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1. Elvis By the Presleys | |
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Description In the special, Priscilla and Lisa Marie speak with unguarded candor about their lives with the legendary Elvis Presley and offer an intimate look at their family and private life. Rare interviews with Elvis's first cousin, Patsy Presley Geranen, and Priscilla's parents, Ann and Paul Beaulieu, are also featured. Vintage, never-before-seen performance footage will be interwoven with photographs from the Presley Estate archives and press coverage of Elvis over the years. Private home movies of the Presley family illustrate and illuminate his story with vivid detail, honest insight and great warmth. Different aspects of Elvis's life, including his tours, his time in Hollywood and his home life, are depicted with the insight that only his family can bring. His career ups and downs, his kindness and generosity and his human frailties are all brought to light as well as a reflection on his place in entertainment history and his enduring legacy. Reviews (17)
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2. Elvis - The '68 Comeback Special (Deluxe Edition DVD) | |
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Amazon.com essential video In addition to the complete, uncut TV special (with the bordello number that was deemed too daring for TV), this DVD set includes both of the original stand-up shows and both of the original sit-down shows (the first was released mostly complete as One Night with You), and multiple takes of numerous production numbers.The numerous glitches and stumbles of the production numbers have limited replay value, but the complete stand-up and sit-down sessions are like gold for those who couldn't get enough of them during the 73-minute television special.Decades after the original telecast, Elvis has made another comeback.--David Horiuchi Reviews (46)
While some parts, delightful as they are, will definitely be for Elvis fans only (the takes and raw components of the production numbers on disc 3), the bulk of this set is essential watching for any rock enthusiast - the two sit-down shows, the two stand-up shows, and the adapted NBC TV special as it was originally aired on December 3, 1968, represent not only some of Elvis's finest moments of his whole career, but are nothing less than some of the most exciting rock gigs ever filmed. Watching these shows now, in great remastered sound (there's choice between Dolby stereo and Dolby 5.1) and unseen picture quality, and realizing that they have been in the vaults for more than 35 years, one can but wonder why it took them so long to release them. In his emphatic effort to reinvent himself, Elvis continually transcends the limitations of space and time, revealing along the way as only he could what rock 'n' roll is all about - and we have a true classic performance on our hands. You can now watch some 7 hours of it. Not to be missed. (In the European issue of this set "It Hurts Me" has been erroneously left out on the Original Broadcast Version of the Comeback Special.)
This is the one to have!! I'm writing this having watched ONLY ONE of the three included dvds. If this first dvd was the only one in this package, it would have still been well worth the price. Personally, I like the unedited 'sit-down' and 'stand-up' performances BETTER than the edited, packaged TV Special. But, it's all here, allowing you to pick and choose your own favorite cuts. Buy It!
This is the 3rd time it happens. The people behind the Elvis Enterprises are dishonest and they are laughing at us, in order to get the money. Next time, I will not rush and buy the next Elvis product on Ebay for a lot less money. In the "68 Comeback Special" you will see a gorgeous, energetic, Elvis; specially when he is singing with his original small group. It is a little bit annoying the full band that he uses for other songs. The horns are too loud and harsh. I agree with Paul McCartney when he said that Elvis was better with a small band than with a full orchestra ...and definitely I agree with Scotty Moore when he stated... "68 Comeback Special: A Farewell Performance" ... Read more |
3. Jazz - A Film by Ken Burns | |
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Amazon.com essential video The film is also potent in arguing that the history of race in the 20th-century U.S. is at jazz's heart. But a few problems arise. First is Burns's reliance on Wynton Marsalis as his chief musical commentator. Marsalis might be charming and musically expert, but he's no historian. For the film to devote three of its episodes to the 1930s, one expects a bit more historical substance. Also, Jazz condenses the period of 1961 to the present into one episode, glossing over some of the music's giant steps. Burns has said repeatedly that he didn't know much about jazz when he began this project. So perhaps Jazz, for all its glory, would better be called Jazz: What I've Learned Since I Started Listening (And I Haven't Gotten Much Past 1961). For those who are already passionate about jazz, the film will stoke debate (and some derision, together with some reluctant praise). But for everyone else, it will amaze and entertain and kindle a flame for some of the greatest music ever dreamed. --Andrew Bartlett Reviews (118)
Jazz itself, from its outset and to this very day, asks more of you than any other music. A series about it should do no less. This series is not perfect. Jazz is also imperfect. As Thelonius Monk said, there are no wrong notes. So are there no bad jazz documentaries, as long as they are unflinching, whole, and about the forces that shaped the music. This one is. It's only real flaw is that it is too in love with its own story and the music. That is entirely forgiveable. If you have any interest in jazz, buy or rent this series and watch each one like a student, and learn in wonder at the extraordinary music brought to us by African Americans. It is one of the glories of American culture, and of the world, and we should join Ken Burns, his historians, critics and musicians in joyously celebrating the collective creation of the geniuses that graced our land in the past 100 years.
Ken Burns' "Jazz" gave me what I've been wanting for years--a clear, evocative, comprehensive way into the genre as a whole. Okay, it may not be the last word on the history of jazz. Yeah, some things really irritated me--like the slighting, mentioned by many, of Bill Evans, and the excessive excision of many white musicians to make the generally accurate point that jazz springs more from the experience of Black Americans. (Hint to Burns: You make your argument stronger by showing how apparently contrary data fit, not by leaving them out.) But over all, I found this a very helpful overview. And I enjoyed getting to know the biographies of, and the personal relations among, the players. You won't likely get such an orientation from buying a few of the original CDs *instead* of the "Jazz" series. Few of us have the ears or training to discern what's taught in this series. You'd be highly unlikely to realize that, for instance, what was new with Be-Bop is improvising on the underlying chord changes rather than the melody. You'd really have to be perceptive and paying attention to notice what distinguishes Kansas City jazz from New Orleans jazz from New York jazz from West Coast jazz. And *no* album can place *itself* in history. For instance, you cannot learn from listening to an album featuring Coleman Hawkins-or Charlie Christian or Kenny Clarke--that *before* that album people played very differently. In short, you'd have to be far better trained musically and far more observant than most of us are, and listen to dozens (if not hundreds) of albums, to learn what this series teaches. As I watched over a period of a couple of weeks, I bought several of the CDs that Burns produced to survey the music, and I found them very instructive. No, as listening experiences, they're not as good as some of the various albums on which the cuts originated. But that's not the point: They are very good ways to get an overview, to get oriented, to know where to go next. After seeing this series and studying the accompanying CDs, when I go into the music store and start perusing the jazz disks, I find that I recognize a whole lot more and can surmise a whole lot better what's what and what would interest me. For instance, tonight I saw "From Spirituals to Swing," a three CD set of Carnegie Hall jazz concerts in 1938 and 1939. A month ago, the list of personnel would have meant near-nothing to me--I probably wouldn't have even known what I was looking at, and I doubt I would have looked at the thing for more than thirty seconds. Now, though, I studied and comprehended the personnel and got all excited--"This I gotta hear." So I bought it, and it's great. Now, isn't that reason enough to recommend this series? That the overall interpretive framework of the series may need correction is not a trenchant criticism, in my opinion. To get a comprehensive understanding of anything, you have to start with *some* systematic framework, which you can then modify, maybe even refute, as you encounter further data. Logically, the first such framework you acquire has to come from someone else, unless you are a genius of extremely wide learning. No, Ken Burns' "Jazz" isn't the only guide to jazz you'll ever need--as others have noted, some of the omissions are glaring. But it's fine place to start. If you really want to get a sense of jazz, this is an excellent investment, in my opinion. Yeah, it's pricey--but cheaper than, say, an adult education course on jazz appreciation at your local community college (if you include texts and other supporting material). And if you don't want to spend the money--well, you can hint real hard to your significant other that you'd like it for your birthday or Valentine or some such thing. Postscript: I almost didn't buy this because of the characterization of Wynton Marsalis's role by several other reviewers here. I'd never much liked his music--it always seemed too cerebral, almost architectural, for my tastes--chilly, not very visceral. (That's just my personal taste--I also find most of Ella Fitzgerald--except her duo wok with Armstrong--a bit emotionally distant, unlike Sarah Vaughan or Billie Holiday or Carmen McRae or many others.) I was skeptical about any documentary that made Marsalis the central story teller. Well, two things: (1) He just isn't the central story teller here. He does not have anything approaching the majority of commentator air time. It is certainly true that he plays a role analogous to Shelby Foote's in "The Civil War"--he is a unifying presence, especially in the early going and toward the end. This is just good film making--to establish "characters" whose presence throughout helps give unity to the piece. (2) I really liked Wynton in this documentary. He came off as much earthier, more laid back, mischievous, funnier and more fun, than I ever would have imagined. And he is really quite illuminating, especially when he explains various musical concepts--like the "Big 4." (I went back and listened to "Thick in the South," thinking maybe I'd like his music more now. Nope. Still feels too thought-out, too chilly, to me. Oh, well.)
As I found the documentary going into its umpteenth hour and we STILL weren't out of the 1930's yet, I had a bad feeling about where this was going. You would have thought that Louis Armstrong had been annointed as the Jazz Pope and he ruled over the world of jazz for 40 years. In his proper context, Armstrong is very important, but Burns seems positively fixated on him. He dwells on every facet of Armstrong's upbringing & early career. Unless he planned on making a 60-hour documentary, there was no way Burns could hope to do justice to the more recent history of the genre, and sure enough he basically hits the fast forward button once the be-bop era is coming to a close. Personally, I cannot stand fushion jazz, but nonetheless some mention needs to made of a style that was dominant in jazz for almost as long as the swing style, for crying out loud. Also, relying almost exculsively on Wynton Marsalis (doing his best impression of a crochety old man on his front porch, railing at a world that has passed him by) really was not a good idea & imbues the entire documentary with a hopelessly retrograde flavor. I watched it once, and came away disappointed. I watched it a second time, hoping that I could find more to appreciate, but only found that it continued to disappoint. I don't know if it merits any future viewings, and that is indeed a shame, because it is a subject that deserves better treatment than this.
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4. Elvis - Aloha from Hawaii (Deluxe Edition DVD) Director: Marty Pasetta | |
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Amazon.com essential video Leading off disc 2 is footage of five songs ("Blue Hawaii," "Ku-U-I-Po," "No More," "Hawaiian Wedding Song," and "Early Morning Rain"), including multiple takes, recorded after the performance, four of which ("No More" was the exception) were incorporated into the American television special that was shown a few months after the live telecast. Those four songs are not included in the uncut version of the concert on disc 1, but the original version of the American television special is also on disc 2 so you can watch the concert the way you've always watched it for the sake of nostalgia, or you can compare it to all the other pieces you've seen and decide which you like better.Either way, Elvis: Aloha from Hawaii is an embarrassment of riches that's rivaled only by its companion release, thethree-disc deluxe edition of Elvis's '68 Comeback Special.--David Horiuchi Reviews (91)
1. See See Rider If you're someone who wants to see this, but not sure weather you should buy it or not, get it!! it's great! as far as I know, you won't be sorry! I wasn't! Take care, A 14 year old die-hard Elvis fan from VA
Speaking of wich, you realize that 4 hours worth of this treatment would proabably seem to put ya to sleep and if it does, dont watch it in a moving autombile ok, you have to catch all the hidden things Elvis is sining about, and it's really like the game "clue", we get to see Elvis grow up but still show us that rock is not just about going nuts,although he proabably did right after, you can tell. Yes,the 68 special (delux), thats the way it is special edition |
5. Lucinda Williams - Live from Austin, TX | |
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Amazon.com Reviews (9)
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6. The Rocky Horror Picture Show (Single Disc Edition) Director: Jim Sharman | |
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Reviews (291)
For the uninitiated, "Rocky Horror" tells the story of two clean-cut American youths, uptight Brad Majors (Barry Bostwick of "Spin City") and Janet Weiss (Susan Sarandon of "Dead Man Walking") whose car breaks down on a dark, deserted road in the middle of a storm--the classic beginning to many horror movies--and who seek help at a nearby castle. Castles, as Rocky fans know, don't have phones! What this castle has instead is a cross-dressing mad scientist Frank-N-Furter Tim Curry, in perhaps his finest performance), two very creepy servants, Riff-Raff (Richard O'Brien, who wrote the musical) and Magenta (Patricia Quinn), and various other hangers-on, including lovers Columbia (Little Nell) and biker Eddie (Meat Loaf). Brad and Janet walk in on a party celebrating the creation of Frank-N-Furter's muscle-bound boy-toy "Rocky." Bed-hopping chaos soon ensues, until the servants reveal their true identities and take control. Punctuating this wacky plot are some of the wildest rock-musical songs ever written. In addition to the classic "Time Warp," there's O'Brien's salute to cult-classic B-movies, "Science Fiction Double Feature," Meat Loaf's "Hot Patootie," and Sarandon ode to sexual self-discovery, "Toucha Toucha Touch Me!" So much for the "Rocky virgin" portion of the review... What makes the DVD so exceptional is the chance to experience "Rocky Horror" at home nearly like you would in the theater. The DVD has the option of turning on the audience screen comments as well as another option for viewing members of the Rocky Horror Fan Club performing select scenes before returning to the main movie. For those less familiar with audience participation, the DVD can prompt when to throw toast, toilet paper, rice, etc., light a match, put your newspaper on your head, etc. The second disc contains fascinating interviews with cast members, where fans can find out about their reaction to starring in this cult classic. Meat Loaf's description of not realizing what "Rocky Horror" was going to be about and running out of the theater when Tim Curry entered wearing fishnet stockings, spiked heels, a merry widow, and a leather jacket and singing "Sweet Transvestite" is hysterical. Patricia Quinn talks about how her fondness for the opening song, "Science Fiction Double Feature" made her want to take the role even though she hadn't read the rest of the script. What? Don't remember Quinn singing that number? In the stage versions she did, but the song got reassigned in the film version--and Quinn makes her feelings about that QUITE clear. Sarandon makes the interesting observation that "Rocky Horror" probably kept a lot of art house theaters in business over the years, since they could count on good revenue from the midnight movie, even if the latest regular-hours offering flopped. In Bostwick's interview, however, the actor sounds a bit like William Shatner giving his anti-Trekkie diatribe on "Saturday Night Live." The only disappointments on the DVD are that the outtakes really aren't that interesting and actor bios aren't provided. I would have liked to see what else the "minor" cast members did after Rocky, but that information is limited to a few lines in the companion booklet. Also, some of the audience-participation comments are nearly impossible to understand because fans are talking over each other. But then that's part of the modern-day theater experience. Even Sarandon noted in her interview that talking back to the screen has gone from the more unison catechism approach to a loud free-for-all. What seemed so risqué and shocking a few decades ago seems much more innocent today, but it was great when it all began and it's still great! If you've never ventured into the theater to experience "Rocky Horror," this is the best way to experience it at home.
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7. Avia Guide to Home Theater Home theater information and setup DVD | |
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Amazon.com Features Reviews (39)
The dvd menus are layed out nicely, allowing you to quickly navigate to the setup procedure that you want to perform. The disc includes red, green, and blue plastic filters for use in calibrating the color level, which turns a job that used to be guesswork into a quite accurate yet easy procedure, all without lots of scientific test instruments. The instructions are a extremely easy to follow. Each video setup section starts out with a description of what you are going to see and how you are going to adjust your video controls to make the correct settings, then shows the real test patterns. When done, you simply move on to the next chapter and continue the process. Overall, an outstanding dvd -- Highly recommended.
Not perfect...but a worthwhile product. ... Read more |
8. The Wiz Director: Sidney Lumet | |
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Amazon.com The Wiz is probably the grandest take on L. Frank Baum's classictale The Wizard of Oz.Theproduction team created sets with a sense of urban magic and spectacle: a New York subway station literally comes to life, and the massive plaza between the World Trade Center towers is transformed into the Emerald City, featuring nearly 400 dancers with three costume changes. Like all good musicals, the Quincy Jones arrangements are highly hummable long after viewing (especially the funky "Ease On Down the Road" and the inspirational "Brand New Day"). In an era before MTV, the camera stays nearly stationary as Ross and Lena Horne vocally soar through their numbers. Their stage-like performances successfully make the leap to film, making The Wiz a testament to their singing talents and star presence. The then-thirtysomething Ross raised some eyebrows playing the traditionally teenaged Dorothy, but she and her supporting cast (including Richard Pryor as the Wiz) carry the tunes with an infectious verve that will appeal to folks of all ages. --Shannon Gee Reviews (120)
I often scratch my head at why Sidney Lumet directed this, but knowing that he is one of the top five directors ever who understands New York City, it now makes perfect sense. The location shots are amazing, especially with the massive Albert Whitlock visuals. And as hard as it may be to watch Diana Ross play a 24 year old single woman, she achieves it with simple gestures and that pure, honey voice. It's a huge treat to watch this movie and I look forward to repeat viewings.
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9. Baby Mozart | |
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Reviews (405)
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10. A Hard Day's Night Director: Richard Lester | |
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Description Reviews (264)
The film has held up very well and the editing still looks innovative nearly 40 years later. One thing that is very noticeable with this set is that the music has been digitally remastered and the sonic quality of the songs is markedly different from the dialogue in the rest of the movie. The extra disc provides a lot of insight into the making of the film and the whole Beatles scene. Everyone from Richard Lester to the tailor and hairdresser on the film talk about their memories. Klaus Voorman gives an interesting interview where he shows drawings that he made during the early years of Beatlemania. There is also a documentary on the first disc that repeats clips from some of the interviews on disc 2 but most of the insights are unique to this special. Despite the fact that there is a lot of bonus content, even more would have been appreciated. While there is an interview with the man who designed the film's movie poster, an actual gallery of posters and lobby cards would have been appreciated. It would have also been appropriate to include theatrical trailers for the film. This set does include DVD-ROM content but I did not have access to it so perhaps these things are located there. Other things that could've been added to disc 2 include deleted scenes shown in "You Can't Do That! The Making of 'A Hard Day's Night'" and the "I'll Cry Instead" intro that was added to the film when it was re-released in the 1980s. Richard Lester's "Running Jumping Standing Still" film should have also been included since it's mentioned so much on the DVD. For fans of 1960s cinema or the Beatles, this set is a keeper. Here's hoping "Help!" gets similar treatment someday.
Respect hasn't led to respectful treatment. Legal wrangling followed "A Hard Day's Night" throughout its home video life, resulting in oddities like the "tribute to John Lennon" musical prologue tacked on for VHS. The first DVD version, from MPI in 1997, disappeared after a few months of distribution. Here, finally, is an up-to-date rendition worthy of the film. "A Hard Day's Night" looks and sounds about as good as could be expected. The carefully lit black-and-white images should please most viewers -- even though they're on the flat side, with persistent minor speckling. The stereophonic songs swing as they must, smoking the tracks on Capitol's (shamefully outdated) soundtrack CD. (The MPI video had significantly worse sound but deeper contrasts.) Try this: Put on the Capitol version of "Tell Me Why" and then play the movie version. Perhaps Capitol can tell us why they continue to sell 15 year old Beatles CDs. The film, shot in 35mm, is presented in widescreen, letterboxed with a ratio of about 1.66:1, enhanced for 16x9 televisions. The spiffed-up audio comes via Dolby Digital, with the musical numbers in stereo. The first disc contains the movie as well as "Things They Said Today," a new promo film that gives the big picture. The second disc is all interviews, arranged by category (cast, crew, etc.). Martin Lewis, a Beatles historian and pal to most of the filmmakers, conducted 30 video interviews for the package. They include key players -- Martin, director Richard Lester, United Artists exec David Picker, cinematographer Gilbert Taylor ("Star Wars") and Beatles publicist Tony Barrow -- as well as those who were just lucky to find themselves working on a film project "at the center of the universe." The reminiscences get infusions of energy from upbeat clips, some amplifying the talkers' points and others making Beatle-esque visual jokes. The production was extensively filmed and photographed, with hours of that material first seen in this collection. The interviews are tightly edited, surprisingly focused and often a great deal of fun. It becomes clear that contributing to the film profoundly changed the lives of most of these people.
The nominal plot allows the Beatles natural likeability to shine. This film established the personas of the individual Beatles (as portrayed to the media) -- Paul -- straightforward and good natured, John -- incessantly sarcastic, George -- subtle with a dry sense of humor, and Ringo -- quiet, shy and introspective. The movie is irreverent, inventive, funny, droll, deadpan, filled with non-stop movement, and some great, if dated, rock-n-roll! A wonderful film showing the exuberance of youth, the innocence of an earlier time, and Beatlemania in all its glory! The DVD's extras include interviews with about everyone still living who participated in the film except the surviving Beatles. While it is nice to have all of the insiders reminiscing about the film, it would have been nice to hear from some of the Fab Four.
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11. DVD Pink Floyd PULSE Live in Earls Court London on October 20th, 1994 | |
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Product Description Reviews (11)
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12. The Last Waltz Director: Martin Scorsese | |
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Reviews (144)
A few highlights; 1. Rick Danko's soulful and honest singing of "It Makes No Difference", "Stagefright" and many others. God bless his soul. 2. Levon Helm's "americana personified" singing on "The Night They Drove Ole Dixie Down" and his perfect drumming. 3. Dylan's God-like presence and powerful performance. 4. Vann Morrison's deep and electrifying performance that raised the hair on my arms. 5. Neil Young's sincerity with a haunting behind the scenes Joni Mitchell singing "Helpless, Helpless". 6. Clapton showing his usual class by letting Robbie outduel him in their guitar solos. 7. Robbie Robertson's guitar on Van's song "Caravan" and many others. 8. Garth Hudson's unique keyboards and Richard Manuel's spirited piano and singing. [Forget] the imperfections, this is a musical masterpiece, showcasing many of the greatest musical talents of the last 40 years. The Band are simply one of the greats of all time. John X. Condos
Even the guests, such as Bob Dylan, seemed to use their worst voice. Only Eric Clapton was really any good, though Van Morrison was acceptable. Otherwise, fairly embarrassing musical performances. At the end, *everybody* is onstage singing "I Shall Be Released" - killing an otherwise nice song. Obviously Scorsese got all the good film people and photographers to work on the project, and it was well done. So well done that the presentation outshines the music. There are some nice extras, including multiple commentaries. Hard to recommend it unless you are truly a Band fan.
To celebrate that they were quitting the 'god---n impossible' life on the road after 16 years, The Band gave a farewell concert in San Francisco, on Thanksgiving Day, 1976. To join them, they invited artists who represented the rich and varied array of styles that went into their musical melting pot: Rock'n' Roll, Blues, Folk, New Orleans R'n'B, Country, Gospel, Rockabilly ... who would sing their own numbers backed up by them. They, noblesse oblige, brought in their first mentor, Ronnie Hawkings, a man who sure knows how to entice a teenager into joining a rock'n'roll band, and Bob Dylan, of course, (who had just released Blood on the Tracks and Desire), Joni Mitchell (The Hissing of Summer Lawns and Hejira her most recent albums), Neil Young (Tonight's the Night and Zuma were his latest solo efforts), Muddy Waters (who would release Hard Again, his best late day work the following year), and many, many more I have no space here to mention. All top-notch and in their musical prime. Well, and Neil Diamond. The result was a concert that can only be described as dazzling and magical. The Band do ecstatic versions of some of their best songs and the guest appereances are also amazing, Van Morrison does what's probably the best version ever of Caravan, Muddy Waters proves why he is the M-A-N, chile, The Staple Singers send a shiver up your spine that can rend you comatose for life, and Robbie Robertson and Eric Clapton bring the house down with their scorching six-strings and then they burn the ruins to ashes. All this just to quote a few. But I have a minor complaint here, the movie only features one song (The Shape I'm in) sung by Richard Manuel, one of the most soulful and moving singers that ever walked the face of the earth. This gives the newcomer a somewhat off-balanced account of how vocal duties were shared in The Band, as one can deduct that Levon Helm sang almost everything with a little help from his friends Rick and Richard. And Levon is darn good, but Richard is the shhh ....sheer top of the heap. Casting these trifles aside, the movie is a masterpiece. Direcrted by a Martin Scorsese in a state of grace (those were the days of Taxi Driver and Raging Bull), and beautifully darkly photographed by Michael Chapman (Taxi Driver, Raging Bull), Michael W. Watkins (later X-Files direcror and producer), and Vilmos Zsigmond (Close Encounters of the Third Kind, The Deer Hunter, Heaven's Gate), this was to be more than your average rock concert documentary. The filmmakers were set on an ambitious goal, to show what it is and what does it feel to play great music. And they achieved it in such a way that we mere mortals get to feel what it is to be up there on the stage, enraptured, playing that great music to an enthusiastic and receptive crowd. The featurette that is one of the DVD bonus add-ons shows how Scorsese had these sheets of paper with the lyrics of each song to be played written down in one column, the main moments of each performance in another (when a singer would join in the chorus, or the guitar solo was to begin, or a special part of the lyric would be sung, etc), and the camera shots and movements for each moment in a third column. This is called making the best of the means of your art instead of just doing anything that would do, and it shows on the screen in a way that leaves you breathless. Watching Scorsese frantically directing the movie like a tightrope walker with no net to fall down on must've been worth another documentary. They had only one take for everything, mind that, and I guess that's what might have attracted such a brave and audacious director as Scorsese: Jumping into the unstopping swirling midst of life and trying to extract art out of it with just spotlights and cameras. Souns enticing, isnt't it? And for no money nor any promises of getting more you-know-what than Frank Sinatra. ... Read more |
13. The Unanswered Question - Six Talks at Harvard by Leonard Bernstein | |
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Amazon.com Delivered in 1973, the talks were transcribed for a book, but in it Bernstein insists"The pages that follow were written not to be read, but listened to," really anendorsement of the video edition. The talks are, in fact, performances.Television was always kind to Bernstein; he had magnetism and knew how to useit. To illustrate various points in his analyses, he plays the piano frequently,sings occasionally, and conducts significant works of key composers: Mozart,Beethoven, Berlioz, Wagner, Ravel, Debussy, Ives, Mahler, and Stravinsky. Bernstein traces the development of music from its origins to the 20th-centurystruggle between tonality (championed notably by Stravinsky) and atonalism(represented mainly by Schoenberg). The last two talks, devoted to thesecomposers, are particularly enlightening, but all six are outstanding. He arguespersuasively that humans are born with an ability to grasp musical forms, andthat rules of musical syntax are rooted in nature--in mathematically measurablerelations between tones and overtones. These talks are a key document. They coincide chronologically, as cause and/orsymptom, with the movement of America's leading composers back fromSchoenbergian forms toward a tonal orientation. Bernstein predicts and promotesthis movement, which is still in progress. He is clearly an advocate oftonality, but he discusses atonal music with sympathy and understanding. --Joe McLellan Reviews (9)
Even though the questions are not all answered (the more he talks, the more questions arise, I have to admit), his spirit is well delivered, and that alone makes this DVD a treasure worth having.
But the human dimension to this appeared, almost as one man in the form of Chomsky. His book, "Aspects of the theory of Syntax" was the tip of the iceberg of a huge number of papers published on the deep structure of language while he was working at MIT. This appeared to offer clues as to aspects of the structure of ANY human language, an utterly amazing claim. Some of his later works give clues to the possible existence of a universal paradigm for language which has massive implications for people in so many disciplines, I couldn't begin to enumerate. This all started, by the way, on the route to attempting the final cataloguing of the North American indian languages, some of which had only one remaining speaker. The task was huge and unapproachable until Chomsky evolved a system for abbreviating certain grammatic structures, which, to his surprise, evolved into a powerful predictive theory. Anyone exposed to this at the time would have been impressed, but what was to follow was even more amazing. Chomsky's ideas swiftly melded with other theories of semantics and syntax transformations in different fields, and became de-rigeour for many PhDs in computer science and anthropology, uniting what was up until that time two very, very different disciplines. Citations to his work began to appear everywhere, and in the most amazing places. An illustration of what was to follow THAT is basically contained here. no less, a unified theory of language and music! [You ought to get this - it is undoubtedly a brilliant scholarly work in any case, even if you don't concur with Bernstein on all points - and few would exactly agree with him on all, nor, importantly, would you need to, to benefit from this.] The argument presented is quite intuitive, but is nontheless compelling. Music is shown as being a byproduct of our humanity, extended from need in whatever form, as an infant, or an adult, from utility into sophisticaion, and finally inspiration. Bernstein makes sure the listener is in no doubt that there is something way, way beyond necessity in our provision for the experience of music. His explanation of the physics of music is flawless, and ... awe inspiring. And, watching the man traverse this enormous gap between logic, physics, liguistics, and the unnameable majesty of Beethoven and Debussy (both of which he performs as a conductor, and is moved greatly and visibly) is utterly breathtaking. I would doubt that anyone watching his exposition of the 6th would be any less moved in this way. Apart from any of this, Bernstein entertains enormously. There are parts of his explantions that truly defy you not to laugh. He has an honesty and self effacement that is quite unusual, this comes out particularly in his efforts to sing, which he pokes quite a bit of fun at. It's obvious how passionately his audience is involved. (He describes at length a discussion with a student after one lecture in the next one - and its clear that both student and teacher really have learned quite a bit but have obviously been a little combatative, at least, at first) From there on, you might care to differ a bit. The history of the 20th Century is described rather neatly as the showdown between Schoenburg and Stravinsky, two schools of thought, two very different philosophies. He enters this very complex consideration fairly gently. I agree with his approach - and understanding of the environment of the early 20th century is essential if one is to understand its music - and so he described Debussy, who is ... sort of.. at the end of the Waagnerian era, stretching ambiguity and tonal resources to the uttermost. Can one go further? Yes indeed, and here we have the entry of the Viennese school of 12 tone technique, illustrated with Schoenburgs six little piano pieces. But oddly enough, Bernstein shows very clearly that the appearance of 12 tone technique is not unequivically Schoenburgs' alone, but appears in the guise of mists and mirages in Chopin, Wagner, even Beethoven, but grasped once and for all by Schoenburg. Given another five or so lectures, one might imagine that one could explore the use of bitonality, not just in the context of the Rite of Spring (which is most EXCELLENTLY explained), but the mid century English composers, who use this technique. Such people as Holst, Grainger, Williams, Strauss, and of course, Britten. But there isn't time. The end point of these complications is the resolution into a robust defence of neo-classicism, such as the ebony concerto, and of course, Oedipux Rex. But I think that this is a sad way to end - Rex is a sombre, hard work, and doesn't quite illustrate the end that either Schoenburg or Stravinsky seem to have unknowingly appointed for that part of the 20th century. In this, Bernstein may have overlooked that really recent developoments in Europe, that of an emerging new impressionism (even, perhaps, Romanticism), exemplified by Xenakis, Maderna, Berio, and others, who in some sense share some parts of both ends of the bipolar world which was the basis for all this in the middle part of that century. All this is debatable. For instance, not a mention is given to either those very radical spirits like Varese, who seemed to eschew both ends equaly - or those, like Sibelius, Delius or Neilson, who didn't seem to mind either way, and continued to write what is now known as the mid century symphonic repertoire. That is a long, long story, and could form the basis of a lot of commentary. Where, for instance, is Shostakovich in all this? Or Bartok, for that matter? I think this is all dealt with elsewhere, but I would have given a great deal to have seen these composers discussed at length. But this set of lectures is so valuable as a signpost, I would never do anything other than highly, highly recommend it.It's absolutely magnificent.
I agree the modern artistic age is characterized by irony, references (self and other) and a revisiting of the old in new clothes. However, I don't see any link to the "horrors of the 20th century" as to why we can't directly say "I love you" when we mean "I love you." Rather, I think the reason irony and assorted deconstructionist techniques sprang up in the 20th century is because we finally had the history and the heritage for them to exist and make sense. Musical language was direct in Mozart's time, in Bach's time, in Beethoven's time, because they were inventing it. By the time we reach Mahler, it is fully developed and we find ourselves in the process of "deconstructing" it (or he did). Before that time, there wasn't the heritage and history *to* deconstruct. To make my point, jazz, despite coming of age in the ashes of World War I, didn't become ironic and deconstructionist through the first half of the 20th century, until the 1950s. Its deconstruction was borne not from any of the horrors of the Holocaust or the atom bomb, but from its own accumulation of tradition and technique. Ditto the cinema. In short, you can't deconstruct until the construction is complete. So Bernstein's argument, in my view, doesn't hold water, but is the very sort of Romantic and poetic vision that appeals to him. (On another documentary I have, he waxes poetic on the anguish and turmoil trapped in the person of Gustav Mahler while never bothing to back up his thesis with a shred of documentary evidence.) However, while I don't agree with his conclusion, the journey he takes to get there is fascinating, filled with analyses of such landmark works as Mozart's Symphony No. 40, Beethoven's Pastorale Symphony, Wagner's Tristan and Isolde, Berg's Violin Concerto, and Stravinsky's Le Sacre, just to name a few. Also, his discussions of tonality, the "Circle of Fifths" and the evolution of Western harmony are fascinating. There's a certain amount of annoying preening--there are times when he's really milking his little Harvard audience for applause, and you'd think that by that point in his career he wouldn't need it--but this is easy to overlook. The video is clean and the audio is quite good for the time. Overall this is a set worth getting, despite my reservations about Bernstein's overall argument and his attempts to strengthen it by linking it to linguistics, a melding I think is artificial and unnecessary. (It reminds me of early jazz scholars trying to make their work appear more solid by forcing analogies between jazz and classical music.) I do recommend this set, but beware Lenny's excessive Romanticisms!
Content - 5 |
14. Pink Floyd - The Wall 25th Anniversary (Deluxe Edition) Director: Alan Parker | |
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Amazon.com The film is, for better and worse, the fruit of three artists in conflict--Parker indulging himself, and Waters in league with designer Gerald Scarfe, whose brilliant animated sequences suggest that he should have directed and animated this film in its entirety. Fortunately, this clash of talent and ego does not prevent The Wall from being a mesmerizing film. Boomtown Rats frontman Bob Geldof (in his screen debut) is a fine choice to play Waters's alter ego--an alienated, "comfortably numb" rock star whose psychosis manifests itself as an emotional (and symbolically physical) wall between himself and the cold, cruel world. Weaving Waters's autobiographical details into his own jumbled vision, Parker ultimately fails to combine a narrative thread with experimental structure. It's a rich, bizarre, and often astonishing film that will continue to draw a following, but the real source of genius remains the music of Roger Waters. --Jeff Shannon Reviews (323)
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15. The Flaming Lips - The Fearless Freaks | |
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Amazon.com By the time the film reaches the late '90s, Coyne's band has witnessed a number of personnel changes, most notably the introduction of drummer and multi-instrumentalist Steven Drozd. It's here that the Flaming Lips begin their ascent into greatness. Fueled by the alt-pop hit "She Don't Use Jelly," the band enters an era of intense experimentation, conducting a symphony for car stereos in a parking garage, releasing a 4-disc album meant to be played simultaneously, and embarking on the creation of their first masterpiece, The Soft Bulletin. Sadly, Steven Drozd's demons keep pace with the band's success. In an incredibly heartbreaking scene, Drozd talks frankly about his addiction while preparing to shoot heroin. Fortunately, Drozd kicks his habit as the Lips enter the studio for their follow-up, Yoshimi Battles the Pink Robots, and the film ends with the band enjoying widespread acclaim as they deliver one extravagant show after another. There are some conspicuous absences in this tale, notably their weird and lucky break appearing on '80s teen drama Beverly Hills 90210 and their tour as openers and backing band for Beck. The bonus disc includes some cool outtakes and performances, but unfortunately none of the band's vibrant music videos. -- Ryan Boudinot Reviews (7)
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16. Festival Express Director: Bob Smeaton | |
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17. They Might Be Giants - Here Come The ABCs (With Exclusive Amazon.com Content) | |
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18. Eric Clapton - Unplugged | |
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Amazon.com Reviews (14)
Where can I find a tabs for the unplugged album exactly as he plays on this DVD? The tabs I have supposedly is the accurate transcription...the Hal Leonard one (not the easy one). But it's different from the way he plays on the DVD. I play the DVD in slow motion and try to see how he does it. It's great. They do show a lot of close up shots of him playing, but I wish there were more. And I want to hear him playing solo more :) Not a duet and not with piano accompaniments etc.. The quality isn't that great, akin to that of a video tape. Minus 1 star for the quality. ... Read more |
19. Crossroads Guitar Festival Director: Ron de Moraes | |
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Amazon.com Most compelling are the rare and sometimes unusual collaborations. Joe Walsh and Taylor clown around on "Steamroller Blues," and Booker T. & the M.G.'s back both Joe Walsh on a rollicking "Rocky Mountain Way" and Los Lobos' David Hidalgo tearing into a sizzling "The Neighborhood." Clapton and J.J. Cale share the stage as do Clapton and Carlos Santana, and a show-stopping blues summit with Robert Cray, Jimmie Vaughan, Hubert Sumlin, B.B. King, Buddy Guy, and Clapton is a treat for all involved. There are some shortcomings. The event isn't presented in chronological order--different stages, days, and backing bands are shuffled with Clapton's own set scattered throughout--ZZ Top's closing is a bit anticlimactic, and there are many omissions due to time constraints. But every act rises to the occasion, and this expertly recorded and shot DVD gives the viewer a front-row seat to a once-in-a-lifetime experience.--Hal Horowitz |
20. AC/DC - Family Jewels | |
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