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Reviews (22)
LET THE SUNSHINE IN [DIANA ROSS & THE SUPREMES/THE SUPREMES] NEW CD
Dec 10, 2015
Diana Ross and the Supremes give a little sunshine
Released during the last year of Diana Ross (who performs lead on every track) as a member of the trio, this album contains its highest peaked single on the 1969 Billboard 100 at 10 "Livin' In Shame" (the followup to "Love Child"). Some other tracks are "The Composer," the group's take of "Everyday People" (a catchy tune), and "No Matter What Sign You Are." Also, the album comprises their version of "Aquarius/Let The Sunshine In." It is a good rendition though it did not reach the heights and recognizability as the original 5th Dimension's number one hit (released just a couple of months prior to this LP). The album was produced during the tenure of Cindy Birdsong but has tunes with Florence Ballard providing backup vocals (they were made before her expulsion from the group and Motown two years earlier from this album's release). These are "What Becomes Of The Broken Hearted," and "Let The Music Play" (highlights that recreate some of the dynamics the ladies had in preceding years). The Andantes also provide some background harmonies. Another reason for the five star rating is because it is Diana Ross and the Supremes (with a part of Florence). Their type of music is simply terrific, classic, time enduring, and unequaled.
Sep 21, 2021
Blending Bond, Beach, and Poe into 1960s Camp
Ok, "Dr. Goldfoot and the Bikini Machine" is not for everyone. Especially if looking for an Academy Award winning production. This isn't it! This movie is so far off the wall and outlandish that only its sequel (yes another one) is farther out (the title alone should be a tip off as to what this film is going to be like). It's a parody of sorts using Bond (and other secret agent flicks of the 1960s) as the spy concept mixed in with the beach films that were so popular with teens back in the '60s (Elvis, Avalon and Funicello, and et. al.). Add to that a bit of horror based on Edgar Allen Poe (with a comedic twist) courtesy of Vincent Price.
If one enjoyed the "Austin Powers" franchise (of which this film appears to have served as an inspiration) then be prepared for some possible disappointment in this one. "Austin Powers" replicated the era to a degree (but more “updated” in comedy); "Dr. Goldfoot" is actually from that time! This makes it authentic. "Batman 1966" was serious drama compared to the corny action in "Dr. Goldfoot" (1965). This film will suit the taste of those who cherish weird quirky vintage B-movies.
Vincent Price makes the picture with his over the top campy portrayal (complete with facial expressions) of the title character. Frankie Avalon (Craig Gamble) provides "the beach" and "spy" elements along with Dwayne Hickman (Todd Armstrong) as they bumble their way to try and stop Dr. Goldfoot from completing his fiendish plot. Slowing them down a little with her "assets" is Susan Hart; who plays a bikini clad "robot" called Diane. She is able to captivate both Gamble and Armstrong (the latter who surrenders some of his financial holdings) with her looks and personality (she speaks with various regional dialects and accents). But she can be forgetful and fooled (and is punished for it).
Diane along with the other female "Bikini Robots" (more of the "spy" and "beach" components) set out to seduce rich men everywhere and rob them of their wealth (I suppose a roundabout indirect way for Dr. Goldfoot to control the world). Of course these robots are manufactured by the Bikini Machine, the creation and its operation by Dr. Goldfoot. Rounding out the cast and adding to the eccentricity is Fred Clark (D.J. Pevney), Gamble's superior and Jack Mullaney (Igor), Dr. Goldfoot's assistant and sidekick. Also, a couple cameos are thrown in by some known actors of the period. There's the obligatory chase scene that takes place around San Francisco towards the end. In all the cast appears to just have fun with this movie.
One of the best parts of the film (besides Vincent Price) is the opening sequence and theme (a reason the rating is four stars). It's Claymation (of "Gumby" fame) with the beginning credits. Combine that with the Motown Sound of the Supremes (the most popular girl group of the '60s and I’m an avid fan) performing the bizarre, offbeat, and highly catchy title tune and this segment becomes very entertaining on its own. Motown courtesy loaned the trio (Mary Wilson, Diana Ross, and Florence Ballard) to American International Pictures. It's an added treat and terrific way to musically open and close the motion-picture!
Dec 11, 2015
Supremes at 25 (part one)
1 of 1 found this helpful It's the 25th Anniversary of Motown's signing of the greatest female group to ever hit the airwaves (or any other media as well for that matter)! Celebrating this milestone are the teriffic performances of Diana Ross, Mary Wilson, Florence Ballard, and Cindy Birdsong (with The Andantes and the Funk Brothers). The 24 tracks cover the years from 1963 to 1969. This CD compiles the 12 number one chart toppers as "Where Did Our Love Go," "Baby Love," "Stop, In The Name Of Love," "The Happening," "Love Child," and "Someday We'll Be Together." That's not all! Joining the celebration is the group the Temptations. They contribute their outstanding singing talent along with the ladies on "I'm Gonna Make You Love Me." It peaked at number two in early 1969. Other tracks include "My World Is Empty Without You," "Reflections," "In And Out Of Love," "I'm Livin' In Shame" (sequel to "Love Child"), and "No Matter What Sign You Are." Of course what would an anniversary compilation be without the hit that catapulted the girls onto the Billboard charts at the beginning of 1964 at 23, the catchy "When The Lovelight Starts Shining Through His Eyes." But hold on! This is only half the celebration! Volume two consists of even more tunes by the ladies to commemorate the past 25 years since this CD's release. It should be as equally compelling of a performance as the first part!