To Be Or Not To Be - Various - Rock Greats (Box Set, Album)
They're my family, y'know? And they've always really looked after me ever since my father passed away. And I spent a lot of time with Jeff Lynne this weekend — it hasn't hit me yet how much I'm going to miss him. I just drove past his house a minute ago, and it's — yeah, my heart's broken. I mean, I haven't felt an outpouring of grief and love like that since my father died.
There were shrieks Album) horror. You couldn't quite believe it. We started around the same time and had a lot of the same influences.
And when I lived in California, I got to know him quite well. Unbeknownst to fans, Petty was bravely enduring his last string of dates with a hairline fracture in his hip. There was a depth of soul coming through. Everybody was so happy, especially Tom — full of glory and hope. I'm just so sad to think that I'm not going to play those songs again. The one-night global celebration via Trafalgar Releasing, also includes encore screenings in select cinemas on October 21st.
The doc draws from a newly discovered archive of 16mm film showing Petty at work on the celebrated album. The track career spanning box features classic hits and album tracks, alongside unreleased live and studio material. The package also features an essay on Petty written especially for the collection by Academy Award-winning screenwriter, director, author and journalist Cameron Crowe. Tom Petty was born on October 20th,in Gainesville, Florida.
One of his first guitar teachers was future Eagle Don Felder. In he reformed Mudcrutch, releasing the band's self-titled album with a followup in Petty touched upon his early days in the speech — including his first meeting of future friends George Harrison and Ringo Starr. Leon brought me over to his house.
Like Jimmy Keltner, he has his. Tom Petty's greatest commercial success came with his debut album, Full Moon Fever, which featured Jeff Lynne's songwriting and production. Then he starts laughing. So I sang 'freeee,' then 'free falling. He had to go somewhere, and I wrote the last verse and kind of just polished the rest of the song and when I saw him the next day I played him the song and he was like, 'Wow, you did that last night?
So we went in and made the record that day. It's rare that there's a great vocal and no one played that well on that take. It seems to spur everybody on. We found that if the vocal was really good, that usually meant that Tom was in a good groove and the band was in sync with him.
So usually the other stuff fell into place. Four, maybe five, because it was a '55 Cadillac. I had this crappy slingshot my father had given me, a plastic thing, the first one I ever had. I was in the yard shooting this slingshot. And cars are driving by. I'm just like, 'I wonder if I can get a car. This big Cadillac. It was going by pretty slowly, and I just nailed the fin on that thing. The car came to an immediate stop. He beat me so bad that I was covered in raised welts, from my head to my toes.
I mean, you can't imagine someone hitting a child like that. Five years old. I remember it so well. My mother and my grandmother laid me in my bed, stripped me, and they took cotton and alcohol, cleaning these big welts all over my body. I'm hanging out with people I wouldn't be seen with in a million years, and I have to get out of this. Using heroin went against my grain. I didn't want to be enslaved to anything. So I was always trying to figure out how to do less, and then that wouldn't work.
Tried to go cold turkey, and that wouldn't work. Really ugly. I fear that if I talk about it, people will think, 'Well, I could do it and get off. Very few people do. Ah, dream on. A three-dimensional bell rings on the model log cabin constructed by the Fleischer set-builders for the Jungle School. As the students enter the school, the hippo drags himself to the schoolhouse steps, but can proceed no further, and collapses outside the school into a deep sleep.
The teacher, a long-billed duck, To Be Or Not To Be - Various - Rock Greats (Box Set him to her desk. The pig timidly obeys her order, but the duck fakes him out entirely, by hitting him with her yardstick upon his head instead of his hand. Then, a late arrival slips through the window into the back seat of the class — Gus Gorilla. Teacher attempts to musically call roll. One frog covers for his absent twin sister by hopping under and between desks, pretending to be two frogs at once.
The porcipine circulates through the classroom, allowing each student to pluck a quill from his back to use as a pen. A seal catches the globe on his nose and spins it around like a ball, then tosses it — directly on the head of Gus Gorilla. The ape decides to take out his frustrations randomly upon the elephant again, bopping the pachyderm on the head with a book, then tying the book to his drooping trunk and swinging the trunk around so that it hits the next student in front of them.
That student turns and smashes a book upon the elephant, which bounces off and also hits Gus. Tempers flare, and before long, books are flying among the classmates everywhere, in a free-for-all. The turtle tries to restore order, but has to dodge a barrage of books by retreating into his shell, sticking his head out periodically to jeer the class at their terrible aim, until a direct hit on his chest pops his head out of the shell, long enough to be battered by a half dozen books.
The seal is making a real collection out of the flying objects, now balancing books upon his nose piled end to end four high, when the doorknob of the classroom door begins to turn.
The books finally stop flying, and all the students sit quietly as teacher enters. The aisles, desks, floor and blackboards are a littered and splattered mess, but all the teacher seems to see is the quietness of the class, oblivious of the rest. The kids all run out the door to spend the rest of the day at play. Bringing up the rear are Gus Gorilla and the elephant.
Not that Porky was in any manner the center of attention, or even the intended star, of the production. It was one of those circumstances of fortuitous happenstance that out of the legacy of this film, a star was born. The entire concept upon which the film was created was something different altogether than the aftermath it spawned. In their heyday, few attempts had been made to transfer live stars outright to any kind of a regular animated series excepting short-lived efforts to capitalize upon the persona of Charlie Chaplin.
But not to say that pilots were not tried. So it was a natural, it seemed, to try an adaptation from the comics counterpart, rather than pay a direct royalty to Roach and potentially step upon the powerful distribution toes of MGM.
Yet it went nowhere. There would be no follow ups from the studio, which in fact ceased its independent productions, and opted instead to farm out its subbsequent work for hire to more established studios. However, Ipana withdrew its sponsorship at the last minute, with the film already completed, leaving it to languish on the shelf until the home movie days.
Regular teacher Miss Crabtree is replaced by a cow named Miss Cud. Also depicted in the introduction are one Oliver Owl, who in some manner predicts a move for the Roach shorts which had not yet taken place — the use of a boy-genius type, which would not begin at Roach until at least the next year with the addition to the cast of Waldo. Final introductory depiction goes to a set of identical twin puppies called Ham and Ex, who were to develop a reputation for mischief, and here are depicted exchanging glances at observing the audience observing them, and begin to whisper among themselves as if exchanging unflattering remarks about what they see of us in the darkened theater.
Oddly missing from the introduction is a little girl cat named Kitty, who appears prominently in another segment of the cartoon to follow. Watners would later make up for this oversight by featuring her face on the titles of subsequent follow-ups, and including her prominently in several subsequent scripts involving Beans.
Kitty has a severe case of stage fright, and Cud attempts to help her through with some prompting from the wings. Kitty gets stuck on the word, lamb, which Cud communicates to her by mouthing the word silently, and flashing a book illustration of the animal.
Kitty takes it from there to tremble and squirm her way through the remainder of the recitation, which becomes faster and more speeded up as she goes, until the words become indecipherable, and Kitty makes a hasty exit by backing out the rear door of the school, seen next through the window racing down the road for home.
The class, unable to see Ollie behind the piano, accepts the performance as his own, at the end of which Ollie nervously slips out from behind the piano to take a bow. His cover is blown when the lid flies off the piano, allowing the dog and cat to escape across the stage, prompting the cass to boo and hiss the performance.
To Be Or Not To Be - Various - Rock Greats (Box Set spots Beans out the window laughing at him, and figures out who planted the pets in the piano. Pulling out a fountain pen, Oliie splats Beans in the face with ink. The album contains plenty of demanding and high-skilled musicianship based on Heijboer's awesome keyboard work.
From the presence of the piano and 70's sounding organ to the massiva attack of synths,Heijboer's style always changes,including nice acrobatics,sudden breaks and take-offs,great solos and slow-tempo atmospheric passages. There are also a lot of dark moments with deep basses,background keys and haunting vocals,where the music becomes trully atmospheric. Talking about vocals,this section is held by Rinie Huigen,who's voice is a liitle accented and annying,but fortunately it doesn't become a really negative factor for the album.
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The band interplay is very well worked out and tasteful. The sound is not typical symphonic prog but their influences are from that direction. Just enough time to record an excellent rating to "Circle". Studio Album, 2. Live, 3. Dug Out Alive!
Studio Album, 3. Not To Be Or Not To Be Cliffhanger Neo-Prog Review by Cesar Inca Special Collaborator Honorary Collaborator Having started in a well-defined neoprog territory, a very common trend in the Netherland's prog circles in the 90s, Cliffhanger soon evolved into something more complex and challenging, even darker and denser, with more simmilarities to Van der Graaf Generator and King Crimson than to Genesis or camel the most recurrent references for neoprog bands.
This albums shows the band clearly determined to experiment with the retro-prog sound, offering compositional ideas hat toy with contrasts, disturbing mood and energetic walls of sound. Perhaps the long duration of more than half the tracks can serve as an indication of his line of work. The dangers of inherent to patchwork-based writing are easy to notice as w ego listening to he repertoire, but the band has enough talent as to deal with this sort of danger successfully.
The set of retro- prog references is quite wide, actually: the pompous energy of ELP, the relentless neurosis of King Crimson and Van der Graaf Generator, the somber textures of Anglagard and A Piedi Nudi, and of course, teh symphonic amalgamation of Gabriel-era Genesis, all of them are alternately summoned to forge a renewed approach beyond the confines of standard neo which, all in all, hasn't disappeared completely from the band's spectrum.
Once you read this description, you'll know what to expect from the stimulating, intricate opener 'Innocent Victim': it really brings out neurosis in a full stylish guise. The instrumental 'Sewers' has an ethereal first section 'Above' and a powerful second section 'Inside'which conveniently bears a slight cosmic aura in order to preserve some sort of unity for the whole. The minute suite 'Ragnarok' is the ultimate expression of the album's main features: abundant mellotron inputs, lead guitars than go from the Hackettian to the Frippian with equal proficiency, solid sets of contrasts, calmer passages that relief the general tension, all of them are placed to shock he listener it also helps that the lyrics are too few.
This suite is designed to be the album's definite manifesto. Now Marvin gets into the act, taking a flying leap from his high stool, and catching hold of the top of the blackboard, pivoting it to sock teacher a blow on the chin. The impact thrusts teacher out the window, where she conveniently collides with a pieman making deliveries from his pie wagon.
As each student emerges, she plasters him in the face with a pie. Last out the door are the two shortest students, Oswald and Marvin, whose small strike zone causes the teacher to miss her shot. They flee at top speed, while teacher pursues with one juicy pie left. When within range, teacher lets poe fly, which sails through the air with a face upon it, with teeth clenched in grim determination to find its mark.
Oswald and Marvin stand laughing for the closing. Intermission provides a chance for the hiccuping band to sleep it off, and a brief venture of Cubby and his girlfriend to watch an adjoining magic act. A little gorl grabs a bird the magician makes appear. Then Cubby takes his girl to the park for a little spooning, but finds every available seat and one concealed set of hedges occupied by other lovers — including a seemingly empty bench that os actually occupied by two bees, discovered To Be Or Not To Be - Various - Rock Greats (Box Set painful fashion when Cubby and his girl attempt to sit down.
The two bears finally head for open water for a little togetherness in a motorboat, yet the subject changes again as Cubby engages in some fishing rather than romancing. At one point, Cubby uses a large sandwich as bait on the line. I gotta, gotta go!
Finally, Cubby and his girl head back to shore, but Cubby swats at an intruding mosquito. Subject thus changes again, as the mosquito vows revenhe, and rounds up a swarm of his cronies.
Was the Mouse house actively keeping tabs on Cubby as recognizable competition, in attempt to utilize his ideas one better? When the mosquito attack occurs, Cubby, rather than flee, returns with determinatiin to the bandstand to complete his contractual commitment, only to have the insects attack in corkscrew and dive formations to destroy the bandstand, leaving Cubby and his girl inside the face of the big bass drum for the iris out kiss. Or was Terry just watching over his shoulder his old haunting grounds, and claiming for his own uses anything his old boss could think up?
Or was any of this material from a storyboard that Terry had left behind upon exiting Van Buren? In any event, numerous gags are recycled here. A singing girl student takes a bow, while another classmate pranks her by tearing a handkercheif, to make her think she split her panties.
Far too many coincidences to be explained away. One suspects that, were more thorough research possible, this material rather straightforwardly presented with few if any real gags was probably also lifted verbatim from some Van Buren counterpart. Two cartoons likely stolen for the price of one! The target audience was definitely a younger set than the average Van Buren product, with none of the adult or pre-code feel to the gags that had often crept into prior productions, making the cartoons entirely friendly to the newly more-diligent censorship boards.
Perhaps the greatest weakness of the concept, however, was the directing of the live-action sequences. It is unknown who handled this photography, and whether it was produced in-house or contributed from the regular RKO studios, much like the live segments of Fleischer Screen Songs.
Fields comedy at Paramount. The sum of the equation is that we are left dying to get to the cartoon, however weak it may be, just to escape the kids. Perhaps these were also stopgap budget savers when To Be Or Not To Be - Various - Rock Greats (Box Set color production ran behind schedule, as they appear to have made little impact upon audiences, The concept was abandoned altogether by the time production moved to full three-strip Technicolor.
In the subject installment, about a minute and a half of footage is eaten up on a girl and a younger boy playing with a bubble pipe. While the footage is tolerable, it does nothing to advance story or plot.
Instead, the younger child spills the bowl of soapy water, and the kids abamdon their first activity altogether to play hide and seek. Though the older child should Album) to know better, they begin to thump the small clock upon the floor. Teacher draws a circle on the blackboard, entering within it the numbers 1 through 12, then points to various numbers as she asks each student to identify them.
In the corner sits another student on a dunce chair. I wish that currently available prints of this film did it justice, as I was introduced to this title in a screening of an original 35mm Nitrate in a UCLA Film Archives presentation, and stlll remember the substantially crisper focus and brighter, more subtle mixing of the effects of the red and bluegreen strips, where green was reasonably suggested in the jungle foliage, while frequently bright blues appeared on books, props, and some outfits.
The three-dimensional backgrounds of the turntable camera were also shown off to fine advantage when seen on a large screen in good colors. If only the current owners of these prints would allow them to be made widely available. Ah, dream on.
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