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Elvis Presley 'Aloha from Hawaii' statue from every angle
May 17, 20169:46 PM MST
Trina Yannicos
Elvis Presley Examiner
For the past several years, TV Land has honored several icons of television by placing bronze statues in various locations around the U.S. In addition to statues recognizing Mary Tyler Moore and The Fonz is one for Elvis Presleyrecognizing his "Aloha from Hawaii" TV special, the first satellite TV concert which was broadcast on January 14, 1973.
The Presley statue is located in downtown Honolulu in front of the Neil S. Blaisdell Center arena (formerly the Honolulu International Convention Center arena) where the concert originally took place.
The concert shows Elvis at the peak of his 1970s concert years. An estimated one billion people watched the concert live. It aired on NBC in the U.S. on April 4, 1973. No admission was charged to the audience, but through donations and concert merchandise sales, $75,000 was raised for the Kui Lee Cancer Fund in Hawaii.
The statue reflects intricate details of the "American Eagle" white jumpsuit that Elvis wore during the concert. Views from the front, back and side show the jeweled beads and chain decorations that drape the suit. Elvis has a guitar strapped over his shoulder and is holding a microphone resting on a mic stand.
Presley's statue sits atop a pedestal with the title "Elvis Aloha from Hawaii: The World's First Satellite TV Concert, January 14, 1973." Fans and locals make sure to keep a fresh Hawaiian lei around Presley's neck.
On the sidewalk directly in front of the statue is a plaque presented by TV Land which states: "With supreme talent and sincere humanity, Elvis Presley made his gift the world's. 'Thank you. Thank you very much.' From the people of TV Land."
The statue serves as a wonderful tribute to a performer that brought a great deal of attention to Hawaii through his three movies that were filmed on the islands and the multiple concerts that he performed there. The Neil Blaisdell Center is located at 777 Ward Avenue in Honolulu.
The Monkees celebrate 50th anniversary by teaming with modern pop luminaries for a new album
When the TV series “The Monkees” premiered on Sept. 12, 1966, by all rights it should have been nothing more than a effervescent bubble on the face of pop culture —something to be enjoyed now, because surely it would burst and quickly vanish.
Half a century later, many key players in that strictly-of-the-moment enterprise are as amazed as anyone that the Monkees, once derisively nicknamed “The Pre-Fab Four,” live on in 2016.
On May 27, the first Monkees album with new material in 20 years will be released by Rhino Records. Called “Good Times!,” the album bridges the group’s five-decade lifespan with newly completed tracks from the Monkees’ original heyday along with songs recently written and recorded expressly for the 50th anniversary.
Two of the group’s three surviving members — Micky Dolenz and Peter Tork — launched a still-expanding world tour on Wednesday in Fort Myers, Fla., and the band returns to Los Angeles for a homecoming show Sept. 16 at the Pantages Theatre.
“It’s stunning to be part of a project that 50 years later is having a significant resurgence,” Tork, 74, recently said from his home in Connecticut.
“I don’t know how significant it will turn out to be, but it’s certainly the biggest tour we’ve been on in the last 10 years, including the times Davy [Jones] was still with us.”
Although Jones died in 2012 at age 66 of coronary artery disease, he is represented on the new album in “Love to Love,” a song written by Neil Diamond. Period recordings from 1966 and ’67 were recently updated with “a little color here and there,” Tork said.
In a demonstration of the Monkees’ influence on subsequent generations, the album also includes songs written for them by a number of modern rock favorites, including Weezer’s Rivers Cuomo, Oasis’ Noel Gallagher, Death Cab for Cutie’s Benjamin Gibbard and the album’s producer, Fountains of Wayne bassist-songwriter Adam Schlesinger.
“Everyone knows at this point that the Monkees had some of the greatest songwriters in the world writing for them,” said Schlesinger, 48, who was born the year the TV show began its second and final season. “Personally, it’s an honor to be on that list.
“We got amazing submissions from a lot of great writers. It was hard to even choose which ones to go with. I think everybody likes the idea of writing for the Monkees. It’s a very freeing assignment in a way, because it’s just about writing something catchy and fun.”
The then-and-now idea for the new album came from conversations between Dolenz and their manager and tour producer of recent years, Andrew Sandoval.
Having looked together through unfinished material in the vaults — “not a few, but literally dozens of tracks,” Sandoval said — they chose several they thought represented the best unreleased songs to finish.
When Schlesinger came aboard to produce, “fortunately he pretty much agreed with the ones we liked.”
For all the fun the participants had working on the new album (“It was a blast,” Schlesinger said, “probably the most fun I’ve ever had making a record”), Dolenz, 71, conceded to being emotionally overwhelmed while working on the title track, which was written by Harry Nilsson, the songwriter whose own career was launched by the Monkees’ decision to record his song “Cuddly Toy.”
Working on a newly created duet that includes the voice of his friend, who died at age 52 in 1994, “I had to stop and take a break a couple of times,” said Dolenz at a West Los Angeles television studio where he’d just taped a morning show appearance. “Hearing his voice in the headphones and singing with him all these years later, it really got to me.”
The new version is built on the original demo recording that Nilsson made in 1967.
Later, he and Dolenz became particularly close, and were notorious Hollywood partygoers. In the 2010 documentary “Who Is Harry Nilsson (And Why is Everybody Talkin’ About Him)?,” Dolenz recalls Nilsson showing up at his house, inviting him to lunch, “and three days later I’d wake up and we would be in some massage parlor in Phoenix.”
To further commemorate the band’s anniversary, a newly remastered edition of the Monkees’ two-season prime-time run will be released on Blu-ray in June.
For a network situation comedy, “The Monkees” generated a lot of ripples through pop culture.
Show creators Bert Schneider and Bob Rafelson also cooked up unconventional techniques for shooting the show’s obligatory musical numbers. They were invigorated with quick cuts, off-kilter camera angles and general absurdity, which proved influential when music videos began to flood the airwaves with the birth of MTV.
Part of the ongoing appeal of the show, from Dolenz’s perspective, is that “We were never an American version of the Beatles,” as the Monkees were often described at the time. “We were four guys who wanted to be the Beatles.”
Rafelson, who went on to direct and produce such counterculture classics as “Easy Rider” and “Five Easy Pieces,” bristled over the years at suggestions that “The Monkees” was inspired by the Beatles and “A Hard Day’s Night.”
“This was a show I had written six years before the Beatles existed, and the pilot was based on my own life as an itinerant musician when I was 17 years old,” Rafelson told The Times in 2012, shortly after Jones’ death.
“What the Beatles did was to create a kind of permission for any rock ’n’ roll to be a popular subject for television.”
Likewise, Dolenz pointed out that in 1965, when screen tests were underway to find cast members for the show that would become “The Monkees,” “I shot four pilots that year, all music projects. One was about a folk trio modeled on Peter, Paul and Mary, one was about a surf band like the Beach Boys, the other was about a big folk group like the New Christy Minstrels.”
But when the Beatles arrived, “They just swamped pop culture,” Tork said, and thus the pilot hewing closest to the Beatles blueprint was the one green-lighted for production.
The show — and its songs — were hits almost immediately. The Monkees’ debut single, “Last Train to Clarksville,” shot to No.1 on the Billboard Hot 100 and was quickly followed by another chart-topper, “I’m a Believer.” The group scored seven more top 20 hits over the next 18 months and sold more albums and singles in 1967 than the Beatles or the Rolling Stones.
But the Monkees felt wrath from some quarters of the rock music world that treated the whole enterprise as some sort of con game, a subterfuge that undermined notions of musical integrity.
“Some people are very serious about their rock music,” Dolenz said, adopting an Eastern European accent. “There vill be no joking around!”
Band member Michael Nesmith led a rebellion against music impresario Don Kirshner, who oversaw their early recordings and kept his hand on the pipeline of pop songs flowing to the Monkees from then-little-known writers including Nilsson, Diamond and, most frequently, Tommy Boyce and Bobby Hart.
Over the years, “the smart Monkee” has emphasized that he wasn’t objecting to either the quality of songs or the level of musical support they got from the studio pros, but to the illusion the show’s creators tried to maintain by crediting only Jones, Dolenz, Tork and himself on the album covers.
His showdown with Kirshner — during which he put his fist through a wall in the office building they were in — led to the quartet’s being granted autonomy, and their third album, “Headquarters,” was the product of just the four Monkees.
It was a virtually unprecedented display of artistic independence, yet one that still hasn’t earned the Monkees sufficient respect, in the eyes of some, to win them a spot in the Rock and Roll Hall of Fame.
And to the members of the group, it seemed a strange, and unnecessarily divisive, subject.
“People would ask us about the band, and I always said, ‘What band?’ It’s a TV show!” Dolenz said. “I was an actor, and I was hired to play a role, and that’s what I did. Now I’m getting ready to play that role again, and I’m delighted to do it — like a revival of ‘Fiddler on the Roof’ or ‘Oklahoma!’”
Nesmith, who carved out a successful solo career in the 1970s and ’80s and became a pioneering video producer and entrepreneur, won’t be joining his old bandmates, at least not on a regular basis.
He last toured with them in 2014 but currently iswrapped up writing a book. On his Facebook page, he has wished his on-and-off bandmates well, suggesting he might join them on selected tour stops.
Said Dolenz with a smile, “We’ll see what happens. It’s kind of like waiting on our Neil Young. We’ll have him represented in the show because of all the film footage we use. And that lets us have Davy in it as well.”
And what do the Monkees represent long after they proudly sang “We’re the young generation, and we’ve got something to say”?
“I think everybody has a soft spot for the Monkees,” said Schlesinger. “They’re not specific to one generation, which is why this record had a nice aura around it from the beginning. For me, it’s really the music. Not that the show doesn’t hold up, but the music really holds up. It’s a cliché, but it really is a band for all ages.”
Live music review: Rhiannon Giddens debuted on Austin City Limits TV
May 20, 201611:39 AM MST
Greg Ackerman
Austin Concerts Examiner
Rhiannon Giddens - Austin City Limits TV
Scott Newton for ACL TV (used by permission)
Rhiannon Gidden debut ACL TV taping
The first time we saw Rhiannon Giddens we were stunned. And she hadn't sang a note yet. Giddens was one of four Carolina Chocolate Drops (CCD) backstage for the "red carpet" walk-through for press covering the Johnny Cash 80th Birthday Celebration at ACL Live in 2012. Her striking good looks left us speechless for a beat until we recovered enough to wonder aloud who these attractive musicians were. It turns out they were one of two black workingbluegrass acts with a Grammy-winning lead vocalist and multi-instrumentalist. They would perform a Johnny Cash cover later in the evening.
Not long after we saw CCD astound fans at the Old Settlers Music Festival. Once again we were smitten by Giddens's magnetism. She was and is a spellbinding performer. A classically-trained opera singer, the effortless way she delivers emotion-packed, powerful vocals makes that fact evident. Her debut Austin City Limits television taping last month at ACL Live at the Moody Theater was nothing short of spectacular. Once again, Giddens left us speechless. We had to take a minute (ok a few weeks) to let the performance soak in.
Giddens and her band of players included Hubby Jenkins, (guitar, mandolin) her CCD bandmate stationed to her left while the band launched into Bob Dylan's Spanish Mary, a song Gidden recorded for the New Basement Tapes project with her own interpretation of the words. That album included an impressive list of guest artists.
Giddens and her band had to record the song again after it was discovered there was a bad fiddle mic in the first take. The ACL TV audience ate up the second version despite the singer's self-deprecating jokes. The set continued with a mix of songs from Giddens's debut album, Tomorrow is My Turn with a Dolly Parton cover, Don't Let It Trouble Your Mind.The tune seemed to relax both the band and the audience and for the next hour this bewitching musician held the theater audience at rapt attention.
Her set-ending rendition of Gaelic music that featured Giddens singing the most complicated verses we've ever heard out of a singer's mouth. It was vocal gymnastics turned art and it floored the fans and us. After witnessing hundreds over performances over the past seven years, having a performer leave us with our mouth gaping is both surprising and pleasing. No wonder this woman already has a Grammy at home, she's a musical powerhouse.
The Rhiannon Giddens Austin City Limits episode is slated to air this fall. Check your local PBS listing or acltv.com for specific dates and times in your area.
Reach out and grab 'The Lobster', the best movie of 2016 (so far)
May 20, 20167:01 AM MST
Jeff Mitchell
Phoenix Classic Movies Examiner
"The Lobster" (2015)
A24
“The Lobster” (2016) - On an ordinary, overcast day in the British Isles, David (Colin Farrell) checks into a 5-star, countryside hotel.
His stay will be far from predictable, and in fact, under a most bizarre scenario, David has 45 days to find love.
If he succeeds, he will discover forever happiness, but if he fails, the people running the hotel will turn him into an animal, literally an animal.
Luckily, David gets to decide which animal he could become (how novel, right?), and out of all the animals in the universe, he chooses to (potentially) be a lobster.
It seems like a strange choice, but he explains that they live for a hundred years, remain fertile for their entire lives, and plus, he loves the sea.
Quite frankly, all 1 hour 58 minutes of director Yorgos Lanthimos’ picture seems like a strange choice.
Yes, “The Lobster” is a wonderful, inspiring, hilarious, and frightening choice, and - led by a highly inventive screenplay and a purposely subdued performance by Farrell - it is, without question, the best movie that I have seen (so far) in 2016.
Set in a present day, parallel universe or next decade’s dystopia, Lanthimos chooses muted colors and gray palettes to paint this world and successfully sets an uncomfortable and uncertain mood.
The setting looks like a typical 2016 day on Planet Earth, but everyone’s behavior and internal logic is off-kilter.
Part of the film's magic is the big (and small) discoveries of this world’s misaligned ideals and mores.
By revealing them in this review, I would be performing a massive disservice to you, the viewer, so I won’t.
Just know that the picture divulges them in uproarious, shocking and sometimes perverse ways and, in the process, raises excellent questions about romantic relationships.
Why do we choose a specific mate? What do we sacrifice when we form a partnership? Are we honest with - and do we remain true to - ourselves? Is a chosen partner a true soul mate or someone who simply fits a need?
Through David’s (and other characters’) experiences in the hotel, it attempts to answer these questions, while it entertains in an oddball manner.
I would compare this film’s experience to a Wes Anderson picture with oodles of visual eccentricities and quirky individuals but with a more forlorn feel.
It is difficult to find a happy character on the screen, but these desperate singles certainly look for comfort and joy.
A terrific array of actors like Ashley Jensen, Jessica Barden, John C. Reilly, and Ben Whishaw play these unattached, “despairing” beings, and the screenplay does not provide them names, and instead, we know them as Biscuit Woman, Nosebleed Woman, Lisping Man, and Limping Man.
Meanwhile Farrell – who is somewhat unrecognizable with a 70s haircut, rimless glasses and a Tom Selleck-like mustache - is completely fascinating as a restrained, introverted architect who seems to have let life dictate his path for him.
Farrell’s David meanders through this "new path" and attempts to find the right key to someone’s heart before his six-week and three-day journey reaches its curfew.
With the clock ticking, he needs to take a stand and fight for his destiny, and it might arrive in the form of a pretty, short sighted woman (Rachel Weisz).
Then again, perhaps searching for a lifelong love under duress or societal ideals might be a short sighted endeavor.
Well, just be aware of those literal and figurative lobster nets in the sea and onshore, respectively.
Riot Fest Unveils 2016 Lineups for Chicago and Denver
By Sarah Murphy
Published May 18, 2016
 Unfortunately, Riot Fest won't be making its way up to Toronto this year, but the annual event will still close out the summer by staging events in Denver and Chicago. Riot Fest & Rodeo will go down in Denver from September 2 to 4, while Riot Fest & Carnival will take over Chicago from September 16 to 18.
As previously announced, the Misfits will be reuniting their original lineup for the shows, but now organizers have unveiled a whole slew of other performers that will be gracing the stages between the two events.
The lineup for Denver currently boasts the following onslaught of artists:
The Original Misfits (Featuring Glenn Danzig, Jerry Only and Doyle Wolfgang Von Frankenstein), Ween, Death Cab For Cutie, Jane's Addiction, Sleater-Kinney, NAS, Deftones, Fitz & the Tantrums, Descendents, NOFX, Underoath, Bad Religion, Thursday, Tyler, the Creator, Pepper, Jake Bugg, Motion City Soundtrack, Wolf Parade, the Hold Steady, Yo La Tengo, Sleigh Bells, Chevy Metal, the Dandy Warhols, Vince Staples, Suicidal Tendencies, Flatbush Zombies, Hatebreed, Lagwagon, the Aquabats, Glassjaw, the Wonder Years, Me First & the Gimme Gimmes, Danny Brown, Against Me!, Meat Puppets, Leftöver Crack, Dan Deacon, Murder By Death, Rogue Wave, Converge, Billy Talent, Fucked Up, Lewis Del Mar, Set Your Goals, Juliette Lewis & the Licks, Touché Amoré, Frnkiero and the Cellabration, Pouya, White Lung, Plague Vendor, People Under the Stairs, Fat Nick and Don Krez, Violent Soho, Judith Hill, Tigers Jaw, Bleached, Diarrhea Planet, Planes Mistaken For Stars, Dee-1, Kirk Knight, Somos, Turnover, Jessica Hernandez & the Deltas, Bryce Vine, 3Teeth, Night Riots, Syd Arthur, Jule Vera, Microwave, Death Spells, Diet Cig, Donna Missal, High Waisted, Culture Abuse and more to still be announced.
Following that, Chicago will see sets from:
The Original Misfits (Featuring Glenn Danzig, Jerry Only and Doyle Wolfgang Von Frankenstein), Morrissey, Ween, Death Cab For Cutie, Rob Zombie, Social Distortion, Brand New, NAS, the Specials, Deftones, Fitz & the Tantrums, Jimmy Eat World, Descendents, Refused, NOFX, Bad Religion, Pierce the Veil, All Time Low, Underoath, Motion City Soundtrack, Thursday, Jake Bugg, the Hives, Death Grips, Chevy Metal, Bob Mould, the Hold Steady, Glassjaw, Me First and the Gimme Gimmes, Pepper, Tiger Army, Meat Puppets, GZA, the Wonder Years, Method Man & Redman, Dan Deacon, Dee Snider, Andrew W.K., Joey Bada$$, GWAR, Leftöver Crack, Billy Talent, the Anniversary, Neck Deep, Highly Suspect, Smoking Popes, Fucked Up, the Vandals, the Dillinger Escape Plan, Girls Against Boys, Fu Manchu, the Falcon, I the Mighty, the Toasters, Set Your Goals, Juliette Lewis & the Licks, FrnkIero and the Cellabration, Tigers Jaw, Basement, Citizen, Swingin' Utters, Big D & the Kids Table, Diarrhea Planet, Pouya, Touché Amoré, Hippo Campus, Balance & Composure, People Under the Stairs, White Lung, Denzel Curry, Jessica Hernandez & the Deltas, Turnover, Violent Soho, Dee-1, Bleached, Brick + Mortar, Night Riots, Plague Vendor, Off With Their Heads, Laura Stevenson, Somos, Tancred, Microwave, Deal's Gone Bad, Death Spells, 3Teeth, Black Foxxes, the Wans, Creeper, the Walters, Jule Vera, Marina City, Worriers, Nots, Big Ups, All Dogs, the Dirty Nil, Eskimeuax, War On Women, Hard Girls, A Will Away, Can't Swim, With Our Arms to the Sun, Donna Missal, Bad Cop / Bad Cop, Tasha the Amazon, Blackbox, High Waisted, Partner, Sleepy Kitty, School of Rock and more to be announced in the coming months.
Full festival information for both events can be found at the official Riot Fest website.
Courtesy of Freeform
Dead of Summer First Look: Meet the Freeform Thriller's Potential Victims
By Andy Swift / May 19 2016, 8:00 AM PDT
It’s shaping up to be, like, a hell of a summer at Camp Stillwater.
TVLine has an exclusive first look at the series premiere of the new Freeform thriller Dead of Summer (June 28, 9/8c), in which a seemingly idyllic 1980s camp is revealed to have its share of twisted — and occasionally deadly — secrets.
Executive-produced by Once Upon a Time‘s Adam Horowitz, Edward Kitsis and Ian Goldberg, Dead of Summer stars former Storybrooke resident Elizabeth Mitchell as Deb, a former camper who returns to run Stillwater.
This year’s crop of counselors, several of whom pop up in the photos below, includes Elizabeth Lail (Once) as Amy, Zelda Williams (The Legend of Korra) as Drew, Mark Indelicatio (Ugly Betty) as Blair, Amber Coney (Class) as Cricket, Paulina Singer (Gotham) as Jessie and Ronen Rubinstein (Orange Is the New Black) as Alex.
Scroll down for your first look at Dead of Summer‘s potential victims, then drop a comment with your thoughts on Freeform’s next mystery series.
The Arrangement Trailer: E! Drama Skewers Hollywood, 'Scientology'
By Vlada Gelman / May 16 2016, 11:01 AM PDT
E! on Monday unveiled the first trailer for its upcoming scripted series The Arrangement, which looks like it could be the love child of the short-lived Hollywood satire The L.A. Complex and the fictionalized reality TV drama UnREAL.
The Arrangement follows Megan Morrison (Chicago Fire‘s Christine Evangelista), a young actress who auditions for the female lead in a movie opposite film hunk Kyle West (Dallas‘ Josh Henderson). Their chemistry is so hot that Kyle’s team — including Alias vet Michael Vartan as the leader of a self-help organization calledScientology the Institute of The Higher Mind — offers Megan a $10 million contract… to marry him.
What to watch on Friday, May 20...
SERIES PREMIERE, 12:01am Pacific, Netflix
Lady Dynamite
Maria Bamford created and stars in this semi-autobiographical comedy series, produced byMitch Hurwitz. Sarah Silverman, Patton Oswalt, Jenny Slate, and Tig Notaro are among the many guests stopping by during the 12-episode season.
U.S. SERIES PREMIERE, 12:01am Pacific, Amazon
Julian Fellowes Presents Doctor Thorne
Downton Abbey creator Fellowes produces this three-episode adaptation of Anthony Trollope’s Chronicles of Barsetshire book series. Tom Hollander stars as the titular doc, who raises his niece and contends with scandal in 1850s England. Ian McShane and Alison Brie also star.
SEASON 5 FINALE, 8pm, NBC
Grimm
Black Flag targets Hank with a move that sends Nick out for blood in “Beginning of the End, Parts 1 and 2.” Meanwhile, Adalind and Capt. Renard grapple with their new reality with Diana, and Hadrian’s Wall seeks a mysterious figure known as Bonaparte.
8pm, CBS
New I Love Lucy Superstar Special
The latest colorize-and-combine special centers on Hollywood, California, America. First in “Lucy Visits Grauman’s,” Lucy and the Mertzes visit the famous Chinese Theatre, where Lucy attempts to abscond with John Wayne’s footprints. Then in “Lucy and John Wayne,” she thinks better of the scheme and tries to replace the cement souvenir—with the help of the Duke himself.
SEASON 3 PREMIERE, 8pm & 8:30pm, The CW
Masters of Illusion
“Techno Magic, Quick Change and a Guillotine” and “A Magical Smorgasbord” kick off another season of sleight of hand.
SEASON 3 FINALE, 9pm, The CW
The Originals
As Klaus stands trial for his centuries of villainy, the other Mikaelsons do their darndest to save the family from the latest existential threat. Elsewhere in “The Bloody Crown,” a still-spiraling Marcel is staggered even more by the return of someone from his past.
SEASON 7 FINALE, 9pm, ABC
Shark Tank
The season’s final batch of pitches include a healthy chocolate treat for women, an app for electronically sending handwritten cards, a self-zapping wristband designed to break bad habits, and a line of men’s hair products from a returning Season 4 entrepreneur.
10pm, Syfy
Wynonna Earp
In “Two-Faced Jack,” Henry and Dolls must set their differences aside to infiltrate a Revenant hive, while Wynonna must outwit a serial killer.
SERIES FINALE, 10pm, Cinemax
Banshee
Lucas decides that the series finale is as good a time as any to leave Banshee for good, but his departure may be delayed by the reopening of the murder case. Meanwhile in “Requiem,” Proctor plans to strike a deal with the Colombians in the wake of his showdown with the Brotherhood, Brock demands allegiance from Bunker, and Carrie performs one last act of revenge.
LATE-NITE:
– Billy Crystal, Beanie Feldstein, and Flatbush Zombies on The Tonight Show Starring Jimmy Fallon, 11:35pm, NBC
– Seth Rogen, Krysten Ritter, and Wolf Parade on Late Show with Stephen Colbert, 11:35pm, CBS – Bryan Cranston, Anika Noni Rose, and Joanna Newsom on Jimmy Kimmel Live, 11:35pm, ABC
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Lenny Kravitz discusses his upcoming dates opening for Guns N' Roses this summer. 
Macy Gray explains how her collaboration with Ariana Grande came to be and teases two upcoming albums. 
A collection of unreleased David Bowie music is set to feature in the second episode of the BBC4 docuseries 'The People’s History Of Pop.' 
His next boldly romantic promise, ‘I’ll Do For You Anything You Want Me To’ was the second single from Barry’s fourth album, Just Another Way To Say I Love You (released in April) and the follow-up to the typically seductive lead hit ‘What Am I Gonna Do With You.’ His trademark style of deep, soulful, double-tracked vocals, winning melodies and lush string orchestrations could do no wrong, as the charts of 24 May, 1975 would underline again on both sides of the Atlantic.
In the UK, the song made its arrival at No. 32, as the nation sang along to Tammy Wynette’s reissued ‘Stand By Your Man’ at No. 1. ‘I’ll Do For You’ peaked at No. 20 there, the sixth of what would be a proud total of 17 top 20 hits. And to underline White's mid-1970s pre-eminence even further, his Love Unlimited Orchestra landed their fourth R&B chart entry with his song 'Forever In Love' on the same day that 'I'll Do...' started its pop ascent; and on that soul chart, his female vocal trio Love Unlimited themselves peaked at No. 21 with yet another White composition, 'Share A Little Love In Your Heart.'
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