Matteo Tarantino Disco Grafia Beatles
Rita Mele, Alda Merini, Emilio Morandi, Clara Paci, Marisa Pezzoli, Giorgio Piccaia, Matteo. As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the. Asus Eee Pc 1015px Driver on this page.
As one of the most enigmatic figures of the 1970's Italian soundtrack and library music network Emma De Angelis and her short recording career provides thirsty fans of speedball psychedelic rock and drum heavy instrumental funk with a tight discography rivalling many of the long-standing bastions of the otherwise male-orientated business. Born in Rocca di Papa, near Rome, into a flourishing musical environment Emma was the younger sister of future award-winning composers Guido And Maurizio De Angelis, a duo, who under names like Oliver Onions and Dream Bags, would write chart-topping lyrical theme tunes for a wide range of Italian crime, Giallo and Spaghetti Western films featured alongside full scores by Ennio Morricone and the Magnetic System composers (Bixio Frizzi Tempera).
With encouragement from her brothers, Emma, who would also write music under the pseudonym of Juniper, would record a tight clutch of solo-penned material and seldom credited studio contributions to Guido And Maurizio's film commissions, such as the score for Giuliano Carnimeo's Simone e Matteo: Un gioco da ragazzi (aka Convoy Buddies). While simultaneously pursuing a career as an illustrator and set designer the De Angelis family contacts would lead Emma to the offices of Romano Di Bari, whose up-and-coming Flirt label was finding success providing custom built mood music for use in TV and film. Alongside important composers like Alessandro Alessandroni, Gerardo Iacoucci and A. Luciani, the young Emma Di Angelis would record a small number of tracks for a compilation called Underground Mood (credited in the small print to E De Angelis - not to be confused with Italian singer Edoardo De Angelis). It is from this rare LP that the record you are now holding is compiled. Within the Flirt family of labels Emma De Angelis would also share schedules with other important female composers such as Daniela Casa and Giulia 'Kema' De Mutiis - both of whom have appeared on dedicated Finders Keepers releases.
The tracks on this record provide us with a rare glimpse into Emma De Angelis’ short musical career before she became a full-time visual artist. With an unknown personnel or studio date it is easy to speculate a potential family jam in Piero Umiliani's Sound Workshop studio in 1972. One only has to take a listen to Guido And Maurizio's instrumental theme Gangster Story from Enzo G. Castellari's 1973 thriller High Crime (which later appeared on Tarantino's Death Proof soundtrack) or the trippy title theme to Paolo Poeti's kinky 1976 drama Inhibition to spot the family resemblance.
We think of the eighties and early nineties as the age of music video, as predicted by the Buggles all the way back in ‘79. There’s precious little reason to argue with the cultural prescience of their “,” the very first video MTV aired.
After the rise of the music channel, almost no one could push a single without a video in the rotation on cable. Even now, though MTV may have ceded the whole music video thing to the internet a long time ago, the principle remains.
Yet well over a decade before MTV debuted, pioneering musicians took to music video (or film) with the same natural affinity as Michael Jackson, Phil Collins, Prince, or Van Halen did during the network’s heyday. Over a decade before the Buggles—a pun on The Beatles—there was, well The Beatles, bona fide music video stars, with hip promos like that for “Penny Lane,” above, which would have fit right in on MTV. (“Is that Oasis?” “No, it’s The Beatles, man!”). Shot in 1968 in East London, an estate in Kent, and Liverpool (home of the real Penny Lane), the video achieved its modern look by chance, since director Peter Goldmann had to find creative ways to get around a Musicians’ Union ban on miming for the camera. Before the ban, filmed musical performances typically featured bands lip-syncing to a backing track, as you can see in the promo video for “Hello, Goodbye” above, which debuted on the Ed Sullivan show in November, 1967. This one was directed by Sir Paul himself, though he did not enjoy the experience, as he later recounted.
“It was something I’d always been interested in,” McCartney said, “until I actually tried it.”. That Musicians’ Union miming ban was still in place when the band went into the Abbey Road studios in 1968 to record the video for “Hey Jude,” above.
Director Michael Lindsay-Hogg got around it by inviting an audience of 300 people into the studio for the finale, making it seem like a live performance, though everything was prerecorded but Paul’s vocals. The single had already gone on sale a week prior to filming, but the promo film was the first introduction many fans had to the song, first on David Frost’s The Frost Report, then on The Smothers Brothers’ Comedy Hour in the U.S. A month later.
In the first minute of the video, the band goofs around with some fake jazz (proving that their guitars were, in fact, plugged in). Though the “Hey Jude” film was shot in color, no original viewers would have seen it that way. As, we get to view this video “in far, far better quality than you’d ever have been able to see it during those original television broadcasts, back when most people in Britain and America would have been watching it on low resolution B&W TV sets.” Compare, for example, the short clip from a broadcast at the time above with the pristine “Hey Jude” video we have now. All of these Beatles videos have been restored and digitally enhanced in HD, and you can see these and more. These come from the, which includes several dozen more videos in addition to 27 of the band’s #1 singles. Particularly striking is the 1967 promo for “A Day in the Life,” above, edited from filming of the original sessions. As The Beatles Youtube channel informs us, “this was no ordinary recording session.
The classical musicians, who had been asked to wear evening dress, took it upon themselves to wear fake noses, funny hats and generally enter into the spirit of the occasion.” The sessions were “filmed between 8pm and 1am with guests including Mick Jagger and Keith Richards,” both of whom you’ll see appear in the fray of musicians, along with many shots of Paul McCartney conducting the orchestra. Did The Beatles invent the music video?
That’s a debate for the. But they were surely one of the first, if not the first, to use them as a primary promotional tool—along with their films and merchandising. As far back as 1965, the band released promo films for their singles, like that for “We Can Work it Out,” above, one of three different videos the band shot for this song. In fact, it’s not anachronism to refer to this early example of the form as a “music video” since it was actually shot on two-inch black and white videotape.
The format had not come into wide enough use at the time, so it was distributed on 16mm film. Making music videos—on video—is just one of the many ways The Beatles have anticipated, or precipitated, the future of music. One of the ways they’ve lagged behind, or perhaps wisely held out, is in releasing their music to streaming and on-demand services like Spotify, Google Play, or Apple Music. That’s changed as of today, when.
No telling what Lennon and Harrison would have thought, but Paul McCartney described the music’s digital reception as “fantastic” when the band first made a deal with iTunes in 2010. The remaining band members have released no statement this time around but a and a jolly holiday greeting: “Happy Crimble, with love from us to you.” via Related Content: is a writer and musician based in Durham, NC.