sábado, 25 de junio de 2022
viernes, 24 de junio de 2022
miércoles, 22 de junio de 2022
domingo, 19 de junio de 2022
sábado, 18 de junio de 2022
SATURDAY NIGHT AT THE MOVIES 015: NOWHERE BOY (2009)
John Lennon wrote the song "Julia" about his mother, and it is a strangely objective love song, as if about a real girlfriend and not a mom. Perhaps that's how he thought of her. When he was very young, he came under the care of his Aunt Mimi, whom he regarded as his mother, and in the telling of "Nowhere Boy," he didn't see Julia again until the day of his uncle's funeral. The film is co-written by Julia Baird, his half-sister, who must be presumed to have good information.
The young Lennon (Aaron Johnson) in "Nowhere Boy" is cocky and vulnerable. He was raised in an ordinary lower-working-class home, not far from Strawberry Fields in Liverpool, by an aunt (Kristin Scott Thomas) who loved him but was reserved and cool. She and her husband had taken the child in after her younger, prettier sister proved incapable of caring for him; John learns the details of his adoption late in the film. He knew Mimi was not his mother, but had no idea that all during his childhood, Julia lived only a few blocks away.
She must have seen him often; if he had only known it. Did she stay away out of respect for Mimi? He glimpses her at the funeral of his uncle and instinctively knows who she is. When he discovers where she lives, he knocks on her door, and she greets him with instant, embracing love; we get the sense that she was a woman quick to love, impulsive, more spontaneous than the responsible Mimi. Because John and Julia are essentially strangers, their relationship has elements of unrealized romance. There is the tension between joy and sadness we often feel in Lennon's songs, and perhaps we see some of the origins of his place in the flow of British Romanticism.
"Nowhere Boy" is deliberately not about the future John Lennon, Paul McCartney and George Harrison, nor about the birth of the Beatles. The cataclysm of their future global fame is nowhere on the horizon. It is about a not remarkable childhood and youth in Liverpool, marred by the sudden death of his Uncle George (David Threlfall), also warm and playful, more sponataneous than Mimi. The two males must have formed a club of their own in the Mimi-ordered household.
We are lacking details about the gestation of the future musicians. The only actual Beatles note in the film is its opening chord, from the distinctive first sound of "A Hard Day's Night." We see John meeting Paul, and through Paul, George, in the ways that teenage boys meet. No heartfelt conversations, no elaborate daydreams; music seems to have been a natural way of expression for them. Though we do get to witness the creation and evolution of John Lennon's first band: The Quarry Men; but then one day Paul walks into John's life and skiffle is out and rock and roll is in.
The seminal Beatles moment in the film may be when John goes to the cinema and sees Elvis Presley singing in a newsreel. Later generations can hardly comprehend how, or perhaps even why, Elvis represented a moment of decisive social change.
What do we really learn from "Nowhere Boy"? We don't really learn much about the actual early days of the Beatles as a band. Of course there is no Ringo Starr, who may deserve his own film. What we do learn is that it could be said of the teenage John Lennon that he: "Doesn't have a point of view; Knows not where he's going to; Isn't he a bit like you and me?
We also learn something more important. We learn that the emotional roller coaster of his formative years probably contributed to the complexity of his lyrics. We learn why there's so often in his music the top level of what seems clear, and then, below, echoes of... something else. We feel elation and sadness as simultaneous possibilities. We arrive at the possiblility that if Julia had always been there for him, he might not have been there for us. We reflect that even if all you need is love, that isn't always all you get.
But before we get to the main feature, let's enjoy...
The Pre-Show:
Boy are we in for a treat today here at the Pre-Show! There are three John Lennon related videos and two pertaining to Elvis Presley. Let's start by describing John's videos. To begin with, a magnificent documentary titled: "Looking For Lennon" (2018), which complements our main feature. We'll have the opportunity to discover John Lennon the kid, the adolescent and the leader of a skiffle group: The Quarry Men. I repeat, very interesting, indeed. If you haven't had the chance of viewing it - don't miss out on this occasion. Next, is an audio where surprising and amazingly we have the opportunity to hear snippets of two songs that The Quarry Men sang the day they met Paul McCartney: "Puttin' On The Style" and "Baby, Let's Play House" (at St. Peter's, Woolton's Parish Church in Liverpool on the 6th of July 1957). To set it in context, these songs we hear are not from the afternoon show on a flatbed truck, but rather they belong to the indoor performance which occurred right after the famous meeting between Paul and John. Ladies and gentlemen... history revealing itself right in front of our eyes (or should I say ears?). Finally we get to listen to The Quarry Men live at Strawberry Fields in 2021. It's a pleasure for the eyes to notice how history is still preserved, but it also gives us the opportunity to understand why John, a 16 year old teenager, decided to enrol Paul (15 year old teenager) to the cause. He needed to evolve and clearly Paul was the key.
In "Nowhere Boy" we get to see a nice little scene where John and his mom are having a day out, which includes a film. John gets to witness the hysteria that surrounds him, amongst the teenage girls, when on the big screen Elvis is being shown on a newsreel. Well, another moment in history to preserve and enjoy. That very live show which John was watching in the cinema is one of our Elvis videos: "Elvis Live At Tupelo" (1956). And Tupelo it is with the following documentary on Elvis: "A Boy From Tupelo". A very attractive video about the times Elvis spent at Sun. The moment in time, John Lennon admired, adored, succumbed to the king of Rock and Roll. Quoting Lennon: "Before Elvis, there was nothing" (obviously he was referring to this Elvis).
The Main Feature:
Title: Nowhere Boy
Director: Sam Taylor-Wood
Cast: Aaron Johnson / Anne-Marie Duff / Kristin Scott Thomas / Thomas Brodie-Sangster
Release Date: 2009
Country: United Kingdom
On Your Way Out:
There is no doubt in my mind that today, here at "Saturday Night At The Movies" you have thoroughly enjoyed both the "Pre-Show" plus "The Main Feature". Well, there's reason to keep the spirit up as you're about to get your hands full of goodies, which I'll hint by saying ... it will keep both your ears and eyes busy!
Note: Password for all files: Shade'sVintageRadio
viernes, 17 de junio de 2022
miércoles, 15 de junio de 2022
THE SKY'S THE LIMIT 030
TSTL030 (pw: Shade'sVintageRadio)
01 – ROCKESTRA THEME (Wings) (1979)
02 – RED RUBBER BALL (The Cyrkle) (1966)
03 – WHY LITTLE GIRL (Shane Fenton & The Fentones) (1962)
04 – LITTLE DEVIL (Helen Shapiro) (1962)
05 – HE’S A DOLL (The Honeys) (1964)
06 – K-TEL RECORDS: STARS (Commercial Jingle)
07 – DOULIOU, DOULIOU SAINT-TROPEZ (Genevieve Grad) (1964)
08 – IT’S ONLY R&R (BUT I LIKE IT) (Live) (Rolling Stones) (1977)
09 – HERE COMES THAT RAINY DAY FEELING AGAIN (The Fortunes) (1971)
10 – HOUSE PARTY (The Pixies Three) (1964)
11 – HAVING A PARTY (Live) (Sam Cooke) (1962)
12 – KISSING IN THE BACK ROW OF THE MOVIES (The Drifters) (1974)
13 – DON’T MAKE ME OVER (Dionne Warwick) (1962)
14 – CANDIDA (Tony Orlando & Dawn) (1970)
15 – SATURDAY NIGHT FEVER (Trailer) (1977)
16 – IF I CAN’T HAVE YOU (Yvonne Elliman) (1977)
17 – CHANT 13th HOUR (Redbone) (1970)
18 – AL PRIMO QUARTO DI LUNA (John Foster) (1965)
19 – AGAINST THE WIND (Bob Seger) (1980)
20 – 500 MILES AWAY FROM HOME (Bobby Bare) (1963)
21 – AT SEVENTEEN (Janis Ian) (1975)
22 – ACEITUNA LA ESPAÑOLA (Commercial Jingle)
23 – CANCIÓN DE JUVENTUD (Rocío Durcal) (1962)
24 – COLOUR SLIDE (The Honeycombs) (1965)
25 – GOOD DAY SUNSHINE (The Beatles) (1966)
26 – KILLING ME SOFTLY WITH HIS SONG (Lori Lieberman) (1972)
27 – KILLING ME SOFTLY WITH HIS SONG (Roberta Flack) (1973)
28 – I DON’T WANNA BE TIED (Elvis Presley) (1962)
29 – LOVE’S THEME (The Love Unlimited Orchestra) (1973)
domingo, 12 de junio de 2022
sábado, 11 de junio de 2022
SATURDAY NIGHT AT THE MOVIES 014: JIMI PLAYS MONTEREY (1986)
When, in June 1967, Brian Jones sauntered onstage at the Monterey Pop Festival to introduce Jimi Hendrix as "the most exciting guitar player I've ever heard", the Rolling Stone got a bigger reception than the act he was announcing. Although a fair few of those in attendance that final evening - some estimates have put the figure as high as 90,000 - would have heard Hendrix's British hits on America's new-fangled FM radio, this was effectively the guitarist's homeland debut. Indeed, the Jimi Hendrix Experience only made it on to the bill after strong lobbying from Paul McCartney, a member of the festival's organising committee (alongside Mick Jagger, Brian Wilson and Smokey Robinson). That Derek Taylor, formerly the Beatles' press officer, was one of Monterey's three founders (the others were Mamas and Papa's John Phillips and record producer Lou Adler) and knew all about the trio, secured them a prestigious Sunday evening slot.
Coming on after 40 minutes of genial musicality from the Grateful Dead, the Jimi Hendrix Experience had maximum impact as they blasted into their high-octane take on Howlin' Wolf's "Killing Floor" followed by "Foxy Lady", the latter introduced with a self-assured: "Dig this." Their first big American gig might have been a touch belated, but as a band they were more than ready after honing their stuff on the European psychedelic scene. Mitch Mitchell's jazz-rooted drumming was not fazed by the guitarist's flights of fancy and able to take a few excursions of its own while holding the groove. Noel Redding's liquid playing approached the bass as another lead instrument, contributing ideas of its own rather than simply supporting. The threesome meshed superbly on what is acknowledged as one of the best festival sound systems ever - play their Live at Monterey album and you'll have to remind yourself there are only three people on stage.
Central to this, of course, is Hendrix himself: his dazzling technique combines with a use of feedback and fuzz to almost casually create music of stunning strength and inventiveness. His vocals are warm, wistful or lascivious on cue, and never less than engaging; what passes for banter between numbers is winningly self-effacing. This is peak Hendrixosity, a live performance that has probably never been bettered or was never recorded if it was.
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The finale of a properly wild version of "Wild Thing" was the big talking point - unconventinal guitar-playing, humping PA equipment, rolling around on the floor and the sacrificial-type guitar burning. But many years later, this looks contrived - merely tricks that obstruct the real magic. The true high point comes midway through, with the run of "Hey Joe," "Can You See Me" and "The Wind Cries Mary." Away from the gimmicks, these 12 minutes establish Hendrix as the embodiment of the counter-culture's musical revolution.
The blues was squarely at the centre of so much new rock music. Here was a player who, unusually in that world, saw the blues as a living entity, not a museum piece to be reproduced. With this performance Hendrix let it be known he understood the blues as a spirit rather than a defined expression and presented its power retooled in a way that musically made sense to hippies' forward-facing ideologies. Importantly, for the generation that was vociferously protesting the war in Vietnam, the Jimi Hendrix Experience reeked of danger, while the debauched dandy apparel and afros from both the black and the white guys was about as far from wholesome as possible. All of this made a big contribution to funk as it was beginning to take shape, as Hendrix reclaiming the blues became one of the crucial bridges between the Black Arts Movement of the early 1960s and funk as a renaissance emerging at the end of the decade.
Monterey Pop wasn't the first or the most famous rock festival but it was the most significant, marking the moment the previously regional hippy scenes came together and, culturally, could build. Jann Wenner, an attendee who a few months later would launch Rolling Stone magazine, summed it up: "Monterey was the nexus - it sprang from what the Beatles began, and from it sprang what followed." The festival's success and exposure turned the US music business upside down by bringing the underground overground with more than a glint of gold about it: "rock", as opposed to pop or rock'n'roll, became recognised as the new cash cow and executives started conspicuously growing sideburns.
Ultimately, the Monterey Pop Festival belonged to Hendrix. He arrived as a relative unknown to become the personification of organiser John Phillips' intentions for three days of inclusivity and adventure during the Summer of Love.
But before we get to the main feature, let's enjoy...
The Pre-Show:
Usually, the Pre-Show is a time to enjoy diverse footage which sets the mood for the coming Main Feature. We get to enjoy stuff directly related to the film involved, plus others that differ from the spotlight movie, all in the spirit of "enjoying a good night out" at our local cinema. Today's Saturday Night at the Movies is 100% exclusively dedicated to Jimi Hendrix. We begin with "Voodoo Child", a magnificent documentary concerning Jimi Hendrix's life and music. Really entertaining and informative. Followed by Jimi Hendrix playing two songs on acoustic guitar!! (Something seldom seen). To end our Pre-Show, an interesting study on Jimi's guitar styles (for all you great guitar lovers and owners).
The Main Feature:
Title: Jimi Plays Monterey
Director: D.A. Pennebaker
Cast: Jimi Hendrix / Noel Redding / Mitch Mitchell
Release Date: 1986
Country: United States
On Your Way Out:
By now, I'm sure you all know what this last section is about. I wonder how many of you grab the goodies before even enjoying the evening's amenities? Well, be it before or after I sure hope you like them and consider it was worthwhile the visit.
Note: Password for all files: Shade'sVintageRadio
viernes, 10 de junio de 2022
miércoles, 8 de junio de 2022
domingo, 5 de junio de 2022
ANYTHING, ANYWHERE, ANYTIME 035
AAA035 (pw: Shade'sVintageRadio)
01 - LET’S GO (The Routers) (1962)
02 – BRISTOL STOMP (The Dovells) (1961)
03 – HERE COMES THE TRAIN (Eddie Bond) (1965)
04 – ONCE IN A WHILE (The Chimes) (1961)
05 – HEY YOU (The Imaginations) (1961)
06 – WELCH’S WELCHADE (Flintstones Commercial)
07 – BIRD DOG (Don Woody) (1957)
08 – TILL THEN (The Four Knights) (1954)
09 – ECHO (The Emotions) (1962)
10 – DON’T WANT YOU CRYING (Danny Hargrove) (1962)
11 – LAST KISS (Emmy Lou & The Rhythm Boys) (2012)
12
– GALLETAS
GULLÓN (Commercial Jingle)
13
– NO TE
CREO (Tito
Mora & Gelu) (1963)
14 – BORN TOO LATE (The Poni-Tails) (1958)
15 – MY LOVE FOR YOU (The Marcels) (1961)
16 – MY LOVE FOR YOU (The Boppers) (1980)
17 – POP LET ME HAVE THE CAR (Carl Perkins) (1958)
18 – WANDA JACKSON INTERVIEW (Encore LP) (2021)
19 – THAT’S WHAT LOVE IS (Wanda Jackson & Joan Jett) (2021)
20 – THIS TIME (Troy Shondell) (1961)
21 – LUCKY, LUCKY, LUCKY ME (Evelyn Knight & The Ray Charles Singers) (1950)
22 – I NEED SOMEBODY (James Washington Lee) (1962)
23 – 1950s BREAKING NEWS BROADCAST (Elvis – Army)
24 – TOMORROW NIGHT (Elvis Presley) (1954)
25 – TELL LAURA I LOVE HER (Ray Peterson) (1960)
26 – TELL TOMMY I LOVE HIM (Marilyn Michaels) (1960)
27 – I’M GONNA ROCK AND ROLL (Eddie Zack & Cousin Richie) (1955)
28 – SOUL BOSSA NOVA (Quincy Jones & His Orchestra)
(1962)
sábado, 4 de junio de 2022
SATURDAY NIGHT AT THE MOVIES 013: BEYOND THE SEA (2004)
"Beyond The Sea" is a biopic about 1950s swinging smoothie Bobby Darin, the man behind the perennial hits "Dream Lover", "Splish Splash" and, of course, "Beyond The Sea". However, right from the start, the film makes it clear that this is to be no factual, blow by blow account of Darin's life. "Memories are moonbeams," Spacey explains with a knowing wink, "they're ours to do what we like with." And Spacey certainly weaves a charming fantasy around Darin's life story. Taking the same approach as "Finding Neverland" director Marc Forster, he clearly believes that the best way to tell an emotional truth is through fantastic fiction.
As if to underline this point, Spacey's film about Darin's life opens on the set of a film Darin himself is making about his own life ("Aren't you a bit old for the part?" a journalist asks, voicing the concerns of the entire audience. "Well, yes, but we'll let that pass for now.") Unsure how to approach the project, he turns to the child actor who is to play him as a small boy. Except that this is no ordinary child: the small boy is Darin's younger self, and together the pair embark on a colourful, charming and touching journey through the singer's life.
It's a cute conceit and works well, adding a sense of shape and cohesion to a film that could otherwise have seemed a bit disjointed. The result? An old fashioned song and dance movie in the style of "A Star Is Born" held together by a postmodern, self-conscious structure that allows Spacey to set himself free from the constraints of realism and wallow unashamedly in nostalgic musical numbers.
Like "Don Juan DeMarco" or "Big Fish's" Edward Bloom, Darin tells the truth about his life through fantasy. And so we're treated to wonderful sequences involving 1940s guys and dolls dancing through the streets of the Bronx "Oliver" style to illustrate the young Bobby's growing love of music and performance, or chic 1950s society types waltzing round Italian fountains to illustrate his courtship of film star Sandra Dee.
In the end, of course, Spacey could have said anything about Darin and most of us would have been none the wiser. How much do you know about him? I knew he sang "Beyond The Sea" and, well, that's about it, really. I certainly didn't know he was married to Sandra Dee (of "Look at me, I'm..." fame), that he was nominated for a Best Supporting Actor Oscar, or that he was a great supporter of JFK and turned to writing protest songs during the Vietnam war.
It has to be said, Darin is not obvious biopic material. Generally these kind of movies deal with the rise and fall of their central protagonists (think "The People vs Larry Flynt", "Blow" or the aformentioned "A Star Is Born") but Darin never really does fall - or not that far anyway. Sure, he loses his hair, grows a nasty 'tache and gets booed off stage at one point, but he never undergoes a drink-sozzled, drug-addled, peanut butter and bacon sandwich dead on the toilet seat situation. However, Spacey's performance is so compelling, so energetic and credible (especially in the latter stages of the film) that the interest is held throughout.
This is clearly a labour of love for Spacey, and he throws himself heart and soul into the role, performing all the vocals himself and displaying some pretty nifty footwork, too. Although, it does take rather more of a leap of faith than we can muster ten minutes into the film to see the forty-odd Spacey as a naive youth of twenty, he really comes into his own as the older Darin, struggling to make sense of the events of his life and work out who he really is as his health deteriorates.
Spacey has assembled a good, solid cast around him. Kate Bosworth is perfect as the naive and ever so slightly vacuous Sandra Dee, whilst Greta Scacchi almost steals the show as her nightmare showbiz mom. And it's good to see stalwart performers John Goodman and Bob Hoskins back on the silver screen. All in all, the pefect movie for a "Saturday Night At The Movies" get-together: fun and frothy, moving, entertaining and uplifting, it'll send you out of the cinema singing!
But before we get to the main feature, let's enjoy...
The Pre-Show:
Next up, a talented artist, and a great performer, obviously my very personal and humble opinion, in seeing through the very polifacetic and world famous artist: Robbie Williams a present, nowadays Bobby Darin. To, somehow confirm this, we get the opportunity to watch Mr. Williams in action at the London Palladium in 2013. Last but not least, a short video where we get an Elvis-Bobby connection. Hope you enjoy the Pre-show!
The Main Feature:
Title: Beyond The Sea (2004)
Director: Kevin Spacey
Cast: Kevin Spacey / Kate Bosworth / Bob Hoskins / John Goodman
Release Date: December 17th 2004
Country: United States
On Your Way Out
And as you well know by now, you'll never leave the room with empty hands. Feel free to take and enjoy the "extra goodies", which serve as a reminder of today's evening at "Saturday Night At The Movies", down here at "Shade's Vintage Radio".
Note: Password for all files: Shade'sVintageRadio
viernes, 3 de junio de 2022
miércoles, 1 de junio de 2022
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