Likin’ Lenka

It’s time for another singer who I didn’t know existed ten minutes ago, with a song I liked instantly. Lenka, from Australia. I just love this sort of song, and the sound it makes. Forget the cow bell, give me more bells! This may be the only song by Lenka I like. I don’t know yet, because it’s all I’ve heard so far.

Lenka came up on my Lily Allen channel on Pandora. I think Allen’s The Fear is a superb piece of work. It’s a perfect expression of sentiments, both sincere and ironic. It’s also an exceptional example of how essential the producer is — Greg Kurstin in this instance — to giving a recording a certain effect and feeling.

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Running off a Cliff with the Beatles

Last week, TCM showed the movie Summer Holiday, with Cliff Richard. Directed by Peter (“Bullitt”) Yates, released in early ’63 and shot on location in widescreen and color, Summer Holiday is cute and silly fun. It has inspired bits of comedy, solid songs with Cliff and the always excellent Shadows, and great production numbers, but it can’t be called a Rock and Roll movie by any stretch.

Each [Cliff Richard] film inevitably also employs the ideological underpinning of the Hollywood musical. A genre such as the musical is not just a film type; it brings with it certain spectator expectations, certain structures, codes and conventions which combine in the musical to indicate its function as, in Richard Dyer’s phrase, a ‘gospel of happiness’. A Hard Day’s Night: The British Film Guide, by Stephen Glynn, Turner Classic Movies, 2005, p.7

http://youtu.be/Gbajf_rHzys

With four healthy, fun-loving boys driving a red London double-decker bus across Europe, and picking up four pretty, spirited girls along the way, I spit up my Trader Joe’s three buck chuck wine when one of the girls suggested, “Gosh, the boys have been so good to us, we should think of a way to show them our thanks.” But Summer Holiday isn’t that sort of movie, so off to dinner they all go, where everybody dances to choreography by Herbert Ross, who later directed Petula Clark in the remake of Goodbye, Mr. Chips.

Summer Holiday has a devoted following, and I enjoyed it a lot, but what interests me the most is that the movie premiered in London in February ’63, the same month that the Beatles’ second single, Please Please Me, was released in the UK.

‘The Young Ones’ and ‘Summer Holiday’ both proved the second top box-office earner at British cinemas for 1962 and 1963 respectively, and garnered much critical praise. By the time ‘Wonderful Life’ was premiered at the Empire Theatre, Leicester Square, on 2 July 1964, however, the spontaneity and freshness was judged to have gone. Ibid.

A Hard Day’s Night premiered at the Pavilion Theatre in London only four days after Wonderful Life, to universally rapturous critical praise and financial success.

What precipitated the sudden fall from grace? In truth, Cliff’s time had passed; there were new kids on the block and the boy from Lucknow, India, together with his traditional pop musicals, were about to be drowned out by the twist and shout emanating from Mersyside. Ibid.

I’m a Cliff Richard fan, and as I said before I really enjoyed Summer Holiday. The older I get the more I am able to appreciate things for what they are, rather than pay attention to what they are not, like that $3 Charles Shaw wine from Trader Joe’s. 😉 I feel the same way about another movie that provides a good contrast to the Beatles. In fact, it’s a Beatles movie itself, except it’s really a Bee Gees movie with Peter Frampton — Sgt. Pepper’s Lonely Heart’s Club Band. The movie is as much an artifact of its year, 1978, as Summer Holiday is representative of 1963.

http://youtu.be/bFRt5TQdQCI

Thanks to a nudge from tastewar, I watched Sgt. Pepper’s Lonely Heart’s Club Band on DVD, and if nothing else I’m not surprised the songs were produced by George Martin and engineered by Geoff Emerick, because the sound is really excellent. The story is ridiculous, but the songs are worth the visit. The Bee Gees and Frampton were huge stars when they agreed to make this movie. I don’t know if Robert Stigwood had a contract that forced them to do it, or if they simply wanted to be proxy Beatles, but the Bee Gees really nail a lot of the songs, although Frampton’s singing is a bit weak in spots.

When watching this movie it must be remembered that it was made only a few years after the wild and crazy Tommy, and there’s also no avoiding a comparison with Across the Universe, Julie Taymor’s generally well-received 2007 film. This clip is I Want You (She’s So Heavy).

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Is that version better than, or even as good as, the same song as presented in Sgt. Pepper’s Lonely Heart’s Club Band?

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I’m an idiot!

Scoptione video jukeboxes originated in France. Wait. France? Petula Clark was a star in France before she came to America. Duh! But of course.

http://youtu.be/ymc9hRcOJTg

Sometimes I amaze myself with how slow on the uptake I am. Have I always been this dense? I met Petula. I sat with her and we chatted for a few minutes. I could have asked about her Scopitone movies. But, no. I was clueless.

Neil Sedaka’s Scopitone Calendar Girls

I love-ah, love-ah, love-ah everything about this fun, kitschy, and sexy music video! It’s from 1966, five years after Calendar Girl was on the charts. The 16mm film was made to be played on Scopitone machines. You’ll find some background on the short-lived Scopitone video jukeboxes at this link.

With 1966 belonging to the youth market, this film was obviously intended for an older audience — specifically, drunk men in bars! If I’d been one of them, I would have gone through a roll of quarters for this one selection. It’s both a throwback and very much of its time. The pinup girl calendar paintings by Gil Elvgren and other great artists were on the way out by then, and Playboy had taken over.

The virtues of the song are apparent, thanks to the way the film complements the recording. Sedaka is enjoying himself, and he’s suitably goofy compared to the charming girls. There are Sixties mod dresses, Vegas showgirl costumes, and bikinis. Every step and gesture is choreographed, the set is simple yet quite clever, and I like the way the girls are framed as they make each of their entrances. Note how everything changes to keep up visual interest, even the color of the piano. For such a limited production it’s a work of art. Most important of all, of course, are the four lovely ladies.

The Scopitone company went bankrupt only a few years later, so the chance there might be documents to be found somewhere is probably next to zilch. Debbie Reynolds lost money investing in Scopitone, and she reportedly doesn’t like to discuss the project. Neil Sedaka would probably be the best source for information, but if anybody has interviewed him about his Scopitone appearance I haven’t found it.

Follow-up: NPR did a feature on Scopitone five years ago.