Tag Archives: Rocky IV

Rocks In The Attic #727: James Brown – ‘Santa’s Got A Brand New Bag’ (1988)

RITA#727The Godfather of Soul would have been going through a bit of a revival in the late 1980’s. His screams and drum-breaks were sampled all over the burgeoning hip hop genre, and white audiences would have been reminded of him following his appearance on the soundtrack to Rocky IV. His output around this time, particularly on 1986’s Gravity and 1988’s I’m Real, sounds very of its time. The funk is there, but so are the synthesisers and drum machines.

So it would have been a great time to cash-in with a compilation of his Christmas-themed songs from 1966 to 1970. You might find it incredible that any one artist could have recorded so many festive songs in a four-year period – twelve are presented here, culled from singles, b-sides and three standalone Christmas albums – but James’ output during this period was incredible. Not only could he have released a song of him reading the South Carolina phonebook, but the resulting single, Funky Phone Book Pts. 1 & 2, would surely have been a hit on the R&B charts.

Most of these songs collected here show the slower, soulful side of James’ pre-funk career, but the standout is a song from the pointier end of the ‘60s. Soulful Christmas is a funk workout from ‘68, featuring James belting out the lyric ‘Happiness…Good gawd…Huh…I got plenty of!’ before calling for Maceo Parker to play his funky sax.

Santa would be proud. Merry Christmas everybody.

Hit: Santa Claus Go Straight To The Ghetto

Hidden Gem: Soulful Christmas

RITA#727a

Rocks In The Attic #646: John Williams – ‘Indiana Jones And The Temple Of Doom’ (1984)

RITA#646The other night, after a hard week at work, I sat down to watch Kingsman: The Golden Circle with my wife. I wasn’t expecting much – I hadn’t heard good things – but I wasn’t prepared for how stunningly average it was. Would I say it is a bad film? No, not really. It was technically well made, by a more than competent director (Matthew Vaughn), but it was instantly forgettable.

When I grew up through the 1980s, there seemed to be fantastic genre films coming out all the time, dotted with the occasional howler (Superman IV: The Quest For Peace, Jaws IV: The Revenge – possibly anything with “IV” in the title, although Rocky IV was a banger). These days, the howlers are relatively easy to avoid. Production of big marquee films tends to be spread across multiple studios sharing the risk of a multi-million dollar budget, and as a result they don’t seem to let a franchise die at the hands of a bad script or a deluded director.

Hollywood’s destructive habit in the last decade is movie-making by numbers; a manifesto of mediocrity. The sheer amount of unremarkable genre films it has produced is testament to the absence of risk that directors and producers are willing to take in order to make something that stands out.

I remember reading an interview with Marvel Studios president Kevin Feige back in 2009, where he outlined his plans for the Marvel Cinematic Universe (MCU). His strategy of an overloaded release schedule – 4 or 5 films a year – seemed too good to be true. That’ll never happen, I thought. But it now feels like there’s a new Marvel film out every other month.

The other unbelievable aspect of his strategy was talk of bringing Captain America, Iron Man, Thor and the Hulk together for an Avengers movie. That will definitely never happen, I thought. The Hulk and Iron Man had been revitalised in film by Marvel already, and I just couldn’t see Robert Downey Jr. and Ed Norton sharing a film together with whatever big names they had lined up to play Captain America and Thor. In a way I was right, as they eventually replaced Norton with a different (cheaper?) actor in Mark Ruffalo, but Feige’s vision ultimately proved true. Ensemble genre films are a dime a dozen these days, and it’s rare for a superhero film to be limited to only one or two key roles. This week saw the release of the trailer for the third (?) Avengers film, introducing the Guardians Of The Galaxy into the earth-bound world of the Avengers. Around and around it goes. Pop will eat itself.

But when Feige sits down in his old age – in his superhero-sized mansion – and tells his privileged grandchildren about his life’s work, how will he feel? For the – by my count – seventeen (!) MCU films that have seen the light of day since 2008, I can really only put my finger on one or two that I would hold up as being great films. Iron Man (2008) and The Avengers (2012) stand head and shoulders above the rest, and while there have been great moments among the others, in general they’re all junk; popcorn escapism for the masses.

The rot set in early on, with 2010’s Iron Man 2. How could they get the sequel so wrong, when they got the first Iron Man so right? I spoke to a fan of the series upon its release, and he couldn’t see any difference between the two. That’s the problem with casual film viewers. They just want what they expect, and they’ll happily visit the cinema every time for that hit of familiarity – Coca-cola in their veins, popcorn in their arteries, and the anticipation of safe storytelling that’s not going to push any boundaries and make them feel uncomfortable. Narrative left-turns in cinema these days are met with whispered conversations in the dark as couples explain to each other what is happening on screen.

Marvel’s now-misguided strategy to steady the ship was to deliver a third iteration in the Iron Man series (2013) which was so incredibly poor, that they should have developed a new category at the Academy Awards to recognise it. ‘And the ‘Best Mediocre Picture’ Oscar goes to…’

If Marvel’s attempts at serious filmmaking are to be laughed at, I’m not sure what we’re supposed to think of their rivals’ efforts at DC. Christopher Nolan reinvigorated the modern superhero film with Batman Begins in 2005, and so you’d think his successors might have learnt a thing or two from him. But as soon as he stepped away from the director’s chair, the DC Extended Universe (DCEU) kicked off with one of the dullest superhero films ever committed to celluloid (Man Of Steel, 2013).

Where Richard Donner’s Superman: The Movie (1978) was a glorious piece of wondrous entertainment, setting a high bar that wasn’t really challenged until Tim Burton’s Batman (1989), Zack Snyder’s Man Of Steel is a turgid mess. I seem to remember a fight sequence at the end that lasted around three hours. I didn’t care about any of the characters, and I secretly hoped that mankind would have been wiped off the screen just so that it would have put me out of my misery.

I might have watched Donner’s Superman and Richard Lester’s Superman II close to a hundred times each. I wouldn’t watch Man Of Steel again if my life depended on it.

Which brings me to Indiana Jones And The Temple Of Doom. Now, Steven Spielberg knew how to make a good genre film back in the ‘80s. Easily the weakest of the original trilogy – although not according to my old buddy Quentin Tarantino, who sees it as the strongest of the three – it’s still an infinitely more enjoyable film than the unremarkable dross dealt out to us by Hollywood in the twenty-first century.

Hit: Anything Goes

Hidden Gem: Finale And End Credits

Rocks In The Attic #439: James Brown – ‘The Best Of’ (1987)

RITA#439I grew with a CD copy of this album in the house. It was my Dad’s only James Brown album. Well, at least he had one. It could have been worse; it could have been a James-free house. Ugh, that would have been a disaster.

This is a pretty run of the mill compilation. The K-Tel record label doesn’t really scream artistic authenticity, and as you might expect it’s just a cash-in record to follow on from the success of the Gravity record a year before. Living In America, the big hit off Gravity, was used as Apollo Creed’s entrance music (before being destroyed by Ivan Drago) in Rocky IV – and if a James Brown song takes centre-stage in a Hollywood blockbuster, well the obvious thing to do is to bring out a greatest hits package to capitalise on the scores of movie-goers who might want to hear a bit more.

As far as James Brown compilations go, there are much better ones; but it suits the casual listener’s first toe in the funky water. Two songs from Gravity stand up next to the Godfather’s biggest pop singles from the 1960s and his greatest funk workouts from the 1970s. The long running time (xx minutes) works perfectly on CD, but the vinyl pressing is too busy, too compressed to provide a decent document of James’ – and most importantly, his band’s – sound.

Hit: I Got You (I Feel Good)

Hidden Gem: Honky Tonk