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25 episodes with Atco Records
7 episodes with Atco Records
7 episodes with Atco Records
2 episodes with Atco Records
2 episodes with Atco Records
3 episodes with Atco Records
Label: Atco 6359Year: 1965Condition: M-Price: $25.00This is one of the nicest copies of this classic single that I've had to offer since opening the store in 2001... a solid Near Mint copy with Mint audio. Check out the mp3 "snippet". (Collector's note: This release is common in conditions less than Near Mint, but copies in truly collectable condition are quite rare.) It's also worth noting that this single appears on both the Dave Marsh Top 1,001 Singles (#228) and the Rolling Stone Top 500 Songs (#451) lists! That's one of the reasons it's hard to keep in stock! Also check out Sonny Bono's stab at Garage Rock on the B side... it's really pretty nasty! :-) Note: This beautiful copy comes in a vintage Atco Records factory sleeve. The labels grade Near Mint with a touch of wear. The vinyl looks Near Mint with a few light scuffs, and the audio sounds pristine Mint.
Sintonía: "Kahuna Sunset" - Buffalo Springfield"On The Way Home" - "Pretty Girl Why" - "Carefree Country Day" - "Special Care" - "Questions" - "I Am A Child" - "Merry-Go-Round" - "Uno Mundo". 8 canciones de las 12 que comprende el tercer y último álbum de la banda californiana, titulado "Last Time Around" (ATCO Records, 1968)Bonus tracks: "Neighbor Don´t You Worry" - "We´ll See" - "My Kind Of Love" - "No Sun Today" - "Down To The Wire" - "Whatever Happened To Saturday Night" (remix) - "What A Day" - "Baby Don´t Scold Me" - "Buffalo Stomp" - "Falcon Lake" - "Ash On The Floor"Todas las músicas compuestas e interpretadas por Buffalo SpringfieldEscuchar audio
Sintonía: "Side Tracked" - Freddie King"For What It´s Worth" - "Go And Say Goodbye" - "Sit Down I Think I Love You" - "Hot Dusty Roads" - "Everybody´s Wrong" - "Burned" - "Leave" - "Pay The Price". Todas las canciones extraídas del primer álbum de Buffalo Springfield de título homónimo (ATCO Records, 1966)"Mr. Soul" - "A Child´s Claim To Fame" - "Everydays" - "Bluebird" - "Good Time Boy" - "Rock & Roll Woman" - "Expecting To Fly" - "Broken Arrow". Todas las canciones extraídas del 2º LP de la banda californiana, titulado "Again" (ATCO Records, 1967) Todas las músicas compuestas e interpretadas por Buffalo SpringfieldEscuchar audio
Hablando acerca de los sellos discograficos en la música y particularmente en el mundo del Hard Rock y Heavy Metal tradicional. Los sellos mas conocidos son: - Metal Blade Records, Megaforce Records, Napalm Records, Nuclear Blast, RoadRunner Records, Relapse Records, Massacre Records, Century Media, Earache Records Los sellos Heavy Metal Tradicional: AFM Records, Atco Records, Axe Killer Records, Non nobus Productions, - Metal On Metal Records, Heart Of Steel Records, Killer Metal Records, Urban Grandier Records, Evil Steel Records, Blood And Iron Records y Dies Israe. Los sellos Hard Rock / AOR: Geffen Recods, AOR Heaven, Ace Records y Frontiers Records. Otros sellos de Heavy Metal: Alveran Records, Anthem Records, Aquarius Records, Artery Recordings, Cruz Del Sur Music, Fighter Records, Gates Of Hell Records, Heavy Chains Records, Hells Headbangers Records, High Roller records, Hydra Head Records, Iron Shiled Records, Jolly Roger Records, Metalism Records, Prosthetic Records, Ripple Music, Shadow Kingdom Records, Shrapnel Records, Spine farm Records, Steamhammer Hispanoamerica: Maldito Records, Calle Underground, Locomotive, A tope producciones, Área 51 Metal, Red Dragon Records, Avispa Records, Acero Latino Records Enlaces de lo que hablo: ”For The Sake Of Heavyness” - Brian Slagel https://amzn.to/3WPovTX Puede suscribirse al podcast y encontrar las plataformas disponibles en: https://colmilloroquero.com/plataformas/ Catalogo completo y enlaces importantes en: https://linktr.ee/ColmilloRoquero ¿Dónde puedo comprar el Libro de Andrés? https://amzn.to/3SDBTJ1 Libro “Heavy Metal: 15 mitos del Rock” Este episodio de Colmillo Roquero es traído a usted por el libro “Heavy Metal: 15 mitos del Rock” El libro que le trae las respuestas que yo desde mis 15 años quise tener, hablando del estereotipo y los prejuicios en el mundo del Rock. Obtenga su copia impresa Amazon a nivel internacional o en Costa Rica puede dejarse una de las 200 copias impresas limitadas en Tiendas Insomnio o en Subterranean Shop. Más detalles en colmilloroquero.com/libro Ayude a este podcast a llegar mas oídos correctos Si le agrada el contenido de Colmillo Roquero, siga el podcast y no se perderá ningún nuevo episodio. Si realmente le gusta este podcast le agradecería muchísimo si le hace llegar este podcast a un amigo (o tal vez a dos). Voz de la intro: Fernando Arreola. Edición y post-producción por Andrés Brenes. Mis redes sociales: Instagram: https://www.instagram.com/andresbrenesv/ Threads: https://www.threads.net/@andresbrenesv Aviso: Esta descripción podemos añadir algunos enlaces de afiliados.
90125 es el undécimo álbum de estudio de la banda británica de rock progresivo Yes, editado en 1983 por Atco Records. Fue el primer álbum desde Drama, de 1980, y marcó el ingreso del guitarrista sudafricano Trevor Rabin, así como el regreso de Jon Anderson, y del tecladista Tony Kaye, cuya última participación en la banda había sido en 1971 con The Yes Album. El título del disco proviene del Nº de catálogo internacional con que Atco Records publicaría al álbum en la mayoría de los países El sencillo "Owner of a Lonely Heart" representó el primer -y único- hit single de Yes en llegar al Nº 1 en las listas de los EE. UU. El éxito del sencillo empujó al LP al top 5 de la lista de álbumes, espaldarazo que llevó a 90125 al triple platino: sólo en Estados Unidos vendió 3 millones de copias, siendo el disco comercialmente más exitoso de la banda por lejos.
Label: Atco 6592Year: 1968Condition: M-Price: $25.00This is the terrific original version of the song the Black Crowes took to the top 40 in 1991. Incidentally, back in 1968, "Amen" was originally the plug side, which is probably why "Hard To Handle" didn't get much airplay back then (though it did turn out to be the "A" side in terms of sales and chart action). Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It grades close to Mint across the board (Labels, Vinyl, Audio). (This scan is a representative image from our archives.)
https://www.youtube.com/live/3cKjIaZys50?si=AqpCJMy6TWrfbcPe Adrian Vandenberg recently reflected on why his band never had the opportunity to build on the success of their debut album, acknowledging that his experience is far from unique in the music industry. Known for co-writing Whitesnake's Slip of the Tongue with David Coverdale and delivering the iconic solo on "Here I Go Again," Vandenberg's contributions to rock history are undeniable. However, his work with his own band, Vandenberg, hints at unfulfilled potential for even greater success. Recorded at Jimmy Page's Sol Studios in London and released in 1982, Vandenberg's self-titled debut established the band as one of the most promising European hard rock acts of the era. The album's success led to U.S. tours with Ozzy Osbourne and KISS. Despite their growing popularity in Europe, the band's subsequent albums failed to make the same impact overseas. In a recent interview with Alma Hard, Adrian explained what went wrong: "It ultimately comes down to timing and promotion from the record company. It's their job to make sure everyone knows about your new release. The issue between the first and second Vandenberg album was that the president of Atlantic Records, who had signed us and believed in my band, left the label. "At the same time, the president of ATCO Records, a division of Atlantic in the U.S., also left. When the second album came out, the people who had championed us were gone. As we say in Holland, we were left ‘between the quay and the ship.'"
Label: Atco 7079Year: 1977Condition: M-Last Price: $18.00. Not currently available for sale.Dave Marsh was right-on when pinning this rock classic at #159 in his list of the 1,001 greatest singles of Rock'n'Soul. As he says in explaining his choice, ["Solsbury Hill" is] Rock's greatest resignation speech... one of the most nakedly emotional records anyone's created in the past [forty] years. What's perhaps just as extraordinary is that... "Solsbury Hill" encapsulates the next decade or so of Peter Gabriel's career. This is a record that makes bold promises and if its power has grown over the years (and it started out powerful enough), it's not only because it offers such strong inspiration whenever you need to summon the courage to make a tough move yourself. It's because Gabriel has lent it further resonance with every move he's made. Couldn't have said it better myself! ;-) By the way, this 45 version is specially edited from a longer (4:20) album track. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has pristine Mint sound.
Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.© 2024 All Rights Reserved© 2024 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
#28-Buffalo Springfield-Self-Titled Original Released October or December 1966? Without “For What It's Worth,” then Re-released in March 1967 - Recorded between July 18-September 11-1966 (ATCO) Buffalo Springfield's self-titled debut album, initially released by Atco Records in late 1966, introduced the world to the band's distinctive blend of folk, rock, country, and psychedelia. The original release, recorded between July and September 1966, lacked a major hit but gained significant attention after a March 1967 re-release added the protest anthem "For What It's Worth." Inspired by the Sunset Strip riots, this song became a defining track of the 1960s. The band was formed in Los Angeles in 1966 and featured Stephen Stills, Neil Young, Richie Furay, Bruce Palmer, and Dewey Martin. Their music was marked by rich harmonies, shifting lead vocals, and layered guitar work. The album's tracks explore themes of self-reflection and relationships, with standout songs like "Nowadays Clancy Can't Even Sing" and "For What It's Worth." Despite their brief existence, Buffalo Springfield made a lasting impact on music. Internal conflicts and lineup changes led to their breakup in 1968. Afterward, members pursued successful careers: Stills with Crosby, Stills & Nash, Young as a solo artist, and Furay with Poco. Their legacy remains as pioneers of a sound that influenced rock music for years. Full Album YouTube : https://youtu.be/1eD-8NTwP9I?si=omLhl8gszwcGg-hI Full Album Spotify: https://open.spotify.com/track/1qRA5BS78u3gME0loMl9AA?si=f5a282e8f75c4b46 Curated Playlist Spotify: https://open.spotify.com/playlist/7I6dzYc5UJfko8unziRMWf?si=4559f6bc82dc47e3
Label: Atco 6359Year: 1965Condition: MLast Price: $25.00. Not currently available for sale.This is one of the nicest copies of this classic single that I've had to offer since opening the store in 2001... fine enough to grade Mint overall. Check out the mp3 "snippet"... truly stunning audio. (Collector's note: This release is common in conditions less than Near Mint, but copies in truly collectable condition are quite rare.) It's also worth noting that this single appears on both the Dave Marsh Top 1,001 Singles (#228) and the Rolling Stone Top 500 Songs (#451) lists! That's one of the reasons it's hard to keep in stock! Also check out Sonny Bono's stab at Garage Rock on the B side... it's really pretty nasty! :-) Note: This beautiful copy comes in a vintage Atco Records factory sleeve. Its labels are very close to Mint, held back by a whisper of ringwear. The vinyl (as opposed to styrene) looks untouched, and the audio is squeaky clean, pristine Mint... both sides!
Label: Atco 6722 djYear: 1969Condition: M-Price: $15.00Here's another of Lulu's terrific Soul outings... the A side is a lovely ballad, and the flip is an irresistable southern-style funky soul track. Have a listen to the mp3 "snippet" of "Sweep"... it's infectious! Both sides were recorded at Muscle Shoals studios. Note: This beautiful promo copy comes in a vintage Atco Records factory sleeve. The labels are Near Mint, with a light touch of storage wear. The vinyl and audio grade pristine Mint.
Show #1054 Vinyl Grooves 01. Paul Weeden/Herbert Noord Quintet - So This Is The Blues (9:27) (Clear Sight, Timeless Records, 1987) 02. Elvin Bishop Band - Rock My Soul (2:46) (Rock My Soul, Epic Records, 1972) 03. Delaney & Bonnie - Don't Deceive Me (Please Don't Go) (3:54) (Motel Shot, Atco Records, 1971) 04. Linda Hopkins - I'm Hungry (4:49) (How Blue Can You Get, Palo Alto Records, 1983) 05. Charley Musselwhite - Early In The Morning (4:34) (Stand Back!, Vanguard Records, 1967) 06. John Mayall - Night Flyer (5:34) (USA Union, Polydor Records, 1970) 07. Barry Goldberg - Mess 'a da' Blues (8:38) (Barry Goldberg And Friends, Record Man, 1972) 08. Mike Bloomfield & Al Kooper - Don't Throw Your Love On Me So Strong (10:57) (The Live Adventures Of Mike Bloomfield & Al Kooper, Columbia Records, 1969) 09. Bloomfield-Hammond-Dr John - Cha-Dooky-Doo (3:40) (Triumvirate, Columbia Records, 1973) 10. Electric Flag - Talkin' Won't Get It (4:10) (The Band Kept Playing, Atlantic Records, 1974) 11. Arnett Cobb - Cobb's Blues (9:05) (Again With Milt Buckner, Black And Blue Records, 1973) 12. George Smith - Going Down Slow (3:36) (Boogie'n With George, Murray Brothers Records, 1982) 13. Fabulous Thunderbirds - Tip On In (3:37) (Butt Rockin', Chrysalis Records, 1981) 14. Anson Funderburgh & the Rockets - Rack 'Em Up (2:19) (Rack 'Em Up, Black Top Records, 1989) 15. Jimmy McGriff - Down Home On The Moon (10:05) (A Thing To Come By, Solid State Records, 1970) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Show #1052 Moonshine 01. Ma Rainey - Moonshine Blues (3:05) (78 RPM Shellac, Paramount Records, 1924) 02. DownTown Mystic - Night Time Girl (4:09) (Rock'n'Roll 4 The Soul Acoustic Sessions, Sha-La Music, 2024) 03. Southside Denny - A Woman Like That (3:47) (Heal It, self-release, 2024) 04. Gerald McClendon - She's Tryin' To Drive Me Crazy (3:09) (Down At The Juke Joint, Delta Roots Records, 2024) 05. Black Cat Bones - Soul To Save (3:46) (Troublemaker, self-release, 2024) 06. Dimitris Loizos - Make Up Your Mind (6:31) (Back To The Blues EP, self-release, 2024) 07. Goodnight Texas - The Ghost of DB Cooper (2:56) (Signals, 2 Cent Bank Check Records, 2024) 08. Rivherside - Last Thrill (2:48) (Instrumental Cheap Fuzz Blues EP, Black And Tan Records, 2024) 09. Name Droppers - Whiskey (3:43) (Starshine, Horizon Music Group, 2024) 10. Con Brio - Don't Mind Me (2:49) (Single, self-release, 2024) 11. Sam Joyner - Teddy's Juke Joint (5:06) (Come What May, self-release, 2024) 12. Reverend Freakchild - Skyflower (4:29) (Bare Bones, Treated & Released Records, 2024) 13. Iron Butterfly - To Be Alone (3:05) (45 RPM Single, Atco Records, 1969) 14. Bywater Call - As If (3:45) (Shepherd, self-release, 2024) 15. Christopher Wyze & the Tellers - Stuck In The Mud (3:54) (Stuck In The Mud, Big Radio Records, 2024) 16. Jeff Pitchell - Keep My Head Up (5:18) (Brown Eyed Blues, Deguello Records, 2024) 17. Türker Ozer & Orhun Keskinbiçak - Stale Bread Blues (3:56) (Turkish Back Porch Scene EP Vol. 1, Bone Union Records, 2024) 18. Robert Jon & the Wreck - Trouble (3:28) (Red Moon Rising, Journeyman Records, 2024) 19. Rusty Apollo - Slippery People (5:14) (Apollo III, Big Records, 2024) 20. Jeffrey Halford & the Healers - Rhythm Of The Rails (2:48) (Single, Shoeless Records, 2024) 21. Left Lane Cruiser - Ophelia (2:43) (Bayport BBQ Blues, Alive Naturalsound Records, 2024) 22. Jubu Smith - McLeansville Blues (5:56) (Jubu, Little Village Records, 2024) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Label: Atco 6919Year: 1973Condition: M-Price: $12.00After giving appropriate love to the A side of this single, take a listen to the uptempo flip. You won't be sorry! Note: This copy comes in a vintage Atco Records factory sleeve.
Label: Atco/WMOT 7056Year: 1976Condition: MPrice: $10.00From a warehouse find, this is a new, unplayed stock copy, in its original Atco Records factory sleeve. This single features two top-notch, uptempo Philly-style tracks from a Baltimore soul group. The A side is specially edited from a 5:57 album version. Note: This beautiful 45 has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio). (This scan is a representative image from our archives.)
Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.© 2024 All Rights Reserved© 2024 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Derek Shulman, of Gentle Giant, Polygram records, Atco Records, and Roadrunner Records joins Steven and Dan to talk music and the music business. He was instrumental in signing so many amazing bands, that you all have banged your heads to, tapped your toes, too, swiveled your hips, too, and stumbled down the hall too Bon Jovi, Dream Theater, and so so many more! Get the Steven Wilson remix of The Missing Piece here: https://linktr.ee/gentlegiantband Plus, Derek shares breaking news regarding a re-release of the live album Playing the Fool! --- Support this podcast: https://podcasters.spotify.com/pod/show/yesshift/support
Show #1033 Blues Masters 01. Big Bill Broonzy - Where The Blues Began (2:56) (78 RPM Shellac, Columbia Records(?), 1945) 02. Magic Sam - Love Me With A Feeling (2:07) (45 RPM Single, Cobra Records, 1957). 03. JB Lenore & His Combo - I'll Die Tryin' (3:04) (45 RPM Single, JOB Records, 1953) 04. John Lee Hooker - Sugar Mama [1952] (3:15) (House Of The Blues, Chess Records, 1959) 05. Little Walter - Flying Saucer [1956] (3:04) (Boss Blues Harmonica, Chess Records, 1972) 06. Koko Taylor - Love You Like A Woman (2:10) (Koko Taylor, Chess Records, 1969) 07. Muddy Waters - She's 19 Years Old [1971] (11:00) (The Lost Tapes, Blind Pig Records, 1999) 08. Buddy Guy - I Smell A Rat [1979] (9:11) (Stone Crazy!, Alligator Records, 1981) 09. George 'Harmonica' Smith - Blues In The Dark [1955] (2:55) (Oopin' Doopin' Doopin', Ace Records, 1982) 10. Bessie Smith - Gin House Blues [1926] (3:13) (St. Louis Blues CD+DVD, Musicpro/Unforgettable, 2005) 11. BB King - Walking Dr. Bill (3:36) (My Kind Of Blues, Crown Records, 1961) 12. Tommy McClennan - Bottle It Up And Go (2:47) (78 RPM Shellac, Bluebird Records, 1939) 13. Junior Wells - You Say You Love Me (3:15) (Southside Blues Jam, Delmark Records, 1970) 14. Otis Spann - It Must Have Been the Devil (2:39) (45 RPM Single, Checker Records, 1954) 15. John Lee "Sonny Boy" Williamson - Apple Tree Swing [1948] (2:29) (The Original Sonny Boy, Saga Blues, 2004) 16. Sonny Boy Williamson II - Peach Tree [1960] (2:27) (In Memoriam, Chess Records, 1965) 17. Lowell Fulson - Reconsider Baby [1954] (3:11) (Chess Chartbusters Vol.6, Chess Records, 2008) 18. Freddie King - Reconsider Baby (4:01) (Texas Cannonball, Shelter Records, 1972) 19. Memphis Slim - Living Like A King [1952] (2:48) (Boogie Uproar-Gems from the Peacock Vaults, One Day Music, 2014) 20. Howlin' Wolf - Moanin' At Midnight [1951] (2:53) (Chess Chartbusters Vol.1, Chess Records, 2008) 21. Elmore James - Whose Muddy Shoes [1953] (3:16) (Slidin'-A Collection Of Blues 'Slide' Guitar, Chess/Charly Records, 1991) 22. Champion Jack Dupree - Can't Kick The Habit (3:43) (Blues From The Gutter, Atco Records, 1959) 23. Walter Horton - Groove Walk (3:15) (The Soul Of Blues Harmonica, Argo Records, 1964) 24. T-Bone Walker - Evenin' (2:36) (T-Bone Blues, Atlantic Records, 1959) 25. The Big Three Trio - Big Three Stomp [1949] (3:05) (Poet Of The Blues, Columbia Records, 1998) 26. Robert Johnson - Cross Road Blues [1936] (2:40) (The Complete Recordings, Columbia Records, 1996) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Show #1031 Happy New Year 01. Black Pearl - Take Your Time (4:42) (Single, Redline Records, 2023) 02. Jen - A Lil Piece of Heaven (3:03) (Single, Petey-Pete Entertainment, 2023) 03. Ben Sidran – Everything Is Broken (3:25) (Dylan Different, Nardis Records, 2009) 04. Bob Dylan – Thunder On The Mountain (5:55) (Modern Times, Columbia Records, 2006) 05. Alastair Greene - Whipping Post (4:48) (Single, self-release, 2023) 06. Harry Manx – The Gist Of Madhuvanti/The Thrill Is Gone (6:16) (Wise and Otherwise, Dog My Cat Records, 2002) 07. Big Joe Turner – Boogie Woogie Country Girl [1956] (2:58) (Living the Blues: 1955-1957 Blues Classics, Time Life Music, 1998) 08. Ricky Lee (aka Rick Linn) - Traveling Minstrel Show (4:31) (Single, self-release, 2023) 09. Miss Freddye - Let It Burn (5:05) (Single, MTS Records, 2024) 10. Gwyn Ashton - Get Outta Town (3:16) (Single, Fab Tone Records, 2023) 11. Dr John – Qualified (4:50) (In the Right Place, Atco Records, 1973) 12. Keith LeBlanc – High Temperature (3:26) (Chess Moves: Future Blues, Universal-Island Records, 2008) 13. Rebecca Downes - This War Is Over (5:17) (Single, Mad Hat Records, 2023) 14. Derrick Dove & the Peacekeepers - Woke Up This Morning (4:30) (Derrick Dove & the Peacekeepers, self-release, 2018) 15. Nigel Mack - Jalapeño Peppers (4:04) (Back In Style, Blues Attack Records, 2023) 16. Sérgio Bap - Eagle Eye (4:44) (YouTube, self-release, 2012) 17. Black Snake Bayou Band - The Alligator Crawl (5:14) (Black Snake Bayou Band, Rockledge Media, 2023) 18. Paul De Lay – Ocean Of Tears (4:56) (Ocean Of Tears, Evidence Records, 1996) 19. Stephen Foster & Howler - Changing Times (Remix) (4:03) (Single, self-release, 2023) 20. Mick Taylor - Giddy Up (5:15) (Mick Taylor, Columbia Records, 1979) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Show #1025 Peace 01. Steve Earle - (What's So Funny 'Bout) Peace, Love & Understanding (3:39) (Just an American Boy, Artemis Records, 2003) 02. The Holmes Brothers - (What's So Funny 'Bout) Peace, Love & Understanding (4:15) (State Of Grace, Alligator, 2007) 03. Gabe Stillman - No Peace For A Soldier (4:03) (Just Say The Word, VizzTone Records, 2021) 04. The Twangtown Paramours - Talk About Peace (2:47) (Double Down On A Bad Thing, Inside Edge Records, 2022) 05. Betty Fox Band - Peace In Pieces (3:34) (Peace In Pieces, self-release, 2020) 06. Southern Avenue - Peace Will Come (3:03) (Tony Holiday's Porch Sessions Volume 2, Blue Heart Records, 2021) 07. Tinsley Ellis - Peace And Love (4:40) (Midnight Blue, Heartfixer Music, 2014) 08. Anders Osborne - Peace (6:47) (Peace, Alligator Records, 2013) 09. Popa Chubby - No Justice No Peace (5:06) (Tinfoil Hat, Dixiefrog Records, 2021) 10. Justin Saladino Band - Peace With You (6:39) (Live, Bros Records, 2020) 11. John Frick Band - March For Peace (4:38) (K.02 Sessions, Blueshine Records, 2015) 12. Antry - Prince of Peace (4:32) (Devil Don't Care, Tres Lobas Enterprises, 2017) 13. Carolyn Wonderland - Fragile Peace And Certain War (3:59) (Tempting Fate, Alligator Records, 2021) 14. Kings & Associates - Peace x Peace (7:16) (Tales Of A Rich Girl, Big Wing Records, 2017) 15. Michael Packer - Blues For Peace (5:12) (I Am The Blues - My Story Vol 3, Iris music Group, 2017) 16. Anthony Gomes - Peace, Love & Loud Guitars (3:49) (Peace, Love & Loud Guitars, Up 2 Zero Entertainment, 2018) 17. Eric & Leon Bibb - Praising Peace (4:09) (Praising Peace, Stony Plain Records, 2006) 18. Joe Cocker - One Word (Peace) (2:49) (Hymn For My Soul, EMI Records, 2007) 19. Dr. John - Peace Brother Peace (2:50) (In The Right Place, Atco Records, 1973) 20. Harper & Midwest Kind - Peaceful (4:35) (Rise Up, Access Records, 2020) 21. Tom Waits - Road To Peace (7:17) (Orphans: Brawlers, Bawlers & Bastards, ANTI- Records, 2006) 22. Keb' Mo' - (What's So Funny 'Bout) Peace, Love and Understanding (3:43) (Peace...Back by Popular Demand, Okeh Records, 2004) 23. The Reverend Shawn Amos - (What's So Funny 'Bout) Peace, Love, And Understanding (3:48) (The Reverend Shawn Amos Breaks It Down, Put Together, 2018) 24. Eric Gales - Universal Peacepipe (4:46) (Relentless, Blues Bureau International, 2010) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Label: Atco 6563Year: 1968Condition: MLast Price: $20.00. Not currently available for sale.Here's a beautiful Mint copy of this big 1968 Funky Soul hit, in a vintage Atco Records factory sleeve. Note: This scan is a representative image from our archives.
Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all. As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film. In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March. Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants. Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male. Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character. Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance. Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station. Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992. The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve. Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219. Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade. In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time. No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964. Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries, until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste. Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process. John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's. To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to. Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m. The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death. Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself. Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut. While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon. One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now. And he'd be right. In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex. So what did Harvey do? He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot. A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th. And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens. In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens. In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m. The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!” They did not love it now. Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie. The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia. For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton. Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot. The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k. Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine. Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year: To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or. Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge. Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video. Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life. When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass. Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k. Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade. In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs. The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there. Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too. The contract was signed a few weeks later. The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film. In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross. They never expected what would happen next. On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood. In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m. Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening. That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks. During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society. The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic. Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52. Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy. The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief. Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year. The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States. The next three releases from Miramax were all sent out under the Millimeter Films banner. The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride. Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date. Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales. We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much. Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife. Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen. Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin. Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film. The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable. Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son. Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into. When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross. But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s. Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know. My Left Foot. By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam. The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film. He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars. Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors. As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character. The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people. While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal. My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her. Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then. I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental. Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw. Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot. In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group. But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory. And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay. Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced. The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show. The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run. The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make. Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year. If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back. Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system. Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made. A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone. And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again. Thank you for joining us. We'll talk again soon, when Episode 119 is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all. As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film. In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March. Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants. Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male. Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character. Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance. Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station. Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992. The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve. Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219. Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade. In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time. No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964. Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries, until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste. Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process. John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's. To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to. Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m. The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death. Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself. Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut. While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon. One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now. And he'd be right. In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex. So what did Harvey do? He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot. A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th. And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens. In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens. In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m. The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!” They did not love it now. Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie. The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia. For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton. Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot. The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k. Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine. Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year: To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or. Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge. Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video. Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life. When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass. Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k. Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade. In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs. The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there. Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too. The contract was signed a few weeks later. The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film. In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross. They never expected what would happen next. On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood. In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m. Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening. That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks. During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society. The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic. Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52. Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy. The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief. Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year. The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States. The next three releases from Miramax were all sent out under the Millimeter Films banner. The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride. Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date. Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales. We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much. Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife. Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen. Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin. Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film. The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable. Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son. Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into. When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross. But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s. Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know. My Left Foot. By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam. The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film. He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars. Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors. As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character. The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people. While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal. My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her. Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then. I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental. Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw. Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot. In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group. But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory. And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay. Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced. The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show. The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run. The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make. Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year. If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back. Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system. Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made. A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone. And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again. Thank you for joining us. We'll talk again soon, when Episode 119 is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Colabora Con Biblioteca Del Metal: En Twitter - https://twitter.com/Anarkometal72 Y Donanos Unas Propinas En BAT. Para Seguir Con El Proyecto De la Biblioteca Mas Grande Del Metal. Muchisimas Gracias. La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Pantera es una banda estadounidense de groove metal fundada en 1981 por los hermanos Abbott, Darrell y Vinnie Paul, en Arlington, Texas. El bajista Tommy Bradford se uniría a inicios de 1981 con el vocalista Donnie Hart hasta finales del mismo año en el que a Tommy se le sustituiría por Rex Brown y a Donnie por Terry Glaze, quien además también era vocalista y teclista. En 1987 Phil Anselmo se convertiría en el vocalista principal del grupo. La banda permaneció activa desde 1981 hasta su disolución en 2003. El 14 de julio de 2022 se confirma una reunión de la banda con Phil Anselmo y Rex Brown, como también una gira mundial para 2023. El género del grupo fue variando con los años. Durante la década de los 80, junto al cantante Terry Glaze, el glam metal predominaba en la apariencia y estilo de la banda. Tras el despido de Glaze y la llegada de Phil Anselmo, la banda abandona sus raíces, muy influenciadas por Kiss, y se vuelca en un estilo más pesado, periodo marcado por la publicación del álbum de estudio Cowboys from Hell en 1990, que los catapultó a la fama. En 1992 lanzan su álbum Vulgar Display of Power, considerado uno de los álbumes pioneros del groove metal. En 1994, su disco Far Beyond Driven debuta en el n.º 1 del Billboard 200, y de esta forma Pantera es considerada la responsable de "mantener con vida" al heavy metal en una década en la cual el grunge y el rock alternativo alcanzaban el mainstream. A mediados de la década de los 90, Pantera comenzó a sufrir numerosas discusiones y tensiones entre sus integrantes, debido principalmente al abuso de drogas de Anselmo, lo cual provocó un comportamiento errático y volátil por su parte, que lo hizo distanciarse de sus compañeros. El cantante atribuye la razón de su drogadicción a un problema crónico en su columna vertebral, causado por años de violentas actuaciones sobre los escenarios, lo que le provocaba un gran dolor. En el 2001 deciden tomarse un receso, y sus integrantes toman caminos distintos. Anselmo siguió con sus proyectos que ya había fundado anteriormente, Superjoint Ritual y Down, este último al lado de su compañero Rex Brown, bajista de Pantera, y los hermanos Abbott formaron la banda Damageplan, tras esperar e intentar reiterada y fallidamente contactar con Anselmo, quien se había sumergido en sus otros proyectos. Pantera se disolvió oficialmente en el 2003. Cualquier esperanza de una reunificación se vendría abajo con la trágica muerte de su legendario guitarrista Dimebag Darrell, que fue asesinado a tiros en el escenario Alrosa Villa en Columbus, Ohio, el 8 de diciembre de 2004 por un infante de marina llamado Nathan Gale, tras sólo unos segundos de haber comenzado el concierto de Damageplan. Solo unos pocos días antes de la tragedia, Anselmo había dicho a la revista Metal Hammer que los demás miembros de Pantera no tenían por qué opinar sobre su adicción, y que Dimebag merecía recibir una buena paliza. Estos comentarios terminaron de romper la amistad entre los miembros de la ya desaparecida banda. El cantante diría después que fue un comentario irónico, quejándose del sensacionalismo de la prensa del heavy metal en general, y aseguró que jamás habría sido capaz de lastimar a su difunto amigo. No obstante, Vinnie Paul no creyó esto, y acusó a Anselmo de ser el responsable indirecto de la muerte de su hermano, ya que su comportamiento y sus palabras podrían haber desencadenado las acciones del asesino de Darrell, de quien se comprobó que era esquizofrénico y estaba molesto por la separación de Pantera. La familia del guitarrista no le permitió a Anselmo asistir al funeral de su excompañero. A pesar de todo lo sucedido, muchos fanes de la banda reclamaban una reunión de sus miembros; pidiendo que Anselmo, ya recuperado de su adicción y de su problema en la espalda, y Vinnie Paul, quien fue parte del supergrupo Hellyeah, hicieran las paces en honor a la memoria de Dimebag Darrell. Pero todo quedó como recuerdo. También se había hablado la posibilidad de una reagrupación de la banda junto al guitarrista Zakk Wylde (Ozzy Osbourne y Black Label Society) quien fue un gran amigo del difunto guitarrista de Pantera y que posee un estilo de tocar bastante similar a él, tanto Anselmo como Wylde han manifestado que estaban dispuestos a reunirse, pero Vinnie Paul afirmaba que esa reunión no pasaría, ya que, en sus palabras, dijo que Pantera sin Dimebag Darrel no era nada. En 2018, Vinnie Paul fallece debido a un ataque al corazón. En el 2022 luego de haber pasado aproximadamente 20 años de inactividad, la banda confirma gira para el año 2023, siendo los miembros para la gira: Phil Anselmo, Rex Brown, Zakk Wylde y Charlie Benante. Vinnie Paul y su hermano Dimebag Darrell nacieron en Dallas, Texas, en 1964 y 1966 respectivamente, hijos de Jerry Abbott, un músico de country que poseía un estudio de grabación en Pantego, Texas, por lo que ambos hermanos se acostumbraron rápidamente al mundo musical. En un principio, Vincent, apodado Vinnie Paul se interesó por la batería, por lo que sus padres le compraron una. Su hermano Darrell se sintió atraído a su vez por la batería de su hermano, pero luego, al ver a numerosos guitarristas de country y blues desfilando por los estudios de su padre, prefirió la guitarra eléctrica. Ambos hermanos, amantes de la música de rock de los setenta y bandas de heavy metal y thrash metal, con grupos como Black Sabbath, Judas Priest, Venom, Slayer, Metallica, Dark Angel,Van Halen y Kiss, decidieron formar un grupo musical que recogiese estas influencias, unidas al dominio que los hermanos Abbott iban tomando en sus respectivos instrumentos; este sueño se haría realidad en 1981. Pantera fue formada en Arlington, Texas, en 1981, por el cantante Donnie Hart, los guitarristas Darrell Abbott (apodado "Diamond Darrell" o "Dimebag Darrell") y Terry "Terrence Lee" Glaze, el bajista Tommy Bradford y el baterista Vinnie Paul, hermano de Darrell. Empezaron tocando covers de Quiet Riot y Van Halen, así como material propio encuadrado dentro del glam metal y el hair metal, en clubes nocturnos de Texas. En 1982, Hart abandonó la banda, y el guitarrista Glaze tomó la parte vocal. Poco tiempo después, Tommy Bradford fue reemplazado por Rex Brown, por ese entonces conocido como "Rex Rocker". Pantera se convirtió en una de las bandas favoritas del underground, aunque sus tours regionales nunca los llevaron más allá de Texas, Oklahoma y Luisiana. La banda empezó a telonear otros actos de glam metal, como los de bandas como Stryper, Dokken, y Quiet Riot, quienes a cambio promovieron el debut de Pantera, Metal Magic. Este álbum fue lanzado por el sello propio de la banda, con el mismo nombre, en 1983, y fue producido por el padre de los hermanos Abbott, Jerry Abbott, en los estudios Pantego. Luego, Pantera lanzó otros dos también desapercibidos álbumes: Projects In The Jungle y I Am The Night, en los que seguía dominando el glam metal en sus composiciones, aunque se fueron separando progresivamente de las de su disco antecesor. Este último disco, I Am the Night, vendió únicamente 25. 000 copias, por lo que es en la actualidad una pieza de coleccionista. La influencia de dos discos capitales dentro del desarrollo del thrash metal (Reign in Blood de Slayer y Master of Puppets de Metallica) habían marcado la carrera de la banda hacia dicho estilo, en el que no cuadraba Glaze, por lo que fue despedido. Phil Anselmo, proveniente de Nueva Orleans, fue su reemplazo como vocalista después de meditar la entrada de cantantes como David Peacock o Matt L'Amour. Con él lanzaron el álbum Power Metal (1988), en el cual se encuentra la canción Proud To Be Loud, escrita por el guitarrista de Keel, Marc Ferrari. El estilo de dicho trabajo se orientó más hacia una mezcla del hard rock de los años ochenta y el naciente thrash metal, añadiendo además el estilo vocal de Anselmo, más áspero y rudo que el de Terry Glaze. El posterior cambio estilístico de la banda hizo de estos discos casi piezas de coleccionista, llegando a ser relegados al ostracismo por la propia banda, ya que no aparecen en la discografía presente en su página oficial. Poco después de la edición de Power Metal, Dimebag Darrell se presentó a las audiciones de Megadeth, para formar parte del grupo liderado por Dave Mustaine. Darrell había puesto como condición que se uniese también su hermano Vinnie Paul, pero como Megadeth ya tenía un baterista estable, Nick Menza, Darrell no fue contratado, siendo elegido en su lugar por Marty Friedman. Después de buscar durante un largo período un sello que acompañase a Pantera en la grabación del siguiente disco de la banda, Mark Ross, que trabajaba para Atco Records, vio un concierto de la banda en un local de Texas y convenció a su empresa para que fichase al grupo. Atco aceptó, y la banda remató el año 1989 grabando su siguiente material en los estudios Pantego. Cowboys from Hell (1990) marcó un cambio drástico en la música de Pantera, que se decantó por un sonido más aguerrido y poderoso dejando atrás el glam, condicionado por la voz aguardentosa de Anselmo y los gruesos riffs de guitarra de Dimebag Darrell. Editado el 24 de junio de 1990, sus canciones más destacadas son Domination, Cowboys from Hell, Cemetery Gates, Psycho Holiday y Primal Concrete Sledge. Muchos fanes, e incluso los miembros mismos de la banda, consideraron este trabajo como su debut oficial. Dimebag Darrell hizo sus riffs y solos más complejos, y Anselmo adoptó un estilo vocal aún más abrasivo que en Power Metal. Para presentar adecuadamente el trabajo, Pantera giró durante un tiempo con Exodus y Suicidal Tendencies, antes de abrir para artistas de la talla de Metallica, AC/DC o Judas Priest, tocando ante una multitud estimada de 1.6 millones de personas en Moscú para celebrar uno de los primeros conciertos de música occidental desde la caída de la Unión Soviética. Posteriormente llegó Vulgar Display Of Power (25 de febrero de 1992), que presentó aún mayor madurez, más personalidad y estilo propio, acercándose ligeramente hacia el hardcore. En el disco destaca la ralentización de los tempos y el estilo aún más abrasivo y violento si cabe de Anselmo en la parte vocal. De este disco cabría destacar los temas Walk, A New Level, This Love, Fucking Hostile, Rise, Mouth For War y Hollow. Los fanes y críticos consideraron este trabajo como el mayor esfuerzo de la banda. Además, el público acompañó al álbum, llegando al 44.º puesto en las listas del Billboard gracias, entre otros motivos, a la repercusión que tuvieron algunos de los vídeos del disco en la influyente MTV. Al poco de editar el disco, Pantera colaboró con el vocalista de Judas Priest, Rob Halford, para grabar el tema Light Comes Out of Black, que conformó la banda sonora de la serie Buffy the Vampire Slayer. Para ello, Halford tomó la voz principal y Anselmo los coros. Después de esta pequeña incursión en el estudio de grabación, la banda se sumerge en una gira por Japón, primero, e Italia después, en la que compartieron escenario con gigantes del metal como Black Sabbath y Iron Maiden. Tras Vulgar Display Of Power, en 1994 se publicó el disco Far Beyond Driven, ligeramente más directo y brutal que su antecesor, que debutó en el primer puesto del Billboard estadounidense y en las listas de Australia. De este disco se podrían destacar los temas 5 Minutes Alone, Becoming y I'm Broken (nominada al Grammy en la categoría de mejor interpretación de metal en 1995). Con este disco ganaron un gran respeto entre los fanes más acérrimos de la música más "brutal". La portada original del disco era explícita y causó un gran impacto, un ano atravesado por un taladro. Debido a las presiones recibidas, está fue reemplazada por la actual, el cráneo siendo atravesado por un taladro. En la gira de promoción del álbum, Pantera comenzó un tour por Sudamérica y en otro de los festivales "Monsters of Rock". Por esta época, Anselmo y los hermanos Abbott comenzaron a distanciarse, debido, según Anselmo, a unos dolores crónicos en la espalda que le impedían comportarse con normalidad. Para intentar solucionar estos problemas de espalda, Anselmo se volvió adicto al alcohol, algo que acabó distanciándolo más de los miembros de la banda según sus propias declaraciones. Esto provocó unas declaraciones suyas en un concierto en Montreal, Canadá, en las que dijo que "la música rap induce a matar blancos" ("rap music advocates the killing of white people"). A raíz de estas desafortunadas declaraciones, Anselmo negó las acusaciones de racismo, pidiendo disculpas poco tiempo después, arguyendo que estaba borracho y que fue un error. Los médicos le recomendaron pasar por el quirófano para solucionar dichos problemas, pero Anselmo se negó ya que debería pasar un año en total reposo, por lo que comenzó a usar la heroína como un reductor del dolor, volviéndose adicto a dicha droga. En 1995, Anselmo creó un proyecto llamado Down, paralelo a Pantera, junto con el bajista Todd Strange, los guitarristas Pepper Keenan y Kirk Windstein y el batería Jimmy Bower. Down editó su primer disco en septiembre del mismo año bajo el nombre de NOLA. Para el segundo disco del supergrupo, Strange sería reemplazado por el bajista de Pantera, Rex Brown, quien grabaría Down II: A Bustle in Your Hedgerow, el título es uno de los versos de la conocida canción de Led Zeppelin Stairway to Heaven. El siguiente álbum de Pantera, The Great Southern Trendkill, fue publicado en 1996 durante el final del auge del grunge y el surgimiento del rapcore y el nu metal. Cabe destacar los temas Floods, The Great Southern Trendkill, War Nerve, Drag The Waters y los complementarios Suicide Note Pt. I y Suicide Note Pt. II, dos canciones dedicadas por el cantante Phil Anselmo a su adicción a la heroína. Anselmo grabó sus partes vocales en un estudio de Nueva York junto con Trent Reznor de Nine Inch Nails, mientras el resto del grupo grabó lo que restaba en Texas, una prueba más del progresivo distanciamiento que sufría Anselmo con respecto al resto de integrantes de Pantera. El 13 de julio de 1996, Anselmo sufrió una sobredosis de heroína una hora después de un concierto perteneciente a la gira que la banda estaba realizando a lo largo del estado de Texas. Su corazón se paró durante cinco minutos, por lo que los médicos que lo atendieron le administraron una fuerte dosis de adrenalina y fue enviado al hospital. Después de despertarse, Anselmo agradeció a sus compañeros de banda el apoyo recibido durante su sobredosis, aunque esto no hizo gran cosa en lo que respecta al distanciamiento de Anselmo con el resto de miembros, ya que los Abbott estaban avergonzados por el comportamiento del vocalista. En 1997 publican el disco en directo Official Live: 101 Proof, recopilando las mejores canciones de sus cuatro discos anteriores tocadas en la gira Tourkill entre 1996 y 1997, demostrando su brutal puesta en escena y su sonido en directo, uno de los puntos fuertes del grupo. También añadieron dos temas inéditos grabados en estudio, Where You Come From y I Can't Hide, ambas grabadas en 1997. Dos semanas antes de la publicación de dicho álbum, la banda consiguió su primer disco de platino de su carrera por Cowboys from Hell. Apenas cuatro meses después, Vulgar Display of Power y Far Beyond Driven consiguieron este premio también. Durante 1997, Pantera también tocó en el festival Ozzfest, siendo cabezas de cartel junto con Ozzy Osbourne, Black Sabbath, Marilyn Manson o Machine Head. Un año después repetirían la experiencia, tocando en el Ozzfest de 1998 junto con Slayer, Foo Fighters y Soulfly. A lo largo de estos dos años, Anselmo se embarcó en más proyectos paralelos, entre los que hay que destacar su colaboración como guitarrista en el álbum de Necrophagia Holocausto de la Morte, y ayudó a los grupos de black metal Viking Crown y Eibon. Por su parte, los hermanos Abbot y Rex Brown formaron Rebel Meets Rebel junto con el vocalista David Allan Coe, en el que añadieron sonidos country al sonido de Pantera. Tras los rumores de ruptura del grupo debido a la gran cantidad de proyectos de sus componentes, el grupo contraataca con el que sería su último disco, Reinventing the Steel (2000), recuperando un sonido más pesado donde las raíces de Black Sabbath se sienten más que en sus últimos trabajos. Las canciones destacadas de este álbum son Goddamn Electric, Yesterday Don't Mean Shit, You've Gotta Belong To It y Revolution Is My Name (primer single y vídeo en el que se puede ver a los componentes en su preadolescencia pintados como los componentes de Kiss). Este mismo año, Pantera se volvió a embarcar en otro Ozzfest junto con Ozzy Osbourne, Incubus, Queens of the Stone Age o Black Label Society. Una vez finalizado el Ozzfest, la banda hizo gira por Australia, Estados Unidos, Corea del Sur y Europa. Sin embargo, los atentados del 11 de septiembre de 2001 hicieron que la gira por Europa se cancelase, regresando los miembros de Pantera a sus hogares en Estados Unidos. Una vez en casa, los hermanos Abbott habían planeado componer y grabar otro disco con Pantera, algo que nunca pudo llevarse a cabo. Durante esta época, Anselmo fundó nuevos proyectos, como Superjoint Ritual, y editó el segundo álbum de Down. El baterista Vinnie Paul expresó que Anselmo le había dicho que no giraría durante el tiempo que Pantera estuviese parada, algo que supuestamente rompió el cantante al organizar la gira de presentación del segundo trabajo de Down y el disco de Superjoint Ritual. Sin embargo, y según declaraciones de Anselmo, el descanso de Pantera y la realización de sus giras con Down y Superjoint Ritual se llevaron a cabo "de mutuo acuerdo". La banda se disolvió oficialmente en 2003, cuando los Abbott (Dimebag Darrell y Vinnie Paul) se dieron cuenta de que Anselmo les había abandonado y que no retornaría. La ruptura de la banda no fue en absoluto amistosa y trascendió del mundo musical para llegar a informativos y periódicos de tirada general. Mientras Darrell y Vinnie Paul, junto con los técnicos de Pantera y demás ayudantes, juraron y perjuraron que habían intentado contactar por teléfono con Anselmo, este adujo que nadie se había interesado por él. Tal fue el enfrentamiento entre Anselmo y los hermanos Abbott, que el vocalista, en una entrevista a la revista Metal Hammer, dijo: "Dimebag merece que le peguen una buena paliza". Anselmo diría después que fue un comentario irónico, algo que Vinnie Paul no creyó, empeorando más, si cabe, las relaciones entre los miembros de la ya desaparecida banda. En julio de 2004, Vulgar Display of Power alcanzó de nuevo el disco de platino, y The Great Southern Trendkill consiguió también dicha certificación. Un año después de la ruptura de Pantera, los hermanos Abbott fundaron Damageplan junto con Bob Zilla al bajo y Patrick Lachman como vocalista para editar un único disco, New Found Power, en 2004. Durante la gira de presentación de New Found Power ocurrió la catástrofe. El 8 de diciembre de 2004, exactamente veinticuatro años después del asesinato de John Lennon, durante el concierto en el local Alrosa Villa, en Columbus, Ohio, Dimebag Darrell fue asesinado a quemarropa por Nathan Gale, un supuesto fan alienado de la banda que sufría de esquizofrenia, quien fue después abatido por un policía mientras portaba un rehén. Aparte del malogrado Darrell, tres personas más sufrieron heridas mortales, entre las que se encontraban Nathan Bray, un fan de la banda de veintitrés años; Erin Halk, empleado del local de veintinueve años de edad; Jeffrey Thompson, jefe de seguridad de Damageplan, con cuarenta años. Chris Paluska, mánager de la gira, y John Brooks, técnico de sonido de la batería, fueron también heridos por Gale. Esto provocó un shock entre los fanes metaleros, convirtiendo a Dimebag Darrell en una leyenda. Aunque Anselmo declaró poco después del asesinato de Darrell que estaba meditando reunir a Pantera, Vinnie Paul dijo un año después que esa reunión "nunca pasará". Paul declaró también que era imposible una reconciliación con Anselmo. Dimebag Darrell y su hermano Vinnie Paul estaban de gira con Damageplan, a pocos días de finalizar e irse a casa por Navidad. Según afirma Rita Haney, la novia de Dimebag Darrell, los últimos días antes de su muerte, Dimebag Darrell la llamaba mucho por teléfono, contándole que estaba harto de Pat Lachman (vocalista de Damageplan) con el que tenía discusiones ya que este no quería cantar canciones de Pantera, cansado de la gira y con ganas de volver a casa por Navidad. Descorazonadoramente, el 8 de diciembre de 2004, cuando Damageplan salió al escenario en el Alrosa Villa en Columbus, Ohio, en no más de 10 segundos tras empezar a tocar la primera canción, Dimebag Darrell fue disparado 5 veces en la cabeza por un exmarine esquizofrénico llamado Nathan Gale, que también disparó a varias personas del público y del equipo de Damageplan. Afortunadamente no tuvo tiempo de llegar a localizar a Vinnie Paul, al que buscaba desesperadamente tras disparar a su hermano, para también acabar con su vida. Dimebag Darrell falleció en el momento, junto con varias personas más asesinadas por el exmarine esa noche. La policía llegó al lugar tras dos minutos después de haber recibido la primera llamada de emergencia, y Nathan Gale fue abatido por el agente de policía James Niggemeyer, que le disparó en la cara cuando este se disponía a matar a un rehén, John "Kat" Brooks, miembro del equipo de Damageplan y antiguo amigo y miembro del equipo de Pantera, que se enfrentó al asesino intentando quitarle la pistola, salvando así la vida del rehén y la de muchas más personas. Según las investigaciones policiales, Nathan Gale sufría de esquizofrenia y había sido expulsado del cuerpo de los marines. Estaba determinado a cometer un asesinato contra Dimebag Darrell y Vinnie Paul, ya que decía que Pantera le robaba sus letras. Además, fan de Pantera, se cree que la ruptura de la banda le llevó a querer cometer los asesinatos contra sus miembros como venganza. Al parecer, Nathan Gale había provocado un altercado en el anterior concierto que Damageplan había dado en Columbus, Ohio, queriendo colarse en el escenario afirmando que Pantera le robaba sus letras, pero fue expulsado del concierto por los miembros de seguridad. El 22 de junio de 2018, Vinnie Paul muere en su casa en Las Vegas mientras dormía; dos meses después se reveló que el músico falleció a causa de una miocardiopatía dilatada. Sus restos fueron sepultados al lado de la tumba de su hermano y de su madre Carolyn en el cementerio Moore Memorial Gardens de Arlington, Texas. El 13 de julio de 2022, Billboard informó que Brown y Anselmo se reunirán en 2023 para la primera gran gira de Pantera en 22 años, y se anunció que habían firmado con Artist Group International para reservar una gira por América del Norte. Zakk Wylde y Charlie Benante fueron anunciados más tarde como los respectivos sustitutos de Dimebag Darrell y Vinnie Paul. Pantera ha aparecido en multitud de actos y programas de entretenimiento. La serie animada Beavis and Butt-Head incluyó los vídeos de las canciones "Mouth for War", "Psycho Holiday", "I'm Broken" y "This Love". En dicha serie, sus protagonistas comentaban los vídeos mientras las interpretaban. Aunque dichos personajes suelen comentar de forma negativa la mayoría de los vídeos que incluyen en su serie, con los de Pantera realizan una excepción al comentarlos relativa y favorablemente. "Walk" fue usada durante la retransmisión del programa de lucha libre Extreme Championship Wrestling por el luchador Rob Van Dam. La música de Pantera ha aparecido también en multitud de videojuegos, entre los que destacan Doom (en el que aparecen los temas "Rise", "Mouth for War", "Regular People (Conceit)" y "This Love", aunque todas ellas sin parte vocal), y Guitar Hero, en el que la canción "Cowboys from Hell" es una de las más difíciles de tocar Guitar Hero: Warriors Of Rock con la canción "I'm Broken", en 2008 la cantante estadounidense Madonna hizo un cover de la canción A New Level mezclándola con el éxito Hung Up durante el Sticky and Sweet Tour. Por otro lado, muchas canciones de Pantera que no aparecen en ningún álbum oficial de la banda, sí lo hacen en las bandas sonoras de, por orden cronológico, Buffy the Vampire Slayer, El cuervo, Cuentos de la cripta, Strangeland, Detroit Rock City, Heavy Metal 2000, Dracula 2000 y La matanza de Texas. También una canción parecida a "Death rattle" apareció en el capítulo Semana de prehibernación de la serie Bob Esponja apareciendo en los créditos "Invitado Especial Grupo Pantera". El estilo de Pantera ha sido numerosas veces sometido a crítica debido al parecido de este con el de la banda Exhorder. Muchos fanes de dicha banda acusaron a Pantera de haber robado su estilo, el groove metal que luego popularizarían. La biografía presente en Allmusic dice que, si Exhorder hubiera tenido un presupuesto mayor de grabación y una gran compañía detrás, quizá se habría hablado de unos "nuevos Pantera". Otro músico que cree en un posible plagio de Pantera a Exhorder es Dave Mustaine, líder de Megadeth, quien lo dijo en una entrevista al canal MTV en 1994. En el polo opuesto se encuentra el crítico musical Brian Davis, quien trabaja para la emisora de radio de habla inglesa por internet, KNAC, al decir que existen algunas similitudes entre el sonido de Exhorder y el de Pantera, pero que decir que Pantera robó el sonido de Exhorder es excesivo. A pesar de la controversia que hubo en su día acerca de un posible plagio entre las dos formaciones, el vocalista de Exhorder, Kyle Thomas, declaró que no le importa la polémica que hay alrededor de su estilo, argumentando que los miembros de Pantera y los de Exhorder son grandes amigos y que lamentaba la muerte de Darrell. La banda está considerada como una de las fundamentales para asentar las bases del groove metal y una de las más influyentes formaciones de metal de la década de los noventa. Pantera ha sido incluida en numerosas listas de importancia dentro de la historia del heavy metal y del hard rock, llegando al quinto puesto de la lista de la MTV de las 10 mejores bandas de heavy metal de la historia, así como aparecer en el puesto número 45 de la lista de VH1 de las 100 mejores bandas de hard rock. La discografía de Pantera está compuesta por nueve álbumes de estudio, un álbum en directo, un álbum recopilatorio, más tarde este sería publicado en dos versiones. También lanzaron dos EP, seis sencillos, cinco video álbumes, once videos musicales y dos cajas recopiladoras. Pagina Oficial: https://pantera.com/
Episode 51 was recorded at Legends Pubhouse & Venue in Chickasha, Oklahoma. We are joined by Special Guest - Chipz Enuff from Enuff Z Nuff. Beatles The Rock Show tour came through Legends & we were lucky enough to talk to Chip before the show as well as see it! Here's The Link (pun intended) to the Hardrock Nite record from Enuff ZNuff on Frontiers - http://www.frontiers.it/album/5731 Enuff Z'Nuff's Hardrock Nite on Spotify - https://open.spotify.com/album/3nFTRf0aT6WsRTkeSScgYU?si=l2w0g7_0SaykxazWSQsdDA Enuff Z'Nuff's latest release "Finer Than Sin" on Spotify - https://open.spotify.com/album/3teWEAVJEew7C6PaTjVjRQ?si=p5Bg10mhSIGmWqEgo5DrqA See omnystudio.com/listener for privacy information.
Gamble & Huff, Philadelphia International Rock & Soul ClassicCharlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020.Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label.I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS.Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others.The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy: https://tinyurl.com/BASAud
Gamble & Huff, Philadelphia International Rock & Soul Classic Charlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback.......The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969.During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing.Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others.The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2023 All Rights Reserved© 2023 Building Abundant Success!!Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBAS Audacy: https://tinyurl.com/BASAud
En este episodio revisamos "Vulgar Display Of Power", uno de los trabajos más importantes de Pantera, conversando sobre el éxito de la banda tras su lanzamiento, la creación de este trabajo, influencia en la escena posterior, y muchos aspectos más.
Hello everyone and welcome to another edition of Interviewing the Legends I'm your host Ray Shasho Solar Music is pleased to announce the new album ‘NEXT VOYAGE' by Blues Image featuring Mike Pinera. The album features new recordings of the band's classics like “Ride Captain Ride” with orchestra, “In A Gada Da Vida” with the BB King Horn section, and guest appearances from Pat Travers, Jonathan Cain of Journey, and many more! Blues Image is an American Blues Rock band formed in Tampa, Florida in 1966 by singer-guitarist Mike Pinera. The band moved to Miami in 1968, where they were instrumental in helping promoters form the most innovative music venue in South Florida, Thee Image. Blues Image became the house band at the club, which featured bands like Cream, The Grateful Dead, and Blood, Sweat & Tears. The band moved to Los Angeles and signed with Atco Records, releasing their self-titled debut album in February 1969. Their second album, Open (April 1970), included the single “Ride Captain Ride”, written by Pinera and Skip Konte. Pinera left the band to join Iron Butterfly in the fall of 1969. The song “Ride Captain Ride” has been used in many films over the years. Please welcome legendary guitarist/singer/songwriter MIKE PINERA and Producer/Composer/Performer/Entrepreneur/ MICHAEL FRANKLIN to Interviewing the Legends … PURCHASE THE LATEST RELEASE BY BLUES IMAGE Featuring MIKE PINERA ‘N E X T V O Y A G E' Produced by Michael Franklin The new 2023 release from Blues Image, featuring original guitarist and vocalist Mike Pinera who also went on to perform with Iron Butterfly. Early Bird Vinyl Presale includes a free digital download and a bonus track, available immediately after order. The album features new recordings of the band's classics like “Ride Captain Ride” with orchestra, “In A Gada Da Vida” with the BB King Horn section, and guest appearances from Pat Travers, Jonathan Cain of Journey, and many more! Pressed on 180 Gram vinyl with colored sleeve, the LPs are projected to ship in late May based on our manufacturer's current production estimate. AVAILABLE AT www.solarmusic.com FOR MORE INFORMATION ABOUT MIKE PINERA AND BLUES IMAGE VISIT www.facebook.com/MikePineraOfficial Facebook https://open.spotify.com/artist/7o55DoHoctCuBWn1iKvB08 Spotify FOR MORE INFORMATION ABOUT MICHAEL FRANKLIN VISIT www.conventionmusic.com Michael Franklin Official www.solarmusic.com Solar Music About Solar Studios HOME TO The Industry's Top Music Producers, Musicians, and Engineers Solar Studio recognized with several Grammy Nominations, Addy Awards, Goldmine Awards, IMusic Nominations. We work with artists from all genres in the music industry, as well as Animation, Film, Television, and Corporate Media. info@solarmusic.com DISCOGRAPHY MIKE PINERA Iron Butterfly with Pinera* & Rhino* - Metamorphosis 1970 Isla — Mike Pinera 1977 "Come And Get It" 1977 Forever, Mike Pinera 1979 In The Garden Of Eden — Mike Pinera 1996 Timeless — Mike Pinera 2017 Singles & EPs Alone With You — Mike Pinera 1977 Goodnight My Love — Mike Pinera 1979 Can't You Believe / I Am The Bubble — Mike Pinera 1979 Forever, Mike Pinera — Mike Pinera 1980 Mike Pinera / Anthony Rios - Someone Like You / Mujer (7", Single) 1981 Moonlight Melody / Please, Come Back Again — Mike Pinera 1982 In-A-Gadda-Da-Vida — Mike Pinera 1983 Delbert McClinton, Mike Pinera - From the Album "Second Wind" / From the Album "Isla" (12", EP, Promo) Compilations Anthology Box 1975-1979 — Mike Pinera 2011 With BLUES IMAGE Year Album US Top 200 1969 Blues Image 1970 Open 2023 Next Voyage Compilation albums Year Album 2005 Rhino Hi-Five: Blues Image Singles Year Name 1969 "Lay Your Sweet Love on Me" 1970 "Ride Captain Ride" "Gas Lamps and Clay" With RAMATAM 1972 Ramatam 1973 In April Came the Dawning of the Red Suns Support us!
Label: Atco 6569Year: 1968Condition: MLast Price: $18.00. Not currently available for sale.The A side is a light, Sunshine Pop number, but the B side ("Groovy Motions") is a hard-edged rocker with psychedelic overtones... both in true Stereo! This copy has such awesome audio I had to celebrate by making an mp3 "snippet" of the A side, which I rate 2 stars, our highest recommendation. Note: This beautiful copy has a drillhole and comes in a vintage Atco Records factory sleeve. Aside from the drillhole, this 45 record is pristine Mint — the nicest copy of yet had in the store since opening in 2001. (This scan is a representative image from our archives.)
Emission présentée par Matthieu. Cette saison Matthieu va explorer le catalogue de 40 labels discographiques de légende. Dans chaque émission, il reviendra chronologiquement sur quelques sorties majeures et sur l'impact de ces labels dans l'essor de notre esthétique préférée : le Metal (sous toutes ses formes). Il y aura des gros (Universal, Geffen Records, EMI Records), des petits (Peaceville Records, Candlelight Records, Scarlet Records), des français (Osmose Productions, Holy Records, Listenable records), des niches spécialisées (Relapse Records, Earache Records, Shrapnel Records), des incontournables (Nuclear Blast, Metal Blade Records, Roadrunner Records). Bref, des émissions totalement passionnantes ! Quatrième épisode consacré à ATCO Records diffusé le 6 octobre sur Radio Metal !
Label: Atco 6722Year: 1969Condition: M-Price: $15.00Here's another of Lulu's terrific Soul outings... the A side is a lovely ballad, and the flip is an irresistable southern-style funky soul track. Both sides were recorded at Muscle Shoals studios. Note: This beautiful copy has a drillhole and comes in a vintage Atco Records factory sleeve. The labels are Near Mint. The vinyl and audio grade pristine Mint. (This scan is a representative image from our archives.)
The Excels exploded from Michigan's Upper Peninsula to share the stage with the Beach Boys, Sonny & Cher, Bob Seger, Mitch Ryder and so many more. Clark Sullivan's vocals and solo career expanded into singles, produced by long time friend Ollie McLaughlin, entering charts via Atlantic sub-labels such as Atco Records. Entering Michigan Rock Legends Hall of Fame in 2017, the backstory is amazing--in part 2, Clark performs live and provides color commentary on hilarious moments, and deep cultural issues that became part of his musical friendships. Don't forget to check out Part 1!
The Excels exploded from Michigan's Upper Peninsula to share the stage with the Beach Boys, Sonny & Cher, Bob Seger, Mitch Ryder and so many more. Clark Sullivan's vocals and solo career expanded into singles, produced by long time friend Ollie McLaughlin, entering charts via Atlantic sub-labels such as Atco Records. Entering Michigan Rock Legends Hall of Fame in 2017, the backstory is amazing--so amazing, it's going to take two podcasts to cover it all--plus Clark will perform Live as well...tune in!
Resistance will hold us back. It can also drown you. When you fight the water, we expend all our energy treading. Where as, if you give into the water and trust, it will push you up. Be like water my friend, before we sing, Pull Me Under. What's up everyone. This is one hundred sixty five of Above Ground Podcast. This week the guys are riffing on resistance, whether your stuff brings everyone down while you help another. The guys talk about their love of pop-pop popcorn. When you need insight into your own journey outside voices do not hold the same loudness as does your own. The only catch is, you have to pay attention. You must go inside, be silent. The world is spinning without me. Listen you must, or lose you will-Yoda. During the course of mental illness, a wreckage can be left behind. Intentional or not. Hurt people, hurt people. Until, you decide to not hurt anymore. Until you set the intention, and step into your energy. At times the spiral comes on so slow, it just gets behind you at the crosswalk. Slides in behind and then takes you over until you start isolating, avoiding. Self-care if not for the right reasons, can be a negative. Its like eating too much pizza (You can't eat it every meal, but I would every day). Thanks for listening to another week of Above Ground Podcast. A huge thanks to Nippertown, Pogo Beard Company, WAMC, and Upstate Punk Rock Flea Market. Hope to see you all out and about at the WAMC Summer on Central Concert Series, Saturday, August, 27, 2022 at the Linda WAMC's Performing Arts Center. A special happy 30th anniversary to Dream Theater's July 1992 Atco Records release, Images and Words. Until next week get well, be safe, stay ABOVE
Label: Atco 6563Year: 1968Condition: M-Last Price: $18.00. Not currently available for sale.Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has very nearly Mint labels, and the vinyl itself looks untouched. The audio sounds pristine Mint!
Gamble & Huff, Philadelphia International Rock & Soul Classic Charlie Ingui, Original Lead Vocalist still records & tours go check him out! ~ thesoulsurvivors.comR.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017.Original group member Kenny Jeremiah Transitioned in December of 2020. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legendary Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback....... The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950's. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group's lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia's City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969. During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys, Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard's R&B Top 100 and become the group's fourth charted outing. Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic ,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others. The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale.The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia.© 2022 All Rights Reserved© 2022 Building Abundant Success!!Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBAS
We had the pleasure of interviewing Eloise Alterman over Zoom video. Singer-songwriter Eloise Alterman makes her official ATCO/Big Yellow Dog/Atlantic Records debut with the release of her moving new EP, 'Sad Bird,'.Alterman creates music of exquisite sensitivity, finespun songs that capture the subtlest nuances of heartache and loss. A self-taught pianist/guitarist who began penning soul-baring songs in her early teens while growing up in Detroit, Alterman deferred her acceptance to the University of Southern California and moved to Nashville alone at age 17, without knowing a soul in all of Music City. After spending years working on her own to sharpen her craft, Big Yellow Dog Music's Carla Wallace signed her and brought her to Atlantic. Alterman soon signed with ATCO Records (a recent reactivation of the iconic Atlantic Records imprint first founded in 1955, including previously signed acts like Genesis, the Bee Gees, Cher, Donny Hathaway) and Full Stop Management (Harry Styles, Meghan Trainor, John Mayer) on the strength of the music now showcased on 'Sad Bird' - music that Alterman is now sharing with the world.Etched with gorgeously evocative lyricism and centered on Alterman's moody vocals, “Her” emerged after a long period of adamant resistance to its subject matter- the singular pain of knowing the one you love is hung up on someone else.With an understated yet captivating sound informed by longtime influences like Stevie Nicks and Joni Mitchell, 'Sad Bird' presents an up-close portrait of heartbreak, healing, and self-discovery. Eloise Alterman boldly pushes outside her comfort zone to craft the kind of timelessly poignant pop songs that cut right to the heart. Songs like “Her” and the deceptively anthemic “Sad Bird Still Sings” – the latter penned while alone in a hotel room near Utah's Zion National Park – reveal the emotional intensity Alterman has brought to her music since she first started writing songs on the piano in her family's basement. On “I Still Love You,” Alterman infuses that emotional clarity into a devastating piano ballad, lacing her lilting melodies and choir-like harmonies through a detailed meditation on post-breakup grief. Newly based in L.A. after six years in Nashville, Alterman – whose recent TikTok cover of Fleetwood Mac's “Dreams” went viral with over 3M views and 115K likes to date – has already noticed a shift in her self-perception after so thoroughly exploring the many stages of heartbreak.We want to hear from you! Please email Tera@BringinitBackwards.com.www.BringinitBackwards.com#podcast #interview #bringinbackpod #EloiseAlterman #SadBird #NewMusic #zoom Listen & Subscribe to BiB https://www.bringinitbackwards.com/follow/ Follow our podcast on Instagram and Twitter! https://www.facebook.com/groups/bringinbackpod
Label: Atco 6217Year: 1962Condition: MLast Price: $25.00. Not currently available for sale.This is not a particularly valuable record, but it's one of my personal favorites and is on my perpetual hunt list everywhere I shop. It's easy to find copies in trashed condition, but finding one with Near Mint or better audio has proven difficult. Note that we give this one a 2-star recommendation: That means, if you're a fan of Easy Listening or Pop Instrumentals, you must have a copy of this single. Even if you're not, I think you'll like it... such a gorgeous clarinet tone, what's not to like? After all, note that it was also a hit on the Black/RnB singles chart in 1962... quite a broad appeal. Credits include "with the Leon Young Chorale." Check out the mp3 "snippet" of it! Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).
While they may hail from Jacksonville, Florida, the southern rock group Blackfoot gets its name from the Native American tribe in recognition of the Native American heritage of multiple members of the band. Strikes was their third studio album, and would go Platinum. Blackfoot is Rickey Medlocke on lead vocals and guitar, Charlie Hargrett on guitar, Greg T. Walker on bass, keyboards, and vocals, and Jakson Spires on percussion and vocals. Rickey Medlocke was an early member of Lynyrd Skynyrd where he played drums and contributed vocals.After touring as the backing band for Ruby Starr, Blackfoot met Al Nalli who was manager for the group Brownsville Station, and he got them a contract with Atco Records. Nalli also produced Blackfoot Strikes, which would be the groups most commercially successful album. Blackfoot would see many lineup changes over the years, with over 40 musicians being listed as former members of the band. Blackfoot continues to tour today, and released a new studio album in 2016. Although no original band members are with the band today, Rickey Medlocke occasionally joins the band during concerts. Train, Train (Prelude)This short harmonica instrumental features Rickey Medlocke's grandfather, Shorty Medlocke, who was a bluegrass artist and composer of the pieceTrain, TrainThe biggest hit of the group was written by Shorty Medlocke, Rickey's grandfather, and peaked at number 38 on the charts. It was originally a delta blues song, and was the last song that was recorded for the album. It laments about a woman who dumps her blue collar guy to go to the big city.Left Turn on a Red LightA deeper cut in a minor key, this song is about decisions early in life and potential regret. In this case, the guy realizes that his decision was right.Highway SongThis was a second single hit from the album, and had an epic quality to it. The lyrics are similar to "Turn the Page," in that it is about life on the road. "Well, another day, another dollar after I've sang and hollered. Oh, it's my way of living, and I can't change a thing." ENTERTAINMENT TRACK:Main theme from the television series “Starsky & Hutch”Alright folks, slide across the car hood to hop in that Grand Torino! The buddy cop series had its final episode this month. STAFF PICKS:The Diary of Horace Wimp by E.L.O.Bruce's staff pick chronicles the week of a shy guy who gets the love of his life with a little help from "a voice from above." This is a deeper cut from the disco-heavy E.L.O. album "Discovery," though this one has more in common with the Beatles than the Bee Gees. Minute By Minute by the Doobie BrothersBrian features the yacht rock hit from Michael McDonald and the Doobie Brothers. This is the title track off the album of the same name, and followed their number 1 hit "What a Fool Believes" as s single. This song hit number 14 on the Billboard Hot 100, and was nominated for a Grammy, losing to their other singe, "What a Fool Believes." Sad Eyes by Robert JohnRob's staff pick is a falsetto ballad that debuted in May. This song hit number 1 on the charts, ending the 6 week reign at number 1 for "My Sharona" by The Knack. It is about a man telling his mistress that their relationship is over because his wife is coming back.Shakedown Cruise by Jay FergusonWayne brings us a keyboard heavy song that hit number 31. Ferguson came out of several groups, including Spirit and Jo Jo Gunne. Joe Walsh is the guitarist on this song. "Now if I don't get off alive, it's just as well I'll be waking up in heaven, 'cause I've been through hell." INSTRUMENTAL TRACK:Music Box Dancer by Frank MillsThis instrumental was a big hit on the charts this month.
Hoy tenemos en nuestras manos, su segundo álbum de estudio In-A-Gadda-Da-Vida, publicado el 18 de junio de 1968. La banda se formó en 1966 en San Diego, siendo sus miembros originales Doug Ingle (Organo y voz), Ron Bushy (Bateria), Jerry Penrod (Bajo), Darryl DeLoach (Guitarra) y Danny Weis (Guitarra). Están encuadrados en los géneros de rock psicodélico, rock acido y hard rock. Tuvieron su apogeo a finales de los años 60, pero la banda ha reaparecido varias veces con diversos miembros, pero no tienen nuevas grabaciones desde 1975. En 1968 lanzan su primer disco Heavy, tras su grabación todos sus miembros dejan la banda a excepción de Doug Ingle y Ron Bushy. Este álbum debut se publicó el 22 de enero de 1968, habiéndose grabado en octubre del año anterior. Varias de las canciones que componen el álbum son simples y se basan extensamente en los riffs de apertura. El 14 de junio de 1968 salió al mercado el segundo trabajo de la banda, In-A-Gadda-Da-Vida, en este trabajo todas las canciones están compuestas por Doug Ingle a excepción de Termination, escrita por Erik Brann y Lee Dorman. Los miembros que formaban la banda en este álbum son, su fundador Doug Ingle (órgano, teclados, piano y voces), Erik Brann (Guitarra, violín y voces), Lee Dorman (Bajo) y Ron Bushy (Batería y percusión). Obtuvo un premio RIIA de platino, siendo el primer álbum en obtenerlo. La canción incluye un memorable riff de guitarra y bajo, sosteniéndolo durante más o menos toda la duración del tema. El riff sirve como base para los largos solos de órgano y guitarra, que son interrumpidos a la mitad por un largo solo de batería, uno de los primeros solos en una grabación de rock y probablemente uno de los más famosos de este género. Como curiosidad comentar que el guitarrista Erik Brann que grabó este tema y la totalidad del disco contaba solamente 17 años. In a gadda da vida, como hemos comentado ocupa toda la cara B del álbum homónimo. Iron Butterfly cuando la grabaron en el estudio estaban algo ebrios o drogados, por lo que se dejaron llevar por la atmosfera reinante, así el tema se alargó con largos solos de guitarra, órgano y batería. A los ejecutivos de Atco Records, sello de Atlantic su discográfica, no les hizo demasiada gracia la duración del tema, por lo que decidieron cortarlo a apenas 3 minutos para que pudiera sonar en las radios. En 1969, y como preámbulo a la aparición del siguiente trabajo Ball, apareció el single con dicha canción acortada y con Soul experience en la cara B, canción incluida en el álbum.
Всем привет! Вы слушаете февральский эпизод радиошоу MAXIMUM на волнах Musical Decadence и с вами в эфире Dreamer. Сегодняшний выпуск программы будет отличаться от предыдущих в плане подачи музыкального материала. Вас ждет более темная и мрачная атмосфера в эфире, а именно сплав из глубоких house ритмов, progressive и темных, развернутых звуков techno - максимальный сплав электронных стилей, эдакий Maximum House, как я люблю его называть. Хочу напомнить, что мои последние миксы, новости, компиляции и радиошоу можно найти на официальном веб-сайте проекта MAXIMUM - promodj.com/dreamer Не забывайте также подписываться на мой подкаст MAXIMUM в Apple и Google Podcasts, это очень удобно. Apple Podcasts: podcasts.apple.com/ua/podcast/… bit.ly/1GmefEt Google Podcasts: bit.ly/2XLvor6 Проект "MAXIMUM" - новые веяния, тенденции, тренды современной клубной сцены и электронной танцевальной музыки. "MAXIMUM" - максимальное удовольствие! Открывает февральский эпизод красивейший релиз сербского импринта Balkan Connection, а именно ремикс музыкантов Mariner & Domingo на работу Change от голландцев DJ San и Sebastian Moore. Известный продюсер Ricardo Piedra отметился на бельгийском лейбле Future Avenue новой пластинкой Sacred Home, на которой мне понравился качественно спродюсированный ремикс голландского дуэта Callecat. Британский рекординг Crosstown Rebels порадовал электронный мир потрясающим релизом Gridd в исполнении проекта Frankey & Sandrino, который состоит из артистов Sandrino Tittel и хорошо знакомого моему слушателю Frank Beckers. Это музыка высокой энергетической ценности и если постараться описать данный релиз одним словом - великолепно! Давно я не играл музыку берлинского лейбла Steyoyoke, специализирующегося на выпуске темного, местами мрачного progressive-саунда. Сегодня представляю вашему вниманию новейший релиз данного лейбла от артистов Nick Devon и Monarke, которые записали мрачный и будоражащий сознание трек Obscure. Трек Everyday Of My Life от David Morales и Mr. V, наделавший много шума в 2021 году, наконец получил свое место в эфире моего радиошоу. Я специально держал его для эфира, в котором будет звучать подобного рода саунд - темный, мистический и мрачный. Дальше звучит трек Fenner от британского лейбла Selador в лице одного из его владельцев Стива Пэрри, на который сделала отличный клубный ремикс известная немецкая артистка Bebetta. TRACK OF THE MONTH на этот раз становится релиз культового британского лейбла Renaissance. Коллаборация известнейшего музыканта, диджея и продюсера Pete Tong и российского проекта Goom Gum подарила музыкальному миру настоящего киллера танцполов в лице трека Signal. Уверен, эти сигналы и гудки надолго засядут в вашей голове и вы не единожды будете переслушивать данную работу. Настоятельно рекомендую! Итальянский диджей и продюсер Sasha Carassi отметился у Джона Дигвида на Bedrock отменным progressive релизом Ethos, который я с радостью забираю в свою коллекцию. Звук мощный, серьезный и надежный, как земная почва - такова философия огромной рекорд-машины и бренда под названием Bedrock. Израильский музыкант Alex Kreimer издал на киевском лейбле Aletheia Recordings новый релиз Moon Eclipse, который прогрессивно обработал очень востребованный на сегодня ремиксер из Колумбии Kamilo Sanclemente. В завершении программы прозвучит трек Wilde от известного музыканта Jerome Isma-Ae и его коллеги по цеху Alastor, который мастерски ремикшировала коллаборация британских артистов в лице Paul Thomas и дуэта Fuenka. В регулярной рубрике BONUS TRACK прозвучит true house music родом из 90-х. Крутейшая пластинка Love Me Forever Or Love Me Not от проекта Trilogy, вышедшая в далеком 1990 году на мощном импринте ATCO Records звучит и сегодня очень актуально. Поспособствовал этому тот факт, что house в его классическом исполнении возраста не имеет, он актуален всегда, он вечен. И да, такой музыки больше не делают... Желаю всем приятного прослушивания и до новой порции МАКСИМУМА! Искренне ваш Dreamer. PromoDJ: promodj.com/dreamer Apple Podcasts: podcasts.apple.com/ua/podcast/… Google Podcasts: bit.ly/2XLvor6 01. DJ San & Sebastian Moore - Change (Mariner & Domingo Remix) [Balkan Connection] 02. Ricardo Piedra - Sacred Home Sacred Home (Callecat Remix) [Future Avenue] 03. Frankey & Sandrino - Gridd (Original Mix) [Crosstown Rebels] 04. Nick Devon & Monarke - Obscure (Original Mix) [Steyoyoke] 05. David Morales & Mr. V - Everyday Of My Life (Vocal Mix) [Diridim] 06. Steve Parry - Fenner (Bebetta Remix) [Selador] TRACK OF THE MONTH 07. Pete Tong & Goom Gum - Signal (Original Mix) [Renaissance] 08. Sasha Carassi - Ethos (Original Mix) [Bedrock] 09. Alex Kreimer - Moon Eclipse (Kamilo Sanclemente Remix) [Aletheia] 10. Jerome Isma-Ae & Alastor - Wilde (Paul Thomas & Fuenka Extended Remix) [Armind] BONUS TRACK 11. Trilogy - Love Me Forever Or Love Me Not (The Dub Of Doom Mix) [ATCO]
One down, one to go. In the penultimate installment of the show, host Craig does one final round of housekeeping and (not surprisingly) pimps his work on the Night Gallery Season 1 Blu-ray set. Worth your time? Only you can make that determination. It's free, for God's sake, so just download the damn thing. Get Night Gallery season 1 on Blu-ray here: https://amzn.to/30YhtlR Theme: “Neither Here nor There” performed by Twin Loops “Strange Girl” performed by Hubert Laws (from the album Flute By-Laws, copyright 1966 by Atlantic Records) “Sour Times (Cut & Paste Instrumental by Chris Blake)” performed by Portishead (from the album Dummy, copyright 1994 by Go! Beat-London Records) “To Kill a Dead Man” performed by Portishead (from the “Sour Times” CD single, copyright 1994 by Go! Beat-London Records) “Over” performed by Portishead (from the album Portishead, copyright 1997 by Go! Beat-London Records) “Omid (Hope)” performed by Thievery Corporation (from the album The Richest Man in Babylon, copyright 2002 by ESL Records) “Leave It” performed by Yes (from the album 90125, copyright 1983 by Atco Records) The Twilight Zone is a trademark of CBS, Inc. Between Light and Shadow: A Twilight Zone Podcast is a nonprofit podcast. Music clips and dialogue excerpts used herein are the property of their respective copyright owners; we claim no ownership of these materials. Their use is strictly for illustrative purposes and should be considered Fair Use as stated in the Copyright Act of 1976, 17 U.S.C. section 107.
Label: Atco 6722Year: 1969Condition: M-Last Price: $14.00. Not currently available for sale.Here's another of Lulu's terrific Soul outings... the A side is a lovely ballad, and the flip is an irresistable southern-style funky soul track. Both sides were recorded at Muscle Shoals studios. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has Near Mint labels and pristine Mint vinyl and audio. (This scan is a representative image from our archives.)
Cowboys from Hell is the fifth studio album by American heavy metal band Pantera, released on July 24, 1990 by Atco Records. It marked the band's major label debut and their first collaboration with producer Terry Date.
Label: Atco 6668Year: 1969Condition: M-Last Price: $30.00. Not currently available for sale.George Harrison, who cowrote the song, also plays guitar on this great track. Note: This beautiful copy has a drillhole and comes in a vintage Atco Records factory sleeve. The audio grades very close to Mint. (This scan is a representative image from our archives; it doesn't show the drillhole, which is above the "horn" in the logo.)
Label: Atco 6544Year: 1968Condition: M-Last Price: $25.00. Not currently available for sale.Here's a beautiful copy of this classic Psychedelic Rock tune, this "supergroup"'s first big hit. Credited here as by "The Cream." Don't neglect the B side: It's a Psych classic in its own right! This copy has awesome audio... check out the mp3 "snippet" for our "jukebox". By the way, this single's A side (the hit version) is specially edited from an album track that's about a minute longer (4:10). Note: This 45 record comes in a vintage Atco Records factory sleeve. It has Mint labels and very nearly Mint-sounding audio.
Air Week: April 26-May 2, 2021 Atlantic Records, Pt. 13 – ATCO Records Atlantic Records was the most influential, significant and important independent record label to come out of the late-1940s, during a time when there were many great, small indie labels being born. What gave Atlantic the advantage over Specialty, Chess, Modern, Vee-Jay, Exclusive, […]
Label: Atco 6544Year: 1968Condition: M-Last Price: $24.00. Not currently available for sale.Here's a beautiful copy of this classic Psychedelic Rock tune, this "supergroup"'s first big hit. Credited here as by "The Cream." Don't neglect the B side here: It's a Psych classic in its own right. By the way, this single's A side (the hit version) is specially edited from a 4:10 album track. Note: This 45 record comes in a vintage Atco Records factory sleeve. The labels are very close to Mint in appearance. The vinyl (styrene) also grades Near Mint, with some light surface scuffing. The A side audio sounds pristine, while the B side has a light touch of surface noise in spots. (This scan is a representative image from our archives.)
Tyler and Dave speak with up and coming rapper, musician, and collaborator, Zero 9:36. Born and raised near Philadelphia, Zero developed an underground following at a young age and signed with Atco Records to release his debut EP in 2019. In addition to his collaboration with Theory Of A Deadman on their latest single 'Strangers'. Zero's forthcoming project featuring Travis Barker among others will be released 2021. Stay tuned.
Label: Atco 6185Year: 1961Condition: M-Last Price: $35.00. Not currently available for sale.I'm assuming that everyone out there knows the unbelievably classic "Spanish Harlem," either in its first version by Ben E. King or by the amazing version Aretha Franklin recorded a decade later. But I suspect that not many have had the pleasure of this single's B side, so I'm sticking a snippet of it in the jukebox for you. "First Taste of Love" is more uptempo than "Spanish Harlem," features surprising, doo-wop-style backup vocals, and was cowritten by none other than Phil Spector. (That B side, by the way, is a non-album tune.) This is one of the nicest copies of this classic single I've had to offer since opening the store in 2001! Note: This 45 record comes in a vintage Atco Records factory sleeve. The audio sounds pristine Mint! (This scan is a representative image from our archives.)
Label: Atco 6491Year: 1967Condition: MPrice: $15.00From a warehouse find, this is a new, unplayed stock copy, in its original Atco Records factory sleeve. The B side of this single (a non-album cut) is well worth the price of admission all by itself... but of course, who could live without hearing the goofy A side once in awhile? Note: This beautiful 45 record has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).
Donny Hathaway recognized that the Black experience was underrepresented in Christmas music, so he decided to change that. This is the story behind…This Christmas. #BehindTheChristmasHits is Presented by Pizza Pizza! The song Donny Hathaway would find was written 3 years before its release in the middle of a blizzard by a Chicago postal worker named Nadine McKinnor. Nadine would keep a notebook full of lyrics she’d jot down as they came to her. She told the Chicago Tribune that these lyrics were about her love affair with the season – the swirl of music, department store windows and the lights on the south side of the city. Nadine and her co-workers were sorting mail in the middle of a blizzard. 58 cm of snow had fallen in a 24 hour period. They were looking to pass the time, so Nadine started singing the lyrics to the song that would become This Christmas. Nadine has said she didn’t have civil rights in mind when she wrote the lyrics…and even hoped that one day an artist like Andy Williams would record it. But her boyfriend at the time would be the connection between her and Hathaway. He was doing some decorating at Donny’s home & office and overheard him and his manager talking about looking for new material. McKinnor recounted her first meeting with Hathaway for The New Yorker – she went to that same office that was being redecorated a few days later and started to sing from her notebook. The same notebook she sang from for her co-workers at the post office. She said she sang four or five songs for Donny, but This Christmas was the one that instantly got his attention. Quote: “I tore the page out to give him and I never got it back.” Nadine had envisioned the song to be sung in a style similar to Nat King Cole’s The Christmas Song – it was Hathaway who, as Nadine puts it, gave it its magic and infused it with his gospel roots. That’s entirely where the improvised line “shake a hand, shake a hand” comes from. While so many Christmas songs of the previous 25 years had been about nostalgic feelings of home, there’s nothing nostalgic about This Christmas. It doesn’t look back at all. It’s upbeat and now. “This Christmas. Will Be. A very special Christmas. For me!” Recorded in Chicago in the fall of 1970 and released that November, This Christmas was not a hit. Donny Hathaway was never as famous as Marvin Gaye or Stevie Wonder, but his work was respected and inspired future generations of songwriters like Alicia Keys, Lauryn Hill and Justin Timberlake. However, the impact of This Christmas wasn’t really felt it was included in a re-release of a compilation album from Atco Records in 1991 called Soul Christmas. And then the covers started coming. Destiny’s Child, Chris Brown, Usher, Mary J Blige, even Donny’s daughter, Lalah Hathaway has recorded it. Lawrence Ware – the co-director of the Centre for Africana Studies at Oklahoma State University once said it’s almost like a rite of passage for black singers to record This Christmas. Sadly, Donny Hathaway didn’t live long enough to see This Christmas become the Black Christmas anthem it did. He died under mysterious circumstances after having dinner at Roberta Flack’s house in January 1979. Hathaway fell 15 stories from his Central Park hotel room in what was ruled a suicide, despite no note being left and many people close to him swearing that he wouldn’t have killed himself. For Nadine McKinnor, the song’s success has provided her with a good place in life. After years of hard work in several different offices, she was successful in her legal challenge to become the song’s co-publisher. Nadine is now retired and earns over $70,000 a year in royalties. Thanks for joining us! We’ve got more stories & videos coming, so please subscribe! Behind the Christmas Hits is Presented by Pizza Pizza!
Label: Atco 6194Year: 1961Condition: M-Last Price: $45.00. Not currently available for sale.This is one of the nicest original pressings of this early Soul classic I've yet had to offer in the store since opening in 2001... nearly pristine Mint audio! Check out the mp3 "snippet" we've added... pure Soul bliss! By the way, this was a non-album single that didn't appear on any of the singer's contemporary LPs. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It grades very close to Mint across the board (Labels, Vinyl, Audio).
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Pantera , fue una banda estadounidense de groove metal fundada en 1981 por los hermanos Abbott, Darrell y Vinnie Paul, en Arlington, Texas. El bajista Rex Brown se uniría a finales de 1981 con el vocalista, guitarrista y tecladista Terry Glaze. En 1985 Phil Anselmo se convertiría en el vocalista principal del grupo. La banda permaneció activa entre 1981 hasta su disolución en 2003. El género del grupo fue variando con los años. Durante la década de los 80, junto al cantante Terry Glaze, el glam metal predominaba en la apariencia y estilo de la banda. Tras el despido de Glaze y la llegada de Phil Anselmo, la banda abandona sus raíces, muy influenciadas por Kiss, y se vuelca en un estilo más pesado, periodo marcado por la publicación del álbum de estudio Cowboys from Hell en 1990, que los catapultó a la fama. En 1992 lanzan su álbum Vulgar Display of Power, considerado uno de los álbumes pioneros del groove metal. En 1994, su disco Far Beyond Driven debuta en el nº 1 del Billboard 200, y de esta forma Pantera es considerada la responsable de "mantener con vida" al heavy metal en una década en la cual el grunge y el rock alternativo alcanzaban el mainstream. A mediados de la década de los 90, Pantera comenzó a sufrir numerosas discusiones y tensiones entre sus integrantes, debido principalmente al abuso de drogas de Anselmo, lo cual provocó un comportamiento errático y volátil por su parte, que lo hizo distanciarse de sus compañeros. El cantante atribuye la razón de su drogadicción a un problema crónico en su columna vertebral, causado por años de violentas actuaciones sobre los escenarios, lo que le provocaba un gran dolor. En el 2001 deciden tomarse un receso, y sus integrantes toman caminos distintos. Anselmo siguió con sus proyectos que ya había fundado anteriormente, Superjoint Ritual y Down, este último al lado de su compañero Rex Brown, bajista de Pantera, y los hermanos Abbott formaron la banda Damageplan, tras esperar e intentar reiterada y fallidamente contactar con Anselmo, quien se había sumergido en sus otros proyectos. Pantera se disolvió oficialmente en el 2003. Cualquier esperanza de una reunificación se vendría abajo con la trágica muerte de su legendario guitarrista Dimebag Darrell, que fue asesinado a tiros en el escenario Alrosa Villa en Columbus, Ohio, el 8 de diciembre de 2004 por un infante de marina llamado Nathan Gale, tras sólo unos segundos de haber comenzado el concierto de Damageplan. Solo unos pocos días antes de la tragedia, Anselmo había dicho a la revista Metal Hammer que los demás miembros de Pantera no tenían por qué opinar sobre su adicción, y que Dimebag merecía recibir una buena paliza. Estos comentarios terminaron de romper la amistad entre los miembros de la ya desaparecida banda. El cantante diría después que fue un comentario irónico, quejándose del sensacionalismo de la prensa del heavy metal en general, y aseguró que jamás habría sido capaz de lastimar a su difunto amigo, No obstante, Vinnie Paul no creyó esto, y acusó a Anselmo de ser el responsable indirecto de la muerte de su hermano, ya que su comportamiento y sus palabras podrían haber desencadenado las acciones del asesino de Darrell, de quien se comprobó que era esquizofrénico y estaba molesto por la separación de Pantera. La familia del guitarrista no le permitió a Anselmo asistir al funeral de su excompañero. A pesar de todo lo sucedido, muchos fanes de la banda reclamaban una reunión de sus miembros; pidiendo que Anselmo, ya recuperado de su adicción y de su problema en la espalda, y Vinnie Paul, quien fue parte del supergrupo Hellyeah, hicieran las paces en honor a la memoria de Dimebag Darrell. Pero todo quedó como recuerdo. También se había hablado la posibilidad de una reagrupación de la banda junto al guitarrista Zakk Wylde (Ozzy Osbourne y Black Label Society) quien fue un gran amigo del difunto guitarrista de Pantera y que posee un estilo de tocar bastante similar a él, tanto Anselmo como Wylde han manifestado que estaban dispuestos a reunirse, pero Vinnie Paul afirmaba que esa reunión no pasaría, ya que, en sus palabras dijo que Pantera sin Dimebag Darrel no era nada. En 2018 Vinnie Paul fallece debido a un ataque al corazón. Vinnie Paul y su hermano Dimebag Darrell nacieron en Dallas, Texas, en 1964 y 1966 respectivamente, hijos de Jerry Abbott, un músico de country que poseía un estudio de grabación en Pantego, Texas, por lo que ambos hermanos se acostumbraron rápidamente al mundo musical. En un principio, Vincent, apodado Vinnie Paul se interesó por la batería, por lo que sus padres le compraron una. Su hermano Darrell se sintió atraído a su vez por la batería de su hermano, pero luego, al ver a numerosos guitarristas de country y blues desfilando por los estudios de su padre, prefirió la guitarra eléctrica. Ambos hermanos, amantes de la música de rock de los setentas y del naciente heavy metal, con grupos como Black Sabbath y Kiss, decidieron formar un grupo musical que recogiese estas influencias, unidas al dominio que los hermanos Abbott iban tomando en sus respectivos instrumentos; este sueño se haría realidad en 1981. Pantera fue formada en Arlington, Texas, en 1981, por el cantante Donnie Hart, los guitarristas Darrell Abbott (apodado "Diamond Darrell" o "Dimebag Darrell") y Terry "Terrence Lee" Glaze, el bajista Tommy Bradford y el baterista Vinnie Paul, hermano de Darrell. Empezaron tocando covers de Quiet Riot y Van Halen, así como material propio encuadrado dentro del glam metal y el hair metal, en clubes nocturnos de Texas. En 1982, Hart abandonó la banda, y el guitarrista Glaze tomó la parte vocal. Poco tiempo después, Tommy Bradford fue reemplazado por Rex Brown, por ese entonces conocido como "Rex Rocker". Pantera se convirtió en una de las bandas favoritas del underground, aunque sus tours regionales nunca los llevaron más allá de Texas, Oklahoma y Luisiana. La banda empezó a telonear otros actos de glam metal, como los de bandas como Stryper, Dokken, y Quiet Riot, quienes a cambio promovieron el debut de Pantera, Metal Magic. Este álbum fue lanzado por el sello propio de la banda, con el mismo nombre, en 1983, y fue producido por el padre de los hermanos Abbott, Jerry Abbott, en los estudios Pantego. Luego, Pantera lanzó otros dos también desapercibidos álbumes: Projects In The Jungle y I Am The Night, en los que seguía dominando el glam metal en sus composiciones, aunque se fueron separando progresivamente de las de su disco antecesor. Este último disco, I Am the Night, vendió únicamente 25.000 copias, por lo que es en la actualidad una pieza de coleccionista. La influencia de dos discos capitales dentro del desarrollo del thrash metal (Reign in Blood de Slayer y Master of Puppets de Metallica) habían marcado la carrera de la banda hacia dicho estilo, en el que no cuadraba Glaze, por lo que fue despedido. Phil Anselmo, proveniente de Nueva Orleans, fue su reemplazo como vocalista después de meditar la entrada de cantantes como David Peacock o Matt L'Amour. Con él lanzaron el álbum Power Metal (1988), en el cual se encuentra la canción Proud To Be Loud, escrita por el guitarrista de Keel, Marc Ferrari. El estilo de dicho trabajo se orientó más hacia una mezcla del hard rock de los años ochentas y el naciente thrash metal, añadiendo además el estilo vocal de Anselmo, más áspero y rudo que el de Terry Glaze. El posterior cambio estilístico de la banda hizo de estos discos casi piezas de coleccionista, llegando a ser relegados al ostracismo por la propia banda, ya que no aparecen en la discografía presente en su página oficial. Poco después de la edición de Power Metal, Dimebag Darrell se presentó a las audiciones de Megadeth, para formar parte del grupo liderado por Dave Mustaine. Darrell había puesto como condición que se uniese también su hermano Vinnie Paul, pero como Megadeth ya tenía un baterista estable, Nick Menza, Darrell no fue contratado, siendo elegido en su lugar por Marty Friedman. Después de buscar durante un largo período un sello que acompañase a Pantera en la grabación del siguiente disco de la banda, Mark Ross, que trabajaba para Atco Records, vio un concierto de la banda en un local de Texas y convenció a su empresa para que fichase al grupo. Atco aceptó, y la banda remató el año 1989 grabando su siguiente material en los estudios Pantego. Cowboys From Hell (1990) marcó un cambio drástico en la música de Pantera, que se decantó por un sonido más aguerrido y poderoso dejando atrás el glam, condicionado por la voz aguardentosa de Anselmo y los gruesos riffs de guitarra de Dimebag Darrell. Editado el 24 de junio de 1990, sus canciones más destacadas son Domination, Cowboys From Hell, Cemetery Gates, Psycho Holiday y Primal Concrete Sledge. Muchos fanes, e incluso los miembros mismos de la banda, consideraron este trabajo como su debut oficial, Dimebag Darrell hizo sus riffs y solos más complejos, y Anselmo adoptó un estilo vocal aún más abrasivo que en Power Metal. Para presentar adecuadamente el trabajo, Pantera giró durante un tiempo con Exodus y Suicidal Tendencies, antes de abrir para artistas de la talla de Metallica, AC/DC o Judas Priest, tocando ante una multitud estimada de 1.6 millones de personas en Moscú para celebrar uno de los primeros conciertos de música occidental desde la caída de la Unión Soviética, Posteriormente llegó Vulgar Display Of Power (25 de febrero de 1992), que presentó aún mayor madurez, más personalidad y estilo propio, acercándose ligeramente hacia el hardcore. En el disco destaca la ralentización de los tempos y el estilo aún más abrasivo y violento si cabe de Anselmo en la parte vocal. De este disco cabría destacar los temas Walk, A New Level, This Love, Fucking Hostile, Rise, Mouth For War y Hollow. Los fanes y críticos consideraron este trabajo como el mayor esfuerzo de la banda. Además, el público acompañó al álbum, llegando al 44.º puesto en las listas del Billboard gracias, entre otros motivos, a la repercusión que tuvieron algunos de los vídeos del disco en la influyente MTV. Al poco de editar el disco, Pantera colaboró con el vocalista de Judas Priest, Rob Halford, para grabar el tema Light Comes Out of Black, que conformó la banda sonora de la serie Buffy the Vampire Slayer. Para ello, Halford tomó la voz principal y Anselmo los coros. Después de esta pequeña incursión en el estudio de grabación, la banda se sumerge en una gira por Japón, primero, e Italia después, en la que compartieron escenario con gigantes del metal como Black Sabbath y Iron Maiden. Tras Vulgar Display Of Power, en 1994 se publicó el disco Far Beyond Driven, ligeramente más directo y brutal que su antecesor, que debutó en el primer puesto del Billboard estadounidense y en las listas de Australia. De este disco se podrían destacar los temas 5 Minutes Alone, Becoming y I'm Broken (nominada al Grammy en la categoría de mejor interpretación de metal en 1995). Con este disco ganaron un gran respeto entre los fanes más acérrimos de la música más "brutal". La portada original del disco era explícita y causó un gran impacto, un ano atravesado por un taladro. Debido a las presiones recibidas, está fue reemplazada por la actual, el cráneo siendo atravesado por un taladro. En la gira de promoción del álbum, Pantera comenzó un tour por Sudamérica y en otro de los festivales "Monsters of Rock". Por esta época, Anselmo y los hermanos Abbott comenzaron a distanciarse, debido, según Anselmo, a unos dolores crónicos en la espalda que le impedían comportarse con normalidad. Para intentar solucionar estos problemas de espalda, Anselmo se volvió adicto al alcohol, algo que acabó distanciándolo más de los miembros de la banda según sus propias declaraciones. Esto provocó unas declaraciones suyas en un concierto en Montreal, Canadá, en las que dijo que "la música rap induce a matar blancos" ("rap music advocates the killing of white people") A raíz de estas desafortunadas declaraciones, Anselmo negó las acusaciones de racismo, pidiendo disculpas poco tiempo después, Los médicos le recomendaron pasar por el quirófano para solucionar dichos problemas, pero Anselmo se negó ya que debería pasar un año en total reposo, por lo que comenzó a usar la heroína como un reductor del dolor, volviéndose adicto a dicha droga. En 1995, Anselmo creó un proyecto llamado Down, paralelo a Pantera, junto con el bajista Todd Strange, los guitarristas Pepper Keenan y Kirk Windstein y el batería Jimmy Bower. Down editó su primer disco en septiembre del mismo año bajo el nombre de NOLA. Para el segundo disco del supergrupo, Strange sería reemplazado por el bajista de Pantera, Rex Brown, quien grabaría Down II: A Bustle in Your Hedgerow, el título es uno de los versos de la conocida canción de Led Zeppelin Stairway to Heaven. El siguiente álbum de Pantera, The Great Southern Trendkill, fue publicado en 1996 durante el final del auge del grunge y el surgimiento del rapcore y el nu metal. Cabe destacar los temas Floods, The Great Southern Trendkill, War Nerve, Drag The Waters y los complementarios Suicide Note Pt. I y Suicide Note Pt. II, dos canciones dedicadas por el cantante Phil Anselmo a su adicción a la heroína. Anselmo grabó sus partes vocales en un estudio de Nueva York junto con Trent Reznor de Nine Inch Nails, mientras el resto del grupo grabó lo que restaba en Texas, una prueba más del progresivo distanciamiento que sufría Anselmo con respecto al resto de integrantes de Pantera. El 13 de julio de 1996, Anselmo sufrió una sobredosis de heroína una hora después de un concierto perteneciente a la gira que la banda estaba realizando a lo largo del estado de Texas. Su corazón se paró durante cinco minutos, por lo que los médicos que lo atendieron le administraron una fuerte dosis de adrenalina y fue enviado al hospital. Después de despertarse, Anselmo agradeció a sus compañeros de banda el apoyo recibido durante su sobredosis, aunque esto no hizo gran cosa en lo que respecta al distanciamiento de Anselmo con el resto de miembros, ya que los Abbott estaban avergonzados por el comportamiento del vocalista, En 1997 publican el disco en directo Official Live: 101 Proof, recopilando las mejores canciones de sus cuatro discos anteriores tocadas en la gira Tourkill entre 1996 y 1997, demostrando su brutal puesta en escena y su sonido en directo, uno de los puntos fuertes del grupo. También añadieron dos temas inéditos grabados en estudio, Where You Come From y I Can't Hide, ambas grabadas en 1997. Dos semanas antes de la publicación de dicho álbum, la banda consiguió su primer disco de platino de su carrera por Cowboys from Hell. Apenas cuatro meses después, Vulgar Display of Power y Far Beyond Driven consiguieron este premio también, Durante 1997, Pantera también tocó en el festival Ozzfest, siendo cabezas de cartel junto con Ozzy Osbourne, Black Sabbath, Marilyn Manson o Machine Head. Un año después repetirían la experiencia, tocando en el Ozzfest de 1998 junto con Slayer, Foo Fighters y Soulfly. A lo largo de estos dos años, Anselmo se embarcó en más proyectos paralelos, entre los que hay que destacar su colaboración como guitarrista en el álbum de Necrophagia Holocausto de la Morte, y ayudó a los grupos de black metal Viking Crown y Eibon. Por su parte, los hermanos Abbot y Rex Brown formaron Rebel Meets Rebel junto con el vocalista David Allan Coe, en el que añadieron sonidos country al sonido de Pantera. Tras los rumores de ruptura del grupo debido a la gran cantidad de proyectos de sus componentes, el grupo contraataca con el que sería su último disco, Reinventing the Steel (2000), recuperando un sonido más pesado donde las raíces de Black Sabbath se sienten más que en sus últimos trabajos. Las canciones destacadas de este álbum son Goddamn Electric, Yesterday Don't Mean Shit, You've Gotta Belong To It y Revolution Is My Name (primer single y vídeo en el que se puede ver a los componentes en su preadolescencia pintados como los componentes de Kiss). Este mismo año, Pantera se volvió a embarcar en otro Ozzfest junto con Ozzy Osbourne, Incubus, Queens of the Stone Age o Black Label Society. Una vez finalizado el Ozzfest, la banda hizo gira por Australia, Estados Unidos, Corea del Sur y Europa. Sin embargo, los atentados del 11 de septiembre de 2001 hicieron que la gira por Europa se cancelase, regresando los miembros de Pantera a sus hogares en Estados Unidos. Una vez en casa, los hermanos Abbott habían planeado componer y grabar otro disco con Pantera, algo que nunca pudo llevarse a cabo. Durante esta época, Anselmo fundó nuevos proyectos, como Superjoint Ritual, y editó el segundo álbum de Down. El baterista Vinnie Paul expresó que Anselmo le había dicho que no giraría durante el tiempo que Pantera estuviese parada, algo que supuestamente rompió el cantante al organizar la gira de presentación del segundo trabajo de Down y el disco de Superjoint Ritual. Sin embargo, y según declaraciones de Anselmo, el descanso de Pantera y la realización de sus giras con Down y Superjoint Ritual se llevaron a cabo "de mutuo acuerdo". La banda se disolvió oficialmente en 2005, cuando los Abbott (Dimebag Darrell y Vinnie Paul) se dieron cuenta de que Anselmo les había abandonado y que no retornaría. La ruptura de la banda no fue en absoluto amistosa y trascendió del mundo musical para llegar a informativos y periódicos de tirada general. Mientras Darrell y Vinnie Paul, junto con los técnicos de Pantera y demás ayudantes, juraron y perjuraron que habían intentado contactar por teléfono con Anselmo, este adujo que nadie se había interesado por él. Tal fue el enfrentamiento entre Anselmo y los hermanos Abbott, que el vocalista, en una entrevista a la revista Metal Hammer, dijo: "Dimebag merece que le peguen una buena paliza". Anselmo diría después que fue un comentario irónico, algo que Vinnie Paul no creyó, empeorando más, si cabe, las relaciones entre los miembros de la ya desaparecida banda , En julio de 2004, Vulgar Display of Power alcanzó de nuevo el disco de platino, y The Great Southern Trendkill consiguió también dicha certificación. Un año después de la ruptura de Pantera, los hermanos Abbott fundaron Damageplan junto con Bob Zilla al bajo y Patrick Lachman como vocalista para editar un único disco, New Found Power, en 2004. Durante la gira de presentación de New Found Power ocurrió la catástrofe. El 8 de diciembre de 2004, exactamente veinticuatro años después del asesinato de John Lennon, durante el concierto en el local Alrosa Villa, en Columbus, Ohio, Dimebag Darrell fue asesinado a quemarropa por Nathan Gale, un supuesto fan alienado de la banda que fue después abatido por un policía mientras portaba un rehén. Aparte del malogrado Darrell, tres personas más sufrieron heridas mortales, entre las que se encontraban Nathan Bray, un fan de la banda de veintitrés años; Erin Halk, empleado del local de veintinueve años de edad; Jeffrey Thompson, jefe de seguridad de Damageplan, con cuarenta años. Chris Paluska, mánager de la gira, y John Brooks, técnico de sonido de la batería, fueron también heridos por Gale. Esto provocó un shock entre los fanes metaleros, convirtiendo a Dimebag Darrell en una leyenda. Aunque Anselmo declaró poco después del asesinato de Darrell que estaba meditando reunir a Pantera, Vinnie Paul dijo un año después que esa reunión "nunca pasará". Paul declaró también que era imposible una reconciliación con Anselmo, Dimebag Darrell y su hermano Vinnie Paul estaban de gira con Damageplan, a pocos días de finalizar e irse a casa por Navidad. Según afirma Rita Haney, la novia de Dimebag Darrell, los últimos días antes de su muerte, Dimebag Darrell la llamaba mucho por teléfono, contándole que estaba harto de Pat Lachman (vocalista de Damageplan) con el que tenía discusiones ya que este no quería cantar canciones de Pantera, cansado de la gira y con ganas de volver a casa por Navidad. Descorazonadoramente, el 8 de diciembre de 2004, cuando Damageplan salió al escenario en el Alrosa Villa en Columbus, Ohio, en no más de 10 segundos tras empezar a tocar la primera canción, Dimebag Darrell fue disparado 5 veces en la cabeza por un exmarine esquizofrénico llamado Nathan Gale, que también disparó a varias personas del público y del equipo de Damageplan. Afortunadamente no tuvo tiempo de llegar a localizar a Vinnie Paul, al que buscaba desesperadamente tras disparar a su hermano, para también acabar con su vida. Dimebag Darrell falleció en el momento, junto con varias personas más asesinadas por el exmarine esa noche. La policía llegó al lugar tras dos minutos después de haber recibido la primera llamada de emergencia, y Nathan Gale fue abatido por el agente de policía James Niggemeyer, que le disparó en la cara cuando este se disponía a matar a un rehén, John "Kat" Brooks, miembro del equipo de Damageplan y antiguo amigo y miembro del equipo de Pantera, que se enfrentó al asesino intentando quitarle la pistola, salvando así la vida del rehén y la de muchas más personas. Según las investigaciones policiales, Nathan Gale sufría de esquizofrenia y había sido expulsado del cuerpo de los marines. Estaba determinado a cometer un asesinato contra Dimebag Darrell y Vinnie Paul, ya que decía que Pantera le robaba sus letras. Además, fan de Pantera, se cree que la ruptura de la banda le llevó a querer cometer los asesinatos contra sus miembros como venganza. Al parecer, Nathan Gale había provocado un altercado en el anterior concierto que Damageplan había dado en Columbus, Ohio, queriendo colarse en el escenario afirmando que Pantera le robaba sus letras, pero fue expulsado del concierto por los miembros de seguridad. El 22 de junio de 2018 Vinnie Paul muere en su casa en Las Vegas mientras dormía; dos meses después se reveló que el músico falleció a causa de una miocardiopatía dilatada. Sus restos fueron sepultados al lado de la tumba de su hermano y de su madre Carolyn en el cementerio Moore Memorial Gardens de Arlington, Texas. Pantera ha aparecido en multitud de actos y programas de entretenimiento. La serie animada Beavis and Butt-Head incluyó los vídeos de las canciones "Mouth for War", "Psycho Holiday", "I'm Broken" y "This Love". En dicha serie, sus protagonistas comentaban los vídeos mientras las interpretaban. Aunque dichos personajes suelen comentar de forma negativa la mayoría de los vídeos que incluyen en su serie, con los de Pantera realizan una excepción al comentarlos relativa y favorablemente. "Walk" fue usada durante la retransmisión del programa de lucha libre Extreme Championship Wrestling por el luchador Rob Van Dam. La música de Pantera ha aparecido también en multitud de videojuegos, entre los que destacan Doom (en el que aparecen los temas "Rise", "Mouth for War", "Regular People (Conceit)" y "This Love", aunque todas ellas sin parte vocal), y Guitar Hero, en el que la canción "Cowboys from Hell" es una de las más difíciles de tocar Guitar Hero: Warriors Of Rock con la canción "I'm Broken", en 2008 la cantante estadounidense Madonna hizo un cover de la canción A New Level mezclándola con el éxito Hung Up durante el Sticky and Sweet Tour, Por otro lado, muchas canciones de Pantera que no aparecen en ningún álbum oficial de la banda, sí lo hacen en las bandas sonoras de, por orden cronológico, Buffy the Vampire Slayer, El cuervo, Cuentos de la cripta, Strangeland, Detroit Rock City, Heavy Metal 2000, Dracula 2000 y La matanza de Texas. También una canción parecida a "Death rattle" apareció en el capítulo Semana de prehibernación de la serie Bob Esponja apareciendo en los créditos "Invitado Especial Grupo Pantera". El estilo de Pantera ha sido numerosas veces sometido a crítica debido al parecido de este con el de la banda Exhorder. Muchos fanes de dicha banda acusaron a Pantera de haber robado su estilo, el groove metal que luego popularizarían. La biografía presente en Allmusic dice que, si Exhorder hubiera tenido un presupuesto mayor de grabación y una gran compañía detrás, quizá se habría hablado de unos "nuevos Pantera", Otro músico que cree en un posible plagio de Pantera a Exhorder es Dave Mustaine, líder de Megadeth, quien lo dijo en una entrevista al canal MTV en 1994. En el polo opuesto se encuentra el crítico musical Brian Davis, quien trabaja para la emisora de radio de habla inglesa por internet, KNAC, al decir que existen algunas similitudes entre el sonido de Exhorder y el de Pantera, pero que decir que Pantera robó el sonido de Exhorder es excesivo. A pesar de la controversia que hubo en su día acerca de un posible plagio entre las dos formaciones, el vocalista de Exhorder, Kyle Thomas, declaró que no le importa la polémica que hay alrededor de su estilo, argumentando que los miembros de Pantera y los de Exhorder son grandes amigos y que lamentaba la muerte de Darrell. La banda está considerada como una de las fundamentales para asentar las bases del groove metal y una de las más influyentes formaciones de metal de la década de los noventas. Pantera ha sido incluida en numerosas listas de importancia dentro de la historia del heavy metal y del hard rock, llegando al quinto puesto de la lista de la MTV de las 10 mejores bandas de heavy metal de la historia , así como aparecer en el puesto número 45 de la lista de VH1 de las 100 mejores bandas de hard rock.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/308558
Label: Atco 6444Year: 1966Condition: M-Price: $20.00Their second smash single after Wild Thing, this one rocks hard on both sides. Great slashing guitars and, on the B side, a quirky Bo Diddley beat as well. These tracks were also released on Fontana. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has Mint labels and Near Mint vinyl and audio.
This week’s show will feature music from Judas Priest, Ratt, Joan Jett and The Blackhearts Europe, Loverboy, and more... “Bang Bang”- Danger Danger - Danger Danger - CBS Records (1982) “You’ve Got Another Thing Comin”- Judas Priest - Screaming For Vengeance - CBS Records (1982) “Poison”- Alice Cooper - Trash - Epic (1989) “Into The Fire”- Dokken - Tooth And Nail - Elektra (1984) “747 (Strangers In The Night)”- Saxon - Wheels Of Steel - Carrere Records (1980) “Panama”- Van Halen - 1984 - Warner Bros. (1984) “Kickstart My Heart”- Motley Crue - Dr. Feelgood - Elektra (1989) “Love Removal Machine”- The Cult - Electric - Sire (1987) “You Think You’re Tough”- Ratt - Ratt EP - Music For Nations (1983) “I Hate Myself For Loving You”- Joan Jett and The Blackhearts - Up Your Alley - Blackheart Records/CBS (1988) “Owner Of A Lonely Heart”- Yes - 90125 - ATCO Records (1983) “Tom Sawyer”- Rush - Moving Pictures - Anthem Records (1981) “Lucky Ones” - Loverboy - Get Lucky - Columbia (1981) “Don’t Cry”- Asia - Alpha - Geffen (1982) “Fight Fire With Fire”- Kansas - Drastic Measures - CBS Records (1983) “Superstitious”- Europe - Out Of This World - Epic (1987) “Back Where You Belong” - 38 Special - Tour De Force - A&M Records (1983) > Intro clip taken from The Running Man Braveworld Productions/HBO (1987) > Theme song “Forever Running by B-Movie Sire Records (1985) > Background song “DNA” by A Flock Of Seagulls Jive Records (1982)
Show #864 Blues On The Fly 01. Bluesiana Triangle - Shoo Fly, Don't Bother Me (10:14) (Bluesiana Triangle, Windham Hill Records, 1990) 02. Willie Buck - Can't Say Something Good About Me (4:32) (Willie Buck Way, Delmark Records, 2019) 03. Pat Sheridan Band - Hit The Road (3:45) (Always Been An Outlaw, self-release, 2020) 04. Anthony Geraci - Fly On The Wall (3:54) (Why Did You Have To Go, Shining Stone Records, 2018) 05. Reid Jamieson - Nobody Told Me (3:47) (John 20:20, self-release, 2020) 06. John Lennon - Gimme Some Truth (3:14) (Imagine, Apple Records, 1971) 07. Jimmy Johnson - Down In The Valley (4:38) (Every Day Of Your Life, Delmark Records, 2019) 08. Richard Koechli - These Blues (3:55) (The Real Chill, Remembering J.J. Cale, self-release, 2020) 09. Jarkka Rissanen & Sons Of The Desert - The Fly (1:58) (Hybrid Soul, Humu Records, 2017) 10. Durham County Poets - The Moon Won't Go Down (4:29) (Hand Me Down Blues, self-release, 2019) 11. Nick Jameson - When The Blues Come Calling (5:35) (Already Free, Bearsville Records, 1977) 12. Rod Piazza - My Kind Of Baby (2:57) (Bluesman, LMI Records, 1973) 13. Howlin' Wilf & the Veejays - If I Could (3:48) (Blue Men Sing The Whites, Waterfront Records, 1987) 14. Van Halen - Eruption/You Really Got Me (4:20) (Van Halen, Warner Bros Records, 1978) 15. Andy J. Forest & Kenny Holladay - The Fly (3:39) (Hogshead Cheese, Appaloosa Records, 1995) 16. Jim Kirkpatrick - Gravy Train (3:28) (Ballad Of A Prodical Son, US One Records, 2020) 17. Dr. John - Shoo Fly Marches On (3:17) (In The Right Place, Atco Records, 1973) 18. Dave Specter & Billy Branch - The Ballad Of George Floyd (5:14) (Single, Delmark Records, 2020) 19. The Ebony Hillbillies - Another Man Done Gone/Hands Up Don't Shoot (3:35) (5 Miles From Town, EH Music, 2017) 20. Nico Backton & Wizards Of Blues - Bad Times (3:28) (Roots And Stories, Naked, 2009) 21. Marvin Pontiac - Little Fly (1:42) (Legendary Marvin Pontiac Greatest Hits, Strange & Beautiful Music, 1999) 22. Downchild Blues Band - The Argument (4:23) (Dancing, Special Records, 1974) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
Label: Atco 6676Year: 1969Condition: M-Price: $16.00This great psych-rock rarity is more evidence for the fact that the late 1960s was a very strange time indeed. Strange... but satisfying! This amazing track not only represents psychedelic rock in its finest tradition, but its audio experiments anticipate modern rock and its fuzz guitar breaks are nothing but heavy metal being formed. The flip side is also a fine prize. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. The labels are pristine, and the vinyl looks almost untouched. The audio grades very close to Mint.
Label: Atco 6217Year: 1962Condition: MLast Price: $25.00. Not currently available for sale.This is not a particularly valuable record, but it's one of my personal favorites and is on my perpetual hunt list everywhere I shop. It's easy to find copies in trashed condition, but finding one with Near Mint or better audio has proven difficult. Note that we give this one a 2-star recommendation: That means, if you're a fan of Easy Listening or Pop Instrumentals, you must have a copy of this single. Even if you're not, I think you'll like it... such a gorgeous clarinet tone, what's not to like? After all, note that it was also a hit on the Black/RnB singles chart in 1962... quite a broad appeal. Credits include "with the Leon Young Chorale." Check out the mp3 "snippet" of it! Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has no notable flaws, grading Mint across the board (Labels, Vinyl, Audio).
Label: Atco 6491Year: 1967Condition: M-Last Price: $12.50. Not currently available for sale.The B side of this single is well worth the price of admission all by itself... but of course, who could live without hearing the goofy A side once in awhile? Note: This scan is a representative image from our archives. This beautiful copy comes in a vintage Atco Records factory sleeve. Its labels and vinyl are very nearly Mint, and the audio itself is gloriously pristine.
Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Dream Theater es una banda estadounidense de metal progresivo, formada en 1985 con el nombre de Majesty por Mike Portnoy, John Myung y John Petrucci durante su estadía en el Berklee College of Music de Massachusetts. Poco a poco, fueron dejando sus estudios para dedicar más atención a la banda que terminaría llamándose Dream Theater. A pesar de que se sucedieron algunos cambios en la formación inicial, los tres miembros originales permanecieron junto a James LaBrie y Jordan Rudess hasta el 8 de septiembre de 2010, cuando Portnoy abandonó el grupo. En octubre de ese mismo año, la banda organizó unas audiciones para el reemplazo del puesto de batería. El 29 de abril de 2011 se reveló que Mike Mangini sería el nuevo baterista permanente del grupo. La banda es conocida por el virtuosismo técnico de sus instrumentistas, quienes han ganado numerosos premios a lo largo de su carrera. John Petrucci ha sido elegido como el tercer guitarrista de la gira G3 en seis ocasiones, más que ningún otro invitado. En 2009 fue también nombrado como el segundo mejor guitarrista de metal por Joel McIver en su libro «The 100 Greatest Metal Guitarists», así como uno de los «10 mejores guitarristas de shred de toda la historia» por la revista GuitarOne. El exbaterista Mike Portnoy ha ganado 23 premios de la revista Modern Drummer y fue la persona más joven (con 37 años) en ser incluida en el Rock Drummer Hall of Fame. Por su parte, su sustituto, Mike Mangini, tiene en su haber 5 récords en el World's Fastest Drummer Extreme Sport Drumming, que lo acreditan como el baterista más rápido del mundo, En una encuesta dirigida por el sitio de música especializado MusicRadar entre agosto y septiembre de 2010, John Myung fue elegido como el mejor bajista de todos los tiempos. Por su parte, los usuarios de la misma web eligieron a Jordan Rudess como el mejor teclista de la historia, Además, Rudess obtuvo en 1994 el galardón de Best New Talent («mejor talento nuevo») de la revista especializada Keyboard Magazine y se le califica como una leyenda en los teclados, La banda fue, asimismo, incluida en el Long Island Music Hall of Fame en 2010, El álbum más vendido de la banda es Images and Words, de 1992, que obtuvo un Disco de Oro y alcanzó el número 61 en la cartelera Billboard 200, Tanto su disco de 1994, Awake, como el de 2002, Six Degrees of Inner Turbulence, entraron también en las listas en los puestos 32 y 46 respectivamente, y recibieron críticas mayoritariamente positivas. Por otro lado, Six Degrees of Inner Turbulence hizo que Dream Theater fuese elegida como banda inicial para la sección musical de Entertainment Weekly durante la semana de su publicación, a pesar de que la revista suele decantarse por música mainstream. En 2007 Systematic Chaos entró en la lista Billboard estadounidense en el puesto 19. Hasta 2008 Dream Theater había vendido más de 2,1 millones de copias en Estados Unidos y, hasta 2011, más de 12 millones en todo el mundo, El decimoprimer álbum de estudio del grupo, A Dramatic Turn of Events, salió a la venta el 13 de septiembre de 2011. Se posicionó en el octavo lugar de la lista estadounidense de Billboard 200, dos puestos por debajo de su anterior trabajo, Black Clouds & Silver Linings, y entró en el primer puesto de la cartelera UK Rock Chart. El álbum es el primer trabajo de la banda con Mike Mangini, debido a la marcha de Mike Portnoy, El 30 de noviembre de 2011 se anunció que «On the Backs of Angels» había sido nominada para el Premio Grammy en la categoría de «Mejor Interpretación de Hard Rock/Metal», la primera canción de Dream Theater en conseguirlo. El 23 de septiembre de 2013, la banda lanzó a la venta su duodécimo álbum de estudio denominado de forma homónima, Dream Theater. Se trata del segundo álbum de la banda con Mike Mangini en la batería y el primero en el que participa en las labores de composición del mismo. Su single The Enemy Inside ha sido nominado a los Premios Grammy, en la categoría «The Best Metal Performance» convirtiéndose en la segunda nominación de la banda. Por otra parte, el 29 de enero del 2016 salió a la luz su decimotercer álbum llamado "The Astonishing" el tercero con Mike Mangini y con un estilo más progresivo y sinfónico, bajo el sello de RoadRunner Records. Dream Theater nació en Massachusetts en 1985 cuando el guitarrista John Petrucci, el bajista John Myung y el baterista Mike Portnoy decidieron formar una banda mientras estudiaban en el Berklee College of Music. El trío comenzó versionando canciones de Rush y Iron Maiden en los cuartos de ensayo de Berklee. Myung, Petrucci y Portnoy decidieron unirse bajo el nombre Majesty. De acuerdo a la documentación incluida en Score, mientras hacían cola para un concierto de Rush en el Berklee Performance Center estaban escuchando canciones del grupo en una radiocasetera, cuando Portnoy comentó que el final de la canción «Bastille Day» (del disco Caress of Steel) sonaba «majestuosa» («majestic», en inglés); fue ahí cuando decidieron cuál sería el nombre de la banda. El trío buscaba cubrir las restantes posiciones en la agrupación, por lo que Petrucci pidió a su compañero de instituto Kevin Moore que se hiciera cargo del teclado. Después de que aceptara el puesto, otro antiguo amigo fue reclutado como vocalista principal, Chris Collins, después de que los miembros de la banda lo escucharan cantar la canción «Queen of the Reich» de Queensrÿche, Durante esta época, las agitadas agendas de Portnoy, Petrucci y Myung les obligaron a abandonar los estudios para concentrarse en su música, pensando que no tenían nada más que aprender allí. Moore también abandonó su universidad para concentrarse en la banda. Durante los primeros meses de 1986 dieron varios conciertos en la zona próxima a Nueva York, lo que aprovecharían para grabar una serie de demos, titulada The Majesty Demos. El pedido inicial de 1000 unidades se agotó en seis meses y las regrabaciones del casete tuvieron mucha popularidad en los círculos de metal progresivo. Majesty Demos sigue aún disponible en su versión original, a pesar de haber sido publicado oficialmente en CD a través de YtseJam Records, propiedad de Mike Portnoy. En noviembre de 1986, después de unos meses componiendo y tocando juntos, Chris Collins fue despedido. Pasó un año hasta que encontraron a un sustituto, Charlie Dominici, que pasó satisfactoriamente su audición y tenía mucha más experiencia que cualquier otro en el grupo. Con la estabilidad que el nuevo vocalista reportó a la banda, se permitieron aumentar el número de conciertos alrededor de Nueva York y lograron atraer una considerable atención. Poco después de haber contratado a Dominici, un grupo de Las Vegas también llamado Majesty, amenazó a la banda con tomar acciones legales por una violación de su propiedad intelectual, en relación al uso de su nombre, por lo que la banda se vio forzada a adoptar una nueva denominación. Se propusieron varias alternativas, entre las que se barajaron Glasser, Magus y MI, que fueron todas rechazadas, a pesar de que la banda actuó como Glasser por una semana, si bien terminaría desechándose al no contar con el favor de los fanes. Un día, el padre de Portnoy sugirió el nombre de Dream Theater, el mismo de un pequeño teatro que dirigía en Monterrey (California), y decidieron adoptarlo, Con su nuevo nombre y una formación estable, Dream Theater se concentró en componer material nuevo, a la vez que daban más y más conciertos en su Nueva York y los estados vecinos. Su actividad llamó la atención de Mechanic Records, una división de MCA, lo que condujo a la firma del primer contrato de Dream Theater el 23 de junio de 1988, y a la grabación de su álbum debut, grabado en los estudios Kajem Victory en Gladwyne, Pensilvania. Les tomó diez días grabar las pistas básicas y unas tres semanas el álbum completo. En 1989 publicaron When Dream and Day Unite, con un despliegue de medios mucho menor que el que la banda había anticipado, ya que Mechanic terminó rompiendo la mayoría de sus promesas financieras previas a la firma del contrato, de manera que la banda se vio restringida a dar tocar en torno a Nueva York. La gira promocional del álbum consistió en solo cinco conciertos locales, el primero de ellos como teloneros del clásico trío de power rock Zebra, en el Sundance en Bay Shore, Nueva York, Después del cuarto show, Charlie Dominici dejó la banda debido a que empezaban a sentir las limitaciones que suponía su voz para el estilo vocal que querían, más parecido al de Bruce Dickinson o Geoff Tate, además de que su presencia en el escenario no era la que buscaban para un frontman o líder. Poco después, no obstante, la banda Marillion pidió a Dream Theater que los telonearan en una actuación en el Ritz de Nueva York, así que le dieron a Dominici la oportunidad de actuar una última vez. Pasarían dos años hasta que encontrasen un vocalista que lo reemplazara. Tras la marcha de Dominici, Dream Theater luchó con éxito por ser liberados de su contrato con Mechanic y comenzaron a escribir material para su próximo álbum y realizar audiciones a cantantes. En esta búsqueda escucharon a más de 200 personas, entre ellas John Arch, exlíder de Fates Warning, que resultaron rechazadas en su totalidad. A mediados de 1990, en una actuación en Nueva York, presentaron a Steve Stone como su nuevo vocalista. Habían grabado juntos varios demos de forma satisfactoria, pero solo dieron un concierto con él, que terminó siendo un desastre y Stone fue despedido. La banda dijo que había estado bailando por el escenario de una manera extraña, al parecer haciendo una mala imitación de Bruce Dickinson. Además, en varias ocasiones se dirigió al público de forma desafortunada con «Scream for me Long Beach!» (en español, «¡Grita para mí Long Beach!»), cuando estaban tocando en Bayshore, lo que avergonzó a la banda aún más. Pasaron cinco meses hasta que Dream Theater ofreció otro concierto, esta vez completamente instrumental (bajo el nombre YtseJam). Hasta 1991 la banda estuvo centrada en la contratación de otro cantante y escribieron la mayor parte de lo que se convertiría en Images and Words en 1992. En enero de 1991, Kevin James LaBrie, de la banda de glam metal Winter Rose, voló a Nueva York desde Canadá para una audición. Improvisó tres canciones con el grupo, tras las que fue inmediatamente contratado para el puesto de vocalista. Tras su incorporación, LaBrie decidió dejar su primer nombre Kevin, para evitar confusiones con el otro Kevin de la banda. Durante los siguientes meses, volvieron a dar conciertos (aún en su mayoría alrededor de su ciudad), mientras trabajaban en las pistas de voz de las canciones compuestas antes del ingreso de LaBrie. Derek Shulman y Atco Records (ahora EastWest), una división de Elektra Records, firmaron un contrato de siete álbumes con Dream Theater sobre la base de una maqueta de tres canciones (posteriormente disponible como «The Atco Demos» a través del club de fanes de la banda). El primer disco que grabaron bajo su nuevo contrato discográfico fue Images and Words, en 1992. Para la promoción la disquera publicó un CD sencillo y un videoclip para la canción «Another Day», pero no tuvieron un impacto comercial significativo. La canción «Pull Me Under», sin embargo, consiguió una buena presencia en la radio, a pesar de no contar con ningún tipo de promoción organizada por la banda o el sello. Como respuesta, Atco produjo un videoclip para esta canción, que tendría bastante exposición en la MTV. Para la canción «Take the Time» sacaron un tercer video, pero sin que tuviera un éxito similar. El éxito de «Pull Me Under» y la gira que realizaron sin descanso por Estados Unidos y Japón hicieron que Images and Words lograse un disco de oro y uno de platino en esos países. En 1993 le siguió una gira por Europa, que incluía un show en el afamado Club Marquee de Londres, que fue grabado y publicado como Live at the Marquee, el primer álbum oficial en vivo del grupo. Además, reunieron una compilación de sus conciertos japoneses en Images and Words: Live in Tokyo. Ávidos de trabajar en material fresco, Dream Theater volvió al estudio en mayo de 1994 para grabar Awake, su tercer álbum de estudio, que se publicó el 4 de octubre de 1994 y fue recibido con controversia entre sus fanes. Poco antes de la mezcla del disco, Moore anunció al resto del grupo que simplemente ya no estaba interesado en dar giras y que no le agradaba el estilo musical de Dream Theater, por lo que dejaría la banda para concentrarse en sus propios intereses musicales, Debido a este imprevisto, tuvieron que buscar otro tecladista antes de plantearse un tour. Entre los nombres más conocidos que se presentaron a las audiciones se encontraba Jens Johansson, a la postre miembro de Stratovarius, pero los miembros de la banda estaban impacientes deseando cubrir la posición con el teclista Jordan Rudess. Portnoy y Petrucci descubrieron a Rudess en la revista Keyboard Magazine, donde se le reconocía como «mejor nuevo talento» en una encuesta entre lectores, y lo invitaron a tocar con la banda en una actuación de prueba en el Foundations Forum en Burbank, California, Para los miembros de Dream Theater el show había ido realmente bien y pidieron a Rudess que se incorporara al grupo, pero éste rehusó para hacer una gira con Dixie Dregs, que le garantizaba más reconocimiento personal. Ante esta situación, contrataron para la gira promocional de Awake a un antiguo compañero del Berklee College, Derek Sherinian, que había tocado con Alice Cooper y Kiss. Al concluir el tour, Sherinian se convirtió en el sustituto de Moore a tiempo completo, Como se encontraban otra vez con un nuevo miembro, Dream Theater no empezó inmediatamente a trabajar en material nuevo. Seguidores de todo el mundo, agrupados en la lista de correo electrónico YtseJam (la principal forma de comunicación entre los fans de la banda en aquel entonces), comenzaron a presionar a la banda para que publicara oficialmente la canción «A Change of Seasons». La habían compuesto en 1989 con la intención de que formara parte de Images and Words, pero con casi 17 minutos de duración fue considerada demasiado larga para un álbum de estudio. Sin embargo, la banda la tocaba en conciertos y siguió revisándola hasta 1995. La petición fue atendida, así que la banda entró en los BearTracks Studios en Nueva York en mayo de 1995 para reescribir y grabar la canción, que terminó siendo de 23 minutos y contando con una contribución significativa de Sherinan. Para acompañar la canción, la publicaron en un EP junto con una colección de covers, grabados en directo en una actuación en el Ronnie Scott's Jazz Club de Londres ese mismo año, de artistas como Elton John, Deep Purple, Led Zeppelin, Queen, Genesis, Kansas, Journey y Pink Floyd. Después de una minigira para promocionar A Change of Seasons, la banda se tomó un descanso de unos meses. Mientras tanto, publicaron a través de su club de fanes oficial un CD especial de Navidad, que consistía de varias canciones inéditas grabadas en conciertos de los primeros años de la banda, Además, durante este descanso, los distintos miembros del grupo trabajaron individualmente en componer más temas para sus futuras colaboraciones. En este tiempo hubo varios cambios en EastWest y el principal contacto de Dream Theater en la discográfica fue despedido. Producto de una relación muy distinta a la que había cultivado el anterior personal de EastWest, el nuevo equipo presionó a la banda para que escribiera un álbum más accesible. A mediados de 1997, entraron al estudio para componer su siguiente trabajo. Además de presionar al grupo para que adoptara un sonido más mainstream, la compañía contrató al productor y compositor Desmond Child para pulir con Petrucci la letra de su canción «You or Me». La banda al completo volvió a trabajar en la música de la canción, que apareció en el disco como «You Not Me» con un coro que recordaba vagamente a la original. También se notó la mano de Child en este álbum en un giro hacia composiciones menos complejas y más radiables. La banda compuso material suficiente casi para dos discos, incluyendo una larga continuación de 20 minutos para la canción de Images and Words «Metropolis Pt. 1: The Miracle and the Sleeper». No obstante, la discográfica no permitió la publicación de un álbum doble, ya que entendía que una grabación de 140 minutos no sería digerible para el público general. James LaBrie también se mostró a favor de un solo disco, Las canciones desechadas fueron publicadas luego en The Falling into Infinity Demos por YtseJam Records, El material que sobrevivió fue publicado en el álbum Falling into Infinity, que tuvo una recepción heterogénea entre los fanes más familiarizados con el nuevo sonido del grupo. Aun cuando el disco sonaba moderadamente progresivo, canciones como «Hollow Years» y «You Not Me» hicieron pensar a algunos que estaban ante el comienzo de una etapa más comercial de la banda; en cualquier caso, el álbum fue una decepción de crítica y ventas. Aunque Portnoy no lo comentó en público en aquel entonces, en un comentario del DVD de 2004 5 Years in a Livetime reveló que llegó a desmotivarse tanto durante este periodo que consideró la separación de la banda. Durante la gira europea de Touring into Infinity se grabaron dos conciertos, en Francia y los Países Bajos, para un álbum en directo titulado Once in a LIVEtime, que fue publicado aproximadamente a la vez que el vídeo 5 Years in a Livetime, que narraba el periodo entre la marcha de Kevin Moore y la gira promocional de Falling into Infinity. En 1997, Mike Varney, de Magna Carta Records, invitó a Portnoy a formar un supergrupo progresivo para trabajar en un álbum; esta colaboración sería la primera de una larga lista de proyectos individuales de los miembros de Dream Theater. La formación del grupo en cuestión era: Portnoy en la batería, Petrucci en la guitarra, Tony Levin en el bajo y Jordan Rudess, que se había separado de Dixie Dregs, en los teclados. La banda tomó el nombre Liquid Tension Experiment y sirvió como el medio ideal para que Portnoy y Petrucci pudieran cortejar a Rudess para que se uniera a Dream Theater. Finalmente, en 1999, aceptó la oferta, por lo que se convirtió en el tercer teclista a tiempo completo de la banda, sustituyendo a Sherinian. Con un nuevo miembro, Dream Theater volvió al estudio para grabar su siguiente álbum, esta vez con un completo control sobre el proceso creativo, fruto de un últimatum de Portnoy a la compañía. Retomaron la continuación de «Metropolis Part 1» en la que trabajaron durante las sesiones de Falling Into Infinity, que no habían usado en el disco anterior, y decidieron expandir la canción de 20 minutos a un álbum conceptual completo, que trataba temas como la reencarnación, el asesinato y la traición. Procuraron mantener un cierto nivel de secretismo en torno al proceso de composición y grabación, sin embargo, la fecha de publicación y una lista de canciones se filtraron contra los deseos de la banda. En 1999 se publicó Metropolis Pt. 2: Scenes from a Memory con gran aclamación de la crítica. Muchos fanes y críticos la consideraron la obra maestra de Dream Theater, a pesar de que solo alcanzó el puesto 73 en el US album chart. El álbum fue mezclado por David Bottrill, pero solo unas pocas de sus mezclas llegaron al producto final, que fue remezclado por Kevin Shirley. El resto de las mezclas se pueden escuchar en el bootleg oficial de la banda «The Making of Scenes from a Memory». A la grabación le siguió una ambiciosa gira mundial, en la que durante un año tocaron Scenes From a Memory de principio a fin. En este tour, el más largo de la banda hasta la fecha, reflejaron el aspecto más teatral del álbum y se sirvieron de una pantalla de video en el fondo del escenario, que mostraba un acompañamiento narrativo de la trama del disco. Además de interpretar el álbum en su totalidad, tocaron una segunda tanda de canciones antiguas, así como algunos covers e improvisaciones. En una actuación especial en el Roseland Ballroom de Nueva York, contrataron a actores para que interpretaran a los personajes de la historia y se les sumó un coro de góspel en algunas partes del concierto. Este show, el último en su tour por América del Norte, fue grabado para la primera publicación de la banda en DVD. Después de varios retrasos por cuestiones técnicas, fue publicado a comienzos de 2001 con el título de Metropolis 2000: Scenes from New York. Poco más tarde, la banda anunció la publicación en audio del resto del concierto, de una duración total de cuatro horas. La portada para la versión CD, titulada Live Scenes From New York, representaba uno de los primeros logos de Dream Theater (el corazón ardiendo de la época de Images and Words, basado en el Sagrado Corazón de Cristo) modificado para mostrar una manzana (en referencia a la «Gran Manzana»), en lugar del corazón y con el skyline de Nueva York, incluyendo las Torres Gemelas, entre las llamas. En una desafortunada coincidencia, el álbum se publicó en la misma fecha de los ataques del 11 de septiembre. Este fue rápidamente retirado por la banda y se volvió a publicar más tarde con material artístico revisado, aunque se vendieron algunas copias, que se convirtieron en un preciado objeto de coleccionistas. Dream Theater volvió a los estudios BearTracks para grabar su sexto álbum de estudio, Six Degrees of Inner Turbulence, con el que tendrían la posibilidad, cuatro años después de habérselo denegado EastWest, de hacer un doble disco. El primero consistió de cinco canciones de 7 a 13 minutos de duración, mientras que el segundo disco se dedicó exclusivamente a una canción de 42 minutos, la más larga de la banda hasta la actualidad. El origen de esta canción se produjo cuando Rudess compuso lo que sería la sección de «Overture» de «Six Degrees of Inner Turbulence» y la banda tomó diferentes ideas y melodías de ella y la expandió en capítulos de una historia completa. El álbum, que fue el más publicitado de la banda desde Awake, terminó teniendo una muy buena acogida por la crítica y la prensa, y debutó en la lista Billboard en el puesto 46, y en el primer puesto de la lista Billboard Internet. Durante el siguiente año y medio volvieron a embarcarse en una gira por todo el mundo, con actuaciones en las que incluyeron algunos covers especiales y tocaron en su totalidad Master of Puppets, de Metallica, y The Number of the Beast, de Iron Maiden. Todas estas presentaciones tributo se realizaban después de cada presentación, donde se bajaba el telón y al subirse nuevamente, comenzaba un nuevo concierto pero esta vez con un disco completo de cada banda a la que se le rendía este tributo, como Iron Maiden, Metallica, Pink Floyd, entre otros. En 2003 la banda volvió en el estudio para componer y grabar otro álbum. A diferencia de Scenes from a Memory, que fue escrito y grabado sobre la marcha, en esta ocasión el grupo decidió tomarse unas tres semanas de retiro para componer antes de entrar al estudio. En mitad de las sesiones de grabación del disco, surgió un tour especial con otras dos bandas de metal progresivo, Queensrÿche y Fates Warning, en Norteamérica. Al final de cada concierto, los miembros de Queensrÿche y Dream Theater subían al escenario para tocar simultáneamente, en ocasiones versiones de otras bandas. Una vez concluida la gira, volvieron al estudio para terminar la grabación de su séptimo álbum, Train of Thought. Este álbum, a través del cual buscaron un sonido más pesado, produjo una especie de división en sus seguidores, ya que si bien ganaron más adeptos entre los metaleros, algunos fanes preferían un sonido más progresivo, al estilo de Yes o King Crimson, No obstante resultó un éxito de crítica,Le siguió otra gira mundial, durante la que Dream Theater realizó funciones de apoyo a una de sus mayores influencias, la banda inglesa Yes. Una vez que las bandas hubieron completado su modesto recorrido conjunto, Dream Theater continuó con su tour mundial, que denominaron «An Evening With Dream Theater». Posteriormente publicaron una combinación de CD y DVD grabados en directo en el famoso Nippon Budokan Hall de Tokio, durante la gira de Train of Thought, publicada bajo el nombre Live at Budokan el 5 de octubre de 2004. Después de terminar la gira promocional de Train of Thought, la banda entró en los estudios The Hit Factory de Nueva York para grabar su octavo álbum, que haría de Dream Theater el último grupo que grabase en los famosos estudios, ya que estos cerraron para siempre justo después, Octavarium fue publicado el 7 de junio de 2005 y supuso otro cambio en el sonido de la banda, por lo que tuvo una recepción dividida entre sus fanes y provocó un animando debate entre ellos. Suponía, por otra parte, el último de los siete álbumes que tenían firmados con Elektra Records, que había sucedido a EastWest en su contrato después de su absorción. El 2 de marzo de 2006 la banda celebró sus 20 años de existencia con una serie de conciertos, entre ellos uno que contó con un lleno total en el Auditorio Nacional de la Ciudad de México. El recital fue dividido en dos partes, «20 Years» y «Octavarium», y duró más de 4 horas, con un descanso intermedio. En 2006 la banda publicó el trabajo en directo Score, grabado el 1 de abril de ese mismo año en el Radio City Music Hall de Nueva York, editado en formato DVD doble y CD triple. En el concierto la banda compartió tarima por primera vez con una orquesta sinfónica completa para la interpretación de más de 90 minutos de música de Dream Theater. Tras el show en el Radio City Music Hall, la banda decidió tomarse un verano de descanso por primera vez en su carrera. Posteriormente, en septiembre de 2006, entraron a los Avatar Studios para grabar su siguiente disco, que, con el nombre de Systematic Chaos y una vez más producido por los propios John Petrucci y Mike Portnoy y con el legendario ingeniero de sonido Paul Northfield, fue publicado el 5 de junio de 2007. Este fue el primer disco con su nuevo sello, Roadrunner Records, una filial de su anterior discográfica, Atlantic Records. Roadrunner incrementó la promoción del álbum y, como resultado, éste alcanzó el número 19 en la lista Billboard 200. También publicaron un video para «Constant Motion» el 14 de julio, por primera vez desde el de «Hollow Years» en 1997 y, además, salió a la venta un libro autorizado titulado Lifting Shadows en el que se detallan los primeros veinte años de la banda, que cuenta con una edición expandida y actualizada de 2009, Systematic Chaos tiene ocho pistas, pero técnicamente solo siete canciones. El disco contiene una canción épica titulada «In the Presence of Enemies», enmarcando el álbum como pistas 1 y 8, una continuación del Twelve-step Suite de Portnoy, «Repentance», y una canción de naturaleza política, «Prophets of War». La gira de 2007-2008 Chaos In Motion World Tour dio comienzo en Italia con un concierto el 3 de junio de 2007 en el Gods of Metal, el mayor festival de metal del país, También actuaron en el Fields Of Rok Festival en los Países Bajos, el 17 del mismo mes, 4 y en otros festivales del viejo continente, como el británico Download Festival y el francés Hellfest Summer Open Air, con otras bandas como Megadeth, Korn, Mastodon y Slayer. La banda continuó con la parte norteamericana de su gira entre el 24 de julio (en San Diego) y el 26 de agosto (en Filadelfia). Durante el resto del año y en 2008 siguieron con el tour, tocando en Asia, Sudamérica y, por primera vez, en Australia. El 1 de abril de 2008 la banda publicó un disco doble recopilatorio, cuyo título, Greatest Hit (...and 21 Other Pretty Cool Songs), es una referencia humorística a la canción «Pull Me Under», el único éxito radiofónico significativo del grupo. También incluye tres canciones remezcladas de su segundo disco, Images and Words, cinco versiones editadas de canciones antiguas y una canción de un único lado B. Al contrario que en la mayoría de los álbumes de grandes éxitos, Dream Theater se implicó a fondo en el álbum, sugiriendo el listado de canciones que sentían que representaban mejor su carrera musical. Mike Portnoy, después de la publicación del grandes éxitos, organizó una nueva gira llamada Progressive Nation 2008, en la que, a diferencia de tours anteriores, visitarían exclusivamente ciudades en las que no habían tocado antes (como en Vancouver, Canadá) o hacía mucho que no lo hacían. Además, por primera vez desde Images and Words, el grupo actuó en salas pequeñas, con público más reducido. Tras la gira, la banda publicó un set de DVD titulado Chaos in Motion 2007–2008, una compilación de canciones del tour promocional de su noveno álbum, Systematic Chaos. Se pusieron a la venta dos ediciones distintas de los DVD el 30 de septiembre de 2008; una era la estándar con dos discos, mientras que la edición especial contenía tres CD de música además de los DVD. Black Clouds & Silver Linings y salida de Mike Portnoy (2008-2010) El baterista Mike Portnoy abandonó la banda el 8 de septiembre de 2010. El 7 de octubre de 2008 Dream Theater volvió a los estudios Avatar para comenzar a trabajar en su décimo álbum y retomó su relación con el ingeniero de sonido Paul Northfield. Publicaron el nuevo trabajo, titulado Black Clouds & Silver Linings, el 23 de junio de 2009,36 disponible, además de en CD estándar, en vinilo LP y en una edición especial de tres CD que incluye el álbum completo, un CD de mezclas instrumentales y otro con seis versiones de canciones de otros artistas como Queen y Rainbow. El 1 de julio, el álbum debutó en el número 6 de la lista Billboard's Top 200, con unas ventas de 40 285 unidades en la primera de semana, lo que marcó su mejor entrada en la lista. Mike Portnoy habló a Metal Hammer sobre el nuevo álbum y comentó que la canción «The Shattered Fortress» era la última de la serie de canciones sobre los 12 pasos en su recuperación del alcoholismo; de «The Best of Times» dijo que «es un tema personal muy heavy sobre mi padre, que falleció durante la composición del álbum», y añadió «estuvo luchando contra el cáncer durante el proceso» La banda se embarcó en un segundo Progressive Nation Tour, en el que giraron por Europa por primera vez. Opeth, Unexpect y Bigelf telonearon al grupo en ese continente, mientras que Zappa Plays Zappa, Pain Of Salvation, y Beardfish lo hicieron en la parte norteamericana. Sin embargo, Pain of Salvation y Beardfish no pudieron acompañarlos en la gira por problemas de financiación con sus respectivos sellos. Las bandas que las suplieron fueron Bigelf y Scale The Summit. Una vez terminado el Progressive Nation Tour, Dream Theater entró en el estudio justo después de Nochevieja para componer y grabar una nueva canción instrumental, titulada «Raw Dog» (God [of] War al revés), que se incluyó en la banda sonora del videojuego God of War III y en el álbum God Of War III: Blood & Metal. La enviaron a Roadrunner el 8 de enero de 2010 y supuso la primera composición de la banda para un proyecto externo, «Raw Dog» contiene la primera pista comercial en ser grabada con harpejji, a cargo de Jordan Rudess, así como la última grabación de Mike Portnoy en la batería. En marzo de ese año giraron por Sudamérica con Bigelf y durante el verano acompañaron a Iron Maiden en su gira por Estados Unidos y Canadá, en los que serían los últimos conciertos de Dream Theater en 2010. El 8 de septiembre de 2010, el baterista Mike Portnoy anunció que abandonaba la banda por su necesidad de un descanso así como por otras razones, entre ellas la búsqueda de nuevas experiencias musicales, Respecto a esto, Portnoy dijo que fue una decisión que tomó después de pensárselo durante mucho tiempo y que no lo juzguen ni culpen a otras personas por ello, No quería salir del grupo y ellos tampoco querían que me fuera, pero así estamos; era la única forma de que ellos siguieran adelante y yo siguiera adelante. Es una separación extraña, porque todavía nos queremos. […] Realmente pienso que el grupo podría haber usado un par de años para recargar las pilas como tantas bandas lo han hecho -como Soundgarden, Alice in Chains, Jane's Addiction, Phish, Rage Against the Machine…-. […] Lo que me da pánico, sin embargo, es que veo cierta similitud con, por ejemplo, [la salida de] Roger Waters de Pink Floyd; ellos nunca volvieron a estar juntos, y eso me asusta. Sería una tragedia que nunca más volviera a estar en el escenario con Dream Theater. Mike Portnoy en una entrevista para Friday Night Rocks. Después de la salida de Portnoy de Dream Theater, la relación entre él y sus ex-compañeros se volvió tensa. En febrero de 2011, Portnoy se quejó por que ningún integrante de la banda devolvió sus llamadas y correos electrónicos, La tensión creció cuando Portnoy llamó a LaBrie irrespetuoso por unos comentarios que este último hizo durante una entrevista, afirmando que Dream Theater no está triste en absoluto porque Portnoy ya no es un miembro de la banda. A partir de julio de ese mismo año, LaBrie no ha permanecido en contacto con Portnoy, En un momento, surgieron informes falsos sobre una supuesta demandada de Portnoy hacía Dream Theater. Durante este período, Portnoy fue reclutado por Avenged Sevenfold para grabar su quinto álbum de estudio y participar en su gira; remplazando así a The Rev, quien había fallecido, Tras la grabación del álbum corrieron rumores sobre que Portnoy iba a seguir trabajando con Avenged Sevenfold tras su salida de Dream Theater y convertirse en el baterista permanente, pero no fue así, ya que los miembros de la banda decidieron continuar con otro baterista. Por su parte, Portnoy declaró que la permanencia en Avenged Sevefold había sido temporal y meramente como un homenaje a Jimmys «The Rev» Sullivan. Las audiciones para elegir el sustituto de Mike Portnoy comenzaron en octubre, en las que se probaron a siete bateristas de clase mundial. El 3 de enero, John Petrucci dio a conocer a través de su cuenta personal de Twitter que la banda había regresado a los estudios para grabar su decimoprimer álbum, aunque no se desveló el nombre del nuevo baterista, Dos meses después, Petrucci comentó en su página personal de Facebook que la banda había terminado de componer su siguiente álbum y que pronto comenzaría el periodo de grabación. Ante la impaciencia de los fanes por conocer cuál sería el nuevo miembro del grupo, Petrucci comentó: «Aprecio la paciencia de todos por conocer al nuevo baterista de Dream Theater. Sé que ha sido muy frustrante esperar a conocer noticias. ¡Creédme, nos estamos esforzando por garantizar a todo el mundo que nuestra decisión no os decepcionará en ningún momento!» El 21 de abril de 2011, durante la búsqueda del nuevo baterista, publicaron un tráiler para un próximo documental titulado «The Spirit Carries On», en referencia a una canción del álbum Metropolis Pt. 2: Scenes From a Memory. El tráiler muestra a los siete bateristas que tuvieron audiciones: Mike Mangini, Virgil Donati, Marco Minnemann, Peter Wildoer, Thomas Lang, Derek Roddy y Aquiles Priester, El 27 de abril revelaron a través de YouTube, en el tercer y último episodio del documental, que habían escogido a Mike Mangini como sustituto de Portnoy, A través de su Twitter John Petrucci confirmó que el nombre del nuevo álbum de Dream Theater se llamaría A Dramatic Turn of Events, que posteriormente fue publicado el 13 de septiembre de 2011. En abril del 2012 fue grabado el DVD Live at Luna Park en Buenos Aires, Argentina, donde se muestra el nuevo sonido con Mike Mangini en la batería. El álbum homónimo fue lanzado en septiembre de 2013. Cuenta con 9 pistas , entre las que se incluye el tema de larga duración «Illumination Theory», pista que dura más de 22 minutos. La canción «The Enemy Inside» fue lanzada como sencillo meses antes de la salida del álbum. Tras la salida del disco, fue colocado en el puesto número 8 en la lista Billboard 200[cita requerida], lo que ha sido el segundo puesto más alto, después de Black Clouds & Silver Linings. Mike Portnoy lo calificó como un buen álbum, aunque ya no se siente identificado con este sonido de la banda.[cita requerida] Durante la gira Along For The Ride se grabó en el DVD Breaking The Fourth Wall, se divide en 3 discos en vivo desde The Boston Opera House. Además de canciones del álbum homónimo, contienen temas de Awake y Metropolis Pt. 2: Scenes From a Memory debido a que es el 20 aniversario de Awake 1994 Y 15 aniversario de Metropolis Pt. 2: Scenes From a Memory 1999. The Astonishing es el decimotercer álbum de la banda, lanzado el 29 de enero del 2016 a nivel mundial. Es su segundo disco conceptual , tras Metropolis, en 1999, y también su segundo lanzamiento doble, tras Six Degrees of inner turbulence (2002). Distance Over Time salió en febrero de 2019, siendo en decimocuarto álbum de estudio y el cuarto con Mangini a la batería. A lo largo de su carrera, los espectáculos en vivo Dream Theater se han ido volviendo gradualmente más grandes, más largos, más diversos y menos restrictivos. El ejemplo más obvio de ello es su política de setlist rotante. Cada noche de cada gira tiene su setlist ideado por Portnoy usando un proceso meticuloso que asegura que es completamente único. Factores como los setlists de ciudades previas son tomados en cuenta para asegurar que las personas que ven a Dream Theater múltiples veces en la misma área no vean las mismas canciones interpretadas dos veces, e incluso el setlist de la última vez que la banda estuvo en una ciudad en particular se toma en cuenta para el beneficio de los fans que ven a la banda en giras sucesivas. Para que eso sea posible, la banda se prepara para tocar la mayor parte de su repertorio en cualquier presentación, dependiendo de lo que Portnoy decidía programar para esa noche. Este proceso también requiere el empleo de un sistema de iluminación muy complejo que utiliza iluminación preconfigurada sobre la base de canciones individuales. La duración es otro elemento único de los conciertos de Dream Theater. Los conciertos de sus giras mundiales, desde Six Degrees of Inner Turbulence, han sido del tipo «Evening with…» («Una noche con…»), en el que la banda actúa al menos tres horas con un descanso y ningún telonero. El espectáculo grabado para Live scenes from New York tuvo una duración de casi cuatro horas (LaBrie graciosamente se disculpó después del espectáculo por el set tan «corto»), y resultó en la casi hospitalización de Portnoy, Con el anuncio del noveno álbum de estudio, Systematic Chaos, se publicó que durante este nuevo tour, Chaos in Motion World Tour 2007/2008, no se haría el famoso «An evening with…». La banda dijo que ya era momento de parar con los shows diarios desde 3 a 4 horas. Sin embargo, la versión publicada en DVD y CD del tour Chaos In Motion presenta 162 minutos de música. También hay una cantidad significativa de humor, informalidad, e improvisación asociado a un concierto de Dream Theater. En la parte media de A change of seasons es bastante común que temas como el de las Grandes Ligas de Béisbol y Los Simpson sean citados, y Rudess rutinariamente modifica su sección de solo en esta canción y otras, con frecuencia interpretando la sección ragtime de When the water breaks de Liquid tension experiment 2. Otras citas incluyen a Mary had a little lamb durante Endless sacrifice en el Gigantour, un corte inspirado en un calíope entre los versos de Under a glass moon, y la marcha turca en un concierto en Estambul. En la gira 20th Anniversary World Tour Rudess incluso interpretó una pequeña cita del tema Twinkle, twinkle, little star en un corte durante Endless sacrifice. Durante la interpretación de As I am en Bangkok en enero del 2006, Rudess tocó una escala mayor muy torpe, al estilo de un principiante, hacia adelante y hacia atrás varias veces antes del corte instrumental. También en uno de los dos conciertos dados en Buenos Aires, Argentina, en la introducción de Through Her Eyes, Petrucci interpreta la melodía de Don't cry for me Argentina. No es extraño que un miembro de la audiencia sea escogido al azar para tocar en el escenario (de lo que se puede apreciar un ejemplo en el solo de batería de Portnoy en el DVD Live at Budokan). También ha habido muchas improvisaciones del «Happy Birthday» cuando un miembro de la banda o del equipo cumple años en una fecha en la que hay concierto, lo que normalmente termina en un pastel de cumpleaños siendo arrojado al festejado. Tal vez el ejemplo más extremo de la estructura impredecible de los conciertos de Dream Theater es que durante el tiempo en que Derek Sherinian estuvo en la banda, en algunos espectáculos los miembros de la banda intercambiarían instrumentos y tocarían como la banda ficticia «Nightmare Cinema» (el opuesto aproximado de «Dream Theater»). Generalmente versionaban Perfect Strangers de Deep Purple, y en una ocasión, Suicide Solution de Ozzy Osbourne. Similarmente en algunos espectáculos Sherinian, Petrucci y Portnoy tomarían el escenario juntos, bajo el nombre «Nicky Lemons and the Migraine Brothers». Sherinian, usando una bufanda de plumas y anteojos bohemios oscuros, interpretaría una canción de pop-punk titulada «I Don't Like You» con Petrucci y Portnoy respaldando. Los fans de Dream Theater suelen abarrotar cada plaza donde la banda se presenta. La audiencia generalmente está formada de un número de espectadores que varía entre 4000 y 10000, y esa cantidad es habitualmente dictada por el espacio físico. El concierto que ha contado con la audiencia más numerosa ha sido el efectuado en la Pista Atlética del Estadio Nacional en Santiago de Chile, el 6 de diciembre de 2005, durante la gira promocional del álbum Octavarium, que contó con una asistencia de 20.000 personas, El hecho fue mencionado la misma noche del concierto por Mike Portnoy y a través de su sitio web, y fue mencionado también por Jordan Rudess en su saludo navideño de 2005 a todos los fans. El concierto grabado en el Radio City Music Hall de Nueva York en abril de 2006 tuvo una asistencia de 6.000 personas. Al principio de su carrera, Dream Theater adoptó un logo y un wordmark personalizado (conocido como el símbolo Majesty) que han aparecido en la gran mayoría de su material promocional desde entonces, con al menos una de las marcas oficiales apareciendo en la carátula de cada publicación hasta la fecha, con la excepción de Once in a LIVEtime (ver explicación más abajo). Incluso después de que la banda desechó el nombre Majesty, el símbolo continuó siendo su marca oficial, y es visto por la comunidad de fans de Dream Theater de la misma manera que los fans de Led Zeppelin han abrazado los cuatro símbolos de los miembros de esa banda. Es común ver gente con tatuajes del símbolo Majesty en conciertos de Dream Theater. El símbolo Majesty es una derivación del símbolo de María, reina de los escoceses, el cual fue re-diseñado por Charlie Dominici para ser usado en el arte gráfico del álbum When Dream and Day Unite. Otro hecho interesante es que el símbolo Majesty es una combinación de tres letras griegas, Fi(Φ), Mu(Μ), y Alfa (A), las letras de la fraternidad musical de la cual los miembros forman parte. El hecho de que el logo no aparezca en la carátula de Once In A LIVEtime o de su acompañante en vídeo 5 Years in a LIVEtime, fue interpretado por algunos fans como evidencia de que la banda se había «vendido» y de que se había alejado de sus raíces con sus fuentes modernizadas («fuentes» se refiere a los «tipos de letra» usados para el arte gráfico), pero para el momento en que había reclamado el lugar que le corresponde en la carátula de Scenes From a Memory la infelicidad había sido largamente olvidada (el motivo real fue que a Storm Thorgerson, el legendario diseñador gráfico para ambas publicaciones antes mencionadas, no le gusta trabajar con fuentes pre-existentes). Desde entonces ha aparecido en cada publicación subsiguiente (la carátula de Falling into Infinity tiene el logo, pero no el wordmark). Dream Theater es una de las bandas del género del metal más activamente grabadas en bootlegs. Desde sus primeros conciertos en Nueva York, como Majesty, los aficionados han grabado casi todos los espectáculos que Dream Theater ha ofrecido (ocasionalmente hay tres o cuatro versiones de un mismo concierto), y algunas grabaciones profesionales y bien elaboradas han sido publicadas. Sin embargo, no todos los miembros de la banda toleran los bootlegs de Dream Theater. Portnoy era definitivamente el miembro que los apoya más, ya que era un ávido coleccionista de bootlegs cuando era más joven y mantiene su archivo personal de material de Dream Theater. Petrucci y LaBrie han declarado oposición con respecto a las personas que graban sus conciertos. Petrucci ha dicho que prefiere que los miembros de la audiencia se concentren en los músicos en tarima, y no en los ajustes de nivel de sus dispositivos de grabación. LaBrie, por otra parte, argumenta que los bootlegs le quitan propiedad y control a la actuación en directo, y los pone en manos del público. Myung ha expresado oposición apacible a los bootlegs, pero en algunas entrevistas ha mencionado que particularmente no le molesta mucho; mientras que Rudess afirma que no le molestan pues afirma que es inevitable la propagación de los bootlegs. Sin importar sus opiniones personales, cada miembro de la banda autografía cualquier bootleg que se les presente para que sea firmado. Dream Theater también ha publicado una serie de bootlegs oficiales a través de YtseJam Records, encabezada por Portnoy. A pesar de que son bien conocidos por hacer canciones versionadas a lo largo de toda su carrera, Dream Theater llevó esta práctica a otro nivel durante la gira promocional de Six Degrees of Inner Turbulence. En tres conciertos especiales, en Barcelona, Chicago y Nueva York, versionaron el álbum completo Master of Puppets de Metallica después de un set entero de material de Dream Theater. Aquello fue impactante para los fans dado que no había señales de que eso iba a ocurrir, apartando el hecho de que se había anunciado que esos conciertos, que eran la segunda noche en cada ciudad, serían «extra especiales». Esta tradición puede ser rastreada hacia atrás seguramente hasta una de las bandas favoritas de Mike Portnoy, Phish, que comenzó a versionar álbumes enteros de otros artistas cada Halloween, empezando en 1994. Portnoy anunció este «álbum versionado» como el primero de una serie de conciertos a ser dados como tributo a bandas que han sido influyentes en la formación y desarrollo de Dream Theater. Los sets de canciones versionadas dividieron a muchos fans que asistieron al espectáculo, llevando a algunos a decir que fueron a un concierto de Dream Theater a ver música original y no el trabajo de otro artista. Otros, sin embargo, dijeron que fue un bono y no un reemplazo de un concierto de Dream Theater, dado que un concierto ordinario había sido interpretado la noche anterior. La siguiente vez que se hizo un concierto de álbum versionado esta negatividad fue más contenida, pues la mayoría de los fans ya sabían que eso iba a suceder, y que no verían una noche completa de material de Dream Theater. En la siguiente etapa de la gira versionaron el álbum The Number of the Beast de Iron Maiden, y recibieron una reacción similar a la obtenida con Master of Puppets, a pesar de que ya se sabía que un álbum versionado iba a ser interpretado esa noche porque el itinerario incluía dos conciertos en noches consecutivas en la misma ciudad. El 11 de octubre de 2005, Dream Theater versionó The Dark Side of the Moon de Pink Floyd, su tercer álbum clásico versionado. El sitio web oficial de Dream Theater declaraba que «los segundos sets de las segundas noches en Ámsterdam, Londres, Buenos Aires, São Paulo y Tokio (11 de octubre, 25 de octubre, 4 de diciembre, 11 de diciembre y 13 de enero), y también el segundo set del espectáculo del 15 de enero en Osaka, serán un álbum clásico entero versionado». The Dark Side of the Moon fue interpretado una vez más el 25 de octubre en Londres. Sin embargo, en Buenos Aires (4 de diciembre) y Sao Paulo (11 de diciembre) el «álbum clásico» interpretado fue Scenes from a Memory de la mismísima Dream Theater, para compensar por no haber visitado nunca Argentina y solo una vez Brasil en su gira por 1998. El 13 de enero de 2006 (Tokio) y el 15 (Osaka), Dream Theater versionó el álbum en directo Made in Japan, de Deep Purple, su cuarto álbum clásico versionado (esto concordó brevemente con las especulaciones de los fans, quienes dijeron que era inevitable que al menos uno de los álbumes del rock progresivo de los 70, posiblemente de Rush, sería versionado). La formación tiene pensado realizar en vivo más álbumes versionados, pero se niega a revelar cuándo ocurrirán o qué álbum será interpretado. También hicieron una interpretación en directo de Cemetery Gates de Pantera en Dallas, Texas, para conmemorar a Dimebag Darrel Abott, donde contaron con la colaboración de Dave Mustaine.Escucha este episodio completo y accede a todo el contenido exclusivo de Biblioteca Del Metal (Recopilation). Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://www.ivoox.com/podcast-biblioteca-del-metal-recopilation_sq_f1308558_1.html
Label: Atco 6651Year: 1969Condition: M-Price: $12.00This song was first recorded by the Kingsmen as the B side of 'The Jolly Green Giant,' but the Fireballs really do it up right! Check out the mp3 "snippet" of it! Note: This beautiful copy comes in a vintage Atco Records factory sleeve. It has Mint labels and Near Mint vinyl and audio. (This scan is a representative image from our archives.)
Episode 39 1982 “Owner of the lonely heart” the eleventh studio album “90125” by the English progressive rock band Yes, released on 7 November 1983 by Atco Records. What's the road map moving forward for humans? The double standard in America Protesting Vs. Rallies?Covid-19/Corona. Is back!!! “Mayor DeBlasio is destroying our great city from the inside out,” Zeldin, who represents the state's First Congressional District, tweeted. “New York City will not make it through the remainder of his term. He needs to be immediately removed from office to save the city and protect the people who live there.” Defunding police and what exactly does that mean? Racial politics? 2 dead 12 shot in North Carolina. Chicago 100 shot 14 dead including kids. New York major uptick in crime 14 kids shot 12 dead. Chokehold ban. Removal of all the monuments. Michael Brown, an 18-year-old African-American male, was shot to death during an encounter with Officer Darren Wilson “Hands Up Don't Shoot!” "The Birth of “Black Lives Matter” Cost of Living 1982, The Chicago Tylenol Murders, First artificial heart US “No Further Communications”: The story of the Ocean Ranger disaster. Vietnam Veterans Memorial. Italy Wins World Cup. Popular Films E.T. the Extra-Terrestrial Rocky III, On Golden Pond Porky's An Officer and a Gentleman The Best Little Whorehouse in Texas Star Trek II: The Wrath of Khan Poltergeist Annie Popular TV Programmes Magnum, P.I. The Other Arf (UK) Dynasty Falcon Crest Hill Street Blues Only Fools and Horses (UK) Knight Rider Discology 1982 "Ebony and Ivory, Kool & The Gang, Olivia Newton John, Survivor, Human League, Chicago, Lionel Richie, Willie Nelson, “The Alan Parsons project”, Quarterflash, Steve Miller band. Born This Year 1982 38 years ago Andy Roddick August 30th, He won the title at the 2003 US Open, defeating French Open champion Juan Carlos Ferrero in the final and overtaking him as the top-ranked player in the process. LeAnn Rimes August 28th Kelly Clarkson April 24th Nicki Minaj, 37. Rapper. Lil Wayne, 37. Rapper. Prince William 38 Seth Rogen 38 Technology First CD player sold in Japan The Weather Channel airs on cable television for the first time. The Soviet Spaceship Vanera 13 lands on Venus and sends back color Photographs 20 million Elm Trees die in the UK through Dutch Elm Disease The First Commercial use of Genetic Engineering is Launched when human insulin produced by bacteria is marketed Times man of The Year is THE COMPUTER Tough questions to ask yourself, and even harder questions to answer. "All Roads Lead Here" Bobby Couto --- Send in a voice message: https://anchor.fm/thebobbycoutoshow/message Support this podcast: https://anchor.fm/thebobbycoutoshow/support
Episode 39 1982 “Owner of the lonely heart” the eleventh studio album “90125” by the English progressive rock band Yes, released on 7 November 1983 by Atco Records. What's the road map moving forward for humans? The double standard in America Protesting Vs. Rallies?Covid-19/Corona. Is back!!! “Mayor DeBlasio is destroying our great city from the inside out,” Zeldin, who represents the state's First Congressional District, tweeted. “New York City will not make it through the remainder of his term. He needs to be immediately removed from office to save the city and protect the people who live there.” Defunding police and what exactly does that mean? Racial politics? 2 dead 12 shot in North Carolina. Chicago 100 shot 14 dead including kids. New York major uptick in crime 14 kids shot 12 dead. Chokehold ban. Removal of all the monuments. Michael Brown, an 18-year-old African-American male, was shot to death during an encounter with Officer Darren Wilson “Hands Up Don't Shoot!” "The Birth of “Black Lives Matter” Cost of Living 1982, The Chicago Tylenol Murders, First artificial heart US “No Further Communications”: The story of the Ocean Ranger disaster. Vietnam Veterans Memorial. Italy Wins World Cup. Popular Films E.T. the Extra-Terrestrial Rocky III, On Golden Pond Porky's An Officer and a Gentleman The Best Little Whorehouse in Texas Star Trek II: The Wrath of Khan Poltergeist Annie Popular TV Programmes Magnum, P.I. The Other Arf (UK) Dynasty Falcon Crest Hill Street Blues Only Fools and Horses (UK) Knight Rider Discology 1982 "Ebony and Ivory, Kool & The Gang, Olivia Newton John, Survivor, Human League, Chicago, Lionel Richie, Willie Nelson, “The Alan Parsons project”, Quarterflash, Steve Miller band. Born This Year 1982 38 years ago Andy Roddick August 30th, He won the title at the 2003 US Open, defeating French Open champion Juan Carlos Ferrero in the final and overtaking him as the top-ranked player in the process. LeAnn Rimes August 28th Kelly Clarkson April 24th Nicki Minaj, 37. Rapper. Lil Wayne, 37. Rapper. Prince William 38 Seth Rogen 38 Technology First CD player sold in Japan The Weather Channel airs on cable television for the first time. The Soviet Spaceship Vanera 13 lands on Venus and sends back color Photographs 20 million Elm Trees die in the UK through Dutch Elm Disease The First Commercial use of Genetic Engineering is Launched when human insulin produced by bacteria is marketed Times man of The Year is THE COMPUTER Tough questions to ask yourself, and even harder questions to answer. "All Roads Lead Here" Bobby Couto --- Send in a voice message: https://anchor.fm/thebobbycoutoshow/message Support this podcast: https://anchor.fm/thebobbycoutoshow/support
Label: Atco 6503Year: 1967Condition: M-Last Price: $16.00. Not currently available for sale.This is one Bee Gees single that's hard to find nowadays and which, when I do get a copy, doesn't last long in the store. There's a good reason for that... "To Love Somebody" is, without a doubt, one of the brothers' very best songs, and it's got a great arrangement going, too. Note: This beautiful copy comes in a vintage Atco Records factory sleeve. The vinyl looks untouched but has a faint "14" impression from a pen on the sleeve, but it has no effect on the audio, which is pristine Mint!
Label: Atco 6503Year: 1967Condition: M-Price: $16.00This is one Bee Gees single that's hard to find nowadays and which, when I do get a copy, doesn't last long in the store. There's a good reason for that... "To Love Somebody" is, without a doubt, one of the brothers' very best songs, and it's got a great arrangement going, too. This beautiful copy has pristine Mint audio, so enjoy the mp3 "snippet" of it! Note: This 45 record has a drillhole and comes in a vintage Atco Records factory sleeve. The labels grade Near Mint overall, though there is also a small stain on the A side (see scan). The vinyl (styrene) looks hardly touched, and the powerful audio sounds flawless!
Disciple Up #159 Freedom & Control By Louie Marsh, 5-13-2020 Intro. Where the idea for this episode came from. 1) The Article: http://www.parkerliveonline.com/2020/05/08/theres-something-happening/ I've been noticing something lately with a lot of the people I interact with and that I see and hear online. There seems to be a certain feeling they are projecting that I've had a hard time putting my finger on. It's there, it's real, but what is it? Yesterday I remembered a song from my youth that seems to sum up very well what I'm sensing. It was written in a different time and place and about a different situation, but the words still work (by the way if you haven't heard this song find it online and listen to it as soon as your done reading this article!) There's something happening here What it is ain't exactly clear There's a man with a gun over there Telling me I got to beware I think it's time we stop, children, what's that sound Everybody look what's going down Written by Stephen Stills, 1966. Performed by Buffalo Springfield, it was recorded on December 5, 1966; released as a single on Atco Records on December 23, 1966; Clearly COVID-19 and our response to it is oppressing if not downright depressing people. I've seen people exhibiting some of the classic signs of depression, being tired all the time, not sleeping well, finding it hard to get motivated, etc. Once this clicked with me I began to wonder why. Now if you've lost your job then it's completely understandable that you'd be down about that. But I know lots of people who haven't lost their job but they are still showing clear signs of what I'll call COVID-19 Syndrome. To tell the truth I've felt some of it myself. But why? I don't know anyone who's starving, or being kicked out of their home, or who don't have clothes to wear, etc. Most of us are doing ok, if not great in terms of survival. Things could be a lot worse that's for sure. So what's going on here? And then something hit me. What I've found frustrating about this, and many people throughout the country seem to be pushing back against, is the lack of control. All of a sudden the government is telling us what we can and can't do, how we can do it and even when by setting up curfews. As Americans we value our rights to control our lives. But now we are not in control. Leaving the law aside for the purposes of this column, we are not in control of the virus itself. There's nothing any of us regular people can do directly to effect either the virus itself or what it does. We can try and avoid it, but we have absolutely zero control over it and what it's done to our culture. I had to smile when this popped into my little mind because it took me straight back to Spiritual Kindergarten. And I mean that literally because currently in our Wednesday night Bible study we're going through a book with that title, it's a look at the 12 Steps from a Christian Perspective. So far we've done the first two steps. You've probably heard the first two steps, here they are as a reminder: We admitted we were powerless over alcohol – that our lives had become unmanageable. Came to believe that a Power greater than ourselves could restore us to sanity. If you substitute the phrase our powerlessness over our life in general for “alcohol” it begins to make some sense doesn't it? Kinda sounds like what many of us are living, but perhaps not admitting, right now. I really believe that much if not most of our current malaise is directly connected to that feeling of helplessness that stems from not being able to control what's happening in our lives. It's a terrible feeling because people desperately want to be in control. That makes us feel both powerful and safe and both feelings have a huge appeal to the human ego. But the truth is neither you nor I have control over much of anything at all. The only thing I really have control of in my life is what I say and do, and at least half the time I'm not doing such a great job of controlling that. Control is an illusion. It is a comforting, desirable, and seductive illusion to be sure. But it is an illusion none the less. So, if you're feeling that COVID-19 Syndrome take those first two steps, realize that you aren't in control, and then rejoice in the freedom that recognizing and living in the truth can bring. 2) The Response: Had one response saying it was the lack of freedom that bothered them more than control. Is that true? What is freedom and control anyway? Freedom: the state of being free or at liberty rather than in confinement or under physical restraint exemption from external control, interference, regulation, etc. the power to determine action without restraint. political or national independence. personal liberty, as opposed to bondage or slavery: Control: verb to exercise restraint or direction over; dominate; command: to hold in check; curb: to control a horse; to control one's emotions. noun the act or power of controlling; regulation; domination or command: Who's in control here? My realization – being in control IS being free! What else is freedom but the ability and license to make choices and do what you choose to do or not do what you choose not to do? You can't be free without control of your choices and, to a certain extent, your circumstances. So this feeling I'm getting from people really IS about control. Although that feeling is often misunderstood as a lack of freedom. They don't understand the real relationship between these two states of being. We see this here now all the time and especially on the weekends when we have hundreds of Californians flock to the river where they are FREE – i.e. have the ability to control their choices – to play on the river and beaches, something not allowed right now in CA due to the COVID-19 pandemic. The only way you know they are free is because they are in control of their situation enough to carry out their wishes – that is to bring their boats and play on the river. If they weren't able to do that then they wouldn't really be free. So – Control Is Freedom! Or control is the application of freedom. But wait! Now I'm going to throw a wrench into all of this by looking at the teachings of Jesus! 11 The greatest among you shall be your servant. 12 Whoever exalts himself will be humbled, and whoever humbles himself will be exalted. Matthew 23:11-12 (ESV) 32 and you will know the truth, and the truth will set you free.” John 8:32 (ESV) So Truth Brings Freedom! Whose really in charge here? The free Pilate or the Prisoner Jesus? 37 Then Pilate said to him, “So you are a king?” Jesus answered, “You say that I am a king. For this purpose I was born and for this purpose I have come into the world—to bear witness to the truth. Everyone who is of the truth listens to my voice.” 38 Pilate said to him, “What is truth?” After he had said this, he went back outside to the Jews and told them, “I find no guilt in him. John 18:37-38 (ESV) 10 So Pilate said to him, “You will not speak to me? Do you not know that I have authority to release you and authority to crucify you?” 11 Jesus answered him, “You would have no authority over me at all unless it had been given you from above. Therefore he who delivered me over to you has the greater sin.” John 19:10-11 (ESV) Jesus isn't free, yet he is in control. We see the same thing with Paul 25 About midnight Paul and Silas were praying and singing hymns to God, and the prisoners were listening to them, 26 and suddenly there was a great earthquake, so that the foundations of the prison were shaken. And immediately all the doors were opened, and everyone's bonds were unfastened. 27 When the jailer woke and saw that the prison doors were open, he drew his sword and was about to kill himself, supposing that the prisoners had escaped. 28 But Paul cried with a loud voice, “Do not harm yourself, for we are all here.” 29 And the jailer called for lights and rushed in, and trembling with fear he fell down before Paul and Silas. 30 Then he brought them out and said, “Sirs, what must I do to be saved?” 31 And they said, “Believe in the Lord Jesus, and you will be saved, you and your household.” 32 And they spoke the word of the Lord to him and to all who were in his house. 33 And he took them the same hour of the night and washed their wounds; and he was baptized at once, he and all his family. 34 Then he brought them up into his house and set food before them. And he rejoiced along with his entire household that he had believed in God. Acts 16:25-34 (ESV) So, spiritually speaking, being free and exerting control is found in the spirit not in the physical world. They can imprison your body but not your soul. So it seems that from a Biblical perspective the main concern we should be having is our spiritual freedom, that would include our intellectual and emotional freedom as well. This can't be taken from us because we are always free to choose to follow Jesus. Even locked in a cell no one can take that choice and that reality from me. So yes, freedom and control are the same thing but you can't have either one without the truth that only Jesus brings.
Welcome to the first Sound of History of episode! This is a music history podcast where Nick, an amateur music history nerd, attempts to teach music history to his wife Mika, who doesn't know or care all that much about music history. In this episode, we don't actually talk about music history, but we run through how the show will work, our origin story, and then play a fun game. Follow us! Facebook: @SoundofHistory Twitter: @SoundofHistory_ ################### Music Used: "Midnight Train to Georgia" written by Jim Weatherly and performed by Gladys Knight and the Pips for Buddah Records. Universal - Polygram International Inc. Publishing "Great Balls of Fire" written by Otis Blackwell and Jack Hammer. Performed by Jerry Lee Lewis for Sun Records in 1957. Published by Sony/ATV and Chappel and Co. "Gimme Shelter" written and by Kieth Richards and Mick Jagger. Performed by The Rolling Stones for Decca and ABCKO. Published by ABCKO music. "Crocodile Rock" written by Elton John and Bernie Taupin. Performed by Elton John for MCA (U.S.) and DJM (UK). Published by Universal - Songs of Polygram Music Inc. "Bohemian Rhapsody" written by Freddie Mercury and performed by Queen for Elektra (U.S.) and EMI (U.K.). Published by EMI Blackwood Music Inc. "All Along the Watchtower" written by Bob Dylan and performed by Jimi Hendrix for Olympic Records. Published by Bob Dylan Music OBO Dwarf Music "Walk Like a Man" written by Bob Crewe and Bob Gaudio. Performed by The Four Seasons for Vee-Jay. Published by Kobalt Music "Is This Love?" written by Bob Marley and performed by Bob Marley and the Wailers for Tuff Gong/Island Records. Published by Kobalt Music "I Got You Babe" written by Sonny Bono. Performed by Sonny and Cher for ATCO Records. Published by Cotillion Music. "Son of a Preacher Man" written by John Hurley and Ronnie Wilkins. Performed by Aretha Franklin for Atlantic Records. Published by Sony/ATV Tree Publishing. All songs used under Fair Use as defined by section 107 of the Copyright Act. All copyrighted material used for nonprofit/educational purposes.
Rock & Soul Classic Update R.I.P. Ritchie Ingui, original vocal half of the Soul Survivors. He transitioned in early 2017. Memorable Intro, AWESOME Classic Hit, a Kenny Gamble &Leon Huff hit that Helped launch the Legenday Philadelphia International Record Label. I am a Music Lover of All Styles, Generations. This Week I Flashback....... The Soul Survivors, originally from New York City, grew up listening to the R & B groups of the 1950’s. The sounds of groups like the Moonglows, Heartbeats, and Frankie Lymon and the Teenagers had a great influence on brothers Charlie and Rich Ingui. With various street corner groups, they developed their vocal skills. While in high school, Charlie joined the vocal group from Queens, N.Y. the Dedications. When, a year later the group’s lead singer decided to leave, brother Rich was recruited. While performing at clubs in the New York area, they found themselves at the mercy of various house bands and decided to find a group of musicians who would become permanent members of the group therefore creating a self contained unit. The group would be renamed THE SOUL SURVIVORS. Shortly thereafter, the group began to build a strong following, playing venues in Atlantic City and Philadelphia. Enjoying great success in Philadelphia, they attracted the attention of record producers Kenny Gamble and Leon Huff. Into the recording studio they went, emerging with " Expressway To Your Heart " a song that would climb to #3 on Billboard's R&B chart and #4 on it's Top 100 list. The success of " Expressway " became Gamble and Huff's first "crossover" hit when it began to be played on both black and white radio stations. It's success enabled Gamble and Huff to reach the large audiences they sought in order to bring their " Sound Of Philadelphia " to the mass Market. In polls taken by both the Philadelphia Inquirer and Philadelphia’s City Paper, " Expressway" was voted the number one record ever to come out of Philadelphia. "Expressway " was followed by two other chart records, "Explosion In My Soul" and " Mission Impossible". Their first album, released in 1968, was " When The Whistle Blows ". A second LP, on Atco Records, called "Take Another Look" appeared in 1969. During this time, the group toured extensively throughout the U.S. appearing with many different types of artists...everyone from Jackie Wilson, Smokey Robinson and The Miracles to Janis Joplin, the Beach Boys,Buffalo Springfield, Sly and the Family Stone and countless others. In 1974, the Soul Survivors reunited with Gamble and Huff to record their self titled album "The Soul Survivors" on TSOP Records. It was written and performed in a style that would define the unique sound of The Soul Survivors.The album produced "City Of Brotherly Love" which would show up on Billboard’s R&B Top 100 and become the group’s fourth charted outing. Through the years, the Soul Survivors have continued to provide audiences with high energy performances and music that is timeless and authentic,appearing with 60's contemporaries Felix Cavaliere's Rascals. the Turtles,the Association, as well as fellow TSOP artists Harold Melvin's Bluenotes,Billy Paul, the Intruders, Russell Thompkins' Stylistics and others. The group's CD is called " Heart Full of Soul ", produced by Grammy nominated producers Jimmy Bralower and Johnny Gale. The Soul Survivors recorded new music and covers several years ago, most recently working with David Uosikkinen of The Hooters and his project "In the Pocket" which is paying tribute to the vast catalog of music created in Philadelphia. After Ritchie's passing in 2017, Charlie Ingui still tours in 2019-2020, go check him out! ~ thesoulsurvivors.com All Rights Reserved © 2019 BuildingAbundantSuccess! ! Join Me on ~ iHeart Radio @ https://tinyurl.com/iHeartBAS Join Me on Facebook @ Facebook.com/BuildingAbundantSuccess
“This is my first record in 4 years. I had to make sure it was great. The songs started coming, starting with ‘I Could Save the World,’ which opened the door for the rest. I got great artists to play on it like Paul Gilbert (Mr. Big), Roger Manning (Jellyfish), Matt Walker (Garbage/Morrissey) and many other killers. The record exceeded my hopes and expectations. It’s like an ice cream sundae made out of sounds & colors, with more hooks than a tackle box. And of course my pipes, stronger than ever! The song ‘Beautiful Things’ felt like a great album title, so I expanded on that. It hits hard from start to finish. I’m proud to be a big part of it, it’s my best work yet, and that’s saying something after nearly 25 great records with Enuff Z’ Nuff and my solo stuff combined. If you like cool aggressive pop, you will love this. I sure do. Share the love, stop the hate, and let's save the world.” (http://bettereachday.me/wp-content/uploads/2019/08/DonnieAbout.jpg) About the Artist Donnie has been one of rock’s biggest secrets, who has been crafting melodic power pop and rock songs for over 30 years. He and Enuff Z'Nuff were instant critics’ darlings, with a debut record that soared up the charts generating two long playing MTV hits, “New Thing” and “Fly High Michelle.” A “Top Pick” from Rolling Stone Magazine, and inciting numerous TV and radio performances with repeat invitations from David Letterman and Howard Stern, the group released their “self-titled” and follow up ‘Strength’ on Atco Records, before being picked up by Clive Davis and signed to his Arista label for ‘Animals with Human Intelligence.’ (http://bettereachday.me/wp-content/uploads/2019/08/FB_IMG_1528771529959.jpg) The Grammy-nominated artist has amassed over 25 albums’ worth of songs and decades of live shows to his name, both with and without his former band. Now a solo act, Vie continues his songwriting and performing under his own name. Rolling Stone Magazine described Donnie’s writing skills as “Beatle-esque pop songcraft and ripping hard rock,” while Billboard Magazine says, “If there is such a thing as false advertising in rock & roll, then Enuff Z’Nuff is one of its textbook examples. Packaged in garish peace-glam attire by their record company, the group was wrongly lumped in with the disposable pop-metal bands of the late ’80s rather than appreciated for the truly gifted power pop act that they were.” Donnie's Homepage (http://www.donnievie.com/)
“This is my first record in 4 years. I had to make sure it was great. The songs started coming, starting with ‘I Could Save the World,’ which opened the door for the rest. I got great artists to play on it like Paul Gilbert (Mr. Big), Roger Manning (Jellyfish), Matt Walker (Garbage/Morrissey) and many other killers. The record exceeded my hopes and expectations. It’s like an ice cream sundae made out of sounds & colors, with more hooks than a tackle box. And of course my pipes, stronger than ever! The song ‘Beautiful Things’ felt like a great album title, so I expanded on that. It hits hard from start to finish. I’m proud to be a big part of it, it’s my best work yet, and that’s saying something after nearly 25 great records with Enuff Z’ Nuff and my solo stuff combined. If you like cool aggressive pop, you will love this. I sure do. Share the love, stop the hate, and let's save the world.” (http://bettereachday.me/wp-content/uploads/2019/08/DonnieAbout.jpg) About the Artist Donnie has been one of rock’s biggest secrets, who has been crafting melodic power pop and rock songs for over 30 years. He and Enuff Z'Nuff were instant critics’ darlings, with a debut record that soared up the charts generating two long playing MTV hits, “New Thing” and “Fly High Michelle.” A “Top Pick” from Rolling Stone Magazine, and inciting numerous TV and radio performances with repeat invitations from David Letterman and Howard Stern, the group released their “self-titled” and follow up ‘Strength’ on Atco Records, before being picked up by Clive Davis and signed to his Arista label for ‘Animals with Human Intelligence.’ (http://bettereachday.me/wp-content/uploads/2019/08/FB_IMG_1528771529959.jpg) The Grammy-nominated artist has amassed over 25 albums’ worth of songs and decades of live shows to his name, both with and without his former band. Now a solo act, Vie continues his songwriting and performing under his own name. Rolling Stone Magazine described Donnie’s writing skills as “Beatle-esque pop songcraft and ripping hard rock,” while Billboard Magazine says, “If there is such a thing as false advertising in rock & roll, then Enuff Z’Nuff is one of its textbook examples. Packaged in garish peace-glam attire by their record company, the group was wrongly lumped in with the disposable pop-metal bands of the late ’80s rather than appreciated for the truly gifted power pop act that they were.” Donnie's Homepage (http://www.donnievie.com/)
Cowboys from Hell (1990) es el quinto álbum de la banda norteamericana de Groove metal (https://es.wikipedia.org/wiki/Groove_metal) Pantera (https://es.wikipedia.org/wiki/Pantera_(banda)) . Es el primero que va orientado hacia un sonido más pesado, editado el 24 de julio (https://es.wikipedia.org/wiki/24_de_julio) de 1990 (https://es.wikipedia.org/wiki/1990) . Es el primer álbum editado por la banda en el sello Atco Records (https://es.wikipedia.org/wiki/Atco_Records) , fue grabado en The Dallas Sound Lab en Irving, Texas. Además, es el primer disco exitoso de la formación comercialmente hablando al alcanzar el puesto número 27 en los Estados Unidos (https://es.wikipedia.org/wiki/Estados_Unidos) , llegando a disco de Platino por la venta de 1.000.000 de copias
Show #794 The Doctor Is Gone This episode of Bandana Blues is Spinner's In Memoriam for Dr. John who passed away last week on june 6, 2019. 01. Dr. John - Gris-Gris Gumbo Ya Ya (5:36) (Gris-Gris, Atco Records, 1968) 02. Dr. John - Mos' Scocious (2:41) (Desitively Bonnaroo, Atco Records, 1974) 03. Dr. John - On The Wrong Side Of The Railroad Tracks (5:42) (Duke Elegant, Blue Note Records, 1999) 04. Dr. John - Where Ya At Mule (4:58) (The Sun Moon & Herbs, Atco Records, 1971) 05. Dr. John - Gut Bucket Blues (2:47) (Ske-Dat-De-Dat The Spirit Of Satch, Concord Music, 2014) 06. Jerry Byrne - Lights Out (1:50) (45 RPM Single, Specialty Records, 1958) 07. Dr. Feelgood - Lights Out (1:51) (Sneakin' Suspicion, United Artists, 1977) 08. Dr. John - I Thought I Heard New Orleans Say (4:25) (Tango Palace, A&M Records, 1979) 09. Dr. John - Blue Skies (4:42) (Afterglow, Blue Thumb Records, 1995) 10. Dr. John - Black Gold (3:11) (City That Care Forgot, Cooking Vinyl, 2008) 11. Jimmy Smith - Only In It For The Money (4:35) (Dot Com Blues, Blue Thumb Records, 2000) 12. Levon Helm - The Tie That Binds (4:30) (Levon Helm and The RCO All-Stars, ABC Records, 1977) 13. Jools Holland - The Hand That Changed Its Mind (3:26) (Jools Holland's Big Band Rhythm & Blues, Warner Music, 2001) 14. Bluesiana Triangle - Doctor Blooze (3:33) (Bluesiana II, Windham Hill Records, 1991) 15. Dr. John with the Donald Harrison Band - Walkin' Home (2:23) (Funky New Orleans, Metro/Union Square Music, 2000) 16. Dr. John - Mac's Boogie (3:59) (Dr. John Plays Mac Rebennack, Clean Cuts, 1981) 17. Dr. John - Litenin' (3:28) (Creole Moon, EMI Records, 2001) 18. Dr. John - Black Night (4:03) (In A Sentimental Mood, Warner Bros Records, 1989) 19. Dr. John - The Patriotic Flag-Waiver (4:52) (Babylon, Atco Records, 1969) 20. Dr. John - Eleggua (2:53) (Locked Down, Nonesuch Records, 2012) 21. Dr. John & Ronnie Barron - My Key Won't Fit [1962] (Gumbo Stew, Ace Records, 1993) 22. Mac Rebennack - Storm Warning [1958] (2:52) (Ace Story Volume One, Ace Records, 1980) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
In the fourth episode of the ALL NEW Anhedonic Headphones Podcast, Kevin interviews his co-worker (and across the street neighbor) Kyle. Surprisingly, the entire podcast was not recorded in an exaggerated David Lynch-voice, but instead, the two discuss nostalgia for the 1980s and 1990s, having the same CD collection as kids, being a 'Hulkamaniac' and having fun with their families and friends, and Kyle's charmingly eclectic and diverse taste in music. Click here for more information about the AWARD WINNING music site, Anhedonic Headphones. Episode 4 credits: The intro to the episode featured an instrumental version of "Labels," performed by GZA/Genius, taken from the 2012 Get On Down/Geffen/Universal Music Special Markets release Liquid Swords - The Chess Box (Instrumentals.) The song originally appears on the 1995 Geffen Records release Liquid Swords. The theme music is a YouTube rip of the intro to BET's "Rap City: The Bassment," airing from 1999 to 2005. In this episode, we discussed: "Beautiful Girl" by INXS, taken from the 1992 Atlantic Records release, Welcome to Wherever You Are. "Please Do Not Go" by The Violent Femmes, taken from the 1983 Slash Records release, Violent Femmes. "The Lovecats" by The Cure, taken from the 1983 Fiction/Sire Records singles collection, Japanese Whispers. "Solsbury Hill" by Peter Gabriel, taken from the 1977 ATCO Records release, Peter Gabriel (Car.) "Like The Weather" by 10,000 Maniacs, taken from the 1987 Elektra Records release, In My Tribe. and as a special bonus track: "She Drives Me Crazy" by Fine Young Cannibals, taken from the 1989 London/IRS Release, The Raw & The Cooked. Please note the music played on the Anhedonic Headphones is used with the intent for discussion and promotional purposes only. Please do not sue me because someone wanted to talk about your song on the show. Thank you for understanding.
Paleophone [mm:ss] a side: "Like Stars" b side: "All I Ever" Cock of the Walk COTW01 2012 Some local tunes, including a b-side that references a band that I know well. Sebadoh [mm:ss] a side: "Limelight" b side: "Dialogue" Joyful Noise Records JNR171 2015 Didn't we all hate high school? A little something for adolescents of all ages out there in listener land. The Monkees [mm:ss] a side: "A Little Bit Me, A Little Bit You" b side: "The Girl I Knew Somewhere" Colgems 66-1004 1967 Yup. Super catchy Neil Diamond tune on the a-side, and an even catchier b-side written by Michael Nesmith. If you poke around enough you can find a version of "Girl I Knew Somewhere" with Michael singing instead of Mickey which I really really like. For those of you who are interested in that sort of thing, check out Michael Nesmith's recent autobiography "Infinite Tuesday" (https://amzn.to/2GFo0p8). The Music Explosion [mm:ss] a side: "Little Bit O'Soul" b side: "I See the Light" Laurie Records LR 3380 1967 Reached the #2 slot on the Hot 100 but was unable to dislodge The Association's "Windy" from #1. Mansfield Ohio's own. Palace Music [mm:ss] a side: "Little Blue Eyes" b side: "The Spider's Dude Is Often There" Drag City Records DC91 1996 A fine little single, perhaps my favorite of the Palace incarnations. Syndicate of Sound [mm:ss] a side: "Little Girl" b side: "You" Bell Records 640 1966 San Jose's own Syndicate of Sound bringing us a well played Nuggets classic (https://youtu.be/mtVq3wCCjxk), and a very groovy b-side. I'll be honest and say that I think the first time I heard this tune was via the Divinyls 1988 rendition with the noun change. Pete Townshend [mm:ss] a side: "A Little Is Enough (stereo)" b side: "A Little Is Enough (mono)" ATCO Records 7312 1980 Indeed, the New Wave-esque pop single from his 1980 album Empty Glass. Not only does this promo single have a stereo and a mono side, but the stereo side label is blue and the mono side is white. Fleetwood Mac [mm:ss] a side: "Little Lies" b side: "Little Lies" Warner Bros. Records 7-28291 1987 A fine little Christine McVie number from their 1987 Tango in the Night album. Indicative of the time, there is actually a Jelly Bean Benitez remix of this on the 12" release of this same single. Music behind the DJ: "Baby Elephant Walk" by Les Brown and His Orchestra.
This week's show will feature music from Judas Priest, Ozzy Osbourne, Ratt, Loverboy, Joan Jett And The Blackhearts, Yes and more... TRACKLIST “Bang Bang”- Danger Danger - Danger Danger - CBS Records (1982) “You’ve Got Another Thing Comin”- Judas Priest - Screaming For Vengeance - CBS Records (1982) “Poison”- Alice Cooper - Trash - Epic (1989) “Into The Fire”- Dokken - Tooth And Nail - Elektra (1984) “Flying High Again”- Ozzy Osborne - Diary Of A Madman - Jet Records (1981) “Panama”- Van Halen - 1984 - Warner Bros. (1984) “Kickstart My Heart”- Motley Crue - Dr. Feelgood - Elektra (1989) “Love Removal Machine”- The Cult - Electric - Sire (1987) “You Think You’re Tough”- Ratt - Ratt EP - Music For Nations (1983) “I Hate Myself For Loving You”- Joan Jett and The Blackhearts - Up Your Alley - Blackheart/CBS (1988) “Owner Of A Lonely Heart”- Yes - 90125 - ATCO Records (1983) “Tom Sawyer”- Rush - Moving Pictures - Anthem (1981) “Lucky Ones” - Loverboy - Get Lucky - Columbia (1981) “Don’t Cry”- Asia - Alpha - Geffen (1982) “Fight Fire With Fire”- Kansas - Drastic Measures - CBS Records (1983) “Superstitious”- Europe - Out Of This World - Epic (1987) “Back Where You Belong” - 38 Special - Tour De Force - A&M Records (1983) > Intro clip taken from The Running Man Braveworld Productions/HBO (1987) > Theme song “Forever Running by B-Movie Sire Records (1985) > Movie clips taken from Dirty Harry, The Enforcer and Sudden Impact Universal Pictures (1971-83)
We have the Chuck Stewart Songbook – a collection of standards from an artist whose instrument was his camera. If you've ever scanned through iTunes, dug through the crates at a record store, or watched a documentary or movie, chances are you know Chuck Stewart's work. His creative eye and sense for the "defining" moment yielded a bounty of iconic images with the likes of John Coltrane, James Brown, Billie Holiday, Quincy Jones, Led Zeppelin that graced the covers of Impulse, Verve, Columbia, CTI, Atlantic Records, and scores more. We pay tribute to him with the music he covered through posthumous interview clips, and commentary by renowned photographer Brian Cross, aka B+, Tad Hershorn of the Jazz Institute at Rutgers University, and the legendary Sonny Rollins. SONG CREDITS FOR THIS EPISODE: THEME: Jazz Phantom by Chomsk' (from the album "Different Beats" on Magentic Records). Turiya and Remakrishna by Alice Coltrane (from the album "Ptah, The El Daoud" on Impulse Records). I'm a Greedy Man by James Brown (from the album "There It Is" on Universal Records). Peace Piece by Bill Evans (from the album "Everybody Digs" on Universal Records). Ascension by John Coltrane (from the album "Ascension" on Impulse Records). Up Against the Wall by John Coltrane (from the album "Impressions" on Impulse Records). The Bridge by Sonny Rollins (from the album "The Bridge" on RCA/Victor Records). The Baron by Eric Dolphy (from the album "Out There" on Concord Music). Riot by Miles Davis (from the album "Nefirtiti" on Columbia Records). Save Me by Nina Simone (from the album "Silk and Soul" on RCA/Victor Records). Dazed and Confused by Led Zeppelin (from the album "Led Zeppelin I" on Atlantic Records). Heart-O-Matic love by Bo Diddley (from the album "Rare and Well Done" on Chess Records). Outside Woman Blues by Cream (from the album "Disreali Gears" on ATCO Records). Gypsy Queen by Gabor Szabo (from the album "Jazz Raga" on Impulse Records). Black Magic Woman/Gypsy Queen by Santana (from the album "Santana" by Columbia Records). Electric Flute Thing by The Blues Project (from the album "Live at the Cafe Au-Go-Go" on Verve/Forecast Records). Lady From Girl Talk by Oliver Nelson (from the album "Sound Pieces" on Impulse Records). Theme to Ironside by Quincy Jones (from the album "Smackwater Jack" on A&M Records). Pyramid by Duke Ellington (from the album "Afro Bossa" on Reprise Records). Over the Rainbow by Dizzy Gillespie (fromt he album "Clef Series"). ABOUT THE MAJOR SCALE: Your attention please to a new program that celebrates and takes a fresh and bold look at the great American art form- JAZZ!!! The Major Scale is the title, the motto and the mission are, Jazz- past, present, future, and everything in between. A lot of focus will be on new and fresh sounds, deep cuts, closer looks at underrated artists, taking a different look at some of the titans of the genre, and getting the two cents worth from a number of surprise guests and sources. The Major Scale can boast amongst it's guests- legends like Herbie Hancock, Tom Scott, and Ahmad Jamal. The up and coming and the underrated-Kamasi Washington, Mia Doi Todd, Michael Blake. Fresh perspectives and commentary from the likes of Rock legend Al Kooper, who weighed in on the gospel. From The New Yorker, Amanda Petrusich expounds on her article about the movement to rename the Williamsburg Bridge in honor of Sonny Rollins. We explore the Soul-Jazz experiments of the Rascals. Grace Kelly from The Late Show with Stephen Colbert talks about her pop-up/flash mob concerts. Plus Thundercat, Henry Mancini, Ghostface Killah, Jaimie Branch, Nels Cline, Badbadnotgood, Cecil Taylor, and more get pick up on the Major Scale radar. Produced in Central Florida, this program seeks to become one of the defining voices of this Native American art form, and everything else that finds itself under it's umbrella. Think about programming and content found on the likes of World Cafe, Philadelphia, PA. Tiny Desk from Washington D.C., and KEXP Live from Seattle, WA. and that's what the Major Scale strives to do. For the curious, and lovers of music who like the details in between. ABOUT KYLE EAGLE (Host): Kyle Eagle has been a contributing writer and producer for the NPR-WBGO, WUCF, WPRK, Wax Poetics, The Orlando Weekly, Artbourne, and The Fiscal Times, as well as several music and film releases- Light in the Attic's documentary "This Is Gary McFarland", and an upcoming film on composer Jack Nietzsche. Recordings- Call Me-Jack Wilson, Live at the Penthouse, Grachan Moncur III, Chico Hamilton, and Andy Bey. ABOUT CHRIS BARANYI (Producer): Chris Baranyi is a sound engineer and music producer. He splits his time between designing AV systems for theme parks and recording music. Chris has worked with many Orlando area musicians with backgrounds in jazz, fusion, hip-hop, funk, new age, and classical. Some of which have been featured on NPR's Echoes. His passion includes jazz, vintage microphones, and hot sauces.
J.J. Fad - Supersonic Piano Edit By Petko Turner Free DL >> https://hypeddit.com/track/sc/vlzli9 Due to management and financial disagreements, Cash, Shaheed and Lee quit the group, leaving J. J. Fad as a duo. The surviving original members (Burns and Birks) were joined by Michelle Franklin (Sassy C.) and DJ Train, and together they re-recorded and re-released "Supersonic" in 1988, this time as the A-side. It sold 400,000 copies independently before Eazy and Jerry Heller secured the group a major-label recording contract with Atco Records. The single was followed by the album Supersonic, which was also produced by Arabian Prince, who made J. J. Fad accessible to pop audiences—unlike many West Coast rappers of the day—by including electro elements in their music. Due to their involvement with Ruthless Records, co-producer credits were added for Dr. Dre and DJ Yella. J. J. Fad was the first female rap group to earn a Grammy nomination,[1] and both the single "Supersonic" and the album Supersonic were certified gold. (The group believes the single sold a million copies in the U.S.—equivalent to platinum status—but this has not been certified
Derek Shulman of Gentle Giant joins Eric in conversation to discuss his early days discovering music, working as Simon Dupree and The Big Sound, his early friendship and the Gentle Giant audition of Elton John, the formation and creative process of Gentle Giant, working with Tony Visconti, the ups and downs of Gentle Giant, his time working A&R at Polygram and as the President/CEO of Atco Records where he helped discover and sign such bands as Bon Jovi, Cinderella, Tears for Fears, Dream Theater, Pantera, thoughts on Dan Reed Network, the new Gentle Giant Blu-Ray and CD release Three Piece Suite featuring remixes by Steven Wilson, does he still write music, does he miss performing, what's next and much more.
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