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DEJA RE-VU "HUGO" LIMITED EDITION 4K UHD BLU-RAY For Scorsese, it's a very personal film, one that delves into the creativity, inventiveness and fragility of early cinema. Based on "The Invention of Hugo Cabret," a children's book penned by Brian Selznick (a distant relative of "Gone With the Wind" producer David O. Selznick), the movie reached theaters in 2011. It featured glorious use of 3D, artful, not gimmicky. But watching it in 4K is majestically immersive, as well, thanks to the superbly crafted sets and costumes, as well as an enchanting, complementary score composed by Howard Shore. Scorsese's direction establishes a sense of depth; even without 3D. He creates a world viewers will inevitably embrace. The story, captivatingly told through screenwriter John Logan's adaptation, revolves around an orphan boy, Hugo (Asa Butterfield), who lives alone in a massive Paris railway station. He learned about the mechanisms of the station's giant clock from his drunken uncle (Ray Winstone), who has disappeared. The boy keeps it operating. He also works feverishly to complete the mission begun by his late father (Jude Law) -- repairing a complex automaton. Surviving on his wits, the boy tries to evade the obsessive station inspector (Sacha Baron Cohen), who struggles with war injuries and an unrequited passion for Lisette, the woman selling flowers (Emily Mortimer). Hugo's shoplifting leads him into an antagonistic relationship with an embittered toy store owner (Ben Kingsley) and a friendship with the man's goddaughter (Chloe Grace Moretz). All of this draws the boy into unraveling a mystery involving filmmaking pioneer Georges Méliés. Unlike many of Scorsese's most heralded movies, this one doesn't utilize f-bombs and violence to deliver its themes. The dreamlike film possesses a gentleness and sweetness, but there are spectacular sequences that burst forth, including Law's fiery demise and an unforgettable train disaster reminiscent of the one in "Silver Streak," though this one is based on a true incident. "Hugo" was nominated for 11 Academy Awards, including Best Picture, Director, Score and Adapted Screenplay, and nabbed five, including Best Cinematography, Art Direction and Visual Effects. In addition to the myriad of technical achievements, "Hugo" is made special by its extraordinary, primarily British cast. The supporting players etch memorable portrayals, regardless of how little screen time they have. Among them are Christopher Lee, Frances de la Tour, Richard Griffiths, Michael Stuhlbarg and Kevin Eldon. As the toy store owner's wife, Helen McCrory gives a hauntingly beautiful performance. Tragically, McCrory, the wife of Damian Lewis, died of cancer at age 52 in 2021. Also watch for Scorsese's cameo as a photographer. The leads -- Moretz, Cohen, Kingsley, Mortimer, Winstone, Law -- all deserve hearty applause, each attaining a rare level of dimension and nuance as members of the excellent ensemble. Some of them also appear only briefly. But the greatest kudos must go to Butterfield, 13 at the time, who fashions an astonishingly genuine and moving characterization. Shore's music skillfully ushers the action into various moods. There are symphonic splendors, reflective moments and, as a Django Reinhardt-like guitarist entertains at the train station, flavors of Gypsy swing. French pop/jazz vocalist Zaz entrancingly contributes to one of the score's tracks. The music complements the movie's rich emotional palette, from pathos to humor. Scorsese finds the truth in these characters who battle through loneliness to discover affecting new attachments. Throughout, Scorsese celebrates early cinema, the work of Méliés in particular. He even utilizes some of that filmmaker's artwork and snippets of his movies. Scorsese also touches on the need for film preservation. The Arrow release offers an abundance of worthwhile extras. You must not miss an audio commentary by filmmaker/author Jon Spira, who was instrumental in the translation and publication of the George Méliés autobiography. He serves up a wealth of insights into that artist's life and career. Spira also presents fun facts about the making of "Hugo," as well as tasty tidbits about the actors and behind-the-camera talent. Though "Hugo" didn't succeed at the box office, it's an artistic triumph. This is a magical movie about the love of movie magic. It stirs the imagination, touches the soul and warms the heart. And how many Scorsese films, for all of their remarkable qualities, could be described as "heartwarming"? This one surely can. It's a treasure. And the new Arrow 4k release, with magnificent visuals and sound, is a marvelous way to experience it. "Hugo" is a wonderment. "SWAMP THING" When MVD released 1982's "Swamp Thing on Blu-ray it was delightfully swampier than earlier DVD releases. But the company's new 4K Ultra HD edition is the absolute swampiest, boosting the movie's uniquely entertaining, earnest energy with its amped-up sharpness and color fullness. The DTS-HD Master 2.0 mono is great for both the sound effects and the atmospheric score composed by Harry Manfredini ("Friday the 13th") In this comic book adaptation, written and directed by Wes Craven, the story is propelled by a noble scientist, Alec Holland (Ray Wise). In the swamps of Louisiana, he's working on a secret bioengineering project. Hounded by the evil Dr. Anton Arcane (Louis Jourdan), Holland is accidentally drenched in an experimental chemical liquid and is messily mutated. Thus he becomes our most unusual superhero, Swamp Thing, a lumbering, leafy monster (now played by the hulking Dick Durock).The presence of government agent Alice Cable (Adrienne Barbeau) introduces a bit of a "Beauty and the Beast" vibe. That's an appealing subplot to juxtapose against the Swamp Thing vs. Arcane battle. The movie is lighter than Craven's "A Nightmare on Elm Street," "The Hills Have Eyes" and "The Last House on the Left." The whole cast handles the tone deftly, though Jourdan must have been wondering how he segued from his suave roles in big-budget MGM musicals to playing a villain in a B-horror movie. Leslie Caron, his "Gigi" co-star must have been nonplussed! MVD has included ample bonus features. Be sure to catch Craven's revealing reminiscences on one of the two audio commentary tracks. Among the not-to-be-missed interviews among the extras are those with Barbeau and the "Swamp Thing" comic book creator, the late Len Wein. This package includes a Blu-ray, as well as the 4K Ultra HD disc. In addition to the PG-rated U.S. theatrical cut, you have the option of viewing the unrated International version. That latter gives you an extra couple of minutes of nudity, the better to appreciate Barbeau's bodacious beauty. "Swamp Thing" is a fun fantasy. Enjoy this sterling new edition of a camp classic! "CITY OF THE LIVING DEAD" - 3-DISC SPECIAL EDITION, 4K ULTRA HD + BLU-RAY Directed and co-written by cult fave Lucio Fulci, the movie eschews logic and plot in favor of ewww-inducing gore. If seeing a stunning actress spewing gallons of animal entrails (passing for human innards) is your cup of carnage, look no further. "City of the Living Dead," also known by the more apt title "The Gates of Hell," opens with a priest's suicide by hanging. Bizarre, supernatural happenings begin occurring in his New England town. A psychic (Catriona MacColl) suffers a mysterious seizure during a seance and is buried alive. She's rescued by a journalist (Christopher George) hungry for a juicy story. She informs him that the priest's demise foreshadowed the gates of hell opening. Unless they're slammed shut within 48 hours, the Earth will be overrun by the living dead. Juicy enough for you, Scoop? Soon they're uncovering everything from maggots running amok to eyes weeping blood to Salem witch connections. Granted the plot isn't exactly coherent, but Fulci creates numerous stylishly horrific sequences that make the movie a must for horror buffs. The most gruesome of the killings here isn't perpetrated by the living dead, but by one of the still living, one of the upright townsfolk. (It is not for this that an electric drill was intended!) You don't have to be dead to be a violent threat. Intolerant, harmful hicks can be as dangerous as zombies. Just as true today as it was in 1980. Gino De Rossi's special effects will make the squeamish squirm. Fabio Frizzi's score is appropriately jarring and eerie. This turns the dial up on the scare meter. It sounds ominously awesome in Cauldron's audio mixes. Aside from the rugged, magnetic Christopher George (TV's "The Rat Patrol"), the alluring MacColl (a Fulci favorite who was also featured in the rest of his undead trilogy -- "The Beyond" and "The House by the Cemetery") and equally lovely Janet Agren, most of the cast is comprised of Italian performers. They react with commendably convincing levels of unease and fear. Cauldron has provided tons of extras, including featurettes, multiple audio commentary tracks and many interesting interviews, including great anecdotes from MacColl. The film's combination of strangeness, surrealism, and savagery will hold viewers in its thrall. With Cauldron's intensified new presentation, "City of the Living Dead" rises again!
"TENEBRAE" - 2-DISC 4K ULTRA HD + BLU-RAY SET Argento, a giallo icon, holds viewers attention right from the opening frames of this slasher film. And the new 4K UHD uncut version from Synapse Films serves up the violence and viciousness in spine-tinglingly vivid fashion. The plot centers around Peter Neal, an American horror writer (Anthony Franciosa). He arrives in Italy on a promotional tour, accompanied by Bullmer, his literary agent (John Saxon) and an assistant, Anne (Daria Nicolodi). At an interview session, a female journalist declares that Neal's latest novel, "Tenebrae," is sexist. She asks "Why do you dislike women so much?" Neal protests that it's not true. The journo insists the book is indeed a glaring example of sexism -- "Women as victims? Ciphers? The male heroes with their hairy macho bullshit? How can you say it isn't?" Perhaps this is Argento confronting criticism he had faced in his own work. Another theme that has a personal resonance for him is the alarming persistence of a stalker, something that plagued the director at one point in his life, hounded by an unhinged fan. Soon the novelistf has a lot more to worry about than feminist critics. A serial killer is drawing on Neal's books for inspiration. The author is gradually drawn deeper and deeper into the case... and the insanity. A killer who feels neither guilt, nor anxiety nor fear is a terrifying adversary. Writer/director Argento keeps the mystery percolating and the undercurrent of suspense at an unnervingly low boil. Plus he knows exactly when to slap the audience with a brutally shocking moment. He lifts the slasher genre to an art form. You'll be dazzled by one renowned, extended crane shot. He elicits solid performances from his cast. Franciosa ("A Face in the Crowd," "The Long, Hot Summer," "The Name of the Game") is, as always, charismatic and charming. "Tenebrae" represents a blood-spattered triumph for Argento, one that influenced the slasher genre for decades to come. The color-rich visuals are extraordinary, as Luciano Tovoli's cinematography complements Argento's stylish direction. The 80s synth-driven rock/disco score, composed by three members of the Italian prog-rock band Goblin, helps to jangle the nerves In Synapse's newly released Ultra HD/Blu-ray package, the restoration is startlingly good... and the bonus features are sure to grab the attention of all Argento aficionados. They include audio commentaries, interviews and a fascinating documentary, "Yellow Fever: The Rise and Fall of Giallo."
"THE GIANT GILA MONSTER" "The Giant Gila Monster," even without Mystery Science Theatre" riffing, proves to be a lot of fun. And with a new 4K scan from the original 35mm film elements, the film looks great. Only the effects -- and the sets, direction and acting -- betray the ultra low-budget B-picture origins. But the new edition looks infinitely better than the public domain DVD releases that preceded it. The movie begins with a young couple necking in a car. Apparently they haven't seen any of the other 50s sci-fi and horror pictures that knock off amorous teenagers right before the opening credits. In a desolate area, a gila monster with a pituitary problem has been roaming free. Lately, it has been developing a taste for bite-sized humans. Stay away from the underbrush, if you know what's good for you! Dan Sullivan stars as the lead teen, a singing auto mechanic. Perhaps you recall him from "Teenage Zombies." One of the few recognizable faces in "The Giant Gila Monster" belongs to Shug Fisher, whom western fans will remember as one of the Sons of the Pioneers. Here he provides comic relief. And then there's the eye candy provided by Lisa Simone, 1957's French entrant in the Miss Universe pageant. The movie is more cult than classic, but who can resist a 50s flick with hot rods, rock 'n' roll and monsters? "The Killer Shrews," restored from an HD print, doesn't spend time on songs, allowing more screen time for monsters! They run amok on a remote island. Star James Best appeared in countless TV shows, including "The Twilight Zone" and "The Dukes of Hazzard." Apparently fond of these homicidal creatures, he came back for 2012's "Return of the Killer Shrews." Also of note in the original movie is his co-star, Ingrid Goude, the 1956 Miss Sweden. The cast also includes Ken Curtis, best known for playing Festus on "Gunsmoke." Both 1959 movies were by co-produced by Curtis with Gordon McLendon, a Texas drive-in theater chain owner who needed attractions that would draw teens. Both movies were directed by Ray Kellogg, who also co-wrote the less-than-epic "Giant Gila Monster" screenplay. Kellogg gained experience as second unit director on the 1966 "Stagecoach" remake, 1966's "Batman: The Movie," "Tora! Tora! Tora!" and the Jerry Lewis vehicle, "Way... Way Out." But Kellogg was primarily known for his visual effects on such movies as "The Seven Year Itch," "The Girl Can't Help It" and "The Revolt of Mamie Stover." So he knew how to make Marilyn Monroe, Jayne Mansfield and Jane Russell pop on screen. But he was apparently less effective with humongous lizards and mole-like mammals.
This two-disc collection includes bonus features. There are some great extras -- a Dan Sullivan interview, audio commentaries and more. Particularly interesting is a documentary, "Ray Kellogg: An Unsung Master." These two movies may not convince you that he was, indeed, a film master, but he definitely knew how to deliver plenty of bang for the buck!
BECK, BOGERT & APPICE - "LIVE IN JAPAN, 1973, LIVE IN LONDON 1974" Splintering off from an iteration of The Jeff Beck Group, this thrilling threesome qualified as one of the top 70s supergroups. Beck had long admired bassist Tim Bogert and drummer Carmine Appice. These two had previously been together in both Vanilla Fudge and Cactus. With Appice handling the bulk of the vocals, the new power trio achieved a Cream-like vibe. And they should have risen to the top. But their life span was short. Fortunately, their magic was preserved powerfully with "Live in Japan, 1973, Live in London, 1974." The far out Far East shows were recorded at Koseinenkin Hall in Osaka. The live recordings were released in Japan, but never in the U.S. (other than in inferior bootleg forms). The show's at London's Rainbow Theatre had never been officially available anywhere... until now. ATCO/Rhino has issued these dynamite performances in handsome 4-CD and 4-LP box sets (available digitally, as well). Beck (who passed last January) and Appice mixed the material from the original multi-tracks that had been stored in Beck's vault for half a century. (Bogert passed in 2021.) The sets found fantastic -- fresh and ferocious. Throughout these heavy rock performances, Beck's guitar work is jaw-droppingly virtuosic. The Japan shows included almost all of the songs from the trio's self-titled debut album. Beck lets his guitar do his talking, with some wild effects, on Stevie Wonder's "Superstitious." "Jeff's Boogie" packs quite a punch, rocking insanely before channeling Flatt & Scruggs near the number's big finish. The threesome cooks on the slow blues of "Sweet, Sweet Surrender." Then they get fiercely frenetic for "Livin' Alone," which was co-written by the three band members. The three instruments merge mightily, complemented by strong Appice/Bogert vocal harmonies, on "Lady." Beck's riffs purr, howl and screech on "Black Cat Moan." "Plynth/Shotgun" provides an exciting conclusion to the Japanese set. In England, the group included some of the songs they planned to record for their second album, which, sadly never came to fruition. The London show opens with the audience grabber "Satisfied." They shuffle into sonic heights with "(Get Ready) Your Lovemaker's Coming Home." A highlight of the entire box comes with "Blues De Luxe/You Shook Me," which slides along with sultry, sensuous passages from Beck's eloquently talking guitar. They close the show by jamming joyously on "(Rainbow) Boogie." Appice is a potent drummer and an effective blues shouter. Bogert contributes inspired bass lines and spot-on harmonies. They provided a solid support system for Beck's magnificent guitar work. This box set perfectly captures the raw, riotous energy of three great musicians at the top of their game. MAIA SHARP - "RECKLESS THOUGHTS" As a songwriter, Sharp unwaveringly reveals her deepest thoughts and feelings, striking a universal chord in the process. The Americana artist remains unstintingly forthright. Her songs resonate with truthfulness. And she's the ideal interpreter of her own songs, as her expressive, engaging voice is equally honest. "Reckless Thoughts," which smoothly blends folk, pop, jazz and country, was written at a time of profound changes in Sharp's life and career. When she recorded 2021's "Mercy Rising" album, she was coming to terms with the end of a long marriage, as well as a geographical resettling, moving from her native California to Nashville. The new album is the result of her having had a bit more time to reflect. The upbeat "Kind," a co-write with Mindy Smith and Dean Fields, makes clear the only quality that really matters. Whatever your background or preferences, it's all irrelevant, as long as you're compassionate and considerate. "Everything You Need" eloquently describes the vulnerability of love and longing. "Too Far Now," with its sultry sax solo, is a moving ballad with a gorgeous Sharp vocal. Other entrancing tracks include "She'll Let Herself Out," "Old Dreams" and "Fallen Angel."
In "The Road to Hell and Back," Sharp sings, Her soulful music has helped to heal her wounds and will now provide a balm for those who hear her perform it. Sharp, whose father Randy was an outstanding songwriter, is a master of the craft. Her thoughtful, ultimately uplifting lyrics and inviting melodies weave quite a spell. Wrap yourself in her tunes and feel comforted.
LINDA PURL - "THIS COULD BE THE START" Purl has amassed a fantastic list of acting credits, dramatic and comedic, including regular stints on "Happy Days" and "Matlock," as well as starring roles in many notable TV movies. She has also been featured on Broadway. She knows how to tell a story, on record, as well as on screen. You'll believe every word of every lyric she brings to life on the new album. Her tone and phrasing are endlessly beguiling. And her personality shines through brilliantly, as she gracefully glides through a variety of moods, making familiar show tunes and jazz favorites sound fabulous and fresh. The opener, "This Could Be The Start of Something Big," a standard written by comedian/chat show host Steve Allen in 1956, has been recored by countless pop and jazz artists. But Purl brings her own brand of excitement to the song. Her caressing, playful performance of "I'm In The Mood for Love" (Jimmy McHugh and Dorothy Fields) will definitely put you in the mood. "Blue Moon" (Rodgers & Hart), swinging light and lovely, with a bit of a Latin flair woven in, proves to e romantically illuminating. Purl is a revelation on Stephen Sondheim's "Live Alone and Like It," the best thing to come out of Warren Beatty's 1990 "Dick Tracy" movie. She draws out all the power and poignance of Sondheim's "Not While I'm Around." She gives Cole Porter's "Dream Dancing" a bossa nova panache. Purl can bring you to tears with tender musical gems such as Cy Coleman and Carolyn Leigh's "Let Me Down Easy," Morgan Lewis and Nancy Hamilton's "How High The Moon" and Carla Bley and Sara Teasdale's "Two Hearts (Lawns)." And Purl's version of "Let's Get Lost" (Jimmy McHugh) is simply sublime. She finds all the heat, as well as the cool, in "I Love Being Here With You," penned by Peggy Lee and Bill Schluger. Purl is perfectly in sync with her silky accompaniment, masterfully provided by pianist Tedd Firth, bassist David Finck, drummer Ray Marchica and reed player Nelson Rangell. After hearing this album, you'll want to discover Purl's previous pearls... and play this CD until you wear it out.
FIREFALL - "FRIENDS & FAMILY" Whether they're tackling country rock, folk rock, Southern rock or Northwestern rock, Firefall's tight instrumentation and formidable harmonies make this an especially winning collection of coveted covers. Firefall bring their own urgent flavor to Heart's "What About Love." Stirring harmonies and a hot instrumental break, featuring saxophone, make Loggins & Messina's 'Angry Eyes," a standout. The searing lead vocal on Lynyrd Skynyrd's "Simple Man" also puts it in this category. To represent The Byrds, Firefall has chosen Gene Clark's joyously jangly "I'll Feel a Whole Lot Better." The band makes Fleetwood Mac's "World Turning," intensely bewitching. Spirit's big hit "I Got a Line on You" remains an irresistibly rockin' tune. Also on the striking set list are The Doobie Brothers' "LongTrain Running," Dan Fogelberg's "Part of the Plan," The Marshall Tucker Band's "Can't You See," The Band's "Chest Fever," Gram Parsons' fun, cautionary "Ooh Las Vegas." and The Flying Burrito Brothers' "Colorado," which was written by Rick Roberts, who was a member of Firefall and The Flying Burrito Brothers, as well as an incarnation of The Byrds. This is a fabulous set, performed with loving enthusiasm and skill. Firefall's family, friends and fans will applaud this new release. GRAHAM PARKER - "LAST CHANCE TO LEARN THE TWIST" He opens with the seductively spooky "The Music of the Devil." Parker can persuasively sing of irretrievable love, as he does on "Lost Track of Time" and "It Mattered to Me," which has a heart-melting sax solo. "We Did Nothing" strikes a poignant chord. The orchestra's horns spice up Parker's soul sauce on "Wicked Wit." Elegant electric guitar and emotion-swelling organ enhance "The Grand Scheme of Things." The offbeat charm of "Cannabis" is sure to hook you. "Shorthanded" lopes along with a disarming country lilt. The wonderfully whimsical "Them Bugs" is an unexpected novelty treat with hypnotic rhythm section beats and adorable vocal backing by, appropriately, The Lady Bugs. You'll find yourself singing along to "Since You Left Me Baby" midway through your first listening. And feel free to twist along to these catchy tunes, as well, if you feel so moved. Parker's gruffly expressive voice, moody melodies and sharply witty lyrics remain riveting. You'll be enchanted by his disenchantment. But the fact that he has smoothed out some of the deliciously cynical edge that characterized much of his best earlier work should make him inviting to an even wider audience. He has been making hard-to-resist music since the 70s. It's gratifying to hear that he hasn't lost his touch. It's not too late to learn to love Graham Parker.
LUCIA COMNES - "HAVE WE MET BEFORE?" The powerful "Soul on a Journey" opens the album. An infectious chorus, driving rhythm section, biting electric guitar break and swirling keyboards send "You Lift Me Up" soaring. The title track, a duet with co-producer/multi-instrumentalist Jeffrey Hamer, is endearing. They harmonize sweetly on "I Wish That You'd Be Holding Me Tonight." The countrified "The Last Cowboy" details an ill-fated relationship. The pain of shattered romance is hauntingly expressed in "How Can You Just Leave Me Like This?" Comnes gets feisty on "With Me You Won't Win Twice," which has a rockabilly sensibility. Her voice is powerfully penetrating on the seductive "Black Lace." Her original material is impressive. But the two covers here prove to be surprise delights, as well. Comnes turns the Tom Waits tune "Hold On" into a real charmer. The love song, "Senza Fine" (in English, "Endless") was written and recorded in the 60s by Italian singer Gino Paoli, Its artful arrangement gives it a sophisticated allure. Comnes, who is accomplished on both guitar and fiddle, skillfully employs a wide range of influences to conjure up a distinctive sound all her own. "JOHN FOGERTY" and "BLUE RIDGE RANGERS" And they will never sound better than they do on 180g vinyl. The grooves have never been groovier. With the added crispness, Fogerty's vocals bristle with a brilliant edge and his twangy guitar riffs pack their greatest sizzle and sting. After years of infighting in Creedence Clearwater Revival, Fogerty realized how he could eliminate all conflict -- he recorded "Blue Ridge Rangers" as a one-man band, playing all the instruments. He served as producer, as well. The album is an homage to country, gospel and bluegrass tunes. Fogerty demonstrates his deep and abiding love for traditional material. His plaintive vocals breathe new life into such classics as Hank Williams' "Jambalaya" and Jimmie Rodgers' "California Blues." Fogerty summons up ample spiritual fervor on "Workin' on a Building." "Hearts of Stone" is a real barn-burner. He can slow things down effectively on numbers like "She Thinks I Still Care" and "Please Help Me, I'm Falling." He closes with the enduring Merle Haggard/Bonnie Owens ballad, "Today I Started Loving You Again." Also new to vinyl is his "John Fogerty" album. The record gets off to rollicking start with his hit "Rockin' All over the World." "Almost Saturday Night" is another of his best post-CCR songs. Horns help to drive "Travelin' High." Among the other top-notch Fogerty originals are "The Wall" and "Flyin' Away." He includes a rousing cover of Frankie Ford's "Sea Cruise." Oo- ee! Oo-ee, Baby! He also rocks it up with a rendition of Jackie Wilson's "Lonely Teardrops," which was penned by Huey "Piano" Smith.
These two new vinyl releases belong in the music libraries of every Fogerty fan.
ICONS, IDOLS AND IDIOTS OF HOLLYWOOD In 1954, while in high school, Belland talked his friend Glen Larson, later one of the most successful producers in TV history, to join him in founding a vocal group. Thus The Four Preps boy band was formed. Ricky Nelson invited them to perform at a high school show and helped them break out, with exposure on his family's TV series. They in turn yanked Ricky onto the stage to sing and the ensuing pandemonium convinced young Mr. Nelson that he should make music his main focus in life. The Four Preps went on to pop stardom of their own, as Belland and Larson wrote "26 Miles Across The Sea (Santa Catalina)." It became one of 1958's biggest hit, cited by Brian Wilson as a key influence for him and his little vocal group (The Beach Boys). "Big Man" became an even bigger global smash. The group appeared in the "Gidget" movie with Sandra Dee and James Darren. The Four Preps performed extensively, packing venues on their own or being featured on bills with show biz legends, such as George Burns, who became a mentor. Belland gives a frank depiction of the thrills and pitfalls that greet a young man new to celebrity. After the Preps had run their course, he teamed with Dave Somerville, lead singer of The Diamonds, in Belland and Somerville, a comedy/folk duo that earned TV and concert popularity. They also wrote the anti-war song, "The Troublemaker," that served as the title track of a double-platinum Willie Nelson album. Belland later went into advertising, became NBC's senior programming executive, as well as a producer and voiceover artist. He has also written TV episodes and theatrical productions. Eventually, he returned to performing, delighting Four Preps fans with his various groups' revived, vibrant harmonies. His daughters, Tracey and Melissa co-founded the alt pop-rock group Voice of the Beehive. So Belland has a wealth of entertaining stories to tell and he relates them in a wonderfully casual, affable style. Among the celebs who grace the pages of his memoir are, to name but a few, Elvis Presley, Bing Crosby, Frank Sinatra, Annette Funicello, Carol Channing, Jimmy Durante, Tennessee Ernie Ford, Glen Campbell, Ed Sullivan, Buddy Rich, Bob Hope, Lenny Bruce, Henry Mancini and Sammy Davis, Jr. The Preps even survived a legal wrangle with The Beatles! Ricky Nelson fans will be especially pleased by the full chapter devoted to Belland's association with him. It's titled, "From Idle Teen to Teen Idol." The author goes into great detail on how they helped one another jumpstart their musical careers. He shares the tireless rehearsal process and how Rick's dad Ozzie gave the latitude to fully develop the rich harmonies that complemented Ricky's lead vocals. Belland explains the sensation of singing behind the young icon while 35,000 teens screamed their lungs out at the Ohio State Fair. It's an affectionate portrait of Nelson. Readers will end up with a great affection for Belland, as well. He has managed to sustain a successful show business career for more than 60 years. You'll enjoy hearing all about how he has accomplished that. Hollywood certainly has more than its share of icons, idols and idiots. And Belland has encountered a lot of them. THE EXORCIST LEGACY: When the possessed young Regan (Linda Blair) growlingly describes to the priest (Jason Miller) his mother's proclivities in hell, it may have been even more shocking than the shaking bed or even the irreverent use of the crucifix. With riveting performances and brilliant direction by William Friedkin, the 1973 film, based on William Peter Blatty's sensational novel, did for pea soup what "Psycho" did for showers. The new book, "The Exorcist Legacy: 50 Years of Fear," by Nat Segaloff, producer/author/journalist and a publicist on the original movie, reveals all sorts of juicy secrets about the franchise. You'll learn about everything from casting controversy to scoring decisions to reaction to the first sequel. Segaloff draws on interviews with principals, including Blatty, cast members Louise Fletcher and Ellen Burstyn, as well as director David Gordon Green, who helmed the upcoming "The Exorcist: Believer." Genre fans will love this book. There's even a foreword by John Russo, who co-wrote the 1968 indie classic "Night of the Living Dead" with George Romero. "The Exorcist" remains an influential film, one that can still traumatize viewers. Its makeup and visual effects still pack a wallop, as does its depiction of the eternal battle between God and the devil, faith and fury. Segaloff covers everything related to the franchise -- sequels, prequels, even the TV series. His well researched and written study will make you thirst for the holy water. It's sure to make heads turn... just hopefully not in a 360-degree spin!
ERNIE IN KOVACSLAND: In the early days of the medium, the small screen landscape was crowded with trite sitcoms, uniform variety shows and an overabundance of westerns. Kovacs provided a refuge. His various series were always incredibly imaginative and inventive. Kovacsland existed on a different plane than the rest of the TV universe. The comedy writer/performer created his own surreal world, expertly utilizing music, wordplay, visual gags and unique characters. A darling of critics, but never a ratings bonanza, Kovacs, who died in a car crash in 1962 at age 42, made a huge, lasting impact, influencing countless comedic talents for generations to come. This entertaining book is bursting with rare treasures. Josh Mills, Adams' son from a subsequent marriage, was among those lovingly putting the pieces together. There are essays by such luminaries as Ann Magnuson and widow Adams, Kovacs' collaborator and muse. Kovacs' own writings and drawings offer insights, as well as laughs. The fascinating compilation also contains vintage magazine articles and hand-notated TV scripts. Fabulous photos and illustrations leap from the pages. Fortunately, Adams was a dedicated preservationist. The compilation cleverly captures the off-beat appeal of the comedian's humor, adopting the appropriately eccentric tone. After perusing the historic elements in this handsome and hilarious book, you'll be eager to explore surviving films and kinescopes to experience the full magic of Kovacs' marvelous madness. He was one of a kind... and so is this book. DO TELL: A NOVEL Secrets and scandals come to light, when character actress Edie O'Dare, her studio contract running out, tries a new path -- becoming a gossip columnist. Now wielding Hedda/Louella-like power, she must come to terms with the fact that she holds the power to make -- or destroy -- lives and careers. In this town, it's all about image -- building one and keeping it from being shattered. Edie wrestles with the moral dilemmas associated with her new, lofty perch. Manipulation and cunning can lift her even higher. But at what price? The author isn't shy about diving beneath the glitz and glitter to get to the industry's sordid underbelly. That makes it relevant, as well as nostalgic. Misogyny and betrayal were already key components of Hollywood by the 30s and 40s. With sharp humor, clever surprises and enviable empathy, Lynch deftly defines complicated, compelling characters, spanning various rungs of the show biz ladder. The book is a pleasing, escapist page-turner, but manages to be thought-provoking, as well. And aficionados of classic cinema will detect many references to Hollywood lore and legends.
THE MONKEES: MADE IN HOLLYWOOD Kemper explains the distinct personalities that comprised the group and added up to a surprising, undeniable chemistry and appeal. He documents the surrounding talents -- musical and marketing -- that enabled the band to make records that continue to be impactful, nearly 60 years later. Top-notch songwriters, producers, engineers and musicians were brought on board. On the first two Monkees albums, Tommy Boyce and Bobby Hart served as the dominant writers and producers, setting a winning template for what was to come. Astute Monkee fans might quibble with some of the author's statements. In discussing Hart's rise as a songwriter and hits he wrote with new partner Boyce, Kemper includes the Ikettes smash "Peaches 'n' Cream" and the Little Anthony & the Imperials classic, "Hurt So Bad." Actually the former was penned by Boyce and Steve Venet; the latter by Hart with Teddy Randazzo and Bobby Weinstein. He states that studio pros were brought in to handle all of the instruments and backing vocals on early tracks, the band members handling only the lead vocals, because The Monkees "remained relative amateurs as musicians." Actually, singer-songwriter-guitarist Michael Nesmith and multi-instrumentalist Peter Tork were amateur actors, but experienced folk-rock performers, already establishing themselves as musical artists. Davy Jones had starred on Broadway and London's West End and sang on "The Ed Sullivan Show." Micky Dolenz had been in bands. Kemper does go on to describe the lads' backgrounds. Nesmith produced the two songs he wrote for the 1966 eponymous debut album -- "Sweet Young Thing" and "Papa Gene's Blues." Tork played on those two numbers. He, Jones and Dolenz contributed harmony vocals to several other songs. But just as they had helped make recordings by the Beach Boys, Raiders, Mamas and the Papas and other top acts sound fantastic, the Wrecking Crew session players did have a huge impact on The Monkees' first records. Kemper points out how guitarist Louie Shelton came up with the unforgettable opening riff on "Last Train to Clarksville." The author later goes into each band member's unique skill sets and applauds Nesmith's growing ability as a tunesmith. By "Headquarters," the Monkees third LP, the band had grabbed autonomy and took over most of the instrumental and background singing duties, as well as their always distinctive vocal leads. A rebellion, led by Nesmith, against music supervisor Don Kirshner, gave The Monkees a bit of creative freedom. And hey, hey, the foursome had already proven they could deliver the goods live, in packed arena shows. But disharmony gradually splintered the group. By 1968, after the TV series had been cancelled and the wildly anti-establishment, experimental film and soundtrack album "Head" had been released, the band was falling apart. Resuscitated when MTV replayed the original series in the 80s, the band members, in various combinations, have continued to present fantastic stage shows and make impressive albums ever since then. Micky, now The Monkee, last man standing, continues to perform and record. Kemper documents the band's amazing journey and how the world responded. He includes a description of how Leonard Bernstein, on his TV special, analyzed a totally unexpected twist in "I'm A Believer." Even the maestro recognized something special about The Monkees. For all the unfair criticism the band has faced over the decades, they, and those complementing their talents, made some of the most infectious and enduring pop/rock of the era. In addition to irresistible singles, they fashioned many terrific album cuts. Yes, the TV series exposure amplified the attraction teens and pre-teens felt for them. But as with Ricky Nelson before them, that sort of promotion would have been meaningless, if the music hadn't been fantastic. It wasn't lunch boxes, magazine covers and cereal boxes that kept people singing along to Monkees songs all these years. And it isn't a result of accident or luck that you have as many hits as they registered. Kemper gives us a much better and broader understanding of what went into the band's remarkable success and why they have been doggedly spurned by the rock elitists (We mean you, Rock and Roll Hall of Fame board!) Rock isn't supposed to be all about deadly serious artistry, but fun and joyful energy, as well. The fact that Nesmith turned out to be one of the most adventurous, imaginative and revolutionary artists of his generation didn't sway the intelligentsia. As Kemper articulates, The Monkees' associations with revered legends like The Beatles, Frank Zappa and Jimi Hendrix don't necessarily prove their own authenticity as a band. But this book should spark a lively debate on the subject. Were they four gifted individuals whose random teaming resulted in pop magic? Or simply an example of how the system could be played to reap boundless rewards? Regardless, they were indeed the young generation. And they did have something to say. The Monkees, much to the chagrin of the powers that be, embraced and propelled the counterculture. Take a listen to message-laden songs like "Pleasant Valley Sunday" or "Zor and Zam." They recorded those at the height of their commercial viability, giving a mass audience something far tastier than bubblegum. They were the Marx Brothers of rock 'n' roll, as John Lennon famously described them. But they were also much more. They pushed the boundaries of what attitudes were permitted on network television in that era. The Monkees were of their time... but also timeless. What more could you ask? Perhaps they were machine-built, but they displayed unbridled heart, wit and spirit. Pioneers of both garage/punk rock and country rock, they showed more inspiration, originality and integrity than many of the "artists" to whom Rolling Stone magazine genuflected. They may have been made in Hollywood, but they rocked the whole world. Email Paul Freeman at paul@popcultureclassics.com |
