Monthly Archives: November 2018

Rocks In The Attic #721: Tom Bähler, Chris Boardman & Albhy Galuten – ‘Raw Deal (O.S.T.)’ (1986)

RITA#721What a run of films Arnold Schwarzenegger had in the 1980s: Conan The Barbarian, Conan The Destroyer, The Terminator, Red Sonja, Commando, Raw Deal, Predator, The Running Man, Red Heat and Twins.

Of those nine, there’s really only a couple I wouldn’t recommend. The two Conans and Red Sonja don’t really interest me as I’m not that into the fantasy genre – although I remember them being decent enough. Even Twins, despite being the odd-one-out and the start of his softer, family friendly direction throughout the ‘90s, is a bloody good film.

The only other duffer in the list is this film, 1986’s Raw Deal. Schwarzenegger’s ‘80s run is perfect fodder for a pubescent youth, but Raw Deal is the only one of the lot which feels cheap and exploitative. It has nothing else going for it aside from a couple of half-decent action scenes, and with a terrible script and wooden performances (Arnold aside) it doesn’t reward repeat viewings.

Essentially it offers nothing except the chance for Arnold to look cool in a leather jacket while smoking a cigar; and he goes on to do that far more effectively in 1991’s Terminator 2: Judgment Day.

The soundtrack however, is great – all brooding ‘80s synths, big drums smothered in reverb, and wailing electric guitars (courtesy of Steve Lukather on one track). I found it at a record fair recently – a German pressing which names the film Der City Hai. Google translates this as The City Of Hai, which can’t be right, can it?* It sounds like something starring Tommy Wiseau.

Hit: Brains And Trains

Hidden Gem: Kaminski Stomps

*My German consultant Herr Gibson has pointed out that hai means shark in deutsche, which I believe makes the film, and Herr Schwarzenegger’s character, the City Shark.

Rocks In The Attic #720: David Bowie – ‘Glastonbury 2000’ (2000)

RITA#720The year 2000. My second Glastonbury festival, aged 21.

My friend Vini came with me this year, and we got the train down from Manchester to Somerset. All of the other years I’ve been to the festival, from 1999 to 2007, I’ve driven. It was just the two of us heading down this year, but we were set to meet up with friends in the same area of the site we had camped the prior year.

The trip down to the South West was quite quiet as we were travelling down on the Wednesday morning, as the music and the festival doesn’t really kick off until the Friday morning. The only bit of the journey that slowed us down was a small queue at the Castle Cary station to wait for the shuttle bus to the festival grounds. It didn’t matter; the sun was out in force.

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Vini and I circa 2000

We got to the campgrounds and met up with my friends from University, Robbie and Natalie, and various other people they’d travelled with. We pitched our tents by the perimeter fence, between the Other Stage field and the Dance Tent field.  I seem to remember the year 2000 as being one of the last years before they started to curb down on campfires, so Thursday night found us stocking up on firewood.

2000 was the also the last year before the dreaded security fence went up, so it was probably the last Glastonbury with any ounce of anarchy in it. From the following year, it all got a bit safer, a bit more middle-class, a bit more Radio 2.

People started breaking into the festival on the Wednesday night. There was still a fence at this point – but it was still quite easy to get over, and wasn’t anywhere near the height of the megafence that went up by the time of the next festival two years later (2001 was a ‘fallow’ year for the festival).

By the Thursday night, the fence had been damaged near where our tents were pitched, and people were starting to spill into the grounds. By the time we woke up on the Friday morning, the fence had been completely breached, pushed aside, and people were just walking in. The security staff had given up trying to stop them, it was just too hard. The organisers sold 100,000 tickets, but it’s estimated that a further 150,000 entered without tickets.

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As a result of the increased numbers, the infrastructure of the festival started to break down. Toilets and litter started to build up, and lawlessness was in the air. At one point, as Vini and I queued up at a food truck, two gypsy teenagers got into a fight next to us. Well, I say fight, it was more like one aggressive gypsy was battering another gypsy, who wasn’t keen on being battered.

Vini’s tent got broken into at one point, and Natalie woke up to an intruder in the middle of the night. We would laugh at this whenever she brought it up in subsequent years – ‘Do you remember that year I woke up and this guy was on top of me going through my stuff?’ – and I’d jokingly apologise.

I saw lots of great bands that year, as I did every other year at Glastonbury: Ladysmith Black Mambazo, the Bluetones, Dark Star, Muse, Idlewild, the Chemical Brothers, Ocean Colour Scene, the Wailers, Live, Death In Vegas, the Dandy Warhols, Coldplay, Robert Plant’s band Prior Of Brion, and many, many others. Vini swears to this day that we saw one-time James Bond George Lazenby there, introducing Ladysmith Black Mambazo on stage, but I don’t remember that at all. It sounds like the makings of a fever dream.

By the time Sunday night rolls around at Glastonbury, I’ve usually had enough. Festival fatigue kicks in, sometimes with disastrous consequences – and I hate to think about the time I chose to miss Muse headline in 2004. In 2000 though, I was excited to see Bowie play; energy levels were high. This was the first time he had played the festival since its second year in 1971, so it felt like the festival and the artist were somehow coming full circle.

At that time, I wasn’t too much of a Bowie fan. I adored Hunky Dory and The Rise And Fall Of Ziggy Stardust And The Spiders From Mars. But aside from a couple of other singles, I could take or leave everything else. I had heard that his live shows could be quite abstract affairs too, so I wasn’t sure what to expect. His last tour had been in 1997, promoting Earthling, but apart from a 50th Birthday concert at Madison Square Garden in that same year, he had only sporadically playing the hits throughout the decade.

Surely he wouldn’t do a greatest hits set on his return to Glastonbury. Would he?

RITA#720dHe walked onto stage to the opening bars of Wild Is The Wind from 1976’s Station To Station –starting a lifelong love affair with that song for me. So far, so deep-cut. He looked beautiful, with a long elfin coat and flowing blonde hair.

Then he played China Girl and Changes. Was this just an attempt to get the audience onside before he started playing Tin Machine b-sides?

Another Station To Station track was up next – Stay. The second of three Station To Station tracks played, with the title track being the third. This was undoubtedly to showcase the guitar playing of Earl Slick who had played on that album and was among the band at Worthy Farm that night. Perhaps this was the start of the setlist slipping into the esoteric?

Life On Mars?, Absolute Beginners, Ashes To Ashes and Golden Years left little doubt that Bowie was in fact doing a greatest hits set. Amazing.

Vini and I had been performing a cover of Ziggy Stardust in our band at the time, and while I thought it was unlikely Bowie would play the song, Vini was hopeful. “Nah,” I said. “He doesn’t do it anymore.” He hadn’t played it regularly in his set since 1990, although the excellent www.setlist.fm shows that he had played the song in a warm-up show in New York, nine days prior to Glastonbury.

Bowie finished the main set with Under Pressure, but despite all the big hits I was hearing, I was still sure I wouldn’t be hearing my favourite song of his. The band left the stage, and returned five minutes later for the encore. “It’s gonna be Ziggy Stardust!” Vini proclaimed. And BLLLLLLAAAAAAANNNNNNNGGG – it was!

Hands shooting up in the air, hugging, huge grins. Wow. We were ecstatic.

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My one blurry photo of Bowie on stage

Since Bowie’s passing in 2016, the Glastonbury set has taken on an almost mythic status. It was a watershed moment for the festival and its presence on the BBC. From that year, it became almost expected for the big headlining slot to be broadcast live on television (even the decision to show the Bowie set ruffled a few feathers at the Beeb).

I would never see Bowie in concert again. His heart attack on stage in 2004 led to a change in priorities, and big tours were taken off the agenda. I’m so glad I saw him when I did. It turned me into a Bowie fan, and I started to go back and listen to the albums I hadn’t heard before. There isn’t a period of Bowie’s career I don’t love now. He’s the ultimate artist with something for everybody.

Hit: ‘Heroes’

Hidden Gem: Wild Is The Wind

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Rocks In The Attic #719: Elton John- ‘Greatest Hits’ (1974)

RITA#719Another year, another Christmas, and another Christmas advert from John Lewis. This year it’s a journey back through the life of Elton John. The montage of performances of Your Song goes further and further back we until we discover the source of his tantrums and tiaras was a Christmas present of an upright piano back in the 1950s.

In any other year, I would have quite enjoyed this. It looks great, and the message is as wholesome as the likes of John Lewis ads in prior years. But with the timing so close to the upcoming Elton John biopic starring Taron Egerton, and Elton’s own farewell tour, I wonder if he has more to gain from this than the department store he’s shilling.

The Guardian offered an alternative version of the commercial. As amusing as this warts-and-all version sounds, I would have also thrown in that moment from when he fell off his chair at the tennis and writhed around on his back like a shell-suited tortoise.

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I can take or leave Elton. He’s put out far more lead than gold, but his golden moments are very, very good. Goodbye Yellow Brick Road, in particular, is a masterpiece, and his early Americana-tinged records (Tumbleweed Connection, Madman Across The Water and Honky Château) are interesting. I’ve even started to warm to his ‘80s output – something I thought I’d never hear myself saying. I’m Still Standing is a banger for the ages.

This first greatest hits collection was released in 1974, after that wave of success following Goodbye Yellow Brick Road, of which it takes three songs, and its follow-up, Caribou. I expect it will be available at John Lewis this Christmas, on a special display stand next to the Christmas jumpers and party crackers.

Hit: Your Song

Hidden Gem: Border Song

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Rocks In The Attic #718: The Beatles – ‘The Beatles & Esher Demos’ (1968)

RITA#718You can hear the differences straight away. Paul’s snare beat on Back In The U.S.S.R. is punchier and his vocal ad-libs in the fade-out are much clearer. Then John’s acoustic guitar fades into Dear Prudence and Paul’s pulsing bass sounds on top of everything, front and centre.

Released yesterday to celebrate the record’s fifty-year anniversary, Giles Martin’s new 2018 stereo remix of the Beatles’ ‘self-titled’ White Album is an early Christmas present for fans of the band.

Repeating the successful formula employed on last year’s stereo remix of Sgt. Pepper’s, Martin Jr. has broken down the White Album recordings, and built them back up again. Untrained ears might not be able to tell the difference, we’re talking subtle changes. Clarity and focus are the operative words, not revisionism.

RITA#718aThe sliding, uptempo bass line in Ob-La-Di, Ob-La-Da transforms one of my least favourite Beatle songs into a stormer. Eric Clapton’s swirling guitar lines in George’s While My Guitar Gently Weeps feel even more hypnotic. Paul’s bassline in Why Don’t We Do It In The Road sounds funkier. Birthday sounds as insane as the band probably intended it to. Paul’s screaming salvo into Helter Skelter sounds at war with Ringo’s drums. The horns in Savoy Truffle are sharper, the electronic piano line closer to the front of the mix.

The 2014 mono remaster was previously my favourite version of this album. I didn’t think anything could beat that. How wrong I was. All in all, this new release is like listening to the album for the first time, with fresh ears. And if that wasn’t enough, the other half of the box-set is just as revelatory.

In May 1968, fresh from their Rishikesh trip, the Beatles convened at Kinfauns, George’s house in Esher, Surrey. There, they recorded demo versions of 26 of the White Albums’s 40 tracks, plus songs that didn’t make the intended album.

Glimpsed on 1997’s Anthology 3, Giles Martin has now remixed these tapes and re-sequenced them into a double-LP with – where possible – the same running order as the 1968 album.

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Hearing McCartney doing a loosely double-tracked Back In The U.S.S.R. on an acoustic guitar – complete with a sung guitar solo – is just fantastic, and really fills me with hope that there’s more material like this yet to see an official release.

The songs that were worked out in the White Album studio sessions – Wild Honey Pie, Martha My Dear, Don’t Pass Me By, Why Don’t We Do It In The Road, I Will, Birthday, Helter Skelter, Long, Long, Long, Savoy Truffle, Revolution 9 and Good Night – don’t appear here in demo form. Instead we get a raft of songs intended for the album, but which appeared elsewhere: George’s Sour Milk Sea (a single for Jackie Lomax), Not Guilty (re-recorded for his 1979 record, George Harrison), and Circles (re-recorded for 1982’s Gone Troppo), Paul’s Junk (soon to be heard on 1970’s McCartney), and John’s Child Of Nature (reworked as Jealous Guy from 1971’s Imagine). Two other Lennon demos presented here – Mean Mr. Mustard and Polythene Pam would be reworked into the medley on Abbey Road in 1969.

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The demos make for a fantastic listen. Complete with between-take chatter, coughs and sniffs, the sound quality is mostly very good with the occasional bit of tape-hiss evident on some tracks. In hindsight, the Beatles probably didn’t need to go to Abbey Road and Trident to re-record these demos – they could have just released this back in 1968.

While it now seems inevitable that Giles Martin will provide similar remix duties for next year’s half-century release of Abbey Road, followed by Let It Be in 2020, I really hope he continues with the pre-Pepper albums as they begin their sixty-year celebrations from 2023.

And hopefully he’s training his son in the finer techniques of audio engineering, ready for the next generation of reissues…

Hit: While My Guitar Gently Weeps

Hidden Gem: Helter Skelter

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Rocks In The Attic #717: Desmond Child & Rouge – ‘Desmond Child & Rouge’ (1979)

RITA#717My quest to purchase every Aerosmith-related record continues with this, the 1979 debut album by Desmond Child and his vocal group, Rouge.

In 1987, Desmond Child was one of the first ‘song doctors’ employed by Aerosmith to co-write radio-friendly hits to re-energise their career. He co-wrote the Permanent Vacation singles Dude (Looks Like A Lady) and Angel – which hit #14 and #3 on the Billboard chart respectively – and the album opener Heart’s Done Time.

His success with Bon Jovi dwarfs his first run with Aerosmith – a year before Permanent Vacation he co-wrote You Give Love A Bad Name and Living On A Prayer, both hitting #1 for the New Jersey band. Aerosmith manager Tim Collins and Geffen A&R man John Kalodner knew what they were doing in seeking Child’s services.

Child Services?!?!?

Desmond Child would continue to work with Aerosmith throughout their tenure at Geffen. He contributed to What It Takes and F.I.N.E. from 1989’s Pump, Crazy and Flesh from 1993’s Get A Grip and finally Hole In My Soul from 1997’s Nine Lives.

He’s an integral figure in that late-‘80s hard rock scene, writing and producing the entirety of Alice Cooper’s 1989 album Trash, and working with the likes of Kiss, Joan Jett & The Blackhearts, Ratt, Steve Vai.

So what does this 1979 ‘solo’ record sound like? Well, you can definitely hear the genesis of a hit-making song-writer in there. It’s perhaps closest to Bon Jovi than any of his other associates. ‘Hit single’ (according to the hype sticker, but only if reaching #51 is your definition of a hit) Our Love Is Insane definitely has a killer bass line, and the playing (by studio musicians) is without fault throughout the record.

Child shares vocal duties with the three singers in Rouge – Myriam Valle, Maria Vidal, and Diana Grasselli – and they give the album a soulful, Chic / Sister Sledge feeling. This turns out to be the record’s downfall. It tries to be everything – soul, rock, pop, funk – and doesn’t pull strongly enough in either direction. Jack of all trades, master of none.

Hit: Our Love Is Insane

Hidden Gem: City In Heat

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