21700 views later... The original upload of the song on YT, now re-cut at the request of some morons. And all the haters can go kill themselves. Thank you.
"Inappropriate content". Obviously got flagged because you could see a tit and a cock from afar. :) You know what it's like.
I just edited out a few seconds towards the end.
June 14, 2009
Christophe - The girl from Salina (1970)
The Good The Bad The Ugly -- Spaghetti Western Orchestra
http://www.spaghettiwestern...
the spaghetti western orchestra at the montreal jazz festival.
The Ballad Of Cable Hogue: Arthur Gee "Love song" MP3 via unconsciousrepeat
The following song--one of those Lee Hazlewood-type vibes somewhere blissfully between country, folk, and psychedelic pop--has nothing to do with The Ballad Of Cable Hogue, although it vaguely reminds me of the scenes between Hogue and the girl. Cable Hogue has its own music, the ballad of the title, and, more notably, a little song called "Butterfly Mornings" dueted, I think, by the actors themselves, Jason Robards and Stella Stevens. That song was covered by Hope Sandoval on her solo album. Both versions are nice, but I'm not gonna post them...
The movie is worth checking out for anyone who can deal with westerns, anyone who can deal with Sam Peckinpah, or anyone who usually can't deal with Sam Peckinpah and is interested to see if I can be telling the truth when I say this movie comes without his usual misogyny even though the girl is, staight-up, a hooker-with-a-heart-of-gold, and the scene that introduces her is a Boing-O! montage of successively closer close-ups on her tits. Oh, it's also Peckinpah's warmest movie...
Arthur Gee--Love song
Q. WHICH ELVIS FILM DID TWO MEMBERS OF THE WRECKING CREW APPEAR? [Jack Nitzsche + Hal Blaine] A. ELVIS: "Girls! Girls! Girls!" - STELLA STEVENS 1962
STELLA STEVENS
Girls! Girls! Girls!
November, 21 1962
~~~
Elvis plays Ross Carpenter, a fishing guide/sailor who loves his life out on the sea. When he finds out his boss is retiring to Arizona, he has to find a way to buy the Westminster, a boat that he and his father built. He is also caught between two women: insensitive club singer Robin, and sweet Laurel.
Stella Stevens plays Robin in Girls! Girls! Girls! [a night club singer "hung up" on Elvis]. Along the way she sings (partial) "Never Let Me Go", "The Nearness of You", and "Baby, Baby, Baby".CAST:
Elvis Presley...Ross Carpenter
Stella Stevens...Robin Gantner
~
*Hal Blaine ...Drummer lounge band
*Jack Nitzsche...Piano player in lounge band
~
Red West... Bongos + crewman tuna boat
Lance LeGault...Bass player nightclub*Although Stella Stevens' film career began in 1959 with a bit part in Say One For Me with Bing Crosby, she made a bold career move (for that time) by posing nude for Playboy in the January 1960 issue. This coincided with an excellent movie break in the film Li'l Abner, and Stella's career was off and running.~~~
USA 21 November 1962
Brazil 24 December 1962
France 16 January 1963
Denmark 4 February 1963
Sweden 18 February 1963
Italy 8 March 1963
Finland 22 March 1963
Hong Kong 11 April 1963
West Germany 12 April 1963
Japan 27 April 1963
Spain 18 May 1964
~~~
aka:
Girls! Girls! Girls! Denmark / West Germany
A Girl in Every Port USA (working title)
Cento ragazze e un marinaio Italy
Chicas, chicas, chicas Spain
Des filles, encore des filles Canada (French title)
Des filles... encore des filles France
Garotas! Garotas! E Mais Garotas! Brazil
Gumbo Ya-Ya USA (working title)
Kizlar arasinda Turkey (Turkish title)
Rantevou me hilia koritsia Greece
Tyttöjä! Tyttöjä! Tyttöjä! Finland
Welcome Aboard USA (working title)
~~~
 | Stella |  |
Although Stella Stevens' film career began in 1959 with a bit part in Say One For Me with Bing Crosby,  she made a bold career move (for that time) by posing nude for Playboy in the January 1960 issue. This coincided with an excellent movie break in the film Li'l Abner, and Stella's career was off and running. About the Playboy appearances, she later said, "After that, I starred in every one of my movies. I'll say one thing -- it got me a lot of obscene mail. But it got me a lot of male fans, too, loyal fans. They've stuck with me through the years, through all the movies." |
One of the first she made after this was Girls! Girls! Girls!, in which she played Robin, a night club singer "hung up" on Elvis. Along the way she sings (parts of) "Never Let Me Go", "The Nearness of You", and "Baby, Baby, Baby". |  |
 | She made a bigger impression the next year as Miss Purty in The Nutty Professor with Jerry Lewis. "At last I've established a position," she said. "That's the first step. Most of all, I want to be singled out." The critics certainly singled her out in The Courtship Of Eddie's Father, that same year. Opposite Glenn Ford, she put in a fine perfomance as Dollye Dailey. As Ian and Elizabeth Cameron wrote in Dames, "Stella Stevens is adept at playing the wide-eyed innocents who leave behind them a trail of confusion, consternation, or embarrassment. She did this particularly well in The Courtship Of Eddie's Father." Her starring roles in feature films continued through the sixties, playing opposite Dean Martin in the first Matt Helm vehicle, The Silencers, and with Rosalind Russell in Where Angels Go, Trouble Follows in 1968. |
The seventies started off pretty good with Stella in one of her finest performances as the kind-hearted prostitute opposite Jason Robards in Peckinpah's The Ballad of Cable Hogue. She was a prostitute once again in the disaster film The Poseidon Adventure in 1971. The first of the Irwin Allen all-star disaster films, it was a huge hit at the box office, but it was about the last we would see of Stella in "major motion pictures". Since then, she seems to have made about a dozen "B" movies a year (and TV-movies). Enough, at least to warrant a "Stella Week" on the USA Network about twice a year... (if I were running things!) Although not necessarily tops with the critics, these kinds of films provide steady work. (Take a look at her entry on the IMDB if you doubt it!) She had expressed a desire to direct as early as 1964, but she's only directed two so far (American Heroine and The Ranch) However, she certainly handed the directing bug down to her son. Andrew Stevens has worn the hat of director, producer, screenwriter, as well as actor, in a steady stream of films, mostly the same type of low-budget action / adventure films. More than a few feature mom in a prominent role. (Andrew had appeared in mom's movie, The Ranch also!) |
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Stella Links! |
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Steamroller Jerrybuilt! 'Hound Dog - The Leiber and Stoller Autobiography,' by Jerry Leiber and Mike Stoller - Review - NYTimes
Steamroller Jerrybuilt
For much of their career, Jerry Leiber (words) and Mike Stoller (music) specialized in coming up with songs that sounded almost unwritten, as if they had popped into being straight out of the oral blues tradition. This is the illusion they managed to pull off with “Searchin’,” “Ruby Baby,” “Kansas City” and many others. From an early age they loved the blues, and their main goal was to create what they considered to be authentic black music. In “Hound Dog: The Leiber and Stoller Autobiography,” Leiber bluntly describes their mind-set: “We were two guys looking to write songs for black artists with black feelings rendered in black vernacular.”
Martin van Beeck
Jerry Leiber, left, and Mike Stoller, 1988.
In the 1950s and ’60s, they wrote hits for black artists like Willie Mae (Big Mama) Thornton, the Coasters, the Drifters and Ben E. King, but their songs also did the job for white performers like Elvis Presley and Dion. Considered disposable when they first came out, Leiber-Stoller songs have proved hardy, having been recorded or performed by a variety of singers and groups, including James Brown, Perry Como, the Beatles, Little Richard, Peggy Lee, Hank Snow, Frank Sinatra, Joni Mitchell, Danzig, Loudon Wainwright III, Donna Summer and Bjork.
“Hound Dog” tells the Leiber-Stoller story in a straightforward, conversational manner. The third co-author is David Ritz, who has collaborated on memoirs with Ray Charles, Aretha Franklin and Don Rickles, among others. In what may be the best thing he has written, “Divided Soul: The Life of Marvin Gaye,” Ritz didn’t have to worry about pleasing his subject: the book started out as a collaborative venture, only to end up an unauthorized biography after Gaye was shot dead by his own father.
“Hound Dog” is a coupla white guys swapping stories, with Leiber and Stoller serving as dual narrators. In the first pages, Leiber is a kid from a Yiddish-speaking household in Baltimore. At the age of 9 he smokes Old Golds. Neighborhood toughs pick a fight with him, shouting, “Jewboy, get that Jewboy!” as police officers look on, doing nothing. Stoller spends his childhood in Sunnyside, Queens. He rides the subway and bus to take piano lessons from the boogie-woogie great James P. Johnson. In the mid-to-late ’40s, the families of both budding songwriters move to Los Angeles.
I love autobiographies that chart a slow, difficult rise. This isn’t one of them. The boys score a songwriting contract soon after meeting each other at 17, and the book chugs through encounters with Elvis Presley, the wreck of the Andrea Doria (Stoller was a passenger) and a night when Norman Mailer puts Leiber in a chokehold at Elaine’s restaurant on the Upper East Side of Manhattan.
Here and there I found myself arguing with the text, suspicious of the narrators’ reliability. It’s 1952, and Leiber and Stoller are rising hotshots in the Los Angeles scene. The bandleader Johnny Otis asks them to come up with something for his singer, Big Mama Thornton. Here is how Leiber describes the writing of “Hound Dog”: “We ran back to Mike’s house on Norton — he was still living with his folks — and knocked out a song in a matter of minutes. It happened like lightning. We knew, as they say in the South, that this dog would hunt.” For the song that gives the book its title, all we get is a string of clichés. The story goes on to chronicle the recording session, during which Leiber objects to Thornton’s vocal approach. She’s crooning, he says, rather than belting it out. They have a testy exchange, and he sings the song himself, to show her how it’s done. At this point Stoller takes over the narrative: “Big Mama heard how Jerry was singing the thing. She heard the rough-and-tough of the song and, just as important, the implicit sexual humor. In short, she got it.”
Thornton’s account is much different. In an interview included on the album “Leavin’ Chicago,” she says she did “Hound Dog” in one take and credits the guitarist Pete Lewis for establishing the feel. In another interview, with the music writer Ralph Gleason, she said: “They were just a couple of kids then. . . . I started to sing the words and join in some of my own. All that talkin’ and hollerin’ — that’s my own.”
“Hound Dog” doesn’t mention Thornton’s account, but it does take issue with Otis, who was listed as the third writer of “Hound Dog” in its first pressings. Stoller goes out of his way to state that Otis was “not a writer of the song,” italics his.
Otis made the case for his “Hound Dog” contribution in a 2000 interview: “Parts of it weren’t really acceptable. I didn’t like that reference to chicken and watermelon, said, ‘Let’s get that . . . out of there.’ . . . Then Elvis Presley made it a megahit, and they got greedy. They sued me in court. They won, they beat me out of it.” The alleged presence of “chicken” and “watermelon” in the original lyric, as well as other complications, goes unmentioned in “Hound Dog.”
A huge song on the Leiber-Stoller résumé is Ben E. King’s “Stand by Me,” which hit No. 4 on the Billboard pop charts during its initial 1961 release and reached No. 9 on its 1986 rerelease, timed to the Rob Reiner movie of the same name. Its writers are listed as King-Glick, with Glick standing for “Elmo Glick,” a Leiber-Stoller pseudonym. In the “Hound Dog” version of how “Stand by Me” came about, Stoller recalls “arriving at our office as Jerry and Ben were working on lyrics for a new song.” His own contribution to “Stand by Me,” he remembers, was the bass line.
But Stoller’s version doesn’t line up with two earlier accounts of the song’s genesis. In “Always Magic in the Air,” Ken Emerson’s well-reported history of the New York-based songwriters of the early ’60s, the author reports that King sat at the piano and played “Stand by Me” at the end of a session, after Leiber and Stoller asked him if he had another song. Not taking a side on the issue of credit, Emerson writes that King drew on old gospel music “to compose” the song, but he also refers to “Stand by Me” as “Leiber, Stoller and King’s.” In another recent book, “1001 Songs: The Great Songs of All Time and the Artists, Stories and Secrets Behind Them,” by Toby Creswell, King, quoted at length, describes having written “Stand by Me” before the session. “The song more or less wrote itself,” King said, adding that he had rehearsed it with the Drifters and that “they liked it very much.”
In “Hound Dog,” Leiber gives short shrift to King’s contribution and elevates his partner’s role: “The lyrics are good, King’s vocal is great. But Mike’s bass line pushed the song into the land of immortality. Believe me — it’s the bass line.” It’s worth noting that one-third of “Stand by Me” is a valuable thing. BMI reports that it was the fourth-most-played song on American radio and TV in the 20th century.
Collaboration is a messy business. So is autobiography. But it shouldn’t be forgotten that Leiber and Stoller were among the pioneers who helped bring black and white musical forms together. It has been a historically fraught process, but the collision of cultures is probably what has given such energy and tension to American music. “Hound Dog” is an important part of that story.
Jim Windproof is a contributing editor at Vanishing.
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