Rocks In The Attic #784: Primal Scream – ‘Maximum Rock ‘N Roll – The Singles Volume One’ (2019)

This compilation, with a bizarre cover shot suggesting that Primal Scream = Bobby Gillespie and nothing else, charts the band’s progression from indie shoegazers to acid house crossovers to Stones-esque rockers to whatever genre of noise they’re playing on ‘97’s Vanishing Point and 2000’s XTRMNTR.

I can’t imagine what’s on Volume Two, I only picked it up for Bobby Gillespie’s scrawled signature on the front cover. I haven’t bought any of their records since XTRMNTR, but surely I must have heard some of their singles over the last 20 years? Thankfully Volume Two has a much more democratic band photo for the cover.

But back to Volume One, there’s some real bangers on this…

Hit: Rocks Off

Hidden Gem: Jailbird

Rocks In The Attic #783: Travis – ‘Live At Glastonbury ‘99’ (1999)

I can’t help but think that Travis missed the boat. They were actually stood on the boat at one point, and everybody was waving them off. Then they looked behind them, and realised that everybody was waving at Coldplay, who were stood on an even bigger boat, sailing off into mainstream waters.

1999 marked the year of my first Glastonbury, and Travis were crowned the breakthrough performance of the festival. I stood there with thousands of others on the Saturday afternoon as they played the Other Stage. The festival had been dry and sunny so far, but threatening rainclouds started drifting over the fields.

A fortunate bit of serendipity occurred when the heavens opened as the band played their current single, Why Does It Always Rain On Me? The soaked crowd was delighted, as were the BBC executives broadcasting the highlights of the festival, and the music press heralded the band as the champions of the festival. They returned to headline a year later.

I saw Travis headline in 2000, but I also caught Coldplay, playing the Other Stage at a similar time slot as I had seen Travis the year prior. I already knew a few of Coldplay’s singles – Shiver and Yellow had already been released, and the radio was already playing Trouble in advance of its October release. I bought their debut LP, Parachutes as soon as it was released a few weeks later.

History seemed to repeat itself: Coldplay were labelled the breakthrough performance of the 2000 festival, and they swiftly became the darlings of the music press and BBC Radio. Just like Travis, they returned to headline the next Glastonbury (in 2002, with 2001 being a fallow year).

But over the years, while Coldplay went from strength to strength, becoming a household name for casual music fans and a shortcut for bland, post-Britpop radio-friendly rock, Travis just seemed to…disappear.

Everybody had agreed that The Man Who, Travis’ second studio album that they were touring at the time of their ’99 performance, was a belter. It spent 11 weeks at number 1 in the UK album charts, and sold over 3.5 million copies. But then Coldplay came along and seemed to blow them out of the water, probably while Travis were stood on that boat in the harbour.

Aside from hearing about their drummer breaking his neck diving into a swimming pool, and an out-of-court settlement for ‘borrowing’ the Wonderwall chord progression for Writing To Reach You, I haven’t heard much else from Travis. Their third album, the aptly named The Invisible Band, was the last I heard from them. What happened?

Hit: Why Does It Always Rain On Me?

Hidden Gem: Blue Flashing Light

Rocks In The Attic #782: Santana – ‘Woodstock, Saturday, August 16, 1969’ (1969)

Featuring a 20-year old Michael Shrieve on drums, the youngest performer at the festival, Santana’s set at Woodstock started at 2pm on the Saturday afternoon. Carlos Santana was only 21 himself, as he walked onto the stage, virtually unknown. 45 minutes later he’d be a household name in the making.

Soul Sacrifice is easily a standout performance on Michael Wadleigh’s documentary film of the festival, and Shrieve’s blustering drum fills are a big reason why. It’s one of my favourite moments in the film. I’ve never liked the night-time performances in the film, as the lighting rig was extremely basic, but these daytime performances in the stark sunshine of New York state look amazing.

Having read about the forgettable performances which took place during the Friday, it almost feels like Santana kick-started the festival when they played on the Saturday afternoon. Having listened to WXPN’s online stream of the festival in “real time” to mark its 50th anniversary last weekend, it appears that the next band to play with anywhere close to the same kind of energy was Creedence, ten hours later in the early hours of Sunday morning.

Hendrix’s 3 x LP set has long been a regular visitor to my turntable, but these individual performance Woodstock LPs that have started to see the light of day in the last couple of years are great, and are starting to become quite an addiction. Santana’s set was released for Record Store Day in 2017, and this year’s Record Store Day also added performances by Janis Joplin and The Kozmic Blues Band, and Sly And The Family Stone to my collection. I’ve also recently acquired Johnny Winter’s performance (spoiler alert: that albino genius can PLAY the guitar, although his singing sounds like Bobcat Goldthwait), and Jefferson Airplane’s 3 x LP set is en route.

My fingers are crossed for Sha-Na-Na’s performance to be released for Record Store Day 2020. I can see the gold lamé jumpsuits now…

Hit: Soul Sacrifice

Hidden Gem: Waiting

No Time To Think

INT. DAY – EON PRODUCTIONS BOARD ROOM, PINEWOOD STUDIOS

Bond producers Barbara Broccoli and Michael G. Wilson sit on leather chairs, deep in thought.

Barbara: Hurry up Mikey, he’ll be here any minute.

Michael: Okay, Babs, don’t rush me…I’ve almost got it.

Barbara: C’mon, otherwise we’ll have to go with ‘Shatterhand’.

Michael: Ugh…Shat Her Hand.

Barbara: [Puts on a film-trailer voice] “Bond loved her until she…shat…her…hand”.

Michael: Hah!

Barbara chuckles, Michael guffaws.

Michael: Okay, what about ‘Gold’-something. That’s always worked.

Barbara: Nobody buys gold anymore, Mikey. Platinum’s the in-thing now.

Michael: ‘The Island Of Dr. Platinum’?

Barbara: Sounds like a rapper.

Michael: True. ‘The Man With The Platinum Hand’?

Barbara: Not threatening enough.

Michael: ‘The Man With The Platinum Finger’?

Barbara: Too threatening.

Michael: What about space? Something to do with the moon?

Barbara: Boring. We’ve done it.

Michael stares out in the window in desperation.

Michael: What about the weather? We used thunder once.

Barbara: Don’t be stupid, Mikey. [Looks at watch] He’s late – we should have had this figured this out by now.

Michael: ‘Lightning To Kill’?

Barbara: Oooooh. [Pause] No.

Michael: ‘Windmaker’?

Barbara: Huh?

Michael: ‘It Only Rains Twice’?

Barbara: Terrible

Michael: ‘Risico’?

Barbara: No.

Michael: What about diamonds?

Barbara: Maybe.

Michael: Octopuses?

Barbara: Octopi.

Michael: Pie?

Barbara: No, Octopi. The plural of octopus.

Michael: Oh right. I thought you meant something to do with pies.

Barbara: Pie Another Day.

Michael: Hah!

Barbara chuckles, Michael guffaws.

Barbara: ‘Die’ is good though. That worked a couple of times with Pierce.

Michael: Die-something…

They both stare out the window. From outside, they hear the faint sound of a car-door closing, followed by the ‘bip-bip’ of a car-alarm setting.

Barbara: Christ, he’s here. Okay, we’re going with ‘Shatterha-’.

Michael: WAIT! I’ve got it!

Barbara: Go on!

Michael: …Wait…It’s on the tip of my tongue…

Barbara: Hurry up, he’ll be here any second.

Michael: …Aaarrrggghhh…I’ve just got no…time…to…think…

Barbara: That’s it!

The door bursts open. Daniel Craig walks in, wearing Bermuda shorts, flip-flops and a pink linen shirt.

Daniel: Mikey-G, the G-Man! Barbara. ‘Sup, Boo. What’s poppin’?

 

 

Rocks In The Attic #781: Various Artists – ‘Easy Rider (O.S.T.)’ (1969)

Peter Fonda died on the weekend. The original Captain America from 1969’s New Hollywood hit Easy Rider, he co-wrote the film alongside Terry Southern and director and co-star Dennis Hopper. It almost seems like fate that Fonda would pass away on the weekend of the 50^th anniversary of the Woodstock festival. You’d be far pushed to find a more appropriate icon of that period in American counterculture.

All weekend I listened to WXPN’s live stream of the ’69 Woodstock festival, aired as close to ‘real time’ as possible, including all of the stage announcements and weather delays. It seemed to be streaming about 24 hours ahead of time, as they were streaming it by date rather than sticking to the Friday to Monday morning timeframe. Still, it was great to tune in to listen to most of the sets.

Not only were there quite a lot of forgettable acts early on in the festival, it also sounded very chaotic with the stage announcements offering a glimpse at the bedlam going on between sets. Lost thyroid pills and lost people, broken limbs, bad brown acid to avoid, and hitchhikers hoping to get back into the car they arrived in to get their ‘medication’. The coming of the huge storm minutes after Joe Cocker’s set sounded like the end of times.

Of the dozens of bands who missed out or turned down playing the festival, the funniest story is surely that of Iron Butterfly. Stuck at an airport, they sent a telegram to the festival: ‘We will arrive at LaGuardia / You will have helicopters pick us up / We will fly straight to the show / We will perform immediately / And then we will be flown out.’ Production co-ordinator John Morris sent a telegram back in reply: ‘For reasons I can’t go into / Until you are here / Clarifying your situation / Knowing you are having problems / You will have to find / Other transportation / Unless you plan not to come.’ The first letter of each line of his acrostic reply spelled out his true feelings.

I’ve never been a huge fan of Easy Rider. It’s one of those films that obviously needed to happen, as an important stepping stone in wrestling power away from the studios and into the hands of writers and directors, but as a piece of art I don’t think it’s dated terribly well. In fact, after the opening thrill of Steppenwolf’s Born To Be Wild, the rest of the picture is a bit of a slog. It probably works better when you’re high?

But if this film opened the door and led to Coppola making The Godfather, or Friedkin making The Exorcist, and ultimately to Spielberg’s Jaws and Lucas’ Star Wars, then it’s more than alright by me.

Hit: Born To Be Wild – Steppenwolf

Hidden Gem: The Pusher – Steppenwolf

Rocks In The Attic #780: Elmer Bernstein – ‘Ghostbusters (O.S.T.)’ (1984)

Are you troubled by strange noises in the middle of the night? Do you experience feelings of dread in your basement or attic? Have you or your family ever seen a spook, spectre or ghost? If the answer is ‘yes’ then don’t wait another minute. Pick up the phone and call the professionals…

After a pre-order three months ago, and eight subsequent status-update emails from Amazon, it’s great to finally hold this in my hands. Thirty-five years after its original release in cinemas, the soundtrack score to Ghostbusters by Elmer Bernstein is finally available on vinyl.

From that first electronic flutter (played on a Yamaha DX7 synth) heard over the grainy Columbia Pictures logo, this score is part of my musical DNA. It’s as seminal to my upbringing as John Williams’ big-five (Jaws, Star Wars, Superman, Raiders Of The Lost Ark and E.T.), Alan Silvestri’s Back To The Future, Dave Grusin’s Goonies and John Barry’s landmark Bond scores.

Just like those soundtracks, it’s easy to visualise the film when listening to Bernstein’s Ghostbusters score. Not only are the image and music melded together perfectly, it also helps when you’ve seen the film hundreds of times. There are a couple of unused cues on the soundtrack that are a little jarring (and perhaps should have been collected towards the end of the release), and I would have liked the first track to have been Library, as per the film (rather than the main Ghostbusters Theme, which again could have been collected at the end), but these are just superficial gripes about a superb release.

My favourite of many musical moments is the end of the track News, which segues into the beginning of Judgement Day. In the film, this is used to soundtrack the conversation between Ray and Winston as they drive through the night after a busy day ghostbusting. It’s a rare moment of quiet, of serious reflection, in an otherwise comical film, and I’ve always liked that Dan Aykroyd and Harold Ramis wrote the scene for Ernie Hudson’s character – the ‘everyman’ archetype of the piece.

In terms of the package itself, the score is presented by Sony Classical as a double LP, on clear discs with slime green centres. The sleeve is a really nice, squidgy card-stock, similar to the type used by Brookvale Records on their From Dusk Till Dawn release from 2016.

There’s been a fair bit of criticism online around the imagery used for the sleeve – the cover is the classic Ghostbusters logo (with the white ghost inverted from the version used on the original 1984 pop soundtrack), and the images on the gatefold and rear cover are straightforward stills from the film. Boutique soundtrack labels like Waxwork and Mondo have raised the game in terms of design, so this release feels a tad undercooked in this department.

The 4-panel photo booklet contained within the set features more images from the film, and includes liner notes from Elmer Bernstein’s son Peter, alongside full orchestra credits – something I always like to see on soundtrack releases.

Ray, has it ever occurred to you that maybe the reason we’ve been so busy lately is ’cause the dead HAVE been rising from the grave? ……….How ’bout a little music?

Hit: Ghostbusters Theme

Hidden Gem: News

Rocks In The Attic #779: Various Artists – ‘FM (O.S.T.)’ (1978)

Is there a worse film with such a great jukebox soundtrack? I don’t know what went on with the production of this film, but they managed to amass a who’s who of AOR tracks – courtesy of many different record labels – on the soundtrack.

It’s amazing to see the ident of the film studio, and the opening credits roll over a Steely Dan track. Their title track is one of the band’s only tracks not to appear on any of their studio albums, and serves as a great reason to own this soundtrack. Within the bands discography, it falls between the recording of 1977’s Aja and 1980’s Gaucho. The instrumental reprise of the title track, unavailable anywhere else, makes it essential for any diehard Steely Dan fan.

The plot of the film – a hit radio station staffed by a plucky bunch of rebels, faced with interference from their corporate owners – is about as interesting as the trade dispute storyline from The Phantom Menace.

The cast – of mostly unknowns – aren’t particularly bad, or unlikable, it’s just that the story is so damn uninteresting. It plays more like a soap opera than a feature film, and the claustrophobia of the radio station offices is really only punctured by two concert performances, by Jimmy ‘Great Spread’ Buffett and Linda Ronstadt.

What a corker of a soundtrack though. Alongside the Dan’s FM, we also get their groovy Do It Again, the Eagles’ Life In The Fast Lane, Foreigner’s Cold As Ice, the Doobie’s It Keeps You Runnin’, the Steve Miller Band’s Fly Like An Eagle, Tom Petty & The Heartbreaker’s Breakdown, Queen’s We Will Rock You and the full 8-minute cut of Joe Walsh’s Life’s Been Good To Me. It really is the American Graffiti of late ‘70s rock music. My only criticism is that it’s comprised entirely by white singers and bands, and I can’t imagine any radio station in the late 1970s being so blind to African-American artists.

In fact, the hits come so thick and fast, the film feels more like a 2-hour trailer for a much better film, given how used we are to hearing big songs flip between one to another so rapidly. It’s just a shame the film doesn’t live up to the quality of the music.

No static at all, but a whole load of white noise.

Hit: More Than A Feeling – Boston

Hidden Gem: FM Reprise – Steely Dan