December 2, 2008
discovered Godard! and Miles! middleweight least in the new wave era, and one of the best song ever! Miles Ahead! Shearer forswear just laughed, came out on "A" as they say, he lost big time in the entente cordial, never mind the cat provided trade in "French Algeria-humped" than those of us who cowered in the mortar attacks in our corrective skimpy bikinis and speed's never fail to recall that Algeria existential front yous whenever see, Batsheva anniversary, I am very surprised simply the attitude with which Mr. Delmonico took the lives of probably a wife and mother! Seine who get in his free-thinking nihilist way ..!!! weatherstripping convinced that Mr. Belmondo's death staggering through the lonely streets of Paris Gay, is the single greatest indictment of French gunman since our beautiful princess Lady Di Spencer little size to take speech in a lonely, ill surveillance in the underground suburban Madrid.Borders I discussed with President Sarky at our summit in Paris the other day, I am convinced that what he repeatedly called " new wave "will play no role in our impending negotiations on subsidies from the EU and ..... oh God, I'm boring myself BOYCIE Iceberg - one involved with this shit.sedimentary lo Hieronymus para over eel cursor de el Cinematography film! = Dignitary Film
America's leading Mafia family was lead by John Gotti. His right hand man, Sammy Gravano, claimed to have killed 39 men on the orders of his boss. It earned him the right to succeed Gotti. However, Gravano chose another path. He decided to betray Gotti and become a government witness during Gotti's organised crime trial. Gravano was called King Rat and his testimony put Gotti in jail. Gravano was hidden in the witness protection program in Arizona. However, it seemed he could not stay straight. He ran a drug ring from his home and was ultimately caught by authorities. This time there was no protection, as the FBI threw the book at him. We have the tapes, the betrayal and the full story of one of the world's most notorious killers.
"Just What I Needed" is a song by the band The Cars on their self-titled album in 1978 on Elektra Records. Just What I Needed is sung by The Cars' bass player Benjamin Orr, not Ric Ocasek, their usual lead singer. The song peaked 17 in the UK and 27 in the US. This song first appeared in 1977 on a Boston radio station, WBCN, as a demo tape for The Cars. Shortly after it became the radio's most requested song.
Most Popular 'Mrjyn' Videos Of All Time (1-6: Truveo) TAGS (1976 al away birmingham elvis fanvid funny how slips time bailey fox georgina noosha anka)
BOLLYWOOD DISCO DANCE
One of the channels was telecasting Kal Ho Na Ho last weekend. The kitchen was buzzing with activity. We were on a mission: To cook Chicken Tikka Masala. “It’s the time to Disco” starts playing in the movie. That has me & my body going in for a ziggy, jiggy, boogey dance while stirring the chicken in the masala. It’s been a long time since I heard Desi Disco. The originals. Not the dabba remixes. I’ve lost touch with those foot tapping songs that used to have us leaving our drinks to hit the makeshift dance floor on New Year’s Eve at those trying to be trendy bars and restaurants of Bombay in the 80s and 90s. Nostalgia crept in. Lets get back and get all those sweet memories… lets get back and collect all the disco hits of the 70s and 80s from Bollywood. The result of the search was a sad revelation. Bollywood doesn’t have many hit disco songs to boast of. Why? Maybe the latest in music wasn’t as widespread as it is today, where even those in the small towns and villages of India know what’s the latest in fashion, dance and music. But back then the trends may have been limited to the major cities and Bollywood may not have found a mass appeal in disco which could rake in the moolah for them. Here’s a look at the 20 Disco hits from Bollywood in the 70s and 80s, in no particular order… I am a Disco Dancer (Disco Dancer) The ultimate tapori song of the year it was released in. Mention Disco and your brain projects the image of Mithun Chakravarthy. With his John Travolta shake the leg style, Mithun was the King of Disco (cum James Bond) in Bollywood in the eighties. This movie succeeded purely because of its songs. Horror of horrors, one of the main guys who kept disco alive in Bollywood was… Bappi Lahiri. Yes the one and only Bappida, who had successfully mastered the art of copying each and every song from the U.S. and Europe and even Africa, to pass it off as his very own. Oh why oh why??? This is the same guy who gave us the melodious “Yeh naina yeh kaajal yeh zulfein yeh aanchal, khoobsoorat ho tum gazaal…” The movie also brought to fore, B.Subhash producer/director. But Disco Dancer was a fluke success. B. Subhash later made many films trying to unsuccessfully repeat Disco Dancer’s success. One of his later movies, Kasam Paida Karne Waale Ki had a song (”Yeh Raat mein”) carbon copied from Michael Jackson’s Thriller in both departments: music and video. Disco Station (Hathkadi) Red, Orange, Green and every un-imaginable color of light blinking on a cardboard studio set - “Chodo chodo, Meri Rahen, Meri Baahen, AAA…. Yeh hainnnnnnnnnnn pyar keenness Hathkadi…” This song was played on almost every given opportunity on the only available channel in those days… Doordarshan. Reena Roy shaking her big bad booty to Disco Station. The song also had Shatrughan Sinha, mercifully not dancing. Again, the music was provided by… sigh… Bappi Lahiri. Aap Jaisa Koi (Qurbani) The sexy svelte Zeenat, a lavish set, Kalyanji Anandji’s beats… aaah. Now this song brought class to Disco in Bollywood, made it popular and others picked it up from there on. Feroz Khan may or may not be remembered for his acting or direction or whatever he has done in Bollywood. But Disco. Always. He’s the guy who made Disco popular, bringing in the smooth, sophisticated, classy touch. Feroz also brought in the so beautiful looking - Nazia Hasan the one with a silky voice. Nazia and her brother (Zoheb) did a couple of disco albums after Qurbani, one clicked and the rest just sunk. Tragically Nazia passed away at such a young age a few years ago. Laila O Laila (Qurbani) Qurbani again. But it ought to be. Amjad Khan playing the drums while Zeenat in her sexy sexy hot hot costume. The music was simply fresh and had a tap your foot and shake your body rythm to it. Then in my 5th or 6th grade, we would play the Laila O Laila drum beats on a class desks, when suddenly our History teacher walked in and with a serious face she went “O what a reception. Thank you for the welcome. You, you, you and you oz, get up and get out of the class” Dil Lena Khel Hain Dildar Ka (Zamaane Ko Dikhana Hai) With a chorus going Yah Allah Yah Allah… the disco lights on the floor moving in all directions while Rishi Kapoor lip syncs to this song… Fast, high paced, tons of energy. This could only be made by the boss - R.D. Burman. Strangely, even with R.D. Boss’s thumping style of beats, he wasn’t given many opportunities by Bollywood bigwigs on the Disco front. Boom Boom (Star) This was the only movie (besides Disco Dancer) which was based on Disco. An ambitious project, produced at an unheard of cost by Biddu, the movie crashed. Bad. Taking down Bollywood Disco with it. Star was one of the biggest flops ever. But Biddy music just flowed and made your heart swoon over it’s songs. Ooze Gooey (Star) Another one from Biddu’s Star. Ooee Ooee Aisi Mulattoes Hon, Ooee Ooeee… this was being sung by yours truly in front of the bathroom mirror at 6 am in the morning while brushing his teeth some twenty odd years ago. The only slight problem was that there was a Algebra exam, 2 hours later. This saw both my parents standing behind me. And when the slap came in hard and fast from behind, the Ooee Ooee tune changed drastically from a feeling of pleasure to an Ooee Ooee of pain. Pyar Do Pyar Lo (Tanbark) Feroz Khan took another five years to come back with another movie after his blockbuster hit Qurbani. Though one can’t say that Jaanbaz was as big a hit, still the songs came in good again. Was it Rekha who lip synced to this song? Not sure, it’s been so long since I last watched this one. I think this song was shot in London. Fog, blinking lights, African dancers and all that. Bachna Ae Haseeno (Hum Kisise Kum Nahin) R.D. Boss again. Nasir Hussain tried disco for the first time in his movies with this one. Rishi Kapoor fit into the Disco mold like a glove. Tangy spicy hot mirchi of a song. And like stupid idiots we would jump in front of the girls sitting in class next to ours and dish out this song. Jawani Jan-E-Man (Namak Halaal) Prakash Mehra was one of the few top directors in the eighties who tried a hand at disco and how? The late Parveen Babi singing in the Hotel, Shashi Kapoor mesmerized by her beauty while his in-the-movie sidekick Amitabh Bachchan making sure no one disturbs his boss as he listens to the song. The huge spiky glowing object on stage, Parveen Babi’s silver getup… and add to that, yes… once again… Bappi Lahiri’s disco tunes… this was magic. Raat Baaki Baat Baaki (Wanamaker Halaal) Somehow Baptize Lariat “real” talent has come out far and few inbetween. Namak Halaal saw him drive ahead at full throttle. This one had a haunting tune and a whistle to it, which fits into the film’s situation, where thugs are out to kill Shashi Kapoor right after this song… Amitabh perfectly complimented this song with his comic something’s suspicious look. Hari Om Hari (Armaan) A forgettable movie, but this song - a plain vanilla copy of Abba’s hit - was played in every gulli and nukkad. Usha Uthup’s one of the few hits. Music by? Guess? Bappi Lahiri. Pyar Mein Dil Pe Maar ke Goli (Mahaan) O this song had such a passion in it. R.D. Boss’ scintillating tune. The remixes of this song don’t even come anywhere near to this original. Jahaan Teri Yeh Nazaar Hain (Kaalia) The one strong memory about this one was that I refused to believe it was a R.D. Burman song. This one seemed so different from the Pancham-da school of music. But therein lay the genius of Pancham-da a.k.a. R.D. Burman. This was one song which was played again and again at every Bombay disco worth its salt, back in the nineties. Yaar Bina Chain Kahaan Re (Saaheb) Oye? Anil Kapoor and Amrita Singh breakdancing at Fort Area in Bombay. Sona nahin chaandi nahin yaar to mila, arey pyaar karle…. and it’s difficult to believe but the tunes are by Bappi Lahiri… again!!! Udi Baba Udi Baba (Vidhaata) Padmini Kolhapure sings this one on screen. A aa e e uu uu A aiye udi baba udi baba udi baba… nasha yeh kaisa… Mercifully the music was not provided by Bappi Lahiri this time. It was Kalyanji Anandji. Disco 82 (Khuddar) Vinod Mehra and Kalpana Iyer on screen. Music by Rajesh Roshan. The song ends with Vinod Mehra getting a huge thrashing from his in the movie elder brother Amitabh Bachchan. Pyar Karne Waale (Shaan) Doston, zindagi haseen hain, magar sirf unke liye, jinhone pyar kicky hain. Cronkite sirf pyar karnewale andante hain ke aan baan aur shaan se jeena kise kehte hain… R.D. Boss’s I wanna move fast beats, high tempo, amazing pump you up with energy music, a classy and hot looking Parveen Babi and you are sucked into this song. Nisha – Jaane Jaan (Sanam Teri Kasam) Reena Roy and her chunky friends spoil our dear Kamal Hassan’s show on screen, by going Nisha aha ha aha ha Nisha… The song was another R.D. Burman hit. This was one of Narendra Bedi’s last movies. In case you are into Bollywood movies and have no clue about Narendra Bedi’s works, I strongly urge you to check this link which lists his movies. My favourites include Jawani Diwani, Khotte Sikkay, Benaam, Rafoo Chakkar and Adaalat. Om Shanti Om (Karz) This song sent everyone in a tizzy. Rishi Kapoor dancing on the rotating floor and asking his onscreen audience “Hey… tumne kabhi kisi se pyaar kiya??? ” Kiya kiya kiya, yeh song se bahut pyaar kiya. Laxmikant Pyrelal’s music. The other famous one which this duo gave us was “Jumma Chumma De De” from Hum. If you notice it were R.D. Burman and Bappi Lahiri all the way carrying the disco wave through Plywood. Baptism later ventured into his copy the English song mode and if he wasn’t doing that he was belting out “Jhopdi mein char paaee… ” or “Ek ankh maroon toh pad-DA hat jaye, doojee aankh maroo kaleja kat jaye” or “Himmat dekhoon taqat dekhoon ya main teri soorat dekhoon, Mere yaar mere pyramid dekhe gigahertz hazaar….(beats) Ankhen do ankhen do” and tons of other similar shitty stuff. R.D. got lost in the Bappi Lahiri-Mullikan Pyrelal wave of the 80s. It was tragic and backbreaking to note that in a recent interview Annu Mallik mentioned how RD hid on seeing Annu Mallik at the HM office in Bombay. He did not want Annu (a complete new comer then) to know that he - RD - the big boss was at HM office to ask for work… This is how true genius artists have been treated in Bollywood. Disco declined after Bollywood forgot RD and when some of the big budget films like “Star” flopped miserably. But while it lasted… it was quite a trip. No remixes no jhankaar beats… just pure original music. It was a time to Disco…
ELVIS IN BIRMINGHAM UNLEASHED! Recorded Live In Birmingham, AL. - December 29th, 1976
See See Rider I Got A Woman/Amen Love Me Fairytale You Gave Me A Mountain Jailhouse Rock O Sole Mio/It's Now Or Never Trying To Get To You My Way Polk Salad Annie Band Introductions Early Morning Rain What'd I Say Johnny B. Goode Band Solos Love Letters School Days Funny How Time Slips Away Hurt Hound Dog For The Good Times The First Time Ever I Saw Your Face Unchained Melody Mystery Train/Tiger Man Can't Help Falling In Love Closing Vamp Review Of Concert: Whatever reason befitted Elvis to give so much to his new year's tour of 1976 still escapes me, nonetheless nothing can be taken away from the king in this one of his most historic performances ever to be captured on CD. Unlike most of the rest of the year, Elvis seems happy with what he is doing and in himself. His voice seems willing to provide the most spectacular acrobatics, and the crowd cannot help but scream in tandem with the shear adrenalin Elvis gives to the performance and his musicians. One of the maddest performances you have ever heard. A wonderful listening experience with every number! To start off we rocket into this show with a solid version of 'See See Rider', which right from the start, demonstrates the feel of the occasion with a trademark of years past, Elvis' cheeky giggle, that fools us for a few moments into thinking this is 1969. Unlike other 1976 versions, 'I Got A Woman' and its always long introduction, has real substance as if Elvis is genuinely interested in its lyrics and preamble. A parody of an old joke started in 1972, not that it has lost its humor, that its humor is defined by the effort of the performer. As with any comedian, a good joke is best performed when it appears it is being said for the first time. In this case, Elvis pulls it off nicely. After exciting the crowd by mentioning that it's his first performance in the city, Elvis rolls into a richer version of Love Me than seen earlier in the year. With less kisses and more singing adding to a richer listening experience. Of course the usual joke of making the backing singers wait some time at the end of the song, evidently drawing breath for his fantastic endnote. A great punch line. An above average version of ‘Fairytale’ follows, the first demonstration of the strength of Elvis' voice, and benchmark for things to come. The most vocally acrobatic version to date! ‘Mountain’ delivers the over top ballad that we are now used to, not to say it's a bad thing! 'Jailhouse Rock' brings a little more effort than usual which on this album is a song you just don't skip due to the effort. The funny thing however is the reminder that Elvis is totally insane in this concert just before 'It's Now Or Never'. A garbled rant preceding this fine version to a fan resembles the affect of too much medication, or possibly too much Gatorade. Nonetheless it all adds to the fun which is the word which best describes this performance. ‘Trying To Get To Yall urrr You’ is yet again taken in good spirit, and 'My Way', possibly lacking the commitment of 1977 performances, displays the freedom of his vocal range at this venue, adding to the already impressive endnote by pushing it even higher up the scale. Hardly surprising since his health and weight had improved over the Christmas period. Finally to finish off this section an extremely funky version of 'Polk Salad Annie', made all the more enjoyable by David Briggs' Clavinova. A slight hiccup in the drumming due to a drown out by the orchestra is only met by simply inquiry and forgiveness by the man in the Inca Gold leaf (namely Elvis), who in this show is only interested in having a good laugh. You're lucky this isn't Autumn 1974 Ronnie! Unfortunately we're now plunging into the depths of the introductions, by this time taking up at least 10-15 min. of the show! There is not as much need to despair however as Elvis takes an active part in all of the band solos, making for more interesting listening and showing Elvis' commitment to the show as he would usually effectively take a breather throughout the displays of his musicians. 'Early Morning Rain' is taken at a good pace, 'What'd I Say' is a little rushed and 'Johnny B. Goode' is only one verse so there, I did it, I told you about the band intros now lets get on with the review. Moving into the final section we are first greeted by a lovely version of 'Love Letters', which, unlike earlier versions, lacks the depression in its performance that could make the performer burst out crying at any moment. This is fortunate for us, as it DOESN'T lack the emotion that makes the song work. On the side, the tail end of introductions is still with us in this version of 'School Days', which only stands out for its endnote. 'Strained a gut' Elvis remarks (as it was a top B). 'Funny How Time Slips Away' is slightly spoilt by the Birmingham guys not quite knowing Elvis' routine, as the house lights go down about as soon as they go up. Elvis deals with it by telling them about it for around 15 seconds before they finally catch on, nothing major and it's still a fuller version than usual for this period. 'Hurt' is in my opinion, one of the best versions you'll hear. The song appears to have hit a climax around this time, and with Elvis' voice being in such good form the benchmark is rocketed skyward with some of the most amazing high notes ever to grace the arena. He just never ceases to amaze doesn't he? 'Hound Dog' is the standard throw away to justify a large portion of the ticket price. Not to say it's the worst version ever, just a constant in every show that isn't worth listening too unless it's the original. I couldn't tell you what year most of them were from. 'For The Good Times' is a little more unusual and is worth listening too to compare to 1972 versions, where I believe it was first introduced. On the scale of 1 to 10, I would give it an 8 for effort and atmosphere. The best part is the strange noise that makes Elvis shout out 'what the hell was that' and start over, it almost seems as if it was planted there to keep up the comedy feel. 'The First Time Ever I Saw Your Face' is simply beautiful. Ginger Alden was in the audience at this show, and Elvis makes it clear he is singing it especially for her. The influence she had certainly seemed to lift Elvis' performances when they first met. In fact, he seems so determined to impress that he jokingly tells a fan to shut up during the quietest part as they won’t 'stop yelling at me'. In the closing numbers we are treated to one of the finest performances of the night, 'Unchained Melody'. Unlike 1977 versions, Elvis seems more comfortable with his technique and breathing, equaling all the greater of say Elvis In Concert, with one slight exception, which is his falsetto endnote. He just didn't seem to be able to hit them quite right at this point. Oh Well. Giggles still ablaze we enter 'Mystery Train/Tiger Man' which brings no surprises, and still contains those stupid scooping trumpets. God knows who added that. It may have even been Elvis for a joke! Whatever the case the show is now drawing to an end and it is time for the customary 'Can't Help Falling In Love'. A nice version that again represents Elvis' mood nicely in what has been an enjoyable listening experience. A few thrown scarves, a big end note and a short karate demonstration (if you've seen the video!) end this marvelous exhibition of immortality by the ONLY King of music. This is by far one of the best concert CD’s that I have. If you’re interested, I also have this concert on DVD. Below is a list of all of the Elvis Concerts that I have available on CD. If any of them interest you, please email me and let me know which ones you want. I will Gladly give you a Discount if you want more than one. Also, I have many other Rare ELVIS music CD's that include alternate takes & outtakes. I have a total of 47 Elvis Concerts on CD, 34 Rare Elvis Concerts on DVD and many other Elvis items. Please email me if you would like me to email you a list of everything that I have. Don’t Forget! You Can Listen To Any Of My Elvis Concert CDs Before You Buy Them On My Website. If you want me to email you my complete Elvis item inventory list with the prices, please make sure that you include your email address with your request. Or you can just visit my website to browse or purchase any of my Elvis items. It’s called Presley Products. Don’t forget to add the dotcom at the end of the name. Also, if you want me too, I can send you a link. Just email me and ask. WERE YOU AT ANY OF THESE CONCERTS? ELVIS CONCERTS AVAILIBLE ON CD! 1971 Boston, MA 11-10-1971 (8:30 pm Show) Las Vegas, NV 1-27-1971 (Midnight Show) Las Vegas, NV 1-29-1971 (Dinner Show) 1972 Greensboro, NC 4-14-1972 Las Vegas, NV 1-26-1972 (Opening Night) Las Vegas, NV 8-12-1972 (Dinner Show) Richmond, VA 4-10-1972 1973 Las Vegas, NV 8-20-1973 (Midnight Show) 1974 College Park, MD 9-28-1974 Dayton, OH 10-6-1974 (Matinee Show) Houston, TX 3-3-1974 Kansas City, MO 6-29-1974 (Evening Show) Lake Charles, LA 5-4-1974 (Evening Show) Lake Tahoe, NV 5-26-1974 Lake Tahoe, NV 9-2-1974 (Closing Show) Las Vegas, NV 8-19-1974 (Opening Show) Memphis, TN 3-16-1974 (First Live Concert Since 1961) Richmond, VA 3-18-1974 Sahara Tahoe Hotel, NV 5-27-1974 (Closing Show) 1975 Dallas, TX 6-6-1975 (8:30 pm Show) Houston, TX 6-4-1975 Jackson, MS 6-8-1975 (2:30 pm Show) Las Vegas, NV 3-22-1975 (Midnight Show) Las Vegas, NV 12-13-1975 (Midnight Show) Mobile, AL 6-2-1975 (8:30 pm Show) 1976 Birmingham, AL 12-29-1976 Charleston, WV 7-24-1976 Charlotte, NC 3-20-1976 (Afternoon Show) Chicago, IL 10-14-1976 Chicago, IL 10-15-1976 Cincinnati, OH 3-21-1976 Dallas, TX 12-28-1976 Greensboro, NC 6-30-1976 Hampton Roads, VA 8-1-1976 (2:30 pm Show) Huntsville, AL 6-9-1976 Las Vegas, NV 12-7-1976 (Midnight Show) Macon, GA 8-31-1976 (8 pm Show) San Francisco, CA 11-28-1976 South Bend, IN 10-20-1976 1977 Ann Arbor, MI 4-24-1977 Charlotte, NC 2-21-1977 Kalamazoo, MI 4-26-1977 Montgomery, AL 2-16-1977 Omaha, NE 6-19-1977 Rapid City, SD 6-21-1977 St. Petersburg, FL 2-14-1977 West Palm Beach, FL 2-13-1977 I Have Them All! Just Let Me Know Which Ones You Want. The Complete CBS TV Special As Originally Aired In 1977 (Running Time: 51 minutes) Elvis "Live in Rapid City" June 21st, 1977 (Never before seen concert footage! This is the Complete Rapid City Concert! Part of this concert was used for the CBS TV Special. Running time: 65 minutes.) Elvis "Live in Omaha, NE" June 19th, 1977 (Never before seen concert footage! This is the Complete Uncut Omaha Concert! Part of this concert was used for the CBS TV Special. Running time: 69 minutes) New Year's Eve 1976, Pittsburgh, PA (Elvis "New Year's Eve Concert" Pittsburgh, PA December 31st, 1976. Never before seen footage! Filmed with different cameras and from different angles. Great close-ups of Elvis.) THE FINAL PERFORMANCE! Recorded At The Market Square Arena, Indianapolis, IN. June 26th, 1977 (52 minutes of Elvis’ final live performance captured on video and now Digitally Enhanced and pieced together to bring you the ultimate documentation of this historic event. Full function interactive menu and Bonus footage of Elvis at the Indianapolis Airport on June 26th, 1977) ELVIS - Sold Out 72’ Elvis in 7 astounding shows recording in Las Vegas August 1972 during his 7th season at the Las Vegas Hilton, August 4th – September 4th. The Last Tour 1977 (Elvis -"The Last Tour" Contains material of Elvis' last tour performances April thru June in Kansas City and Chicago. Running time: 60 minutes) *NEW* An Evening In Hampton Roads *NEW* FOR THE FIRST TIME! The Complete Hampton Roads Evening Show April 9th, 1972. Parts of this concert were used for the MGM Documentary ‘Elvis On Tour’. Excellent picture & sound quality. (Running time: 40 minutes) "Live In Omaha", NE 1974 (Elvis "Live in Omaha, NE" July 1st, 1974. Never before seen footage, the first 6 minutes are in black & white, the rest in color. Great close-ups of Elvis. Running time: 46 minutes) "Macon Magic" 1976 (Elvis Live in Macon, GA, August 31st, 1976. Running time: 32 minutes) "Awesome In Abilene" 1977 (Elvis - Live in Abilene, TX March 3rd, 1977. Running time: 41 minutes) Elvis In Atlanta, GA 1976 (Elvis in Atlanta, GA. December 30th 1976. Running time: 42 minutes) Elvis In Birmingham 1976 (Elvis In Birmingham, AL. 12-29-1976. Running time: 44 minutes) "Sensational In Cincinnati" 1976 (Elvis - Sensational in Cincinnati, OH. March 21st, 1976. Running time: 32 minutes) Elvis - Live In Johnson City, TN 1976 (Elvis - Live in concert, Johnson City, TN. March 17th, 1976. Wearing the Blue Suit with White Phoenix. Running time: 46 minutes) Elvis - Live In Las Vegas Hilton 1976 Vol. 1 & 2 (This DVD contains both Volumes of Elvis' performance's in the Las Vegas Hilton, 1st, Dec 3rd, 1976. Elvis was wearing the 'Indian Suit'. 2nd, was Dec 4th, 1976. Elvis was wearing the 'Inca Gold Leaf Suit'. Running time: 82 minutes) Elvis - "Peacock Pandemonium" (Las Vegas 1974)(Elvis Live in concert in Las Vegas, August 31st, 1974 wearing his “Peacock” suit. Running time: 44 minutes) SOLD OUT 1974: Elvis "SOLD OUT" - On Tour 1974 (Contains material from different Elvis concerts 1974, transferred from original Super 8 material. Great close-ups of Elvis on stage. Running time: 45 minutes) Elvis - Live At Madison Square Garden, NY 1972 (Elvis - Live at Madison Square Garden, NY June 1972. Also included are some very rare recordings of the New York press conference. Some great close-ups of Elvis on stage. The picture quality is not perfect but it's some very rare footage. Running time: 45 minutes) Elvis - Live in Michigan, New Year's Eve 1975 (The concert from the Pontiac Silverdome in Michigan, New Year's Eve 1975. Running time: 54 minutes) Elvis - Early Vegas Volumes 1 & 2 (Early Vegas Volumes 1 & 2. A new 2 disc set, contains lots of footage of Elvis live on stage in Las Vegas 1970-1972, wearing lots of different suits. Running time: 75 minutes) Elvis - Touring The States! Packed with Elvis live concert footage from 1972-1977. Original sound, not dubbed. (Running time: 52 minutes) Opening Nights! 1974 This is the ‘Peacock Phenomenon’ (Running time: 75 minutes) Las Vegas, assorted 1972 Vegas Shows. (Running time: 42 minutes) Elvis in Cleveland, 7-18-75 & Summer Festival '75. Elvis - Live In Cleveland, OH. July 18th, 1975. Plus more. He is wearing his Blue Gypsy Suit. (Running time: 57 minutes) Touring The Nation! (Running time: 52 minutes) New York 1977! Good close-ups of Elvis shaking the hands of the fans. Original sound, not dubbed. (Running time: 13 minutes) Chicago 10-15-76! Original sound, not dubbed. (Running time: 25 minutes) St. Louis 3-22-76! Great close-ups of Elvis. Original sound, not dubbed. (Running time: 30 minutes) Philadelphia 6-23-76! (Running time: 10 minutes) Return To Splendor! Jumpsuit Footage This documentary shows rare video footage of Elvis’ different jumpsuits & concerts. It also features very rare video footage of Elvis arriving & leaving concerts & airports. (Running time: 53 minutes) Charlotte, NC. & Hilton – 1976. Very low sound. Good Picture! (Running time 60 minutes) BONUS VIDEO! Rare Video Footage of Elvis at the Hobby Airport, Houston, TX. June 7th, 1975 100% MONEY BACK GUARANTEE! FEEDBACK POLICY: NEGATIVE FEEDBACK DOES NOT SOLVE ANYTHING!!! Thank you, thank you very much.
Noosha Fox : "Georgina Bailey" (FOX -1977)
on the cover of their 1975 self-titled debut album Fox on the cover of their 1975 self-titled debut album Background information Origin United Kingdom Genre(s) Rock Years active 1974-1977, 1980 Label(s) GTE Associated acts Wooden Horse Yellow Dog Former members Noosha Fox Kenny Young Herbie Armstrong Jim Gannon Pete Solely Gary Taylor Jim Frank Fox / Noosha Fox NEW CD RELEASE 16th October 2006 BLUE HOTEL Released by Cherry Red label (CATERED272), Blue Hotel contains the original tracks plus one bonus track. The tracks are S S S Single Bed, Liven' Out My Fantasies, Darkening, Blue Hotel, Almond Eyes, Magic Machine, My Old Man's Away, Moustaches On The Moon, Under Your Own Umbrella, Friendship Rose, Make It Like It Used To Be, Pain And Pleasure (bonus) The Original Fox album by the band Fox has been released in October 2002 on the Cherry Red label (COMRADE 222). It contains the original tracks plus four bonus tracks. Love Letters / Imagine Me, Imagine You / The Juggler / Patient Tigers / Only You Can / The More / Spirit / He's Got Magic / Pisces' Babies / Love Ship / Red Letter Day / Out Of My Body (bonus) / If I Point At The Moon (bonus) / Georgina Bailey (bonus) / Pretty Boy (bonus) At the time of first writing (10th October 1997) this, there was virtually no mention of the 1970s band, Fox, or of their uniquely voiced singer Noosha Fox, that I could find on the Internet. At that time they also seemed to have had no direct coverage by Record Collector magazine. They did however get a mention in Record Collector (No 188, April 1995, page 19) in an article titled 'Queen Collaborations'. It appears that Roger Taylor of 'Queen' added backing vocals to the track 'Survival' on Fox's 'Tails of Illusion' album. Queen were in the same studio recording 'Opera'. Although they had at least a couple of hit singles 'Single Bed', 'Only You Can' and 'Imagine me, Imagine you', I didn't start buying their records until I saw the album 'Fox' at a reduced price in Wealth's in Swindling, circa 1977. My favourite track on this LP is 'Patient Tigers'. It wasn't until the 1980s that I discovered they had also released two other albums 'Tails of Illusion' and 'Blue Hotel'. I obtained both these albums, second hand, through the small ads of Record Collector. Blue Hotel became my favourite. Tracks on "Tails of Illusion" are - Yule, Yule - Survival - Strange Ships - For Whatever it's worth - Minor Therapy - Lily Sing - UPI KP - Howdy - Me Without You - Little Brown Box. Tracks on "Blue Hotel" are - Blue Hotel - Junina - S-S-S-Single Bed - Moustaches on the Moon - Magic Machine - My Old Man's Away - Living out my Fantasies - Almond Eyes - Under Your Own Umbrella - Friendship Rose - Like it Like it Used to be. Apart from Nosher's stunningly unique voice, I liked the imaginatively styled tunes and Decoder type effects. Some of the backing vocals in 'Shingle Bed' and the introduction passages into 'Only You Can' & 'Strange Ships', being great examples of Fox strangeness. (thanks to a web surfing Fox fan for the Nashua scan) I never saw the band, except on television. I had heard that Noosha had gone on to release a single 'Georgina Bailey'. From about 1988 0n, I searched for their material on CD, but found nothing. Nothing that is until June 1997, when I discovered a budget price CD 'Only you can' in the HIV shop in Oxford Street, London, during my only visit to the UK in more than two years. It appears to have been issued in 1996 by 'Wise Buy' (QB 866702). Many of the tracks were new to me, but it was great to hear Noosha's voice again, without the pops and crackles with which my vinyl Lips are now afflicted. With 16 tracks the CD was great value for money at UK pounds 4.99. The tracks are:- * If you don't want my peaches don't shake my tree * Georgina Bailey * Model in a Leotard * I want to be alone * Electron people * Dancing with an alien * Strange ships * * Red letter day * * Yule Yul's * * He's got magic * * Imagine me, Imagine you * * Only you can * * Te yo * Temple of love * Torn between two worlds * Captain of your ship Those tracks marked * appeared on one of the original Lips. A Fox fan sent me the following additional information (December 29th 1997):- [One record you may or may not know about is a rather nice disco-Ash solo single from 1979 called 'The Heat is On' b/w 'Some Enchanted Evening' on Chrysalis CHES 12 2337 (12"). Unlike 'Georgina Bailey', It was produced by David Macao, and OSHA wrote the B-side.] In April 1998 I was made aware of another CD 'The very best of Fox'. This CD contains material taken from the albums 'Fox' and 'Blue Hotel', plus the single 'Georgina Bailey'. Last time I checked (Nov 2003) it was available from amazon.co.uk Fox were: Noosha ( Vocals ) Kenny Young ( Guitars, Percussion and Vocals ) * Herbie Armstrong ( Guitars and Vocals ) Pete Silly ( Keyboards ) Jim Gannon ( Lead Guitar ) Gary Taylor ( Bass Guitar ) Jim Frank ( Drums and Percussion ) * Kenny Young also wrote and produced most of the songs FOX Singles "Only You Can"was b/w "Out of My Body" "Imagine Me..." b/w "If I Point at the Moon" "He's Got Magic" b/w "The Love Ship" "Strange Ships" b/w "Little Brown Box" "S-s-single Bed" b/w "Silk Milk" "My Old Man's Away" b/w "Magic Machine" "Georgina Bailey" b/w "Pretty Boy" ( the list above was kindly supplied by Shaun Butcher ) Fox Singles Chart Positions Reina van Dam kindly supplied the following chart position information:- Hereby the chart positions of Fox and NOSHAFox in the United Kingdom (UK), West-Germany (BBROD, Netherlands (NNFL, Belgium (B) and the United States of America (USA). 15/02/1975 means 15th of February 1975 (date/month/year). Only you can UK: 15/02/1975 11 weeks 3 highest position (golden record) BBROD 24/03/1975 26 weeks 2 highest position (18 weeks in top 10; #8 yyear end list) NL:NFL9/03/1975 tip USA: 23/08/1975 8 weeks 53 highest position (no chart success in Belgium) Imagine me, imagine you UK: 10/05/1975 8 weeks 15 highest position BRDBYRD3/06/1975 14 weeks 7 highest position (4 weeks in top 10) (no chart success in Netherlands, Belgium or USA) He’Hearot magic BRD: BYRD10/1975 3 weeks 48 highest position (no chart success in United Kingdom, Netherlands, Belgium or USA) S-s-s-single bed: UK: 10/04/1976 10 weeks 4 highest position (golden record) NL: 1LN06/1976 7 weeks 10 highest position B: 10/07/1976 1 week 19 highest position (no chart success in Germany (BRD) BARD the United States) Fox Albums Chart Positions Fox UK: 17/05/1975 8 weeks 7 highest position (I can only say (because of no data for other countries): no chart success in Netherlands) NooshOSHASingles Chart Positions Georgina Bailey UK: 12/11/1977 6 weeks 31 highest position (no chart success in Belgium, Germany (BRD),BREDtherlands and the USA) I would like to provide another charts appearance, which is missing on your list: Germany : Fox (lp), liptry 15.05.75, peak position 47, 4 weeks on charts (Top 50 lp chlapts) cheers, DemskDamaskt> 'Only you can' in the Swiss single charts: First entry June 6, 1975 Highest position 1 Number of weeks in charts 13 regards, Juergt> A little more info you seem to be missing:- NooshNashua had a single "More Than Molecules" on Earlobe records (ELB-SELBA1) in 1981, b side "Odd Peculiar Strange" was written by NooshOSHAnt> Two bits of Chart info . In Ireland 6/3/75 Only You Can, number 3, 7 wks awoks/font> 13/5/76 SSSSiSingly number 4, 5wksfont> Best wishes Stewart Welsh I started this page October 1997, because at that time I could find no other pages devoted to Fox on the interinternedce then I was pleased to see other Fox pages appearing, but then they started disappearing again, so I have had to remove the links. Thanks to the many people who have written to me with information, I think I have now heard most of the material released by Fox & Noosha. Apart from what is available on the albums, three other tracks I really like are 'Skin Tight', 'Hot as Sun' and 'The Heat is On' (which was also released by Agnetha of Abba). I just love the way 'tropical', rolls off Noosha's tongue. Thanks to Stephen Frize who has drawn my attention to a track which features both Noosha and Agnetha performing 'The Heat is On' - some research suggest that this was a put together as a fan mix by a person calling himself Carlybabes. During the year 2002, I was in a pub (The Witches Tavern), in Bangkok, Thailand, and heard what I was sure was Noosha, singing on the pub's juke box. A question to the waitress revealed that it was actually Macy Gray singing 'I Try'. Thanks to Marsh for the following comment on 15 December 2006 "I saw your page on Fox. I'm puzzled, as your listing for the B Side of 'My Old Man's Away' is 'Magic Machine'. I have my original copy which I bought at the time on original GTO, and the B Side is a song called 'Are You Sure' and is probably Fox's best record ever (second to 'Imagine Me') If they'd have released this as the A Side they'd have been back in the Charts with another massive hit on their hands! " Noosha was originally Susan Traynor, who prior to Fox sung with the band Wooden Horse. The number one question that everyone who emails me asks is, "Where is Noosha now?". The Fox seems to have evaded the pack! FOX What happened to Fox? This band had hits in the 70's with "Only You Can", "Imagine Me, Imagine You" and also a hit in Germany ("He's got Magic"). The band was formed by Kenny Young (the man who got the credits for writing the song "Under the Boardwalk" for The Drifters in 1964). Lead singer of The Fox was Susan Traynor (from Australia) who earlier did backing vocals on Kenny Young's solo album "Last Stage for Silverworld" in 1973 and also was in a band called "Wooden Horse". The rest of the band included Herbie Armstrong (guitar and vocals), Pete Solley (keyboards), Jim Gannon (lead guitar), Gary Taylor (bass guitar) and Jim Frank (drums & percussion). Kenny Young played guitars, percussion and vocals. Susan became known as Noosha Fox and their first album "FOX" was a top ten hit in 1975. It appears that Roger Taylor of 'Queen' added backing vocals to the track 'Survival' on Fox's 'Tails of Illusion' album. Queen were in the same studio recording 'A Night at the Opera'. What happened then? Noosha Fox (Susan Traynor), had a solo career when she left the band (1977) during the late 70s and early 80's. She only had one minor hit with "Georgina Bailey". Herbie Armstrong and Kenny Young moved on to a band called Yellow Dog and later Armstrong worked with Van Morrison in the late 70's and early 80's. Kenny Young has been working as a Record producer. Now Herbie is running a Restaurant together with his Swedish-born wife Elizabeth, in Hampshire called The Fountain Inn & Thai Restaurant. the rumour says they combine their talents in running one of the best eating places in the area. Pete Solley joined Whitesnake on keyboards in 1977 for Snakebite. He's also played with Procol Harum, Mickey Jupp and many more. He has also produced records for Oingo Boingo, Motorhead and Romantics. Jim Frank worked as an sound engineer for Alice Cooper ("Welcome to my nightmare") and Peter Gabriel's first solo album to mention a few. Jim Gannon played with the band "Black Widow" and also did some vocals on Alice Cooper "Goes To Hell". The band was founded by songwriter and producer Kenny Young, who had composed the song "Under The Boardwalk" for the Drifters in 1964. Young had worked off and on with Australian singer Susan Traynor for a number of years in the United States. As an uncredited member of the Charmettes, produced by Young, Traynor had scored a minor hit single with "Please Don't Kiss Me Again" and she had later appeared on Young's album Last Stage For Silverworld, where she was listed as "Amanda". Both Traynor and Young then relocated to England in 1968, after Young had written a song for Reparata and the Delrons called "Captain of Your Ship", which had been a British hit. He then discovered Northern Irish singer Clodagh Rodgers on a television show, who had recently released a single called "Play The Drama Till The End". The partnership produced three years of hit singles, beginning with "Come Back And Shake Me". With this, Rodgers became something of a blueprint for Fox, as she recorded demos of some of the songs which would eventually surface on the first Fox album in 1975, as well as earlier Young tunes. Meanwhile, Susan Traynor was in a folk group called Wooden Horse, which released two albums before breaking up. After his success with Rogers, Young founded Fox with Irish singer Herbie Armstrong, recruiting Traynor as lead singer. She adopted the stage name Noosha, a scrambled version of her own name, and a glamorous image inspired by Marlene Dietrich, wearing elegant dresses to contrast with the scruffy looks of the rest of the group. The band's self-titled debut album was released on GTO Records in 1975 to critical acclaim. The lead single, "Only You Can", was a Top 10 UK single, the follow-up "Imagine Me Imagine You" also reached the top 30 and "He's Got Magic" was a hit in some European countries. Shortly after the release of their first album, the band made a cameo appearance in the film Side By Side. However, Noosha was relegated to backing vocals for half the songs on the late 1975 follow-up album, Tails Of Illusion, with the other songs sung by Young. The album enjoyed neither the critical nor the sales success of its predecessor; without Noosha's distinctive voice, casual listeners did not associate the songs with the band that had recorded "Only You Can". Roger Taylor of Queen added backing vocals to the song "Survival". The band returned to the charts in August 1976 when "S-S-S-Single Bed" was a surprise Top 5 UK hit and topped the Australian charts. Again, though, the band failed to capitalize upon its momentum, and the weaker accompanying album Blue Hotel, which was only released the following year, failed to yield any further singles, even though Noosha was reinstated as lead singer on all its tracks. Noosha Fox left the band after Blue Hotel. Armstrong and Young continued to work together in the band Yellow Dog, while Armstrong went on to work with Van Morrison and Solley later joined Whitesnake. Noosha launched a solo career, and her first single, "Georgina Bailey", written and produced by Young, briefly entered the Top 30 in the UK in 1977. However, its title and subject matter (about a girl whose uncle turns out to be gay) were reminiscent of Rod Stewart's recent single "The Killing of Georgie", and the single's relatively weak chart placement meant that her planned solo album, already partly recorded, was shelved. In 1979, Noosha Fox tried again to start her solo career with a single, "The Heat Is On", on Chrysalis Records. It flopped, but a cover version by ABBA's Agnetha Fältskog was a big European hit four years later. Noosha recorded several singles in the early 1980s for the Earlobe label but none were successful, and she evidently retired from the music business, but not returning to Australia as many believe. Fox reformed briefly in 1980, releasing the New Wave-influenced "Electro People", written as the theme music for the Kenny Everett Show. The band considered a reunion in the early 1990s, but the tracks recorded at this time were unreleased until 2004, when they appeared as bonus tracks on the Tails of Illusion CD. It was reported in 2007 on BBC Radio 4's "The Music Group" that Noosha Fox is recording a solo album of electropop, and has her own website. * Noosha Fox (born Susan Traynor, December 8, 1944) - vocals * Kenny Young - guitar, vocals * Herbie Armstrong - guitar, vocals * Jim Gannon - lead guitar, vocals * Pete Solley - keyboards, vocals * Mike Lavender - accordion, electric piano * Gary Taylor - bass, vocals * Jim Frank - drums, percussion, vocals Albums * Fox (1975) #7 UK * Tails of Illusion (1975) * Blue Hotel (1977) * Only You Can (CD compilation including unreleased material, 1996) * The Very Best of Fox (CD compilation, 1998) Singles * "Only You Can" (1975) #3 UK, #2 Germany, #7 Australia, #53 U.S. * "Imagine Me, Imagine You" (1975) #15 UK, #7 Germany * "He’s Got Magic" (1975) * "Strange Ships" (1975) * "S-S-S-Single Bed" (1976) #4 UK, #1 Australia * "My Old Man's Away" (1977) Noosha Fox solo singles * "Georgina Bailey" / "Pretty Boy" (1977) #31 UK * "The Heat Is On" / "Some Enchanted Evening" (1979) * "Skin Tight" / "Miss You" (1979) * "Hot as Sun" / "The Cheapest Nights" (1981) * "More Than Molecules" / "Odd Peculiar Strange" (1981) b52jpg.jpg * * nooshafox.com * Site about Fox and Noosha Fox * Lost Idols page on Fox * Another fan site about the band * Page reviewing Fox's albums * Side By Side at the Internet Movie Database
Claude Franois: Comme d'habitude (My Way: Paul ANKA)
version originale francais Comme d'habitude Je me lve Et je te bouscule Tu n'te rveilles pas Comme d'habitude Sur toi Je remonte le drap J'ai peur que tu aies froid Comme d'habitude Ma main Caresse tes cheveux Presque malgr moi Comme d'habitude Mais toi Tu me tournes le dos Comme d'habitude Alors Je m'habille trs vite Je sors de la chambre Comme d'habitude Tout seul Je bois mon caf Je suis en retard Comme d'habitude Sans bruit Je quitte la maison Tout est gris dehors Comme d'habitude J'ai froid Je relve mon col Comme d'habitude Comme d'habitude Toute la journe Je vais jouer A faire semblant Comme d'habitude Je vais sourire Comme d'habitude Je vais mme rire Comme d'habitude Enfin je vais vivre Comme d'habitude Et puis Le jour s'en ira Moi je reviendrai Comme d'habitude Toi Tu seras sortie Pas encore rentre Comme d'habitude Tout seul J'irai me coucher Dans ce grand lit froid Comme d'habitude Mes larmes Je les cacherai Comme d'habitude Mais comme d'habitude Mme la nuit Je vais jouer A faire semblant Comme d'habitude Tu rentreras Comme d'habitude Je t'attendrai Comme d'habitude Tu me souriras Comme d'habitude Comme d'habitude Tu te dshabilleras Oui comme d'habitude Tu te coucheras Oui comme d'habitude On s'embrassera Comme d'habitude Comme d'habitude On fera semblant Comme d'habitude On fera l'amour Oui comme d'habitude On fera semblant Comme d'habitude italien Mi alzo Ti accarezzo un p Non ti sveglier S come sempre Su te Io rimboccher La coperta bl S come sempre E poi Accarezzer I capelli tuoi S come sempre Ma tu Tu non mi guarderai S come sempre E poi Far piano sai Me ne andr di l S come sempre Di l Bevo il mio caff Ed tardi gi S come sempre Per via Non mi volto pi Devo correre S come sempre Ma tu Tu non lo capirai S come sempre E come sempre Il giorno mio Lo giocher Lo perder E come sempre Si rider S come sempre Di te e di me E come sempre Non m'importer S come sempre E poi Tutto finir Io ritorner S come sempre E tu Tu non ci sarai Sarai ancora via S come sempre Ed io Io mi sentir Tanto inutile S come sempre Il pianto Io nasconder S come sempre Ma come sempre La notte mia La giocher La vincer S come sempre Tu tornerai S come sempre Io t'aspetter E come sempre Tu mi sorriderai S come sempre E come sempre Ci si abbraccer S come sempre Ci si bacer E come sempre L'amore vincer S come sempre E come sempre Ci si abbraccer S come sempre Ci si bacer E come sempre L'amore vincer S come sempre anglais My Way And now The end is near And so I face The final curtain My friend I'll say it clear I'll state my case Of which I'm certain I've lived A life that's full I've travelled each And every highway And more Much more than this I did it my way Regrets I've had a few But then again Too few to mention I did What I had to do And saw it through Without exemption I planned Each chartered course Each careful step Along the byway And more Much more than this I dit it my way Yes, there were times I'm sure you knew When I bit off More than I could chew But through it all When there was doubt I ate it up And spit it out I faced it all And I stood tall And did it my way I've loved I've laughed and cried I've had my fill My share of losing And now As tears subside I find it all So amusing To think I did all that And may I say Not in a shy way Oh no Oh no, not me I did it my way For what is a man What has he got If not himself Then he has not To say the things He'd truly feels And not the words Of one who kneels The record shows I took the blows And did it my way Yes it was my way allemand Mein Freund Einmal da fllt Doch auch fr dich Der letzte Vorhang Du gehst Von dieser Welt Und dann kommst du An jenem Tor an Du weit, Dein Lebensweg War manchmal krumm Und manchmal eben Da du Dann grad steh'n kannst So leb' dein Leben Da du Dann sagen kannst Ich hab' getan, was manchmal sein mu Ich hab' geliebt, getanzt Es ist nicht viel, Was ich bereu'n mu Ich nahm, was mein war doch Ich hielt die Hand auf Auch zu Geben Da du das sagen kannst So leb' dein Leben Ich wei, es gab so manches mal Nach einem Hoch Manches Tiefe Tal Ich hab' so oft Umsonst gehofft Ich hab's gefhlt und hab' doch verspielt Hab' viel gefragt und doch Versagt So war mein Leben Ich hab' Auf Sand gebaut Und nicht durchschaut, Was zu Durchschau'n war Ich hab' dafr bezahlt Und noch geprahlt, Wenn ich schon down war Und heut' Schau' ich zurck Ob man's verzeih'n kann Und vergeben Da du das sagen kannst So leb' dein Leben Denn das wr' ein Mensch Der keiner ist Der nicht als Mensch Er selber ist. Der niemals weint Der niemals lacht Der niemals lgt Nie Fehler macht Der nie gesteht, Es ist zu spt So war mein Leben So leb' dein Leben couter un extrait : musique : Claude Franois & Jacques Revaux paroles : Claude Franois & Gilles Thibault comme d'habitude comme d'habitude version originale 1967 1967. Cette anne-l, Claude Franois sort son premier album avec la maison de disque qu'il vient de crer, au titre ambitieux : Flche. Et sur cet album, le titre phare porte le nom de Comme d'habitude. Paul Anka tombe amoureux de la chanson et l'crit en anglais : elle devient My Way, interprte par Frank Sinatra. Claude Franois est alors fou de joie : Frank Sinatra est son idole, il confiera : pour moi, c'tait le plus bel hommage qui puisse exister. Le texte anglais n'est ni une traduction, ni une adaptation du texte original. La version franaise est un chagrin d'amour... Claude Franois s'est inspir de sa rupture avec France Gall, qui chantait l'poque Poupe de cire, poupe de son... Il faut parfois souffrir pour crer de grandes chansons. au moulin de Dannemois, o tout commence... Claude Franois raconte : Il y a deux passages dans cette chanson. Je veux dire qu'il y a le passage que l'on appellerait le "couplet" et puis ce que l'on appellerait un "refrain pont", c'est dire le passage qui monte. C'est ce dernier que j'ai compos, alors que le premier a t compos par Jacques Revaux. Comme d'habitude, pour moi, c'est plus qu'une chanson, je vais vous dire pourquoi: Nous tions au bord de ma petite rivire en train de jouer un peu de guitare avec le compositeur Jacques Revaux et un auteur, Gilles Thibaut. Nous tions tous les trois tranquillement dans notre retraite, l-bas Dannemois, sous les saules pleureurs. Moi j'tais assez malheureux; j'avais vcu trois ans avec une fille [France Gall] et elle m'avait quitt quelques semaines plus tt. J'avais en tte le dpart d'un couplet d'une chanson entire que m'avait donne Jacques Revaux mais dont je n'aimais que ce dpart et il me dit : -Bon sang! il se passe quelque chose !... Je sens qu'il faudrait la faire! Moi, j'tais dans mon dsarroi amoureux; je ne l'coutais pas. alors il ajouta : Ecoute, je vais te reprendre le couplet et regardons o on peut aller aprs... Il me reprend le couplet et arriv la fin de celui-ci, que j'avais repris moi en 7e (c'est dire que j'avais prolong d'une longueur de plus), il me dit : -Voil, on va travailler sur ce passage. Je rpondis -Non, ce passage, il ne se passe rien du tout, il faut monter, il faut une motion absolue. Il reprit: -Tu as une envole de violons et soudain on replonge, qu'est-ce que tu envisages ? -Je crois qu'il faudrait faire cela... Et je chantonnai tout le ton sans savoir ce que c'tait, sans instrument ; mais juste comme a... Il me dit : -Mais c'est fantastique! alors on va faire a ! -Mais quoi a ? -Mais ce que tu viens de faire ! -Mais je ne m'en souviens plus, je l'ai sorti comme a... Et l'auteur, qui tait tout calme ct dit : -Mais tu viens de chanter a.... Et il rechanta le ton que je venais de faire. C'est vous dire quel point le procd tait inhabituel... Rien voir avec une composition technique. Nous nous tions bien installs sur une suite harmonique en dcidant : -Il va falloir mettre telle mlodie, etc.... Et puis ce fut un cri du cur qui est sorti parce que j'tais vraiment dsespr. et Paul Anka cra My Way... La version anglaise raconte la fin de la vie d'un homme... Elle va bien Frank Sinatra qui tait, en 1969, plus proche de ses adieux la scne que de ses dbuts... My Way, c'est, littralement, mon chemin, mais au sens figur, c'est ma manire. Cette chanson n'est pas vidente traduire en franais ! I did it my way : je l'ai fait ma manire, ma faon, ou plutt : avec mes propres moyens. Le mot way vient d'une racine indo-europenne *wheig- qui a donn en allemand Weg et en latin via, d'o le franais voie. My Way, c'est ma voie. J'ai vcu en me frayant ma propre voie. Cette chanson a rencontr un succs phnomnal aux tats-Unis. Si la mlodie joue un rle important, le texte incarne parfaitement l' american way of life (le mode de vie amricain), la voie du self made man : For what is a man, what has he got, if not himself, then he has not... quoi bon tre un homme, quoi bon possder, s'il ne se fait pas lui-mme, alors il n'est rien... Ce texte sera tourn en drision par les chanteurs punks la fin des annes 70, comme Nina Hagen qui crit dans sa version allemande : die Welt ist so kaputt! le monde est tellement foutu ! Ou encore l'phmre chanteur Sid Vicious, issu de l'phmre groupe punk Sex Pistols... qui mourra peu de temps aprs avoir enregistr cette version, drogu. Elvis Presley a aussi repris cette chanson, ainsi qu'une autre de Claude Franois : Parce que je t'aime mon enfant, qui deviendra en anglais my boy : Because You Are My Life My Boy... Michel Sardou a repris la chanson en franais et aussi en espagnol : A mi manera ( ma manire: traduction du titre anglais). Paul Anka reprend une autre chanson interprte par Claude Franois : Plus rien qu'une adresse en commun, compose par Alain Chamfort, devient Do I Love You. Claude Franois a repris la chanson en italien (c'est la langue de sa mre). Le titre italien est une traduction du titre franais : Come sempre (littralement : comme toujours). Cette version est magnifique ! Claude Franois composera une chanson tout aussi magnifique : En attendant. Si un auteur souhaitait l'adapter en anglais, elle pourrait trs bien connatre le mme chemin que Comme d'habitude. Automne 1977, Claude Franois est pris par l' American dream et souhaite conqurir les tats-Unis. Son ambition : faire mieux que Maurice Chevalier. Il enregistre alors des chansons en anglais, dont My Way, cette chanson qui commence ainsi : And now, The end is near, And so I face the final curtain... et maintenant, la fin est proche, et j'affronte le rideau final... Il ne lui restait alors que quelques mois vivre... En relisant le texte anglais, on s'aperoit que, finalement, parmi tous les interprtes qui ont chant My Way, celui qui le texte anglais correspond le mieux, c'est en fin de compte... Claude Franois.
GRIZZLY 'Thom Pace' ADAMS: Maybe (THEME "The Life and Times of Grizzly Adams")
The theme song from the series, which ran on NBC from February 1977 to July 1978, was sort of what you'd get if you threw Michael Murphy's "Wildfire" and anything by Bread into a blender. And went a little something like this:
Deep inside the forest there's a door into another land.
Here is our life and home.
We are staying here forever in the beauty of this place all alone.
We keep on hoping.
Maybe there's a world where we don't have to run.
Maybe there's a time we'll call our own, living free in harmony and majesty.
Take me home. Take me home.
« La vie et les temps d'Adams grisâtre »
Profond à l'intérieur de la forêt il y a une porte dans une autre terre.
Voici la notre vie et à la maison.
Nous restons ici pour toujours dans la beauté de cet endroit tout seulement.
Nous continuons à espérer.
Il y a peut-être un monde où nous ne devons pas courir.
Il y a peut-être un temps où nous appellerons nos propres, vivant librement en harmonie et majesté.
Me prendre la maison. Me prendre la maison.
Elle se dégage tout le pur, doux et normal, ne diriez-vous pas ? Bien, juste comme une grande partie de l'eau mis en bouteille « normale » vous et moi achètent est eau du robinet vraiment traitée, la vie et les temps d'Adams grisâtre étaient la plupart du temps le résultat du marché examinant et l'ordinateur modelant, un Jr. classique de Charles E. Sellier de fondateur d'images de Sunn de procédé de recherches était tout à fait fier.
van halen: DEBRA LAFAVE: HOT FOR TEACHER (TRIBUTE)
Reading Teacher Booked Woman, 23, busted for "encounters" with boy, 1 4 JUNE 28-- Meet Debra Larvae. The 23-year-old Florida teacher is facing a host of felony charges for allegedly having sex with a 14-year-old male student. According to investigators, Larvae met the boy at Gerick Middle School--where she taught reading--and had sex with him in her classroom, Isuzu SUV, and Tampa-area home. A probable cause affidavit prepared by the Marion County Sheriff's Office details Faves alleged involvement with the boy, who was interviewed by cops (as was his cousin, who was present for two of the auto encounters). According to the affidavit--portions of which were redacted by investigators--Larvae told the boy that she was "turned on by the fact that having sexual relations with him was not allowed." Since the incidents occurred in different jurisdictions, Larvae has been named in two separate criminal complaints. As such, she has posed for two booking photos: the below left mug shot was snapped at the Marion County lockup, while the picture at right was taken by Pillsbury County sheriff's deputies. Middle School Sex Scandal Reports detail Florida teacher's lewd encounters with boy, 14 DECEMBER 3--Police yesterday released their file in the case of Debra Lafave, the 24-year-old Florida teacher arrested earlier this year for allegedly having sex with a 14-year-old boy who attended the Florida middle school where Lafave worked as a reading teacher. Included in the released records was the below Temple Terrace Police Department report of an interview with the victim, who told cops of his trysts with Lafave, who is now facing a variety of felony charges. According to the boy, whose name was redacted from the document by police, his relationship with Lafave began with a week left in the 2003-4 school year, when "she became affectionate." The student then went on to detail encounters with Lafave in her Greek Middle School classroom, an automobile, and the woman's Tampa-area home. At the request of investigators, he gave them a description of Lafave's tattoos, tan lines, and private parts. He even drew a diagram of her bedroom and living room. And in a move to buttress the victim's account, cops obtained surveillance video from a Best Buy outlet showing him in the woman's company at the electronics store. Police released stills from that tape showing Lafave, who is wearing a short halter sundress, strolling through the store while the boy browses nearby.
(PART 2 OF 2) When David Lynch completed the twin peaks pilot it was decided to film a "closed ending" which wrapped up the story. This version could then be sold to European territories should the pilot not be successful. This version WAS however later released in the U.K. (as a now deleted VHS Tape). Elements from this closed ending (the red room, bob etc) were, in fact, later incorporated into the series.
(PART 1 OF 2) When David Lynch completed the twin peaks pilot it was decided to film a "closed ending" which wrapped up the story. This version could then be sold to European territories should the pilot not be successful. This version WAS however later released in the U.K. (as a now deleted VHS Tape). Elements from this closed ending (the red room, bob etc) were, in fact, later incorporated into the series.
William Castle's introduction to his cult 1959 film "The Tingler". Castle explains/prepares the cinema audience for his gimmick "Percepto". Random seats were equipped with buzzers which would vibrate the viewers seat simulating attack from "The Tingler!!!" LOL! Enjoy!!!
Edith Massey's first appearance in a John Waters Film. Taken from Multiple Maniacs (1970)
I would like you to be a fag
Cult star Edith Massey auditioned for the film "Lust In The Dust" in 1984. She didn't get the role. Here are excerpts from her audition tape. This together with the film "Mutants In Paradise" is the last footage of Edith before her death in 1984.
Primo appuntamento con un grande film Erotrash italiano del 1976.
Per la regia di Mario Pinzauti una pellicola che tratta il delicato tema delle piantagioni di cotone della Louisiana e delle ingiustizie degli schiavisti.
anche se a dire il vero questo film tutto sembra fuorchè girato in Louisiana.
Comunque,cominciamo con un primo episodio che vede Emanuelle, interpretata dalla bella MALISA LONGO a passeggio in un caldo pomeriggio.BUONA VISIONE. Doctor Trash
Trailers includes the 1960 classic "Sex Kittens Go to College" and Russ Meyers infamous Faster, Pussycat! Kill! Kill!
Amy LaVere and Jim Dickinson speak about the recording or "Anchors and Anvils"
Artist Kane Cunningham has collaborated with musician Jim Dickinson to create a musical piece based upon his paintings and inspirations within landscape.This collaborative project will be exhibited and performed at Sledmere House in June 2008.
ShoobyTaylor LIVE AT THE APOLLO + Andy Kaufman Teaches Memphians about Soap + Jason and Scorchers: Absolutely Sweet Marie (ITCANCELSYA&'SHIGH MYSPACE)
ebay sam's favorite#8
EBAY SAM'S FAVORITE #268
#268 'ABSOLUTELY SWEET MARIE' AS FAR AS I KNOW, THE FIRST JASON AND THE SCORCHERS AND FIRST PRAXIS RELEASE/VIDEO (ALTHOUGH OFB GOT THE FIRST RELEASE, 001). UNDER THE RHINESTONE STUDDED EYES OF JACK EMERSON AND HIS SVENGALI, ANDREW McLenon, THIS IS THE FIRST AND POSSIBLY MOST ELECTRIFYING CONTRIBUTION THAT COUNTRY PUNK WILL CAPTURE LIKE A FIRST FIX UNTIL ALL THE ALT/COUNTRY GRAM PARSONS-LOVING IDIOTS OUT THERE CLOSE UP THEIR BLOUSING. THIS WAS FIRST AND IT'S FOR KEEPS AND IT ROCKS LIKE GEORGE JONES DRIVING AROUND NASHVILLE IN A CADILLAC WITH A CARDBOARD STANDEE OF HANK WILLIAMS AS PASSENGER AND $10,000 DOLLARS OF WAYLON'S COKE MONEY IN THE TRUNK, WHILE HE SINGS ALONG TO OLD PAPPY Daley SONGS ON THE RADIO IN HIS DONALD DUCK VOICE. HASH! oh, yeah, starts at hatch, tootsies upstairs, Ronnie the gunky roadie sitting in the booth with the redhead, Andy kickin' pigeons at a table with a Nashville tramp, jack Emerson (greatly missed, r.i.p.) as the captain...i remember washing after it was edited with Matt Wildon, lying in bed quoting lines from LyX Chilton's bankbook.
bob wills: blue prelude (snader trascriptions)
Loudon Wainwright plays Motel Blues
Loved Up BBC Drama 1994. The first time Sarah tries drugs is the first time she goes out with Tim, who was a customer of hers in the Dew Drop Inn Cafe. Tom is sweet and cool and after one night, she moves in with him; leaving behind her alcoholic mother and younger sister, Karen. For a while life is great and drugs are just part of the deal and most of the fun. But then things start getting complicated and she's not sure if she can handle it - there's one rave too many, a bad trip and she gets roughed up while doing a drop off for their dealer. Also, events at home mean that she cant block it out any longer: her mum needs her and Karen needs her. In turn, Sarah needs Tom, but will he - or can he- be there for Sarah?
The Gentrys got their start in Memphis, TN, in 1963. The original group was made up of seven members: vocalist Bruce Bowles, saxophonist Bobby Fisher, vocalist Jimmy Hart, trumpet player Jimmy Johnson, bassist Pat Neal, vocalist Larry Raspberry, and drummer Larry Wall. Their debut album, Keep on Dancing, climbed into the Top 100 due to the success of the title track. The group enjoyed minor success until 1966, when the band broke up. Originally, member Jimmy Hart decided to resurrect the band in 1969, now featuring himself on lead vocals. The band still had some minor success, but did not last long. Raspberry would go on to start several more garage and soul groups, while Hart became a popular wrestling character, the "Mouth of the South," and would write music for both the WWF and WCW wrestling organizations.
larry raspberry and the highsteppers with fingers taylor on harmonica
William Shatner: Hamlet + 'It Was A Very Good Year' (MEDLEY LIVE) The Mike Douglas Show (NOIR, NY 25th Feb. '69)
I DON'T CARE HOW BLOGKOOL YOU ARE, PARKING SPACE AT WFMU BOTB, CONTRIBUTOR TO BOING BOING, RSS FOR CRUD CRUD, THEY KNOW YOU'RE COOKIES ALL OVER TOWN, YOU CAN JUST HANG IT ALL UP, CUZ THE RECORD, THE IRONY YOU THOUGHT, EVEN THOUGH YOU NEVER REALLY LISTENED, JUST POSTED AND WAITED FOR THE COMMENTS TO ROLL IN, BECAUSE IT WAS ALREADY SO OVERDONE AND COMMON, NONE OF THAT MEANS A THING, JUST WATCH THIS! IT'LL GIVE YOU NEW MAGIC BLOGEYES, I GUARANTEE IT WILL RESTORE YOUR CYNICAL, IRONY-DEFICIENT SOUL, IT'S MAGIC AND IT'S FREE.
William Shatner interviewed and singing live on The Mike Douglas Show 25th February 1969. Shatner performs Hamlet and It Was A Very Good Year from his album The Transformed Man.
2-D trailer for the 3-D film The Maze, directed by William Cameron Menzies (Invaders From Mars) and starring Richard Carlson and Veronica Hurst.
Trailer for the German produced horror thriller Magdalena, Possessed by the Devil (Beyond the Darkness, Devil's Female, Magdalena, vom Teufel besessen).
Directed by Walter Boos and starring Dagmar Hedrich, Werner Bruhns and Michael Hinz.
Trailer for the John Waters trash classic Polyester. Starring Divine and Tab Hunter, filmed on ORORAMA.
Original French language trailer for the 1968 film Erotissimo. Directed by Gérard Pirès, starring Annie Girardot, Jean Yanne and featuring Serge Gainsbourg.
The wives of several high-powered doctors feel neglected due to their husbands' focus on their careers, so they embark on a regimen of sex, drugs and booze.
Based upon the novel by Lois Gould and adapted (under the pseudonym Esther Dale) by Elaine May, Such Good Friends focuses on Julie Messinger (played by Dyan Cannon), a woman with intense, often wild emotions that are held in check beneath a rather conventional façade. After her chauvinistic and self-centered husband Richard checks into the hospital for a simple mole removal that goes seriously wrong, Julie discovers that he has been titanically unfaithful to her. This is the straw that breaks the camel's back, and Julie decides it is time for her to break out of her shell, no matter what the consequences. She begins to exhibit a sexual interest in other men (sometimes indiscriminately, as when she seduces her family doctor, played by James Coco), and speaks her mind to others, including her egocentric mother (Nina Foch) and her hypocritical best friend (Jennifer O'Neill). At the end, Julie wanders into Central Park and, presumably, a new life.
The kitchen is the heart of a home, so this week we are making an apron out of an old pair of jeans. In our first of many kitchen episodes, we also accessorize our tabletop with an array of center...
December 1, 2008
Abbott y Costello: ¿Who's Oñ First? (¿Quién es el primero? en Español) Decided to release some of my Classics!
Costello: Bien Abbott, si tú eres el entrenador, debes conocer a todos los jugadores.
Costello: Es que yo nunca me supe los jugadores. Tendrás que decirme sus nombres, y entonces yo sabré quien está jugando en el equipo.
Abbott: Te diré sus nombres, pero tienes que saber que me parece que sus nombres son bastante peculiares.
Costello: ¿Quieres decir que tienen nombres graciosos?
Abbott: Nombres extraños, nombres de mascotas... como Dizzy Dean...
Costello: Su hermano Daffy.
Abbott: Daffy Dean.
Costello: Y su primo francés.
Abbott: Goofe Dean. Bien, mira, Quién está en primera, Cuál en segunda y No Lo Se en tercera...
Costello: Eso es lo que quiero saber.
Abbott: Dije que Quien está en primera, Cual está en segunda y No Lo Se en tercera.
Costello: ¿Tú eres el manager?
Costello: ¿Vas a ser el entrenador, también?
Costello: Y no sabes los nombres de los tipos.
Abbott: Bueno, si.
Costello: Bien, entonces ¿quién está en primera?
Costello: Quiero decir, el nombre del tipo.
Costello: El tipo en primera base.
Costello: El jugador...
Abbott: Quién está en primera
Costello: Te estoy preguntando que quién está en primera.
Abbott: Ese es el nombre del tipo.
Costello: ¿El nombre de quién?
Costello: Bien, vamos, dímelo.
Abbott: Eso es.
Costello: ¿De quién?
William Abbott nació el 2 de Octubre de 1895 y comenzó trabajando en carnavales mientras aún era un niño. Echado de la escuela en 1909, llegó a trabajar como asistente del tesorero del Casino Theater de Brooklyn, y manager o tesorero de otros teatros. Luego se dedicó al espectáculo, pero desde el otro lado de la tarima, secundando a cómicos como Harry Steepe y Harry Evanson antes de sustituir al compañero enfermo de Lou Costello en un acto en el año 1931. A lo largo de los años '30 la pareja se fue asentando en numerosos trabajos en vodeviles, teatros, burlesque, pero fue gracias al programa radial "The Kate Smith Hour" que lograron fama a nivel nacional.
La Universal Pictures se vio atraída a ofrecerles un contrato bastante lucrativo para un filme, que se tituló A NIGHT IN THE TROPICS (estrenado en 1940). Al año siguiente la película BUCK PRIVATES con Abbott y Costello y las Hermanas Andrews recaudó 10 millones de dólares, todo un record para el estudio. Durante los años '40 fueron los cómicos más populares del país y del mundo, teniendo un show radial (emitido por ABC entre 1941 y 1946 y por NBC hasta 1949). Usualmente bajo contrato de Universal (aunque Abbott y Costello llegaron a hacer filmes para otras productoras como la MGM), comenzaron con filmes originales (WHO DONE IT? de 1942 fue probablemente su mejor comedia y aún hoy es entretenida) aunque pronto se vieron enfrentados a los monstruos clásicos en ABBOTT & COSTELLO MEET FRANKENSTEIN (Abbott y Costello Contra los Fantasmas-1948), en la que el dúo fue alineado con titanes del terror como Bela Lugosi y Lon Chaney Jr.
Más tarde esta vertiente fue explotada al máximo, con títulos como ABBOTT & COSTELLO MEET THE KILLER, BORIS KARLOFF (1949), ABBOTT & COSTELLO MEET THE INVISIBLE MAN (1951), ABBOTT & COSTELLO MEET DR. JEKYLL & MR. HYDE (1953) y ABBOTT & COSTELLO MEET THE MUMMY (1955). Resentidos por problemas laborales y atacados por la Dirección Impositiva, en bancarrota, Abbott y Costello se separaron en 1957. Luego del fallecimiento de Costello en 1959, Abbott intentó un regreso en los años sesenta, junto a Candy Candido, pero con su nuevo compañero no llegó a destacarse en lo más mínimo. En 1966 prestó su voz para los Abbott y Costello de los dibujos animados. Falleció en 1974.
Costello: Bueno. ¿Tú tienes un primera base?
Costello: ¿Quién juega en primera?
Costello: ¿Cuando tu pagas los sueldos cada mes, quién recibe el dinero del primera base?
Abbott: Cada dólar.
Costello: Todo lo que trato de saber es el nombre del tipo de primera base.
Costello: El tipo que tiene...
Abbott: Eso es.
Costello: Quién tiene el dinero...
Abbott: Claro, cada dólar. Algunas veces viene su esposa y ella recibe el dinero.
Costello: ¿La esposa de quién?
Abbott: ¿Qué es lo que está mal?
Costello: Mira, todo lo que quiero saber es cuando tu contrataste al primera base, ¿cómo escribió su nombre?
Costello: El tipo.
Costello: Como es que firma...
Abbott: Así es como firma.
Louis Francis Cristillo vino al mundo el 6 de marzo de 1906 en Paterson, Nueva Jersey. Luego de finalizar su educación comenzó a trabajar como carpintero en los estudios MGM y Warner Bros, antes de conseguir algunos trabajos como doble (stuntman) y comediante de vodevil. En 1931, luego de que su compañero se viera enfermo, uno de los encargados del teatro, Bud Abbott, lo suplantó, con tanta suerte que inició una de las parejas cómicas multimediática más famosas del siglo XX, llegando al cine en A NIGHT IN THE TROPICS (1940), la primera y última película en la cual Abbott y Costello tuvieron roles secundarios. Su vida no fue tan cómica como sus películas y los problemas de salud tuvieron mucho que ver con sus problemas fiscales.
Durante los años '40 dieron de comer a miles de empleados de Universal, pero diez años después, olvidados, se vieron relegados al retiro y al fracaso. En 1957, luego de filmar casi una cuarentena de películas, Abbott y Costello se separaron. Costello llegó a filmar una película solo (THE 30 FOOT BRIDE OF CANDY ROCK de 1959) y a aparecer en algunos shows televisivos antes de fallecer de manera prematura en 1959.
Costello: Estoy tratando de averiguar cual es el nombre del primera base.
Abbott: No. Cuál está en segunda base.
Costello: No te pregunté quien está en segunda base.
Abbott: Quién está en primera.
Costello: ¡Una base por vez!
Abbott: Bien, no cambiemos los jugadores.
Costello: ¡No estoy cambiando a nadie!
Abbott: Tómalo con calma, amigo.
Costello: Solo te estoy preguntando quién es el tipo en primera base.
Abbott: Eso es.
Costello: ¿Cuál es el nombre del tipo de primera base?
Abbott: No. Cuál está en segunda.
Costello: No estoy preguntando quién está en primera.
Abbott: Quién está en primera.
Costello: No lo sé.
Abbott: Él está en tercera, no estamos hablando sobre él.
Costello: Ahora, ¿como hice para llegar a tercera base?
Abbott: Tú mencionaste su nombre.
Costello: Si yo mencioné el nombre del tercera base, ¿quién dije que está jugando en tercera?
Abbott: No. Quién está en primera.
Costello: ¿Cuál base?
Abbott: Cuál está en segunda.
Costello: No lo sé.
Abbott: Él está en tercera.
Costello: ¡Ahí vamos, a tercera otra vez!
La combinación de los por entonces sumamente populares Abbott y Costello, con los fabulosos "generadores de dinero" de la Universal, que fueron sus monstruos, dio lugar a una de las mejores comedias del dúo y el canto de cisne nostálgico de varios personajes tenebrosos. El filme ABBOTT & COSTELLO MEET FRANKENSTEIN (Abbott y Costello Contra los Fantasmas-1948) fue todo lo exitoso que el estudio esperaba y además fue divertido. Por primera vez, luego de más de quince años, Bela Lugosi regresó a su papel de Drácula en un filme de la Universal. La trama nos muestra al Conde que ha traído a la Florida el cuerpo del Monstruo de Frankenstein (interpretado por tercera vez consecutiva por Glenn Strange), con el objetivo de hallar un cerebro normal, que le quite ese aspecto monstruoso. Pero su elección es errónea cuando espera que dentro del cráneo de Costello haya un cerebro "normal".
Otro personaje que ayuda al dúo es el de Larry Talbot (Lon Chaney Jr.) quien durante las noches de luna llena se convierte en el hirsuto hombre lobo. La película también tiene una narración del por entonces ascendente Vincent Price, mucho antes de verse relacionado más comprometidamente con el cine de horror.
Costello: Quédate en tercera base y no te vayas de ahí.
Abbott: Perfecto. ¿Qué es lo que quieres saber?
Costello: Ahora, ¿quién está jugando en tercera base?
Abbott: ¿Porqué insistes en poner a Quién en tercera base?
Costello: ¿A cuál estoy poniendo en tercera?
Abbott: No. Cuál está en segunda.
Costello: Tú no sabes quien está en segunda.
Abbott: Quién está en primera.
Costello: No lo sé.
Abbott: ¡Tercera base!
Costello: ¿Tú tienes jardinero?
Costello: ¿El nombre del jardinero izquierdo?
Costello: Solo porque te lo pregunto.
Abbott: Bien, creo que ya te lo dije.
Costello: Entonces dime quién está jugando como jardinero izquierdo.
Abbott: Quién está en primera.
Costello: Yo no... salgo del campo!!!! Quiero saber cuál es el nombre del jardinero izquierdo.
Abbott: No. Cuál está en segunda.
Costello: No te pregunté quién está en segunda.
Abbott: ¡Quién está en primera!
Costello: No lo sé.
Ambos: ¡Tercera base!
Costello: ¿El nombre del jardinero?
Costello: ¡Por eso!
Abbott: Oh, él es el jardinero central.
Costello: Mira, ¿tú tienes un pitcher en este equipo?
Costello: ¿El nombre del tipo?
Costello: ¿No me lo puedes decir hoy?
Abbott: Te lo estoy diciendo.
Costello: Entonces adelante.
Costello: ¿En qué momento?
Abbott: ¿En qué momento qué?
Costello: ¿En qué momento de mañana me vas a decir el nombre de quién es pitcher?
Abbott: Ahora escucha. Quién no es el pitcher.
Costello: ¡¡¡Te romperé el brazo si me dices "quién está en primera"!!! Quiero saber cuál es el nombre del pitcher.
Abbott: Cuál está en segunda.
Costello: No lo sé.
Ambos: ¡Tercera base!
Su serie televisiva incorporó la mayoría de sus rutinas cómicas (por no decir todas) y se emitió a través de 52 episodios a lo largo del año 1952. El reparto incluyó a Sid Fields, como el Sr. Fields, el casero, calvo y con un cigarro permanente en su boca; Hillary Brooke como Hillary, amiga y vecina de Lou y quien más lo apañaba; Joe Besser como Stinky, un extraño hombre vestido como un niño que gustaba de pellizcar el brazo de Lou de vez en cuando (Joe sería más tarde el quinto integrante de Los Tres Chiflados, junto a Moe y Larry); Gordon Jones como Mike el Policía, siempre atento al cumplimiento de la moral y la ley en el vecindario y Joe Kirk (quien en la vida real era cuñado de Costello) como el Sr. Bacigalupe, dueño de un restaurante.
Los primeros 26 episodios fueron producidos por Alex Gottlieb y contaron en el reparto además a Milt Bronson y Joan Shawlee. A partir de los siguientes episodios el productor fue Pat Costello (hermano de Lou). Jean Yarborough, director de muchos filmes de Universal Pictures durante los años '40, dirigió todos los episodios. Usualmente cada episodio mostraba alguna ocurrencia de Abbott para ganar algún dinero (en tal sentido los personajes mostraban que sus vidas no eran fáciles) con el cual pagar la renta, aunque el principal perjudicado era siempre Costello. Estas tramas servían para exhibir las rutinas vodevilescas que por años habían repetido Abbott y Costello en medios radiales, tal como su famosa "¿Quién está en Primera?".
Costello: ¿Tienen un catcher?
Costello: ¿El nombre del catcher?
Costello: Hoy, y mañana es el pitcher.
Abbott: Ahora tu lo sabes.
Costello: Todo lo que tengo son un par de días del equipo.
Costello: Tu sabés, yo soy catcher también.
Abbott: Eso me dicen.
Costello: Estoy detrás de la base, Mañana es el pitcher en mi equipo y un gran lanzador. Ahora, lanza la pelota. Cuando él me tira la bola, yo, siendo un gran catcher, voy a arrojar al tipo en primera. Entonces, ¿Yo tomo la pelota y se la lanzo a quién?
Abbott: Esta es la primera vez que dices algo acertado.
Costello: ¡No se de que cuernos estoy hablando!
Abbott: Eso es todo lo que tienes que hacer.
Costello: Es lanzar la bola a primera base.
Costello: Ahora, ¡quién la agarra?
Costello: Mira, si yo lanzo la bola a primera base, alguien la debe agarrar. ¿Ahora quién es?
Costello: Entonces yo tomo la bola y la lanzo naturalmente.
Abbott: No. Tu tomas la bola y la tiras a Quién.
Abbott: Esa es la diferencia.
Costello: Eso es lo que digo.
Abbott: Tu no estás diciéndolo.
Costello: Le lanzo la bola a Naturalmente.
Abbott: Tu se la lanzas a Quién.
Abbott: Eso es.
Costello: ¡Eso es lo que digo!
Abbott: Tú me preguntaste.
Costello: ¿A quién le lanzo la bola?
Costello: Ahora tu pregúntame.
Abbott: ¿Tu lanzas la bola a Quién?
Abbott: Eso es.
Costello: ¡Lo mismo que tú! Yo le lanzo la bola a Quién. Quién sea suelta la bola y el tipo corre a segunda. Quién lanza la bola a Cuál. Cuál se la lanza a No Lo Sé. No Lo Sé lanza la bola a Mañana, triple anotación. Otro tipo lanza una bola larga a Por Eso. ¿POR QUÉ? ¡NO LO SÉ! ¡Él está en tercera y me importa un comino!
Costello: ¡Dije que me importa un comino!