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Hello Down There (rereleased in 1974 as Sub-A-Dub-Dub) is a 1969 American comedy-adventure film starring Tony Randall and Janet Leigh that was released by Paramount Pictures. It was produced by George Sherman and Ivan Tors and directed by Jack Arnold and Ricou Browning (underwater sequences).
In a review for AllMusic, Dave Lynch wrote: "Some great music from Sea Level was still to come, but the best moments of Cats on the Coast wouldn't be topped." [2]Exposé's Peter Thelen stated that, with the album, "there... seemed to be a new emphasis on the vocal material, which seemed to be changing from a country funk sound into more of a funky white soul a la Boz Scaggs.
Sea Level was an American rock band from Macon, Georgia. Formed in 1976, the band was an offshoot of the Allman Brothers Band . Between 1977 and 1980, the band released five studio albums which incorporated elements of funk , blues and Latin music .
SeeFood (also known as Sea Level in the United States [1]) is a Malaysian animated adventure film produced by Silver Ant and released in Malaysian cinemas on 8 March 2012. SeeFood first launched in Poland on 7 October 2011.
On AllMusic Dave Lynch wrote, "Of course, the Allmans sound was a major touchstone for Sea Level; certainly, Leavell's pianism had reached its largest audience ever with his solo break on "Jessica", and he would bring similar stylings to his quartet's 1977 eponymous debut album. But Sea Level didn't need to stand in the shadow of any other ...
Song is mainly inspired by the novella's ending, when protagonist Japi jumps off the Waalbrug. In the song, however, Japi does not drown but is implied to have ended up in Italy. [154] "Nice, Nice, Very Nice" Ambrosia: Ambrosia: Cat's Cradle: Kurt Vonnegut: Lyrics taken almost verbatim from the poem in chapter 2 (and the bridge from the one on ...
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The lyrics depict the misadventures of a stereotypically "naive and pugnacious" [5] Irishman named Dan McGinty; the last verse describes his suicide by drowning: "Down went McGinty / to the bottom of the sea". Film historian Jeff Jaeckle has described McGinty's actions as "conform(ing) to contemporaneous anti-Irish prejudice". [6]