Music Video Of The Day: Wonderful Christmastime by Paul McCartney (1979, directed by ????)


Since Ringo Starr provided yesterday’s video, it seems appropriate to give today’s video to Paul McCartney.

As a group, The Beatles never released an “official” Christmas song, though the members of their fan club received a recording of Christmas Time Is Here Again in 1967.  After the band broke up, all four of the members recorded Christmas songs on their own.  Paul McCartney’s Wonderful Christmastime is probably the most remembered.  I don’t know if I would say it was the most popular but anyone who has ever had to rush out to do some last minute Christmas shopping has heard it playing in countless stores on December 24th.  Whenever I’ve been in a store while Wonderful Christmastime was playing, I’ve always felt as if the song was taunting me but it is definitely a part of the season.

McCartney recorded this song at his farm.  He was just getting into what was then known as “electropop,” which is why he used a Sequential Circuits Prophet-5 synthesizer in the song.  More than anything, that weird bouncing noise probably explains why this song is so well-known.  Whenever I hear this song, I imagine that this is what Christmas sounds like on Mars.

The video was shot at at the Fountain Inn in Ashurst, West Sussex.  Though the members of Wings had nothing to do with recording the song, they all appeared in the video because they were all hanging out with McCartney on the night that it was filmed.

Reportedly, Paul McCartney receives $400,000 a year in royalties from Wonderful Christmastime.

Enjoy!

Music Video of the Day: Here’s To The Night by Ringo Starr (2020, directed by ????)


Though it may not be a Christmas song, the latest single from Ringo Starr feels appropriate for the season.  Ringo sings for peace and hope in this song and he’s brought along an impressive supporting cast to help him make his case.  Among those featured in the song and the video: Paul McCartney & Joe Walsh, Corinne Bailey Rae, Eric Burton, Sheryl Crow, FINNEAS, Dave Grohl, Ben Harper, Lenny Kravitz, Jenny Lewis, Steve Lukather, Chris Stapleton, and Yola.

I searched but I could not find a credited director for this video.

Enjoy!

Rockin’ in the Film World #15: THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS (Apple Corps/Imagine Entertainment 2016)


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Beatle fans will have a blast watching THE BEATLES: EIGHT DAYS A WEEK – THE TOURING YEARS, director Ron Howard’s 2016 rock doc covering the Fab Four’s career from their earliest club days through the height of Beatlemania, until they stopped touring for good in 1966. The film features rare and classic footage of The Beatles live in concert around the globe, juxtaposing their rise with news events of the day and interviews with all four members.

Howard conducted brand-new interviews with Paul McCartney and Ringo Starr, and included archival interviews with the late John Lennon and George Harrison. Through these and behind the scenes clips and press conferences, we get a sense of what it was like to be at the center of all the Beatlemania  madness. Ringo says it best: “We just wanted to play… playing was the only thing” far as these talented musicians were concerned, but…

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Music Video of the Day: The Cooler with Ringo Starr (1982, dir. Godley & Creme)


I’m terrible with anniversaries or other things I should be aware of to make tie-in posts for. That’s why I missed the 50th anniversary of Sgt. Pepper’s Lonely Hearts Club Band. I’m sure everyone posted the music video for Strawberry Fields Forever yesterday. So let’s go with something else Beatles related.

Back in 1982–or 1981 according to mvdbase–a short film was made starring Ringo Starr that is an extended music video for the songs Private Property, Sure To Fall, and Attention. From what I’ve read, this earned Lol Creme and Kevin Godley a nomination for a Palme d’Or at the Cannes Film Festival for Best Short Film. Also from what I’ve read, it not only has Ringo in it, but Paul, Linda, and Barbara Bach.

I know I’ve said on numerous occasions that when something crosses the into A Hard Day’s Night territory then I don’t include it in one of these posts, but I’m making an exception here. Besides, it’s only about 10 minutes long. It’s not like the ABC film Mantrap (1983). That is over 50 minutes long.

I’m guessing this is Barbara Bach. I’m not really sure. I have no idea where Linda is in this.

I do know that this is definitely Paul.

The gist is that the audience travels with Ringo as he goes through a bunch of references to prison movies like The Great Escape (1963). As we go along we see Ringo try to escape in different ways. He has to shine Ilsa: She-Wolf of the SS’ boots. He has a delusion that he is in the Old West where Paul may have also played the following cowboy:

I’m quite sure it’s him. I’m just not 100% sure.

Eventually Ringo McClane…

comes across what he thinks is going to be an exit, but it just takes him back to the cooler again.

Seeing as this came out in 1982, that would make this year the 35th anniversary of The Cooler. I found it to be enjoyable. It’s a nice little piece of post-Beatles work that I have to imagine has all but fallen into obscurity.

We can do one better than just that though. Since it is 2017, that means it’s also the 30th anniversary of when Ringo did commercials for Sun Country Classic Wine Cooler.

Ringo and a polar bear. I love it. I would have enjoyed it more if it were the polar bear played by Vincent Price, but I still enjoy these.

Enjoy!

50 Years Ago Today: The Beatles’ SGT. PEPPER’S LONELY HEARTS CLUB BAND (Capitol Records 1967)


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June 2, 1967. The beginning of the so-called “Summer of Love”. The underground hippie culture was grooving toward the mainstream. And those four loveable mop tops, The Beatles , released their eighth album, “Sgt. Pepper’s Lonely Hearts Club Band”, on America’s shores, ushering in the concept of “concept albums” that still reverberates in music today. The Fab Four were Fab no more, but genuine artists, with a little help from their friend, producer George Martin.

The Beatles had stopped touring  the previous year, tired of the grind and the hysterical screaming that drowned their music out. They had done some experimenting in the studio with “Revolver”, their previous LP, but “Sgt. Pepper” was something different. Martin and the band members, influenced by both The Beach Boys’ “Pet Sounds” and Frank Zappa’s “Freak Out!” discs, utilized then cutting edge studio techniques (tape loops, sound effects, varying speeds) and instrumentations (sitar, harmonium, Mellotron, tubular bells, even…

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Rockin’ in the Film World #7: The Beatles in A HARD DAY’S NIGHT (United Artists 1964)


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(It’s a Sunday night, February 9, 1964. Everybody’s watching THE ED SULLIVAN SHOW to get a peek at this new phenomenon called Beatlemania. The adults in the room are disgusted, saying things like “They look like a bunch of girls!”, “They must be sissies!”, and “Yeah yeah yeah? What the hell kind of song is that??” They just don’t get it.  But the six-year-old kid watching along does, and a lifelong obsession with rock’n’roll is born…)

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From the opening shot of the Fab 4 being chased down the street by screaming teenyboppers to the final clanging guitar notes of the title tune, A HARD DAY’S NIGHT makes a joyful noise introducing The Beatles to the silver screen. John, Paul, George, and Ringo come off as a mod version of the Marx Brothers with their anarchic antics, guided by the deft hand of director Richard Lester. Shot in cinema verite style, this zany, practically…

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Song of the Day: Skyfall (by Adele)


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Today we see the release of Skyfall on Blu-Ray and DVD. This latest James Bond film surprised quite a bit of people who weren’t sure the franchise would be able to recover from the missed opportunity that was Quantum of Solace. So, it came out of left field that this follow-up ended up being one of the best films of 2012. From the acting, direction and writing the film was top-notch. One other thing which truly stood out about this film was it’s theme song.

“Skyfall” by Adele wasn’t just one of the best film songs of 2012, but most like going to turn out to be in the top 5 of best James Bond theme songs when all has been said and done. This is why to commemorate the release of the film on video I’ve chosen the Adele sung theme song of the same name to be the latest “Song of the Day”.

The song harkens back to the true James Bond classic theme songs by Shirley Bassey like “Goldfinger” and “Diamonds are Forever” right up to my personal favorite, Paul McCartney’s “Live and Let Die”. Maybe it was destiny that Adele would end up doing a James Bond theme song. Her soulful vocal range just shouts early James Bond and her “Skyfall” easily holds it’s own against the classic Bond themes of the 60’s and early 70’s.

The song itself has a very simple melody that incorporates the iconic 007 theme. Almost sung like a mournful ballad that hints at the danger and death awaiting the intrepid 007 and those around him, the song spends much of it’s running time with Adele singing in a very subdued fashion until we hit the final third of the track when she finally lets her inner diva shine….and shine she does.

Skyfall

This is the end
Hold your breath and count to ten
Feel the Earth move and then
Hear my heart burst again

For this is the end
I’ve drowned and dreamt this moment
So overdue I owe them
Swept away I’m stolen

Let the sky fall
When it crumbles
We will stand tall
Face it all together

Let the sky fall
When it crumbles
We will stand tall
Face it all together
At skyfall
At skyfall

Skyfall is where we start
A thousand miles and poles apart
Where worlds collide and days are dark
You may have my number
You can take my name
But you’ll never have my heart

Let the sky fall
When it crumbles
We will stand tall
Face it all together

Let the sky fall
When it crumbles
We will stand tall
Face it all together
At skyfall

Where you go I go
What you see I see
I know I’d never be me
Without the security

Of your loving arms
Keeping me from harm
Put your hand in my hand
And we’ll stand

Let the sky fall
When it crumbles
We will stand tall
Face it all together

Let the sky fall
When it crumbles
We will stand tall
Face it all together
At skyfall

Let the sky fall
We will stand tall
At skyfall

James Bond Review: Live and Let Die (dir. by Guy Hamilton)


One year and one day ago the very first James Bond film to star Sir Roger Moore, Live and Let Die, in the title role was reviewed by Lisa Marie, and now it’s time to revisit the eight official film in the series.

With the previous Bond entry, Diamonds Are Forever, we finally see Sean Connery run out of gas when it came to playing the title role of James Bond. Yet, despite the obvious boredom Connery was having in the film the producers of the series were still wanting him to come back for another Bond film. Maybe it was his experience during the production of Diamonds Are Forever or Connery finally decided it was truly time to go the series’ producers didn’t get their wish and were in a rush to find someone new to wear the mantle o Agent 007.

They finally found their new James Bond in the form of English-actor Roger Moore and production on Live and Let Die began soon after.

Roger Moore, for me, has always been the start of the less serious, but much more fun era of the James Bond franchise. His films still had the intrigue and action of the Connery-era, but the writers and producers of the series put in more one-liners and humor in the story. We begin to see the start of this in the previous Bond film (not handled as well and came off as awkward at times), but it was in Live and Let Die and in Roger Moore that this change in the series’ tone finally hit it’s stride.

The film dials back the global domination attempts by the series of villians both SPECTRE and not. This time around Bond must investigate the deaths of three MI6 agents who had been investigating one Dr. Kananga, the despot of the fictitious Caribbean island of San Monique. Kananga (played by Yaphet Kotto) also has an alter-ego in the form of Mr. Big who runs a series of soul food restaurants as a front for his drug business. Every Bond film always tries to out-elaborate the previous one with it’s villains plans. There’s no attempts by Kananga/Big to dominate the world. His plans are pretty capitalistic in a ruthless sort of way. He wants to corner the drug market in the US by flooding the illegal drug market with his own heroin which he plans to give away for free thus bankrupting the other crime lords and drug dealers.

This plan by Kananga actually looks to be very sound and it helps that he has the beautiful seer Solitaire (played by a young and beautiful Jane Seymour) to help him outwit ad stay ahead of his competitors and the law. His plan would’ve succeeded if not for the meddling of one British super-spy named James Bond.

Live and Let Die might not have been as serious about it’s story as the early Connery films, but it definitely had a much more faster pace with more action to distinguish Moore from Connery. One particular famous action sequence involves Bond escaping from Kananga’s drug farm in the Louisiana Bayou country being chased not just by Kananga’s henchmen but by the local police in the form of Sheriff J.W. Pepper who plays the role of fool and comedy relief in the film. Even the smaller action scenes in the film had more life and fun to them like Bond escaping a gator pit by timing a run across the backs of a line of gators to safety.

Where the previous bond film’s attempt at injecting humor and more action into the story were more failures than successes in this film Roger Moore Bond film they worked in due part to Moore’s playful delivery of the one-liners and bon mots the role has become known for of late. Any trepidation that audiences and producers might have had about  Moore taking on the role that had been made famous by Connery  soon went away as this film played out.

Live and Let Die still remains my favorite of all the Roger Moore Bond films and saw it as the highlight of his time playing the character. While the follow-up films were good in their own right it was this initial Moore entry in the series where the writers, Moore and veteran Bond filmmaker Guy Hamilton were able to find the perfect balance of thrilling action and humor that the rest of the Moore-era films couldn’t replicate.

Next up for James Bond…The Man with the Golden Gun.

Song of the Day: Live and Let Die (by Paul McCartney and Wings)


Lisa Marie recently wrote up her very unique review of the James Bond film Live and Let Die and I’ve decided to use that review as the springboard for the latest “Song of the Day” entry. It’s easy enough to figure out that the latest choice is the similarly titled song from the film by Paul McCartney: “Live and Let Die”.

This song remains one of the most recognizable songs made specifically for a film. Most songs that become part of a film’s appeal tend to be pre-existing licensed songs and music. Live and Let Die would be the first James Bond film that would introduce Roger Moore as the British superspy and 007 agent. The song itself, written by Paul McCartney and his wife Linda, would become even more popular than the film through the years.

While the song has been covered by many bands and groups through the years it would be the cover by Guns N’ Roses in 1991 as part of their Use Your Illusion I album that many consider the best cover. I consider both favorite songs of mine, but I must pick McCartney’s original over the GnR cover by the smallest of margins.

Live and Let Die

When you were young
and your heart was an open book
You used to say live and let live
you know you did
you know you did
you know you did
But if this ever changin’ world
in which we live in
Makes you give in and cry
Say live and let die
Live and let die

What does it matter to ya
When ya got a job to do
Ya got to do it well
You got to give the other fella hell

You used to say live and let live
you know you did
you know you did
you know you did
But if this ever changin’ world
in which we live in
Makes you give in and cry
Say live and let die
Live and let die

A Quickie From Lisa Marie: Nowhere Boy (Directed by Sam Taylor-Wood)


At first glance, Sam Taylor-Wood’s Nowhere Man sounds just a little bit too cutesy.  The movie, which covers the youth of John Lennon, starts with the death of John’s Uncle George, covers both his attempts to reconcile with his mother Julia (portrayed here as being bipolar) and his troubles relationship with the aunt who actually raised him, details how John came to form his own band (The Quarrymen) and first met Paul McCartney and George Harrison, and ends with John preparing to leave for Germany.  Yet the movie works surprisingly well and, by the end, is actually quite touching regardless of whether you idolize John Lennon or if you think Imagine is one of the most overrated songs of all time.  By refusing to indulge in any easy sentimentality about either John Lennon or the iconic figure he would eventually become (the word “Beatles” is never uttered at any point in the film), Taylor-Wood crafts a touching coming-of-age story about an alienated teenager trying to find peace with his dysfunctional existence.  The fact that the teen is going to grow up to be the John Lennon is secondary to the plot.

The film works mostly because of the cast.  The young John Lennon is played by Aaron Johnson who, earlier this year, was the lead in Kick-Ass.  I have to admit that I didn’t care much for Johnson in Kick-Ass.  His performance seemed generic and bland and he was overshadowed by Nicolas Cage, Chloe Grace Moretz, Mark Strong, Christopher Mintz-Plasse, and just about everyone else in the movie.  Here, however, Johnson gives a strong, sympathetic performance as a character who often comes across as being neither.  He both manages to capture the young Lennon’s sensitivity as well as his anger and cocky arrogance. 

However, the movie truly belongs to the two actresses playing Lennon’s aunt and mother, Kristen Scott Thomas and Anne-Marie Duff.  Scott Thomas has an especially difficult job as her character is far less flamboyant and, at first sight, a lot less interesting as Duff’s.  However, as the film progresses, Scott Thomas starts to subtly reveal the dry humor that lies underneath her character’s serious expression.  As for Duff, she dominates the film as surely as Julia dominated her son’s life.  Duff doesn’t resort to any of the easy (and insulting) clichés that are usually used to represent bipolar disorder on film.  Instead, she captures both the exhilarating high of being manic along with the constant fear of the depressive episode that we always know is destined to follow.  It’s a spot-on performance that elevates this film above the standard coming-of-age story.

Wisely, neither the director nor her actors ever get caught up in the fact that their film is about the John Lennon.  There’s no portentous foreshadowing or awkwardly staged moments designed to specifically make you go, “Hey, that’s John Lennon!”  Even the first time that Lennon meets Paul McCartney and, later, George Harrison is handled in a casual, off-hand manner.  Taylor-Wood has enough faith in her audience to believe that we’ll be able to understand the importance of John being introduced to a younger guitar player named Paul without bashing us over the head with the fact that this is the Paul McCartney.  As such, while you’re always aware that this is a movie about John Lennon, you can also see the movie as simply being the story of an alienated teenager who finds salvation through music.