Just a week or so after tackling Rhino’s massive Big Star release, Keep An Eye on the Sky, I’m back writing about another huge effort from Rhino, Where the Action Is! Los Angeles Nuggets 1965 – 1968. Once again Rhino has released a beautifully constructed, painstakingly researched, and essential four-disc set, this time covering a crucial period in the evolution of rock and roll in Southern California. Few if any other labels are doing this sort of thing these days. If they have the resources, they don’t have the interest, and if they have the interest, they often don’t have the resources. Rhino is presently in the position of having both, but as I said in my Big Star story, we will have to wait to see what the future brings for the label.
At first glance, Where the Action Is!, would seem to be an all-star assemblage of early tracks from bands that went on the bigger things. Disc One (”On the Strip”) features songs from a veritable “Who’s Who” of ’60s California bands who made a name from themselves on L.A.’s Sunset Strip. They include the Byrds, Iron Butterfly, the Doors, the Buffalo Springfield, Sonny & Cher, Captain Beefheart, and Love. Then there are surprises from the Bobby Fuller Four, the Leaves, the Standells, the Seeds, and the Music Machine, bands often written off as one-hit wonders. Finally, there are the tracks heretofore known only to hard-core pop junkies. These efforts come from bands like the Palace Guard, the Sons of Adam, the Joint Effort, and the Guilloteens. Of particular historical interest are songs from a young Lowell George with his band The Factory, and The Rising Sons, led by Ry Cooder and Taj Mahal. There’s the Association with a wonderful cover of Bob Dylan’s “One Too Many Mornings,” and a typically offbeat, and typically compelling track from Spirit, “Girl in Your Eye.” (more…)
As you might have heard, the Beatles albums have been remastered, in a format called “CD.” (“Compact disc,” right? I owned some of those back when I had hair.) Not that you would know from this site—Popdose has done a lousy job covering this.
Barton Fink (1991). The Coen brothers’ take on writer’s block and peeling wallpaper won Best Director (Joel Coen), Best Actor (John Turturro), and the grand prize — the Palme d’Or — at the 1991 Cannes Film Festival. John Turturro plays a New York playwright hired to write screenplays in 1940s Hollywood. While struggling to write a wrestling picture, the studio puts him up in a run-down hotel where he meets his next-door neighbor, an insurance salesman played by John Goodman. And then, in that typical Coen brothers way, it gets deliciously weird.
Brazil (1985). Think of it as George Orwell meets … well, Terry Gilliam. The director’s take on an Orwellian bureaucracy almost never got released in the U.S. The story is the stuff of Hollywood legend: Universal said the picture was unreleasable. They wanted to completely recut it and change the concept of the entire ending, so Terry Gilliam conducted private screenings against the studio’s wishes. Members of the Los Angeles Film Critics Association attended one of the screenings and voted Brazil best film of the year. Universal then relented and gave it a theatrical release, albeit reluctantly. But beware — the abbreviated, 94-minute cut of Brazil is sometimes shown in syndication, so if you’ve only seen it on TV, chances are you’ve seen the screwed-up version.
Moonlighting enjoyed breaking the fourth wall, but so did 