The Loved Ones Magic Box Mp3, Flac, Wma

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The Loved Ones Magic Box mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Magic Box Country: Australia Released: 1985 Style: Psychedelic Rock MP3 version RAR size: 1110 mb FLAC version RAR size: 1360 mb WMA version RAR size: 1580 mb Rating: 4.1 Votes: 377 Other Formats: WAV ASF MP3 AA MP2 ADX TTA Tracklist A1 The Loved One 2:45 A2 Everlovin' Man 2:08 A3 Sad Dark Eyes 2:14 A4 A Love Like Ours 2:10 A5 Love Song 2:12 A6 Blueberry Hill 2:38 A7 Shake, Rattle & Roll 3:14 A8 This Is Love 2:25 B1 Magic Box 2:15 B2 More Than Love 2:09 B3 The Woman I Love 1:58 B4 The Loverly Car 1:56 B5 I Want You To Love Me 2:42 B6 Everlovin' Man (Live) 2:21 B7 Sad Dark Eyes (Live) 2:25 B8 The Loved One (Live) 3:32 Companies, etc. Phonographic Copyright (p) – Raven Records Pty Limited Phonographic Copyright (p) – Raven Records Pty Limited Recorded At – Festival Hall, Melbourne Credits Bass – Kim Lynch (tracks: A1 to A4, A6, A8, B2 to B4, B6 to B8) Lead Guitar – Rob Lovett* (tracks: A1 to A4, A6, A8, B2 to B4, B6 to B8) Liner Notes – Peter Mackennal Piano – Ian Clyne* (tracks: A1, A2, A8, B2) Reissue Producer [Prepared For Reissue By] – Glenn A. Baker Notes ℗ & © 1985, Raven Records Pty. Ltd. Issued by exclusive arrangement with PolyGram Records. Live tracks recorded at Festival Hall, Melbourne, April 23 1967 introduced by Stan Rofe. Audio quality is consistent with Australian recording standard in 1967. Barcode and Other Identifiers Matrix / Runout (A): RVLP-23 A Matrix / Runout (B): RVLP-23 B Other versions Category Artist Title (Format) Label Category Country Year WG-S/25/5127, WG The Loved Magic Box (LP, W & G, WG-S/25/5127, WG Australia 1967 26/S/5127 Ones Album) W & G 26/S/5127 The Loved Magic Box (LP, Astor, WG-5127, WG5127 WG-5127, WG5127 Australia 1972 Ones Album, RE) Astor The Loved Magic Box (LP, WG-25/5127 W & G WG-25/5127 Australia 1967 Ones Album, Mono) The Loved Magic Box (LP, WG-S/25/5127 W & G WG-S/25/5127 Australia 1967 Ones Album) The Loved Magic Box (LP, WG-25/5127 W & G WG-25/5127 Australia 1967 Ones Album, Mono) Comments about Magic Box - The Loved Ones Tam Beware of this release. Only the Left hand channel from the stereo master is present and has been centred into Mono. Track down the original Stereo and Mono LP's instead. Related Music albums to Magic Box by The Loved Ones Richard Williams - Till Love Touches Your Life / I've Never Loved Anyone Trade Martin - I Couldn't Make You Love Me (The Way That You Loved Him) / You're The Cause Aretha Franklin - I Never Loved A Man The Way I Love You / Aretha Arrives Aretha Franklin - Respect / I Never Loved A Man (The Way I Love You) Sleepy Eyes - Love, Infinity Jessi Colter - You Ain't Never Been Loved (Like I'm Gonna Love You) / What's Happened To Blue Eyes Johnnie & Jack, The Tennessee Mountain Boys With Ruby Wells - I Loved You Better Than You Knew / Love, Love, Love The Loved Ones - Live On Blueberry Hill Aretha Franklin - I Never Loved A Man The Way I Love You Central Park - Who Wouldn't Love To Be Loved / Flower Hill DDRIVE - To Live To Love John O'Banion - Love You Like I Never Loved Before.

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The Loved Ones (2009)
Screen Sound n3, 2012 ALL MASHED UP? Songs, Music and Allusionism in The Loved Ones (2009) Philip Hayward Abstract This article considers Australian director Sean Byrne’s 2009 horror/comedy feature film The Loved Ones with particular regard to its uses of allusionism within a popular genre context.1 Within this focus, the article explores the various musical components of the soundtrack (including critical use of specific songs), the creative template determined by the director and the creative input and decision making of various members of the production team. In this manner, the article profiles the film’s audio-visual text, the perceptions and motivations of the production team and considers how these relate to the film’s reception and box-office performance. Keywords The Loved Ones, allusionism, film songs, soundtrack, Australian film Allusionism — An Introduction Back in 1982 the film theorist Noel Carroll considered and, it is not unfair to say, fretted over, the prevalence of allusionism in a range of popular films. Carroll’s critical persona and aesthetic approach drew on two strands: the auteur school of film criticism that attempted to identify distinguished creative authors working within the (supposedly largely undistinguished) mainstream film industry; and a parallel interest in and commitment to the modernism of the western cinematic avant-garde. His anxiety over allusionism in popular cinema arose from a position that considered that, while classic auteur cinema and (successful) modernist works could be identified to have allusionism skillfully woven into the fabric of their texts (and, more broadly, into their author’s aesthetic visions), a range of popular cultural texts seemed increasingly inclined to simply display their allusionism without any deep or thematically significant intent.
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