Caper film about crooks robbing crooks, set in Germany where an American bank security Joe Collins expert plots with a call-girl Dawn Divine to rob three safety deposit boxes from three criminals; a local drug dealer known as the Candy Man; a Las Vegas mobster; and a crooked U.S. Army sergeant. The heist goes off with little complications. But when Candy Man and the Sarge find their money gone and figure out that Dawn (whom they all have gotten to know) is behind it, they team up to try to get their money back.
Lindisfarne's second album, Fog on the Tyne fulfilled and expanded on the promise of their debut, offering a brace of memorable folk-rock (or, perhaps more properly, acoustic rock) songs that were compared favorably with Bob Dylan's work and that of the Band, and even the Sweetheart of the Rodeo-era Byrds, among others, without ever sounding like any of them. "Meet Me on the Corner" and "Fog on the Tyne" are the two best-known songs here, but there's plenty else that's their equal, including "Uncle Sam" and "Together Forever." The only cautionary element to the album was its short running time, an indicator that perhaps the group was being pressed to hard to get records out too quickly.
Jenny Tseng - Yan Nei' is a Macau-born singer, actress and producer, mostly known in Cantonese-speaking regions, based in Hong Kong for much of her career.
The Luv Machine were something of a cross-cultural anomaly in Great Britain at the turn of the '70s. An interracial band from Barbados that played heavy psych influenced by the Hendrix/Clapton axis of British rock, the Luv Machine had been in the U.K. since 1967, slowly mutating from the West Indies' answer to Vanilla Fudge into a somewhat funk-influenced version of early British metal. Their self-titled album for Polydor in 1971 was roundly ignored, and the band split up shortly after its release. So all of the factors were in place to make the Luv Machine album the sort of thing that sells to psych, prog and early metal collectors for hundreds of dollars a pop.
Despite most Cahiers du cinéma critics admired many western authors, when they themselves became filmmakers few dared to overtly revisit that genre. One year after Alejandro Jodorowsky's El topo and as Sergio Leone premiered A Fistful of Dollars, Moullet charges full steam ahead with a wild western starring Jean-Pierre Léaud, taking this genre and one of its key characters to unexpected territory.