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Three more Disney animated features on Blu-ray
Blog, Movies
Posted on Sep 08 2013 by Greg

New Blu-rays of three more Disney animated features have just been released, bringing you three important (but not necessarily "classic") films with bright, clear imagery. All three are entertaining, feature top-notch animation by master artists and have a key place in the journey of Disney animation along its bold but bumpy road.

THE SWORD IN THE STONE 50th Anniversary Blu-ray & DVD

I'm guessing that, in the upcoming Saving Mr. Banks, we might get a glimpse of what Walt Disney's circumstances were when The Sword in the Stone was being made. In the early '60s, Disneyland was firing on all cylinders and the studio was producing TV shows, movies and tons of merchandise.

There were some truly great movies and shows during this period, the biggest hits were potboiler comedies starting with The Shaggy Dog, which was a box office smash in 1959 - the same year Sleeping Beauty underperformed. 1961 megahit 101 Dalmatians surely influenced the lighter direction and more modest scope of Disney animated features for the next decade.

This is where The Sword in the Stone comes along. At first glance, you might have expected the film to be a grand epic with some comedy. Instead, it's largely a comedy with some serious moments. This is the first feature completely scored by the Sherman Brothers, but they were new to the staff and were not as much a part of the story process as they later became. Their songs are delightful but they're not "book musical" songs.

Sword is the last Disney animated feature in which the voice actors were not well-known celebrities (though Alice in Wonderland had a few). Even Sebastian Cabot, who appeared in lots of TV shows in the late '50s/early ¿½¬¿½60s, had not yet become the popular "Mr. French" on TV's Family Affair. Radio comedy and drama still offered Disney a sufficient number of capable character actors to do voices.

The odd thing about The Sword in the Stone is that it doesn't quite add up to the sum of its parts. I love a lot of things about this movie, including the songs, the "Higitus Figitus" sequence, the way Merlin blasts off and of course, the wizard's duel. I even noticed how much Wart, as a fish, looks like Nemo.

It¿½¬¢s easy to armchair quarterback, so why not? I might have made Madam Mim a more constant presence in the story, rather than just stealing the film in one sequence.  She could have sent the Wile E. Coyote-like wolf after Wart and the wizard¿½¬¢s duel could have come after Wart became king. As the story stands now, there is no real villain when Mim is out of the picture and Wart¿½¬¢s triumph doesn¿½¬¢t seem very triumphant. In fact, I can¿½¬¢t think of many Walt Disney films in which the resolution was shown to be kind of a drag.

But I quibble. The film pops on Blu-ray, the Xerox lines have a wonderful vibrancy to them, the color design and art direction is magnificent. The Sword in the Stone has also taken on a life beyond the film, through Merlin¿½¬¢s Disney Parks appearances and lots of cool merchandise that came out with each re-release (including the first Disney StoryRama vinyl LP with a pop-up diorama book). Even Madam Mim became a viable villain in Disney books and comics.

Note on Bonus Features

"Disney Song Selection" allows you to choose specific places in the disc where songs are located, playing them with lyrics. "Sing Along With the Movie" is a setting that plays the entire film but adds lyrics when the songs occur (you have to go to ¿½¬“settings¿½¬¿½ to make the words go away). "Disney Sing-Along Songs" are isolated songs with lyrics upon which a Mickey shape bounces on the words (these are from the VHS Sing-Along Series).

Bonus Features

THE SWORD IN THE STONE 50th Anniversary Blu-ray (2013)

Alternate Opening: Where Wart Meets Merlin

Sing Along with the Movie

"All About Magic"" (EXCERPT from Walt Disney Presents TV episode) (7:00)The Sword in the Stone Scrapbook

Music Magic: The Sherman Brothers

Bonus Shorts - Goofy in A Knight for a Day (1946), Mickey Mouse in The Brave Little Tailor (1938)

THE SWORD IN THE STONE 40th Anniversary DVD (2008) & 50th Anniversary DVD (2013) (identical)

Game: Merlin¿½¬¢s Magic Academy

"All About Magic" (EXCERPT from Walt Disney Presents TV episode) (7:00)

Disney Song Selection: "Higitus Figitus," "That¿½¬¢s What Makes the World Go 'Round," "The Legend of the Sword in the Stone," "A Most Befuddling Thing"

The Sword in the Stone Scrapbook

Music Magic: The Sherman Brothers

Film Facts

Bonus Shorts - Goofy in A Knight for a Day (1946), Mickey Mouse in The Brave Little Tailor (1938)

THE SWORD IN THE STONE Gold Classic Collection DVD (2001)

"All About Magic" (COMPLETE "Walt Disney Presents" TV episode) (38:00)

Disney Song Selection: "Higitus Figitus," "That¿½¬¢s What Makes the World Go 'Round"

The Sword in the Stone Scrapbook

Music Magic: The Sherman Brothers

Film Facts

Bonus Shorts - Goofy in A Knight for a Day (1946), Mickey Mouse in The Brave Little Tailor (1938)


ROBIN HOOD 2013 Blu-ray

Robin Hood gets more than its share of flack for its use of recycled animation (most famously Maid Marian¿½¬¢s Snow White dancing), sitcom storyline and episodic nature. Oh, and casting Phil Harris again, this time as Baloo in forest green (I always wait for the part in which he yells "Hey-yo!" like Ed MacMahon on the Johnny CarsonTonight Show.

But like The Sword in the StoneRobin Hood's issues spring primarily from the period in which it was produced. Walt had been gone for over five years, the studio was starting to repeat itself in live action as well as animation. The Vietnam war had not ended and escapism was still bringing in audiences. The energy crisis was on the rise and it was starting to affect attendance at Disneyland and the recently opened Walt Disney World Resort.

Clearly risk was not a consideration for the major investment in an animation feature, so Robin Hood built on what worked in The Jungle Book - a huge hit, and Bedknobs and Broomsticks - not so much of a hit but with an extremely strong animated sequence. It had to have influenced quite a bit of Robin Hood's look and character design.

Another influence on Robin Hood (and The Aristocats) was the surreal TV sitcom, Green Acres. Apparently feudal England was populated with several former Hooterville residents, as was 1910 France. But Robin Hood isn't a history lesson, it's a jaunty, beautifully animated series of very funny set pieces that remain effective, perhaps more so to younger audiences unfamiliar with the strong personalities doing the voices.

Chief among the voices is Peter Ustinov, a true renaissance man who could take a line and maximize every syllable. Hearing him say "Squeeeeeeeeze" alone makes Robin Hood worth checking out.

Okay, Robin Hood presents virtually the same wedding scene as Cinderella and George Bruns¿½¬¢s music for the fire scene sounds a lot like the Prince battling Maleficent as a dragon in Sleeping Beauty (you can hear it in The Sword in the Stone too, when a fire occurs in that film). But it works as a home video, its sequential quality making it something you or the kids can start and stop without losing story momentum.

Robin Hood also has "Love," an Academy Award-nominated song that was performed on the Oscar telecast by Johnny Whitaker and Jodie Foster. The winner that year was "The Way We Were," which of course, was "like buttah."

Bonus Features

ROBIN HOOD 2013 Blu-ray

Deleted storyline: Love Letter

Storybook

Alternate Ending

Disney Song Selection: "Oo-De-Lally," "Love," "The Phony King of England"

Art Gallery

Sing Along with the Movie

"Oo-De-Lally" Disney Sing-Along Song (from Sing-Along VHS video series)

Bonus Short: Mickey Mouse in Ye Olden Days (1933)

ROBIN HOOD DVD (2013) & Most Wanted Edition DVD (2006) (identical)

Alternate Ending

Disney Song Selection: "Oo-De-Lally," "Love," "The Phony King of England"

Art Gallery

Sing Along with the Movie

Oo-De-Lally Disney Sing-Along Song (from Sing-Along VHS video series)

Bonus Short: Mickey Mouse in Ye Olden Days (1933)


OLIVER AND COMPANY 25th Anniversary Blu-ray & DVD

It's fascinating to watch Oliver & Company knowing about the animation history that came after it. In the mid-'80s, both Michael Eisner and Jeffrey Katzenberg, as freshly minted Disney executives, had been wondering if animation was even an viable option for where they felt the Walt Disney Company was going. Fortunately Oliver & Company was a substantial enough success in its initial release to generate a reissue - and more animated features.


Oliver & Company was the first Disney animated feature with a pop-radio-ready musical score that is almost entirely of its time period (unless we go back to the package features of the '40's like Make Mine Music). The soundtrack album was also the very last vinyl LP record in wide release on the Disney label.  

The exceptions in style are the lovely "Good Company" and the campy "Perfect Isn't Easy," a Broadway style number co-authored by Barry Manilow. It is performed by his old friend Bette Midler as the "Sharpay/Veronica Lodge/Snoopy's girlfriend"-like poodle, Georgette (though I somehow felt that character could have been even broader considering the comic talent behind it).

There are also several instances where the emerging computer technology was used as a technical boost to the animation. The lines are solid black, resembling neither the toned inks of the classic days nor the "stretchy lines" of early Xerox cels. And there's even some product placement - including Ryder Trucks and USA Today¿½¬€perhaps another first for a Disney animated feature.

With voice talents like Midler, Joel, Ruth Pointer, Cheech Marin and Huey Lewis, it was clear that this was the "new" Disney, with a cast largely from the Touchstone stable (including a young Joey Lawrence as Oliver, who would "whoa" his way to hunkdom on Blossom and subsequent TV series). Oliver & Company plays out like a Disney/DreamWorks hybrid before there was a DreamWorks, right down to the characters rocking out together in the finale.

You can also spot differences in the animation, as if some of the masters and the best apprentices did some, and some of the newer artists were just getting their feet wet. There is some truly outstanding character animation here, yet the film is not widely recognized for it, nor is it acknowledged for its role in bridging and sustaining Disney feature animation before The Little Mermaid initiated the second "Golden Age." The credits are overflowing with artists who have gone on to many other amazing projects.

What is apparent, though, is that Oliver & Company holds up nicely, especially for today¿½¬¢s kids and young parents. There are tinges of ¿½¬¿½80s style in the songs, but they still work. The overall look, slightly edgy tone and brisk pace fits right in with much current animation, whether cel or CG.

Bonus Features

OLIVER AND COMPANY 25th Anniversary Blu-ray (2013)

Sing Along With the Movie

The Making of Oliver & Company

Disney¿½¬¢s Animated Animals

Bonus Shorts: Pluto in "Lend a Paw" (1941) (Best Animated Short Film Oscar Winner); Pluto in "Puss Cafe" (1950)

Publicity Materials

OLIVER AND COMPANY 20th Anniversary DVD (2009)

& 25th Anniversary DVD (2013) (Identical)

Disney Song Selection: ¿½¬“Why Should I Worry?¿½¬¿½ ¿½¬“Streets of Gold¿½¬¿½

Game: Oliver¿½¬¢s Big-City Challenge

Disney¿½¬¢s Animated Animals

Oliver & Company Scrapbook "Lend a Paw" (1941) (Best Animated Short Film Oscar Winner); Pluto in "Puss Cafe"








Maybe it should be called "American Idol" Maker?
Blog, Movies
Posted on Aug 30 2013 by Greg
The 1980 musical drama The Idolmaker, reissued on Blu-ray, crackles with relevance in today's overnight success-promised marketplace. The main difference between what Ray Sharkey's character, Vinny, does in this film and they do nowadays on TV talent shows is that it was on a much smaller scale back then. Today, the stakes are higher, the rise is more lucrative and the fall can be more precipitous.



The Idolmaker
is based on the real-life impressario Bob Marcucci, who masterminded the careers of Frankie Avalon and Fabian. This is an amazing process to watch, as the unknowns are trained, designed and marketed by the Henry Higgins-like Svengali.

Sharkey, whose tragic tailspin of a personal life imploded with an untimely death, saw Idolmaker as his big breakout movie. As the director explains on the commentary (probably recorded previously as he mentions laserdiscs), Sharkey took the film's lack of success as a devastating blow, and even though he got a lot of attention later on TV's prestigious Wiseguy, he never really recovered.

It would have been interesting to see how Sharkey might have developed beyond this film, which is so close to his own background and so steeped in his personal pain, he draws a little too intensely on inner demons and leaves little room for subtlety. If he had dialed it down, he might have been another DeNiro or Pacino, which seemed to be his goal.

The director makes a point of setting the record straight about how Sharkey took credit for the iconic scene in which Vinny duplicates Paul Land's stage moves while standing in the wings. He told Jane Pauley he just made it up on the spot, while it was really storyboarded all along. It was this relentless nature that might have contributed to his highly destructive path.

The wonderful Tovah Feldshuh, so often versatile and inventive when given the opportunity, starts out as the savvy executive in this story but becomes little more than the archetypical adoring lady friend, not allowing her to make more of her talents.

The stars that really emerge in Idolmaker are the legendary songwriter Jeff Barry, one of the all time greats of the pop music days from the "Brill Building" stable of hit makers to The Monkees and The Archies to TV theme songs that we will never get out of our heads, like "Movin' On Up." For The Idolmaker, Barry wrote a stack of songs that could have been hits. It's a fresh approach rather than taking the less risky route of playing records over the soundtrack.

The other star is a super young Peter Gallagher, who dominates the film in each of his scenes, not by emoting, but by becoming someone he really wasn't: a less-than-gifted, terrified, naive busboy who Vinny gives the Eliza Doolittle treatment. Since this film, his career trajectory has been substantial indeed, yet you could see the possibilities even in this role.

The bonus features include the aforementioned commentary and a trailer. If you love classic pop, popular culture, or want to see how they did it back then, take a look.










Star of the "other Avengers" conquers time and space--and looks sensational, too
Blog, TV
Posted on Aug 30 2013 by Greg

How could I, as a self-respecting fan of The Avengers (the Patrick Macnee TV classic, not the comic book entity) resist 34 half hour episodes of a different sci-fi/fantasy series in which Joanna Lumley appears, solves mysteries of time and space and appears decked out in one wondrous style after another?



To me, Joanna Lumley is the whirling warrior of bizarre crime in 1977's The New Avengers, the fourth partner of John Steed on his various quirky quests. Others know her best from Absolutely Fabulous or even James and the Giant Peach, in roles that were broader and less flattering, but prove she's a actor with no fear.


Her smooth, deep voice also graces many an audio book. She sounds like the caramel inside a Cadbury Bar if it could speak.


Sapphire shows little fear either. Steel is well, Steely. David McCallum is generally not known for his zaniness. In his two American series, The Man From U.N.C.L.E. and The Invisible Man, his persona is stern as it is here, though Steel is even more dour.


Sapphire and Steel is a TV recipe blending a few slices of time travel from Doctor Who, a helping of serial format similar to that of Dark Shadows and a dash of Upstairs, Downstairs (particularly in Assignment 5). There's even a little of Land of the Lost here, in that the scripts are far more ambitious than the visuals, but they do the best they can and hope you'll let your imagination fill in the rest. (The premise of a "rip in time" is not unlike the 2005 Doctor Who episode, "Father's Day.")


Shot on videotape, the series has sparse special effects that appear quickly and carefully to obscure their modest nature. The sets, nice as they are, become really, really familiar to you as the actors spend lots of time on them.


Each of the six untitled "Assignments" are  clusters of episodes that make up individual story arcs. An Assignment can run anywhere from four to six half-hour episodes.


My favorite is the fifth one, which features the largest cast and the most dry wit. A millionaire throws a 30's party in which nothing contemporary is allowed. When such anomalies occur, there are these "rips in time" and that means it's time for Sapphire and Steel to crash the party, get bossy when murders seem to occur and even give one of the guests their power of telepathy.


A few caveats, I'm a fan of the musical director, Cyril Ornadel, who did a number of fine recordings I grew up with, as well as the Original Cast Album of My Fair Lady. But don't let theme music and the stentorian announcer make you think the show is campy. It's actually very serious, highly ethereal and ambiguous.


Also don't expect the pace and panache of the recent Doctor Who episodes that began in 2005. The stories are leisurely paced and require focused attention as they can be serpentine and puzzling (some never really make sense by their own design).


My advice is to avoid binge-viewing Sapphire and Steel, but to watch one or two at a time and return to it fresh. Otherwise it seems to wander and so does your concentration. Savor each episode.


Approach Sapphire and Steel as a collection of imaginative teleplays, not mini-movies. Let the series unfold before you on its own fascinating terms.








"Mad Men" scores with its scores
Blog, Music
Posted on Aug 27 2013 by Greg

"Carbonara" is much more than a delicious pasta recipe. It’s a fine composer who contributes an enormous amount of atmosphere, dramatic impact and even ironic humor to one of the greatest series in TV history.

Creating a score for a series that captures the eclectic styles of the ‘60s and how they changed over the decade, has to have its challenges. What I like about David Carbonara’s music is that, like the sets, props and costumes on Mad Men, it’s authentic. There’s no nod to contemporizing it to make it more marketable to “today’s tastes.” What results is music that stands on its own, written and played by its own rules.


The latest album of Mad Men soundtrack scores is called Mad Men: On the Rocks. It’s a blend of new selections with some previously released tracks.


There are quite a few Mad Men albums out there, so I tried to sort them out. Basically they fall into two categories. The score albums contained instrumental background music primarily composed by Carbonara, but also a few selections by other composers that have been performed for the series soundtrack by Carbonara and the studio orchestra.


The compilations, which are not necessarily “official” Mad Men albums, are collections of hit songs and obscure gems, many sung by the original artists, from the ‘60s, which were either featured on the show or might have been.


Music Score Collections:
 Mad Men: Original Score, Vol. 1 (2009)
 Mad Men: After Hours (2010)
 Mad Men: Night Cap (2013)
 Mad Men: On the Rocks (2013)


Compilations of Classic Songs Played on the Show:
 Mad Men: Music from the Series, Vol. 1 (2008)
 Mad Men: Music from the Series, Vol. 2 (2009)
 Mad Men: A Musical Companion (2 Discs) (2011)
 The Many Moods of Mad Men:  A Musical Companion (2 Discs) (2013)


The very first album, “Mad Men: Original Score, Volume 1,” is available for download but is hard to find in CD form, at least for a reasonable price, plus you can also find some of the selections from that 2009 album on “Mad Men: After Hours.” I have not yet been able to determine if there was ever a Volume 2 of “Mad Men: Original Score.”


Volume 2 of “Mad Men: Music from the Series” is also hard to find but is not available for download.



Mad Men: On the Rocks is pure, magnificent soundtrack score music. Here is the track list with comments:


1.              Pacific Coast Highway*

Not to be confused with the 1969 Burt Bacharach instrumental, but an equally fine bossa nova that is a great way to open the album

2.              The Man With The Miniature Orchestra

Pensive piece suggesting “Moonlight Sonata”

3.              Beautiful Girls
Iconic Mad Men piece that reminds me of the theme from The Artist

4.              Betty Home and Sally’s Story

Tense, tightly wound, much like Betty and Sally

5.              Bunny’s Bop

Energetic jazz number, reminiscent of the Mannix theme

6.              Hurry Into The Far Away Places

Haunting and dark

7.              Drapers Ruse
Another iconic theme, with vibes and flutes

8.              Summer Man
Soul searching; sounds like a trek through a hot, barren wasteland

9.              The Arrival

Calm, cool, Route 66-style

10.           Hotel Bossa

What the the “smart set” hears when they stay in classy digs

11.           Lights Out

Introspective, probing

12.           For Number Four and Anna
Don is lost and alone

13.           At The Codfish Ball

Odd, disturbing waltz as if heard through a looking glass

14.           Don And Betty In Rome

Even tempered with a tense undertone

15.           Like A Good Girlfriend*

Bouncy and “Peanuts”-like

16.           First Kiss

Tender, thoughful

17.           A Little Kiss
Light bossa beat, very bachelor pad

18.           The New York Times

Impending trouble ahead

19.           Glo-Coat

Don’s award winning TV commercial

20.           Christmas Conga*

Merry music masks the forced fun

21.           Pete’s Not Talking
Music for the petulance of Mr. Campbell

22.           Betty’s Call
It’s not good news or is it someone selling aluminum siding

23.           A Beautiful Mine (Performed by RJD2)*

Extended version of the Mad Men theme


*Previously released on Mad Men: Night Cap

 








"I ate my boyfriend--but we can't let it stop us."
Blog, TV
Posted on Aug 26 2013 by Greg

So says Red Riding Hood, who is also a werewolf, to Dr. Whale, who is also Dr. Frankenstein.


They're two residents of Storybrooke, the New England town that wasn't there before 1983, when the Evil Queen moved the whole population. Sending fairy tale characters from their enchanted world to the modern world isn't new to ABC--a short lived, broadly played sitcom called The Charmings had a similar premise.


But Once Upon a Time is a sumptuous "theme park opera" in which the relationships and the relatives are as serpentine as Maleficent the dragon.



Season Two brought the realization to the characters that they were actual fairy tale people. They didn't believe young Henry last year, but like the existence of Mr. Snuffle-Upagus, eventually you can't keep denying the truth. So now the characters have dual essences; they remember who they were and who they are. Prince Charming (or should I say "Cool Hand Charming?") takes control and sets the town straight.


Snow White and Emma Swan realize they're mother and daughter, and are embarrassed about all the intimate talks they shared (apparently Snow had a one-night stand, but it was caused by a spell).


The season also brings us the even evil-er Queen Cora, played by Barbara Hershey (who renamed herself "Barbara Seagull" in the '70s to draw attention to the plight of the species, and then changed it back). Was the name "Cora" drawn from the character Margaret "Wicked Witch of the West" Hamilton played in hundreds of Maxwell House commercials before her passing?


The other major newcomer is the beardy, Revlon-eyed Captain Hook, played with vim and vigor (but mostly vim) by Colin O'Donoghue, who in a bonus feature seems to be shocked by the amorous attention he apparently is getting from fans. (It's not like he asked to wear the sleek leather outfit with the flowing cape and the shiny chain around his neck and the shirt open to there, ladies!)


Hook is much better in the second half of the season when he settles into a supporting role. He plays well off the other actors, who have really honed their roles and created a nice chemistry.


Moving right along to biology, what's with Snow White and the Prince doin' it on camera, as their daughter and grandson enter the bedchamber? Without being a spoiler, Snow is racked with guilt about another questionable deed, yet after being found together with nothing on but a 250-count cotton percale, she and Princey wait for their family to leave and then get back to gettin' it on.

Even Mom and Dad Dunphy of Modern Family were shocked, embarrassed and angry when their kids discovered them doing the same thing, and they're not even Disney characters.


No matter how complex the storylines get and the double crosses get double crossed this season, the standard bearers for the series remain Lana Parilla as Regina the Evil Queen (what's really magic is how she never smears that ruby red lip gloss) and Robert "Full Monty" Carlyle as Rumpel Stiltskin (but you can call him "Rumpel").


Like Dark Shadows, another ABC series, in which vampire Barnabas was racked with guilt about his murderous condition, yet slipped in and out of being a hero and a villain, so do Regina and Rumpel. Between that classic conflict and their acting skills, they're the ones upon which most of the rest of the show radiates. They can't turn nice, or you'd have no story. But you find yourself hoping they'll reform. And they do, then they don't, then they do.


Season two of Once Upon a Time looks like a movie on Blu-ray. The details of the costuming and art direction show up nicely. The special effects are mostly impressive, though the seams show once in a while. But you just couldn't do a show with the illusory sets and vistas in this series back in the day, before green screens and digital effects made such things faster and more economically feasible for TV.


And now for the bonus features (wait, let me get out my invisible chalk). This set has some of the most entertaining on any DVD set. Ariel Winter of Modern Family traces the convoluted family trees of the characters, so completely outlandish that even the cast themselves has trouble keeping it straight.


Several interesting audio commentaries add to the understanding of how stories were created and how the actors approached their roles, especially after the curse ended, and they had to be two people in one. Gennifer "Snow" Goodwin explains that "Bobby" Carlyle actually changes Rumpel's behavior based on which character he encounters. Carlyle himself has assigned numbers to the levels of Rumpel's intensities. This is why I love commentaries!


The gem of the bonus features is a spoof of Good Morning America that features funny commercials (particularly the one for Granny's Diner in which Red does her impression of SCTV's Edna Boil) and the cast gets to have fun making fun. Check out how unctuous Doctor Whale is in his segment. They're having a blast with this short video, which was played at this year's ComicCon.


Next season promises a visit to Never Land and the appearance of Ariel. Even though the best of TV's series can ebb and flow as Once Upon a Time has this season, who couldn't resist sticking with it?










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