ptownfreddy's channel

LKBM 909 Van Norden St. here, right where the pavement used to turn into dirt road. Miss Lucy Tillman's grandson.

A teensy bit mean, because the joke is at the cat's expense. But funny, because the cat goes out of its way NOT to rip out this guy's jugular.

RIP, Peaches, loved you in your Chicago's Grant Park concert (1987)

BTW, I feel these are Harry's best moments ... he and Preminger seem to have purposefully restrained Joe until this scene. It's a musical, but here the makeup and stylized blocking remind me of what was good about silent movies.

OK, now I see that Carmen is defining the card herself (Frankie, who was so sure in promising money in the cards of the other woman, seems nonplussed). Another fascinating point of the script. Also, Olga James is very good as Cindy Lou at the end of this section.

Notes, to be continued:

1) Carmen begins to refer to herself in the third person. Narcissistic personality disorder, much?

2) "Droopy Drawers..." I'm surprised the censor passed this.

3) Ditto the later scene when Joe blows on her toes, and she replies, "Boy, you some harmonica player."

@70sman4ever Right ONNNNNNN!!!!!!!! And Happy New Year! There'll be another bicentennial before you know it!

No she didn't butcher it! Amy's cover is not Lesley Gore's campy (and wonderful) storytelling ... but far more rhythmic and musical, IMHO.

Wasn't the lead singer Gladys Horton, the tiny, light-skinned woman at far left? Please correct me if I'm wrong, so I can claim to be a passable Motown scholar. And can anyone say who or what led to "Deliver de letter, the sooner de better?" This line is Tin Pan Alley brilliant, IMHO. It feels li...

Wow, it's good! Among the many knock-offs of Phil ("Killer") Spector's Wall of Sound.

As a fan who wasn't there at the time, I'd say that this and Curtis' bigger hit sound to me like 1961 retro fantasies: "Pretty Little Angel Eyes" derived from the 50's, and "Under the Moon of Love" from the Depression. I prefer "Angel Eyes," but barely, and I think this record shows off his voice...

@spkwhnspkn2: You're right, actually the lyrics had nothing on many 50's blues records, it's just that in college I remember a guy who misjudged badly hunchin' on a woman at a house party and was justly slapped. That certainly wasn't the fault of the record, but somehow the moment clicked.

@Rose65ful Lifelong hearts to both of you!

Don't waste your talent on tiles! You're incredible, and an inspiration to a novice uke like me. Love the arrangement, which gives the song a chance.

It's all about his interpretation. As a middle-aged black man I aspire to this.

Nice voice and heartfelt presentation.

I'm a lifelong Prelude freak, so that said I must note that here was a example of a strong follow-up to the main hit "I Hear Music In The Streets." Of course, it was all about searching for the 12" single, as opposed to the LP.

Who was in the lineup? Levert, etc? I forgot this fine record, despite its 1980-83 "boogie down" sound that retained the O'Jays heritage of high-end protest music.

EVERY day was a good hair day for Linda Clifford!

I'm a lifelong fan who has no idea what she's singing, but she sounds GOOD!

Ordinary disco, but you can tell his voice has a little extra, enough in the hands of the right producers to produce the brilliant 1979 LP "Bad Bad Boy."

The flip was the hit, and all veddy good, but I prefer this, especially when I put my face on, if you know what's I mean :)

Angela's coloratura prelude brings this up to a level I had never imagined. Her 12" was swell on its own accoed, with its solid background vocals, deft synths, and of course, that metronome! Now the suite as fully revealed feels like a music lesson!

By legend, when Paramount learned that Jennifer Beals was African-American, they almost pulled the movie. Maybe she's not God's gift to acting, but I feel that she did the best job -- moving, even, in a scene or two. And here was a rare example of Giorgio Moroder following rather than setting tre...

Although I prefer 3D in their Philly incarnation, this LP feels like an impeccable Eurodisco merger of venerable talents. But -- and here I invite debate -- was there ever an ANGRIER disco LP?

"Boom, boom, boom, let's go back to my room!" Surely you tease, seanr! The lyrics of "Why Don't You Boogie?" are trite, but on "I'm a Dancer" they're telling. As I've said, Dennis's vocals excel his hits on the flip side, almost strangely so. But I'll give him the benefit of doubt. As for the jun...

Another suggestion: mix Angela Clemmons' "We Must Take Our Time/Give Me Just A Little More Time" into this record. Yes, we're talking about a 20 bpm difference, but the metronome fadeout of Angela's record fits the fat kickdrum intro of "I'm Playing For Time." No DJ, here, but a discerning disco...

Paul Leka, same producer as "My Green Tambourine," the #1 hit from The Lemon Pipers in 1968. The jump to this last-days-of-disco hit in 1982 knocks me for a loop, but his attention to detail is the same. This was a difficult remake, given how strong was the original by The Chairmen of The Board, ...

Another winner from France's debut LP. You'll probably pay a mint to find this in Prelude's "DJ-only" format: two fat-grooved 12" singles that held as much sonic quality as I can imagine from four tracks.

As for her mesmerizing cover shot:: is it unkind to say this gorgeous 16 year-old looked li...

Call me a fan who's always learning something new about the Marilyn I didn't know. Here and in several links I'm struck by the amount of "home footage" of teenaged Norma Jean. It's easy to understand in hindsight how the camera loved her, but strictly speaking, wasn't the amount and quality of f...