Archive for the Music and MP3s Category


Posted in Barbara Eden, Fabian, Music and MP3s, Soundtrack Samples, Surfboards and Hotrods on October 24, 2011 by Bill Courtney

1964/Director: Don Taylor/Writers: Jo Napoleon, Art Napoleon

Cast: , Fabian, Shelley Fabares, Peter Brown, Barbara Eden, Tab Hunter, Susan Hart, James Mitchum

Columbia Pictures’ Ride the Wild Surf is considered one of the better surf/beach party movies of the mid-sixties because it tried to veer away from the campy zaniness of the AIP Frankie Avalon/Annette Funicello features and attempted to make as lightly more ‘serious’ surf movie. There are still those campy little moments of course and sometimes they are intentional and other times they are not. The unintentional laughs and embarrassing moments stem from occasional over acting and the cliché situations the characters find themselves in one scene after another, but even given those expected shortcomings the movie is pretty good. There are no crooning surfer boys, silly bikers or people in gorilla suits and the catchy theme song sang by Jan and Dean is saved until the closing credits. But there are lots of blue screen shots of Fabian and Tab Hunter on their boards that cut away to shots of professional surfers riding the waves and silly beach party antics. The film is shot in Hawaii rather than the usual locales of Santa Monica and Malibu. Hardly the first surfer/beach film shot in Hawaii (Gidget goes Hawaiian, Blue Hawaii, Paradise, Hawaiian Style) but one of the better ones that focuses on the powerful and intimidating waves, sometimes 30 foot, the islands get at certain times of the year. And of course there are a trio of romances with our male and female leads that can be summed up as the formulaic boy meets girl, boy loses girl, boy wins girl back routine (and what other formula would you really want here) but it is all pretty bearable nonetheless.

Three basically All-American boys meet three All-American girls while they are in Oahu Hawaii to surf the big waves at Waimea Bay. The guys must face their own mortal shortcomings, of course, while wooing the gals and competing the seasoned local surfers. Jody (Fabian) is the college drop-out with a chip on his shoulder who falls for sensible and down to earth Brie Matthews (Shelley Fabares) and tries to gain her attention initially by shooting a pineapple on a dork’s head with a spear gun. She acts all repelled by his hokey machismo but of course she can’t enough of him and his edgy bad boy attitude. And like every good girl she makes it her mission to turn the bad boy around by the film’s end. Jody is intent on proving to everyone, and to himself, that he is not a “chicken”. The big waves intimidate him the way Apollo Creed intimidated Roxy and the way Steve Vai intimidated Ralph Macchio in Crossroads, but he has to conquer them to conquer himself and make Brie really respect him and know he is not just another “bum from the neighborhood”. Jody is more concerned with Jody going back and finishing college and after a heated discussion of about ten seconds he totally changes his views on college and his future and decided to go back and give it try, but it will have to wait until he has conquered the surf and competition, including his pals and local legend Eskimo (played by Jim Mitchum, another  of Robert Micthum’s boys, along with Chris, whose acting career never really went anywhere).

Chase (Peter Brown) is a pretty common sense sort of surfer and even wear nice sports jackets to beach. While he wants to shoot the tubes of Waimea he is basically a fairly conservative guy who prefers to color inside the lines. Well that all changes when flips –literally- for perky Augie Poole (the always gorgeous Barbara Eden) who happens to a black belt in judo. Augie takes delight at first in simply shaking Chase’s tree any chance she gets but soon enough, natch, she is falling in love with him and he learns to loosen up and gt a little crazy once in awhile himself, such as when he jumps drunk off a dangerous cliff into a pond known for bringing the waves to Waimea, if the diver does not crack his head open on the rocks beneath the surface. Rounding off the romance angle of the film is Steamer (Tab Hunter) and local girl Lily Kilua (Susan Hart) who have problem’s convincing Lily’s mom that Steamer is not just another beach bum like her ex-husband was. The old gal is pretty hard to convince but eventually ol’ Steamer pulls out his wallet and shows her his bank account of about $1800 and some paid off bills and that puts the old bird’s fears to rest and she all but starts calling him son after that. Susan Hart does one wild Hawaiian dance at a beach party that is not to be missed. She would later marry AIP co-founder and co-producer James H. Nicholson.

Surf movies are not for everybody. They are usually pretty contrived and typically downright silly. I guess some guys may even feel a bit uncomfortable watching bronze surfer boys run around, much the way they may feel watching queasy with most sword and sandal/peplum films. Ah, never bothered me. I only recently realized that these movies are called “homo-erotic”, or whatever, by lots of my fellow straight guys. Who the hell cares if it is, this is fun stuff. If you must know I own the Arnold Schwarzenegger documentary Pumping Iron and that is great too, homoerotic or not! And for fear of seeing guys in swim trucks these types will miss the best part of these surf flicks and that is those full figured 60’s chicks in bikinis. No tasteless things, just old school bikinis, and Barbara Eden can certainly fill her’s out. Ride the Wild Surf is not heavy in the pop tune department and the score by Stu Philips works just fine. But there is the catchy surf tune sung by Jan and Dean –and co-written by Beach Boy Brian Wilson- that is saved until the end of the film. I lifted the song form the film and I think it is a bit shorter here than the full 45 rpm version, but here is the film version of Ride the Wild Surf by Jan and Dean.



Posted in Jimmy Page, John Paul Jones, Michael Winner, Music and MP3s, Rapidshare Link, Soundtrack Samples on August 26, 2011 by Bill Courtney
This is the 1985 soundtrack -sans incidental music- from the Michael Winner film Scream for Help. Winner had asked neighbor Jimmy Page to score the film for him but Page had commitments with other projects, including The Firm, and suggested to Winner that Zeppelin bass player and keyboardist John Paul Jones score the film with his newly installed 24-track digital recording studio. I have never seen the film actually and am not sure how the music works in with what is going on in the movie. It is on my list of films to see one day. Helping out on the album is former bandmate Jimmy Page, Yes frontman Jon Anderson, Swan Song Records recording artist Maggie Bell and folk guitarist John Renbourn. The album sounds more like a solo rock album than a soundtrack album. Unlike the Page album there are no examples of incidental -or background- music o the album -though Winner had an orchestra perform much of the score used in the film as well-and that is too bad. The album when on vinyl was a rarity and I was lucky enough it have found it and owned it (as I did the equally rare Death Wish II soundtrack- back when I collected and owned vinyl. Two samples, both featuring Jimmy Page on guitar- are presented here and if you like what you hear you can follow the link to my Rapidshare account and get the entire album and check it out for yourselves.



Track listing
Side One
1. “Spaghetti Junction”   Jones  5:01
2. “Bad Child”   Jones, Jacinda Baldwin  5:46
3. “Silver Train”   Jones, Anderson     3:48
4. “Crackback”   Jones, Page 4:16
Side Two
1. “Chilli Sauce”   Jones 4:59
2. “Take It or Leave It”   Jones, Madeline Bell     4:28
3. “Christie”   Jones     3:08
4. “When You Fall in Love”   Jones, Jacinda Baldwin 3:36
5. “Here I Am”   Jones, Simon Bell     4:43

 John Paul Jones – Keyboards, synthesiser, bass guitar, guitars, vocals
Jimmy Page – Electric guitars (1 & 4)
Jon Anderson – Vocals (3, 7)
Madeline Bell – Vocals (6, 9)
John Renbourn – Acoustic guitars (8)
Graham Ward – Drums and percussion (4,7,8,9)
Colin Green – Guitars (7,9)


Posted in Charles Bronson, Jimmy Page, Led Zeppelin, Michael Winner, Music and MP3s, Rapidshare Link, Soundtrack Samples on August 18, 2011 by Bill Courtney
Jimmy Page was asked by neighbor and film director Michael Winner if he would be interested in scoring his 1982’s Death Wish II and Page accepted the project, being as Led Zeppelin was now history following the death of drummer John Bonham. 1974’s original, and pretty good,  Death Wish was scored by jazz keyboardist Herbie Hancock. Page does not try to top the versatile Hancock and instead does a  Zeppeliesque rock/blues solo album with a few tracks of incidental music. The album was recorded in his SOL studios and features a collection of musician friends. The album is a strange piece of music overall but not in a negative way. Page uses ample Roland guitar synthesizers as well as actual synths. Reputedly some of the score was revisions of Page’s Lucifer Rising soundtrack which was never used for the Kenneth Anger film due to personal conflicts. I have that soundtrack and there are similarities in pieces like Hotel Rats and Photostats and A Shadow in the City, but I would say not really all that much. The incidental music is droning and eerie while the rock parts are straight ahead jams and classic Page riffing. The album went nowhere as far as the charts are concerned and only Page aficionados seem to even know the album was ever made. Too bad.

I once had the album back when I owned vinyl and after that I could never find it on CD though it was released in 1999, but soon went out of print. I found this copy someone made on a BT from their vinyl and you can hear a few pops though really it is a clean sound. Page would shortly form The Firm with Paul Rodgers and go through a long period of doing pretty good rock albums but nothing near the power of his Led Zeppelin material. Death Wish II was his first solo outing and an album sadly forgotten really by one of the great guitar players and composers in rock history. If you are a Page fan you want this. I am and I think it is a good album with some things Page had never done before in Zeppelin. For example, check out Carol’s Theme, a nice acoustic guitar with lush strings (synthed I am sure). You should be able to download the tracks if you want. I found the movie to be a little forgettable – but there were some good scenes of punks getting wasted by a more seasoned Paul Kersey (Charels Bronson) – as well as the subsequent sequels. I still enjoy the first movie. Zeppelin bassist/keyboardist John Paul Johns scored a Michael Winner film called  after Page decided not to do another soundtrack and was joined by Jimmy and Yes vocalist Jon Anderson for a couple good tracks. I have never seen the film but would like to and that soundtrack will be available here shortly.

Here are two choice samples from the album with a few seconds trimmed off the end so they qualify as samples as my hosting service (though I am working on figuring out out some sort of workaround so that I can host full length songs there with less fear of them being removed). Jam Sandwich is a Zeppelin style riff oriented rocker while Hotel Rats and Photostats is more of an incidental music style piece featuring Page on synthesizers. If you like what you hear then follow the Rapidshare link and download the entire album and enjoy. So mote be it.





Posted in Japanese Films, Meiko Kajii, Music and MP3s, Nikattsu, Psychotronic Personas, Soundtrack Samples, Toei Films on July 13, 2011 by Bill Courtney

I have only actually seen the diminutive but powerful Meiko Kaji in a couple films but am in the process of correcting that. I saw her in three of the four Female Scorpion films she starred in and the second of the Lady Snowblood movies that served as a (not “the”) inspiration for the Quentin Taratino Kill Bill films. She is my favorite of the Pinky Violence Big Four (Meiko Kaji, Ike Reiko, Oshida Reiko and Sugimoto Riki) but maybe only because I have seen her in more films than the others. I am trying to get as many of these films as I can and see if that opinion changes later. I selected her to begin this new series/category called Psychotronic Personas since I had just seen Lady Snowblood II and got a collection of 60’s/70’s Japanese film music that featured her among the various artists. I also have a collection featuring Ike Reiko and I seem to prefer the recordings I have of Meiko Kaji because all the tracks on the Ike Reiko album have some orgasmic moaning sounds in the background ground on every track. While cool for one track it wore thin after five or six. And that is one of the reasons I would prefer Kaji over someone like Ike Reiko whose delinquent films roles blurred over into her private life resulting in runs with the law eventually. Kaji showed some restraint and prudence in her judgments and performances that I admire.

One such judgment I and fans look up to was her decision to leave Nikkatsu studios in about 1971 when the company began to move in the direction of its softcore Pinku/Roman Porno films for which it is often most remembered for. Kaji decided her career direction laid more with Pinky Violence films which emphasized violence and revenge oriented plots over gratuitous sex. She certainly owed Nikkatsu some gratitude for helping her land some starring roles in the Stray Cat Rock (Alley Cat Rock) series with director Yasuharu Hasebe as well as  her famous female Zatoichi type role in Blind Woman’s Curse (which I just recalled I have seen as well but need a rewatch) but she did not want to become simply another Pink Eiga star and left for a lucrative stint at Toei Pictures. There she created some of her most memorable roles. First in the Sasori (scorpion) series as a female convict then in her Lady Snowblood and Wandering Ginza Butterfly films. She stopped the Sasori series after four films because she was burned out with the role and did not like Toei replacing the series director Shunya Ito with her old Nikattsu director Yasuharu Hasebe. She exudes a strong screen presence that belays her small stature. She did not take her clothes off (though there is a moment of brief nudity in the first Scorpion Convict film) and her characters had an almost samurai sense of code and honor. Her characters were often blood covered and with a fixed and firm stare that was Dirty Harry like in nature.

Like many Japanese actors and actresses her acting career paralleled a successful singing career. I have uploaded three sample songs of her singing style. (NOTE: Those songs are temporarily unavailable and I will try to get them up soon.) Two of the songs are from the Kill Bill soundtracks and the third is from a collection I have here of Japanese film songs. After the 80’s Kaji’s career shifted to television roles and she has experienced a bit of a resurgence in popularity thanks to the Tarantino films and the availability of her old Nikattsu and Toei films on DVD. She created some dark and strong female characters who seemed more concerned with revenge and justice than pleasures of the flesh. She was beautiful and alluring but somehow one does not see her as a sex object. She is sexy but aloof and seemingly uninterested in romance. Like a true  lone wolf.

Okay, I am not going to go through the hassle of uploading then embedding three songs, so here is one sample of a Meiko Kajii ballad from Blossoming Night Dreams, a movie much wilder than its title implies.


Posted in Aleister Crowley, Jimmy Page, Kenneth Anger, Led Zeppelin, Music and MP3s, Rapidshare Link, Soundtrack Samples on June 13, 2011 by Bill Courtney
I have been hearing about the infamous falling out between Led Zeppelin maestro Jimmy Page and filmmaker, writer Kenneth Anger for decades now. Sadly the only the material I can find on the net still seems to the same variety of articles that appeared in rock fan magazines back in the seventies. This is actually one of the few great legends in the world that I have some sort of direct connection with. Well, in a sort of indirect direct way. I saw Page with Zeppelin back in 1977 in Ohio, and briefly met Anger at a book signing at the wondrous Scarecrow Video store in Seattle, where he signed my special copy of Hollywood Babylon with the Aleister Crowley quote Do What Thou Wilt from The Book of the Law. I had a nice little collection of Crowley books at one time, though I doubt it could compare to the collection by Anger and of course the filthy rich Jimmy Page who was reputed to have had at one time the 2nd largest collection of Crowley books and memorabilia in the world, including Crowley’s Boleskin House, perched on the cheery shores or Loch Ness in Scotland. It was one of three fantastic houses a then young Page owned (all have since been sold I believe). He also owned a house in the Kensington district of London called The Tower House, designed by Victorian architect and formally owned by Richard Harris, and it is in this house I believe that the drama between Anger and page unfolded.
Anger had long been inside the rock circle for some time, in part due to his avant garde (a fancy word for confusing usually) films such as Scorpio Rising which had a score of old rock music that actually prevented the film from being shown publicly for decades due to copy write issues. He met Anita Pallenberg who was seeing soon to be deceased Rolling Stones guitarist Brian Jones. She would later become Keith Richards’s common law wife. The Stones took a liking to Anger and his liberated views and vast knowledge of occult matters, and in particular his passion for British occultist Aleister Crowley. Their public image would shift from Brit bad boys to decadent and sinister rockers during their time with Anger. Jagger would even score an Anger film called Invocation of My Demon Brother. I have seen the film and it is a really horrendous soundtrack in my opinion. Some repetitive experimental sounds on what sounds like an early Moog synthesizer.

Jimmy Page had developed his own interest in matters occult and with Crowley in particular. He owned an occult bookstore called the Equinox and, as mentioned, out bidded other rock dignitaries like David Bowie in the purchasing of Boleskin Manor. Page and Anger met at an auction of Crowley memorabilia in about 1973 and a friendship was formed. Anger asked Page if he would be interested in scoring his latest and most ambitious film project Lucifer Rising (or whatever the working title may have been) and Page enthusiastically accepted. Anger was allowed access to a film editing facility in the basement area of the Tower House that was set up to edit scenes for The Song Remains the Same, the Led Zeppelin concert film. Exactly what the reasons for Jimmy’s alleged loss of interest in the project are depend on what source you are reading. A lot of things were said later in the press that seemed fueled by resentment on both men’s part. Essentially after a period of time the friendship began to cool off and  Anger returned to one day to find himself locked out of the lower area of the house he was working in. The rest of the house was off limits to Anger. It seems there was a domestic quarrel between Page and his girlfriend (perhaps Charlotte) the night before and it was she who locked Anger out. Anger could not reach Page and Swan Song offices did not communicate with him. He gathered his belongings and called the offices to inform them Page was fired as the film’s composer. In interviews following the incident Anger blamed Page’s lack of productivity (after more than year he had produced only 23 minutes of music that Anger found too morbid) on his increasing use of heroin. In some interviews (there is a brief on youtube) Anger does not seem that bitter and says Page is a beautiful person who has let his drug use get control of him. In other he has also said Page has a good work ethic, but that he had basically became a junky and now behaves like a junky in unpredictable ways.
Page seemed surprised by his firing and has said he had been kept busy with Zeppelin matters and thought Anger was happy with the music he had so far produced and that he had more. Page was less hostile in press statements than Anger was (what do you think with a name like that, right? Though he was born Kenneth Wilber Anglemyer) but seemed disappointed. The simple truth is that Page did have a drug problem and it did affect his decisions and performances in later Zeppelin periods. Too what degree that affected this situation we can only speculate.
Anger would eventually get the help of ex-protogee Bobby Beausoleil in getting a finished soundtrack for the film. This was no simple task since Beausoleil had been a California prison since 1969 for a Mansion Family related murder, though not of Sharon Tate. A soundtrack was released in the early eighties on Anger’s own Boleskin House Records, catalog number BHR666 and was limited to a release of 1000 copies on clear blue vinyl and these are considered almost priceless now to vinyl collectors.
Well, I have linked the song here from my Internet Archive page and you can be the judge of it. Page plays all the instruments, including guitars, ARP synthesizers, percussion and the theremin (or sometimes theramin, the music instrument over used in old sci-fi flicks that responds to body temperature and motion). There is some vocal section near the beginning area that sounds like the chorus in 2001: A Space Odyssey when the apes are flipping out around the monolith. The intro to In the Evening from In Through the Out Door is supposed to from some of the recording sessions. It has also been said that some of the incidental music from Death Wish II was based on what Page was working on during the Lucifer Rising sessions. For years I had always heard of this mentioned to as “The Black Album” and it was the substance of myth. Along with the myth of the album were the myriad rumors that began during this period of the late seventies that Jimmy’s involvement in black magic had led to the bands misfortunes, such as the death of Robert Plant’s son, Robert’s serious car accident, Page’s health issues and declining ability to work and perform as he once had and finally the death of John Bonham at Page’s house. These rumors and legend still persist in the history of the band. Both Page and Anger, as far as I can tell, got over their period of conflict and moved on with their lives though the friendship was over. In later interviews the men had good things to say about each other and any mention of a black magic curse is done tongue in cheek by the both of them.
Here is the album in it’s entirely with a link to my Rapidshare account if you want to downlaod it.  I do not know if in the end the music stands up to the legends that surround it, but it is certainly something worth hearing once and something Pagephiles must own.


Download Lucifer Rising at my Rapidshare

Download/embed file from Internet Archive