Tag Archives: Quadrophenia

Rocks In The Attic #810: Various Artists – ‘Quadrophenia (O.S.T.)’ (1979)

RITA#810New Zealand is a long way to go for anybody. It’s at the arse-end of nowhere. This is fine when our small island wants to stay out international affairs, or keep nuclear ships out of our waters, but it also puts off celebrities and artists from making the trip. Who wants to spend longer than a couple of hours on an airplane?

This year we’ve had tour cancellations from Ozzy Osbourne (due to a genuine injury), and Kiss (due to some half-hearted bullshit, conveniently allowing them to make more money playing Australia and Japan). Two big-name cancellations might not sound like a lot, but when you consider that we might only get half a dozen similarly sized acts per year, it can be a big blow to music fans.

RITA#810aSo you have to make the most of what you can get. Occasionally, very occasionally, we might get a big-name actor, writer or director coming over on a promotional jaunt. I’ve been lucky in the past meeting Roger Moore, Quentin Tarantino and Danny Boyle. That’s three of my heroes right there, and I feel incredibly lucky to have met them. But that’s the sum total of my being in the country for twelve years. Living in LA, New York or London, one might be able to meet three big names in the course of twelve weeks.

And so when my wife told me that one of Britain’s greatest character actors, Timothy Spall, would be coming not only to New Zealand, but to the local art-house cinema in my small village outside of Auckland, I was immediately suspicious. I’ll believe it when I see it, I said. The announcement was just a few days before the event, and why the hell would Tim Spall want to come to New Zealand anyway?

Yet, the doubting Thomas in me was silenced.

On Friday night, I had the pleasure of watching his latest film, a bleak biopic of the North West’s greatest painter L.S. Lowry, before a Q&A with Spall himself. Mrs. Lowry & Son, directed by Adrian Noble, is far from the best film Spall’s been in. The sometimes-hammy script, limited narrative, even more limited filming locations and a greater focus on Lowry’s mother, instead of Lowry himself, makes it a seriously flawed film. Of course Spall’s subtle performance is the highlight of the film, as is Vanessa Redgrave’s portrayal of the painter’s overbearing matriarch, but both actors deserve much better material.

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After a bleak 90-minutes, the film ended on a bright note with the expected intertitles explaining Lowry’s subsequent achievements – that his unsupportive mother died before his first major exhibition, his paintings now sell for millions, and his work is displayed inside the purpose-built Lowry art gallery in Salford. The credits rolled, and into the cinema walked the man himself, resplendent in a blue suit and waistcoat.

Unfortunately, the limitations of the venue – Howick’s beautiful Monterey Cinema – meant that things didn’t go smoothly. This is a cinema that regularly forgets to the turn the lights down and shut the door to the theatre when a film starts. Another time, during a 3-D screening of Alfonso Cuarón’s

Gravity, my 3-D glasses just stopped working mid-film. I rushed out to the lobby, and was told that the 3-D headsets were battery-operated (!) and they handed me another pair, with no apology. It’s a nice little cinema, but the incompetence of its staff lets it down.

So, after the applause died down, Timothy Spall walked to the front of the screen and started talking. The morons had forgotten to charge the wireless microphone. The cinema that advertised a ‘once in a lifetime event’ had failed to prepare the one thing that they needed for said event. It beggars belief.

Thankfully, Spall took the issue with good grace, forced into a corner of the room with the microphone wired into the power supply. His anecdotes and stories were as good as I had hoped. He covered his battle with leukaemia, explaining that when the rest of the cast of Mike Leigh’s Secrets & Lies travelled to Cannes with the film, he went into hospital for chemotherapy instead. The silver lining, aside from beating the disease of course, was that when he left hospital he was inundated with film offers because Secrets & Lies had done so well.

RITA#810cIn another great story, he mentioned that after his preparation and research for playing the other famous British painter JMW Turner, in 2014’s Mr. Turner, he became a painter himself and his work is now displayed in The Lowry, alongside Lowry’s work. Art imitating life becoming art itself.

I asked a question too:

Me: Hi Tim, I’m a big fan. And I’m a big fan of Rafe too.

Tim: I’m a big fan of Rafe’s too! [laughs] He’s talking about my son, ladies and gentlemen.

Me: We’ve just seen Rafe in BBC’s War Of The Worlds, which he was fantastic in. I wanted to ask whether there’s a bit of rivalry in the family now that you’re both such big-name actors?

Tim: Oh no [laughs], not at all. I’m a big fan of Rafe’s. In fact, I’m his biggest fan! No, I’m immensely proud of him, and he’s a great son. And he’s a great Dad himself, too.

RITA#810dAfter the Q&A, I rushed out to the lobby to ask him for a photo and for an autograph on my Quadrophenia soundtrack LP. His first film appearance, some forty years ago, Spall has a small role as the awkward projectionist at the advertising agency where Phil Daniel’s Jimmy works (when Jimmy bothers to turn up). I showed him the LP. ‘What’s that?” he peered. ‘Oh, Quadrophenia! Ha! Wow, is that the album?’

Unfortunately, I didn’t get around to asking Tim my other question. I had recently seen a clip of Rafe Spall mentioning that he had narrowly missed out on the role of Dr. Who. When the BBC producers told him not to tell anybody he was going through the audition process, he instead told everybody. Word got back to them, and he was dropped. I wanted to ask a hypothetical question: if Rafe got the part of another British screen hero, James Bond, would Tim be keen on playing M?

I’ll ask him next time.

Hit: Louie Louie – The Kingsmen

Hidden Gem: Zoot Suit – The High Numbers

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Rocks In The Attic #311: The Who – ‘It’s Hard’ (1982)

RITA#311Argh, the ‘80s! The cover of this record is a bit confused. Roger Daltrey looks like a real estate agent. Pete Townshend looks like a pre-op transsexual. John Entwistle looks bizarrely like Ringo Starr in a pinstripe suit. Kenney Jones looks like a waxwork. All four of them are facing away from a young boy playing a Space Invaders machine, his back to the camera, in a darkened room. Aside from the allusions to Pinball Wizard, I don’t know what this all means, but it feels dodgy. Don’t worry though; Townshend was just doing research, right?

Thankfully the album doesn’t sound as unnaturally ‘80s as they were trying to make themselves look on the cover. There’s a fair bit of synth on the album – but no more than say, Quadrophenia, and that always jarred slightly on that album anyway.

The reason I’ll put this album on will always be the last track on the first side – Eminence Front, with lead vocals by Townshend himself. I know the song from the soundtrack of Grand Theft Auto: San Andreas, so hearing its slow burn always reminds me of driving around Los Santos, San Fierro and Las Venturas, knocking over pedestrians and doing drive-bys.

Hit: Athena

Hidden Gem: Eminence Front

Rocks In The Attic #300: Various Artists – ‘Dazed And Confused (O.S.T.)’ (1993)

RITA#300Rocks In The Attic turns 300!

Not only a great film, Richard Linklater’s Dazed And Confused also has a killer soundtrack – probably the one soundtrack that has had the greatest influence on the rest of my record collection. I’ve waited a long to get this on vinyl, and finally on Record Store Day this year it was released to celebrate the film’s 20th anniversary. I had to get it shipped over from the USA by my local record store, but it was worth the wait. It’s a double vinyl, and – to borrow a line from the film, “…it’s green too!”

I first heard about Dazed And Confused on my daily walk to school when I was 15. My good friend Ant used to do the same walk – through the fields behind my parents’ house that are no longer fields (they’re a housing estate), past the Elk mill that’s no longer a mill (it was demolished to make way for a retail centre) – and onto Clayton playing fields towards North Chadderton school.

On these walks, Ant would tell me about stuff he’d picked up from his brother. I owe my love of Bill Hicks to Ant and his brother – and I also owe my love of Dazed And Confused to them. Ant probably lent me their VHS copy of the film, but it wouldn’t be long until I acquired my own copy, and played it many, many time over the next few years into my late teens. I’d take this film to University with me, and turn lots of my friends onto it over the years.

On paper, Dazed And Confused doesn’t sound very interesting. It’s the story of high-school kids in Texas on their last day of school, but nothing really happens. There’s very little plot – just a lot of good music and more of a feeling about the time and place rather than any tangible storyline. But that’s probably true of a lot of youth films – Quadrophenia, The Breakfast Club, American Graffiti, Ferris Bueller’s Day Off, etc.

Other than the killer soundtrack, the film also boasts an impressive cast of actors before they hit the big time – Ben Affleck, Matthew McConaughey, Milla Jovovich, Renée Zellweger, Parker Posey and Adam Goldberg all pop up in small but memorable roles.

But let’s talk about the music. I must have bought the soundtrack on CD as soon as I saw it, and it became the soundtrack to my summer of 1995. It’s fourteen tracks of rock music – some of which was already familiar to me – Sabbath’s Paranoid, ZZ Top’s Tush, Alice Cooper’s School’s Out – but it introduced me to a whole lot more.

For me, the soundtrack acted as a sampler – it turned me onto Ted Nugent’s first solo album, Skynyrd’s debut album and deepened my love of early ZZ Top. The second iteration of the soundtrack – Even More Dazed And Confused – even showed me that it’s okay to like Frampton Comes Alive!.

In fact, I love that second CD as much as the first. I remember being at a party at Palatine Road in Manchester and using Moo’s knowledge of Bob Dylan to collectively figure out why two of the film’s songs wasn’t included on either CD – Aerosmith’s Sweet Emotion and Dylan’s Hurricane are both on the Columbia record label, so there must have been some conflict of interest with The Medicine Label who brought out the soundtrack albums.

It’s almost criminal that the Aerosmith track isn’t included on the soundtrack – it’s the song that opens the film! I hear this was a last minute substitution though, after Robert Plant wouldn’t allow Linklater to use the Zeppelin song of the film’s name over those opening credits. Perhaps they just didn’t have time to think about whether they’d be able to clear Sweet Emotion for the soundtrack album.

There are a lot of hidden gems on this album. For one, the slow-burn of Ted Nugent’s Stranglehold reminds me of cruising around in a pale yellow Nissan Stanza with Stotty and Bez on Friday and Saturday nights. Good times!

Hit: Slow Ride – Foghat

Hidden Gem: Low Rider – War

Rocks In The Attic #235: The Who – ‘The Who Sell Out’ (1967)

RITA#235A well-intentioned satire on commercialism and consumerism, or a rare mis-step by The Who in an otherwise flawless run of albums leading up to their first masterpiece, Tommy?

This album isn’t without its highlights, and the cover is fantastic, but I do think that for all its good intentions, it’s a step backwards after A Quick One. The final song on that album, A Quick One, While He’s Away, points towards the direction Townshend would go with Tommy and Quadrophenia, but The Who Sells Out tries to do something else. It is a concept album – well, it’s more of a concept album than Sgt. Pepper’s (released a few months earlier), in that most of the album deals with the subject of advertising, but the songs just aren’t as good as they are on those two later albums.

I do like the ultra-compressed effect they use on the radio announcements between songs (making use of a device called the Sonovox), and I’m sure Guy-Manuel de Homem-Christo and Thomas Bangalter would appreciate this too – a similar effect is employed on Daft Punk’s Homework debut.

Hit: I Can See For Miles

Hidden Gem: Armenia City In The Sky