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Interesting music selection for this trailer


Rabs

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I'm sure they were offered a handsome stipend........

 

This was a good one at the time (before CGI), though the trailer is dead cheesy now -

 

And it's "Carmina Burana" by Carl Orff....

 

Ohh I know that film well... You maybe forget I was born in the 70s, 80s music, films and TV are what I grew up on... That's practically all they showed on TV for many years when we only had three channels to watch :) (and I love my films)

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Ohh I know that film well... You maybe forget I was born in the 70s, 80s music, films and TV are what I grew up on... That's practically all they showed on TV for many years when we only had three channels to watch :) (and I love my films)

Yes I thought you would remember that one. Splendidly over the top and directed by John Boorman, who also made "Deliverance" and "Zardoz" among others.

Apparently the final scene where the hand comes out of the water and catches Excalibur was a very big technical challenge but it is beautifully done.

 

 

Come-on. This thread has been up for a whole day, and still not one MP Holy Grail clip has been posted! You guys disappoint me. [flapper]

 

Have to plus you for that!

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Come-on. This thread has been up for a whole day, and still not one MP Holy Grail clip has been posted! You guys disappoint me. [flapper]

The Arthurian legend has been subject for writings, paintings, and music through the centuries. The Lady of the Lake appears to be the archetype of the Lady of Shalott who albeit tragically finds a much more dramatical fate. The late Ronnie James Dio sings about a lady in white here, and that made me link the Lady of Shalott although she is more a lady of the river leading to Camelot.

 

The song "Lady of the Lake" is taken from the Rainbow album "Long Live Rock'n'Roll" released in 1978.

The painting "The Lady of Shalott" was created by John William Waterhouse in 1888.

The poem "The Lady of Shalott" by Alfred, Lord Tennyson is his latest version from 1842.

 

 

john_william_waterhouse_7_the_lady_of_shalott.jpg

 

The Lady of Shalott (1842)

 

BY ALFRED, LORD TENNYSON

 

Part I

On either side the river lie

Long fields of barley and of rye,

That clothe the wold and meet the sky;

And thro' the field the road runs by

To many-tower'd Camelot;

And up and down the people go,

Gazing where the lilies blow

Round an island there below,

The island of Shalott.

 

Willows whiten, aspens quiver,

Little breezes dusk and shiver

Thro' the wave that runs for ever

By the island in the river

Flowing down to Camelot.

Four gray walls, and four gray towers,

Overlook a space of flowers,

And the silent isle imbowers

The Lady of Shalott.

 

By the margin, willow veil'd,

Slide the heavy barges trail'd

By slow horses; and unhail'd

The shallop flitteth silken-sail'd

Skimming down to Camelot:

But who hath seen her wave her hand?

Or at the casement seen her stand?

Or is she known in all the land,

The Lady of Shalott?

 

Only reapers, reaping early

In among the bearded barley,

Hear a song that echoes cheerly

From the river winding clearly,

Down to tower'd Camelot:

And by the moon the reaper weary,

Piling sheaves in uplands airy,

Listening, whispers " 'Tis the fairy

Lady of Shalott."

 

Part II

There she weaves by night and day

A magic web with colours gay.

She has heard a whisper say,

A curse is on her if she stay

To look down to Camelot.

She knows not what the curse may be,

And so she weaveth steadily,

And little other care hath she,

The Lady of Shalott.

 

And moving thro' a mirror clear

That hangs before her all the year,

Shadows of the world appear.

There she sees the highway near

Winding down to Camelot:

There the river eddy whirls,

And there the surly village-churls,

And the red cloaks of market girls,

Pass onward from Shalott.

 

Sometimes a troop of damsels glad,

An abbot on an ambling pad,

Sometimes a curly shepherd-lad,

Or long-hair'd page in crimson clad,

Goes by to tower'd Camelot;

And sometimes thro' the mirror blue

The knights come riding two and two:

She hath no loyal knight and true,

The Lady of Shalott.

 

But in her web she still delights

To weave the mirror's magic sights,

For often thro' the silent nights

A funeral, with plumes and lights

And music, went to Camelot:

Or when the moon was overhead,

Came two young lovers lately wed:

"I am half sick of shadows," said

The Lady of Shalott.

 

Part III

A bow-shot from her bower-eaves,

He rode between the barley-sheaves,

The sun came dazzling thro' the leaves,

And flamed upon the brazen greaves

Of bold Sir Lancelot.

A red-cross knight for ever kneel'd

To a lady in his shield,

That sparkled on the yellow field,

Beside remote Shalott.

 

The gemmy bridle glitter'd free,

Like to some branch of stars we see

Hung in the golden Galaxy.

The bridle bells rang merrily

As he rode down to Camelot:

And from his blazon'd baldric slung

A mighty silver bugle hung,

And as he rode his armour rung,

Beside remote Shalott.

 

All in the blue unclouded weather

Thick-jewell'd shone the saddle-leather,

The helmet and the helmet-feather

Burn'd like one burning flame together,

As he rode down to Camelot.

As often thro' the purple night,

Below the starry clusters bright,

Some bearded meteor, trailing light,

Moves over still Shalott.

 

His broad clear brow in sunlight glow'd;

On burnish'd hooves his war-horse trode;

From underneath his helmet flow'd

His coal-black curls as on he rode,

As he rode down to Camelot.

From the bank and from the river

He flash'd into the crystal mirror,

"Tirra lirra," by the river

Sang Sir Lancelot.

 

She left the web, she left the loom,

She made three paces thro' the room,

She saw the water-lily bloom,

She saw the helmet and the plume,

She look'd down to Camelot.

Out flew the web and floated wide;

The mirror crack'd from side to side;

"The curse is come upon me," cried

The Lady of Shalott.

 

Part IV

In the stormy east-wind straining,

The pale yellow woods were waning,

The broad stream in his banks complaining,

Heavily the low sky raining

Over tower'd Camelot;

Down she came and found a boat

Beneath a willow left afloat,

And round about the prow she wrote

The Lady of Shalott.

 

And down the river's dim expanse

Like some bold seër in a trance,

Seeing all his own mischance—

With a glassy countenance

Did she look to Camelot.

And at the closing of the day

She loosed the chain, and down she lay;

The broad stream bore her far away,

The Lady of Shalott.

 

Lying, robed in snowy white

That loosely flew to left and right—

The leaves upon her falling light—

Thro' the noises of the night

She floated down to Camelot:

And as the boat-head wound along

The willowy hills and fields among,

They heard her singing her last song,

The Lady of Shalott.

 

Heard a carol, mournful, holy,

Chanted loudly, chanted lowly,

Till her blood was frozen slowly,

And her eyes were darken'd wholly,

Turn'd to tower'd Camelot.

For ere she reach'd upon the tide

The first house by the water-side,

Singing in her song she died,

The Lady of Shalott.

 

Under tower and balcony,

By garden-wall and gallery,

A gleaming shape she floated by,

Dead-pale between the houses high,

Silent into Camelot.

Out upon the wharfs they came,

Knight and burgher, lord and dame,

And round the prow they read her name,

The Lady of Shalott.

 

Who is this? and what is here?

And in the lighted palace near

Died the sound of royal cheer;

And they cross'd themselves for fear,

All the knights at Camelot:

But Lancelot mused a little space;

He said, "She has a lovely face;

God in his mercy lend her grace,

The Lady of Shalott."

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I hope Anne Bredon gets her check.

She will.

 

Interesting how things get tangled, though;

 

"Bredon appeared on a live folk-music radio show...singing "Babe I'm Gonna Leave You". Janet Smith, another folk singer, developed her own version of the song and performed it on the same radio show some time later, catching the attention of Joan Baez who used the song on 'Joan Baez in Concert Pt. 1'. The song was initially credited as "Traditional, arr. Baez".......Led Zeppelin adapted the song after hearing Baez's version, crediting the song as "Traditional, arr. Page". In the 1980s, Bredon was made aware of Led Zeppelin's version of the song and so, since 1991, this version has been credited to Anne Bredon / Jimmy Page and Robert Plant. Bredon also received a back-payment of royalties."

 

I trust Joan Baez has been doing likewise by Ms. Bredon.

I'd never heard Baez' version before now (which is mildly odd because I'm a bit of a fan) and I've never yet heard Anne Bredon's version but I couldn't help but notice that there's a major part of the Zep version missing from JB's cut - namely the Monstrous, Cascading, Am-to-Em Doom-Riffage which is, for me, pretty much the lynch-pin of the Zep cut so I think at least some part of the music - if not the lyrics - writing credit is fully and fairly due to Page.

 

On another tangent; Call me a 'Late-Victorian' (very late!) but I always did like Alfred's way with words, Cap.

msp_thumbup.gif

 

As, obviously, did Agatha Christie who took one of the lines here for the title of one of her 'Whodunnit's;

Prize(*) for the first correct answer...

Pip.

* ....of being a rightinsufferablesmartarseknowitall.

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She will.

 

Interesting how things get tangled, though;

 

"Bredon appeared on a live folk-music radio show...singing "Babe I'm Gonna Leave You". Janet Smith, another folk singer, developed her own version of the song and performed it on the same radio show some time later, catching the attention of Joan Baez who used the song on 'Joan Baez in Concert Pt. 1'. The song was initially credited as "Traditional, arr. Baez".......Led Zeppelin adapted the song after hearing Baez's version, crediting the song as "Traditional, arr. Page". In the 1980s, Bredon was made aware of Led Zeppelin's version of the song and so, since 1991, this version has been credited to Anne Bredon / Jimmy Page and Robert Plant. Bredon also received a back-payment of royalties."

 

I trust Joan Baez has been doing likewise by Ms. Bredon.

I'd never heard Baez' version before now (which is mildly odd because I'm a bit of a fan) and I've never yet heard Anne Bredon's version but I couldn't help but notice that there's a major part of the Zep version missing from JB's cut - namely the Monstrous, Cascading, Am-to-Em Doom-Riffage which is, for me, pretty much the lynch-pin of the Zep cut so I think at least some part of the music - if not the lyrics - writing credit is fully and fairly due to Page.

 

On another tangent; Call me a 'Late-Victorian' (very late!) but I always did like Alfred's way with words, Cap.

msp_thumbup.gif

 

As, obviously, did Agatha Christie who took one of the lines here for the title of one of her 'Whodunnit's;

Prize(*) for the first correct answer...

Pip.

* ....of being a rightinsufferablesmartarseknowitall.

 

What I thought was fun was that The Association recorded the song in 65 and credited Bredon as the songwriter. Joan didn't credit it on the original pressing but she did correct the mistake and credited Bredon on the second pressing. Zep never credited her until she contacted them in 1980. That Jimmy. What a rascal! \:D/

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How about this version from '67 or '68...? Goes into the song "Codine" at 4.35.

 

A comment on YouTube- "this reminds me of the days me and my buddies would smoke so much acid, the neighbors got high from the fumes."

 

Sure they did..... [lol]](*,)

 

 

 

Sorry about the hijack Rabs!

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...Joan Baez...used the song on 'Joan Baez in Concert Pt. 1'. The song was initially credited as "Traditional, arr. Baez".......Led Zeppelin adapted the song after hearing Baez's version, crediting the song as "Traditional, arr. Page"...
...Joan didn't credit it on the original pressing but she did correct the mistake and credited Bredon on the second pressing. Zep never credited her until she contacted them in 1980...

OK, just for fun;

Imagine, hypothetically speaking (of course), that Messrs. Page and Plant were inspired to record "Babe" from, as stated in the first quote, having heard it on Baez' original pressing. It's a 'Traditional' song (or so they believe at the time) therefore effectively a free-for-all-comers in terms of copyright and royalties. Page comes up with a killer riff and they record it as a cut for their debut album. This is the first release from a brand new band with no established 'track record' and they think they have done a great version of a 'Traditional' song. No-one loses out. Smiles all round.

 

Were they acting illegally or immorally if they thought the song to be 'Trad.'?

 

I quote from the wiki entry;

"...(Led Zeppelin) covered Baez's version; both guitarist Jimmy Page and singer Robert Plant were fans of Baez. Baez's album had originally indicated no writing credit (actually "Traditional, arr. Baez"), and Led Zeppelin credited the song as "Trad. arr. Page". In the 1980s, Bredon was made aware of Led Zeppelin's version of the song and since 1990 the Led Zeppelin version has been credited to Anne Bredon/Jimmy Page & Robert Plant. Bredon received a substantial back-payment of royalties..."

 

Playing Devil's advocate, of course, but it might be true!

 

Pip.

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Fairpoint and that's probably exactly how it happened.

 

 

I wouldn't bust on Led Zeppelin quite so badly if they didn't have a very long career of plagiarizing other artists and not properly crediting them.

 

Willie Dixon, Tolkien etc...

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