#Perry Botkin

[notesonfilm1]

Murder by Contract (Irving Lerner, 1958).

[mudwerks]

(via Theme from “The Young and the Restless" (“Lost") — Long Version)

"Nadia's Theme", originally titled "Cotton's Dream", is a piece of music composed by Barry De Vorzon and Perry Botkin Jr. in 1971. It was originally used as incidental music for the 1971 film Bless the Beasts and Children, and is better known as the theme music to the television soap opera The Young and the Restless since the series premiered in 1973. "Cotton's Dream" was renamed "Nadia's Theme" after it became associated with Olympic gymnast Nadia Comăneci during and after the 1976 Summer Olympics.

[popsixsquishcicerolipschitz]

Well, this just happened... My friend Tom L. Nix was just asked to play Nadia's Dream at an event this evening... for Bart Conner and Nadia Comăneci ...ha

Barry De Vorzon & Perry Botkin Jr. - Cotton`s Dream (Nadia`s Theme)

circlemaker

[zilabee]

Harry Nilsson and John Lennon

Quotes from "Who is Harry Nilsson (and why is everybody talkin' about him?)"

Harry Nilsson: I was still working at the bank and I, I hated the beatles because I said shhhhi, you know they're beating me to the punch... and then there was that moment when you say well you're either with them or agin 'em, and I decided to go for the latter [sic] and I said yeah, they really are... that good.

Jimmy Webb: We'd be arguing about the Beatles, and he'd say "The Beatles are the ONLY band! There's only one band. That's the Beatles. No one else matters."

Harry Nilsson: So one day I was, early, five in the morning, I got a phone call and there's this voice, long distance, hello hello who is it? It's John. John who? John Lennon. Is this really John? He says yeah I just want to say you're fantastic man, we're listening to you all weekend you know it's great great great, it's fantastic. Uh. the following Monday I got a phone call from Paul, how are you, just calling to say you're fantastic, you know, oh you're great, really love what you did and all that stuff you know, Derek played it for us and hope to see you soon. Clunk. The next Monday morning I get up, comb my hair, five o'clock in the morning, waiting for a call from Ringo. There was no call. But he ended up being the best man at our wedding so that's okay.

Ray Cooper: [The Beatles] uh, y'know, pronounced him to the world and said 'listen to this man!' and we did.

Micky Dolenz: I remember that's one of the only times I've ever seen him kind of patting himself on the back and tooting his own horn. He said 'you know they think I'm like the fifth Beatle'.

Harry Nilsson: I got a phone call and it was from Derek Taylor and uh, Derek said 'hey, the lads, the beatles, the fabs, would like you to come and join them for a session, they're recording at Abbey Road'. I thought right, Jesus, this is about as good as it gets.

Harry Nilsson: That first night in London I spent at John Lennon's house, and he gives me like a hug and he smiled and he put me at ease instantly. So I, for some reason I would say anything in front of this man and it would be okay. That night we spent the entire night with a little help from our friends, uh talking. Just sitting and talking. All night, till dawn, till seven or eight o'clock in the morning. And John and I on and on and on and on about marriage, life, death, divorce, women, what's it all about, you know, what are we doing?

Diane Nilsson: He said that he and John were a lot alike, that they'd had similar childhoods, and um, I wasn't surprised by that. So I, you know, it was clear that John had a lot of anger. He didn't hide that. Harry hid it, but John didn't. So. I thought that was very interesting.

Rick Jarrard (Harry's producer): Harry, after he went over to England, and was with the Beatles, or with John, I really don't know which. He changed. He changed and became somebody else that I no longer knew. Out of the blue I got a telegram that said 'I'm finding another producer' and basically that was the end of Harry's and my relationship. [...] I never saw Harry again after that telegram. Never spoke to him, never saw him.

Harry Nilsson: John was one of a kind, I mean there was just no one like him, he was tough as nails, he just uh, fearless and said what he felt. You know, that's something, he was always ahead, he was always a couple of steps ahead of you.

Jimmy Webb: To have John, was like giving Harry the best present he could have... That almost made up for the fact that his father left him. And there may be some of you out there saying, yeah, Webb's being the amateur psychiatrist, but I think that almost made up for it. Because Harry really wanted to be one of the Beatles.

_____________

'Pussy Cats'

Micky Dolenz: They were like in each other's face. It was like a duel.

Perry Botkin, Jr: They were a friendship made in Hell as far as I'm concerned. John had his troubles, Harry had his troubles, and they got together and really, that was when Harry really blew his voice.

Jimmy Webb: He and John Lennon were egging each other on as to who could scream the loudest and scream the longest and with the most ragged, actually self destructive vocals on tape as possible. He told me one time that there was blood on the microphone. Harry told me.

Perry Botkin, Jr: I believe it was purposeful. Not consciously, but I believe that he was - I can't believe I'm getting into all of this first of all - I really, I think he was for some very bizarre reason, trying to self destruct.

Jimmy Webb: That was the saddest thing that ever happened to me in my life, was when I realised that he, that he was in that much trouble vocally and that he didn't know how to tell me, and that he didn't want anyone to know and it's just hard for me to talk about it, I just can't talk about it...

_____________

John's Death

Mark Hudson: I was with Harry on the night that John was shot, and he was in the studio, it was that Monday night and we were all watching the football game and all at once a flash came on the screen that said John Lennon had been shot.

Van Dyke Parks: It devastated him. Because I don't think that Harry felt that they'd had their last conversation.

Yoko Ono: Well it was so severe, that we didn't talk about it. Between us.

Mark Hudson: I don't think he ever really dealt with it. And right after that he went into major gun control. [...] It was all for John but I really sort of think it was sort of a ghost that stayed with him forever.

Harry Nilsson: My name is Harry Nilsson and I'm the National Chairman of the End Handgun Violence Week which takes place between October 25th and October 31st. If you want to help please write to... Too bad we have so many people dying every year from handgun violence, thank you.

Terry Gillian: The whole focus of his being seemed to be about trying to get gun control laws.

Lee Blackman: And Harry, who was a very private person, and was rarely seen in public, went public with this, he went on television talking about the importance of handgun control, he formed an organisation for handgun control, he went to Washington and lobbied with lawmakers...

[basingstokemercury]

Album liner of "Come All Ye Fair And Tender Ladies" (Pernell Roberts, folk/country, 1963).

Transcript below image.

HOW A FOLK SINGER GETS THAT WAY...

by the co-star of the "Bonanza" TV Show

At the age of 32, two and one-half years ago, I bought myself a guitar along with Pete Seeger's instruction book and record. Very painfully, I learned to play - not too well by any means, but enough to chord and accompany myself for folk songs. I can't possibly describe the joy and sense of accomplishment when my fingers finally behaved themselves and formed A, E and B-7. (Then a whole new world opened up with C, F, G-7, A-7, D-7, etc!) I was born again! However, I ran into a problem... if I played Chunk! Chunk! Chunk!, I sang "Chunk! Chunk! Chunk!" What to do? Well, it's like when the tourist came to New York and asked a little old lady, "How do you get to Carnegie Hall?" She replied, "Practice." I did and it's richly rewarding. Aside from acting, the thing I enjoy most is singing and - most of all - folk songs. Of course, next to singing folk songs, listening to folk songs… especially when performed by people like Odetta, Joan Baez, Bob Gibson, Pete Seeger, Jack Elliott, Woody Guthrie, Leadbelly, Big Bill Broonzy, Lightnin' Hopkins, Barbara Dane - and, oh, so many others that it would take the backs of three album jackets just to list them. Although I realize that folk songs, singers and records are exceedingly popular, I know there are also a lot of people who are not familiar with this area of music. I know that most of you who pick up this album will do so because of the television series I'm associated with. But what I'm hoping, more than anything else, is that you also pick up something new in the way of music appreciation. I highly recommend all of John and Alan Lomax's books of folk songs and, most essentially, the folk song magazine "Sing Out." What a rich heritage we all have in this form of music. When I sing a song like Woody Guthrie's Pastures of Plenty, my problems in life seem a bit unimportant compared to the problems of other people. I quickly realize just how un-unique I am, that we all face many problems of daily living, and singing about them seems to make it all a little easier to take. That's why folk songs and folk lore were the basic source of material for this album, and I'd like to thank Steve Sholes for asking me to do it, Neely Plumb for his infinite patience and guidance, Jim Malloy for his engineering seal, Perry Botkin, Jr. for his perceptive arranging "pointing", and last of all - but far from least - Dick Rosmini. Dick, in my opinion, is a talent to be reckoned with. Besides being an extraordinary six or twelve-string guitarist, banjo player and folk singer, he also writes beautiful songs and adaptations, notably - in this album - Alberta and Mary Ann. Richard, thank you for making this such a rewarding and exciting experience! PERNELL ROBERTS

[rad0529]

Check out this listing I just added to my Poshmark closet: Carpenters The Millennium Collection NWT.

[olafsings]

Music History Today: January 22, 2023

January 22, 1977: "Bless the Beasts and the Children" by Barry DeVorzon and Perry Botkin, Jr. entered Billboard's Hot 100. It was the theme song to the 1971 eponymous film. First released by the Carpenters on the B-side to their hit "Superstar," "Bless The Beasts and Children" had its run as an A-side, topping out at 67.

[2ndaryprotocol]

#NowWatching Silent Night, Deadly Night 3: Better Watch Out! (1989) 🎄🧠🪦

“𝚆𝚑𝚊𝚝 𝚑𝚊𝚙𝚙𝚎𝚗𝚎𝚍 𝚝𝚘 𝚢𝚘𝚞, 𝚖𝚊𝚗? 𝚈𝚘𝚞 𝚐𝚎𝚝 𝚊 𝚑𝚎𝚊𝚍 𝚝𝚛𝚊𝚗𝚜𝚙𝚕𝚊𝚗𝚝?”

[duranduratulsa]

Up next on my Christmas 🎄 movie 🎥 marathon...Silent Night Deadly Night (1984) on glorious vintage VHS 📼! #movie #movies #horror #christmas #silentnightdeadlynight #santaclaus #santaclauskiller #merrychristmas #merrychristmas2022 #vintage #vhs #80s

[cdbrainrecords]

Perry Botkin - The Executioner Theme (7", Single)

Perry Botkin – The Executioner Theme (7″, Single)

Vinyl(VG) Sleeve(VG) / コンディション　盤 : Very Good (VG) コンディション　ジャケット : Very Good (VG) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : Decca – DS-144 フォーマット : Vinyl, 7″, 45 RPM, Single 生産国 : Japan 発売年 : 1963 From “Murder By Contract” A Columbia Picture Release. ジャンル : Stage & Screen スタイル : Soundtrack, Theme   収録曲 :  A. The Executioner Theme 2:27B. Waltz Of The Hunter 2:36   Liner Notes –…

[byneddiedingo]

Herschel Bernardi, Phillip Pine, and Vince Edwards in Murder by Contract (Irving Lerner, 1958) Cast: Vince Edwards, Phillip Pine, Herschel Bernardi, Caprice Toriel, Michael Granger, Kathie Browne, Joseph Mell, Frances Osborne, Steven Rich, Davis Roberts, Don Garrett, Gloria Victor. Screenplay: Ben Simcoe. Cinematography: Lucien Ballard. Art direction: Jack Poplin. Film editing: Carlo Lodati. Music: Perry Botkin Sr. Irving Lerner's lean, clever Murder by Contract is a favorite of Martin Scorsese's, and you can detect its influence in his work, especially in the character of Travis Bickle in Taxi Driver (1976). Claude, the central character of Lerner's movie, is a loner and an enigma, who like Travis works off some of his sociopathic urges by exercise. Brawny, brooding Vince Edwards, who gained some fame in the 1960s as brawny, brooding Dr. Ben Casey on television, plays the hit man Claude, who is both a sociopath and a misogynist -- he refers to women as "pigs" and freaks out when he discovers that his latest target is a woman: "The human female is descended from the monkey, and monkeys are about the most curious animal in the world. If anything goes on, it just can't stand not to know about it. Same thing with a woman." We first meet Claude in a wonderfully elliptical scene in which he's applying to a Mr. Moon (Michael Granger) for a job. We aren't told what the job is, and we never even meet the man named Brink who is the actual employer, but our suspicions, if we have them, are confirmed when Claude is put to the test in a couple of contract killings. Succeeding in them, he's sent to Los Angeles, where he connects with a pair of Brink's henchmen, George (Herschel Bernardi) and Marc (Phillip Pine), who help him set up for the murder of the key witness in an upcoming trial. But Claude keeps his cool, stalling George and Marc, insisting on touring L.A. before finally setting up for the kill. The result is some entertaining scenes in which Claude frustrates the hot-headed Marc but wins over the more intelligent George. Marc mockingly refers to Claude as "Superman," which is more apt in the Nietzschean sense than in the DC Comics sense -- some have even called Murder by Contract an "existentialist film noir." The movie falls apart a bit at the end, which feels anticlimactic, though it's hard to see how it could have topped the very good beginning and middle. Ben Simcoe is the credited writer, but Ben Maddow, who wrote the screenplay for John Huston's The Asphalt Jungle (1950) and probably the best movie made from a novel by William Faulkner, Intruder in the Dust (Clarence Brown, 1949), is said to have worked on the script.

[odk-2]

The T-Bones - No Matter What Shape (Your Stomach's In) (1966) Granville "Sascha" Burland (Credited) / Lew Bidell from: "No Matter What Shape (Your Stomach's In)" / "Feelin' Fine" (Single) "No Matter What Shape (Your Stomach's In)" (EP | LP) "The Wrecking Crew: We Got Good At It:  The Anthology (1962-1971)" (CD2)  (2013 Box Set)

Instrumental | Pop

JukehostUK (left click = play) (320kbps)  

Personnel: Dave Pell: Band Leader

Evelyn Roberts: Vocals

The Wrecking Crew: Tommy Tedesco: Guitar Ervan Coleman: Guitar Victor Feldman: Keyboards Carol Kaye: Electric Bass Lyle Ritz: Upright Bass Julius Wechter: Percussion Hal Blaine: Drums

Arranged by Perry Botkin Jr. Produced by Joe Saraceno

Recorded: @ United Artists Studios in Hollywood, California USA on December 9, 1965

Album Released: in 1966

Liberty Records

The Wrecking Crew - Wikipedia

[tfc2211]

Album: R.P.M. (The Original Motion Picture Soundtrack) 1970 Arranged By – Perry Botkin Jr. Producer, Music By – Barry DeVorzon, Perry Botkin Jr.

[o-berenice-o]

Barry De Vorzon Perry Botkin, Jr. - Nadia's Theme

[mannytoodope]

Harry Edward Nilsson III (June 15, 1941 – January 15, 1994) is considered one of the greatest songwriters of his generation. He is known for a string of singles that he had throughout the late ’60s and the ’70s. Some of those songs were often used in films notably “Everybody’s Takin’” that was used in the film Midnight Cowboy. Nilsson wrote both heart-wrenching songs and catchy pop songs. You may not be too familiar with his name but, you may have heard one his songs used in popular culture. I was listening to Blackalicious’ song Blazing Arrow and they sampled Nilsson’s iconic song Me and My Arrow. As a vocalist, he pioneered vocal dub and his voice was quite distinctive with 31/2 octave range. He had commercial success despite making very few public appearances. Some of his songs were used by artists like The Monkees and other pop-rock artists. In 1970, he collaborated with Randy Newman for the album Nilsson Sings Newman and for children’s album The Point! Nilsson’s style of writing and music making has been influencing on many artists in rock music.

[everyuknumber1]

324. Little Jimmy Osmond with The Mike Curb Congregation - Long Haired Lover from Liverpool (1972)

324. Little Jimmy Osmond with The Mike Curb Congregation – Long Haired Lover from Liverpool (1972)

What fresh hell is this? By installing nine-year-old Little Jimmy Osmond as Christmas number 1, the UK record-buying public’s collective nervous breakdown of 1972 was complete. The Osmonds were the biggest pop sensation of the year – but this was a step too far.

James Arthur Osmond, born 16 April 1963, is the youngest member of the family, born in Canoga Park, California. His brothers were…