according to writer Allison Stewart
1. Cee Lo Green - "[expletive] You"
2. Sleigh Bells - "Rill Rill"
3. Kid Cudi Featuring Mary J. Blige - "These Worries"
4. Sharon Van Etten - "Don't Do It"
5. Cults - " Go Outside"
6. Kings, Go Forth - "High On Your Love"
7. Kanye West featuring Pusha T - "Runaway"
8. Taylor Swift - "Mine"
9. Titan Andronicus - "A More Perfect Union"
10. Jamey Johnson - "Can't Cash My Checks"
11. Peter Gabrile - "Flume" (Bon Iver cover)
12. Freddie Gibbs featuring Bun B. Chuck Inglish, Chip Tha Ripper and Dan Auerbach - "Oil Money"
13. Tabi Bonney Featuring Pusha T - "Make a Killin"
14. Sia - "The Fight"
15. Phosphorescent - "It's Hard to be Humble (When Your From Alabama)"
16. Brian Eno - "2 Forms of Anger"
17. Kylesa - "Tired Climb"
18. Paramore - "The Only Exception"
19. Yesayer - "Ambling Alp"
20. Robyn - "Cry When You Get Older"
21. Dierks Bentley featuring Alison Krauss - "Draw Me A Map"
22. Pantha Du Prince featuring Panda Bear - "Stick to My Side"
23. Rihanna featuring Drake - "What's My Name?"
24. jj - "My Life"
25. Chiddy Bang - "Opposite of Adults"
Assundry news, thoughts, reviews...
Movie, theatre and music reviews, news and the occasional random thought.
Tuesday, December 28, 2010
2010 Film additions to National Film Registry
This years inclusion to the Library of Congress' National Film Registry include:
Airplane! (1980)
All the President’s Men (1976)
The Bargain (1914)
Cry of Jazz (1959)
Electronic Labyrinth: THX 113B 4EB (1967)
The Empire Strikes Back (1980)
The Exorcist (1973)
The Front Page (1931)
Grey Gardens (1976)
I Am Joaquin (1969)
It’s a Gift (1934)
Let There Be Light (1945)
Lonesome (1928)
McCabe & Mrs Miller (1971)
Make Way for Tomorrow (1936)
Malcolm X (1992)
Newark Athlete (1891)
Our Lady of the Sphere (1969)
The Pink Panther (1964)
Preservation of the Sign Language (1913)
Saturday Night Fever (1977)
Study of a River (1996)
Tarantella (1940) (short film)
A Tree Grows in Brooklyn (1945)
A Trip Down Market Street (1906) (short film)
Airplane! (1980)
All the President’s Men (1976)
The Bargain (1914)
Cry of Jazz (1959)
Electronic Labyrinth: THX 113B 4EB (1967)
The Empire Strikes Back (1980)
The Exorcist (1973)
The Front Page (1931)
Grey Gardens (1976)
I Am Joaquin (1969)
It’s a Gift (1934)
Let There Be Light (1945)
Lonesome (1928)
McCabe & Mrs Miller (1971)
Make Way for Tomorrow (1936)
Malcolm X (1992)
Newark Athlete (1891)
Our Lady of the Sphere (1969)
The Pink Panther (1964)
Preservation of the Sign Language (1913)
Saturday Night Fever (1977)
Study of a River (1996)
Tarantella (1940) (short film)
A Tree Grows in Brooklyn (1945)
A Trip Down Market Street (1906) (short film)
Thursday, December 16, 2010
'Cirque Dreams Holidaze'
'Cirque Dreams Holidaze' - Kennedy Center
Arriving just in time for the holidays - 'Cirque Dreams Holidaze' opens at the Kennedy Center's Opera House - and while this is not a full blown Cirque production - don't let that fool into thinking that it wont be as garish or as entertaining as the more opulent shows. The music is relentless as is the constant activity that is on display here, acrobats is the definitive highlight here, a troupe of Chinese women throw what looks to be a giant spool between them and later in the show circle the stage and interchange between small bicycles. As the acts got more intricate and complicated - the woman next to me was cringing as it all unfolded - I also got wrapped up as well. The pacing and quick introductions of varying artists is both hypnotic and utterly captivating: a magician, an audience-participation bell-ringing session, jugglers - all set to the Christmas theme is a sight to behold and brings the kid out of you.
Full orchestras make a theater comeback after years of budgetary slashes - Washington Post article
Full orchestras make a theater comeback after years of budgetary slashes
(Washington Post article)
By Peter Marks
Tuesday, December 14, 2010; 1:46 AMThe look on Florence Lacey's face said it all. Singing for the first time with the 20-piece orchestra for "Sunset Boulevard" - the largest band Signature Theatre has ever assembled for a musical - the actress lingered onstage and beamed.
"That's incredible," Lacey exclaimed, moments after finishing the rehearsal of "With One Look," the first-act anthem for her character, the reclusive film star Norma Desmond, in the Andrew Lloyd Webber musical. "I'm having fun."
Her giddiness was perfectly understandable. Accomplished singers love the lift that a lush, full accompaniment provides - and in the musical theater these days, that's an extreme rarity. Standard practice on Broadway and in theater towns such as Washington is to pare the orchestra down to as few instruments as possible, in the service, mostly, of saving money, and at the expense of the robust sound that was once typical of a big musical.
But in selected instances, a counter-trend is developing, one that is allowing audiences to hear shows - particularly revivals of older musicals - in much the way their composers and orchestrators intended. In these cases, artistic administrators are making room in their budgets for full complements of strings, brass and woodwinds in their pits. While star-studded Broadway remountings of works such as "A Little Night Music" and "La Cage aux Folles" get by nowadays with anemic ensembles of eight or nine musicians, these other upstart productions are hiring as many as 30 players.
The statement they are making is profound. It is that the live notes from a harp or oboe or second cello are as essential to the support of a musical as that dazzling lighting effect or that cadre of sleek dancers.
"To me, cutting back an orchestra is the same as saying we're doing different material," said Michael M. Kaiser, president of the Kennedy Center and a longtime advocate of full orchestral sound. "It adds up to a cheapened experience. And when we cheapen the experience, we can't be surprised when people stay away from the theater."
It just so happens that Washingtonians can get an earful at the moment of what Kaiser is so passionate about, of the sensuous auditory experience of a fully occupied pit. The Tony-winning revival of "South Pacific," now on a national tour, begins performances Tuesday night in the Kennedy Center Opera House with a total of 26 musicians playing the original Rodgers and Hammerstein orchestrations. And right across the river, on Signature's main stage in Shirlington, 20 instrumentalists are crammed two abreast onto a narrow balcony behind the "Sunset Boulevard" set, applying complex colors to a Lloyd Webber score.
Her giddiness was perfectly understandable. Accomplished singers love the lift that a lush, full accompaniment provides - and in the musical theater these days, that's an extreme rarity. Standard practice on Broadway and in theater towns such as Washington is to pare the orchestra down to as few instruments as possible, in the service, mostly, of saving money, and at the expense of the robust sound that was once typical of a big musical.
But in selected instances, a counter-trend is developing, one that is allowing audiences to hear shows - particularly revivals of older musicals - in much the way their composers and orchestrators intended. In these cases, artistic administrators are making room in their budgets for full complements of strings, brass and woodwinds in their pits. While star-studded Broadway remountings of works such as "A Little Night Music" and "La Cage aux Folles" get by nowadays with anemic ensembles of eight or nine musicians, these other upstart productions are hiring as many as 30 players.
The statement they are making is profound. It is that the live notes from a harp or oboe or second cello are as essential to the support of a musical as that dazzling lighting effect or that cadre of sleek dancers.
"To me, cutting back an orchestra is the same as saying we're doing different material," said Michael M. Kaiser, president of the Kennedy Center and a longtime advocate of full orchestral sound. "It adds up to a cheapened experience. And when we cheapen the experience, we can't be surprised when people stay away from the theater."
It just so happens that Washingtonians can get an earful at the moment of what Kaiser is so passionate about, of the sensuous auditory experience of a fully occupied pit. The Tony-winning revival of "South Pacific," now on a national tour, begins performances Tuesday night in the Kennedy Center Opera House with a total of 26 musicians playing the original Rodgers and Hammerstein orchestrations. And right across the river, on Signature's main stage in Shirlington, 20 instrumentalists are crammed two abreast onto a narrow balcony behind the "Sunset Boulevard" set, applying complex colors to a Lloyd Webber score.
The aural ambition of director Eric Schaeffer's revival of "Sunset," which began preview performances last Tuesday and has its official opening on Saturday , seems all the bolder considering Signature's physical limitations. The auditorium accommodates only 276 seats - a ratio of one musician for every 14 paying customers. Consider, too, the price tag. According to Maggie Boland, Signature's managing director, the company will pay about $265,000 for its orchestra - roughly a quarter of the show's entire budget, and more than twice the expense of the 10-piece band for its recent hit revival of "Chess."
Schaeffer believes that the outsize acoustical impact in that intimate space will make the extra expenditure worthwhile. "I guarantee that you'll remember the show the way you hear it here," he declared.
Routine reductions
Technology has given producers and regional theaters around the country an expanding bag of tricks for trimming the band: The credits for Broadway's "La Cage," for instance, include an acknowledgment of the orchestra's "Synthesizer Programmer." The era of manufactured electronic sound, and the proliferation of rock musicals, have conspired to train audiences to absorb show music as pumped-up in volume but not perhaps as variegated tone. Kaiser says that when he was at the helm of a ballet company some years ago, a board member proposed that since musicians are often invisible to the audience, couldn't there just be a recording of the score and someone hired to stand in the pit and wave a baton?
The practice of reducing the size of the band has become so routine, in fact, that popular expectations for what a show should sound like have changed. Today, some new Broadway musicals, such as "The Addams Family" and "Women on the Verge of a Nervous Breakdown," can have as many as 18 musicians. But that's still a smaller orchestra than what Signature has assembled for "Sunset." Ted Chapin, president of the Rodgers and Hammerstein Organization, the group that controls the rights to the work of the songwriting team, as well as of composers such as Irving Berlin, says until the recent revival of "South Pacific," he'd never heard a Rodgers and Hammerstein score on Broadway with its complete original contingent of instruments.
The choice of employing a full orchestra for an older musical can turn a revival into an event. That's what happened at Lincoln Center Theater in 2008 with director Bartlett Sher's "South Pacific." When, during the overture, the roof of the Vivian Beaumont Theater's orchestra pit retracted for a few minutes to reveal 30 musicians, the audience broke into astonished applause. "I'm a fan of seeing music being made," said Ted Sperling, the revival's music director. "It just sounds better when you see it."
Nothing like the real thing
It is surely possible to sit through a satisfying evening with Rodgers and Hammerstein's World War II tale of romance and prejudice without 30 people in the pit. (On the road, that number has been reduced by four.) But as Sperling notes, the range of emotions the show is meant to evoke was carefully plotted out in the musical arrangements as well as the dialogue, under the supervision of its original director.
"Josh Logan thought the music would tell you so much about the inner life of the characters," Sperling said. "That's why there's so much underscoring in 'South Pacific.' "
Kaiser committed the Kennedy Center at the outset of his tenure to filling the pit. So the musicals the center revives boast orchestras that very closely mirror the numbers in the original incarnations: 23 players for "Mame"; 24 for "Carnival"; 28 for the recent "Ragtime" that moved to Broadway. Next spring's "Follies" with Bernadette Peters, Jan Maxwell, Linda Lavin and Elaine Paige will also feature 28 musicians.
The visceral pleasure of being in the room with all the sounds of a show can come down to the resonance of one familiar instrument - the plunking of the banjo, for example, in "Mame." That drew cheers, Kaiser recalled: "It's a physical sensation. You feel the overtones of the music when you're in the presence of it," he said. "And you lose that when you cut it back."
At Signature - where the attempts to scale down large musicals such as "Les Miserables" and "My Fair Lady" have been a hallmark - the accent on this occasion is on the breadth of the auditory experience. To win Lloyd Webber's consent to stage "Sunset," Schaeffer says he had to agree to use the orchestrations for the original production, which ran on Broadway from 1994 to 1997.
A direct result is a balcony so crowded with musicians it looks like the Red Line at rush hour; a percussionist sits around a corner from his colleagues and watches the conductor, Jon Kalbfleisch, on a monitor. Distributed across the long back wall of the stage, the musicans face a thorny logistical problem: Those at one end can't hear those at the other. One of Kalbfleisch's jobs is to ensure that the far-flung sections are in balance.
For example, after one duet, Kalbfleisch wanted to know from Schaeffer, who was sitting out front, whether the volume of his large ensemble was overpowering the actors. "If it's too loud there, we can adjust up here," the conductor said. Soon, he was issuing orchestral instructions. "We need more cello and bass, because the tune is in the lower instruments," he told the musicians.
Schaeffer seems to subscribe to Sperling's view that the orchestra is an experience for the eye as well: At appointed times, doors in the back of the set pull apart to reveal a substantial number of the musicians. It makes good sense, too, allowing an audience to see what it's paying for (in this case, upward of $84).
And in an age of digital miracles, reminding theatergoers in every way possible that melodies can be trilled and blared and plucked and strummed more vivaciously by flesh and blood beings may make it easier for theaters to choose them over sophisticated software.
"As good as it gets technically, it still doesn't sound as nice as having the real thing," said Craig Jensen, head audio engineer in the Kennedy Center Opera House. "It's humans performing for humans."
'Annie' - Olney Theatre Production
'Annie' - Olney Theatre Production
The last time I saw this was at a dinner theatre - the kicker was that the lead actress had a head cold - her rendition of 'Tomorrow' was painful not only to her, but to the audience as well - needless to say it was both memorable and hideous. Here though, Caitlin Deerin, as Annie not only managed to almost hit the right notes, I say almost because she gets out of tune ever so slightly but was nowhere as cringe inducing. She's perky, and really puts all her worth into the role. In fact, the biggest plus is that everyone cast here is consistent and embellishes their characters - George Dvorsky's Daddy Warbucks voice stood out for me the most. For the record my favorite song is 'Easy Street' - it's both sleazy and funny. The staging, specifically the sets are amazing, ending with the main stairway in Daddy Warbucks lush home and a very tall Christmas tree, Annie in her full regale: red permed hair and red/white dress run down the stairs and almost takes a spill, but thankfully doesn't - the final reveal of Sandy as she is supposed to pop out of the Christmas present box, also doesn't come off either - but that's the name of the game in terms of working with both children AND animals - you're never going to know what surprises might occur. One qualm though and it's only a technical note, the cast are miked, I guess for the folks way back in the back row of the balcony, but mind you this is the Olney's new main stage and the seats (even in the balcony) are not that far away from the stage - so voices tend to be a tad too loud - it's not distracting or annoying, it's just comes across as unnatural. I must have forgotten that the story and specifically the setting is during Christmas time, so naturally as a Holiday themed production it's a great alternative to the tired and true Charles Dicken's 'Christmas Carol' - all in all the Olney's 'Annie' is more than the ideal present for the season.
The last time I saw this was at a dinner theatre - the kicker was that the lead actress had a head cold - her rendition of 'Tomorrow' was painful not only to her, but to the audience as well - needless to say it was both memorable and hideous. Here though, Caitlin Deerin, as Annie not only managed to almost hit the right notes, I say almost because she gets out of tune ever so slightly but was nowhere as cringe inducing. She's perky, and really puts all her worth into the role. In fact, the biggest plus is that everyone cast here is consistent and embellishes their characters - George Dvorsky's Daddy Warbucks voice stood out for me the most. For the record my favorite song is 'Easy Street' - it's both sleazy and funny. The staging, specifically the sets are amazing, ending with the main stairway in Daddy Warbucks lush home and a very tall Christmas tree, Annie in her full regale: red permed hair and red/white dress run down the stairs and almost takes a spill, but thankfully doesn't - the final reveal of Sandy as she is supposed to pop out of the Christmas present box, also doesn't come off either - but that's the name of the game in terms of working with both children AND animals - you're never going to know what surprises might occur. One qualm though and it's only a technical note, the cast are miked, I guess for the folks way back in the back row of the balcony, but mind you this is the Olney's new main stage and the seats (even in the balcony) are not that far away from the stage - so voices tend to be a tad too loud - it's not distracting or annoying, it's just comes across as unnatural. I must have forgotten that the story and specifically the setting is during Christmas time, so naturally as a Holiday themed production it's a great alternative to the tired and true Charles Dicken's 'Christmas Carol' - all in all the Olney's 'Annie' is more than the ideal present for the season.
'Oklahoma!' - Arena Stage Production
'Oklahoma!' - Arena Stage Production
To say this is an energetic production - might be an understatement. The dancing is the sole reason and most entertaining aspect of Arena Stage's new production. The actor's not only have to sing, but also give such a rousing dancing - it's almost exhausting but ultimately exhilarating for the viewer. Since this is the first production in the new space for Arena - I haven't seen a production 'in the round' in quite some time, and that's where I find slight fault - because the actors have to project loud enough to the audience behind them, some of the actor's come across as a bit 'shouty' - notably Aunt Eller, who at times her vocals disguise what she's saying. But, all in all though Arena takes the cake by giving this Roger & Hammerstein's classic tale an invigorating update - they had done an excellent production of 'South Pacific' in 2002 - here, again they strike gold!
Candide - Shakespeare Theater Production
'Candide' - Shakespeare Theater - Harmon Hall
In a rare instance of an actual musical from DC's Shakespeare Theater - it is a fantastic production of Leonard Bernstein's classic musical. Director Mary Zimmerman adaptation of a 20th century classic, based on Voltaire’s satire. The story is episodic and for me reminded me of 'Barry Lyndon' as the storie(s) of Candide get more and more epic - the music itself is great and like Sondheim, it's also quite difficult, but the talented cast is more than apt in singing the challenging score. The sets are also inventive and with the larger newer Harmon Hall - props pop in and out to excellent effect. Highly recommended!
In a rare instance of an actual musical from DC's Shakespeare Theater - it is a fantastic production of Leonard Bernstein's classic musical. Director Mary Zimmerman adaptation of a 20th century classic, based on Voltaire’s satire. The story is episodic and for me reminded me of 'Barry Lyndon' as the storie(s) of Candide get more and more epic - the music itself is great and like Sondheim, it's also quite difficult, but the talented cast is more than apt in singing the challenging score. The sets are also inventive and with the larger newer Harmon Hall - props pop in and out to excellent effect. Highly recommended!
Wednesday, December 8, 2010
Uptown Theater - 3D!
It's official - AMC has converted the Uptown to feature digital projection 3D! This is fantastic news, since one the theatre is one of the largest curved screens on the entire East Coast. Secondly, while the sound has always sounded fantastic lossless audio via digital projection proprieties will sound amazing - notably with tighter bass. Gazing at Fandango's site in terms of pricing, adult full price is $14.75, that's not bad considering at one point AMC was mentioning that the theatre would get the ETX treatment, which would have made the ticket price even more expensive - thankfully they didn't - I am sure, but not positive that pre-noon reduced pricing will also still be available - Regal and Cinemark are notorious for not doing this. I'll be doing a followup review of the presentation aspect of the film at the Uptown (as well as a review of the film itself) - but for once, I'm glad AMC ponied up the cash to convert the theatre to digital projection - recent past 35mm prints have looked terrible - colors looking drained, light balance off.
Sunday, December 5, 2010
'Tangled' (3D) review
Tangled (3D) Regal Gallery Place (Sony Digital Projection + 7.1 surround sound)
For Walt Disney's studio's 50th animated film - they chose to do a retelling of the Rapunzel story but with some flourishes that only Disney writers can accomplish - give or take what they dish. Originally, the trailer didn't wow me, but as I watched the actual film, it's charm become more and more apparent.
The voice talent from Mandy Moore and Zachary Levi - as the two leads Rapunzel and Flynn Rider isn't as annoying as more recent Disney films.
It's also great that the two 'lead' animals, Rapunzel's chameleon and Maximus the horse don't speak at all - non-talking animals in a Disney animated film??... a major positive in my book - thumbs up! The facial expressions of the two are hysterical.
Since this film went back to computer generated artistry, their last film 'The Princess and the Frog' was a noble attempt to return to the traditional 2D cel animation style that Disney is famous for - mind you for that film, the story and it's villain were it's only flaws. Here though, the 'altered' story is vastly superior and better rounded, the CGI animation is also tremendous as the colors at times seems to be very tactile - the 3D effects are well integrated - the floating lights float so close to the viewer that it makes you want to reach into the screen.
The songs are also surprisingly good, although it becomes very apparent if Howard Ashman were still alive the songs could and possibly would have been a tad better. Mandy Moore singing songs that are more 'theatrical' than 'pop' is a godsend and obviously less cringe inducing.
On another technical note, having heard the film in both standard 5.1 surround sound and 7.1 discrete surround sound, the latter is vastly superior. The addition of two additional surround sound speakers produces a much more fuller sound field - the mix in effect is more prevalent, aggressive and omnipresent - at times maybe a bit too much.
All in all though, the film super ceded what I was expecting, it had the right amount of humour, the songs were engaging as were the voice talents. The animation style was unique and down right beautiful at times, and the story worthwhile of my time and attention.
'A Wrinkle in Time' - Round House Theatre Production
'A Wrinkle in Time' - Round House Theatre - December 2, 2010
Based on the book by famed fantasty writer Madeleine L'Engle' - the story is about Meg Murry and her brother Charles Wallace alongside friend Calvin, in their search for their father who had disappeared a few years back to another planet - for reasons unknown. Even with a such a bizarre premise, the idea to transform this tale into a theatrical play is a major undertaking. Under the direction of Casey Sams, it actually works (for the most part). The casting is admireable - the young Charles Wallace with his brown hair and spectacles seems very Harry Potter-ish and the actor's who portray Meg and Charles really seem to inhabit their characters and interact with all the effects that happen around them - the plays only odd moment though is the arrival of the brain creature near the end of the play which seems a bit too Mystery Science Theatre 3000 to me . The FX, lighting and sound design are really the highlight here though. The huge back wall of the Round House Theatre is used to excellent effect as alot of projected imagery adds visual intensity. The use of surround sound and the throwing of voices around the audience adds what motion pictures do to encompass (and encircle) an extra sensory to what already is an 'out of this world' story.
Wednesday, December 1, 2010
Jamie Jones vs. Seth Troxler - MIXMAG November covermount CD
Just hitting the news stands here in the States, Mixmag's mix CD is from Jamie Jones and Seth Troxler. The two combine a distinctive house sound mixed with a tinge of tech and just the right amount of songs with vocals. Normally I'm not all that into songs featuring vocals, as some of the time, well alot of times, it just comes across as cheesy - but in the hands of Jamie and Seth - it comes across as an effortless bouncy addictive sound collage that weaves, wobbles and singes the body to fly into a million pieces of pure energy - check it out, it's a unique, dare I say, stand-out 2010 CD from Mixmag.
Tracklisting:
01. Axel Boman - Holy Love
02. 40 Thieves featuring Qzen - Don't Turn It Off
03. Victor* - Go On Do It (Radio Version)
04. Tanner Ross & Sergio Santos - G Things
05. Roska featuring Jamie George - Love 2 Nite
06. Jamie Jones (2) - Summertime (Jones & James Dub Mix)
07. Inxec & Shado Megallaa* - Put A String On It
08. 2 Bears, The - Follow The Bear
09. De Signer - Suicide Girl (Robin Porter & Subb-an Remix)
10. Bomb The Bass featuring Kelley Polar - X-Ray Eyes (John Tejada Mix)
11. Art Department - Without You (Jamie Jones' On The Fly Remix)
12. Tracey Thorn - Swimming (Visionquest Remix)
13. Footprintz - Utopia
Friendly Fires - Bugged Out! (Presents Suck My Deck Mixed by...)
I must admit, I more a fan of the Bugged Out! discs than the Bugged In! ones which tend to be more down tempo - but given how boisterous Friendly Fires are, it doesn't surprise that they'd release such a infectious and body thumpin' mix. The bass once it kicks in is so pulse inducing and never let's up, until really the end song which mercifally brings the listener to a calmer state of mind. While the beat seems consistent, the styles of each songs bring a freshnest and never comes as repetitve drone, this album makes you want to move, exercise or compel one to rush out and purchase a pogo stick. By far one of best albums of the year that would qualify it as being described as being so utterly fun and highly addictive.
Here's the tracklisting:
1. The Egyptian Lover – Freak-A-Holic
2. Bot’Ox – Bearded Lady Motorcycle Show
3. The Phenomenal Handclap Band – You’ll Disappear (Munk Remix)
4. Tom Trago – Lost In The Streets of NYC (Boris Werner Lost In Malta Remix)
5. Ryan Crosson – Metro Bunker (Original Mix)
6. Lindstrom & Christabelle -Baby Can’t Stop (Aeroplane Remix)
7. Rebotini – 777 (Discodeine Remix)
8. Tensnake – Coma Cat
9. Munk – La Musica (Azari & III Remix)
10. Friendly Fires and Azari & III – Stay Here
11. Redshape – Dog Day
12. The 2 Bears – Be Strong
13. Butch – No Worries
14. George Kranz – Din Daa Daa
15. Jody ‘Fingers’ Finch – Jack Your Big Booty (BHQ No Acid Vocal)
16. BDI – City & Industry
17. Alan Fitzpatrick – Green Light
18. Boo Williams – Mortal Trance
19. Round Two – New Day (Club Vocal Mix)
New Disney Documentary DVD's released this week
Three new Disney documentaries premiered on DVD this week:
'Waking Sleeping Beauty' - a fascinating rivetting documentary detailing the Disney studio's renaissance with the release of 'The Little Mermaid' 'Beauty and the Beast' and 'The Lion King' - it is also the story of the inner 'behind the scenes' battle of the Studio higher ups. The commentarty track on the DVD is also an essential listen as it goes more in-depth about other stories and anectdotes that weren't included in the film.
'The Boys: The Sherman Brothers Story' (review forthcoming)
'Walt & El Grupo: The Untold Adventures' (review forthcoming)
'Waking Sleeping Beauty' - a fascinating rivetting documentary detailing the Disney studio's renaissance with the release of 'The Little Mermaid' 'Beauty and the Beast' and 'The Lion King' - it is also the story of the inner 'behind the scenes' battle of the Studio higher ups. The commentarty track on the DVD is also an essential listen as it goes more in-depth about other stories and anectdotes that weren't included in the film.
'The Boys: The Sherman Brothers Story' (review forthcoming)
'Walt & El Grupo: The Untold Adventures' (review forthcoming)
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