Burt Bacharach’s soundtrack is probably the least maligned aspect of producer Charles Feldman’s 1967 film version of Casino Royale. One doesn’t have to love the movie to enjoy the soundtrack.
Francoise Hardy may have been the most stereotypically French of the Yē-Yē girls: Aloof, sophisticated and beautifully melancholy. Nevertheless, her sound was one that was largely made in England.
Honey Ltd. got their start at Detroit’s Wayne State University. With a gift for seamless four part harmony, the group’s sound was essentially a timely update of the classic girl group sound of the early 60s
The decision to film The Great Silence in Spain’s snowy Pyrenees was the result of Sergio Corbucci wanting to take a skiing trip. Whatever the case, it’s a decision responsible for giving the film a unique and visually striking character.
At the height of the Yeh Yeh Girl craze, here were many girls compelled by external forces to seek fame. Yet, as the brief and quite odd career of Clothilde demonstrates, the results were not always bad.
Our introduction to Joe Walker in Three Golden Serpents underscores the caliber of filmmaking we’re dealing with here, coming by way of a recycled and re-dubbed scene from the earlier Kill, Panther, Kill! in which Walker is made to seem as if he’s talking on the phone to Mrs. Leighton in Thailand.
It’s easy to write off the Sonics’ primitivism as the usual combination of lack of proficiency and hormonal enthusiasm. But delving into their history and discography quickly reveals just how conscious it was.
The Sound of Wonder demonstrates that Pakistani film music from golden era had one foot in the future and, often, the other foot inhabiting territory no less strange to the unaccustomed ear.
France Gall might not have had the sophisticated mystique of Francoise Hardy, the it girl “oomph” of Sylvie Vartan, or the continental sensuality of Bardot, but she was nonetheless an integral part of the Yeh Yeh Girl pantheon.
To trace the origins of Northern Soul, one has to go back to Britain’s Mod subculture of the early to mid sixties, a subculture that drew heavily upon American soul records in the classic Motown vein for its chosen soundtrack.
Aside from providing grist for adventurists in the pop music realm, Funky Frauleins also has something to offer fans of Euro cinema, as a number of its featured players led a double life in the world of film.
Dracula’s Music Cabinet was part of a wave of horror-themed novelty albums seemingly inspired by the type of horror films that Europe was producing at the time, as best exemplified by Jess Franco.