alley onto a single, and filled the rest of the album with some of the other recordings from the period like Beyond the Reef (unreleased until 1966), Love Letters and so forth, the Comeback could have started a whole year earlier.

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I worked as a "humper" cum roadie at these gigs. The good? They were amazing. The bad? Every act I saw for the next 30 odd years after this was relatively a disappointment. I never saw anyone hammer an audience this hard. Merciless grooving ... did the whole show of numbers like "Fantasy", "Saturday Night" and a few popular album tracks ...... came back and finished with an encore, a medley / segue of "Let's Groove", "Boogie Wonderland" and "September". I'm amazed Wembley Arena is still standing. Just a terrifying live act. They used Edwin Shirley's entire fleet of 27 trucks plus a couple of Range Rovers with radio comms between and I think they had to hire in more trucks. Fred White was the first to endorse DW (Drum Workshop) kits and the founder of DW went on tour with Fred White as his kind of personal drum tech. I was seconded to him. It was an unforgettable experience. Fred White is one of those rare drummers who realises drummers shouldn't actually do that much ... but what they do should be right and should groove. Very understated drummer.

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One thing that becomes clear about this record is that Sinatra ignores all modern pop music trappings. It is totally out of time. There is not one nod to rock’n’roll, soul, disco or punk. Upon hearing this, a person who went into a coma in 1955 and woke up 25 years later might think that nothing had changed. He still has that confident and familiar swagger and he was never afraid to take a chance but “Trilogy” is a tell-tale period for him. Face it, Frank didn’t need to do “Trilogy”, arguably the most ambitious record of his career. At age 64, his place in pop music history was assured. Recording at all by then had its risks. This recording is a concept record of 3 discs, each representing The Past, The Present and The Future. “The Past” is conducted and arranged by Billy May, “The Present” features Don Costa and “The Future” is handled by Gordon Jenkins. All three volumes are produced by Sonny Burke. Record One, The Past is where Sinatra really shines. With bandleader Billy May, he effortlessly sails through tracks of varying tempo like “The Song Is You” and “Let’s Face The Music And Dance” with that familiar yet somewhat annoying Sinatra panache. If he had stopped at Record One we would have a very good LP, but there was more.

The Present, record two, is an uneven set but the highlights are well worth a listen. “Theme From New York, New York”, the high point of the entire album is probably Frank's final masterpiece. Until this recording, the best known version of this tune was by Liza Minnelli. Today it would be hard to find someone who can even remember Minnelli doing it. Another track “You And Me (We Wanted It All)” is an emotional tune with a late 1970's flare. These are good songs but my problem with “The Present” is simply that, of the ten songs, six are tunes that I could have done without. In trying to represent the present, Frank performs songs that are far better known by other singers. Some examples are Kristofferson’s “For The Good Times”, an abbreviated “MacArthur Park”, The Beatles’ “Something” and Elvis' “Love Me Tender”. Sinatra’s ongoing problem since the 1960’s has been a lack of decent songs for him to sing. This is not a knock on contemporary songwriters. There will always be good quality songs written but many modern composers don’t suit Sinatra’s style. Most popular music of any certain era has an inherent sameness to it, a lot like automobile designs. Frank was at his best doing Cole Porter, James Van Heusen or Gershwin. These writers were from a different era and wrote in a style that suited Ol’ Blue Eyes. To me he compromised himself artistically by doing contemporary material like Jim Croce’s “Bad Bad Leroy Brown” or his version of Cher’s hit “Bang, Bang (My Baby Shot Me Down)”. This dilemma is far from over on Trilogy. He attempts Billy Joel’s “Just The Way You Are” and Neil Diamond’s “Song Sung Blue” with disastrous results. To hear Frank croon these tunes awkwardly was something I didn’t need to hear. Why would he even think about recording these songs? I’m guessing it’s because these tunes really did represent the present in 1980 to Frank and Sonny Burke, which speaks volumes about their take on the times and what they thought Sinatra’s fans wanted to hear.

This brings us to the third record, “The Future”. This is where it gets just a little pretentious and a whole lot wiggy. Frank’s entire career consisted almost exclusively of singing short pop songs and when he gets into more elongated musical structures he sounds like The Sex Pistols trying to do Swan Lake. He performs six tracks all written specifically for this project by conductor Gordon Jenkins. I don’t make claims to have heard all of Sinatra’s work but this must surely rank as the strangest thing he has ever done. The first track “What Time Does The Next Miracle Happen”, a ten minute epic, is a futuristic musical trek around the solar system, much as you might fly an airplane, complete with airport like PA announcements. “World War None” sounds like it’s from some long lost musical and there’s “Song Without Words” which is okay but strangely, it actually has words. All this is followed by another epic length piece called “Before The Music Ends” which is all about returning to Hoboken to see his old neighborhood. It’s sobering to hear Frank off the rails but it has a certain charm. Maybe he meant this to be his last record.

The Future has it’s credibility problems but it is ambitious. Most singers today don’t want to take any chances, or more likely, their record companies won’t let them. Sinatra solved that problem by starting his own record company, Reprise Records. Before his death he did two more LP’s,“She Shot Me Down” (1981) and “L.A. Is My Lady” (1984). “Trilogy” is not the ultimate Frank Sinatra LP but it’s far from insignificant. Despite my gentle slagging, this record is an enjoyable listen and it’s good to know that, in his mid 60’s, Frank was still feisty. There’s a certain ironic comfort in

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West End Jungle is a fake documentary with staged scenes. Set in the West End of London it is a morality story with the intention of showing titillating sex scenes and nudity. Due to the time this film came out there is no real nudity shown just a few underwear shots.

The film mainly features men going to clip joints, seeing prostitutes and it ends with a street walker being picked up by the police. All sleazy stuff backed up by a cynical albeit excellently written narration track.

The version I saw was the Strike Force Entertainment DVD release from the UK. It is rated 15 and features a superb print and good sound which could do with being a bit louder. This is a 50 minute film and it is a bit expensive at £10+

Director Arnold L Miller went on to make London in The Raw and Primitive London which are more of the same and worth watching. The cinematographer was Stanley Long who made the forgettable British Sex Comedies series The Adventures of...

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Notoriously bad pressing... but not quite the whole story.

I found a copy of this the other day (along with a US copy of Violent Femmes first album - sweet! :) in a charity shop...

...While not really a great punk fan, as a lot of it seems fairly same-y, tuneless, artless fluff.

...Anyway, my personal gripes aside, I recognised the band's name, as being something of a big wheel in this area, along with the immediately recognisable "Johnny Thunders" name on the back, which together caused a little bell to go off inside my head - or maybe my crate digger's "spidey sense" got to a-tingling... so I grabbed it then and there, for two whole English pounds - sleeve a little worn around the edges, ring wear, and some small wear on the print on the cover, but the record inside, well that was stone cold mint!

And so, the story of the audio on the disc begins...

...Having got it home, I began to look into the background of this album online (as you do), and saw time and again that the most notable aspect of this first issue, and the reputation that comes with it, is how bad a pressing it is... that the music / audio is said to be very "muddy" sounding, and pretty lousy in general.

So I made a priority of getting it on the turntable, to see if it was so.

My disc, being mint, would reveal immediately if this was simply people just having a bad copy, or if the actual pressing of all copies was as bad as they say...

...And it is.... kind of...

Because the first thing I noticed is how quiet the audio is on the disc... from the outset, I had to turn up the volume to hear it at normal levels... The opposite of what you'd be aiming for in this kind of music, I'd have thought!

...This, in turn brought something else to the fore - the bass and drums at this volume begin to "womp - womp" along in an unsettling, and unpleasant way that starts to overwhelm the other instruments and vocals- both lead, and backing, which are very thin, even weak, and which, along with the guitars, get squashed almost to nothing the louder you try to go.

Of course, the easy thing to do is simply turn up the volume, and turn down the bass, on you kit, but this does nothing for the experience really, as now it sounds quite pasty and washed out.

So is this an unfathomably rare mis-step form the legendary Mr. Porky, pressing impresario extraordinaire... who just fouled up putting this music on the disc?
I'd say not, as these simple shortcomings are not entirely consistent across the album.

This, as they say, is where the plot thickens...

...As if it was down to Porky, logically, it should be consistently bad all the way through, but it isn't:

The whole of side 1 is the same in this sense, but it immediately strikes you, from the off, how much better side 2 is, well, at least the first four songs, sounding broader, louder, and crisper, and with the lead vocal being bolder... "Goin' Steady" drops back to the standard of the first side, before picking up again for the last track.
Now the other feature of this sound, is how "Demo-ish" this whole thing sounds, like the group all got together in a single small room and just jammed while someone recorded from one single fixed point: Drum and bass closest the mic(s), then further away, the guitar, then somehow, all the singing done at the far end of the room... but on the side 2 tracks, that improve the sound, it sounds like they are more professionally arranged and recorded, and with a different mic for the vocal (Has that almost through-a-megaphone quality to it).

So in a nutshell, it sounds generally a bit fusty, thin, and weak, under too strong bass and drums, but crucially it sounds like two separate recording sessions, both set up differently and with great differences in competence, that have later had their track orders rearranged for side 2 - so a track from a side1 session finds it's way on to side 2, jammed between the other side 2 sessions, and suffering by contrast, as a result. So you cannot really blame your man Porky here, he could only work with what he'd been given - a crap recording!

The saving grace of this, is in fact the type of music it is... it being Punk, the Done-It-Ourselves (Badly) quality can be thought of as quite in keeping with the idea and attitude they wanted to convey, and this would be simply horrendous if this was any other kind of music....That, and that this is fairly short album (32 mins or so) means the headache you would otherwise have had doesn't quite take hold.

Perhaps this pressing / issue is better thought of as an important punk era artefact, and bought - when bought - as that... But if it's the music you are after, best look to the later issues that sought to remedy these problems.

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One of the best albums of the nineties... and getting better with age!

Some albums seem to make a fair old noise at the time of release, being definitive of their time, while others are not so firmly rooted in their era.

...These last, such as this one, don't date, or age as badly, and tend to improve with each listen.

Listening closely, the odd thing about how this album achieves this, in that there are relatively few working parts in it's construction...

...And it is most definitely a "constructed" record.

What strikes the ear more than anything, is that over and above the basic drums, and bass, and vocals, it's mostly a collection of short (very short) passages, phrases, stabs, and hooks, all tied together in the production, with a bit over here on the left channel, some over there on the right, a little in the middle distance, and a few bits in the middle to hold it all together.

Not so much guitar pyrotechnics, as acrobatics.... pieces of guitar in different effects peddles and so on, cast about, strewn, and popping up all over.

All of which creates an effect of having more in there than is actually the case, and a very dynamic listen.

The same is true of the drumming too, which doesn't settle too much on one constant pattern, but is full of energetic fills and punctuation.

And all of this goes on over around some exceptionally well written, classic (almost standard) feeling songs, with bags of hooks, melodies, and tunes.

Not a track to skip, and you find yourself, not only humming vocals that have gotten stuck in your head, but guitar parts too.

Extraordinary album, and one the ten best of the nineties for me.

There is, however, one fatal flaw, in that those of us who would exchange a nut for a vinyl copy of this (OK, a bit of extreme... but then, I didn't say it would be my nut! :D ) would have to accept the whole two disc affair - one single album across two discs - which I really do not like!
- One disc please!!!...

So, until such a single disc vinyl is issued (never going to happen, I know), then the CD is all you need... it would be your best purchase of the year!

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Anouska Hempel bought the rights to this film to stop it being released. A lot of actresses change careers, but acknowledge the fans that put them were they are today. Sam Fox doesn't get them out anymore, but she still appreciates stripping off and being a huge personality put her on the map. Luckily a VHS release on the Jezebel (which put-out cult sexploitation films) imprint of Salvation Films was released in the late 90s.

The film is based off a British comic strip, about a sort of female spy with St Trinians-esque capers. The film is absolute rubbish. Sure, most of these British sex films weren't funny or sexy, but at least most like Confessions Of A Window Cleaner weren't boring. There is very little nudity or sex in this film despite an overly-zealous BBFC 18 rating and very little action. I've heard the similar film The Big Zapper is better, but I've not seen it. To me it seemed like the budget was too small or Pete Walker had his hands tied in some way, maybe the budget or the source material.

I watched this as Pete Walker completest and as a fan of crappy British cult films. The version I saw was a rip of aforementioned VHS tape. I can't recommend this to anyone as a film experience apart from for its scarcity and cult status.

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Sci-fi James Bond style time heist palindrome movie

...Basically, a complete mind - f*&k in a can :)

And while this nothing less than we have come to expect from Christopher Nolan - his usual twist on otherwise long established ideas make you look past the fact that a lot of what is here, you've seen before. It does borrow heavily from, or allude to modern, Daniel Craig era James Bond movies, both in terms of style, character types and presentation, replete with stereotypical (almost offensively broad) characterization of Russian baddie...

(gives Kenneth Brannagh a chance to show off his more exotically terrifying slices of acting ham! :)

John David Washington is hugely impressive in the "Bond" style lead character, with huge prescence, even though he is playing opposite Elizabeth Debicki's giraffe.

The problem really is about the subject matter... in that you're always on thin ice when trying to make sense of time travel, especially in the face of a savvy audience, who's prime occupation these days is to pick holes in the shaky physics of it all (rather than enjoy the movie)...

...And after all, the ones that work in this area of sci-fi hit the sweet spot, of giving just enough physics (explanations thereof) to give the impression you know what you are talking about, and to set up the dramatic potential of the story, but without degenerating into ever more desperate logical justifications that cause characters to give on screen lectures about it while the premise dissolves like wet tissue paper just as quickly as the audience begins looking at their phones instead.

(Nobody questions the time travel of Back to the Future for this reason... it don't get in the way of the yarn!)

...But even this would be too simple for Mr. Nolan, and has, instead, attempted a movie as technical exercise in constructing a narrative palindrome... and it really does seem he's finally bitten off more than he can chew here.

I think he's buried the fact that he doesn't know the logical inconsistencies here in obscurity and obfuscation: Give a a couple of mind bending explanations using big words and people will believe it means something, even though it's clearly horseshit.

But, it's something new, and makes you work as a viewer (a blessed relief in today's movie terms), and oddly, given the subject matter, unpredictable, and there's enough action and suspense to keep you interested, and distract you from probing too deeply into how the magic trick is done.

Two outstanding issues though (perhaps they are the same issue?), is that this seems to be set up as being only half the story (palindrome), which could be why it doesn't quite work as such, as is, so a sequel should be on the cards, or resolution at least... and this is even more suggested by the fact that the huge set piece at the start, which has a couple of unexplained moments in it does not appear, or referenced at all at the end... which is where I suspect any potential sequel would end.

Notably, no co-writing credit on this movie for Nolan's brother, and frequent collaborator (probably could have helped square this up a bit more), and no Hans Zimmer score this time... but instead a very experimental backwards, Aphex Twin does 1980s Tron soundtrack jangle and scrape fest... which is both consistent with the images on screen, and really interesting !
(one to seek out I think!)

So possibly a case of Christopher Nolan's reach finally exceeding his grasp...

(and makes you wonder what he has to do to up the ante for his next movie from this!)

... And is a thrill to see first time round, but I don't think it will be as good to watch in the necessary repeat viewing.

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Virtually unheard of, Welcome to Arrow Beach is an entertaining thriller, and the last film from Laurence Harvey, who also directs. It hardly compares to his previous masterpiece, The Manchurian Candidate, but never mind that.

The story begins with a very cute hitch-hiking hippy chick (Meg Foster) who ends up in the quiet title beach community. After a nude swim in the beach, she meets and becomes friends with Jason (Harvey), who happens to have been watching her through his scope. He has a dark past from his days in the Korean war which has managed to integrate into his world back home where he lives with his sister, who just happens to be his lover. Their beach-front home is a good location for spotting pretty young runaways or drifters, which is our setup.

Harvey helmed this thriller while deathly ill and some parts certainly suffer from whatever he was going through dealing with stomach cancer while directing and starring in a cannibal opera. Good supporting cast and an unusual title song by Lou Rawls that draws creepy parallels to the story, despite the initial impression of being awkward and unfitting.

In a perfect world, Warner Bros. would restore the full version of the film and release it on home video, but that's not likely to happen any time soon, if ever. Major studios had never dealt with an extreme topic like cannibalism in 1974, so this only played in a few test-market cities -- sometimes with alternate names -- ultimately getting shelved due to either drab boxoffice figures or embarrassment. I was lucky enough to see a brand new, uncut 35mm print (in a big, oldschool N.C. movie theater) and enjoyed it a lot. But that was based on the fact that I didn't measure the film by how gory it was or wasn't, so if that is your criteria, you may love or hate the film, depending on your disposition. Even with some plot holes and abandoned side stories, it worked for me. Meg Foster certainly played a part in the film's appeal with her haunting, innocent beauty.

It's rare enough to find any version of this film, but if you do, it will likely be an edited copy. Some prints have chopped out the cannibal element entirely, leaving behind a jumbled mess. I own two different versions and neither is technically complete. Maybe we'll get lucky and Criterion, or one of several Blu-ray labels who specialize in limited editions will take on this project.

For the time being, if you find the DVD from Luminous Video, that's the edited 85 minute version, despite its claim of being uncut. The (assumed) uncut version can only be had from an old VHS tape from Magnetic Video (who later became CBS/Fox), but even that version is full screen (1.33:1) and is fairly washed out, coming from the infancy of the home video market.

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Now this is the song I want played at my funeral great lyrics and a great delivery by Leslie. Now largely forgotten one of the great Music Hall stars. When in hospital and they were asking for requests and dedications I put forward this song and dedicated it to all those in the Morgue. They declined to carry out my request.
So have a listen take your mind off Covid and cheer yourself up.

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I Liked Rush from the (very underrated) first album. I bought all of the albums as they were released. I was blown away by 2112 which was a fantastic album at the time (it hasn't worn as well as some of the others) When "A Farewell to Kings" came out I don't think I played 2112 for a few years. This album has some absolutely brilliant tracks with Xanadu being perhaps my all time favourite Rush track. It also has the concert favourite "Closer to the heart" and every other track was excellent........ Then came "Hemispheres" ..... What more can be said.

RIP Neal Peart perhaps the best drummer I have ever seen, and I've seen a few.

Several years ago someone relieved me of quite a few LPs - the original of this being one of them, so I bought another. I have a good idea who the thieiving rat was but alas had no proof.

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general (later field marshal) sir alan brooke (later viscount alanbrooke) was chief of the imperial general staff - i.e. the professional head of the british armed services - from december 1941, and was probably the greatest professional military strategist of world war two. he was also the only person able to keep winston churchill's wilder flights of military fantasy if not fully under control, then at least usually under reasonable control, and to usually be able to reign-in churchill's unbridled excessive enthusiasms.

his comprehensive war diaries were originally substantially published in edited form after various people's accounts - including churchill's - made little, or actually slighting reference to his part in the appreciation, decision-taking and planning of the ultimately successful conduct of the allied armies' (including air forces' and navies') actions in defeating the wehrmacht in africa, and in southern, western and western-central europe. the editing appears to have been largely to remove severe and especially personal criticism of people with whom he worked who were still living at the time of the preparation with him of that edition by sir arthur bryant.

a considerable amount of the arguments and reasoning behind the strategic analysis, thinking and decisions made regarding the conduct of the war, and its bearing on broader campaign tactical matters as well as upon narrower battlefield tactics was not widely understood or represented at the time - and is still too-often missed, even in the second decade of the twenty-first century c.e.

- and his diaries make fascinating reading, not just for students of warfare in world war two.

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I seriously wonder if this record could actually damage your hearing. Even using a 1930's gramophone with Bamboo needles.

What does this sound like? Well, If you can imagine an episode of 'The Man From Uncle' where a person is tortured in an enclosed room using piercing, high pitched sound waves, then you are halfway there.

If you can also imagine the sound of a ww2 aerial bomb being dropped onto your house from an inordinate height, picking up speed all of the time, creating an ever increasing shrill, constant 'whistling sound' as it nears - then you have it.

I would say more, but I seem to be developing a bad headache and feeling dis-orientated. Side 'B' remains unplayed.

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Behold, quite possibly one of the rarest Canadian pop rock records known to exist. For those who don't have the album and never had a chance to listen to it, this album is very different from their other tracks like August 32nd, Do It To 'Em and Jack Rabbit. If you've heard those tracks before, I hate to tell you but this album is way too soft to be on par like those ones.
Anyway, the album itself is decent for a pop rock record. It has some surprising hints of northern soul (the songs Eternally and Put You Down come to mind) and has a nice Beach Boys' cover of Little Honda. However, being able to find a copy is extremely scarce and can fetch a pretty penny. Nothing in absurd amounts of money compared to say an original pressing of The Haunted's debut album. Unfortunately, I'm unaware of any reissues of The Big Town Boys' only album known to exist, which makes it even more difficult. If you're on the lookout for this album, I wish you luck... If you happen to have it or somehow managed to get this for a decent price consider yourself lucky. (I obtained my copy awhile back for $40 in a pretty well worn condition. Luckily it still plays from start to finish without any hassle.)
Overall, if you're into Candian pop rock music (or just pop in general) consider giving it a listen sometime. Also a nice addition to your Capitol 6000 Series collection, especially since this is one of the rarest ones out there.

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I found a copy of this last year, and bought it impulsively.

...As I already have an original UK issue (With a 6E / 4E Matrix), with all the stuff that was famously edited out on later issues, and even contemporary issues for other countries, I didn't think I'd be missing much by stowing this on the shelf and forgetting about it, in order to prioritise other records on my listening schedule...

...But stumbling across it again on a tidying mission, I thought I'd give it a go, to see how much better the UK one was, and where this fell short. But to my utter astonishment -

This sounds better - much better - than the UK issue!

I'm talking about the sonics here, that even a non-audiophile will immediately notice, sit up, and go: "Wow... what the hell!"

Yes, it's missing the Morse bits in Starman, there's the drop outs, and a couple of other well documented quibbles, and yes, the UK issue does have more of a balanced, natural sound, but sonically - the soundstage, separation of instruments, detail, punch, and the use of the stereo field simply blows you away here.

Totally unexpected.

If only you could somehow meld the two issues together, in order to have the best of each - the completeness and open, naturalness of the UK one, with all the bits in there, but coupled with sounding like this in terms of the "Holy Cow!" factor, you'd have the definitive version I think.

...But certainly, having a copy of this Canadian one (not sure if the U.S copy is identical sounding to this) and the U.K. one is a recommended task of comparison for the curious at least, and those seeking definitive sounding issues of this monumental album.

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The Beach Boys' second album of 1965 marries the melodic sophistication of its predecessor, The Beach Boys Today!, with the carefree spirit of their earlier singles. The results practically make for a greatest-hits album, featuring classic, upbeat pop tunes like "California Girls," "Help Me, Rhonda," and "Let Him Run Wild." The Beatlesesque rocker "Girl Don't Tell Me" and the lush, romantic ballad "Summer Means New Love" mark the poles of Brian Wilson's increasingly wide-ranging style, while the sardonic "I'm Bugged at My Ol' Man" showcases his humorous side.

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I streamed this movie last night and fully agree with Quad5point1 that this is a truly wonderful movie. Steve Coogan and John C Reilly excel in the roles as Laurel & Hardy and whilst there are great moments when the "live" comedy performances are portrayed, it is the story behind the characters where they both get it so right.

The story revolves around the latter years of the famous duo and the struggles they encountered trying to reignite their movie careers. It gives an insight to their personal lives and more importantly how each character interacted away from the camera.

As said, it is at times a very moving movie but also one that has you smiling through the watery eyes.

A must see!

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Life is a Journey and we're all in for the ride. Tempting as it may be, none of us can fully ride off and away from the entrapments of the establishment. Not even when you're lucky enough to have a bosom buddy who is willing to ride along with you on this road to freedom. Along the way there will be many encounters with all sorts of characters, some good, some ordinary, some evil, from whom one will learn and take a part of them along for the ride. All who are striving towards a place, they too think will give them complete freedom, only to find that fate will have the final say on the matter. Hopper finished his ride 9 years ago, Fonda this August 2019. And this year's the 50th anniversary of this Ride.

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I wrote a drear review of the ellpee in 1982 and reproduce it herein:

ALBUM COMMENTS
Even though the title is "20 Original Winners of 1964,"at least two are not from 1964. Tracks 11 and 20 are from 1963 and tracks 2, 4, 6, 7, 13, 17, and 19 I have not been able to verify as from any year, though all could be easily 1964 records.

I would rate this LP 9.5 out of 10, it's one of my favourite albums. It features many Motown cuts, Motown-influenced stuff and generally good rocking pop rhythm and blues. My personal favourite is "California Sun" from the transplanted (from Indiana) Michigan group, the Rivieras. This is a definite proto-punk classic which should have been on Nuggets. In fact, it may be more than proto-punk, for the 70's punk legends, The Ramones even in 1977 cut this one. Also, in 1975 the seminal group from the Bronx, The Dictators went on to do the best version of this song that I have ever heard.

The Reflections semi-hit "(Just Like) Romeo & Juliet" is also a proto-punk number, which was done by the 60's punk group Michael and the Messengers. The Messengers version did actually make it to Nuggets.

I think this LP, once again, throws out the window the theory that rock was dead between 1958 and 1964. Though it is common knowledge that rock was very strong regionally from 1958 to 1964 (especially in Tacoma-Seattle), this LP also demonstrates that plenty of exciting rock music was also happening on the national level.

In sum, a great compilation album is the result of Roulette's effort. One drawback (a common one among collections) is that the ellpee is shoddily packaged, though listing of original labels is nice.

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An excellent snapshot into the Welsh language music scene. Presented as a road movie in which Huw Stephens discovers a bright yellow Anorac in a Cardiff charity shop and then sets off to explore his homeland. The film is made to look as if the journey took 4 days but the film actually took years to make, the yellow anorac providing continuity so you don't notice Huw's changes of footwear and quiff.

It's not a comprehensive history of all Welsh language music, which is probably a good thing otherwise it may have been a dry old Welshcake of a documentary. Instead it focuses on artists making Welsh language music now and mixes it up with the pathfinders who made this possible (Y Blew, Meic Stevens, Datblygu and Anhrefn as examples)

The two main things that both hold the film together and make it a cut above a standard music documentary are 1. Huw Stephens - His love and enthusiam for Wales, the language and the music is obvious, heartfelt and therefore completely infectious and 2. Wales itself - with some beautiful shots of the remote and picturesque far corners of the country. The cinematography is good enought that it even manages to make Cardiff city centre look quite magical !

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The much-acclaimed bandleader / conductor / composer Geraldo was born Gerald Walcan Bright in London on 10 August 1904 , and he died from a heart attack while on holiday in Switzerland on 4 May 1974 , aged 69.

This 78 , released in October 1948 , comprises two familiar songs : " Take Me To Your Heart Again " and " So Rare ". The former is the English version of " La Vie En Rose " , most notably recorded by Edith Piaf. In fact , in 1950 seven versions of " La Vie En Rose " reached the American Top 30 , with Tony Martin doing best at no.9 while Piaf trailed behind at no. 23.

Geraldo was known for his " sweet music " style , also known later as " elevator music " , and he performs " Take Me to Your Heart Again " as a slow fox-trot. I find it very bland , lacking any spark , and he really brings nothing new to it. However , it is redeemed by the impressive contralto of vocalist Doreen Lundy.

Finally , the popular band singer Doreen Lundy ( born in Ireland on 4 November 1925 ; disappeared off the radar , late 1950s ) released a single entitled " Falling Star " on the U.K. Oriole label in 1955. This charming lilting song and also its up-tempo jazzy flip side " A Man " provide her with a good opportunity to display her vocal prowess. Unfortunately , however , neither track is on either this website or YouTube.

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This is probably the Lou Christie album that would appeal to the widest range of listeners. Side one covers an excellent group of contemporary songs from the mid-60s, and Lou handles both ballads and uptempo numbers in fine fashion. Of particular note is an interesting and effective rendition of the Lennon-McCartney classic, “If I Fell”.

Side one is good, but the real fireworks start on side two with all six songs written by Lou and his partner Twyla Herbert. Five of the six feature his distinctive falsetto, and are filled with one killer hook after another. Aside from the falsetto, Lou has one of the great voices in pop music with an exciting sense of urgency. Both he and his partner knew how to tailor a song to his vocal strengths, and were at the top of their game here.

Side two is not just the the monster hit “Lightning Strikes” and five other also rans. There are at least two other selections on this side that have the word “hit” written all over them, plus three other very worthy album cuts (“Jungle”, “Baby We’ve Got To Run Away”, and “Diary”). Of particular note is Christie’s use of female background singers who play an essential part in his overall sound. This is as much of his trademark as is the falsetto, and adds an exciting element that is rare in most male vocals. The background harmonies on all songs are every bit as good as they are on “Lightning Strikes.” They are creative in ways that truly move a song along, and a pleasure in their own right.

Unfortunately MGM was a record company with lots of money coupled with almost no clue how to effectively promote an artist. The potential follow-up hits (“Trapeze” and “Cryin’ in the Streets”) got criminally buried on the b-side of Lou’s first two releases, and he was never able to build the kind of momentum necessary to sustain a singles artist back then for more than a couple hits at a time. Also, the failure to release and promote another a-side off the album undoubtedly did nothing to increase album sales.

This is my favorite Lou Christie album. On the strength of Side two alone, I would give the album a 9.

Recommend that you purchase the stereo album which provides a fuller highlight of the background vocals.

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