This packs a lot into its 75 minutes, with a fast pace that verges on the hyper at times, though some would contend thats appropriate for a magazine that prided itself on living fast and hard.Were not going to movie theaters, and access to book stores, record stores, and libraries is limited, if theres access at all.
Film directors, record producers, and publishers cant work as quickly and efficiently as normal. This naturally has led to expectations that less product would be released, perhaps much less than in a typical year. There have been rock documentaries of all sorts, from superstars to cult figures, on regional scenes, magazines, and TV shows. For this year in particular, it reflects the growing use of virtual cinema sites that enable viewers to easily stream movies upon or shortly after release. In some ways, its become easier to see the movies than it would if wed tried to catch them in theaters, especially for specialized ones that might seldom or never play in your town. Maybe there will be a slowdown next year, when the difficulties in researching and filming movies at a time when there arent public gatherings catch up with the release schedule. I dont have HBO, so I didnt see the new Bee Gees documentary. Could I have gone over someones house who has HBO to see it Not safely, not now. Linda Ronstadt Greatest Hits Rar Series Hullabaloo WouldReleased near the end of the year, a DVD set of the complete episodes of the early-60s British folk TV series Hullabaloo would not have arrived through the mail from the UK before January 1 even if Id ordered it on the day it came out. These include films on Tiny Tim, the Go-Gos, and Shane MacGowan, as well as Jimmy Carter: Rock Roll President. Ill add any 2020 documentaries that I dont see until 2021, but find worthwhile, as a supplement to my 2021 best-of list. If there was a list that combined picks from all other best-of lists in this category, my guess is that it would be 1 there too. Instead, interviews with almost all of the key musicians are voiced over vintage footage and photos, some of them obviously conducted many years ago (including remarks by late figures like Jim Morrison and Loves Bryan MacLean). A few non-musicians from the music industry are also heard from, like David Geffen, Jac Holzman, and radio DJ Jim Ladd. While much of the story will be familiar to fans who know a lot about this era of folk-rock, psychedelia, and singer-songwriters, the comments are relayed in an interesting and colorful manner. Some of the stories are not so familiar, like Bob Dylans Mr. Tambourine outtake making its way to the Byrds in part because some felt Ramblin Jack Elliotts harmony vocals made it unusable. Theres also Love guitarist Johnny Echolss view that his group got Elektra to sign the Doors so they could get out of their contract with the label, only for that to backfire when they couldnt leave Elektra, who put a lot of its resources into promoting the Doors. First, there arent several introductory minutes of soundbites of numerous figures gushing over how great the subject of the film is. Second, there arent modern critics or post-70s musicians supplying unnecessary validations of why this subject is important and how we need to revere it. The documentary trusts the strength of its own content to let that speak for itself.
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