Melody In Love 1978torrent
Of the hundreds of recordings made, the Righteous Brothers' version, with a solo by Bobby Hatfield, became the jukebox standard after its release. Hatfield changed the melody in the final verse and many subsequent covers of the song are based on his version. The Righteous Brothers recording achieved a second round of great popularity when featured in the film Ghost in 1990. In 2004, it was number 27 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
Melody In Love 1978torrent
In 1954, Alex North was contracted to compose the score for the prison film Unchained (released in 1955). North had a melody he had written in the 1930s and composed and recorded the score when was asked to write a song based upon the movie's theme. North asked Hy Zaret to write the lyrics. After first refusing, Zaret and North together wrote "Unchained Melody." Zaret refused the producer's request to include the word "unchained" in his lyrics. The song eventually became known as the "Unchained Melody" even though the song does not actually include the word "unchained". Instead, Zaret chose to focus on someone who pines for a lover he has not seen in a "long, lonely time". The film centered on a man who contemplates either escaping from prison to live life on the run or completing his sentence and returning to his wife and family. The song has an unusual harmonic device as the bridge ends on the tonic chord rather than the more usual dominant chord.
Hatfield made a change to the song during the recording sessions. The first two takes of the song he performed it in the same style as the Roy Hamilton. For a third take, he decided to change the melody for the "I need your love" line in the final verse, and sang it much higher instead. After this recording, Hatfield said he could do another take better, to which Medley replied: "No, you can't." Medley played the Wurlitzer piano on the song and he noted that "if I knew that it was gonna be a hit I certainly would have brought in a better piano player."
The Righteous Brothers' cover of "Unchained Melody" is now widely considered the definitive version of the song. Hatfield's vocal in the original recording in particular is highly praised; it has been described as "powerful, full of romantic hunger, yet ethereal," and a "vocal tour de force", although his later re-recording was noted as "fudging only a bit on the highest notes". The production of their original recording has been described as "epic", and that with "Hatfield's emotion-packed tenor soaring to stratospheric heights, it's a record designed to reduce anyone separated from the one they loved to a "pile of mush".
The song was nominated in 1956 for 1955's Oscar for best original song from the film Unchained. The re-recorded version by The Righteous Brothers was nominated for a Grammy Award in 1991 in the best pop performance by a duo or group category, and their original version was inducted into the Grammy Hall of Fame in 2000. The use of the Righteous Brothers' cover of "Unchained Melody" in the film Ghost resurrected the song's popularity as it was recognized as the "most played" song of 1992 by the American Society of Composers, Authors, and Publishers (ASCAP). ASCAP also announced it to be one of the 25 most-performed songs and musical works of the 20th century in 1999, and the most-performed love song of the 1950s in 2003.
I found this film one of the saddest ones which I've ever seen. Dino Risi is a brilliant director and made a great film which shows the aging. Ugo Tognazzi plays the actor who feels too young to be in an "old actor's house". He just can't stand the rules and the other old people so he escape with a young girl. The sad part comes from here because the girl wants her freedom, doesn't love the man and cheats him with other guys. In fact she never told the man that she loved him.!!SPOILER!! In the end the man leaves and at the station he meets another man, a former actor. They ask each other where they go, they say something (to their son and to Rome) and they say goodbye. In the last scene they are going on the same road, saying hello to each other and they turn down from the road...to the old actors house. END OF SPOILER!!I found the film fantastically directed and very life-like. A must-see!!!
I saw this film twice on my first trip to Italy (my first European trip, so it already was magical) and loved it, which was high praise, since I'd only been studying Italian for a few months, on my own. As I remember, it's the story of a man in an old actors home who wins a lottery, and runs away with a pretty worker from the home. He is taken advantage of, I remember, but exactly how...? I have looked for this film on video, and I think United Artists may offer it, but perhaps only in Europe. I would love to see it again...Ugo Tognazzi was a wonderful actor, and expressed many things simultaneously, as he did in La Cage Aux Folles. Lucky you if you can see the movie. I was in love with my Primo [Italian] Amore at the time, so perhaps memory has sweetened recollection. But I think it was lots of fun to watch.
i was fortunate enough to play the part of peggy in this film, it was alan parkers first screenplay and david puttnams first film, i had previously worked with alan on several advertisments and continued to work with him after melody on a few more adverts, i count myself so very lucky to have appeared in alan and davids first big project, i am amazed that this film still has a big following 33 years later, my original vhs copy of melody broke many years ago, but i managed to track down a copy as well as a dvd, i had no idea it was readily available to buy in hongkong,japan, america and even argentina! since checking out the websites for melody/swalk i have been amazed by the wonderful emails sent to me from people all around the world, i would like to thank everybody who has taken time out to enter their comments and feelings etc and to wish everybody a very happy and healthy 2004 kay (nee skinner)
It was originally known as 'S.W.A.L.K.', which means 'Sealed With A Loving Kiss', but for the foreign markets changed to as it's now. A pleasant surprise. Really. That I did not expect. Sometimes some movies are not meant to go and get as much it can, I mean I'm talking about the revenue. Yes, this movie had kind of disappointing domestic box office, though did fairly well outside. I am glad for seeing this wonderful film.I have seen 'A Little Romance', 'My Girl' and many more (find them in 'Similar movies' on below), I really love them, but this one was, just wow, made me speechless. When I want to remember or to suggest if somebody asks about children romance themes to watch with their children, nephew and niece, this one would definitely pop-out first for sure. Worth spending time together for this.The cast was so good. Everyone was excellent, from teachers, principle to parents and co-stars. Especially top three character performance leaves a mark to remember. No doubt why people created cult classic concept, so this movie will live on forever in fans unlike box office giants that comes with so big and fades away so fast. I already saw it a couple of times, mainly because of the clean blend between performance, music and innocent story theme.''When is the wedding, Danny lover boy?''The music was another plus point. All the soundtracks were very catchy and melodic like the title. The Bee Gees have done an exceptional job. Now I got another half a dozen of music tracks for my 'film songs' collection. I sometime hum 'Daaa dee da dee da da dah' and 'Melody fair' without my knowledge. Who doesn't love the 70s music, come on.Many had liked the film because it brings their childhood memories. And so it did to me. Makes how much we miss those days what we did when we were lack of awareness about the real world. Such concept was this movie where two preteen kids fall in love, but in a result the story takes an unorthodox, quirky twist. Initially it starts off with a friendship theory and slowly marks its destination to advance in that direction.Apart from the leading two, Melody and Daniel, the third character called Ornshaw was equally good who is a troublesome which makes one of our favorite. His masterplans and chewing gum are the highlight of that role and the movie. In one of the scenes where parents try to convince their children about the love and life was very touching.The way it ends is what I love the most and I don't want to know what is going to happen next. Like a fairy tale 'happily ever after' or maybe opposite, but we know there's a lot we are not going to know what they do the rest of their life till death comes. hehehe. I have not said the 'a must watch' for a long time, so here it goes that you must try this one.
The double live album craze of the 70s hadn't really hit its stride yet in 1973, with classics such as Kiss Alive and Frampton Comes Alive still a few years down the road. However in the world of progressive rock, where songs stretching at least over six minutes were par for the course, double live records must have made a lot of sense right from the start (or in the case of Yes and ELP, triple live records). The fact that Live Dates spreads its eleven tracks over two discs seems then to make a statement about Wishbone Ash as part of the prog rock canon. While not as technical and flashy as their more widely recognized prog contemporaries, Andy Powell and crew are clearly aiming to take rock and roll somewhere new...or rather somewhere ancient. While many bands were already dabbling in medieval themes, Wishbone Ash conjure up uncompromising visions of knights and farmers, kings and cornfields, witches and wars, all cast in a chilly gray haze. Not content to simply tell tales of battles and myths, their lyrics turn philosophical, almost spiritual, on many songs, including the opening 1-2-3 punch of The King Will Come, Warrior, and my personal favorite, Throw Down The Sword. This isn't just some soundtrack music for your next reading of Tolkien or round of Dungeons And Dragons (though it certainly sets the perfect mood for both of these activities), it's great music to sit and watch the leaves turn colors in the fall, or to watch a pond freeze over in the winter, or to watch flowers bloom in spring. This is music that will have you looking to the sky and pondering the passage of time and the dream of peace. Yet Wishbone Ash aren't just a group of wandering minstrels teleported into the 1970s, they're a real rock and roll band, and they know how to conjure up a fine brew of bluesy, early 70s rock. Cuts like Rock N Roll Widow, Jail Bait, and Blowin' Free are perfect for the live setting because of their inherent, jammy nature. The cover of Baby What You Want Me To Do clearly shows where these players' roots lie. But of course a good jam needs some great lead guitar work, and that is precisely what the band gives us through all of these more rocking numbers. Trading one sizzling solo after another, Andy Powell and Ted Turner prove over and over the awesome benefits that double lead guitars provide. Certainly Thin Lizzy, Judas Priest, and Iron Maiden were all taking notes. But the pair truly shines on the more progressive side of things, weaving together hazy harmonized riffs which immediately cement themselves into your memory. Throw Down The Sword is the perfect example of this, a rather simple minor key melody from one guitar gets harmonized by the other as it fades in, the the rhythm section breaks in and carries the progression into its B-section before it all turns around to support the plaintive lead vocal in the first verse. Speaking of harmonies, though the group's vocals aren't necessarily the strongest of their peers, they make up for this with impressively catchy melodies sung in harmony most of the way through. The softer tone of the lead vocals also aides in creating the mystic atmosphere which surrounds their music. Of course I would be remiss not to mention the 17 minute closing track, The Phoenix, and the nearly ten minute disc two opener, The Pilgrim. The former is an aural journey taking the listener through a passionately performed series of moods and dynamics, dropping out almost to nothing at one point before bringing things back around to the vocal to close out the record. One might compare its construction to the Lizard suite from King Crimson, being not so much comprised of distinct sections as it is an engulfing, evolving piece. The Pilgrim on the other hand is similar in its coherence, but takes its time in its first half building up a beautiful instrumental before getting to the meat of the song in its second half, somewhat like Rush would do on Xanadu some years later. Both of these are fine progressive pieces which serve to bookend disc two of this live set quite well. There is one moment on the record which stands out to me as the most transcendent though, and that is the climactic lead at the end of Throw Down The Sword. The studio version of this song is famous for featuring two simultaneous guitar solos overlapping one another to great psychedelic effect, but my heart lies with this live version, in which one single guitar summons forth a melody so righteous, so full of life and color, that it inadvertently makes the rest of the record pale in comparison. If one ever needed inspiration to pick up a flying V, let this solo be a testament to that particular axe's legend and quality. social review comments Review PermalinkPosted Thursday, October 22, 2020 Review this album Report (Review #2458240) 350c69d7ab