A tantalizingly brief clip of a collaboration between fashion giant Yves Saint-Laurent and composer/arranger/ key Serge Gainsbourg collaborator, Jean-Claude Vannier. A version of L’enfant la Mouche et les Allumettes from Vannier’s 1972 LP L’enfant Assassin des Mouches (pictured above) is performed as rather surreal accompaniment to the fashion goings-on from The Roland Petit Show in 1971. Wish it went on longer.
Bonus: A few songs from the wonderful aformentioned LP
Directed by and starring Robert Hossein and written by Dario Argento, Une Corde, Un Colt (The Rope And The Colt) is a rarely seen 1969 French spaghetti western ( pâtes de l’ouest) with a dynamite score by the director’s father, André Hossein. The film’s title song is sung by none other than Scott Walker.
I swore a vow on my dyin’ breath
to ride a trail that ends in death
and death could strike with a frightening jolt of a lightning bolt in
the land where the rope and the colt are king
The Rope And The Colt was also released with the much more sinister and compelling title Cemetery Without Crosses. The DVD is available from CultCine Media.
Best-selling author Jacqueline Susann and Judy Garland at a 1967 press conference.
Judy Garland’s screen test for Valley of the Dolls. Re-blogging this from Billy Beyond, who writes:
After they fired her she took the costumes and performed in them at the Palladium in London. Go Judy.
The idea of casting Judy Garland as aging actress “Helen Lawson” in Valley of the Dools was pure genius, when you consider that Patty Duke’s “Neely O’ Hara” character was so obviously based on Garland herself. Not that Susan Hayward wasn’t great in the role, she was, but it would have been even better with Judy Garland.
After the jump, Patty Duke tells the story of Judy Garland getting fired from Valley of the Dolls... and her revenge!
Today I lay before you two LPs by possibly the same artist (nobody knows for sure who these people are !) from mid-70’s Japan that I’ve long felt represented some of the strongest home-made psychedelic music ever made. I give you my ever-effusive compatriot, Eric Lumbleau of the mighty Mutant Sounds blog to illuminate further:
These mid-‘70s releases - by interconnected musicians about whom nothing is known - represent two of the highest peaks of Japanese psych-prog weirdness. Brast Burn’s Debon is an intricate con catenation of cascading sleigh bells and hand drums, windswept Himalayan acid atmospherics, bottleneck acoustic-guitar twiddle and Damo Suzuki-like mantric babble. All of the above is held aloft by a synthesist with a terminal case of pitch wheel woozies and is strategically embellished with outbursts of tumbling bass drums, spiraling flutes and recorders, and some exquisitly hallucinogenic electric guitar. Coming on like an eternal cosmic caravan, the whole damn thing is soaked in a higher-key music of the spheres vibe. Yes, Brast Burn are indeed the real goods, and they will suck you into a hypnogogic reverie. Karuna Khyal are, by contrast, an altogether more psychotic proposition, quite capable of inducing frontal lobe fatigue in those lacking a hardy constitution. Great monolithic slabs of damaged, half speed Beefheartian swamp dirge, replete with squawking, overblown mouth harp, collide with undulating waves of Throbbing Gristle-esque electronic distortion, as the group stridently trudge across your neuroreceptors and eroding your sanity. Attempting to reconcile the contents of those disparate dispatches is a losing game. If there ia any thread connecting these excursions, it’s in the mantrically intoned vocals that wend their way through both of these outings; though the volatility of the vocal delivery on Alomoni 1985 renders even these ties tenuous. Suffice to say, both of these forays into the outer reaches of sound are perched near the zenith of radical innovation.
Fantastic! Vintage interview with Dangerous Minds pal Mick Farren (seen here with ex-wife Joy) conducted by John Peel!
Here the legendary Mr. Farren discusses how “the authorities” would pressure printers not to deal with the International Times or the underground press as a means of suppressing it. Towards the end, he sketches out how an underground economy would work. What a thrill to see this. Imagine if rock stars today were this smart!