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Awix (3310 KP) rated The Most Dangerous Game (1932) in Movies
Mar 25, 2020
(Can't see that movie about people being hunted for entertainment as all the cinemas are shut, so went for this instead (the daddy of the genre).) Much mimicked pulp adventure movie. Big-game hunter survives a shipwreck but pitches up on the private island of an insane Russian aristo who hunts people for sport.
Slots very nicely into the development of early-30s genre cinema - the premise vaguely recalls Dracula, while many of the key personnel would go on to make King Kong the following year. Still stands up well as an adventure movie in many ways; above average script, some rousing set pieces, and an enjoyably extravagant performance from Leslie Banks as the bad guy. The short running time does count against it though (the hunt only gets underway in the final third of the movie). One of the progenitors of the modern action blockbuster, and a fine movie in its own right.
Slots very nicely into the development of early-30s genre cinema - the premise vaguely recalls Dracula, while many of the key personnel would go on to make King Kong the following year. Still stands up well as an adventure movie in many ways; above average script, some rousing set pieces, and an enjoyably extravagant performance from Leslie Banks as the bad guy. The short running time does count against it though (the hunt only gets underway in the final third of the movie). One of the progenitors of the modern action blockbuster, and a fine movie in its own right.
Film in Five Seconds: Over 150 Great Movie Moments - In Moments!
Matteo Civaschi, Gianmarco Milesi and H-57
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In today's jet-fuelled, caffeine-charged, celebrity-a-minute world, who actually has the time to...
David McK (3194 KP) rated Pacific Rim: Uprising (2018) in Movies
Jul 12, 2020
I don't know why, but for some reason Asia (and Japan in particular) seems to have a thing for Giant Monsters (think Godzilla) and for Giant Robots (think BattleTech).
Or, as they're called in this series (and elsewhere? I don't know) Kaiju and Jaegers respectively.
This is a sequel to the best non-Godzilla Godzilla movie (in all but name), this time starring Star Wars own John Boyega as its reluctant hero, as the son of the "we're cancelling the apocalypse" hero from the first move, and who gets drawn back into the whole military training around the Jaegers 10 years after the events of that last movie.
Just in time, then, for him to be in place as the undersea breaches reopen and more of those Kaiju to come through ...
Dumb fun, but seemingly lacking something (although you can actually see what's happening in the battles this time around!) compared to the original, or to the various 'official' Godzilla/King Kong/etc movies.
Or, as they're called in this series (and elsewhere? I don't know) Kaiju and Jaegers respectively.
This is a sequel to the best non-Godzilla Godzilla movie (in all but name), this time starring Star Wars own John Boyega as its reluctant hero, as the son of the "we're cancelling the apocalypse" hero from the first move, and who gets drawn back into the whole military training around the Jaegers 10 years after the events of that last movie.
Just in time, then, for him to be in place as the undersea breaches reopen and more of those Kaiju to come through ...
Dumb fun, but seemingly lacking something (although you can actually see what's happening in the battles this time around!) compared to the original, or to the various 'official' Godzilla/King Kong/etc movies.
Lyndsey Gollogly (2893 KP) rated The Beast House (The Beast House Chronicles #2) in Books
Jan 26, 2021
16 of 250
Book
The Beast House ( Beast House chronicles book 2)
By Richard Laymon
Once read a review will be written via Smashbomb and link posted in comments
Author Gorman Hardy is hot on the trail of another bestseller and if half what's said about Malcasa Point is true, he's bound to make a killing. Petite and pretty Tyler and sexy Nora visit Malcasa full of expectation. But Malcasa Point is a place of pain, bestiality and death in The Beast House.
Well I have to say it’s 100% better than The Cellar! I can see from other reviews a lot of people agree on it. I found myself enjoying this. It was a classic horror in my opinion and there’s nothing wrong with a bit of classic. I enjoyed the captains story on Bobo it was very King Kong based except this was a rampant rabbit monster gone wild! A bit of cheese to keep a girl who loves horror happy.
Book
The Beast House ( Beast House chronicles book 2)
By Richard Laymon
Once read a review will be written via Smashbomb and link posted in comments
Author Gorman Hardy is hot on the trail of another bestseller and if half what's said about Malcasa Point is true, he's bound to make a killing. Petite and pretty Tyler and sexy Nora visit Malcasa full of expectation. But Malcasa Point is a place of pain, bestiality and death in The Beast House.
Well I have to say it’s 100% better than The Cellar! I can see from other reviews a lot of people agree on it. I found myself enjoying this. It was a classic horror in my opinion and there’s nothing wrong with a bit of classic. I enjoyed the captains story on Bobo it was very King Kong based except this was a rampant rabbit monster gone wild! A bit of cheese to keep a girl who loves horror happy.
Gareth von Kallenbach (968 KP) rated King Kong (2005) in Movies
Aug 14, 2019
Following up the box office and Oscar success of the Lord of the Rings Trilogy is an undertaking that is sure to have its dangers. Expectations of the fans notwithstanding, the ability to recapture the magic of the trilogy could be akin to capturing lightning in a bottle. When it was announced that Peter Jackson would follow his Oscar success by doing yet another adaptation of King Kong, there were plenty of questions amidst the excitement.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
When an earlier remake was a critical and commercial bomb, “Would Jackson be able to do justice to one of the all time classics?” was one of the biggest questions. When it was announced that comedian Jack Black would be in the film, people began to wonder what Jackson had brewing. Black, as well as Academy Award winner Adrian Brody were seen as offbeat choices. As the release date for the film neared, so did speculation over the look of the film, the running time, and its decision to follow the screenplay of the original rather than adapt to a modern setting.
The film follows a filmmaker named Carl Denham (Jack Black), who in an act of desperation flees New York for a mysterious and uncharted island in an attempt to finish his latest movie before the studio can shut him down. Amidst the backdrop of the Great Depression, it is clear that Denham knows that failure now could be the end of his livelihood and his long term future. As he embarks on his fly by night production, Denham encounters Ann Darrow (Naomi Watts), a recently unemployed Vaudeville performer who is enticed into the film in the hopes of meeting its writer Jack Driscoll (Adrian Brody). It seems that Ann has long coveted a part in Driscoll’s plays and hopes that by meeting him, she will obtain her long sought after audition.
With the cops and studio hot on their heels, the cast and crew board a tramp steamer named “The Venture” as they set off for the mysterious island that is known only to Denham via a mysterious map he obtained through methods unknown.
As the voyage unwinds, not only does Denham get the chance to film segments of the film, but Ann and a stranded Jack find themselves becoming an item. Jack is inspired by Ann, and he works like a man inspired turning out page after page of material for various projects which he hopes Ann will star.
Eventually the ship finds its way to the mysterious Skull Island surrounded in fog, and the crew venture ashore to take in the bizarre and exotic land that has previously been unexplored. Upon finding a fortified wall and settlement the crew has a run in with some dangerous natives which in turn leads to Ann being kidnapped and offered up sacrificial style to a gigantic creature the Islanders refer to as Kong. Undaunted, Jack and the crew set off to rescue Ann while Denham shoots footage along the way, as the island offers visuals the likes of which have never been seen by mankind.
Along the way, the crew encounters deadly creatures and obstacles at every turn, as does Ann who plays a dangerous game of cat and mouse with Kong as she comes to grips with her situation. Kong is taken with the lovely Ann and protects her against numerous dangers including a pack of Tyrannosauruses in one of the film’s best action sequences.
Of course few will be surprised at the final act of the film so I will leave it to say that the fish out of water nature of the previous versions remains intact as Kong finds himself dealing with an urban jungle which leads to a spectacular finale atop the Empire State Building.
In many ways Jackson’s film is three separate films. The first hour of the film is an interesting and, at times witty, character piece where the lead characters assemble. The look of the city is amazing, making it very clear that enormous amounts of effort went into crafting the look of Depression Era New York, and to remind the audience that Prohibition was also in effect. The interplay between the characters is decent.Black does standout work as the slick Denham, as does Watts as the wholesome and lovable Ann.
The second hour of the film is the special effects showcase where the mysteries of Skull Island and Kong are shown complete with all manner of CGI creatures and action sequences. While most of them are well staged, I could not help but note that on more than one occasion the CGI backdrops did not match up well with their live action counterparts. There is one scene of a stampede where it looked like the actors had been drawn in and that they were running in place as they clearly did not mesh with the spectacle behind them.
Throughout the film this occurrence happened more and more which really had me wondering if the effects house was overtaxed. A film with a budget reportedly over 100 million should not have these technical issues. Thankfully Kong himself is a wonder, with everything from his expressive eyes and facial features, captured in a remarkable way. It is just a shame that the other effects did not get the same treatment as the films namesake, as he truly is a site to behold. Andy Serkis who did the character mannerisms for the animators program did a phenomenal job. The movements of Kong progress with a strength and agility that bellies a simian rather than a skilled performer.
I do not want it to sound as if I did not enjoy the film, as much of the film worked very well, technical issues aside. What my biggest issue with the film was that at over 3 Hours, it was far too long for the material to support. We get numerous scenes of Ann and Kong flirting, bonding, fighting, running, and more. What is cute the first couple of times becomes dull the more it is repeated. It is obvious that they have a bond; we do not need to see it over and over ad nauseum to get the message. Also, the character development and interplay between the characters that was so effective in the first part of the film all but vanishes amidst the effects.
The finale of the film is a rousing success as the daring visuals and camera angles are very inventive and thrilling. This segment with its fury of motion and sound will have viewers on the edge of their seat as it certainly delivers the goods. The biggest issue again is having to sit through three hours to get to it. Anyone who has seen either version of Kong knows exactly where the film is heading, and after two hours of screen time I found myself wishing they would just hurry up and get to it.
Jackson has crafted a very entertaining and lavish film that packs its share of thrills. What the film needed is someone to reign in Jackson and his boundless enthusiasm for the project to remind him that sometimes less is more. Jackson has said that he had over 4 hours worth of material filmed but trimmed it down to its current running time. When the film is almost twice the running time of the original, I found myself thinking that minus 45 minutes the same story could have been told.
Despite the flaws and the hype, King Kong is a solid film that for me was more satisfying in many ways than any of the “Rings” films. While not quite a masterpiece, this Kong is worthy of the name and pedigree of the timeless original that inspired it.
Movie Metropolis (309 KP) rated Godzilla: King of the Monsters (2019) in Movies
Jun 10, 2019 (Updated Jun 10, 2019)
All hail the Titans
2014’s Godzilla was a thrilling and somewhat underrated return to form for the king of the kaiju. Directed by visionary film-maker Gareth Edwards, Godzilla’s return to the big screen was beautifully filmed with some of the best set pieces ever seen on celluloid. It certainly made up for the Roland Emmerich monstrosity that shall remain nameless here.
Little did we know 5 years ago that Edwards’ mega movie would be the start of a franchise culminating in a battle of the ages: Godzilla vs Kong. Follow-up film Kong: Skull Island was again, beautifully filmed, feeling like a movie from a completely different era. Now the follow-up to the follow-up is here. Still with us? Good.
Members of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species-thought to be mere myths-rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.
Taking over from Gareth Edwards after he chose not to return to the franchise is director Michael Dougherty. If the name rings a bell, it’s because he co-wrote X2 and directed the fantastic horror comedy, Krampus. Used to much-lower budgets than this $200million behemoth, Dougherty crafts a film that throws everything including the kitchen sink at the audience, but lacks the lightness of touch that made its predecessors such popcorn-munching fun.
With a cast that includes Stranger Things’ Millie Bobby Brown, Vera Farmiga, Sally Hawkins, Ken Watanabe, Charles Dance and Kyle Chandler, you’d be forgiven that everything from a characterisation point of view would be spot on. Unfortunately, that just isn’t the case. The story and screenplay, penned by Dougherty himself is really lacklustre with poor, cringeworthy dialogue and some wooden performances by actors who should really know better. The attempts at Marvel-esque humour fall completely flat and this is a real shame.
Making her feature film debut, Mille Bobby Brown salvages what she can from the script and performs very well but when the screenplay doesn’t know what to do with individual characters, they’re tossed aside as Ghidorah fodder and completely forgotten about. Not only is this frustrating for the audience, but it certainly isn’t script-writing best practice.
Thankfully, things start to turn around when it comes to the cinematography. Lawrence Sher, who has worked on Paul, The Hangover and the upcoming Joker movie picks some outstanding shots that make you feel very much part of this almost apocalyptic universe the Titans are roaming. While stopping short of beautiful, many of the sequences are too messy for that, Godzilla: King of the Monsters is a very attractive film indeed and the colours used are ethereal in their nature and require the biggest screen possible to get the most from them.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, it’s not enough to detract from the exceptional visual effects work
The special effects too make a lasting impression. This was not a cheap film to make and thankfully this shows on screen. Whilst naturally heavy on CGI, Dougherty has stated that practical effects had been used wherever possible. Perhaps the biggest compliment here is that it’s impossible to tell where practical meets CG.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, it’s not enough to detract from the exceptional visual effects work that has gone into making Godzilla 2. Mothra in particular is a sight to behold.
Bear McCreary’s score too is very good. After working on relatively low-budget films until now, his orchestral and vocal compositions work beautifully with what’s being shown on screen and the music has an operatic vibe that feels truly fitting of a film of this magnitude.
Nevertheless, Godzilla: King of the Monster’s downfall is in that shoddy script. None of the actors bring their a-game here and moments that should have emotional poignancy don’t hit home because they’re not allowed to. Within 10 minutes of the film’s opening, we’re smack bang in the middle of an action sequence with it rarely letting up until the thrilling finale 2 hours later.
Overall, Godzilla: King of the Monsters is a perfectly adequate outing for the king of the kaiju but one that comes with a dash of disappointment. The bar was set incredibly high by Gareth Edwards and while the special effects and action scenes are impressive, that’s not enough to mask poor storytelling and thinly drawn characters.
https://moviemetropolis.net/2019/05/29/godzilla-king-of-the-monsters-review-all-hail-the-titans/
Little did we know 5 years ago that Edwards’ mega movie would be the start of a franchise culminating in a battle of the ages: Godzilla vs Kong. Follow-up film Kong: Skull Island was again, beautifully filmed, feeling like a movie from a completely different era. Now the follow-up to the follow-up is here. Still with us? Good.
Members of the crypto-zoological agency Monarch face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species-thought to be mere myths-rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.
Taking over from Gareth Edwards after he chose not to return to the franchise is director Michael Dougherty. If the name rings a bell, it’s because he co-wrote X2 and directed the fantastic horror comedy, Krampus. Used to much-lower budgets than this $200million behemoth, Dougherty crafts a film that throws everything including the kitchen sink at the audience, but lacks the lightness of touch that made its predecessors such popcorn-munching fun.
With a cast that includes Stranger Things’ Millie Bobby Brown, Vera Farmiga, Sally Hawkins, Ken Watanabe, Charles Dance and Kyle Chandler, you’d be forgiven that everything from a characterisation point of view would be spot on. Unfortunately, that just isn’t the case. The story and screenplay, penned by Dougherty himself is really lacklustre with poor, cringeworthy dialogue and some wooden performances by actors who should really know better. The attempts at Marvel-esque humour fall completely flat and this is a real shame.
Making her feature film debut, Mille Bobby Brown salvages what she can from the script and performs very well but when the screenplay doesn’t know what to do with individual characters, they’re tossed aside as Ghidorah fodder and completely forgotten about. Not only is this frustrating for the audience, but it certainly isn’t script-writing best practice.
Thankfully, things start to turn around when it comes to the cinematography. Lawrence Sher, who has worked on Paul, The Hangover and the upcoming Joker movie picks some outstanding shots that make you feel very much part of this almost apocalyptic universe the Titans are roaming. While stopping short of beautiful, many of the sequences are too messy for that, Godzilla: King of the Monsters is a very attractive film indeed and the colours used are ethereal in their nature and require the biggest screen possible to get the most from them.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, it’s not enough to detract from the exceptional visual effects work
The special effects too make a lasting impression. This was not a cheap film to make and thankfully this shows on screen. Whilst naturally heavy on CGI, Dougherty has stated that practical effects had been used wherever possible. Perhaps the biggest compliment here is that it’s impossible to tell where practical meets CG.
Godzilla is beautifully rendered and while the look is less successful on King Ghidorah, it’s not enough to detract from the exceptional visual effects work that has gone into making Godzilla 2. Mothra in particular is a sight to behold.
Bear McCreary’s score too is very good. After working on relatively low-budget films until now, his orchestral and vocal compositions work beautifully with what’s being shown on screen and the music has an operatic vibe that feels truly fitting of a film of this magnitude.
Nevertheless, Godzilla: King of the Monster’s downfall is in that shoddy script. None of the actors bring their a-game here and moments that should have emotional poignancy don’t hit home because they’re not allowed to. Within 10 minutes of the film’s opening, we’re smack bang in the middle of an action sequence with it rarely letting up until the thrilling finale 2 hours later.
Overall, Godzilla: King of the Monsters is a perfectly adequate outing for the king of the kaiju but one that comes with a dash of disappointment. The bar was set incredibly high by Gareth Edwards and while the special effects and action scenes are impressive, that’s not enough to mask poor storytelling and thinly drawn characters.
https://moviemetropolis.net/2019/05/29/godzilla-king-of-the-monsters-review-all-hail-the-titans/
Awix (3310 KP) rated King Kong (2005) in Movies
Mar 5, 2019
Audacious film-maker attempts to mount spectacular entertainment featuring giant ape, finds he's bitten off more than he can chew - handily, this covers both the plot of King Kong and the movie itself. The equivalent of one of those bloated Harry Potter books written when JK Rowling was so successful no-one was brave enough to say 'this needs an edit': movie is exhaustingly long with a lot of dead wood in every department.
Main problem is that Jackson and his co-writers seem to think they are making Titanic rather than a pulp monster movie: this film takes itself very, very seriously considering the subject matter; sorely needs a sense of humour. Only really comes to life in the big set-piece CGI sequences, most of which are original to this film - Jackson is obviously having fun during the sauropod stampede and the bit with the giant man-eating crabs, not so much the rest of the time. Technically superior in every department to the 1976 version, but still less entertaining somehow.
Main problem is that Jackson and his co-writers seem to think they are making Titanic rather than a pulp monster movie: this film takes itself very, very seriously considering the subject matter; sorely needs a sense of humour. Only really comes to life in the big set-piece CGI sequences, most of which are original to this film - Jackson is obviously having fun during the sauropod stampede and the bit with the giant man-eating crabs, not so much the rest of the time. Technically superior in every department to the 1976 version, but still less entertaining somehow.
RKO Radio Pictures Horror, Science Fiction and Fantasy Films, 1930-1956
Book
King Kong and The Thing from Another World are among the most popular horror and science fiction...
CA
Cinemaps: An Atlas of 35 Great Movies
Andrew DeGraff and A.D. Jameson
Book
Acclaimed artist Andrew DeGraff has created beautiful hand-painted maps of all your favorite films,...
Ross (3282 KP) rated Anthology of American Folk Music by Various Artists in Music
May 26, 2020
Rolling Stone's 278th greatest album of all time
I had hoped this album would be a 1-disc compilation of the likes of Bob Dylan and maybe some of the San Francisco bands. Sadly, it turned out to be a 6-disc set of a diverse range of musical styles prevalent throughout young America in the late 1920s and early 30s.
Some of this was good, the more typical blues songs much like Robert Johnson and Muddy Waters. There were a number of Cajun songs which were listenable. There were also a number of fairly poor early gospel songs which were really hard to suffer through.
This is an important album historically, showing some of the earliest musical recordings, and chronicling the range of musical style, that could almost be mapped across the USA.
Interestingly, "King Kong Kitchie-Kitchie-Ki-Me-Oh" is a variation of the old Scottish song "Frog Went A-Courting", written about various French suitors to Scots nobles. I found it interesting that this song must have travelled across the Atlantic and been adapted to suit the tastes there.
Some of this was good, the more typical blues songs much like Robert Johnson and Muddy Waters. There were a number of Cajun songs which were listenable. There were also a number of fairly poor early gospel songs which were really hard to suffer through.
This is an important album historically, showing some of the earliest musical recordings, and chronicling the range of musical style, that could almost be mapped across the USA.
Interestingly, "King Kong Kitchie-Kitchie-Ki-Me-Oh" is a variation of the old Scottish song "Frog Went A-Courting", written about various French suitors to Scots nobles. I found it interesting that this song must have travelled across the Atlantic and been adapted to suit the tastes there.