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Saw this on PBS last night... It blew me away; especially James Brown's performance. The dancers were wild to watch. And James Brown's dancing. Y'all do know that James Brown is shown in here, right? Unbelieveable...

I really enjoyed the video footage of this concert, which I discovered on Youtube. I was even able to find a so so copy of the entire concert online. I really enjoyed watching all of the performances, but the James Brown portion of the concert is over to top, as far as watching an entertainer work a crowd into a frenzy! Mick Jagger has even went on record, saying that following James Brown, was the worst move that the Stones have ever done performing. If you love music that is sung, and performed by some of the greatest pop, rock, and soul artist to ever perform, then dvd will be for you!

This is a fantastic concert film, but the technical issues need some clarification. It's neither a film nor a videotape -- it's a "kinescope", which is made by shooting an event live with television cameras, and at the same time using a film camera to film the results off a TV monitor. This was the usual process for preserving live broadcasts prior to the development of videotape, and gave generally so-so results. The inventors of "Electrovision" claimed that they had improved the process to provide sharper than usual pictures, but every version of this film I've seen has been pretty murky. Unless they were recording video elements at the same time (which I kind of doubt) then the kinescope record is the only mastering element that exists. The opening segment of the film, by the way, where we see the various acts getting ready and arriving at the theater, was shot on film. It switches to "Electronovision" for the concert itself. Technical consierations aside, this is one of the best concert films ever made. Great music, great camerawork, and great directing. I'm looking forward to seeing it come out legitimately at last.

I have not been able to get over the first time I saw this way back in 1965. Saw it twice at the drive-in theater. Then, last night I accidently noticed it on PBS. Instantly the channel selector hit channel 9. Of course I came in at the beginning of a pledge break. Finally the film came back. Could not believe the quality of the picture. Even better than I remembered! Right away I clicked on Amazon. WOW! Its coming out this month. Okay, I know that this concert does not meet today's standards of production. In fact the qualities are quite rediculous. But I absolutely dare anyone to be able to line up so many super groups on one stage today. Okay, except for the Beach Boys most of these groups had not yet attained that level. If you want flashing lights and 8 track stereo surrounding your ears go elsewhere. Many of you take all these groups for granted now. But back then most of them were in the early stages of their fame. Let me tell you that way back then us white boys had never heard of James Brown. So help me god, that man blew all of us away. He stole the show hands down. We all had to run out and find his records. (By the way, the movie TOP SECRET does a wonderful job spoofing his act.) Not until Michael Jackson in 1983 did anyone come close to his onstage charisma. So my point is this. If you really want to understand rock & roll of the 60's you absolutely have to see this DVD. We had never seen anything like it. From what little I watched on PBS it is an awesome production. Okay, you old fart, if you liked it so well why didn't you watch the whole thing. Boys & girls, no sane human alive can sit through those endless pledge breaks on PBS. (Did you know that according to Betty White on the Simpsons if you watch even one second of PBS without contributing then you are nothing better than a common thief)?

First, to answer a few points that have been made in other reviews/comments. This was not shot with TV cameras, but with film cameras for theatrical release. It was never shown on TV. So we're blessed to have real film clarity and depth that is preserved with digital HD. (ed. note: upon further research, the film was shot with TV cameras. However, the quality is so good that it fooled me into thinking it was filmed, not taped.) Also, Chuck Berry performs with Gerry and the Pacemakers because in the 60s and to this day, Chuck never toured with his own band. Promoters in each city had to provide a stage band for Chuck, and any musician who didn't cut his musical chops on Chuck's songs didn't deserve to share the stage with him anyway. OK, now that's out of the way. As I've said, the clarity of this *film* is remarkable, so you HD nerds don't need to waste your time worrying about it. It is incredibly sharp. You get the entire film as it was shown, with no cuts or edits. The sound is also incredibly clear, regardless of the time. Some of the artists use backing tracks and/or an off-stage house band. But the vocals are all live. Most of the performances are remarkable. Yes, there are some forgettable and long forgotten artists but it was 1964 and all of these acts had hits on the charts. Occasionally, dancers jump around on stage and it seems kind of silly and distracting, but again, that was the times. What you get is likely the best James Brown performance ever captured on film. The Beach Boys prove that they could really rock. Marvin Gaye also delivers a great performance, showing some of the greatness that would follow. It's also kind of sad watching him knowing how his life would tragically end. Diana Ross and the Supremes also deliver; Ross' voice is crystal clear and beautiful. The Stones provide a rare live performance of Off The Hook, an obscure early Jagger/Richards penned gem. To have this film of a pre-Satisfaction Stones performance is a treasure. Yes, I will buy this and I can't wait.

Reviews

I bought this cd specificatly for the song Junk Food Junkie, but have enjoyed several others, very funny and I recommend this cd for anyone who likes to laugh

I've been looking for a couple of old songs and could not find them. So I searched around AMAZON and found what I was looking for...the music was as I expected, clean and true!! Thank you. Lou

In a nutshell, this CD is a must for your collection if you are an old geezer like me who was alive and remember whwen these songs were new releases. It's a fun CD, the songs still make me laugh, and what else is there to say?

These songs brought back so many memories of my teen age years. It was great.

I gave this to my daughter on her birthday and it brought instant tears of happiness. She and her sister had won a talent contest in high school by mimeing "Telephone Man" and with other songs on the album the memories came flooding back. Too bad "Peter The Meter Reader" wasn't included, but still a treasure.

Reviews

This collection is the "real" Jan and Dean in that it presents the music, tunes and cover art that made J & D into the stars they were. Most folks in the 50's and 60's got their music from the radio from DJ's who mostly played the 45's issued by record companies and their artists. Allthough Jan & Dean had a few hit's in the late 50's, they hit their groove between 1963 and 1966. Liberty Records knew they had a money maker with the guys and did quite a bit of promotion of the 45 single releases. When J & D fans think of their favorite J & D tune, it almost always will be one of these releases. The long playing (LP) releases also had some J & D classics, (Horce, the School Bus Driver); and the later releases of alternative versions, studio outtakes and such are great stuff for the J & D buff. But is the Liberty 45's where they made their bones. The audio quality is very good.

Fantastic collection that chronicles the best of Jan & Dean's career. 42 tracks ranging from their #1 hit(Surf City) to gotta-hear album tunes like My Mighty G.T.O. - Lots of upbeat hits (New Girl in School), underrated singles (I Found A Girl), and hints at their unique brand of humor that predated the Monkees (Batman), as well as where they were heading before Jan's accident (Can't Wait to Love You). Substantive linear notes including some by David Beard of Endless Summer Quarterly (the Beach Boys and Jan & Dean journal).

Collector's Choice got it right. While putting together "Jan and Dean: The Complete Liberty Singles" anthology the producers decided to offer the original mono recordings that you would have heard on your transistor radio back in the early to mid 1960's. In those days, most of the 45 rpm releases were mono. Later attempts to release this material in stereo just didn't cut it. As a result, the sound quality on just about every track on "Jan and Dean: The Complete Liberty Singles" is clean and crisp and remarkably authentic. While I doubt that anyone would consider Jan and Dean to be important figures in the history of rock and roll they certainly did have a fairly impressive run between 1958 and 1966. During this period they placed a total of 26 sides on Billboard's Hot 100 Singles Chart. Most of these releases were in fact on the Liberty label. On "Jan and Dean" The Complete Liberty Singles" you will find the A & B sides of all 21 of the guys Liberty releases. The early releases find Jan and Dean struggling to come up with just the right sound. Before signing with Liberty they recorded for the Dore label among others and dabbled in doo-wop "Baby Talk" and folk "Clementine". Their 1961 recording of the venerable standard "Heart and Soul" certainly showed some promise for the boys. Later on in 1961 Jan and Dean signed a new recording deal with Liberty records. They attempted to build on the success of "Heart and Soul" with their initial Liberty release "A Sunday Kind of Love". It was a dismal failure. In early 1963, a tune called "Linda" achieved modest success and set the stage for the boy's most productive period. During this period surf music and cruisin' music had become all the rage. The Beach Boys were riding high and so Jan and Dean decided it was time to jump on the bandwagon. With a little help from their friend Brian Wilson, Jan and Dean reached the top of the charts on the summer of '63 with "Surf City". And the hits just kept on coming over the next 18 months with rollicking favorites like "Honolulu Lulu", "Dead Man's Curve" and "The Little Old Lady From Pasadena". Of all of the Jan and Dean hits my all-time favorite is "Ride The Wild Surf" from the fall of 1964. I also enjoyed hearing "The New Girl In School", "You Really Know How To Hurt A Guy" and the boys final hit "Popsicle" for the first time in a long time. "Jan and Dean: The Complete Liberty Singles" also offers listeners the opportunity to sample all of the B sides of the singles as well. Definitely a mixed bag here. As always, Collector's Choice has done an exceptional job in putting this collection together. "Jan and Dean: The Complete Liberty Singles" definitely fills a void in my collection. I am giving this one 4 stars. I would break it down this way: 3 1/2 stars for the music and 4 1/2 stars for the package. Recommended.

In the shorthand of compilation albums and oldies radio, Jan & Dean sprung into the world fully-formed with the 1963 chart-topper "Surf City," and proceeded to unwind a string of surf and drag hits that included "Honolulu Lulu," "Drag City," "Dead Man's Curve," "The Little Old Lady (From Pasadena)," "Ride the Wild Surf," and "Sidewalk Surfin'." And together with the Beach Boys, they defined the sunshine drenched Southern California sound of 1963 and 1964. And while their well-known singles were a fundamental element of the West Coast pop revolution, there's a lot more to the Jan & Dean story, before, during and after their most celebrated sides were waxed. This collection of singles (A's and B's) recorded by Jan and Dean for Liberty between 1962 and 1966 provides ear-opening insight to the duo's pre-stardom gestation, the experiments and advances that paralleled their hit-making years, and the artistic reach that extended past their radio-friendly hits. Though Jan & Dean had recorded ten singles (and achieved two hits) before signing with Liberty, the initial sides for their new label still found them searching for a unique sound and identity. They opened their relationship with Liberty by revisiting the pop doo-wop they'd practiced in the late `50s, recording the `40s standard "Sunday Kind of Love" in the footsteps of both the Harptones and Del Vikings. Jan & Dean's take follows the latter's upbeat approach, but with a solo vocal and a clownish band arrangement. The duo's next outing, "Tennessee." was even goofier, with "ba ba ba" backing vocals, stomping percussion and a roaring sax solo. Switching to Brill Building material, they cut the Mann & Weil ballad "My Favorite Dream" and gave a rock `n' roll twist to Barry Mann's "Who Put the Bomp" on the flip; both sides disappeared without a trace. Their Christmas single, "Frosty the Snowman" and its doo-wop flip-side "She's Still Talking Baby Talk" (a sequel to their 1959 hit "Baby Talk"), perpetuate the sense that Jan, Dean and their producers were still fishing for good ideas. That good idea turned out to be an imitation of the 4 Seasons with "Linda," borrowing the Jersey boys' rhythm and falsetto trademarks and finally riding back into the top-20. Continuing to capitalize on popular trends, their next single, the Jan Berry/Brian Wilson-penned "Surf City" not only took them to the top of the charts, but defined their enduring image and sound. In just over 2-1/2 minutes, Jan & Dean painted the sort of idyllic Southern California life that would sell millions of records on both coasts and in the landlocked states in between. Interestingly, the trademark falsetto on this track was neither Jan nor Dean, but Tony Minichiello; co-writer Brian Wilson can also be heard on the song's catch-line. Riding the wave of surf and drag sounds, Jan & Dean released six more hits in a row before their chart action started to fade at the end of 1964. Throughout thia run they added fine B-sides to their singles, including the jaunty Gary Lewis-styled "When I Learn How to Cry," the sweet, sunshine "She's My Summer Girl," the 4 Seasons-ish "Someday (You'll Go Walking By)," the hilarious "Alley Oop" rewrite "Schlock Rod (Part 1)," and the Beach Boys styled "The New Girl in School" (which hit #37 as a flipside!). But even as their hits charted lower in the top-40 in 1965 and early 1966, Jan Berry was developing arrangements and production techniques (and using Los Angeles studio players) that were in league with Phil Spector and Brian Wilson. He layered vocals and instrumentation on sophisticated productions like "When It's Over," "You Really Know How to Hurt a Guy" and "A Beginning From An End." The latter is one of the duo's stranger picks for an A-side, given its story of a wife dying in childbirth. Even more strangely, it charted to #109! The B-sides also gave Berry a chance for humor with the "Surf City" rewrite "Folk City," and the manic car-song send-up "Bucket T." Jan Berry's car crash in April of 1966 effectively ended the duo's recording career, with Liberty releasing their last major chart hit, the bubblegum doo-wop "Popsicle," as the B-side of "Norwegian Wood." Two more singles went nowhere, and Jan & Dean ended their run on Liberty. Gathered here are all of Jan & Dean's Liberty singles, remastered from the original mono tapes (that is, the AM-ready mixes that mattered), augmented by Jan Berry's 1965 solo single (the ironic anti-protest song, "The Universal Coward" b/w "I Can't Wait to Love You") and a scrapped B-side ("The Submarine Races"). Ed Osborne's liner notes are superb, as are the photos (CD-booklet small as they are) and reproductions of 7" single picture sleeves. There's more to the Jan & Dean story in both their pre- and post-Liberty years, and in their album tracks, but as a pop act recording in the AM-radio singles era, this is an interesting way to view their career, particularly with the inclusion of the B-sides. Everything here has appeared on CD somewhere else, an album or a compilation, but never before have all the original mono mixes been laid end-to-end. A more encompassing collection that picks up select earlier sides might be more interesting to the Jan & Dean neophyte, but anyone interested in their most productive years will relish the opportunity to hear all the Liberty singles in a row. [©2008 hyperbolium dot com]

Reviews

From a backwoods girl, this movie quickly became a classic for me. I have been waiting rather impatiently for it to come out in DVD-form, but apparently that isn't to be. I did catch it on REELZ channel the other day and TiVo'd it so that I can watch it over and over. Like Fried Green Tomatoes and It's a Wonderful Life, Where the Lilies Bloom is a classic and tells folks who didn't live it what life in the backwoods of Appalachia is like. Though I was born a generation later than this movie depicts, I can recall my mama talking about things that this movie showed. I loved the little spitfire actress who played the character Ima Dean. She looked much like I did, as a child, complete with the braids and pudgy face. A wonderful hour and one half of movie and a "must see"! Enjoy.

This is one of the nicest movies ever made. It is small and quiet and heartwarming and well-crafted. It has an excellent cast playing believable people. It has Rance Howard in his finest role on film. Rance Howard is Ron Howard's dad. Let's ask Ron Howard to use his considerable influence to get his dad's finest film RELEASED ON DVD!

This was a childhood favorite of my wife's. She loved it when she opened it. The service that I got from the company that sold it was outstanding.

This is a powerful and unique movie. It touches deeply and lastingly. I saw this movie when I was a boy, and never forgot it, (though I could not remember its name.) It was such an engaging, charming, and sensitive movie, I was very affected by it. I recently found this movie at the local library, and truly rejoiced when I did. It brought back memories of that movie I had always somewhat remembered watching when I was a boy. Well, it doesn't disappoint. Filmed entirely in Watauga county, North Carolina, it is thoroughly steeped in Appalachian authenticity. You are totally transported to this locale and era, and get to view life from the perspective of 4 orphaned kids who must keep the death of their father a secret, lest they get split up and be forced to leave their historic homestead. As an adult, I really appreciate so many aspects of this movie. The story is by Earl Hammer, (of "The Waltons" fame,) and was handled very tenderly and movingly by the movie. The music was by Earl Scruggs, and has these soft, haunting mountain banjo strains that are so touching and appropriate. Except for Harry Dean Stanton and Jan Smithers, the rest of the actors never went on to any other level. The lead, Julie Goulson, was absolutely brilliant in her role as Mary Call, but I don't believe she ever got more than 1 or 2 additional roles. The same goes for the rest of the cast - perfectly suited for this movie, but unable to fulfill any other part. The tension in this story is so powerful and gripping. (What would you do if your father died, leaving you orphaned, and you couldn't tell anyone about it.) Rather than being a grim, dark toned affair, the plot is actually very heart-warming and moving. (When little Ima Dean starts knocking on her father's bedroom door, thinking he's really still alive and should come out and help them, I always lose it.) This is a special movie, there's no two ways about it. Its unusual, touching, brilliant, and profoundly affecting. I've since seen it a half dozen times, and always enjoy it thoroughly. If you want a real special treat for a friend or family, you should get this movie. I rarely get choked up when writing a review, but I do with this one. I don't know if its just nostalgia or what. There's just a certain quality to it that's unusual and unique. Very moving, and very poignant, in many ways.

I saw this movie in the theatre when it first came out in the 1970's and have loved it ever since. The music is hauntingly beautiful and the story heart-warming. If only it would come out on DVD!

Reviews

I first saw this movie on HBO in 1979 and have loved it ever since. I cannot believe it is so rare and not on DVD. Richard Hatch was mis-cast as Jan Berry. Film was otherwise very well done. Jan Berry was a genius. I believe he was a member of the MENSA society. This film does have some historical inacurracies. Jan's 1966 accident happened when he was wrecklessly drag racing on the Sunset Strip. Not the way it is portrayed in this film. His stupidity killed his 2 passengers when his 1966 Corvette Sting Ray crashed into a parked truck. He was left severly brain damaged which is tragic. Jan should be admired for the way he fought back and was able to move on with his life & career despite being so disabled.

This rare video of "Deadmans's Curve - The Jan & Dean Story," aired on TV only once in 1978, is excellent! I had been looking for this for a long time and was thrilled to finally find it! My copy, though used, was in excellent shape - both the movie and the jacket sleeve. It tells the story of Jan & Dean's rise to success and fame, Jan's accident, his struggle to regain motor skills, Dean's loyalty to his friend and music partner, and Jan's emotional come-back on stage. I love it!

This is one of my favorite true movie that I like so much. I never knew what the effects that was going on after Jan had that terrified accident

I had looked so long for this movie and when I got it it was worth the wait. I have never enjoyed something so much as this. Richard Hatch who is one of the masters of acting in my opinion is phenomenal in this movie as Jan Berry. He is so 180 from the high maitnence Jan. Bruce Davison was also quite excellent as Dean Torrence. I enjoy his works very much as well-besides these two dedicated excellent actors-Susan DuBarry who played Jan's Girlfriend through the majority of the movie was 1st rate. Pamela Bellwood also deserves two thumbs as Annie. All of these actors made these people quite believable. I enjoyed this -I reccomend this to anyone. Sarah J.

I watched this movie 25 years ago and I just loved it that I even cried through some of the seans in the movie.

Reviews

This is really a love story but since it's based on a book by Stephen King you aleady know that the love is dark and dangerous. In every high school there are couple of kids who are treated badly by the tribe. Arnie Cunningham is a sweet, smart kid but the local bullies are making his life hell. He has two things going for him: his imagination and his best friend, Dennis, a genuinely nice kid who is on the football team and protects him. Arnie finds a Plymouth Fury and falls in love. The car's name is Christine and she's alive. No reason why, she just is. She talks to Arnie telepathicaly and through her radio. When she plays Johnny Ace's Pedging My Love and Arnie sighs and lays his head on her steering wheel the two are irrevocably wedded. The actor's voice changes whenver he's speaking to Christine, it becomes soft and affectionate. Her music, when they are alone is a playlist of love songs. It's and intense relationship. Arnie gives Christine his life, she gives devotion, protection and one heck of a makeover. His skin improves and he no longer needs his glassses. He goes from looking like a hopeless geek to a combination of James Dean and Marlon Brando in THe Wild Ones. He attracts and takes for himselt the queen of the school, Leah. The actress playing Leah is not very good. She says her lines and that's about all I can say for her. Frankly, nobody's acting, except for Keith Gordon as Arnie, is very good. Acting is not what makes this movie. The relationsip, the building suspense that exlodes into terror, the music both soundtrack and John Carpenter's score make the movie and does it fairly well. Christine tolerates Leah for one hot minute but when it looks like Arnie's affection for her is getting too strong the car causes her to almost choke to death. She also settles some scores with the local punks. Anybody who crossed Arnie is getting burnt, squished, crushed and turned into roadkill. Finally Dennis and Leah try to pull Arnie from Christine's spell and end the killing. They succeed, sort of. Other than the poor acting of the supporting cast, there are a few nitpicks. The leader of the bullies looks about 30, what the heck is he doing in highschool? The ending is too far from what was in the book and is too weak. The detective focuses on Arnie but has nothing to make his investigation legal. This isn't a great movie. It's a darkened basement TV movie and that's okay. I had fun with it.

This is a great example of that odd blend of the slick and the cheesy that was so common among movies made in the late 70s to mid 80s or so, especially horror. Keith Gordon does the best job here as Arnie, who goes from nerdy and picked on to snotty and dangerous, even downright deadly, after he fixes up an evil car that he names Christine. The rest of the acting is so-so or just bad. The visual effects showing Christine restoring herself after being totalled are quite impressive. Not a bad adaptation, overall.

Arnie Cunningham is a typical high school nerd who is picked on, overruled by his parents, and has very few friends. Until he meets Christine, a run-down 1958 Plymouth Fury and buys her. Arnie learns that Christine has a thing for him and devotes his time to restoring her to mint condition. But overtime, Arnie begins to change and becomes disconnected with reality and his friends. Arnie's girlfriend Leigh and best friend Dennis find out that Christine's previous owner cared about nothing else when he bought her and find out that Arnie is becoming just like him. The only way they can bring Arnie back to reality is to destroy Christine, but Arnie and Christine are ready to destroy them first and any one else who gets in their way. Christine is a classic horror movie that delivers on the good scares. I still have a hard time watching it. This is one of the rare horror movie that is very enjoyable. I highly recommend that you see this movie if you get the chance, it's a classic.

I remember watching this movie as a kid. What I wasn't able to see then were all the extra features with this DVD. The featurettes, deleted scenes and alternate ending are great. I would highly recommend this DVD for the Christine enthusiast!!

I'm not a real ardent Stephen King fan but have read most of his hugely entertaining early novels (those published in the 70's and early 80's) and I consider CHRISTINE to be one of his best. I came across the film version the other day and didn't really mean to watch for more than a few minutes but I was riveted from the opening scenes at a Detroit auto factory in the 1950's where Christine is manufactured to the unsettling final scene. The movie had to condense and combine a lot of material from the book but still remains relatively faithful to King's original plot. In fact I picked up a copy of the novel again and really enjoyed using it to fill in some of the details the film merely hinted at. One minor complaint is that the novel CHRISTINE took place in the Pittsburgh suburbs and director John Carpenter changed the movie location to California where it was obviously filmed. The acting from the mostly young and still not particularly well known cast is OK but nothing special. Music is very cleverly and memorably used throughout the film and really enhances the storyline. There are some gruesome deaths but the goriest of details are left mostly to the viewer's imagination. If you enjoy this movie you must read the book!