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Strawberry alarm clock9/9/2023 ![]() ![]() The other main contributor (easy listening vocal trio the Sandpipers add the cursory theme song) is that ever-trendy veteran of the psychsploitation film phenomenon, Strawberry Alarm Clock, who also popped up as Jack Nicholson's band in the great Psych-Out a couple years earlier. ![]() It is addictive and aphrodisiacal and even makes you feel a bit dirty when hearing it. It is voluptuously perverse and promiscuous music, but also innocently teenage, full of batted eyelashes and wide-eyed curiosity. Just as the actresses (who comically ape their instruments in the movie) embody it, the music is full of interesting contradictions, particularly a hip knowingness played against the childlike irresponsibility of the generation. ![]() They sound something like how Janis Joplin might have had she settled in the seedy pop climate of early-'70s Los Angeles (what one reviewer has accurately described as sounding like Joplin's older and uglier sister) crossed with the early Zeppelin-esque pose of Heart, and they inject their songs with both tough-broad vigor and little-girl vulnerability. Most of the songs are performed by the fictitious, all-girl trio the Carrie Nations, who are the main characters of the film. It is a blast, too, even without the accompanying movie. Like the Russ Meyer/Roger Ebert exploito-tragicomic, satirical spoof from which it is derived, the soundtrack to Beyond the Valley of the Dolls is a cheesy, seductive, drugged-out orgy of a good time. ![]()
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