I have in several films of Elvis' to him riding a motorcycle with a seat was seen with feathers. That Motorcycle looks a lot like HarleyDavidson Softail Deluxe.
It's a Harley Softail … The did not come to this point but … Softail fatboy like sometime in the late creted 80 or early 90th This was re-create the old nostalga look of old bicycles (or hardtail). The Deluxe was created to look like the older bikes like elvis View rode … she came with the luxury of about a year or two years … it is a new model softail made to have that old look to it. It is a hard tail, I believe. Hardtails have no suspention in the context … it's suspending shock under the seat. I'm pretty sure he rode on a panoramic head (meaning engine) Dressers … not Ensure the year. Now, Road King and Touring models have shocks in the saddle bags mounted and how much Sportster V-rod and DYNAS. Softail are the only ones that the shocks under the frame and hidden so they do not look old shocks. This makes the softail line so popular today. Hope this helps you out.
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They say making music has therapeutic value, and for the volatile Cage’s sake, one hopes it’s true. On his full-length solo debut, Movies for the Blind, the German-born MC comes out firing, calling out MTV and Eminem on “Escape to ’88,” before moving onto
Elvis’ movie themes and ’60s soundtracks are renowned as the repository for his worst material, fluffy novelties with inane lyrics and uninspired performances. What’s more, their genesis usually had everything to do with Elvis’ management securing the copyright and publishing, and nothing to do with the recording of strong material. They can’t be ignored by anyone however, much less by Elvis fans, since they often resulted in big hits like “Can’t Help Falling in Love,” “G.I. Blues,” and “Viva Las Vegas.” Even when they didn’t reach the charts, there were still the occasional pleasant throwaways like “Flaming Star,” “Follow That Dream,” “Rock-A-Hula Baby,” “A Little Less Conversation,” “Little Egypt,” or “Bossa Nova Baby.” Elvis at the Movies is a two-disc, 40-track set from RCA that concisely presents most of Elvis’ signatory movie songs. This type of compilation has been offered before, most notably in 1995, when RCA assembled a fine movie collection (Command Performances: The Essential 60s Masters II) with more than 20 additional songs than this one, including this set’s biggest omission: “Girls! Girls! Girls!” The only new feature that Elvis at the Movies offers is remastering with DSD technology, which does indeed make a noticeable difference compared to previous remastering. ~ John Bush, Rovi
Elvis Presley’s movie soundtracks have long been notorious for being among his worst material — who can forget the legendary vinyl bootleg of ’60s movie soundtrack highlights called Elvis’ Greatest Shit? — but among the dreck, there were some wonderful songs, ideal for a single-disc compilation along the lines of Movies, which is one of six thematic Elvis compilations released in 2006. Unfortunately, Movies falls short of being a perfect comp of these highlights, since it misses such big songs as “Can’t Help Falling in Love,” “Return to Sender,” and “A Little Less Conversation” (plus such enjoyable throwaways as “Bossa Nova Baby”) are missing. Despite this, much of this 24-track collection is very good, containing such Elvis ’60s standards as “Blue Hawaii,” “G.I. Blues,” “Follow That Dream,” and “Viva Las Vegas,” and also stretching back to the ’50s for “Love Me Tender,” “Loving You,” “Jailhouse Rock,” and “King Creole.” So even if this isn’t an ideal collection of highlights from Elvis’ soundtracks, it is an entertaining one, and worthwhile for those looking for a sampler of Elvis’ best movie work. ~ Stephen Thomas Erlewine, Rovi
Lush, heartfelt, and elegant, At the Movies finds smooth jazz saxophonist Dave Koz celebrating his favorite movie themes. Featured here are such classic movie melodies as “Over the Rainbow,” “The Shadow of Your Smile,” and “The Pink Panther” as well as more contemporary songs like “A Whole New World” and the main theme from Schindler’s List. Showcased beautifully throughout At the Movies is Koz’s deftly melodic and supple saxophone sound, which truly evinces his obvious love of film and film music. It also doesn’t hurt that he’s often backed by a full orchestra and big band here, adding to the widescreen, cinematic sound he’s going for. Also engaging are Koz’s guest artist choices, including trumpeter Chris Botti, vocalists Johnny Mathis, Barry Manilow, Donna Summer, and others. ~ Matt Collar, Rovi Performers: Ingrid Bergman – Spoken Word; Bill Meredith – Horn (English); Birch Johnson – Trombone (Tenor); Diane Lesser – Horn (English), Oboe; Joe Passaro – Tympani [Timpani]; Larry Farrell – Trombone (Tenor); Marc Goldberg – Bassoon; Ron Jannelli – Bassoon; Adrian Benjamin – Viola;
“I am my father’s son/ I’ve never known when to shut up/I ain’t foolin’ no one/I am my father’s son.” These words lead off the fourth song on Justin Townes Earle’s second album, Midnight at the Movies, and given that many people still know him as the son of iconic singer/songwriter Steve Earle, it’s a brave and startling statement. But at the same time, much like his 2008 debut The Good Life, Earle’s second album works because he seems determined not be his father’s son; the tone and the feel of this music owes precious little to the family line, and Earle sounds appreciably more relaxed, confident, and in control here than he did on his fine debut. Earle’s music has one toe tangled in hillbilly tradition on the folk ballad pastiche “They Killed John Henry,” the uptempo string band number “Black Eyed Suzy,” and the honky tonk swing of “Poor Fool,” but he can write about love and life with a clear and unaffected eye that’s effortlessly timeless. The title song is a musical snapshot that gets its Nighthawks details just right, “Someday I’ll Be Forgiven for This” and “Here We Go Again” are painfully intimate examinations of what can happen between people who care for each other, and while “Poor Fool” and “Walk Out” sound jaunty, they have a weight behind them that’s telling. And while Earle doesn’t sound like a guy who should be covering the Replacements, his version of “Can’t Hardly Wait” finds a sweet heartache at the core that Paul Westerberg was afraid to show in his recording. Midnight at the Movies plays more like a subtle step forward for Justin Townes Earle than a quantum leap, but if the The Good Life suggested he was a talent to watch, this record confirms that he’s a new writer to be reckoned with who doesn’t need to trade on his family name. ~ Mark Deming, Rovi Performers: Cory Younts – Whistle, Vocal Harmony, Whistle (Human), Harmony Vocals, Mandolin, Harmonica, Banjo, Piano; Pete Finney – Dobro, Guitar (Steel); Steve Poulton – Vibraphone; Bryan Owings – Drums; Bryn Davies – Guitar (Bass); Justin Townes Earle – Resonator, Guitar (Acoustic), Vocals; Skylar Wilson – Wurlitzer, Vibraphone, Piano, Organ
Digitally remastered collection of soundtrack works from the legendary Jazz combo. Considering their worldwide popularity, it’s surprising that No Sun In Venice (1957) and Odds Against Tomorrow (1959) are the only two full-length movies for which The Modern Jazz Quartet were commissioned to supply new, original musical soundtracks. The songs were composed by John Lewis and performed by the MJQ (Lewis, Milt Jackson, Percy Heath and Connie Kay). Much later, film maker Jim Jamusch selected ‘Baden Baden’ a track from a 1957 session for inclusion in his 2003 episodic movie Coffee And Cigarettes. More recently, familiar MJQ recordings have been used in episodes of The Sopranos. Giant Steps. Performers: Milt Jackson – Vibraphone; Connie Kay – Drums; John Lewis – Piano; Percy Heath – Bass
The title does not tell the whole story of what this album was about, for Jonathan Ansell, although not exactly a household name, was a former member of the band G4, the 2004 X Factor runners up who had three Top 30 albums before their acrimonious split in the summer of 2007. Rather than cover a selection of songs from the movies, which would probably have been sung by just about everyone in this popera genre, Ansell chose to record a set featuring a choice of songs that were, to say the least, rather unusual, not the usual crop of songs one associated with the movies, including tracks from Gladiator (“Now We Are Free”), O Brother Where Art Thou (“Down in the River to Pray”) and “Si Un Jour” (Manon Des Sources). But there are also some songs that weren’t originally songs at all, but themes from the films with vocals written afterwards, especially for this occasion, “My Own True Love,” the theme from Gone with the Wind, “Parla Piu Piano” from The Godfather, “Un Giorno Per Noi” from Romeo and Juliet on which he was joined by fellow popera singer Hayley Westenra, and “Race to the End” which was the theme to Chariots of Fire but with such contrived lyrics about freedom, running, and racing to the end, that it makes you long for a Vangelis instrumental. One criticism is that after a while every track sounds the same, all are sung immaculately with the backing orchestra, but Jonathan Ansell will have to learn how to vary the tempo and style, or his career may be even shorter than his former band’s was. ~ Sharon Mawer, Rovi Performers: Hayley Westenra – Soprano (Vocal); Jonathan Ansell – Tenor (Vocal); Martin Johnson – Cello; Alan Smale – Violin; David Garrett – Violin; Grant Mitchell – Harmonium, Drums, Piano, Keyboards, Percussion; L. Johnson – Vocals; Nick Ingman – Piano
Timid young man Denis Byrd has allowed everybody to take advantage of him, and he’s finally reached the end of his rope. Desirous of putting an end to his shy ways, he starts taking the advice of Dr. Tuttle, The Maestro. Tuttle teaches Star Therapy at Now College and has dedicated himself to stopping Denis from being an extra in his own life. The instructor treats his own life like a movie and constantly has himself filmed (in the lead role, of course). Before long, Denis has worked up enough courage to steal his wacky older brother’s pretty fiancée…
Howard Hughes, eccentric billionaire, aviator, movie mogul, and ladies’ man, was one of Hollywood’s most fascinating players. Head of RKO pictures in its prime, Hughes was once just about the most powerful man in Hollywood, as well as the head of Hughes Aircraft Company, where he was determined to build the world’s greatest aircraft. As a film producer, Hughes revolutionized the industry by almost single-handedly creating the notion of the blockbuster and he bedded hundreds of stars and starlets alike. Yet, for all his success, Hughes was painfully shy, and is best remembered as the psychotic recluse he came to be later in his life. This is the story of Hughes’s amazing years in Hollywood.
In the years between Braveheart and The Passion Of The Christ, Mel Gibson created The Patriot – a big screen portrayal of the American Revolution against the British crown. Nominated for three Academy Awards, and including a brilliant original soundtrack composed by John Williams, The Patriot is an excellent illustration of the historical roots of American representative government. Mel Gibson stars in the lead role with his usual charismatic screen presence. In essence, this is Braveheart in the foothills of South Carolina, and Gibson’s fans will not be disappointed…
The year is 1776, and in a small South Carolina town, farmer Benjamin Martin (Mel Gibson) is disheartened to hear of the impending American rebellion against England. A veteran of the French and Indian War, Martin is well aware of the horrors associated with armed conflict. He prefers the safety and tranquility of farm life and encourages his family to do the same. But when his eldest son Gabriel (Heath Ledger) joins the revolution, British redcoats arrive on Martin land and threaten the entire family. When one of Benjamin’s younger sons attempts to help his brother, the sadistic British officer William Tavington (Jason Isaacs) cuts him down. The murder of his son inflames the passions of Benjamin Martin who changes his mind about fighting and enlists in the local militia. Hunting down British army officers with the stealth actions of a wild animal, Martin employs guerrilla tactics and superior knowledge of the land in order to level the playing field against the world’s greatest army…
As British General Cornwallis moves his troops into the South Carolina area, Martin leads a band of militiamen who successfully sabotage British supplies, bomb British ships anchored in Charleston, and pluck off redcoats one-by-one. Fighting side by side with his eldest son, Martin hopes to hold off the British advance long enough to receive aid from the French. He also hopes to avenge the murder of his son and give birth to a new nation. But another chance encounter with Tavington results in Gabriel’s death on the battlefield.
As the American Revolution gains ground against the British forces, Martin engages in a series of bloody conflicts – one of which leads to the inevitable showdown between himself and Tavington, the man who murdered his sons…
Released in late June of 2000, just a few days before Independence Day, The Patriot is a well-written, action packed foray into the world of Colonial rebellion. Its stunning portrayal of the American Revolution inspires every viewer who retains a modicum of patriotism for the American experiment, and the fight for freedom makes for a worthy subject. One of Mel Gibson’s best movies, The Patriot offers scene after scene of majestic landscapes, elegant soundtrack music, and an overall story dripping with action and suspense. If you loved Braveheart, then you’ll definitely enjoy The Patriot. Its similar depiction of an honorable and heroic figure fighting for the freedom of his countrymen makes The Patriot a must-see film for the ages…
