The video won’t embed (SO ANNOYING), but this is a pretty cool little time capsule moment.
To my knowledge this is the only full interview that Tim Curry gave about his part in the Rocky Horror Picture Show. Recorded during the week that the film was released in 1975, he talks about his roll in the film and whether or not he would play the part again! The Interviewer is Mark Caldwell and the Interview Director is Colin Grimshaw. Clips were provided by Fox-Rank. Fox has (June 2012) reviewed and released any copyright claim on the film footage appearing in this video. The interview was shot in black and white (the film is in colour)!
I always forget how much ass this soundtrack kicks. Mark and I were in a college cover band that played “Sweet Transvestite.”
The Velvet Underground created a new sound that changed the world of music, cementing its place as one of rock and roll’s most revered bands. Directed with the era’s avant-garde spirit by Todd Haynes, this kaleidoscopic oral history combines exclusive interviews with dazzling archival footage.
And this again, just because it kills me every time …
What do Paul Stanley and I have in common? Chest hair? Makeup? Goofy stage banter? Nope. Not much, really, except for one formative event: at age 5, we were both pole-axed by Beethoven’s “Emperor” Concerto (Piano Concerto #5). Here’s PS waxing eloquent on the subject:
I was absolutely god smacked. To know that music could have that kind of power, although I was so young, the music had such heroic qualities to it and mammoth chords. To this day it’s some of the heaviest and most glorious melodies ever. So that really was my introduction to the gravitas that music could have and how emotive it could be. So at the core of music for me is Beethoven.
As for me, it was the first piece of music I fell in love with when Col. Renfield brought home a copy and put it on the ol’ console. The Beatles came a year or so later.
If you’re interested, there are many good recordings and a handful of great ones. But to my ears, Rudolf Serkin owned this work. Here he is with Leonard Bernstein and the NY Philharmonic competing with him for attention. The winners are we, the listeners.
Sickeningly talented dude. Bill Cowsill was in Blue Northern from 1977 until they broke up in 1982.
Cowsill moved from Calgary to Vancouver as of 1977, and became a fan of the local band Blue Northern. He began sitting in with the band on a regular basis, and not long after he became a member. In 1979, the group released Blue, a four-song, 12″ EP. Two of the songs were written by Cowsill, who also produced the record. The band’s self-titled album was released on Polydor Records in early 1981, and was co-produced by Cowsill. The band broke up in 1982, notwithstanding continuing public interest, as well as Juno Award and Canadian Country Music Award nominations.
The Blue Shadows was his band from 1992 to 1996.
In 1992, Cowsill became the co-lead singer, with Jeffrey Hatcher, of The Blue Shadows. Cowsill and Hatcher became known for their Everly Brothers-like harmonies. Cowsill regarded his association with The Blue Shadows as his most positive experience as a musician, to that point in his career. In 1993, The Blue Shadows were signed to Sony and released their debut album, On The Floor of Heaven receiving positive reviews. The group found itself at the forefront of a Canadian Alt.country movement. In 2005, Cowsill stated that he considered the title track to the album to be the best song he had ever written.
All 4 Original Members show you how to play I Ran (So far Away).
There may be a lot of Youtube videos on how to play 80s classic “How To Play I Ran” out there…. but did you ever wonder how it is really done? All four original members Mike Score, Ali Score, Frank Maudsley and Paul Reynolds show you how.
If you haven’t seen it. I mean even if you have, it’s still outstanding.
In his acclaimed debut as a filmmaker, Ahmir “Questlove” Thompson presents a powerful and transporting documentary—part music film, part historical record created around an epic event that celebrated Black history, culture and fashion. Over the course of six weeks in the summer of 1969, just one hundred miles south of Woodstock, The Harlem Cultural Festival was filmed in Mount Morris Park (now Marcus Garvey Park). The footage was never seen and largely forgotten–until now. SUMMER OF SOUL shines a light on the importance of history to our spiritual well-being and stands as a testament to the healing power of music during times of unrest, both past and present. The feature includes never-before-seen concert performances by Stevie Wonder, Nina Simone, Sly & the Family Stone, Gladys Knight & the Pips, Ray Baretto, Abbey Lincoln & Max Roach and more.
Summer of Soul premiered at the Sundance Film Festival, where it won both the Grand Jury Prize and Audience Award. It will stream on Hulu in conjunction with Disney’s new BIPOC Creator Initiative; Searchlight Pictures will release it theatrically.
Whilst we round the bases on the 40th anniversary of the release of Beauty and the Beat (July 8, 1981), please enjoy a song I’ve always associated with summer. As you guys may or may not know, “Our Lips Are Sealed” was cowritten with Terry Hall from Fun Boy Three, and they have a version as well. Regarding the video itself, Wikipedia says …
The official music video for the song features sequences of the band members in carefree tableaux (riding around LA in a 1960 Buick convertible, stopping at a lingerie shop, and splashing around in a fountain) interspersed with footage of the band playing a club booking.
Jane Wiedlin says the band was initially unenthusiastic when Miles Copeland, president of their label, I.R.S. Records, told them they would be doing the video. “We were totally bratty”, she recalls. The video was financed with unused funds from a The Police’s video budget.
The concept was simple. The band would drive around the streets in a convertible car and be followed by a camera. Belinda Carlisle would sing, and the other members would do cute things, The ride would be intercalated with some scenes of the band performing the song at a club.
They wanted an older-style convertible, and found a red 1960 Buick LeSabre at Rent-a-Wreck.
After riding around some streets in Beverly Hills, at some point, they stop at the famous Trashy Lingerie store located at La Cienega Blvd. The girls get into the shop, excepting Wiedlin, who remains in the car doing the solo part of the song (Belinda can be seen in the driver’s seat trying to hide).
The day of shooting was very hot -says Wiedlin- so it was the band’s idea to end the video by jumping into the Electric Fountain on the corner of Wilshire Blvd. and Santa Monica Blvd. “I thought, at any minute the cops are gonna come. This is gonna be so cool.”
Wiedlin looks back on the video experience fondly. “I have horrible ’80s poodle hair in [it]”, she recalled in a 2011 history of MTV. “But there’s a simplicity and innocence to the video that appeals to me.” In one sequence, Belinda Carlisle can be seen trying to hide; she later admitted this was deliberate, as she thought the whole idea of a music video was ridiculous and unlikely to catch on.
Here’s the Fun Boy Three version, which I don’t associate with anything.