Written by: Phil Spector, Jeff Barry, Ellie Greenwich
Produced by: Spector
Released: May ‘66 on Philles
Chart info: U.S. (#88), UK (#3)

Spector heard the Ike and Tina Turner Revue at a Hollywood club at a time when their recording career had stalled after a handful of R&B hits in the early 1960s. Spector had a song called “River Deep — Mountain High” that he was sure was going to be huge, and he wanted Tina to sing it, though he forbade Ike from even coming to the sessions. “I must have sung that 500,000 times,” Tina later said. “I was drenched with sweat. I had to take my shirt off and stand there in my bra to sing.”

The lyrics are a string of weak, almost corny analogies, like something someone who’s not much with words would write in a one-year anniversary card– and so Tina Turner has no choice but to belt them from every inch of her lungs to get her point across. She holds her own against one of the biggest of Phil Spector’s “wall of sound” productions, while the orchestra and chorus boom and clamor like a dictator’s rally. As hair-tearingly overpowering as the love she describes, “River Deep, Mountain High” has nothing left to hold back.

The American commercial flop of Phil Spector’s loftiest wall of sound song has been blamed on it being too chaotic for radio, too black for whites and too white for blacks. In truth, it was just monumentally weird; a cute lyric comparing love with a child’s fondness for rag dolls and puppies, screamed by an unhinged Tina Turner (Ike was banned from the studio) and produced like an apocalyptic storm. It’s now rightly acknowledged as one of the greatest records ever made.

Written by: Gene Clark, Roger McGuinn, David Crosby
Produced by: Allen Stanton
Released: April ‘66 on Columbia
Charts: 9 weeks
Chart info: U.S. (#14), UK (#24)
Available on Fifth Dimension

Calling this psychedelia’s greatest pop moment will probably ignite a shitstorm from the peanut gallery, but what the hell, I’ll say it anyway. Normal adjectives like “serpentine” do violence to the guitar playing on “Eight Miles High”; 12 strings manage to snare John Coltrane modal chaos, Indian ragas, and chiming bucolic folk. A rare collaboration between three Byrds, it was supposedly about an airplane flight.

The spiralling guitars suggest a hymn to the rocket age – or a trip into inner space – as does the promise that “when you touch down you’ll find it’s stranger than known”. Yet Eight Miles High was just the Byrds arriving for a UK tour, and Gene Clark’s mysterious lyrics – “shapeless forms”; “round the squares” – describe the “rain grey town” of London.

McGuinn’s mind-blowing twelve-string solo was inspired by John Coltrane’s sax-playing and Rod Argent’s piano on the Zombies’ “She’s Not There.” “Of course it was a drug song,” Crosby said. “We were stoned when we wrote it. We can also justifiably say that it wasn’t a drug song, because it was written about the [plane] trip to London.” Still, as homage to the modern city it has enough weirdness and excitement to satisfy a 1920s futurist.

Having seen Masculin féminin just days before A Married Woman, I expected to inevitably draw some parallels between the two regardless of how similar they were, but now that I’ve seen both, the similarities are really quite striking. They are very similar films, and I’m not sure this was unintentional. A Married Woman is told through the eyes of an unhappy, elusive and spontaneous woman. She’s exactly the kind of woman men fear. She’s impossible to possess, which brings me to the first comparison to Masculin féminin. Paul’s failure to possess Madeleine, the ever-modern woman resigned to her fate as a pop-culture construct, was the focal point of that film, whereas A Married Woman has its gaze set on the ever-modern woman, this one married. Her sex appeal is the central focus of the camera, though she’s allowed to keep her “secrets” i.e. she’s never shown nude, merely every other inch of her body except what every male is dying to catch a glimpse of. This of course is reflective of her indecisiveness and spontaneity. This brings into mind the nature of the youth depicted in Masculin féminin. Their interests aren’t deep ones, they show but a passing interest in things outside of their own social circles. Paul’s interest in politics doesn’t see him working to improve the situation, he simply tags his opinion on who and what he can.

Paul is “the child of Marx”. Madeleine is “the child of Coca-Cola”, obsessed with fashion, music and trends. This is where Madeleine meets Charlotte from A Married Woman. As seemingly less than flattering Godard painted the women of Masculin féminin, moreso Madeleine, he paints Charlotte with a less scathing brush. We get a bit of insight into what Godard sees as helping paint these women into their social corners: the endless pursuit of the perfect physique. The perfect female. One proportioned to mass standard. A sexual woman not concerned with the ills of the world, only concerned with pleasing her man. But as we all know, this trap that we’ve set can’t last, thus the infidelity and the racing minds of Godard’s females. Godard rarely paints his males in a much better light. They’re often too caught up in work to pay any attention to their families, treat their women poorly and/or are too numb or indifferent to truly sympathize with the chaotic mind of the female.

Masculin féminin’s depiction of youth is one of critical sympathy. Godard felt a distance growing between him and the younger generation of the time, and Masculin féminin was a sort of attempt to put himself back in that place. All of the awkward conversations, fleeting loves and passing desires are captured wonderfully and reflected perfectly through the fragmented structure, the extended contemplative silences and the bursts of emotion. A Married Woman’s heavy focus on words-within-words rather aptly relays Godard’s desire to have you read between the lines. There is no black and white, despite the choice of film stock. Charlotte is a complex, beautiful woman, and though she seeks a freedom that is likely far too abstract to ever reach, she’s never too far from an influence keeping her trapped in a cage. Godard’s keen filming of these influences, obsessions and subliminal text-within-text suggests a deep desire to understand her, and by extension, women in general.

All these days, I was under the impression that I had already posted this song. But when I checked up, I realised that this song was yet to be posted.

Here is this song from “Dulhan Ek raat ki” (1966). As soon as the song starts, a magical spell is cast over the senses of the listener and the listener has no option but to listen to the song, spellbound. And the aftereffects of the song can be felt long after the song is over.

This song is written by Raja Mehdi Ali Khan and music is composed bty Madan Mohan. Rafi is the singer and his voice sounds divine. The song is picturised on Dharmendra and Nutan.

What an amazing song. This has to be one of the best compositions of Madan Mohan. And sadly, this amazing creation too came in a movie that had few takers at the box office. No matter ! This song will live on for a long time and its creators will remain immrtal in the minds of the music lovers.

Song-Ek haseen shaam ko dil mera kho gayaa (Dulhan Ek Raat Ki) (1966) Singer-Rafi,Lyrics-raja Mehdi Ali Khan, MD-Madan Mohan

hmm hmm
hmm hmm
hmm hmm

Ek haseen shaam ko dil mera kho gayaa
ek haseen shaam ko dil mera kho gayaa
pahle apnaa huaa karta thaa ab kisi kaa ho gayaa
ek haseen shaam ko dil mera kho gayaa

muddaton se aarzoo thi
zindagi mein koyi aaye
sooni sooni zindagi mein koyi shama jhilmilaaye
wo jo aaye to roshan zamaana ho gaya
ek haseen shaam ko dil mera kho gayaa

mere dil ke caravaan ko
le chalaa hai aaj koyi
shabnami si jiski aankhen
thodi jaagi thodi soyi
unko dekhaa to mausam suhaana ho gayaa
ek haseen shaam ko dil mera kho gayaa
pahle apnaa huaa karta thaa ab kisi kaa ho gayaa
ek haseen shaam ko dil mera kho gayaa

The reasons why the songs from the golden era of Bollywood music (circa 1950-1980) still retain their magic
are-
(1) the creators of these songs devoted time and energy to create them
(2) the creators were extremely talented and committed
(3) the listeners of these songs did not have too many other means of entertainment so they too listened to these songs with interest and by paying undivided attention.

But the biggest reason why these songs still live are- these songs had soul in the form of their lyrics. And I am very fond of pointing out this fact that it is soul (viz lyrics) that only can give life to a song.

One can enjoy songs even if one is not able to fully follow the lyrics. The sound of these words, even though not fully understood, are good enough. But abilty of follw the lyrics enhances the listening pleasure considerably. And in case one is able to understand the meaning too, then that is the icing on the cake.

It is for this reason why I am s particular about providing the lyrics, and that too the full lyrics of the songs that I post.

When one is able to go through the lyrics at leisure without having to strain to get important words right, one can concentrate on savouring the song.

Here is a lovely song from “Mamta” (1966) which has all the ingredients of being a song with soul. This song is written by Majrooh Sultanpuri, and its music is composed by Roshan.Rafi and Asha Bhonsle are the singers. This song is picturised on Dharmendra and Suchitra Sen.

This song (especially its audio) only has three stanzas. This song picturised here contains the fourth stanza too.

What a lovely song , as I keep repeating.

Song-In bahaaron me akele na phiro (Mamta) (1966)Singers-Rafi, Asha Bhonsle,Lyrics- Majrooh Sultanpuri, MD-Roshan

Lyrics

aaa aaa aaa

in bahaaron mein akele na phiro
raah mein kaali ghataa rok na le
mujh ko ye kaali ghataa rokegi kyaa
ye to khud hai meri zulfon ke tale
in bahaaron mein akele na phiro

ye fizaayen ye nazaare shaam ke
saare aashiq hain tumhaare naam ke
ye fizaayen ye nazaare shaam ke
saare aashiq hain tumhaare naam ke
phool kahte hai
ho ho ho ho ho
phool kahte hai tumhen baad-e-sabaa,
tumhen baad-e-sabaa
dekhnaa baad-e-sabaa rok naa le
in bahaaron mein akele na phiro
raah mein kaali ghataa rok naa le
mujh ko ye kaali ghataa rokegi kyaa

mere kadmon se bahaaron ki gali
meraa chehraa dekhti hai har kali
mere kadmon se bahaaron ki gali
meraa chehraa dekhti hai har kali
jaante hain sab
ho ho ho ho ho
jaante hain sab mujhe gulzaar mein,
mujhe gulzaar mein
rang sab ko mere honthon se mile
in bahaaron mein akele na phiro
raah mein kaali ghataa rok na le
mujh ko ye kaali ghataa rokegi kyaa

baat ye hai
kyun kisi ka naam loon
ho na aisa
main hi daaman thaam loon
baat ye hai
kyun kisi ka naam loon
ho na aisa
main hi daaman thaam loon
jaa rahi ho tum
ho ho ho ho ho
jaa rahi ho tum
bade andaaz se
bade andaaz se
meri chaahat ki sadaa rok na le
in bahaaron mein akele na phiro
raah mein kaali ghataa rok na le

Chester Arthur Burnett, a k a The Howlin' Wolf

Through the Gate in .

PS, I have written about the Wolf before, including in my first novel, Rock Critic Murders. Be sorry — VERY SORRY! — if you missed the Howlin’ Wolf Birthday Tribute Party I hosted at the Continental Club last June. But be of good cheer, pilgrims, we are doing it again in June 2010, when we celebrate 100 years of the Mighty Wolf.

The Howlin' Wolf Birthday Tribute, June 10, 2009, by Ricardo Acevedo

Herbert Marcuse,  ‘Political Preface, 1966′  to Eros and Civilization

xii-xiii

As the affluence of society depends increasingly on the uninterrupted production and consumption of waste, gadgets, planned obsolescence, and means of destruction, the individuals have to be adapted to these requirements in more than the traditional ways.

[...]

Mass democracy provides the political paraphernalia for effectuating this introjection of the Reality Principle; it not only permits the people (up to a point) to choose their own masters and to participate (up to a point) in the government which governs them – it also allows the masters to disappear behind the technological veil of the productive and destructive apparatus which they control, and it conceals the human (and material) costs of the benefits and comforts which it bestows upon those who collaborate. The people, efficiently manipulated and organized, are free; ignorance and impotence, introjected heteronomy is the price of their freedom.

It makes no sense to talk about liberation to free men – and we are free if we do not belong to the oppressed minority. And it makes no sense to talk about surplus repression when men and women enjoy more sexual liberty than ever before. But the truth is that this freedom and satisfaction are transforming the earth into hell. The inferno is still concentrated in certain far away places: Vietnam, the Congo, South Africa, and in the ghetoos of the “affluent society”: in Mississippi and Alabama, in Harlem. These infernal places illuminate the whole.

—–

Notes:

Introjection – internalization

Reality Principle – Freudian: deferral of gratification of id, in order to overcome obstacles of reality. Leads to creation of Superego. (For Marcuse the model may be used to map relations between individual, society and state, whereby the Super Ego represents the logic of economic need internalised by the individual. In late capitalism this has become reified so that an outmoded logic, no longer necessary, can be maintained in order to insure hegemony (domination) of the individual and society by state and market. This is my reading, anyway, although I was so excited by the passage quoted that I have not yet progressed beyond the preface…

Let me also note how readily this analysis applies to our current political moment, despite its age. Think on it.

———-Wit

———–x

Some other blogs on Marcuse:

Shron, The New Forms of Control (Chap 35)

Lbrandenburg, Theories of Technology ( The New Forms of Control, Chap 35)

“Pirate Radio/The Boat That Rocked”
a review by Darby O’Gill

Hands down, the feel good movie of the year! Before Howard Stern, and even before Wolfman Jack, a band of rogue deejays rocked the airwaves. In 1966, at the height of the British Invasion, rock and roll was only allowed to be played on British radio stations for barely two hours a week. The only way people in the U.K. could listen to rock or pop music was by tuning into pirate radio stations broadcasting from boats just off the coast of Britain in the North Sea. In Pirate Radio, previously released as The Boat That Rocked, earlier this year in the U.K., writer/director Richard Curtis tells a fictional story based on the true events of Britain’s rock and roll revolution. Broadcasting live 24/7 from an old tanker turned makeshift radio station, anchored just outside British jurisdiction, is a band of misfit deejays known as Radio Rock.

The story begins when Young Carl is sent by his mother to the ship known as Radio Rock, to spend time with his godfather Quentin, the owner of the radio station, who is played by the always brilliant Bill Nighy. It’s very much a coming of age story, and I think the British equivalent to Cameron Crowe’s Almost Famous. Once on board, Young Carl meets the motley crew of deejays. There’s The Count, the flagship American deejay that is constantly pushing the envelope and crossing the line, masterfully portrayed by Philip Seymour Hoffman. There’s the always charismatic, and at times narcissistic Doctor Dave, played by the extremely funny Nick Frost. Another familiar face is that of Flight of the Concords’ manager Brian, actor Rhys Darby, who plays the self proclaimed funny man Angus “the nut” Nutsford. Even though all the faces may not be familiar, this is truly an all-star cast. Each performance is so masterfully executed that you can’t help but feel the authenticity of this film. However, I think one of the most unsung heroes of this film is Ike Hamilton, who plays Harold, the ship’s booth technician. If you watch Ike’s performance throughout the film, I guarantee that you will be totally blown away. Every little nuance that he brings to the character of Harold just radiates brilliantly off the screen. If you’re reading this after you have already seen the film, I highly recommend seeing it again for Ike’s performance alone. But, if you’re anything like me you’ll already want to see this movie again regardless.

The other side of this story is that of the British government and their efforts to stop the pirate radio ships from broadcasting. This task is helmed by Sir Alistair Dormandy, played by Kenneth Branagh, and his new assistant Mr. Twatt. I’m not kidding, his last name is Twatt. And, yes Richard Curtis takes full advantage of it. Twatt is played by Coupling’s Jack Davenport. Now, don’t worry. The political stuff doesn’t weigh down the story at all. Mostly because it’s not an overpowering plotline and it also lends itself to some of the film’s funnier scenes. I dare you not to laugh or at least snicker every time Dormandy says, “Twatt.”

Richard Curtis has, as always, done a masterful job telling this story. His unique vision, and heart warming style of storytelling, makes Pirate Radio/The Boat That Rocked a must see film. Every part of this film oozes 1966. The wardrobe is fantastic, the soundtrack is to die for, and even the look of the film itself sets the tone. It’s almost as if the film was shot and processed in 1966. Adding to the film’s authenticity, the bulk of the movie was shot onboard an actual ship, just off the south coast of England. Richard Curtis’ first cut of the film had a running time that was just over three hours. The final cut of The Boat That Rocked had a two hours and fifteen minute running time, where as the final cut for Pirate Radio has a one hour and fifty-six minute running time. I’ve seen the U.K. version of the film and enjoy both cuts, but I have to say this film is so enjoyable that I wouldn’t mind sitting though the three hour cut at some point. Most of the missing scenes from the first cut of the film appear on the U.K. DVD release of The Boat That Rocked. (U.K. DVD review will be posted soon) The two major scenes that were cut from The Boat That Rocked for the U.S. release of Pirate Radio consists of a visit to the Radio Rock ship from a large group of contest winners, and the other is the unseen stag party in London. The scenes aren’t necessarily needed, but this movie is so, as I said before, enjoyable that I don’t think you could ever get enough of these characters.

I realize this review is quickly becoming a mini-novel, but I think I would be crucified if I didn’t at least talk about the music in the film. As you would imagine, this movie is chock-full of classic rock from the likes of The Who, The Kinks, The Turtles, and so many more. Both the U.K. release, and the U.S. release of the soundtrack feature a two disc edition with 36 tracks to take you back. Also, the opening credit graphics are fantastic! The use of the radio tuner dial transitioning from scene to scene, as The Kinks’ “All Day and All of the Night” blares, instantly sucks you into the world of the movie. But, I think one of my favorite things was the use of the album covers in the end credits. It not only instills you with a fantastic sense of the history of rock and roll, but it also makes you want to listen to some great albums you might not have listened to in awhile. The bottom line here should be obvious at this point, but needless to say I highly recommend this movie no matter which version you see.

Rating:

The Boat That Rocked U.K. DVD Special Features: COMING SOON