Showing posts with label Disney. Show all posts
Showing posts with label Disney. Show all posts

Saturday, November 8, 2014

ELO - The Electric Light Orchestra

With news that Jeff Lynne is working on a new ELO album. I thought maybe it was time for me to rerun this post from May 2009. Hold on Tight!
The Electric Light Orchestra is my all time favorite rock group. I can't explain why, I just knew the first time I heard an ELO record that it was what I liked. A lot. The seamless blend of rock n roll and neo-classical music just spoke to me. With their epic, cascading string sections and over-the-top vocal pyrotechnics, every song was like an aria. 30 years later, just seeing the Jet Records logo gives me goosebumps.
A product of the 1970s, the timeless songs of ELO are now being rediscovered by a new generation of music fans through covers, remixes, sampling and the seemingly endless use in on the soundtracks of films, ads and TV shows.
ELO, under the guidance of Jeff Lynne, recorded 12 studio albums and released 28 hit singles. At their peak between 1974 and 1981, ELO had 9 gold, platinum and multi-platinum albums.
The band also holds the unusual distinction of having the most Billboard Hot 100 Top 40 hits of any band in U.S. chart history without ever having a #1 single.
During the 70s and 80s, ELO was one of the biggest arena attractions, with spectacular shows that included a massive flying saucer stage set, fog machines and state of the art light and laser shows. I luckily got to see them perform twice.
ELO begin humbly in the earlier 1970 as offshoot of 60s UK band The Move. Roy Wood was behind the initial concept of a rock band augmented by a string section that included cellos, violins, horns and woodwinds . The resulting debut album The Electric Light Orchestra was released in the UK in 1971 (in the US as No Answer) - if you listen to it today, you can hear that they were struggling to find their sound.
After Wood left the group - Lynne stepped up to lead the band, with Bev Bevan on drums, joined by Richard Tandy on the Moog synthesizer. ELO released their second album, ELO 2 in 1973, and had their first U.S. chart hit, a rousing cover version of the Chuck Berry classic Roll Over Beethoven.

On the Third Day was released in late 1973, with the string-infused Showdown becoming a hit single.
With Eldorado, the band's fourth album, Lynne hired an orchestra and choir - and their sound had now fully evolved into symphonic rock. The first single off the album, Can't Get It Out of My Head became a U.S. Top 10 hit and the album became ELO's first gold album. This was the first ELO album I bought, it might have had something to do with the Judy Garland/Margaret Hamilton cover photo. The awesome burlesque-inspired Nobody's Child is my favorite track.
Kelly Groucutt (who recently passed away) joined the band as a bassist and vocalist for Face The Music and the hit singles Evil Woman and Strange Magic soon followed. The instrumental Fire On High, with it's creepy Satanic-sounding backward masking is a masterpiece.
. Other great tracks include Nightrider and Down Home Town.
1976's A New World Record gave the band 4 top 10 hits Livin’ Thing, Rockaria!, Telephone Line and a cover of The Move's metal athem Do Ya - making them international stars. Tightrope and So Fine are also outstanding songs.
1977’s Out Of The Blue, a double-album was a worldwide smash and featured global hits Turn To Stone, Wild West Hero, Sweet Talkin' Woman (which was released on clear purple vinyl) plus Lynne's greatest musical achievement, Concerto for a Rainy Day which culminates with the epic Mr. Blue Sky.
By 1978 ELO was one of the most popular acts in the world, appearing on TV shows like NBC's MIDNIGHT SPECIAL. 

Around this time future Pixar songsmith Randy Newman recorded a parody/homage to ELO titled The Story of a Rock and Roll Band.
Discovery in 1979 consolidated that worldwide success with the singles Shine A Little Love, Don’t Bring Me Down, and Last Train to London -which was re-imagined as a catchy pop hit in the 2000s by Atomic Kitten as Be With You.

In 1980 came the film soundtrack Xanadu

 Despite the film's poor box-office showing, the soundtrack went double platinum.At the time some ELO fans were mortified that the band was part of a pop music collaboration with Olivia Newton-John - but time has shown that the songs Lynne contributed to the film (and eventually the Broadway show) are as timeless and beloved as any of the tunes that came before. Don't Walk Away is possibly the best song Jeff Lynne ever wrote - and as performed by super hunky Cheyenne Jackson on Broadway - a true classic.
ELO took a turn towards rockabilly with the hit Hold On Tight from the sci-fi concept album Time.

Other standout tracks included Twilight, The Way Life's Meant to Be, Here Is the News and Ticket to the Moon.
The silly rockabilly ditty Rock ‘N’ Roll Is King was a hit from 1983's Secret Messages, though the title track is infinitely more satisfying. That same year Bev Bevan left ELO and joined Black Sabbath while Jeff Lynne and Richard Tandy contributed songs to the Electric Dreams soundtrack.
Lynne, Bevan and Tandy returned to the studio in 1985 for Balance Of Power–the final ELO album. The single Calling America was a minor hit. 
From 1987 onwards, Jeff Lynne became a highly sought-after songwriter and producer, collaborating with artists such as Paul McCartney, Ringo Starr, and Brian Wilson. With George Harrison, Roy Orbison, Tom Petty, Del Shannon and Bob Dylan, he formed the Grammy-award winning supergroup Traveling Wilburies.
Meanwhile, Bev Bevan in 1989 formed ELO Part II, with Louis Clark (Hooked on Classics). Former ELO members Mik Kaminski and Kelly Groucutt joined them for a second album, Moment Of Truth, in 1994. The remaining members continue to tour and record as The Orchestra.In 2000 Jeff Lynne released an 3-disc ELO box set, Flashback, containing–among other things–a new, unplugged version Xanadu. In 2001, Lynne released a new ELO album called Zoom. Richard Tandy was back, with George Harrison and Ringo Starr as guests.
In 2004 a tribute album wincingly titled Lynne Me Your Ears, this cover anthology featured ELO standards performed by artists such as Todd Rundgren, Sixpence None the Richer, and a host of others.
Another tribute to ELO, L.E.O., features songs are written in Lynne's style and mimic ELO's orchestration and production. The Pussycat Dolls even sampled Evil Woman in their hit Beep

Most recently, Surrender, a lost song from 1976 was released as a single, followed by Latitude 88 North, another lost song. So if you are looking for a lyrical escape from the sorry state of music in 2009 - turn back the clocks to a time when The Electric Light Orchestra changed what rock music sounded like and Roll Over Beethoven.

Sunday, May 11, 2014

THE MOTHERS-IN-LAW: The Loud & The Furious

From 2010
I'm currently nearing the end of Disc 7 in the eight-disc THE MOTHERS-IN-LAW Complete Series collection. For those who are unfamiliar with the show, the series was a two-season wonder from producer Desi Arnaz that ran on NBC Sunday night between megahits WONDERFUL WORLD OF DISNEY and BONANZA from 1967 through 1969.
THE MOTHERS-IN-LAW was a big, brassy sitcom built around sweet, lovable wisecracking actress Eve Arden and loud, abrasive musical-comedy performer Kaye Ballard. The two are cast as long-time neighbors: WASPy Eve Hubbard and ethnic Kaye Buell whose college student children (Eve's daughter Susie and Kaye's son Jerry) have decided to marry. The two moms are constantly competing with each other — and for attention of their lovelorn children. After the kids marry they move into the converted garage between the Hubbard and Buell houses, creating an additional reasons for friction between the Moms.
Eve and Kaye's henpecked husbands, the cantankerous lawyer Herb Hubbard (played by Herbert Rudley) and frugal TV writer Roger Buell (played by gay actor Roger C. Carmel in season one, replaced by gay actor Richard Deacon in season two), always get drawn into the ludicrous situations their wives create. The Lucy-like plots usually wind up with all four of the parents either covered in some kind of goop or performing a big musical number.
While some episodes border on unwatchable, there are several that stand out as great time capsules of the late 1960s when "the generation gap" seemed to be the trigger of so many comedic conflicts between television characters. One interesting episode features handsome game show panelist Scoey Mitchell as a lawyer who tries to rent the garage when Susie and Jerry plan on moving out. The girls are trying to be open minded about having an African-American tenant but wind up coming off as extremely prejudiced. It's an awkward situation and aside from a terrible watermelon joke, it's very well-played.
Jokes always seem to stem from situations involving Roger's cheapness, Kaye's Italian heritage, and Eve's penchant for redecorating. The Hubbards and Buells have a love-hate-love relationship and often end up arguing loudly about something ridiculous before each episode is over. Kaye and Eve can't help but interfere in almost every aspect of their kids' lives - a situation aggravated even further in season two when Susie gets pregnant.
Other recurring gags include Eve being referred to as "Mother Hubbard", the garage door in the kid's apartment opening to comedic effect, Kaye insisting that their grandchild will be a boy and Eve convinced it will be a girl (spoiler alert - Susie has twins!). All-in-all the show is quite entertaining. The live studio audience adds to the theatrical feeling and the performers always seem like they are giving it their all. A  special treat and curiosity on Disc 8 is the unsold Desi Arnaz pilot for THE CAROL CHANNING SHOW. 

Monday, March 11, 2013

Return to THE WONDERFUL LAND OF OZ

To celebrate the opening of Disney's OZ: THE GREAT AND POWERFUL, I've decided to re-post a look at a little-known sequel to THE WIZARD OF OZ that my good friend Danny wrote way back in 2006. Take it away, Danny...

It all started innocently enough with a wonderful dinner from Kung Pao Bistro, then something went horribly wrong!!!!

For the next 70 minutes I was horrified to be watching THE WONDERFUL LAND OF OZ, a 1969 "sequel" to THE WIZARD OF OZ directed by Barry Mahon, also known for such classics as SANTA AND THE THREE BEARS, SANTA AND THE ICE CREAM BUNNY

and I WAS A MAN: THE TRUE STORY OF ANSA KANSAS, AN HERMAPHRODITE (It's true - look it up on IMDB.com).

If I was naughty as a child, surely this movie was my comeuppance!!!

It was just awful! The cardboard sets, the bad lighting, the horrible singing, the crappy story, the abominable acting and the purple papier-mache cow couldn't keep me from admitting that it was leaps and bounds better than Disney's Broadway crapfest known as TARZAN.

Anyway, this surreal movie goes beyond any description, but here goes; imagine THE BRADY BUNCH is putting on a fundraiser show in their backyard.

They've chosen to do THE CRYING GAME using leftovers from Alice's old crafting night class, Carol's discarded wardrobe and costumes from an abandoned AUSTIN POWERS sequel.

And since there are so many Brady kids, they have to just throw in some other characters, including the lying translator for Cindy to play. The Story, well it's the CRYING GAME , you know, for kids.

Um, this kid, Pit (the writer/director's son) makes a Pumpkinhead, it scares the witch (who looks like a DAWN OF THE DEAD background actress) who uses her magic powders to bring it to life.

Then they sing a song. Badly. Then the witch tells Pit she's gonna turn him into a stone statue so he sings a song about not wanting to be a statue. Badly.
With the help of Pumpkinhead (read: African American slave), he escapes and goes to the Emerald City where the gay Scarecrow rules, but the cattle call girls from the abandoned AUSTIN POWERS sequel led by a drum majorette, attack the City and take over, but regret that none of them knows how to make breakfast.

Anyhoo, Tip, his slave ; gay fag friend go to the Tin Woodsman, who's getting a hot lube/rub job from some smokin' chicks, for help.

Then, they meet up with Glinda who sings a random song decently, then takes them all back to the witch to get her help in finding Ozma, the princess and rightful heir to the stool, I mean throne.

So the witch brings the whole crying game thing in by revealing that Tip isn't really a boy, he's Ozma, a girl! Just like Ansa Kansas, only opposite! The wizard transexualized him so that Ozma would not be found. Glinda says she's gonna bring Ozma back and Tip is all, "But I don't wanna die!" and well, maybe the ACTUAL DIALOGUE would explain it best...
GLINDA: "It is not exactly that you are going to be a girl. You're going to remain Tip. The girl is Ozma. You are not exactly Ozma now, you have grown into an adventurous boy. When I transform you, Ozma will be the girl, and Tip will be your spirit, a wonderful, adventurous spirit, that will float out into the land beyond, and become a part of every little boy."
Ozma comes back and the AUSTIN POWERS rejects go to Denny's for a hearty breakfast.

Oh yeah, there was a disturbing purple cow that was late on ALL of its cues. I imagine the director (sic) saying, "Moo! That's all you have to say! One word! When he stops talking, you say "Moo!" Alright, I get that you may not be able to tell he's actually talking, but when his lips stop being slightly open, you say MOOOOOOOO!!!"
This movie should be avoided at all costs. Doug (who watched it WITH Danny) rates this a 3 outta 10. Only true OZ completists and Sam Raimi need to see it - if only to see how NOT to make an OZ film.