Russ Meyer's
Up! Megavixens • Beneath The Valley Of The Ultravixens • Supervixens
Original Motion Picture Soundtracks
Full Length CD With Booklet
Description: This deluxe release is in excellent condition, a few faint marks on CD surface and it plays perfect, slight wear to digipak case. The CD includes the soundtracks to three Russ Meyer films. The tri-fold 6-panel digipak includes an attached 28-page booklet with over five dozen color and black & white nude photos of the movies voluptuous vixens along with movie credits and other film stars. UPC barcode number: 4011760097922. Please see pictures. The
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Tracklist:
Up! Megavixens
1 The Greek Chorus
2 Alice
3 Gwendolyn
4 Margo And The Guy In The Pickup Truck
5 Margo And Home
6 Alice & Paul
7 Coming Home / Homer And Pocahontas
8 Alice Cafe II
9 The Persecution / Epilog II
Beneath The Valley Of The Ultravixens
10 On The Move
11 Small Town USA
12 Lavonia & Lamar
13 Semper Fidelis And Other Men
14 Lola Langusta
15 The Last Chance For Lamar
16 Dr. Asa Lavendar / The Double Dildo
17 The Bath Of Delight
18 Small Town Reprise / Super Soul
Supervixens
19 Angel On The Phone
20 Clint & Super Haji / Harry & Angel
21 European Women Really Know How To Take Care Of A Man
22 Pear Blossom
23 Crazy Harry
24 Mr. Dynamite
25 A Long Slow Match And A Big Bang
26 Harry's Ascension / We'll Meet In The Sweet Bye
Russell Albion Meyer (1922-2004) was an American film director, producer, screenwriter, cinematographer, film editor, actor, and photographer. Meyer is known primarily for writing and directing a series of successful sexploitation films that featured campy humor, sly satire and large-breasted women, such as Faster, Pussycat! Kill! Kill! Russ Meyer was born in San Leandro, California, the son of Lydia Lucinda and William Arthur Meyer, an Oakland police officer. His parents were both of German descent. Meyer's parents divorced soon after he was born, and Meyer was to have virtually no contact with his father during his life. When he was 14 years old, his mother pawned her wedding ring in order to buy him an 8mm film camera. He made a number of amateur films at the age of 15, and served during World War II as a U.S. Army combat cameraman for the 166th Signal Photo Company, ultimately attaining the rank of staff sergeant. In the Army, Meyer forged his strongest friendships, and he would later ask many of his fellow combat cameramen to work on his films. Much of Meyer's work during World War II can be seen in newsreels and in the film Patton. On his return to civilian life, he was unable to secure cinematography work in Hollywood due to a lack of industry connections. He made industrial films, freelanced as a still photographer for mainstream films including Giant, and became a well known glamour photographer whose work included some of the initial shoots for Hugh Hefner's Playboy magazine. Meyer would go on to shoot three Playboy centerfolds during the magazine's early years, including one of his then-wife Eve Meyer in 1955. He also shot a pictorial of then-wife Edy Williams in March 1973. Russ Meyer epic sexploitation movies marked an entire era. Twisted and sometimes just plainly odd, his movies demarked a world where feminism had an equal role with pure machismo. His female characters depicted all the traces of a formal macho, violent, sexist and troublemaker with criminally insane tendencies. The music used as soundtrack diverging from jazz to garage rock and something else undetermined in between. It is nothing but the direct recordings from the film in most cases including complete dialogues and sound from the movie. Every soundtrack clearly follows the same direction, fast jazz tempos, garage rock and intermezzos. The soundtracks are way more into the most violent side of the musical spectrum.
William George Loose (1910-1991) was an American composer of film, cartoon and television soundtrack music and stock musical cues. Born in Michigan, Loose became a staff musical arranger for an Omaha, Nebraska radio station. During World War II, he led the United States Army Air Forces Orchestra in New York. In the 1950s, Capitol Records represented several musical libraries. Capitol decided to assemble its own library in 1955, and when Nelson Riddle turned down the job of a composer of their musical cues, they hired Loose and John Seely. By 1957, Loose's music was played on no less than 24 different television shows a week; and as of the 1960s, some cues of his music were later used in theaters and drive-in theaters. Film companies such as National Screen Service and Filmack Studios later placed some of William's cues onto its soundtrack under its snipe works beginning in 1964. Loose's accomplishments led to invitations to compose scores for American television series such as The Sheriff of Cochise and The Texan. Loose also was in demand as an arranger for various artists on Decca Records and Reprise Records. In 1968–69, Loose was music director for The Doris Day Show. For several decades starting in the 1950s, Loose's composed music for films and television, including such diverse works as the themes to television series Trackdown (1957-1959) and Wanted: Dead or Alive (1959-1961), the 1966–1981 game show The Hollywood Squares (1969-1979 version of theme music), and films Tarzan and the Great River (1967) and Tarzan and the Jungle Boy (1968) starring Mike Henry, many short pieces for NFL Films, and music for Russ Meyer movies including Cherry, Harry & Raquel! (1970), Black Snake (1973), Supervixens (1975) and Up! (1976). Some of his stock cues were also used in George Romero's original Night of the Living Dead in 1968. He also scored many cult 1970s films such as The Rebel Rousers (1970), The Big Bird Cage (1972), The Wrestler (1974), The Swinging Cheerleaders (1974), Devil Times Five (1974), The Grizzly and the Treasure (1975) and Mako: The Jaws of Death (1976). His later scores included The Man Who Saw Tomorrow (1981) and Mystery Mansion (1983). (wiki)
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