"MILL OF THE STONE WOMEN" [LIMITED EDITION]
Mario Bava and Dario Argento might have achieved iconic status with their giallo gore. But they weren't the only Italian directors to create suspenseful, stylized horror. Giorgio Ferroni directed "Mill of the Stone Women," the first Italian horror movie to be shot in color. Arrow has released on Blu-ray a vivid new 2K restoration from the original negative.
The Gothic film, featuring the tempting Scilla Gabel and sturdy Pierre Brice, oozes atmosphere... and a bit of blood. No, that ain't marinara, baby. A writer visits a village, where he plans to write about the bizarre wax statues housed in a windmill. They depict tormented women, on the edge of death. Once there, he uncovers shocking secrets about missing women and terrifying medical experiments.
Ferroni (who also helmed "Night of the Devils" and the spaghetti western "One Silver Dollar") maintains an eerie, unnerving mood. When the shocks come, he maximizes their impact. Carlo Innocenzi's score contributes to the eeriness.
The Arrow two-disc, Blu-ray release includes four different versions of the film. As with all Arrow releases, this one offers tons of exciting extras, including audio commentary, visual essay and a newly edited featurette.
This is the perfect opportunity to discover a marvelously macabre cinematic journey.
ALBUMS
THE DAVE CLARK FIVE
The British Invasion was pure dynamite. The Dave Clark Five was the atomic blast. They burst onto the scene in 1964. Their "Glad All Over" single knocked The Beatles out of the number one spot. BMG has just released a white vinyl, special limited-edition of the quintet's debut album. It features original artwork and liner notes.
It's the first time the "Glad All Over" album has been available on LP format since '64. It sounds better than ever, thanks to remastering from the original tapes, under Clark's guidance. The album is also available through streaming and download platforms.
As in all great bands, each member of the DC5 brought something distinctive to the sound. Clark had an intuitive sense of what would grab the listener. And his drumming (reportedly occasionally augmented by a studio drummer during recordings) could thunder to dramatic effect. Lead singer Mike Smith was one of the most powerful, most soulful voices in rock history. Classically trained on piano, his keyboard work could be nuanced and sophisticated or wildly rollicking, à la Jerry Lee Lewis. Lenny Davidson's guitar work was underrated. He could be very subtle, occasionally slipping in country, surf or even jazz flavors. But he also added some very inventive, tasty rock licks. And he could tantalize with tremelo. Denis Payton's versatile saxophone work predated the vigor that Clarence Clemons gave to the E Street Band nearly a decade later. Payton could also play a mean harmonica. Rick Huxley bolstered the DC5's strong foundation with his solid bass work.
The Dave Clark Five's "Tottenham Sound" (named after the region of London that Clark called home) was rowdier, more muscular than Liverpool's Mersey Beat sound. When you drop the needle on the new vinyl release, the song "Glad All Over" comes exploding through the speaker with unparalleled joy and energy.
Equally vibrant is another DC5 smash, the foot-stomping "Bits and Pieces," like "Glad All Over," written by Clark and Mike Smith. This one was later covered by Joan Jett. Another original, "I Know You," a jaunty tune about a heartbreak, proves infectious. "Who Do You Think You're Talking To" is forceful fun.
Another strength of The Dave Clark Five was the group's ability to breathe new life into classic R&B numbers, making them their own. Two such gems appear on this album -- "Stay" and the powerhouse "Do You Love Me," which became another hit for the band. "Chaquita" is basically the group's version of The Champs' "Tequila," but it's persuasive with its honking sax and uninhibited percussion.
The DC5's rip-roaring style gave the band its identity. But they could masterfully handle ballads, as well. Strings adorn "3406." The pretty melody and lovely harmonies of "Crying Over You," penned by Clark and Lenny Davidson, captivates.
The album surprises with a very cool jazz instrumental tune, "Time," which features Payton's sultry sax, as well as Smith's clever, complementary piano runs.
Now Rock and Roll Hall of Famers, The Dave Clark Five had been honing their sound for several years at clubs and theatres before recording the debut LP. By 1964, they had perfected a tight, exhilarating sound. And you'll be caught up in all the excitement as you listen to this sparkling new vinyl edition. It's just as dynamic as ever.
COLIN BLUNSTONE - "ONE YEAR" (50th Anniversary Edition)
Colin Blunstone possesses one of the most instantly recognizable voices in all of rock -- breathy and beautiful, exceptionally expressive. His vocals have, for more than half a century, helped to make The Zombies one of the most uniquely arresting bands around.
His solo work earned a measure of success in the U.K. and other parts of the world. But those albums didn't make much of a dent in the U.S. market. Sundazed Music is remedying that oversight by releasing a 50th anniversary edition of Blunstone's 1971 solo debut, "One Year." Available on CD and double LP, the record proves itself to be an overlooked masterpiece. A second disc in this prize package is "That Same Year," a collection of Blunstone originals.
"One Year" is a ravishing recording, ethereal and magical. It wafts its way through a delicate musical journey, carried along by elegant arrangements, emotion-stirring strings... and Blunstone's haunting vocals.
Zombie bandmates Rod Argent and Chris White wrote three of the gorgeous numbers here -- "She Loves The Way They Love Her," "Her Song" and "Smokey Day." They also co-produced the album.
The rhythmic "Mary Won't You Warm My Bed," written by Mike D'Abo (one of the lead singers of Manfred Mann) presents an appealing change of pace. "Say You Don't Mind," a Denny Laine song, includes a demonstration of Blunstone's soaring falsetto. One of the album's highlights is Blunstone's exquisite interpretation of Tim Hardin's divine "Misty Roses."
Blunstone's own "Though You are Far Away" shines as one of the most beguiling compositions. It's a perfectly rendered track. "Let Me Come Closer to You" unfolds alluringly. "Caroline Goodbye" and "I Can't Live Without You" are other treasures he wrote.
"That Same Year," filled with more of his under-appreciated, brilliant songwriting, offers an even more intimate, reflective and vulnerable side of Blunstone. Fans will be ecstatic over these 14 previously unreleased tracks, which had been lost for almost 50 years. Nine of them, many of which feature Blunstone backed only by his acoustic guitar (a few have piano adding color), were never recorded beyond the demo stage.
"Are You Ready" flows with a McCartney-esque charm. "I'd Like to Get to Know You Better" benefits from a disarming innocence. "I've Always Had You" and "I'm Coming Home" are eloquent, entrancing love songs.
It's interesting to hear "Caroline Goodbye," "Though You Are Far Away" and "Let Me Come Closer to You," which appear on "One Year," in their simple, demo form on the second disc. With so little accompaniment on all these tracks, Blunstone's silky voice holds the spotlight gracefully.
Blunstone's new liner notes offer valuable context. The heavenly chamber pop of "One Year" probably seems more at home in 2021 than it might have in 1971.
The Zombies have enjoyed a much deserved resurgence in recent years. Maybe this new Sundazed release will spark long overdue attention and appreciation for Blunstone's timeless solo work.
You can read our 2019 interview with Colin here:
http://popcultureclassics.com/colin_blunstone2019.html
DION - "STOMPING GROUND"
Legend. Icon. Those words aren't sufficient. Miracle. That's what's Dion is -- a bonafide miracle. Dion DiMucci has been recording since 1957. He achieved stardom with the doo-wop group Dion and the Belmonts, singing lead on such chart successes as "Teenager in Love" and "Where or When." By 1960, he was a solo rock 'n' roll star, releasing such smashes as "Runaround Sue" and "The Wanderer." He later explored blues, folk and Christian music.
Dion battled heroin addiction and conquered it. He later served on the board of Renewal Ministries and helped men in prison going through drug addiction recovery.
And there was always the music. Dion sings with unerring conviction and soul, even today, at age 82. His latest album, "Stomping Ground" proves that. It's filled with gripping blues-rock numbers. Every one of these stirring songs was written by Dion or co-written, mostly with Mike Aquilina. The one exception is "Red House," a Jimi Hendrix tune. Keb' Mo' joins Dion on that lusciously loping track, contributing some scintillating slide work.
The album is filled with guest artists. But it's no gimmick. Each collaborator fits perfectly, adding immeasurably, but never overshadowing our star. It's Dion's voice that stands front and center -- still urgent, earnest and irresistible.
"Angel in the Alleyways," with its undercurrent of gospel fervor, is an immensely affecting track. Dion sings, "Who knows the spirit who walks beside? To light and guard, to rule and guide." The number reflects Dion's faith and social conscience. He's subtly bolstered on this one by Patti Scialfa and Bruce Springsteen.
Another of the most memorable tracks, "There Was a Time," features Peter Frampton and his righteous riffs. It's a slow blues burner, building dramatically. The passionate melody and lyrics are brought to full fruition by Dion's moving vocal, aching with regret and yearning.
"My Stomping Ground" brims with swagger, enhanced by Billy F. Gibbons. Another highlight comes with "I Got My Eyes on You Baby," boosted by Marcia Ball's boisterous roadhouse boogie piano. Jimmy Vivino's guitar adds to the jump.
Other top tracks include "Cryin' Shame," (with Sonny Landreth), "Hey Diddle Diddle" (with G.E. Smith), "Take It Back" (with Joe Bonamassa) and the fiery closer, "I've Been Watching (featuring Rickie Lee Jones and Wayne Hood).
The lineup of guests also includes Mark Knopfler, Eric Clapton, Boz Scaggs, pianist Steve Conn, Joe Menza and Mike Menza.
"Stomping Ground" is another resounding, revitalizing step in Dion's miraculous odyssey. It's an album you'll want to hear again and again. One of the most influential figures in rock 'n' roll history, the Hall of Famer is -- and always has been -- the real deal.
THE TRAGICALLY HIP - "ROAD APPLES" (30th Anniversary Deluxe Edition)
In The U.S., The Tragically Hip have earned a fervent cult following. In their homeland of Canada, the rock band has long since reached iconic status. Like Gretzky and the CN Tower and maple syrup.
If you want to find out why The Tragically Hip is so revered, give a listen to the new 30th anniversary, remastered edition of their second album, 1991's "Road Apples." This music has never sounded more vibrant. The multi-disc set comes with a 36-page booklet.
In its original release, it reached number one on the Canadian charts. It's brimming with propulsive, infectious rock 'n' roll that benefits from urgent vocals, driving guitars and powerful rhythm section. There'a an early Stones sort of rawness that grabs the listener and won't let go. Atop the potent music are literate, endlessly intriguing lyrics.
You won't be able to resist such vibrant rockers as "Little Bones," "Born in the Water" and "Three Pistols." The Hip effectively slow it down for the alluring "The Luxury" and "Long Time Running." Captivating quieter moments also can be found in "Fiddler's Green" and "The Last of the Unplucked Gems"
The 30th anniversary edition offers a disc of previously unreleased outtakes, demos and alternate tracks. An informal, acoustic, alternate version of "Little Bones" proves disarming. The demo for "If You Lived Here" is another gem that has been uncovered.
Other discs provide the six-song "Saskadelphia" EP and a live show recorded at the Roxy in L.A. in 1991. The live set demonstrates the excitement the band could generate.
Yes, the band was always incredibly hip. And ultimately there was tragic element to its history, as lead singer/lyricist Gord Downie died in 2017, age 53, of brain cancer. The band's songs perfectly captured the Canadian spirit and sensibility. But this is music that has a universal resonance.
Isn't time for you to get hip to The Hip?
BOOKS
A LIFE IN FOCUS: THE PHOTOGRAPHY OF GRAHAM NASH
By Graham Nash (Words and Photographs)
Cameron Crowe (Preface); Joel Bernstein (Foreword)
[Insight Editions]
Graham Nash was in his teens, when he began creating incredible harmonies with Allan Clarke, in Blackpool, England. Their voices were later showcased in The Hollies. And Nash went on to share vocal magic with Crosby, Stills and Young.
But at age 10, before his singing and songwriting gifts pushed to the forefront, Nash was expressing himself through a camera lens. He had learned about photography from his father. The new book, "A Life in Focus," is dedicated to his parents.
Throughout his storied music career, Nash has toted his cameras, snapping candid and posed shots of his fellow legends, often catching them in the most vulnerable, unguarded, contemplative moments. A stunning collection of these images has been published by Insight Editions.
He captures famous faces in ways we haven't seen them before, among them Johnny Cash, Twiggy, Bob Dylan, Allan Clarke, Bill Graham, Jackson Browne, Mama Cass, J.D. Souther, Dennis Hopper, Alice Cooper, Bonnie Raitt, David Gilmour, Shawn Colvin, Elvis Costello and Jerry Garcia.
There's a haunting, saintly portrait of Mimi Farina. Nash snapped Phil Ochs at an anti-war concert. He caught a young, short-haired, unbearded Kris Kristofferson, strumming his guitar. Other arresting shots feature Judy Collins gently kissing Stephen Stills, a pensive Neil Young and an angelic-looking, sleeping David Crosby. Crosby has earned the burning enmity of his former bandmates, but Nash didn't let that prevent him from including beautiful photos of him in the book.
"A Life in Focus" contains numerous remarkable shots of Jon Mitchell, Nash's lady love when CSN was dawning. Nash also presents intriguing self-portraits.
Nash lovingly set to film a nude portion of his wife Amy Grantham's elegant form. It's an artistic, flowing photo whose shapes and shadings result in memorable comeliness. Other studies of her grace the book.
With Nash's keen eye, even a few bricks, with the right backdrop, can become a work of art. A close-up of folded hands can tell a story. An adorable toddler sitting next to an Uzi submachine gun will linger in your mind, as will the shot of a woman window shopping at Van Cleef & Arpels, while a homeless man is crumbed on the ground a few inches away.
It's Nash's natural sense of curiosity, his imagination, his openness to what the world presents visually, that make him an extraordinary photographer. He sees the splendor of not only an Indian temple, but a sunlit New York parking garage, as well.
He conjures up reality and surreality. Nash masterfully uses composition and light, shadows and reflections. Whether shooting in color or black and white, he massages the most out of the nuances he discovers in each image.
The collection offers an entrancing immersion into the life and art of Graham Nash. As with all great art, you'll find fascinating new facets every time you explore it. This large, gorgeous hardcover book will be treasured by anyone who appreciates classic rock or superb photography.
Graham Nash spoke about his photography, as well as his music, in the interviews we did with him:
http://popcultureclassics.com/graham_nash.html
THE STORYTELLER: TALES OF LIFE AND MUSIC
By Dave Grohl [Dey Street Books]
It's been an amazing life. And he's only 52 years old. There have been so many memorable moments packed into that time. And so Dave Grohl's new memoir proves to be impossible to put down.
His candor and casual tone immediately make the reader feel like an old friend, except few of us have pals who have interacted with as many legendary figures as has Grohl. But smaller moments are recounted with even more emotional impact. Grohl tells of his roles as son and as father. He also, of course, delves into his lifelong, galvanizing passion for music. He takes us from his one-and-only drum lesson through his years powering two of the greatest rock bands of all time -- Nirvana and Foo Fighters. He whisks us through the whole, colorful journey, from Springfield, Virginia to international veneration.
He talks of his fascination with Led Zeppelin drummer John Bonham, of joining the cult hardcore punk band Scream, while still in his mid-teens. While touring with them, the awestruck Grohl seized an impromptu opportunity to back one of his idols, Iggy Pop.
In the Nirvana portion of the book, instead of getting overly mired in Kurt Cobain's torment, Grohl mentions tiny details that add a lot to our picture of the band, such as the secretive Cobain's attraction to turtles and "astonishing" need to create. Though he doesn't dwell on the darker side of Nirvana's story and doesn't deliver any revelations on the tragedy, Grohl does include a touching passage on his reaction to Cobain's death.
Grohl confesses to feeling lost after the tragedy, sensing that he needed to learn to live again. An invitation to back Tom Petty for a "Saturday Night Live" performance rekindled Groh's fire to make music. He found his own voice through Foo Fighters.
Grohl exhibits a charming, fan boy's delight in describing his encounters with many musical heroes. Having Sir Paul McCartney drop by the house, sit down at the piano and start to play "Lady Madonna" was one surreal experience. Playing at the White House in front of McCartney and President Obama was another.
Then there was the dinner with AC/DC. Befriending Lemmy of Motorhead was a significant development. And there was the jaw-dropping time Grohl was recognized at LAX by Little Richard. Another delightful moment comes when Joan Jett reads Grohl's daughter a bedtime story. That's an image that will stick in your mind.
Despite all the living he has done in his 52 years, Grohl appears to have retained an ingenuous quality. He seems endearingly untarnished.
A great storyteller, Grohl never descends into tell-all territory. He isn't interested in dishing dirt. He's a beacon of positivity, exuding gratitude and a sense of wonder. And that's what makes his memoir inspiring, as well as entertaining.
LITTLE SISTER:
MY INVESTIGATION INTO THE MYSTERIOUS DEATH OF NATALIE WOOD
by Lana Wood [Dey St.]
Forty years after Natalie Wood's shocking demise, we still don't really know what happened. Lana Wood, in this new memoir, explains why she feels compelled to continue trying to unravel the murky circumstances of her older sister Natalie's death. She says she's not seeking closure. She just wants answers.
Lana carved out an active film career herself, from John Ford's "The Searchers" to the "Peyton Place" series to becoming a memorable Bond Girl in "Diamonds Are Forever," to working on the production side of the business.
She was always close to her sister, stating in the book that Natalie was "my confidante, my protector, my compass, my greatest source of laughter and pride and playfulness, the one person who shared a wealth of memories that were only hers and mine, who made me feel safe and valued. When I was with her, I was home. I belonged."
And suddenly, that bond was shattered by the news of Natalie's unfathomable drowning. Was her death an accident? Lana wanted to believe that. But evidence kept mounting to make that seem suspect. When she sought a clearer picture from Natalie's husband, Robert Wagner, he only further muddied the waters. And she found herself ostracized, no longer even welcome to maintain a relationship with her nieces.
In addition to Wagner's evasiveness, Lana touches on the reluctance of the Splendour's other passenger, Christopher Walken, to speak out.
But Lana couldn't ignore a nagging fact -- As a child, Natalie was told by their mother that a gypsy had foretold that she would become a movie star... and die in dark water. So Natalie had a lifelong phobia about dark water. It terrified her.
Also, Natalie had been indoctrinated not to ever allow herself to be seen without perfect attire and makeup. So on a stormy night, dressed in nightgown, socks and a down jacket, would she have climbed into a dinghy she didn't know how to operate?
The ship's captain, Dennis Davern recanted his original account of the night and spilled a wealth of incriminating details to Lana. For instance, there was a two-and-a-half hour gap between Wagner telling Davern that Natalie was missing and eventually allowing the skipper to make a ship-to-shore call for help. It was another two hours beyond that before the Coast Guard was alerted.
When it comes to suspects, Lana couldn't help but keep returning to Robert Wagner. Trying to dig for the facts proved to be a daunting task for her, but Lana felt that she owed it to her sister. In the book, she goes into Natalie's frame of mind in the days and weeks prior to the last excursion on the Splendour, as well as the little signs of friction within her marriage to Wagner.
Lana also delves into the darkness that clouded Natalie's past. She confirms the long whispered about, horrific story of Natalie's encounter with a predatory Kirk Douglas. She also mentions the shocking moment, when Natalie caught Wagner in a colossally compromising position with the butler. That incident ended the Wagners' first marriage.
Success came early for Natalie, but her life was ever easy. Lana describes their upbringing with a domineering mother, one who made Mommie Dearest look like June Cleaver. As for their mother's guidance of Natalie, Lana recalls conversations with Natalie about the advice she had received. Lana says, "Mom had taught her everything about image and success, but forgotten to teach her anything about being happy."
Lana Wood has experienced much anguish and frustration in the past decades, feeling the frustration of not finding any measure of justice, any soul-quieting truth. But additional witnesses have stepped forward and the police have recategorized Natalie's death as "suspicious" and classified the 89-year-old Wagner as a "person of interest."
The evidence that Natalie was the victim of some sort of foul play might be circumstantial, but there's a mountain of it. Lana admits a "smoking gun" revelation will probably never come, but concludes that her brother-in-law is responsible. She has pieced together every known detail and come up with her own logical scenario for her sister's final moments.
Fans of Natalie Wood will also relish the snippets Lana includes about a recently uncovered, unfinished memoir Natalie was writing. Lana's own memoir about her sister's monumental misfortune is an informative, disturbing and riveting read.
20th CENTURY-FOX:
DARRYL F. ZANUCK AND THE CREATION OF THE MODERN FILM STUDIO
By Scott Eyman [Running Press]
TCM has published another must-have book for film aficionados -- Scott Eyman's enthralling study of 20th Century-Fox. Eyman, who has previously written absorbing tomes on John Wayne, John Ford, Louis B. Mayer, Cary Grant and other Hollywood legends, delivers another exhaustively researched, compelling work.
In examining the history of 20th Century-Fox, the author provides insightful looks at its key architects. First Eyman introduces us to William Fox, an unlikable, but driven and prescient man who led the studio into the realms of talkies and epics.
Then came Darryl Zanuck, a colorful character, a lousy husband, but a magnificent studio head. Eyman devotes much of the book to this fascinating figure. Zanuck, who had previously been production boss at Warner Bros, had an intuitive sense about story, scripts and casting. He guided the careers of such stars as Shirley Temple, Marilyn Monroe,Tyrone Power, Gene Tierney and Betty Grable.
The hot-tempered, Zanuck always knew what he wanted. He could be dictatorial. And he wouldn't have lasted long in the MeToo era. But when he trusted reliable, gifted artists, he gave them creative latitude, among them screenwriter Philip Dunne and director John Ford. Though Zanuck had a nose for what movie audiences craved, he didn't shy away from riskier, socially conscious films.
Eyman also goes into the complicated relationship between Darryl Zanuck and his son Richard, who became a major player in the film industry, as well.
As times, tastes and technology constantly changed, the studio teetered on the brink of oblivion several times. But Fox, and over a much longer period (mid-30s to 1970), Zanuck always managed to pull the company into viability again.
The studio spanned all the way from its silent idols, vampy Theda Bara and cowboy Tom Mix, to unforgettable characters such as Luke Skywalker, Maria von Trapp, Young Frankenstein and Butch Cassidy and the Sundance Kid. Under the helm of Alan Ladd, Jr., the studio enjoyed a resurgence. Twentieth Century-Fox survived, all the way to its 2019 sale to Disney for the not so paltry sum of $71.3 billion. Eyman covers the whole rich story -- the hits, the misses, the business intrigue.
20th Century-Fox owns a huge part of cinema history. Eyman gives the reader a much deeper understanding of that history, particularly Zanuck's vital role in it.
