_forumlogo.png.a607ef20a6e0c299ab2aa6443aa1f32e.png)
Adam
-
Posts
1,639 -
Joined
-
Last visited
-
Donations
0.00 USD
Content Type
Profiles
Forums
Events
Blogs
Posts posted by Adam
-
-
In keeping with the jazz theme of this board, Shadows. I probably saw it 5 times the week it showed up my freshman year.
How about,, then
The Connection (Shirley Clarke, from play by Jack Gelber)
The Cool World
Also one I just saw, getting a limited theatrical release currently, and coming soon to DVD:
The Exiles (1961)
Killer of Sheep
-
OK, I just stumbled on this...
link: Our 8 Favorite Movies That Are In Black And White Even Though Color Was Available
Which also gives me an excuse to start this thread, AND to ask this question...
Does anybody remember an art-house movie from about 12-15 years ago, in Black & White, about a pair of twins who were separated at birth, one having a rather poor ($) working-class upbringing, and the other having an uber-rich, multi-millionaire type upbringing. And if my vague memory is right, when the poor twin discovers the rich twin (after they’re both adults), the poor twin sets out to murder his rich brother -- and then take his place (after all, they are twins, and identical twins at that), impersonating him.
OK, so far, so good. Thing is, the actors who play the roles of the twins (who are 'identical' remember), one of the actors is White, and the other is Black (and I'm talkin' a "Miles Davis" shade of black, at that). Other characters in the movie who discover that they're brothers are "astounded at the resemblance" -- even though one of the actors is lily white, and the other back as night.
Can anyone here remember such a movie (it may have been British), or does someone with better Google-fu want to take a crack at it??
It was SUCH a cool movie (and so incredibly well shot), I'd love to try and rent it sometime -- if it's ever been reissued on DVD.
The film is Suture
http://www.imdb.com/title/tt0108260/
There are a great array of Japanese Cinemascope B&W films - more than I can list.
Persona
-
Went by Best Buy yesterday. No one there had any idea what they were (the cards).
Adam, I know they had some the other day at the BB on Los Feliz. They're usually on the rack near the iTunes cards.
OK, I was in the one in Sherman Oaks, and checked the racks by the iTunes cards.
-
Went by Best Buy yesterday. No one there had any idea what they were (the cards).
-
http://www.latimes.com/news/obituaries/la-...0,1699493.story
Isaac Hayes: A selective discography
August 11, 2008
Isaac Hayes: A selective discography
* "Stax 50th Anniversary Celebration" (Stax, 2007)
The Isaac Hayes story and the Stax story are inseparable. The label launched Hayes and, as a writer and session man, he created some of its most memorable music. This compilation includes key Hayes tracks alongside others that bear his mark, including "Soul Man" by Sam & Dave and "B-A-B-Y" by Carla Thomas.
* "Hot Buttered Soul" (Stax, 1969)
This album defined a new era in progressive black music and made Hayes a star in his own right. Backed by the impeccably muscular band the Bar-Kays, Hayes takes four songs -- three covers and one funk escapade with an impossible title, "Hyperbolicsyllabicsesquedalymistic" -- and creates a fantasia of sexy murmurs, fat beats and swirling strings. The spoken-word introduction to "By the Time I Get to Phoenix" is a love manual all by itself.
* "Shaft" (Stax, 1971)
Still revered as one of the greatest soundtracks ever recorded, this mostly instrumental outing captures the energy and flash of Gordon Parks' blaxploitation classic. The movie's theme gave Hayes his most identifiable vocal moment ("he's a bad . . . shut your mouth!") and "Soulsville" is inner-city blues at its best. Richard Roundtree must hate this album -- because of its popularity, many people think Hayes, not the "Shaft" star, played the private eye.
* "Black Moses" (Stax, 1971)
If Hayes' previous solo efforts offered immersive sounds, this double disc is like being plunged directly into the Red Sea. Off-the-wall covers, including his take on the Jackson 5's "Never Can Say Goodbye," bedroom monologues to make the ladies swoon, and plenty of mellow, hot funk combine for a deep trip inside Hayes' mind and soul.
* "Joy" (Stax, 1973)
The last of the fantasias that made Hayes a huge star -- his career began slipping after this -- "Joy" is best remembered for its epic title track, maybe the most sensual outing he ever recorded. The song has lived as a sampled part of later hits by TLC, Massive Attack and Eric B. & Rakim, and remained a show-stopper during his live sets.
* "Chocolate Chip" (Stax, 1975)
Hayes helped invent disco, and here he makes his claim to the genre. Not surprisingly, he proves completely capable of bringing dance floor bliss. "Come Live With Me," a ballad more appropriate for what happens after leaving the club, was Hayes' final charting single of the 1970s.
* "Branded" (Point Blank, 1995)
A comeback album recorded in Memphis with old friends (like his Stax songwriting partner David Porter) and new (Public Enemy rapper Chuck D.), this is a lively, solid outing. And Hayes' version of Sting's song "Fragile" is, surprisingly, not bad.
* "Chef Aid: The South Park Album" (Sony, 1998)
Hayes proved himself a good sport when he took on the role of the lusty but wise culinary whiz in Trey Parker and Matt Stone's totally irreverent animated television show. Alongside cuts by the likes of Rancid and Primus, this album offers three Chef classics, including his signature tune, "Chocolate Salty Balls."
-
RIP
Another typical poor obiturary for an American music giant, as if his major accomplishments were "Laying the groundwork for disco" and "the voice of Chef." Yea, right.
the L.A. Times has an enormous obit today.
I read the LA obit , its OK but i found this mistake :
"After the 1975 album "Chocolate Chip," Hayes didn't release new material until "Love Attack" in 1986."
He released "For the sake of love" in 78 and "Don't Let Go" in 79
They have a correction for that online now.
http://www.latimes.com/news/obituaries/la-...97.story?page=1
LA Times
Isaac Hayes, 65; innovative singer, composer changed pop music with hits like 'Shaft'
By Ann Powers and Valerie J. Nelson, Los Angeles Times Staff Writers
August 11, 2008
Isaac Hayes, the musician, composer and producer whose innovative sound changed the shape of pop music and whose shaved head, bejeweled outfits and regal demeanor embodied African American masculinity in the 1970s, has died. He was 65.
Family members found Hayes unresponsive Sunday afternoon next to a treadmill in a downstairs bedroom in his home just east of Memphis, Tenn., said Steve Shular, a spokesman for the Shelby County Sheriff's Office.
Hayes' wife, Adjowa, told investigators that her husband "had not been in the best of health recently," Shular said. No autopsy is planned.
FOR THE RECORD:
The obituary of Isaac Hayes stated that after the 1975 album "Chocolate Chip," he didn't release new material until "Love Attack" in 1986. Hayes released several albums during that period.
With albums including 1969's "Hot Buttered Soul" and the double-disc, Grammy-winning "Black Moses" in 1971, Hayes laid the groundwork for both disco and hip-hop.
His rich, baritone voice backed by gently unfurling, string-laden arrangements showed how R&B could be both funky and ornate. His famous ruminative interludes on such songs as his cover of Jimmy Webb's "By the Time I Get to Phoenix" set the stage for rap's elevation of the black male speaking voice.
He was most famous for his 1971 soundtrack for the blaxploitation classic "Shaft," which brought him an Academy Award for best song as well as two Grammys, but Hayes had a long and storied career beyond that Hollywood high point. In 2002, he was inducted into the Rock and Roll Hall of Fame.
His music and his image as a black artist had a titanic power, especially during the apex of his fame. With his shaved head, omnipresent sunglasses and equally ever-present gold jewelry, he cut a strong, marketable figure.
In the 1970s, he released a string of albums for Stax Records, a label that offered a grittier counterpoint to the Motown sound. Hayes' recordings expanded the playing field for soul and R&B artists, proving that an album-oriented market existed for his experimental sounds.
"Hayes' story is one of epic proportions," wrote ethnomusicologist Rob Bowman in "Soulsville U.S.A.: The Story of Stax Records" (1997). "In the first few years of the 1970s he single-handedly redefined the sonic possibilities for black music, in the process opening up the album market as a commercially viable medium for black artists such as Marvin Gaye, Stevie Wonder, Funkadelic, and Curtis Mayfield."
Before finding his own voice as a solo artist, Hayes was a primary architect of Southern soul as part of the Stax Records writing and production team. Stax was home to Otis Redding, Booker T. and the MGs and other hit-makers.
Hayes' collaborations with David Porter, a fellow session musician and lyricist at Stax, gave the Memphis-based label some of its biggest hits, including "When Something Is Wrong With My Baby" for vocal duo Sam & Dave and "B-A-B-Y" for Carla Thomas. "Soul Man," another of the songwriting duo's compositions for Sam & Dave, was an early statement of black power that later became a huge crossover hit in 1978 for John Belushi and Dan Aykroyd as the Blues Brothers.
The fact that Hayes projected such a powerful sense of African American dignity, yet also co-wrote a career-defining hit for two white comedians, illustrates the paradoxical range of his appeal.
Headlining Wattstax in Los Angeles -- the 1972 festival that some called "the Black Woodstock" -- Hayes took the stage in gilded warrior garb. The crowd greeted him as a king. As a performer, Hayes embraced this role of ambassador of Afrocentric cool.
The shaved-head look that was central to his image developed in 1964 when the style among some African Americans was to straighten their hair. Tired of the effort that took, Hayes told his barber to cut it off.
"People stared and pointed, but I liked the breeze on my head. It felt great," he told the Chicago Tribune in 1995.
After a concert one night, when the crowd was screaming for him, a former boxer named Dino who was part of his security team said: "These people love you, man. They'll follow you anywhere. . . . You're like Moses. Black Moses!"
A writer from Jet magazine picked up on the phrase, and Hayes had mixed feelings at first as Black Moses became his nickname. He came to like the fact that people "didn't say I'm the Black Moses of the black world, they said of the music world."
But the music Hayes offered was as eclectic as any pop artist's. He covered songs by the Carpenters, Burt Bacharach and Hal David, and Jimmy Webb, transforming those "vanilla" hits into slow jams that would appeal to black and white listeners alike. Bacharach and David's "Walk on By" got a 12-minute reading from Hayes on "Hot Buttered Soul." Webb's "By the Time I Get to Phoenix" ran 18 minutes.
"Music is universal [but] sometimes presentation will restrict you or limit your range," Hayes said in "Soulsville U.S.A." "Glen Campbell and Jim Webb were targeting the pop audience. But when I did it, I aimed to the black market, but it was so big, it went all over."
Hayes' popularity as a recording artist waned in the mid-1970s, and he filed for bankruptcy in 1976.
He found a new focus as an actor in the 1980s, landing a recurring role on "The Rockford Files" and appearing in such films as "Escape From New York," playing the lead villain "The Duke" in the 1981 film, and 1995's "Johnny Mnemonic."
A new generation came to know him from "South Park," the animated series that gave him his most famous role as the voice of Chef. Hayes used the role of the suave cafeteria master to poke fun at his macho image and broaden his audience.
When he was offered the part by Matt Stone and Trey Parker, "South Park's" creators, Hayes thought they were playing a joke on him, but they assured him they were not.
Hayes said he responded, "You all some crazy white boys!"
In 2006, Hayes quit "South Park" after an episode mocked Scientology, the religion that Hayes practiced. He felt the episode showed bigotry and intolerance toward his religious beliefs. Stone responded by saying that Hayes had no problem with the episodes that made fun of Christians. Later, the character of Chef was seemingly killed off.
At the same time he was rediscovered through "South Park," younger musicians such as soul singers D'Angelo and Alicia Keys and the hip-hop duo Outkast began making music inspired by Hayes. Already much-sampled by hip-hop artists, Hayes enjoyed a renewed influence as R&B artists came back toward his lush, adventurous style.
Keys called Hayes' effect on her "major."
"One of the reasons 'You Don't Know My Name' is six minutes and six seconds is because of Mr. Isaac Hayes," she once said on VH-1. "He's really changed the face of music in so many ways. . . . The way he just kind of extended songs to the point where they would be strings for three minutes before the song even began."
Hayes was born Aug. 20, 1942, in a tin shack in rural Covington, Tenn., the second child of Isaac and Eula Hayes. When he was about 18 months old, his mother died and his father left the family, so Hayes and his older sister were raised by his sharecropper grandparents.
At 5, he made his public singing debut in church.
Trying to pull themselves out of bitter poverty, his grandparents moved to Memphis when he was 6 but remained poor. To help support his family, Hayes alternated between going to school and working in the cotton fields on nearby plantations.
"I used to dream, just dream about being able to have a warm bed to sleep in and a nice square meal and some decent clothes to wear," Hayes told Ebony magazine in 1970.
For a while, Hayes lived on the streets after his grandfather became ill. Hayes spent one summer sleeping in empty cars in a junkyard, according to the 1972 edition of "Current Biography."
Self-conscious about his shabby clothes, he briefly dropped out of school in ninth grade to earn money to replace them. His teachers tracked him down and persuaded him to return to school.
A self-taught musician, he began to play piano, organ and saxophone. As a ninth-grader, Hayes won a school talent contest with his rendition of a song by Nat "King" Cole, whom he idolized.
By his late teens, Hayes was married and about to become a father, so he left school again to earn a living. But he earned his high school diploma in 1962 after attending classes at night.
After leaving school, he started appearing with local R&B groups on the Memphis club circuit in a series of short-lived groups with such names as Sir Isaac and the Doo-Dads, the Teen Tones, and Sir Calvin and His Swinging Cats.
One evening, a friend asked him if he could play piano in her brother's band at a New Year's Eve party because he was away in the Air Force.
I said, 'Sure,' even though the extent of my musical knowledge was 'Chopsticks' and 'Heart and Soul,' " Hayes said in the 1995 Chicago Tribune article. "I felt like I was heading for the Inquisition."
He was told the band sounded "pretty good," a compliment Hayes later attributed to the noisy, drunken clientele who "were gonna dance to anything." But it led to a regular gig that made Hayes confident enough in his piano playing to move on.
In the early 1960s, Stax Records hired Hayes as a session pianist and organist. He teamed up with Porter and began writing songs.
It took them "about a year to get in a groove," Hayes recalled in 2001 in the South Bend, Ind., Tribune.
Once they did, they penned about 200 songs, some of them R&B classics.
"We'd get together the night before a session to write, and we liked to have the artist present -- especially Sam & Dave -- because we fed off them," Hayes told the Chicago Tribune.
Hayes' early method of calling out chord changes to the musicians who were fanned out around him remained central to the way he worked.
"It was record-making at its most casual and rough-hewn, yet it produced hit after hit," Chicago Tribune rock critic Greg Kot wrote.
At the time, Hayes later recalled that "nobody had any idea that we were producing legendary stuff. We were getting a check and royalties and having fun and trying to impress girls."
In 1967, he issued his debut solo LP, "Presenting Isaac Hayes," a "loose jazz-flavored effort" recorded in the early-morning hours after a raucous Stax party, according to the All Music Internet database.
Two years later, he broke through with his second album, "Hot Buttered Soul," considered adventurous for including only four -- albeit lengthy -- songs.
Unhappy with his royalty arrangement with Stax, Hayes had severed ties with the label by 1975 and started his own imprint, which didn't last.
After the 1975 album "Chocolate Chip," Hayes didn't release new material until "Love Attack" in 1986.
In the intervening years, he pursued acting, eventually appearing in more than 60 movies and television shows. He recently completed work on the film "Soul Men," with Samuel L. Jackson and Bernie Mac. Mac died Saturday at age 50.
Through the Isaac Hayes Foundation, Hayes built a school in Ghana. The country recognized his humanitarian efforts by crowning him a king.
Hayes was married several times and had several children.
-
David Rose/Andre Previn - Like young made #22 on the R&B chart and #46 on the pop chart in 1959.
Strange compilation.
Odd to have Herbie's "Watermelon man" rather than Mongo's, and not to have "Chameleon" or "Rockit".
Odd to have Mongo's "Yeh yeh" rather than Georgie Fame's.
Strange to have no "Mister Magic" from Grover Washington. Nor neither "Gimme some more" or "Pass the peas" by Fred Wesley & ther JBs. Nor JB's "Night train" (nor Jimmy Forrest's for that matter), "Honky tonk", "Aint it funky now" etc etc, nor any Bill Doggett hits. Ernie Freeman, who's rarely mentioned, except by Chris & me, had a #4 hit with "Raunchy". Also MIA are John Handy's "Hard work", and Eddie Harris' "Listen here" (OK, so "Exodus" is his ration?) Also missing are Ray Charles' "Rockhouse", "One mint julep" and "Booty butt" (oh, only the R&B chart for the last). Jack McDuff's "Theme from electric surfboard" also made the pop charts. Oh, and Rusty Bryant's "All night long" was on them, too. And Hugh Masekela's "Grazin' in the grass" (#1). Harold Betters' "Do anything you wanna" was a great cut that the Ace folks really ought to know about and surely would have put in. Oh, Quincy Jones anyone? "Killer Joe" and "Money runner" were both hits. And King Curtis? Kool & the Gang's early singles? Chuck Mangione's "Feels so good". Herbie Mann's "Memphis underground", "Supermann" or "Hijack"? Wes Montgomery had a pop hit with "Windy". And, as noted in another thread, George Benson had a few - some were jazz records. Oh, I nearly forgot - Phil Upchurch's "You can't sit down".
Oh, and what's wrong with Kenny Ball's "Midnight in Moscow" and Chris Barber's "Petite fleur"?
And Coleman Hawkins' "Body & soul" made #13 on the pop charts.
(But they've also missed Kenny G's "Songbird")
MG
It says 1958-1966.
Don't all your suggestions fall out of their time range?
-
The Revenant Charley Patton as well.
http://www.cargorecords.co.uk/release/42
But are these discount prices only in the UK?
-
Hey, aren't already released CDs "back-up copies?"
-
Nice shake here in Sherman Oaks, start slow, then a decent jolt, but no damage. Just overloaded cell phones after the fact when everyone calls to say that they are all right.
-
Hmm, I've done business with Elias Savada, the son discussed in the article, multiple times. Literally everyone I know who needs to check copyrights uses him.
-
I think any vocalese which references any previous musician or singer is inherently bad. Unfortunately, it seems like those are the only ones I ever hear.
-
Did 1957's set come out?
-
Everything that Universal originally announces as being "a little" (as in "only a little material was left from teh 1930s and 1940s) has pretty much ended up being "a lot" to most mortals.
-
You sound a bit confused. First you counter our critique of this set, then you proceed with your own criticism. The Zenph Tatum thing is a gimmick, no better than such old "enhancements" as artificial stereo, reverb, or heavy equalization. Have the Zenph people improved the Tatum recordings? I don't think so.
He doesn't sound at all confused. He critiqued the criticisms based on the idea of the recording, and then gave a critique based on actually listening to the recording. And I thought in a straightforward and well-explained manner. The question you raise about "improving" the original is a separate question, which he addressed indirectly in his critique. But I think your question isn't quite right - Zemph wasn't trying to "improve" the Tatum; they were trying to "recreate" it in a manner that "listeners today" would theoretically find more palatable. The answer, for people who care about the original, is apparently not (I haven't listened to the new recording, nor do I intend to buy it.)
It might be interesting to get the opinion of someone who doesn't know the original and find out if they like the new recording, just to see if the new recording works as a new recording of these pieces.
-
I think some of those are just hats, and not "big hats" as specified. Should we make a requisite diameter or circumference for a hat to qualify?
-
This reminds me of a film starring Matthew Broderick, I think, but what was the name of it?
Oh, no, that was War Game. What was the one with the black surveillance helicopter, probably from the late 80s?
-
I'm not sure if there is still a Hamburger Hamlet on the Sunset Strip.
-
Thanks! I'm a subscriber but it seems to take a while to come, so I will take advantage of this...
-
I quit believing in lists a long time ago, especially those in weekly periodicals.
-
BIS is a great label. So is Mode. Between the Lines, in the early days, was spectacular. Thank God Koglmann got out most of the Dixon/Lacy sides when he did. (The Coe/Kellaway too.)
I admire that Uehlinger's recording emerging artists, even if the fan base for Hat seems to generally want reissues (only). It seems to me that if, as clem stated/alluded to, he could put together some type of limited box sets for just a few Hat artists that sell well, it would satisfy fans and perhaps generate more income for newer projects. But, I'm no record producer, and I'm sure it's all easier said than done.
Is this the BIS in question?
http://www.bismusic.com/homei.asp
Or this?
http://www.naxos.com/labels/bis-cd.htm
Or something else?
-
I've seen her a few times -definitely a performance artist with songs. But the first couple of shows I saw I liked, and the last one wasn't that interesting, and this one sounds less so. i was debating whether to go see at UCLA's Royce Hall on April 10, but I think I can safely pass. The audience would also largely consist of safely liberal West-siders who will give Laurie a standing ovation at the need to show how knowing they are. (I hope that I will not simply end up being the same.)
-
(in fact I heard that they are playing a game or two at the LA Colliseum which I guess is not designed for baseball - LF will be something like 200 feet from home plate or something(?) ... and they've sold 100,000 tickets for both games.
The Dodgers played there for a few years when they moved from Brooklyn. "Moon shots" meant something else there - named for Wally Moon's short "blasts" over the LF fence.
An old computer game (Earl Weaver baseball) included the park (or maybe I "built" it) and it was always a nutty experience. A couple of pictures here and some details, though surely better can be found through more digging.
Yeah, my brother and I wanted to go to one of those games, but they sold out before we noticed that the tickets had gone on sale. Maybe we should get scalped seat.
A
I ended up going - my brother got handed 4 $2 tickets to the game at work, way high up, so we went with my 6 year old nephew and our Mom (also a Dodger fan). It was fun for a while - lots of special guests being introduced, but no one was taking the game seriously., When my nephew pooped out at the 6th inning, we were all fine with leaving. We were very high up and it was rather cold for LA, wind blowing too. They had a bunch of the 1958 Dodgers there, including Don Newcombe and Duke Snider. And then the world champion 1959 Dodgers -a few more including Chuck Essegian, whom my mom went to high school with.
But the left field fence at 201 feet was really something else. The Dodgers played the game with 2 outfielders and 5 infielders basically. They next out in left was 60 feet high, and while we there one Red Sox hit a homer over it. A Dodger hit one over after we left. But people were hitting drives to the left-center "gap" that would bounce off the wall at 250 feet and they would be stopped with a single. It was wacky. There's also no way that 110,000 people actually were there. They may have sold that many tickets, but we were in row 83 for example, and almost everything around us was empty.
-
(in fact I heard that they are playing a game or two at the LA Colliseum which I guess is not designed for baseball - LF will be something like 200 feet from home plate or something(?) ... and they've sold 100,000 tickets for both games.
The Dodgers played there for a few years when they moved from Brooklyn. "Moon shots" meant something else there - named for Wally Moon's short "blasts" over the LF fence.
An old computer game (Earl Weaver baseball) included the park (or maybe I "built" it) and it was always a nutty experience. A couple of pictures here and some details, though surely better can be found through more digging.
Yeah, my brother and I wanted to go to one of those games, but they sold out before we noticed that the tickets had gone on sale. Maybe we should get scalped seat.
A
Bob Dylan
in Live Shows & Festivals
Posted
I was at the Santa Monica Civic show as well (how did we miss each other RDK?), and had a similar response. I didn't even recognize a couple of older songs. But I know what I'm getting into. I thought the band was good. Some new versions of old songs work; others, not so much.