A key moment in the original Blues Brothers film finds the band dodging beer bottles at a backwoods dive where the barkeep informs them they have both kinds of music — “country and western.” Turns out, two very famous people were hurling those empty Budweisers.
This newly released documentary on the ex-Byrds singer-songwriter Gene Clark is not only very much welcome, but long overdue.
Unlike 1980s miniseries full of glamour and glitz or 1990s relationship-themed cable movies, 1970s TV movies were sleazy, scary, dopey or just plain weird. They were characterized by schlock, horror and the occasional tearjerker or social commentary.
Steve Cropper settled into the theater seats with his wife and another couple, ready to enjoy the new film American Graffiti in 1973. He had no idea what was about to happen next.
This homage to The Killer Shrews, one of the cheesiest 1950s horror films does more than recycle the plot with newfangled CGI effects. It updates the storyline to feature a reality show crew on a remote island
Martin Scorcese’s newest film, The Wolf of Wall Street, features the director’s usual assortment of delectable oldies — but the best moment maybe belong to a new song. Or, really, a new version of an old song.
Adrian Maben’s first pitch for a concert film involving Pink Floyd was met with bemused silence. His second pitch would grow out of a vacation mishap.
It seems that in the early seventies, many of the notable jazz musicians of the sixties went electric and dabbled in fusion.
On December 4, 1988, Roy Orbison was celebrating a huge year. His album with supergroup the Traveling Wilburys had sold extremely well; he finished recording his first album of original material in several years, Mystery Girl
Vangelis is that rarest of soundtrack artists, one who can create not just involving themes but complete musical worlds that stand apart from the films to which they were originally attached.