sing it all away torrent download ""sing it all away"" torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67dac240bccd05f5 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. ""sing it all away"" torrent download. A complete concert by Stevie Wonder from 31 January 1974. It was recorded at the Rainbow Theatre in London, halfway between the release of the classic albums "Innervisions and "Fulfillingness' First Finale" The sound quality is excellent, perhaps only needing a final mix before release, which had been the intention. The nature of the performance is sprawling, meandering and at times unfocused but never less than fascinating. Stevie and his band relax on stage, away from the tight discipline and time schedule of the recording studio. He is accompanied by guitarist Michael Sembello, the rhythm section of Reggie McBride (bass) and Ollie Brown (drums) and Wonderlove's female backing vocalists. Stevie Wonder - "Funkafied Rainbow" Live in London January, 1974 (from the "Big-Fro Discs" release (BF-001/2), 2005) Rainbow Theatre, London 31 January 1974. Disc #1 1. intro > Contusion (17:44) 2. Higher Ground (5:52) 3. Superwoman (3:12) 4. To Know You Is To Love You (7:11) 5. Signed, Sealed And Delivered (3:03) 6. Visions (9:56) Disc #2 1. Don't You Worry 'Bout A Thing (4:44) 2. Living For The City (10:59) 3. You Are The Sunshine Of My Life (12:00) 4. Superstition (7:28) 5. encore jam (6:02) Reviewed by Joe Kenney, 13/09/2006ce http://www.headheritage.co.uk/unsung/review/1599/ For one of the greatest performers of the 20th Century, there’s very little live material afloat from Stevie Wonder, especially from his celebrated “golden age” in the 1970s. This man released a string of perfect albums in the 1970s (from “Music of My Mind” in 1972 to “Songs in the Key of Life” in 1976), yet never issued an official live recording during that period, which is a shame. This is a bootleg of Stevie’s concert at the Rainbow in London, in 1974. Word was, back in the day, that this concert was going to be officially released, but later on Stevie changed his mind, saying the audio quality of the tapes wasn’t up to snuff. This is strange, because the bootleg is a soundboard recording, and has great sound. Everything comes in crystal clear. If you take a look at this CD, the first thing that will strike you is the length of most of the songs. Seven minutes, eleven minutes, even eighteen minutes. You take a look at that 1974 date, take a look at Stevie’s large, multi-ethnic band (complete with electric guitar, keyboards, a great bassist), and you figure you’re in for some stoned-out mid-‘70s “hairy funk,” which was the style at the time. But, save for a few moments, that’s not the case. The majority of the running time on the longer tracks is given over to Stevie improvising while playing his clavinet alone; there are only a few moments of full-on funky jamming from the complete band. Which is a shame, especially for anyone who’s seen that great footage of Stevie on “Sesame Street” from 1972, playing “Superstition” live with his touring group; there they tear through the song and take names. (For anyone who wants to see this, search for it at YouTube.com.) The concert opens with an eighteen-minute take of the rock/jazz instrumental “Contusion” (released two years later on the double LP “Songs in the Key of Life”), the house announcer introducing the star to the audience while Stevie’s band (aka Wonderlove) vamps through some solos. When I first saw the length of this track, I anticipated a workout of epic proportions, the band really getting into the groove. But instead, the whole affair is more of a twelve-minute warm-up. The bass will play for a few minutes, then the guitar, then some funky drums. Nothing locks together into “Contusion” itself until the final three minutes, and from there it sounds remarkably like the album version. So pretty good, but not the super-long fusion extravaganza I expected. However, warm-up or not, I can't stress how funky it all is. From there Stevie leads the band into some funky clavinet/drums jamming, with airy, wordless female vocals in the background. Two minutes in, Stevie cuts this off, telling the audience “We’ve gotta save that for later on in the show, we can’t do that now.” He then informs us that the first track we heard was “Contusion,” and then launches into “Higher Ground.” Again, this sounds much like the studio take, though Stevie has a different, more electronic (yet still funky) sound on his clavinet, which sounds similar to some of the keyboards on the Miles Davis fusion classic “On the Corner.” The band isn’t given much room to jam; it all sounds very much like the version on “Innervisions,” except the bass is a bit louder. However Stevie’s voice, I should mention, is strong throughout this song and the rest of the concert – he hits the same notes he hits in the studio takes. Next we have “Superwoman,” off the truly unsung “Music of My Mind” LP. Feedback gets in the way of the first few lines, but from there it’s just Stevie, a smooth guitar, bass, and drums. Two and a half minutes in, Stevie calls “Everyone play,” and the band opens up for the final minute. The track is much shorter than the studio take found on "Music of My Mind;" here Stevie only sticks to the first half of the song ("Superwoman"), and skips the second half ("Where Were You When I Needed You"). After the more melodic “Superwoman,” things get funky again with “To Know You is to Love You,” a song Stevie penned and produced for his former wife Syreeta, and which appeared on her first album. Here it’s stretched out to a bit over seven minutes, and the full band gets to jam the groove; unlike “Contusion,” they’re all playing together. A good portion of the song is given over to the band jamming on the riff, with Stevie’s backup singers moaning “To know you is to love you,” while the man himself provides some wordless vocals overtop. Lots of moments like this on the concert, by the way; Stevie’s fond of his “aahs” and such. As the track builds and builds, the funk gets deeper and deeper, with all kinds of wah-wah action from the guitar and clavinet. “Signed, Sealed and Delivered” is next, again sticking close to the studio version. Not much to say about this one; the song precedes Stevie’s self- produced, “golden” era, so it doesn’t allow for the funky expressionism he brings to the later tracks in the set. But hell, the song’s a classic, and one of the best things Motown has in its catalog. It just doesn’t fit here. “Visions” follows, ten minutes long, with the first three minutes given over to Stevie expressing his feelings to the audience over soft, soft guitar, bass, keyboard, and the occasional cymbal tap. He tells the audience he loves them, then the song officially begins. Again, it is very close to what you’ll hear on “Innervisions.” The song ends at seven minutes in…or does it? Stevie, for some reason so happy with his audience, decides to improvise a whole new verse. The music stays the same, that soft, jazzy dreaminess familiar from the godlike “Innervisions” LP. The crowd screams its appreciation at the end, and the track closes out Disc 1. Disc 2 opens with “Don’t You Worry ‘Bout a Thing,” another “Innervisions” classic. Something’s happened midway, because now everything seems much louder than before. Maybe this is the audio problem which kept Stevie from releasing the show officially – the first half wasn’t recorded as well as the second? The song as performed here isn’t as full as the studio version. It’s more of an intimate affair, Stevie on keys, with the band quietly jamming behind him. It’s also not nearly as ebullient and frantic as the studio version. That is, until it kicks into a higher gear two minutes in. The guitarist has this warm tone throughout the concert, and here it’s put to good use, with him providing jazzy little notes and riffs. Again, there’s a big difference between the album version and this live version. Which is a good thing; who wants to go to a concert and hear songs that sound the same as their studio counterparts? And now we come to “Living for the City,” that epic classic from “Innervisions.” Eleven minutes here, but again not due to the super-jamming you might expect (or even a re-enactment of the infamous mid-song “arrest” on the LP version), but due to Stevie improvising solo. It starts off just like the studio version, save with the Wonderlove backup girls adding vocals at the end of each verse. Stevie’s keys are brighter here than on the studio version, nearly ear-piercing at times. Now, we all know how the LP version features a staged arrest and lock-up halfway through the song. Here, Stevie just stops the song four minutes in, breaks for a few seconds, and then comes back jamming the theme on his keys. He prods the band to keep up with him (drums and bass only, with guitar eventually joining in), then directs the audience to clap along. From there on it’s Dictator Stevie; in between his vocal improvisations (“I’m sick of/Living for the city”), he painstakingly attempts to get the backup singers (and the audience) to not only sing the phrase “Are you tired now,” but also WHEN to sing it. “No, no, don’t repeat it AFTER me, sing it WITH me!” Stevie yells on multiple occasions. One can almost see him shaking that sunglass’d face in frustration. Finally, the band joins in for a full-on groove for the final minute. “You Are the Sunshine of My Life” follows, here even longer than the preceding track. Only three minutes on “Talking Book,” here “Sunshine” is stretched to an unwieldy twelve minutes. My favorite part: Stevie introduces a member of Wonderlove who co-sings the song with him; after she sings “You are the apple of my eye,” someone in the audience whistles at her. Instead of dropping out of the track for more improvisation, here the group jams away in a jazzy groove. This then breaks down for a minute or two of Stevie solo on harmonica. Then the band comes back in on that jazzy groove. Stevie calls for “a little more edge” on his mic, then jumps into some scat vocals over the beat. Finally he cuts loose with that harmonica, the band opening it up a bit. But this track, despite it’s running length, is a bit too subdued. And I have to mention that Stevie treats us to his imitation of Gomer Pyle, singing the lyrics, for the last minute or two. “Superstition” follows immediately thereafter, and I am so glad it’s here. Not only is this my all-time favorite Stevie Wonder song, it’s also just my favorite song ever. Stevie sticks to the funk here; no more of that soulful improvising over quiet backing. This is hard and heavy throughout its seven-minute running time. Even the guitar gets turned up to a tougher edge! It’s not as full-sounding as that “Sesame Street” performance mentioned above (mostly because Stevie had guys on sax and horn there; here he doesn’t), but it’s just as funky. Yes, the band hits on all cylinders here, and though I can’t say I like this version better than the studio take released on “Talking Book,” I have to say it rocks just as hard. But then it pulls a fast one, revving up the tempo four minutes in, into a hardcore-level pace. Stevie works the hell out of that clavinet, and the guitarist (I see him, waiting patiently throughout the show for the nod from Stevie) finally cuts loose. The band locks in on a bass-lead groove, with the guitarist shredding overtop. (But still, what I wouldn’t give to have him joined by Pete Cosey – he of “Agharta,” Miles Davis’ super-heavy guitarist around this time period.) And then, just when you think it’s all about to pound you into the dirt, the song gets even faster! Here the group officially takes over, the guitarist, bassist, and drummer just rocking the hell out of the tune. Without question, this track is the highlight of the concert. Eventually the group fades away, with Stevie’s keys floating up and taking over, leading us into the next (and final) track. “Encore Jam” is how the CD labels this final song. “Encore Improvisation” would be just as good a title. It’s all Stevie improvisation, telling the audience how much he loves them, while the group provides quiet yet jazzy accompaniment. Stevie’s sure to let us know he did NOT write this song earlier; he’s making it all up as he sings. Sometimes this works out, sometimes it doesn’t; a few times Stevie has no choice but to make up words to finish the rhyme. It’s funny, at one point he sings to the crowd that if his future albums don’t please them, then that will only serve to make him try to do better! The track wraps up at six minutes, the crowd screaming, Stevie telling them he loves them, the guitarist throwing in one last, very Hendrix-ian solo (“Angel”-era Hendrix, that is), and it’s all over. There are two Stevie Wonders: the soulful balladeer who gives us tracks like “You are the Sunshine of My Life,” “Love’s in Need of Love Today,” and “Isn’t She Lovely,” but sometimes gets a bit too saccharine for his own good. And there’s the bad-ass Stevie, who gives us the fuzzed-out funk of “Keep On Running,” “All Day Sucker,” and “Do Yourself a Favor” (one of the greatest tracks in the Wonder catalog, a hard- hitting funk monster which can be found on his 1971 LP “Where I’m Coming From”). I would’ve preferred more of the hard-hitting funk Stevie on this bootleg, and less of the soulful improvising Stevie, but that’s just me. The fact is, this is a great concert, with great sound, and it should’ve been released officially. Definitely hunt it down if you are a Stevie fan (and let’s face it, what excuse would you have to NOT be a fan of golden age Stevie Wonder?). SingVocation Album Art. If God so loved the world that she came to us in song; to set the singer free, have we prostituted and raped her beyond recognition, in our very acts of worshiping at the disco sanctuaries of song and dance. Walk me down the dark alley Narked with mental graffiti dripping down veins of psychedelic confetti bleeding on a bastard hymnal of illegitimate dreams to revive and relive the romance and the music of the song for it's own sake. Walk me through the Paradise Where i need no longer analogize the elysium in the Pandemonium rife with every pedestrian ache when every other strain, Is a sewer, polluted and fake. SingVocation Part 1 Freedom in Song. Flood my heart with music Twist my mind with rhyme Fan my fire light my wick Keep me out of line. Let the burden of my song Touch another's heart Justify my oxygen When I sing it out. Forgive me my frustration When I fail to sing You made me a musician These songs are all I bring. Music is a lonely road That I choose to take Not for applause or reward But for the music's sake. When the pimps of pop culture Spread monopoly I'll be headed for the door And sing with dignity. Give me more than daily bread Give me songs to sing Keep them playing in my head Always lingering. Let my music stay alive - Let the muse stay around When I'm dead and gone - When the song is done Eternity will have a voice - Inspiration may be found When she tarries on - When the music carries on. Should I paint a masterpiece I hope I'll never know Pray my work will never cease There is room for more. SingVocation Part II - Learning to Fly. I'm learning to fly on the wings of song, to that great gig in the sky I'm learning to fly. I call no one teacher and i guess it shows in the haphazard way my music flows. Clergy want to buy her fire For 30 pieces of hell Mercenary stakes on her attire But i'm not gonna sell. The kingdom of freedom is like a song That walked on mortal minds And even though it all goes wrong The song still unbinds. I lift up my voice unto the skies Where do my songs come from? It should come as no surprise The beating of an unheard drum. in the sky. Tripping and falling and rising in learning to fly, high. SingVocation Part 3 Cross Blessing. I ran away from the melody When I saw her crucified Robed in sheer divinity Naked with nothing to hide. I saw them copyright her crypt With tight security Slaved her at the free market Made her a commodity. Born of a virgin intellect Illiterate but aware inappropriately perfect You know it when she's there. She fulfilled the song beyond doubt Lyrical extraordinaire On the charts she has clout For all (of us) who will hear. Oh listen to the song that sings within The silence of your stillness Even with every rule a' broken You don't lose the poetic license. Knock yourself out on inspiration Inhale the spiritual soul Be born again with infatuation Let your first love take you home. Remember the songs that now embarrass you And you want to forget her tune Selective amnesia is like a boomerang (and) You're back where you began. Imagine now a guitar solo Imagine where it would go I would not have to sing these lines Liberated confines Take this song and make her yours Marry your lips to her voice Let the song be a metaphor Take you to the other side Embrace the yeasty epicentre Like she were a bride. Kiss her goodnight and stay awake Take notes as you watch her doff Heaven breaks loose as you partake And let the music blow you off. SingVocation Part 4 - The Bard. Prepare ye the way of the bard. Be an extreme version of yourself With every quirky paradox Well rounded won't cut anything Don't talk normal if you wanna sing. The drama of true worship Is to be truly oneself You don't need no guilt trip You don't have to fit a shelf. I may not move mountains I am but a bard I juggle life and hymns With fingers burnt and charred. Though i sing my loudest I may not reach your ears What matters is i did my best Despite my doubts and fears. Obsessions on overdrive Trickling down my veins My heart might need an extra valve To beat these soul terrains. Should i meet the song-giver Demanding another tune Would it satiate my hunger? Lusting for the moon. Songs are just a metaphor For the salvation within I'm honored to co-author The life I've been given. Plastic to plastic - Sarcastic fantastic I'm unenthusiastic - Of living unauthentic. Join me with your version Celebrate the passion of your own calling of all that you are being It's not competition It's not even ambition Vocational who-you-are Occupational all-you-are. Step out of the trite and shallow Parochial point of view The eye that watches over the sparrow Is probably looking for you. Time has her signature To date our songs and culture Cemented in forever Eternally now or never. Called to live, in Spirit and Truth. Called to bare Spiritual fruit Your calling is all you know of it . Eternity set in your heart. SingVocation part 5 Lip Service. Now this is the fun part! She saw him lying naked A song without a verse She felt inspired Set her lips to his chorus. She felt the song come to life Cradled in her breath She felt it grow as it was sung With every flick of her tongue. The rhyming got chaotic In a slapdash mess Explosively exotic Rainbow'tic finesse. All good things must come to an end The best afterglow forever Music bubbled and overflowed The song became her lover. She gathered her self together Kissed him goodbye Thought it was all over A little high and dry. He grabbed her before she could leave And peeled away her fears Kissed her, caressed her and made her heave Climaxing between the ears. Penetrated mind Hurt but felt divine Song' n-singer intertwined Each to its own, by design. SingVocation part 6 New Song in a New World. Ohhhhhhh aaaaaaaaaaah ⦠The song is alive Ohhhhhhh aaaaaaaaaaah ⦠The song has arrived Ohhhhhhh aaaaaaaaaaah. Another song is in the offing Ohhhhhhh aaaaaaaaaaah. The songs are multiplying. When we know all the answers And the universe makes sense Healed of all our cancers Run out of suspense. When Common sense supply n demand In commerce might comprehend An intrinsic value In the art of all we do. When irony meets her master And cleans up the slate Satire turns sincere Mockery, affectionate. Poet and purist Slit the wrist of a pragmatic fist Around the watch of time In handcuffs sublime. Our heroes have left us To think for ourselves Forgetting our favored songs So new ones can surface. The entrepreneurial spirit Must sift through delici'sional shit Think Inc. technique Fantastic beyond formulaic. When Natural laws of science Beats the waif defiance To a home in another world Where freedom hung unfurled And music has no pain. SingVocation part 7 My Song My Way! I will sing (again) For song not for gain I will sing of how it was Before the great loss of loss. In blasphemous devotion 'n dissenting patriotism Like erotic verse is not about sex but worse. Contortions and distortions And erroneous interpretations Composing a virgin's womb In scripted I assume to the tomb. Nipples pierced with wisdom Sepulcher minds open Heartbreaks sweeter than kisses Paves the way for freedom. Free-speech no longer preached Or practised in silence Freedom in prison Beats vision out of rhythm. Questions aren't rhetoric but celebratory And answers aren't trite or right in contrary. Infectious inspirational Intercourse without protection May hopefully be the currency By which we buy and steal. There's something wrong about this song Experts of the law and profits say If any of 'em a better one I've already had my way. Beyond time's signature In an overture to the future Our stained glass psyche Sing freely and artsyly out of key. At 80, Tom Jones' Voice Is Still Going Strong On His New Album 'Surrounded By Time' 11:06. In the 1960s during the British invasion, Jones stormed the U.S. from Wales and unlike the boy bands at the time, he put on an old school show with hits like “It's Not Unusual” and “What's New Pussycat?” Over the next five decades, he sold over 100 million records and starred in hit variety TV shows in the U.S. and the U.K., most recently sharing his musical wisdom as a coach on “The Voice UK.” At 80, Jones hasn’t slowed down. “Surrounded By Time” features covers from The Waterboys to Bob Dylan's “One More Cup of Coffee” — which comes more than 40 years after Jones first heard the Dylan hit. “You see, when you get older, you start to listen to things in a different way to what you do when you're young,” he says. These days, Jones says he’s less concerned with overblown vocals and more focused on finding the meaning within lyrics. But don’t let that fool you — his youthful voice still sounds as vibrant as ever. His voice is “alive and well and living in an 80-year-old man,” he says. “But my voice is about 30.” The importance of time came into perspective for Jones after the death of his wife — the two had been married for 59 years — in 2016 and when the world came to a standstill because of the pandemic. Humans are confined by time, “whether you like it or not,” he says, so “you’ve got to make the most of it while you’re here.” Jones hopes he’ll be back on stage performing in front of crowds sooner rather than later. “I live on stage, you see,” he says. “To me, all roads lead to the stage and the audience [is] dying for us to get up there.” Interview Highlights. On tweaking the lyrics of “I’m Growing Old” by jazz composer Bobby Cole. “When I first heard it, I was only in my 30s and Bobby Cole came in the dressing room and he said, ‘I've got this song, what do you think?’ And I said, ‘I don't think I'm old enough to sing it yet, but maybe when I get to 80, if I get there, then I will definitely do it.’ So I am 80 and so now I'm doing it. All the words in this song are true except for one line that I've changed since I recorded it. There's a line in there that goes, ‘And though I save a lock of hair, I seldom dream about my wife.’ I flipped it.” Tom Jones and his family, wife Linda and son Mark, moving into their new home in July 1967. (Ian Tyas/Keystone Features/Getty Images) On the meaning behind “I Won't Crumble With You If You Fall,” the death of his wife, and how she wanted him to keep singing. “That's exactly what she said not to do, because she had terminal lung cancer and she knew she was dying and I was with her for the last 10 days and she said, ‘Look, I got to go. You know, there's nothing I could do about it, but don't you fall with me. You've got to get up on that stage and you've got to sing.’ And I said ‘I don't know whether I'll be able to do it,’ because if I get too emotional, you can't be that emotional and sing, you see, because it gets stuck in your throat. So she said, ‘Well, just think of me laughing,’ because she loved it when I would tell her a joke, if I came off the road, she'd say, ‘Have you heard any new jokes lately?’ and I would tell her one and she would laugh. So she said, 'Think of me like that when you get on a stage. Don't think of me like I am now.' “But she was the coolest person in the room. Myself and my son, we were basket cases, and she said, 'You two got to mentor one another now.' So, yeah, I've got her ashes with me in my bedroom on the chest of drawers with a picture above it. So she's the first person I talk to in the morning and the last person that night.” On being a young, trained singer up against huge bands like The Rolling Stones and The Beatles in the 1960s. “Well, first of all, I could sing. A lot of those fellas — I'm not putting anybody down here — but in the ‘60s, there were not many singers around. There were a lot of bands fronted by people that expressed things, but they weren't necessarily singers. So I've always been a singer of songs, you see. All kinds of songs, though. Like, for instance, on my first album I did ‘Autumn Leaves,’ but I also did ‘Memphis Tennessee.’ I mean, with “It's Not Unusual,” because I did that, I did ‘What's New Pussycat’ for Burt Bacharach because he said we need a strong voice on this thing. We need somebody that's singing it like it was midnight hour.” “I always thought I was ahead of the game, not behind it. I was only 24 when I recorded “It’s Not Unusual.” I was the same age as John Lennon, but I didn't look like a boy. I looked like a man, you see, with a busted nose. I came out of South Wales and they said that macho s*** went out with Elvis Presley, and I said, ‘I don't think so.’ So that was it. “I was up against it from the beginning, you see, because trends, you get The Beatles and the Stones, you know, people like that, looking like boys and well, singing like boys actually. But anyway, it's like that. So when I signed, they thought I was an older person until I got to the [United] States and then they thought I was Black and they were playing “It's Not Unusual” on Black radio. They couldn't quite understand, though, why I was singing, as they put it, like a Black man and looking like a white man. So they thought I was passing.” On singing “The Windmills Of Your Mind” “When I first heard it, when Noel Harrison recorded it because we were on the same label, I loved it right away and I still don't know whether that's a literal translation of the French lyrics or not, because in English it's fantastic. And, you know, life to me is like a circle anyway. You know, it goes 'round. What goes around comes around. It's never-ending or beginning on an ever-spinning reel, really. It's like it goes on forever.” Emiko Tamagawa produced and edited this interview for broadcast with Jill Ryan. Serena McMahon adapted it for the web. Munchers: A Fable. To license this film and get a higher quality version for broadcast/film purposes, contact A/V Geeks LLC. I could have sworn that this had been a figment of my seven-year-old (at the time) imagination. The year was 1982, friends, and this movie scared the hell out of me. Yes, I was a wussy girl, but the dang peg-leg tooth and the demon tooth decay. let's just say I would have appreciated the comic value of this film 11 years later, possibly with the help of some weed. Oddly, I only remember the beginning of it. While it's possible that my young, traumatized mind blocked it out, it's also entirely possible that I got so freaked out that I was removed from the classroom. Second grade also marked my first meeting with a psychiatrist. Take that any way you want to. :) This is. the Holy Grail of internet finds for me. I was shown this movie as a 1st and 2nd grader while attending St. Claude Heights Grammar School in Chalmette, Louisiana during the years 1977 & 1978. Afterwards, long strips of pink/red tablets were torn into 3-packs and handed to the students. Chewing the tablets dissolved the material and then you could look in the mirror and "see" where cavities were likely to form. Anyway, I've been using the Internet, not just computers, since 1989/1990, having gotten my first computer in 1982. I have been able to hunt down everything I've ever wanted on the Internet, from songs I heard only once on the radio but never forgot to television shows that only I seem to remember, etc. This was the absolutely LAST thing I had not been able to track down from my childhood on the Internet. Until now. It is the single earliest memory of moving media. While it is, after all, just a campy video about the perils of tooth decay, it oddly represents something much more to me- a chance to watch a 10 minute film I saw 28 years ago but never forgot. A chance to take the earliest, vaguest memory as a child of a moving picture and re-watch it all these years later. Whoa! This is about the weirdest tooth decay movie I've seen. I would imagine that this film was too scary for the little ones it was aimed at; (the scenes where the villain attacks look pretty morbid when taken too seriously). But, the music and dance scenes totally make up for it. I give this 5 stars, because the colors make me feel happy inside. Holy crap they have breakbeats and hot bass lines on this soundtrack. rawk on! Now, if my teeth have faces and mouths, then do my teeth have teeth, and so on? This leads me to believe that drugs would enhance the enjoyment of this film. Then this film will help you dissuade you. A land of happy go lucky teeth get a stranger, who is happy to give out candy! Then the stranger turns nasty, using some sort of plier thingy to try to rot their minds (literally). One of the teeth goes away to find a tooth oldtimer, with a gold crown and, yes, a wooden leg, who tells junior tooth about the 4 food groups (each of them have their own annoying little ditty). Soon, the tooth comes back to confront Mr. Tooth decay, only to be nearly defeated! Luckily, Old timer tooth shows up with a giant tube of toothpaste which gobs Mr. Tooth decay all up! "I'll be back!" Mr Tooth decay warns us. Yes, but WHEN. Honestly, all of that happens. Filled with trippy music, clumsy claymation, and a druggy story, this is one for the ages. Just about nearly topples that Skanapagalapos Part 2 or whatever that was on one of Skip's 'Huh?' tapes for sheer claymation weirdness. A MUST SEE on this site.