Greetings music tramps, and welcome to annother edition of Music Manor Monday. Today, we're diving into some far-out jazz from London Town in the late 1950s/early 60s, a time when DJ Li'l Scratch was kickin' it at The Flamingo Club and chord chasing with the best of them. Hollywood hadn't quite caught on to the sound, though it would, yet low-budget moviemakers were keen to exploit it, along with it's youthful, daddy-o ethos.  If you yearn to be slutty (no judgement here) (obvi), why not do it old-school and inspire yourself with some prototypical slut music? This is what got the kids hot and pervy in the late 1950s. You can hear it all when DJ Li'l Scratch plays music from a distinctive composer from the era, tonight only at "Street Squish," the Manor's exclusive and filthy nightery.  \ The music is from "Beat Girl," a 1960 exploitation movie which one appalled reviewer at the time called "machine made dirt!" Is the movie any ...

Oh, my. If you saw the original theatrical run of "Oliver" in December of 1968, then it must be terribly inconvenient when you lose one of your crutch tips. Ah hahahaha! I kid, I kid! But, yes, it's true, the Oscar-winning musical based on the West End/Broadway smash is 55 years old this month. If you haven't seen it, treat yourself. I insist. Are you reluctant? Do you usually swear off musicals (perhaps they're too sticky or sentimental for your tastes)? I still insist, because "Oliver" was directed by the masterful Carol Reed , a criminally underrated virtuoso. At the time, film geeks were spitting mad when "Oliver" won Best Picture over "2001: A Space Odyssey" and dismissed it entirely. I wager they didn't actually see it, since it's impossible to ignore Reed's command of performance, design, camera movement and sound in indelible scenes like this:  Before "Oliver," Reed was mostly known for several highly atm...