2024-05-16
THROBBING GRISTLE - RE:TG | TG NOW @ 20
2024-05-09
GEORGE HARRISON - ELECTRONIC SOUND @ 55
Released
on May 9th, 1969, George Harrison's second solo album, Electronic
Sound, is turning 55 years old today. It was the first LP of entirely
electronic music released by a rock musician, breaking new creative
ground, though perhaps lacking in sophistication or any true
understanding of how to use the instrument.
In
the late 1960s, the MOOG modular system was a novelty, for the most
part. Micky Dolenz of The Monkees had purchased one and it was used on
the group's fourth LP, released in 1967, one of the first pop music
appearances of the instrument. George Harrison became fascinated by the
MOOG soon after and purchased his own the following year. While in
California making the purchase, he recorded a demonstration session by
Bernie Krause (of Beaver & Krause) which ended up becoming No Time
For Space on Harrison's album. This recording was done without Krause's
permission or knowledge and its release undermined Krause's plan for
his upcoming collaboration with Paul Beaver because he'd utilized a
number of themes they were planning on incorporating into their project
during his demo for Harrison. Harrison initially had Krause's name on
the LP cover, but it was painted over at the insistence of Krause, who
was offended by the use of his demo without permission as well as
subsequent interactions with Harrison which he found disrespectful and
insulting.
The second piece
recorded for the album was done by Harrison in England after receiving
delivery of the synth. Under the Mersey Wall displays Harrison's lack
of understanding of the device, a situation aggravated by the lack of a
user manual included with the unit, something about which Harrison
complained to Krause, further aggravating their already strained
relationship. The recording amounts to little more than childlike
noodling with the synthesizer, with little in the way of nuance or clear
intention.
The album was
released in tandem with John Lennon and Yoko Ono's Unfinished Music No.
2: Life with the Lions, the second album in their trilogy of
experimental recording releases. Both were issued on the same day by
Zapple Records, a short lived subsidiary of Apple Records that was set
up for the purpose of issuing budget priced spoken word and experimental
sound recordings. The sub-label, however, was quickly folded after
these releases, with a third title being shelved before being released.
The cover for Electronic Sound featured a childlike painting created by
Harrison himself, which quite nicely suited the amateurish innocence of
the music on the record.
At
the time of its release, it was mostly dismissed or ridiculed by serious
music critics, though some found it oddly amusing or confounding, yet
fascinating. However, despite its crudeness and the issues with the
questionable provenance of one of its recordings, it has managed to
become something of a cult favourite in some quarters. As with the
Lennon/Ono releases, and Harrison's previous debut solo release, these
flew in the face of expectations for The Beatles, as a collective, and
were nonetheless expanding the boundaries of pop music. In the case of
Electronic Sound, it cracked open territory that would later be properly
explored by the likes of artist like Klaus Schulze, Tangerine Dream and
Cluster. The concept of abstract electronic ambience was just getting
started, and Electronic Sound was the first foot in the door of that
genre in many respects. As crude as it was, it still managed to carve
out a place as a cornerstone album.
JOHN LENNON & YOKO ONO UNFINISHED MUSIC NO. 2: LIFE WITH THE LIONS @ 55
Marking
its 55th anniversary today is the second in John Lennon & Yoko
Ono's trilogy of experimental albums, Unfinished Music No. 2: Life with
the Lions, which was released on May 9th, 1969. It was released in
tandem with George Harrison's second solo outing, Electronic Sound, with
both titles released on the short lived Apple Records subsidiary,
Zapple, which was intended to function as a budget priced outlet for
spoken word and sound experiments. The label was quickly shut down
after this pair of inaugural releases, however.
Life
with the Lions continued John & Yoko's attempts to push the
boundaries of what pop musicians could get away with. With Ono coming
from a background in Fluxus performance art, she was setting the example
for John to follow. The album kicks off with a side long live
improvised performance recorded on March 2nd, 1969, at Cambridge
University. Cambridge 1969 features Yoko wailing away in her trademark
high pitched vibrato while John, who performed the entire show with his
back to the audience, accompanied with electric guitar feedback. It was
his first live performance without the Beatles. Near the end of the
piece, some other musicians chime in to finish it off. The second side
includes recordings of John & Yoko reading press clippings in the
hospital where Yoko stayed during her miscarriage, and the unborn baby's
heartbeat before it was miscarried, which is followed by 2 minutes of
silence. The record closes off with a recording of John scrolling
through random radio signals. The cover photograph shows the couple in
the hospital during Yoko's miscarriage. As with the nude photo of the
couple on the cover of Two Virgins, the image and the record's contents
clearly show how open the pair were to sharing their most intimate
moments with the public.
The
trilogy would be closed out with the release of The Wedding Album later
that year. Public reception for these releases was certainly not
enthusiastic, though they have acquired cult audiences since their
release. While many consider them something of a grand joke by Lennon,
he is quoted as saying their intent was to activate people into becoming
contributing participants in the listening experience, finishing off
what he and Yoko had started expressing, thus the series title of
"Unfinished Music". These works may lack a certain sophistication in
some senses, but they do set a precedent that creators are NOT bound by
anyone's expectations and that expression can occur in many forms and
address even the most traumatic subjects.
2024-05-02
MICHAEL NESMITH - INFINITE RIDER ON THE BIG DOGMA @ 45
Released
45 years ago this month, in May of 1979, is Michael Nesmith's capstone
LP for his 1970s musical career, Infinite Rider on the Big Dogma. After
spending the decade attempting to establish himself as a solo musical
artist in the shadow of his 1960s fame with The Monkees, Nesmith's focus
was rapidly shifting into another medium, with his Pacific Arts media
production and distribution company quickly moving into the realm of
home video, with ambitions towards feature film production.
While
Nesmith's releases during the first half of the decade had gone for a
laid-back, country tinged coolness, his two albums in the latter half of
the decade began to skew back into the more energetic realms of rock
'n' roll and upbeat pop music. With his previous album, From A Radio
Engine to a Photon Wing (1976), its single, Rio, had inadvertently
invented a new format for the presentation of music in video form,
becoming the first music video to include a coherent narrative,
effectively functioning as what Nesmith termed a "mini-movie". Rather
than simply performing the song in front of the cameras, Nesmith had
conceived of the idea that you could tell a story with the music,
complete with character development and a narrative arc. This approach
would become the blueprint for the explosion of music videos that was
looming on the horizon for the coming decade, something he also had a
hand in by helping to create MTV.
Building
on the foundations laid by Rio, Nesmith's original plan for this album
was that it would be a full video album, with videos produced for all
the songs. That plan never quite managed to come to fruition for these
songs, however the concept did end up leading to the production of the
Grammy winning video release Elephant Parts (1981), an hour long
assemblage of comedy sketches, fake commercials and musical interludes.
Several of the songs used for that production were taken from Infinite
Rider.
Ultimately, the draw of
the video distribution market and film making would distract Nesmith
from music making throughout the 1980s as Pacific arts focused on
building a massive library of VHS titles it would market and sell, as
well as producing a few feature films such as Timerider, Repo Man and
Tapeheads. As a result, Nesmith didn't release any albums of new music
throughout the decade, with his next collection of new music not coming
along until 1992 with his acclaimed Tropical Campfires album. As such,
Infinite Rider stands as a capstone to Nesmith's musical output for the
1970s, book-ending a decade that had begun with The First National Band,
leaving an under appreciated legacy of music that continues to find new
fans as the years roll on, with this album being a prime example of
Nesmith's skill at crafting a catchy pop song.
2024-04-28
THE GOASTT - MIDNIGHT SUN @ 10
Celebrating
its 10th anniversary today is the sophomore LP from The Ghost of a
Sabre Tooth Tiger (GOASTT), Midnight Sun, which was released on April
28th, 2014. The band, fronted by "nepo-baby", Sean Ono Lennon, and his
girlfriend, Charlotte Kemp Muhl, took a sincere deep dive into the realm
of psychedelic acid rock and came out with what can only be described
as a completely legitimate monster of an album.
When
it comes to the children of certain celebrities, I've come to expect
very little in terms of actual talent, so before the release of this
album, Sean Lennon was completely off my radar as a serious artist.
Beatles kids were, in my experience, too deep in the shadows of their
iconic parents to ever stand on their own merits. But then one day, a
friend of mine insisted I watch the video for The GOASTT's single from
this album, Animals, and it sent me into a tailspin of ecstasy. Not
only was the music incredibly on point for the genre, but the video was
the best music video I'd seen since the 1990s, pulling in references
from some very obscure sources, like Kenneth Anger, Alejandro
Jodorowsky, Stan Brakhage and a variety of cult and occult culture from
the 1970s. It was a fucking TRIP, and it was enough to turn me into a
solid fan of the band, and later Sean's work in general.
There's
clearly no mistaking the echo of John Lennon's voice in Sean, but the
latter owns it and doesn't let that stop him from creating his own
distinct presence. Even his appearance is very much akin to his daddy's
long-haired hippy freak days, but again, not a problem, at least not
for me. The reason is simply because the music kicks ass. It's some of
the best psyche-rock I've ever encountered, vintage era or otherwise.
And I'm not overlooking his partner here as Charlotte is clearly an
accomplished player and performer, and also an amazing film maker to
boot, as can be clearly seen from the aforementioned video. She deftly
pays homage to the styles of Anger and Jodorowsky with meticulous
attention to detail, giving the video an uncanny sense of authenticity.
If you're in need of a fix of
some absolutely bang-on acid rock, this album unabashedly delivers the
goods from start to finish. I'd certainly rank it as one of the
essential listens of the genre. It's just a shame that this project
hasn't really been back in the studio since this was released, albeit
Lennon has certainly been busy with a plethora of other projects of
similar merit.
2024-04-22
PSYCHIC TV - THEMES 3 @ 40
Recorded
at a pair of performances staged on April 22 & 23rd of 1984,
Psychic TV's Themes 3 turns 40 years old today. The album was
originally released on Temple Records in April of 1987 as part of the
label's History series, but it is not part of the "23 Live" LP series
that was being issued at the time. As the third volume in the "Themes"
series, it continues the group's exploration of sound as a functional
element, rather than mere entertainment. The first volume in the
series, was originally included with the debut PTV album, Force the Hand
of Chance, as a bonus disc. The second volume was issued by Temple
Records as a stand-alone limited edition. Both were created in the
studio using various experimental recording processes in order to create
a kind of interactive listening experience. This third volume,
however, was recorded at a live presentation, though this particular
configuration was not a "band" performance. Rather, it was conceived
and executed as a multimedia presentation, with various pre-recorded
audio and video elements being live-mixed during the performance,
incorporating visual projections and multi-monitor installations. Those
involved in the presentation were behind the scenes, operating
equipment and real-time editing source materials together.
I
got a chance to see one of these presentations in Seattle at the
Showbox Theater in 1988. This particular manifestation of this
configuration was called "Stations Ov Thee Cross", and involved a setup
featuring a giant Psychic Cross in the middle of the stage that was
built from large CRT monitors, and was flanked by two large projection
screens. At the time we were unaware that the performance would not
involve a live band, so most of our party were rather disappointed to
have made the trip down from Vancouver to see this. Personally, I
thought it was an interesting concept, though the venue didn't really
make it particularly comfortable for viewing something that was more
contemplative, as opposed to seeing a bunch of people bounding about a
stage with instruments. Still, in retrospect, it's something I'm
extremely happy I got a chance to see, and I did eventually get a chance
to see PTV as a full band in 1990 when they brought their 3 hour Acid
House rave-up show to Vancouver's Town Pump.
2024-04-17
THE ROLLING STONES (England's Newest Hit Makers) @ 60
Celebrating
its 60th anniversary today is the eponymous debut LP from the legendary
Rolling Stones, which was released in the UK on this day, April 17th,
1964. The slightly altered US edition came out on May 29th. While The
Beatles were selling a relatively wholesome "mop top" version of the
looming "British invasion", The Rolling Stones were digging deep into
the grit and grime of American blues & R&B to fashion their "bad
boy" counterpoint.
With roots
that go back as far as 1950, when Keith Richards & Mick Jagger first
became classmates and friends, the real genesis of the band would come
in 1961 when the pair would reacquaint themselves on the platform of the
Dartford railway station. Jagger was carrying records by Chuck Berry
and Muddy Waters, which revealed to Richards a shared interest. A
musical partnership began shortly afterwards, a relationship that was
solidified when the pair responded to an ad in the music press from
Brian Jones, who was looking to put together a new band after having
split from his previous group.
For
the next two years, the band would build their following, taking their
cue from The Beatles, but self-consciously crafting their image so as to
contrast against the "fab four". While they initially dabbled with the
whole "matching suit" look, their manager quickly abandoned that
approach and realized that the Stones could benefit by cultivating a
style and aesthetic that was counter to The Beatles more approachable
& family friendly vibe. Instead, the Stones would go for a messy,
unkempt and raunchier look and feel, coming off as the kind of lads
parents would definitely NOT want their daughters bringing home for
dinner!
For their first LP,
recording was completed in only five days scattered across January and
February of 1964. At this point, the songwriting prowess of the
Jagger/Richards duo was barely starting to take root, so only one of
their compositions was included, and that was only on the UK version of
the LP. There were also a couple of songs from these sessions credited
to "Nanker Phelge", which was a pseudonym used by the band from 1963 to
1965 to designate songs they'd collectively written. The selection of
covers reflects the group's focus on American blues & R&B
classics. The US version had a slightly different track list, plus the
subtitle, "England's Newest Hit Makers", which eventually became adopted
as the official title for the album on later reissues.
While
the group's sense of originality and identity were still developing,
their debut LP still manages to stand as one of the best examples of the
British blues scene of that era, full of vitality, rawness and edge.
It became one of the UK's biggest selling albums that year, holding the
#1 LP slot for no less than 12 weeks. And while it lacks the iconic hit
singles that would soon define the band, it still represents the group
in their early prime, poised to become one of the most important rock
bands of all time.
2024-04-13
JAPAN - LIFE IN TOKYO @ 45
Released
on April 13th, 1979, Japan's Life In Tokyo single turns 45 years old
today. While it marked an abrupt course change for the group, it would
need to be released two more times before it would become a proper chart
hit.
With two albums under
their belt, both released the previous year, Japan were in the midst of
something of an identity crisis. They'd started out as a kind of
patchwork of glam-rock, punk and funk, sporting teased-up, garish died
hair & makeup, and looking like a slightly more put-together version
of New York Dolls. But this approach had left them with little more
than a burgeoning cult following in the country of Japan, based on their
use of its name for their band. The group were quickly maturing and
realizing that they'd miscalculated their stance and were looking to
enact a major glow-up in order to set their house in order.
The
first step along that path was getting connected with acclaimed and
wildly successful electronic disco producer, Giorgio Moroder, who'd made
his name working with the likes of Donna Summer, virtually inventing
techno dance music with the breakout single, I Feel Love, in 1977. The
arpeggio-pulse of his synth bass in that track had become a blueprint
for dance floor domination and Mordor set about applying that trademark
to the music of Japan, a move that would firmly inform the development
of their next album, Quiet Life, recorded later that year.
Its
initial release failed to garner much attention, however, but as
Japan's prominence began to increase with the release of their
subsequent albums: Quiet Life, Gentlemen Take Polaroids, and Tin Drum,
the single was remixed and reissued two more times, once in 1981, and
again in 1982. This last edition, propelled by the success of the Tin
Drum album and Ghosts single, finally clicked on the charts, where it
peaked at #28 in the UK.
Within
the band's canon of work, Life In Tokyo remains as a critical linchpin
between their early glam-punk beginnings and their shift into a sleekly
sophisticated outfit that would become a major influence on the New
Romantics scene beginning to evolve in the wake of punk.
2024-04-06
Released
on April 6th, 1984, the debut and final LP by Tones on Tail, Pop, is
marking its 40th anniversary today. Though it was a short-lived bridge
between Bauhaus and Love and Rockets, it remains a hypnotically
enigmatic diversion within that musical continuum.
Tones on
Tail originated in 1982 as a side project for Daniel Ash while he was
still a member of Bauhaus. It began as a duo with Ash collaborating
with Glenn Campling, an art school friend & flatmate who'd also
worked as a roadie for Bauhaus. The band name came from the calibration
tones traditionally recorded on the "tail" ends of reel to reel audio
tapes. The pair released an eponymous EP in March of 1982, but by 1983,
with the demise of Bauhaus, they were joined by drummer Kevin Haskins,
making the group now a full-time project for the trio, who issued
another EP, Burning Skies, in May of 1983.
With the release of
the Pop album in 1984, the group scored a surprise club hit with a
non-album single B-Side, Go!, which was on the Lions single. The group
then embarked on a brief tour of the US before releasing a final single,
Christian Says, in November of 1984.
By 1985, there were
rumblings about a possible reunion of Bauhaus, which managed to get to
the point of a water-testing jam session being scheduled, but when Peter
Murphy failed to turn up for the session, and the other three members
went ahead without him, they realized their chemistry was still quite
strong, so they regrouped as Love and Rockets instead, putting an end to
Tones on Tail as a functional unit.
The legacy of Tones on
Tail may be somewhat dwarfed by that of the bands that bookend its
existence, but that doesn't mean the music they created is any less
worthy of attention. I have great memories of dancing to GO! in the
clubs of the mid 1980s, and the sound of Tones on Tail has a distinctly
eerie atmosphere, even in comparison to Bauhaus or Love and Rockets. In
1998, a double CD compilation, Everything, compiled their entire catalogue into one convenient package.
J.J. BURNEL - EUROMAN COMETH @ 45
Marking
its 45th anniversary today is the debut solo album from Stranglers
bassist, J..J. Burnel, with Euroman Cometh being released on April 6th,
1979. While it was only a modest success at the time of its release, it
has become something of a cult favourite over the years for its
distinctive combination of electronics and rock & roll.
The
album started to take shape in 1978 while The Stranglers were working
on their third LP, Black and White. At the time, Burnel was homeless,
and ended up sleeping at the studio most nights. To pass the time after
the band had packed it in for the day, he'd spend the evenings futzing
about in the studio. There was a basic, preset rhythm box on hand,
which allowed Burnel to set a groove to build on, adding bass, vocals,
guitar and synths, mostly on his own. As his sketches began to
accumulate into something that seemed substantial enough to play for
other people, an album concept started to emerge to the point where he
was able to get a green light from Stranglers' label, United Artists,
for an album release. Burnel then brought in a few guest musicians to
help flesh out a few details. These included drummers Peter Howells
& Carey Fortune, guitarist Brian James & harmonica player Lew
Lewis.
The album came together conceptually as something of a
manifesto from Burnel on the potential and dangers of a European
economic union. It was a concept that was becoming a legitimate and
seemingly inevitable political possibility at the time. The album
mostly contains songs both celebrating European culture as a whole,
while offering cautionary admonitions against American style cultural
imperialism.
The album cover shows Burnel standing, dwarfed, in
front of the the Centre Georges Pompidou in Paris, which houses the
Bibliothèque publique d'information (Public Information Library), a vast
public library; the Musée National d'Art Moderne, which is the largest
museum for modern art in Europe; and IRCAM, a centre for music and
acoustic research. Its modernist, high-tech styling, with its complex
layering of massive external pipes and scaffolding, provided an
appropriately grandiose and imposing backdrop for the album and it's
sweeping themes of uniting the European continent.
I've always
been a big fan of this record because it is so idiosyncratic in its
styling, with the frequent drum machine backdrop sounding somewhat
brutal and crude along with Burnel's signature snarling baselines. The
odd guitar and synth slashes and affected & processed lead vocals
all create an obtuse, angular kind of edginess that had echoes in the
work of DEVO and Bill Nelson's short-lived post Be Bop Deluxe project,
Red Noise. It's decidedly distinctive, displaying very little
resemblance to anything done by The Stranglers at the time, owing more
to Kraftwerk and CAN. It's also been cited by Joy Division & New
Order bassist, Peter Hook, as a major influence, which makes perfect
sense to me.
2024-04-01
MEET THE RESIDENTS @ 50
Celebrating
its golden anniversary today, at 50 years old, is the debut LP from The
Residents, with Meet the Residents being released on April 1st, 1974.
While it was resoundingly ignored at the time of its release, struggling
to sell a mere 40 copies within its first year, the album would
eventually be recognized as the cornerstone product of one of America's
most influential and innovative experimental multi-media arts
collectives.
The residents had been fermenting in their home
state of Louisiana since the late 1960s, mostly inspired by the
avant-garde experimentation of artists like Captain Beefheart and his
Magic Band. The relative success of that particular group was
inspiration enough for the then unnamed group to send a demo of their
early experiments to Beefheart label, Warner Bros, executive Hal
Halverstadt, in the hopes of following in their wake. His rejection of
the group, returning the tape to "Residents, 20 Sycamore St.", famously
inspiring the band's name.
With that album being dismissed, the
now named collective spent most of 1973 alternating between working on
an ambitious film project, the never-to-be-finished "Vileness Fats", and
recording fresh material for a proper debut. With thoughts of
appealing to a major label now banished from their aspirations, they
realized that creating their own imprint was the best way to get their
work out there without having to be dependent on the whims of music
executives. Thus, the Cryptic Corporation and Ralph Records were
created, with the group members assuming anonymous identities within The
Residents, while simultaneously using their real names to stand in as
spokesmen for their freshly minted corporation. Thus, Hardy Fox, Homer
Flynn, Jay Clem & John Kennedy became the corporate faces while
claiming to have no relation to the mysterious, unidentified musicians
responsible for creating The Residents' music.
At the time of
their debut, the group had access to only the most basic instrumentation
and recording equipment, relying heavily on acoustic percussion, piano,
horns & reed instruments and guitar, along with a primitive form of
analogue sampling, to create their strange fusion of experimental pop,
jazz, blues and classical music. Layered with strange, heavily effected
cartoon-like voices, the surreal results were unlike anything anyone
else had concocted at that time. This was well before they would
embrace electronics, synthesizers and digital samplers as their
principal tools, yet they were still able to mutate their instruments
into arrangements that belied their primitive resources.
The
packaging for the album was a cleaver, hilarious bastardization of Meet
The Beatles, the US debut LP by the "fab four". This association
between the two groups would even lead to early rumours that The
Residents were secretly The Beatles, working clandestinely to vent their
more experimental ambitions. The initial version of the album,
released in a mono mix in an edition of just over 1000 copies, sold
extremely poorly, but was still reported to have drawn the ire of
Beatles label, Capitol Records, who allegedly issued a "cease and
desist" order on the use of the cover graphics, necessitating a redesign
for the subsequent stereo mix reissue of the album in 1977. Whether
this was actually true or just a promotional ploy by Ralph Records is up
for debate, especially given that the reissue still incorporated many
of the same design elements as the first pressing, and all subsequent
reissues and special editions since 1988 reverted to the original
design.
As mentioned, initial response to the album was
virtually nil, and it wasn't until 1977 that the group began to develop a
serious cult following, mostly riding on the wave of the burgeoning
"punk" and "new wave" scenes, especially with the more adventurous
artists of the era frequently citing The Residents as influencing their
own excursions into the bizarre. Prior to the DIY aesthetics of punk
taking hold, there simply wasn't any context for The Residents to be
interpreted or understood. That all changed in the latter half of the
decade as the group quickly became enigmatic underground darlings of
outsider music.
Since its initial release, the album has
received numerous reissues, including vastly expanded special editions,
securing it a status as a foundational document of the group's early
works, an era which remains the preference of most die-hard fans. No
true aficionado would claim to appreciate the group without having this
album in their collection. It's a visionary explosion of ideas that
would provide the fertile ground for a career that has sustained itself
for the past half century and, despite numerous personnel changes over
the years (Homer Flynn remains as the only original member), continues
to persist.
2024-03-30
DARK STAR (1974) @ 50
Celebrating
its golden jubilee at 50 years since its theatrical debut at LA's
Filmax festival on March 30th, 1974, it's the directorial debut of John
Carpenter with his weirdo science fiction hippie comedy, Dark Star.
What started out as a film school project in 1970 eventually became a
cult classic with the dawn of the home video revolution in the 1980s.
Dark
Star began life as a rough concept by Carpenter while he was a film
student at the University of Southern California. Dan O'Bannon was also
a student there at the time and became a principal collaborator on the
project, fleshing out the script, developing the production design and
figuring out the special effects. Carpenter, in addition to directing
and script collaboration, also created the soundtrack, utilizing his
modular synthesizer system. Principal photography began in 1970 on 16mm
film with a slim budget of $1000, a sum that would balloon to $6000 by
the time they'd finished work on the initial 45 minute cut, late in
1972. The results of their efforts were enough to inspire the pair to
try to push the film past the student production bar and towards an
actual commercial theatrical release.
In order to get the movie
to the level of a feature film, they would have to fill it out with
roughly double the footage they had already shot, so a series of
additional shoots were done in 1973 to add a number of sequences to the
story. These included the asteroid storm, Doolittle playing bottles on
strings as a musical instrument, the scenes in the crew sleeping
quarters, the scenes in the hallways of the ship (Pinback with the
sunlamp, Boiler with the laser gun, etc.), and, importantly, all the
scenes featuring the beach ball alien.
John Landis, a friend of
O'Bannon, got the pair hooked up with producer-distributor Jack H.
Harris, who obtained the theatrical distribution rights. Once in his
hands, he insisted on further revisions in order to get the production
values up to professional standards, demanding extensive cuts of
numerous scenes, deeming about 30 minutes of the film "unwatchable",
including a protracted scene of the crew sleeping and ignoring messages
from the ship's systems. He insisted on additional 35mm footage being
added to the film, and mandated other edits intended to secure a "G"
rating for the film's release. The end results may have created the
best looking student film ever produced, but in terms of commercial
professional Hollywood production standards, it barely passed muster.
Despite
the shaky nature of the production, the visual FX still managed to
create some striking imagery, especially in its depiction of the ship
jumping into hyperspace as it kicked into faster-than-light speed. The
imagery of the light rays bleeding past the ship as it accelerated are
the first on screen representations of that process ever filmed. It's a
depiction that would become common in virtually every science fiction
property in later years, from Star Wars to Star Trek. Then there was
the ludicrous "beach ball" alien, something that was intended to be
comical, but which ultimately served as the foundational inspiration for
O'Bannon when he worked on Alien.
The story of a rag-tag group
of dispirited astronauts on a 20 year long mission to destroy rogue
planets using "smart bombs" was one that flew in the face of the more
glamorous and inspirational depictions of life in space that had
dominated the genre for so long. There was nothing heroic or exciting
about their work. It was protracted drudgery that ultimately drives
even their AI enabled bombs mad. And while its initial theatrical
audiences didn't get the joke and the film failed to garner any
significant box office upon its release, when the home video market
sprung into life at the dawn of the '80s, film nerds looking for
something different in the sci-fi section quickly discovered its quirky
charms, propelling it to the realms of cult classic within a few years.
Critics were also surprisingly generous with their reviews, with Roger
Ebert giving the movie three stars out of four, writing: "Dark Star is
one of the damnedest science fiction movies I've ever seen, a berserk
combination of space opera, intelligent bombs, and beach balls from
other worlds."
Its influence on later films is also impressive,
not only in terms of the aforementioned visual FX, but also in the
production of other comic science fiction properties. Doug Naylor has
said in interviews that Dark Star was the inspiration for Dave Hollins:
Space Cadet, the radio sketches that evolved into his popular science
fiction sitcom, Red Dwarf. For its creators, while the project may have
suffered some during its journey towards its final form, it's legacy
remains as one of the more beloved oddities of the genre created in the
heyday of '70s science fiction adventurism.
2024-03-29
MUTANT THROBBING GRISTLE @ 20
Marking
20 years since its release is the Throbbing Gristle remix compilation,
Mutant Throbbing Gristle (aka, Mutant TG), which was released on March
29th, 2004. The project was conceived as a way to help celebrate the
unexpected reunion of TG for what was intended to be a one-off
performance at the ATP event, RE:TG. That event was cancelled due to
unforeseen organizational issues with ATP, but TG, nonetheless, were
intent on performing again, so they scheduled a replacement performance
at the Astoria on May 16 of 2004.
Rescheduling aside, after the
release of the two mammoth and exhaustive live box sets, TG24 (2002)
& TG+, issued in January of 2004, it only seemed appropriate to help
refresh people's appreciation for TG by issuing a compilation album
collecting various remixes of classic TG tunes, created by friends and
admirers of the band. The collection featured remixes by Carl Craig,
Hedonastik (Marc Harrison, Marc Rowntree, Steve Keeble), Andrew
Weatherall & Keith Tenniswood (Two Lone Swordsmen), Bryan Black
& Olivier Grasset (Motor), Carter Tutti & Simon Ratcliffe. The
set brought some dance floor friendly funk to tracks like United, Hot On
the Heels of Love, Persuasion, What A Day, Hamburger Lady and Still
Walking. Along with a soon to be released "best of" compilation, The
Taste of TG (issued on May 4th, 2004), this refresher course in
Industrial music signified the beginning of a new phase of activity for
the band, a renaissance that would carry them through to the end of the
decade, with new studio albums, numerous live performances, art
installations and a variety ephemeral novelty products, until it all
fell apart again when Gen bailed and then Sleazy died at the end of
2010.
2024-03-27
THE ROCKFORD FILES @ 50
Debuting
on NBC on March 27th, 1974, it's The Rockford Files, which turns 50
years old today. The series was co-created by Roy Huggins and Stephen
J. Cannell as a vehicle for actor James Garner, with whom Huggins had
worked on his series, Maverick, from 1957 to 1962. The concept for the
new series was to take Garner's character from the old western show, and
bring him into the modern world, retaining his affable wit and charm
while putting him into the gritty world of a low rent LA private
detective.
The titular character of Jim Rockford was created to
be something of an anachronism in terms of the popular style of private
detectives of the era. Rather than being smartly dressed and put
together, Rockford was a bit of a mess, wearing off the rack suits and
living in a ramshackle trailer in a parking lot near Malibu Beach.
Though he was a bit ragged, he was no dummy, and was street smart with
an edge thanks to a stint in jail in the 1960s on a charge for which he
was eventually pardoned. While in the slammer, he made friends with a
con by the name of "Angel", played by Stuart Margolin, who appeared
regularly on the series as a comic foil and frequent crony whenever Jim
needed to run a ruse on a potential target. Rockford was also
frequently assisted by his father, played by Noah Beary Jr. His
approach to work as a PD was largely to stick with cold cases or "off
the books" jobs in order to avoid stepping on the toes of police during
active investigations. However, this position was softened in later
seasons as conflicts with police investigations became a regular trope
of the series. Rockford was averse to physical violence, often avoiding
carrying his gun, which he usually kept in a cookie jar, and he was
often overpowered and ambushed by his adversaries, though he could hold
his own when things got desperate. He also had a talent for playing
characters and doing accents, especially southern and Midwestern types,
whenever he needed to go undercover to further an investigation. Each
episode began with an amusing, vaguely threatening message being left on
Jim's answering machine before the opening credits of the show.
The
series ran from 1974 until it was abruptly cancelled in 1980 after
going on hiatus due to medical issues with Garner. He had been ordered
by his doctor to take time off to recuperate from a number of back and
knee injuries he'd sustained over the run of the series while performing
his own fighting and driving stunts. While on break, NBC suddenly
cancelled the series, citing that it was losing money and costing too
much to produce because of the location shoots and A-list guest stars.
In the aftermath of the cancellation, Garner became embroiled in a
bitter, decade long legal battle with Universal over the profits from
the series, ultimately resolved out of court with a settlement in the
actor's favour. While those legal woes were unravelling, the
intellectual property associated with the show and its characters was in
limbo and there were no new works done until the mid 1990s.
Between
1994 and 1999, the Rockford characters were reunited and revived for a
series of successful made for TV movies, which included most of the
original regular cast. Noah Beery Jr. sadly passed away in 1994, so was
not able to return to his role, but his character was referenced in the
first few movies until he was officially deceased by the third one.
The series itself went on to become a syndication staple over the years,
gaining new fans with younger generations. In comparison to many of
the genre series from the 1970s, The Rockford Files remains one of the
more intelligent, humorous and sophisticated of the lot.
2024-03-22
APHEX TWIN - WINDOWLICKER @ 25
Marking
its 25th anniversary today is the unforgettable EP from Aphex Twin,
Windowlicker, which was released on March 22nd, 1999. Thanks to a
mind-bending and hilarious video from Chris Cunningham, the song would
become one of Richard D. James' most popular releases, garnering
accolades for the video production and hitting high on the music charts,
even with its daring, unconventional musical arrangements.
The
origin of the title track's name connects to the idea of "window
shopping" for sexual partners. It derives from a French phrase, "faire
du lèche-vitrine", which literally translates to "licking the windows".
The act is portrayed in the video by two dudes attempting to pick up a
couple of ladies on the streets of LA, until they are unceremoniously
swiped aside by Richard D. James cruising into frame in his ludicrously
long white limousine. The music itself reinforces the sexual nature of
the piece through the use of numerous vocal samples, with sounds of
moaning, groaning and other sexually tinged vocalizations intertwined
with the song's erratic, glitching grooves. And those grooves present
the perfect balance of accessibility against James' penchant for
jarring, cutup break-beats, with the arrangements being constructed
using computer editing tools, creating an unsettling juxtaposition of
poly-rhythms, all strung together with melodic phrasing that tempers the
jagged edges enough to engage the listener in the overall experience.
It's a fine tightrope act of edginess without becoming irritating.
The
cover photo and video work by Chris Cunningham all add to the perverse
humour of the song by visualizing the warped fusion of sexuality and
horror. The buxom babes, bouncing about the LA sunshine in showers of
champagne while sporting masks of James' demonically grinning face, are
accented with a centrepiece of monstrous erotica, and all work to leave
the viewer reeling in a confusion of mixed signals. Contrary to
assumptions, the models with James' face were achieved through practical
makeup effects, masks and prosthetics, and not CGI trickery.
The
video was released as a VHS single as well as on a DVD compilation of
Cunningham's video works. I remember watching this repeatedly with
friends after it came out, completely floored by what had been achieved
on the screen. It still stands in my mind as one of the greatest music
video achievements I've ever seen, along with the previous video for
Aphex Twin's Come To Daddy. This sort of material simply outclassed
everybody else at the time. Personally, I consider these works the high
watermark of the medium. Afterwards, I don't think videos really
mattered very much anymore, and even the music video networks like MTV
and Much Music in Canada seemed to abandon their reason for being and
moved on to the world of reality TV after this. It's as if these videos
kinda killed it for everyone else. Like people just said, "Welp, can't
outdo that. Guess we're done here." All I know is that I stopped
caring about the art form after this. I'd seen enough. I don't think I
was blown away by a music video again until I saw Sean Lennon's Ghost
of a Sabre Tooth Tiger (GOASTT) and their Animals video (2014).
2024-03-08
QUEEN II @ 50
Celebrating
its golden jubilee today at 50 years old is the sophomore LP from
Queen, Queen II, which was released on March 8th, 1974. While it
remains one of the bands lesser known works, any true Queen fan knows
that this is the record to go to if you want to experience them at their
deepest, darkest and heaviest. Only true aficionados need drop the
needle on this slab of melodramatic musical dualism!
After the
lacklustre performance of their eponymous debut album in 1973, Queen
were working hard on getting things together to make a real impact with
their next record. Though their debut wasn't a hit, it had sold
respectably enough to allow the group to insist on booking regular hours
at Trident Studios, rather than being relegated to off-hours, as had
been the case with their budget constrained debut. They also had the
production prowess of Roy Thomas Baker onboard to help bring things to
another level. With this project, the band were looking to take their
production values to a new peak of complexity and density, pushing the
technology of the multi-track studio to unprecedented heights. The end
results would set the bar as the band's largest technical stride forward
of their illustrious and ambitious career, introducing fans to the
layered complexity that would become their trademark, with all of their
vocal choruses and harmonic guitar parts fully on display.
The
group were still running on a full tank in terms of having a backlog of
songs to incorporate into the album, some of which had been gestating
since 1969 and pre-Queen days, affording the group a solid foundation
upon which to build the record. As that process began to take shape, a
natural breakdown of the songs suggested an overall theme of "good vs
evil" or "dark vs light". Less than a concept album, the dualism taking
shape provided the group with a focus with which to organize the songs.
This would result in what would be termed the album's "Side White" (A)
and "Side Black" (B), with Brian May's compositions taking up the
former, along with a song from Roger Taylor, and Freddie's songs
grouping up on the latter. John Deacon had not yet begun to contribute
as a song writer. The distribution of material collected the "softer",
more introspective tunes on the first side, and more aggressive, fantasy
themed songs on the second. This theme also played well with the
album's title and provided guidance for the cover art, but more on that
later.
Recording of the album began in August of the previous
year, with the bulk of the production done in that month, but the group
would return to the studio repeatedly until January of 1974,
interspersing their recording time with jaunts of touring, most notably
as the opening act for Mott the Hoople, an opportunity that went a long
way towards building the band's audience, fostering a friendship with
the headliner band that would endure well after Queen had outgrown their
opening slot. When the band were in the studio, they took full
advantage of the facilities and delved deeply into the process of
layering sounds, especially vocal choruses and guitar orchestrations.
They would spend hours building up layer after layer, creating the
dense, bombastic sound that would become their trademark.
For
the album's cover, acclaimed music photographer, Mick Rock, was brought
in to work with the band, and a better match couldn't have been made.
Rock's sense of the band dovetailed with Freddie's aspirations for their
image and the two began to cook up concepts for how to best express the
sound of the album with the image of the group. According to Rock,
Queen were looking to grab people's attention with the cover, especially
since their first album had failed to do so. "They realized that if you
could catch people's eyes you could get them interested in the music."
The brief he received from the band conceived a black and white theme
for the album. The cover features a photograph described by VH1 as
"Queen standing in diamond formation, heads tilted back like Easter
Island statues" against a black background. The iconic chiaroscuro image
of Queen was inspired by a similar photograph of Marlene Dietrich from
the 1932 film Shanghai Express. "And of course no one was ever more
'glam' than the divine Ms Dietrich," Rock quipped. "It was just one of
those flashes of inspiration that happens sometimes," Rock explained.
"There was a feeling that [echoing the Dietrich pose] might be
pretentious," but Rock convinced the band otherwise. "It made them look
like much bigger a deal than they were at the time, but it was a true
reflection of their music." Rock stated Mercury loved to quote Oscar
Wilde. "Often, that which today is considered pretentious is tomorrow
considered state of the art. The important thing is to be considered."
Rock added, "To Freddie, that word [pretentious] was meaningless – 'But
is it fabulous?' was all that mattered. It was certainly THAT!" To
expand on the black and white theme, Rock made a second image of the
band, dressed in white against a white background, that was used in the
album's gate-fold, advertising, and the "Seven Seas of Rhye" single
sleeve.
Release of the album ended up being delayed for a number
of different reasons. Firstly, their debut had only been released in
the UK while the band were working on its follow-up and had yet to get a
US release. Secondly, the energy conservation measures put in place
during the 1973 oil crisis delayed its manufacture by several months;
then, when released, John Deacon was credited as "Deacon John", and the
band insisted it had to be corrected. Once if finally hit the shelves,
it sold well, peaking at number five in the UK and 49 in the US, but
many critics were less than flattering of the band's best efforts.
Melody Maker wrote, "It's reputed Queen have enjoyed some success in the
States, it's currently in the balance whether they'll really break
through here. If they do, then I'll have to eat my hat or something.
Maybe Queen try too hard, there's no depth of sound or feeling." Record
Mirror wrote, "This is it, the dregs of glam rock. Weak and
over-produced, if this band are our brightest hope for the future, then
we are committing rock and roll suicide." Robert Christgau, writing in
CREEM magazine, derisively referred to it as "wimpoid royaloid heavyoid
android void." The reviews weren't all bad, however. DISC wrote, "The
material, performance, recording and even artwork standards are very
high." NME opined that the record showcased "all their power and drive,
their writing talents, and every quality that makes them unique," while
Sounds wrote, "Simply titled Queen II, this album captures them in their
finest hours."
The legacy of the album is where the truth of the
tale is finally told. Time gives distance and increases objectivity,
and in the case of Queen's early music, Queen II retains a sense of
distinction, not only inaugurating the band's grandiose sense of drama,
but also offering up a musical landscape that would never be covered in
quite the same way again. Hardcore fans of the band know that this is
the album that delivers the purest essence of what they were in the
early days. It also made it clear that this was a band who were not
merely a lead singer posing in front of a clutch of nondescript backing
musicians.
Though John Deacon's role in the band would bloom in
later albums, Roger Taylor and Brian May made great strides in
establishing their value as distinct contributors. Brian delivered his
first lead vocal on his ethereal Some Day One Day, investing the
gorgeously dreamy song with a wispy melancholy in its longing for better
days ahead. Roger, on the other hand, lent his raspy lead vocal to
his lament for the inevitable sense of loss motherhood is bound to
bestow as children leave the nest. He also displayed his secret weapon
in the form of his impossibly high falsetto, an asset that would allow
the groups choral vocal arrangements to ascend to the loftiest heights.
Of course Freddie couldn't have been a more attention getting
front-man. When he sings a lyric like "Fear me you loathsome, lazy
creatures, I descend upon your earth from the skies...", where another
vocalist would come off as absurdly pretentious, Mercury manages to
deliver the pomposity with enough conviction to make it all credible.
That would turn out to be a talent he'd wield again and again throughout
the band's history.
My gateway drug for Queen was A Day at the
Races, which I bought early in 1977. Once that record had its hooks in
me, I quickly backtracked through their earlier works, and it didn't
take long for me to take special notice of Queen II. They were right
about that cover drawing attention. Looking at it filled my teenage
imagination with thoughts about what these people were like. It was
like they'd been preserved in some kind of stasis for centuries, only to
be released from their suspension to unleash this glorious thrashing of
musical bombast. It's the album that, nearly a half century later, I
return to most often when I need a fix of their music. It satisfies
from the first note to the last. It's the album that most perfectly
captures their talents in their most pristine form.
2024-03-03
THE VELVET UNDERGROUND @ 55
The
third, eponymous LP from The Velvet Underground is turning 55 years old
this month, being released in March of 1969. After the searing
abrasiveness of their previous album, White Light - White Heat, which
pinned the VU meters on people's hi-fi systems as it attempted to be the
loudest album ever released, Lou Reed was determined to do a complete
about face with their third release, aiming for softness and emotional
tenderness, with songs focused on relationships and spiritual/religious
introspection. For Reed, it was essential to demonstrate the band's
versatility in order to thwart any attempts to pigeonhole them into any
particular style or sound. The result was an album of predominantly
gentle beauty, packed with some of Reed's most memorable songs.
After
recording their second album, John Cale found himself on the outs with
the band and ended up being fired in September of 1968. His
replacement, Doug Yule, was suggested by Sterling Morrison after being
scouted by the band's road manager. Yule was warmly welcomed to the
group, especially by Reed, who some band members claim may have gone
somewhat overboard in his praise and encouragement of the new recruit,
inflating his ego somewhat. Regardless, when they went into the
Hollywood based TTG studios to record, the mood among the band was
jovial, and by all recollections, the process of creating the album was
an enjoyable experience for all involved.
Reed was eager to
have all of the band members contribute to the album as lead vocalists,
even managing to persuade the shy Maurine Tucker to contribute her voice
to the album's closing track, After Hours. It was a challenging task
for the drummer, who insisted on recording her vocal with a minimum of
people present in the studio during her final take. Lou was insistent
on her taking on the task though, as he felt her frail, childlike voice
was perfect or the song's themes of social anxiety and isolation. After
she finished her take, she said that she wouldn't sing it live unless
someone requested it.
Though the recording process for the album
was a pleasant experience for the band, when it came to mixing, Reed's
insistence on doing the mix himself, without consulting the other
members, stepped on toes and resulted in a lot of dissatisfaction and
animosity from the rest of the band. An alternate mix of the album was
done, with both finding their way into pressings, so there's some
confusion around as to the preferred mix. Reed's version, dubbed the
"closet mix", emphasized his vocals and drowned out the backing parts,
alienating the rest of the band. This was the initial mix that was
released, but an alternate mix by MGM staff engineer Val Valentin
ultimately became the more commonly available version of the album.
With
only The Murder Mystery, which featured songwriting and vocal credits
from all four members, harking back to their more experimental
tendencies, the remainder of the album was accessible enough that the
band had high hopes that it would be a breakthrough for them when it
came to sales, but poor promotion from their label, again, meant that
their efforts would be under appreciated at the time of the album's
release, even though it received roundly positive reviews from the
critics. It would only be in later years, as the band's influence and
legacy grew, that their records would receive the attention they
deserved, as generations of new fans continued to rediscover the group
and began to comprehend their influence on so many who came in their
wake. Retrospectively, the album is considered, not only essential in
terms of the band's canon of work, but in terms of landmark recordings
from that era, frequently resulting in the LP being counted among
numerous "best of" and "must listen" critic and fan lists.
2024-03-01
BLOOD FOR DRACULA | ANDY WARHOL'S DRACULA @ 50
Released
on March 1st, 1974, Blood for Dracula (aka Andy Warhol's Dracula) is
commemorating its golden jubilee today at an astoundingly undead 50
years old. Though the connection to Warhol is little more than a loose
association thanks to Factory regulars, director Paul Morrissey, and
star, Joe Dellasandro, the outrageously funny and grotesque adaptation
of the Gothic icon followed hot on the heels of the 3D Flesh For
Frankenstein feature released the year before. In fact, production of
both films was done consecutively, with filming for Dracula commencing
within a day of completing shooting for the Frankenstein film. Both
were shot on location in Italy, utilizing many of the same cast,
including Udo Keir in the leads as both Dracula and Dr. Frankenstein.
The
plot of the film follows a desperate and anemic Count Dracula as he
relocates from his native Transylvania to Italy, in search of the virgin
blood he is so desperate to find in order to maintain his vigour. With
Italy being predominantly Catholic, his theory is that this must be the
best place to find virgins for his prey. Little does he realize what
sluts those Catholic girls really are, and the results of his dining
become nothing less than literally stomach turning! It's all played for
high camp value, landing well in line with the eras other classic
midnight movie treats like Pink Flamingos.
In 1973, Paul
Morrissey and Joe Dallesandro came to Italy to shoot a film for
producers Andrew Braunsberg and Carlo Ponti. The original idea came from
director Roman Polanski who had met Morrissey when promoting his film,
"What?", with Morrissey stating that Polanski felt he would be "a
natural person to make a 3-D film about Frankenstein. I thought it was
the most absurd option I could imagine." Morrissey convinced Ponti to
not just make one film during this period, but two, which led to the
production of both Flesh for Frankenstein and Blood for Dracula. One
day after the principal shooting for Frankenstein was completed,
Morrissey had Udo Kier, Dallesandro and Arno Juerging get shorter hair
cuts, as filming for Blood for Dracula began immediately.
Initial
release of the film was under the title of "Andy Warhol's Dracula"
though Warhol had zero actual involvement with the production, beyond
maybe offering a suggestion or two during post production. The name
association was strictly for promotional purposes. The film opened to
mixed reviews, though the production design received numerous
compliments. It didn't do too well at the box office either, but it has
become a cult favourite over the years. I first came across it in the
mid 1980s during the heyday of video rentals and immediately fell in
love with it. I'd already seen a theatrical revival of Flesh for
Frankenstein a few years earlier, presented in all its glorious 3D
grandeur. I must say that, at the time, it was the best looking 3D
movie I'd ever seen, with the visual effect coming across as crisp and
clear, where other films I'd seen had annoying double-vision artifacts.
The print I saw used a polarizing technique, rather than the red/blue
colour separation that was more common at the time. In both cases, I
was fully entertained by both movies, immediately falling in love with
Udo Kier, an appreciation that has sustained itself for decades,
whenever I've had the pleasure of seeing him on the screen. I consider
both of these films as essential viewing when it comes to cult movies,
right up there with any of the works of John Waters.
SPARKS - NO. 1 IN HEAVEN @ 45
Marking
its 45th year on the shelves today is the eighth studio album from
Sparks, their collaboration with Italian electronic disco pioneer,
Giorgio Moroder, No. 1 In Heaven, which was released on March 1st, 1979.
Both a stylistic departure for the Mael brothers and a career
shot-in-the-arm in terms of chart success, it was nonetheless mostly
ravaged by critics, though it has, retrospectively, been revered as an
influential essential in the history of synth-pop.
By 1978, the
Mael brothers were struggling with their sound and lack of success on
the heels of two commercially disappointing albums in a row. After some
success in the UK, which the group had made their home in the mid
1970s, they'd returned to the US and LA, only to find their forays into
breezy "West Coast" rock creatively unsatisfying and commercially
lagging, both in the US and the UK. But their fortunes were about to
change thanks to a comment in an interview with a German journalist, who
they told of their admiration for the work of Giorgio Moroder on Donna
Summer's smash disco hit, I Feel Love. This journalist turned out to be
a friend of Moroder's, and he facilitated introductions, setting the
ball in motion for the collaboration. Once production on the album
began, the group quickly discarded the usual "bass, drums, guitars" rock
band configuration of their previous albums, and dove headlong into the
world of synthesizers and electronics, with drummer Keith Rorsey
keeping the beat. Moroder's trademark pulsing synth sound dominated the
album and echoed his groundbreaking work with Donna Summer.
A
total of four singles were released from the album, with The Number One
Song In Heaven being the biggest hit for the band, peaking in the UK top
20, their first hit single since 1975. Beat the Clock did even beater,
pushing into the UK top 10, but despite the success on the singles
charts, the album barely scraped the bottom of the top 100, peaking at
73 for a week, which was certainly better than the group had done with
their previous two albums, but still less than they'd hoped for.
The
critics of the day were mostly disparaging of the record upon its
release. Reviewer Ian Penman said, "Moroder's production is essentially
irrelevant", and found that the album was "neither a comedy album nor
an experimental album, but it possesses the near instant redundancy of
both." Melody Maker panned the album concluding, "the most pathetic
thing of all is that they seem to think you'll want to dance to it".
Record Mirror said that the album was "a complete frustration from
beginning to end."
There may have been a preponderance of
naysayers for the LP, but there were a few of the hipper voices in the
music press who heard something different in this music. Sandy
Robertson wrote that "the band have found in Moroder the best filter for
their ideas since Rundgren" and qualified the album as "icy sharp and
fresh". Trouser Press' Bruce Paley found that the songs were "solid,
innovative and exciting". The New York Times called the album a
"fascinating fusion disk, blending rock, disco, progressive rock and
avant-gardism ... in a most unusual, appealing way."
Opinions
of the album, retrospectively, have evolved a long way from those
original scathing critiques, however, and the album's legacy has been
affirmed by other artists who were inspired by it, most notably the
members of Joy Division. They cited "Number One Song in Heaven" as a
primary influence during the recording of "Love Will Tear Us Apart". Joy
Division's drummer Stephen Morris stated: "When we were doing 'Love
Will Tear Us Apart', there were two records we were into: Frank
Sinatra's Greatest Hits and 'Number One Song in Heaven' by Sparks. That
was the beginning of getting interested in Giorgio Moroder." It's clear
that influence would extend well into the work of New Order as well.
For
me, I must confess to being very late to this party. Sparks was always
this band that I saw peripherally on the music landscape as mildly
intriguing, but also confusing enough that I never felt compelled to
delve into their works. That changed when I got to see the 2021
biographical documentary by Edgar Wright, The Sparks Brothers, after
which, I immediately added No. 1 In Heaven to my music library. It
certainly qualifies as a critical piece of the techno-pop puzzle from
the era. sustaining its relevance to contemporary ears.
2024-02-27
QUEEN - THE WORKS @40
Celebrating
its 40th anniversary today is the eleventh studio album from Queen, The
Works, which was released on February 27th, 1984. After the mixed
reaction to what many considered the band's most disappointing LP, Hot
Space, The Works made a concerted effort to redress some of the concerns
expressed by fans and critics, while continuing to retain some of the
new creative ground that had been cultivated on what was, frankly, a
misjudged and under appreciated prior album.
1982's Hot Space had
taken Queen into a new, synth-heavy soundscape that many fans felt was a
betrayal for a band who spent the previous decade proudly proclaiming
"NO SYNTHS" on all their albums. The focus on dance oriented soul and
R&B funkiness also seemed out of character and the band's tour
across the US included incidents where Mercury flatly scolded audiences
for their impatience with the band's new material. To add insult to
injury, US broadcasters reacted harshly against the cheeky drag imagery
of the video for I Want To Break Free, all of which contributed to the
band's decision to cease touring the US for the remainder of their
career while Mercury was still fronting the band. It's a decision that
would cost them some sales in America during the decade, though the
band's status elsewhere skyrocketed after the release of The Works.
After
the end of the Hot Space tour, the band felt a need to take a break, a
situation that was erroneously portrayed in the Bohemian Rhapsody movie
from 2018 as a "break up". There was never any intention to pack it in
as a band, though most of the group were looking forward to doing some
solo work, or collaborations with other people. Brian worked with Eddie
Van Halen on a project, while Roger and Freddie each got stuck in on
solo albums. There was some talk about returning to South America to
tour after the spectacular success of their last stop there, but those
plans fell through. By August of 1983, they were all ready to
reassemble and start putting together a new album, which would be
released through a new label after their deal with Elektra in the US,
Canada, Australian and Japan was nullified. The new album would be
their first to be released on EMI and its US affiliate, Capital Records.
The
bulk of the recording sessions would take place at LA's Record Plant,
which would be the only time the group ever recorded in the US. The
final mixing and overdubbing would occur in January of 1984 at Musicland
studios in Munich, Germany. While Queen had been quite self sufficient
on their albums throughout the 1970s, by the time they were recording
The Works, they were also relying a lot on live session keyboardist,
Fred Mandel, who contributed synth and other keyboard parts to several
tracks on the album. Also, regular engineer, Reinhold Mack, was helping
out with sampling on the then unfamiliar Fairlight CMI.
The
title for the album came about because of an off-the-cuff comment by
Roger that was a response to the backlash against the previous album.
He suggested the group "give 'em the works" for the next album, meaning
that they should give fans a bit of everything the band were able to
muster. And that's pretty much exactly what they did. While they'd
return to some of the hard rock sounds of their earlier career, they
didn't give up on the electronics heavy music they'd explored on the
controversial Hot Space album, and ended up creating one of their most
iconic songs in the process.
Radio Ga Ga had been inspired by a
bit of toddler prattle from Roger's son, which inspired Taylor to write
the song, ironically utilizing keyboards and drum machines. Roger had
initially been against such devices, but was now embracing them. John
Deacon helped out with a bass line, while Freddie came in and radically
reassembled it with his own take on the arrangements. The result was a
song that not only provided a hit single & video, but one of the
band's most engaging moments when played live. The distinctive "clap
clap" chorus, with hands held straight in the air, became a unifying
moment of audience participation, even rivalling the "stomp-stomp-clap"
of We Will Rock You. The sight of throngs of fans all performing the
motion in unison became one of the most breathtaking moments of their
massive stadium live shows during the 1980s, at least while the band
were still able to tour with Freddie.
The other song on the
album that created quite a stir was I Want To Break Free, another ear
catching classic written by John Deacon. The ruckus over this all came
down to the video and the US market's aversion to anything that smacked
of "gender-bending". The fuss was ridiculous, however, because the
"drag" that was incorporated was so utterly ludicrous. The concept was
another flash of inspiration from Roger, who suggested the group do
something of a parody of the UK soap, Coronation Street. The concept
went down a treat for fans who were familiar with the series, but the US
market were clueless and simply didn't get the joke or the reference.
For those that did, seeing them in such outrageous attire was a
laugh-riot, with Brian and John looking dowdy and stern, while Taylor
chewed bubblegum as a saucy teen temptress and Mercury tough-dragged out
with moustache firmly in place while he vacuumed in his red leather
miniskirt. It remains one of the band's most memorable videos, next to
Bohemian Rhapsody.
Upon its release, it took off on the charts,
though its success was muted in the US by the band's refusal to tour
there. Though it just missed the number 1 slot in the UK, it set the
record for any Queen studio album by lingering in the charts for an
astonishing 94 weeks! My relationship with the album is somewhat
distant, however, as it came out at a time when Queen were simply off my
radar, so while I appreciated the humour of something like I Want To
Break Free, the music on the album has not quite developed much of a
relationship with me, beyond a few tracks. Maybe one day I'll be able
to embrace it more, but I do appreciate that it became a key piece of
the band's history, critical in establishing their legacy, which
continues to sustain fan interest over three decades after Freddie
Mercury left this world.