Ann-Margret

Ann-Margret - actress, singer, dancer, and what angels probably look like - is caught here in the act of being the world's angriest sandwich maker (from the motion picture Viva Las Vegas):

All one take!

And up for grabs is AM's first album from 1961, titled And Here She Is, a super-loungey ultra-smooth selection of songs perfect for every bachelor's high fidelity soundsystem. Because what bachelor wouldn't want Ann-Margret singing jazzy love songs to them? Not all tracks are so smooth you can only imagine them being background music to a cocktail party. On tracks such as Lovie Joe, homegirl shows she's actually got some decent pipes.

Download HERE (33mb)

And as an extra treat, here's AM doing what she does best in the surreal, unforgettable Champagne scene from Tommy:

Exquisite.

Coplas!

I love vintage freestyle battles. Especially when they involve moustaches and fancy neckwear, let alone sombreros (sombreri?).

Just Be Thankful Things Like This Exist

It's Tom Waits sung in Polish.
I don't know what else you expect me to say.
Eighteen tracks. The titles are mainly in Polish (apparently they don't have a word for "underground"?) and I have omitted the English titles because half the fun is working out just what the fuck you are listening to.

Download HERE (69mb)

Oh Yeah!

French garage rock from 1966!



Antoine et Les Problèmes - Un Éléphant Me Regarde



Antoine et Les Problèmes - Les Élucubrations

Antoine sure knew how to be in awesome music videos. Best use of a junk yard in a music video ever, I'm positive.

Who's Afraid Of Virginia Woolf?

Here is Alex North’s haunting and dreamlike score from the film Who’s Afraid Of Virginia Woolf?, starring Richard Burton and Elizabeth Taylor, based on the play of the same name by homeboy Edward Albee. Replete with dialogue excerpts! Some of the cues never actually made it to film, such as the beautiful harpsichord entr’acte which was discarded because, well, the film doesn’t have an intermission.

The score swings from ethereal to full on baroque with the centre tracks employing far more dissonance than the start and finish, yet having a timeless quality to it all. As the film is so dialogue-heavy, it is easy to imagine that the score (as an underscore to dialogue) would be sidelined but North has made a highlight of the genre. And it’s backed up by being performed by the National Philharmonic Orchestra.

WARNING: the dialogue excerpts on some tracks inevitably hold MAJOR spoilers, so I’d highly recommend watching the film first. In general, I highly recommend watching the film. An extraordinary example of cinema, Taylor and Burton (married at the time!) give it their all in powerhouse performances; Taylor in particular, who chews the script and scenery up, unleashing all Hell as the venomous Martha. The definitive performance, and a rather faithful (save a trip in the car) adaptation of Albee’s stunning play.

The film was nominated for every eligible category going at the Academy Awards, and was the first film to have its entire cast nominated for awards. Only Taylor and Sandy Dennis (as the mousy Honey) won, for Best Actress and Best Supporting Actress, respectively. Burton was robbed of Best Actor, thanks to A Man for All Seasons cleaning up that year, winning six awards to Who's Afraid Of Virginia Woolf?'s five.

Download HERE

Intermission the First

Whilst I try to get Mediafire to stop being a pissy little bitch for me, enjoy this classic Lene Lovich track.