Daltrey echoes the current political and social unease with an impassioned take on Parliament’s “Come In Out of the Rain” (titled “Get On Out of the Rain” here). It’s an impressive start, and As Long As I Have You is stronger in its first half than its second. The lynchpin seems to be the title track, a version of Garnet Mimms’ 1964 single that pairs Daltrey’s inspired vocal work with a throwback backing chorus, Townsend’s rhythm-guitar strut and a horn section that walks around the song like it owns the place. And his band-which includes Townshend on seven tracks-pumps out a consistently tight and muscular sound. ![]() He sounds invigorated by the material, in other words. But the energy level of this set is high enough that you can imagine Daltrey channelling his early ‘60s self in the studio. As Long As I Have You doesn’t stick to that formula exactly, with Daltrey tackling old country, funk and pop songs here, too, as well as a couple of his own tunes. ![]() Attitudes have changed since 1936, although it’s hard to accept the advice of the New York Times, which concluded ‘Be sure to bring the kiddies!’.The idea behind Roger Daltrey’s new solo album-his ninth overall and first since 1992-was originally intended for Daltrey’s main gig, The Who.Īs Daltrey explained to Billboard in June: ”(About 10 years ago), I said to Pete (Townshend, The Who’s guitarist), ‘Rather than you having to sweat blood to write new songs, why don’t we just record an album of what we used to play before we made it big and before you started writing the material?’”īefore The Who were The Who, Daltrey, Townshend and company played energetic covers of American soul and R&B songs in London bars. But with surprising emphasis on hypnosis, this is a personable film that strains at the leash in terms of full-blooded sexuality. For legal reasons, various aspects of the production had to be carefully measured for censorship and copyright issues, and the result is more of a success for lawyers that viewers. That makes this female vampire rather remote, and dampens down the fun in a second half that pretty much replays the race to Transylvania that most films on this subject end with.īased on the story Dracula’s Guest by Bram Stoker, Dracula’s Daughter is a little staid by today’s standards, and has become something of a rarity, not currently streaming in the UK. Unfortunately, The Countess is played in a rather off-hand fashion by Gloria Holden, who reputedly did not care for the role or the genre. The Hays Code had previously created strict rules about content, and it’s rather surprising that this film came out so stridently against the grain. Yup, Dracula’s Daughter is LGBTQ audience-friendly, and that’s something of a surprise in 1936. That’s not easy, however, since the Countess kicks off a hot streak with actress-turned model Lili (Nan Grey), getting her to pose nude for her before sinking her teeth into her neck… You see, the Countess does not want to follow in her dad’s career-path, and seeks to purify herself of all vampire instincts. That is, until the intervention of Countess Marya Zaleska, Dracula’s daughter, who steals her father’s body and sets it ablaze on a pyre. ![]() Whitby’s finest allow Von Helsing to talk his way out of jail-time, and they come to an agreement to say no more about this unsavoury matter. ![]() In a startlingly direct into, we go back to the end of the film (and novel) to find Van Helsing, now Von Helsing (Edward Van Sloan) arrested on the scene of Dracula’s staking, the vampire’s form is seen prostrate in the background. Dracula’s Daughter is something rather different from the usual horror fare, and it’s worth de-staking this particular vampire, a gal-pal version somewhat ahead of it’s time by a good eighty years. “Save the women of London from Dracula’s Daughter!” ran an original advertising line for Lambert Hillyer’s neglected horror sequel from 1936.
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