Aladdin Sane - David Bowie

 When considering the David Bowie discography, I would say that his 1973 album Aladdin Sane occupies a curious place, and fulfils a rather nebulous role. It sometimes might seem that the record is a token gesture, an afterthought in the wake of the spectacular '...Ziggy Stardust....' project which came before it. Indeed, such evaluations had until comparatively recently instilled in me a tendency to ignore the work. The better-known numbers were familiar to me, of course, as were snippets of the less prominent tracks.

It was whilst on a lengthy car journey (as a passenger) a few years ago that the sheer effervescence and excellence of Aladdin Sane was truly brought home to me. The CD was playing on the car stereo, and although the road noise and other extraneous distractions conspired to make the listening experience less than ideal, I was left enthused, and eager to explore the work more at my leisure.

The 'Ziggy Stardust' album is regularly held up, along with a couple of other releases from around the same time, as one of the primary monuments of British glam rock. This assessment is difficult to contradict, but I would also contend that Aladdin Sane exudes a consummately 'glam rock' sensibility in large measures.  This stems in part from what I would term the 'sleazy decadence' of much of the sound, and the extravagant, almost exaggerated production values of some of the tracks are in line with other landmark 'glam' records of the early 70s. Add the 'avant-garde' trappings, which many have drawn attention to, and you have an invigorating spectacle, which does not feel contrived or self-conscious. The music has many dark and mysterious corners and departures to examine, imbuing it with a peculiar personality and force.

To me, the influence of contemporary American rock music can be keenly felt on the album; I am thinking of songs like 'Watch That Man' and 'Panic In Detroit'. which exhibit harder edges and are less buttoned-down and contained. On closer inspection, these tendencies predominate on a goodly portion of the record, and the presence of 'The Jean Genie' only underlines and reinforces this point, but somehow they linger less in my memory and my psyche than do other elements or affectations, and therein lies my perception of the record.

Some of the material, including the title track, has an unsettling atmosphere, perhaps reflective of the tense and uncertain social and economic climate of the times. What unites the compositions though is their air of confidence and self-assurance on the part of the artist, as if he rather revels in, and thrives on, instability and foreboding.

Although this record sees Bowie engaging in some experimentation, and hinting at the direction his music would take in the mid-Seventies, one or two of the songs would not sound out of place on previous LPs, notably 'Drive-In Saturday'. 

'Cracked Actor' is, I would estimate, a case of the two 'schools', the rock and the art-rock, coalescing, but the pugnacious narrowly wins out in the end. 'Time' on the other hand sees the Bowie of 1971/72 assuming new goggles, taking the 'template' into fresh territory, growing, expanding.

'The Prettiest Star' is another track which embraces the flavour of all of Bowie's classic 71-73 studio albums, highlighting traits which we might associate with them all. When joined together, they help to assign Aladdin Sane its identity and its aura. The essential sound of '73, perhaps?

A word must also be reserved here to draw attention to Mick Ronson's crunchy and pleasing guitar work throughout, a motif and a recurring delight. It has been said before, but those guitar parts add a new dimension, standing out even amongst the genius of Bowie.

Arriving last on the original album, but for me constituting the centrepiece of the album, is 'Lady Grinning Soul'. Its slinky 'out of time' spirit and its menacing inventiveness are a reminder of what, in qualitative terms, the collection is really all about. 

So there you have it. One of Bowie's greatest achievements, but also one of his most 'deceptive' and awkward to pin down. Essential listening for a full, if complicated, understanding of what Bowie meant in '73, where the world and culture were in '73, and for some tantalising hints of where Bowie might have been heading in the years ahead.

World On A Wire - 1973 movie

World On A Wire (German: Welt am Draht) is a 1973 German science-fiction movie, directed by Rainer Werner Fassbinder, and based on a novel by Daniel F. Galouye.  I recently watched this film, and found it both interesting and thoughtful.

The story revolves around a research institute, which houses a supercomputer.  The computer generates an "artificial world", a kind of electronically simulated environment. The chief scientist dies in mysterious circumstances, and there follows a series of unusual events and intrigues surrounding his successor.

One of the first things which I noticed about this picture is its pronounced "Seventies" aesthetic, in terms of stylings and decor. Personally I find such things very appealing, especially the austere and minimalist architecture, furnishings and so forth. There is also adroit and impressive use of mirrors in several scenes.

In all honesty, the general narrative is not of striking originality, but the minutiae are thought-provoking and clever. The movie explores the standard, well-worn science fiction themes concerning the uses (or misuses) of technology and science, and also the nature of reality and perception. Unlike some films of its ilk, it does not moralize with undue vehemence, but it does pose questions about whether scientific research and progress should fulfill a socially beneficial and benevolent function, and it examines the thorny issues of the conflicts between scientists and bureaucrats/politicians, the extent to which the boffins should be controlled and supervised by the "civilians", and the dangers of technology being subverted by commercial or private interests.

There is quite an ascetic flavour to the film overall, with a mild sense of disorientation heightened by music and sound affects, which are sometimes incongruous in nature.

Without giving away too much, as the movie progresses we get an impression of the blurred lines between "reality" and the simulated world. Elements of the plot I found rather ambiguous, and the latter stages of the work are confusing, but they do serve to exercise and stimulate the grey matter.

An interesting film.

Future Days - Can (1973 album) - review

A few years ago, I resolved to get into the music of Can, the legendary German avant-garde rock group. However, I may have made a mistake in commencing my Can journey by listening to their 1973 album Future Days.  I was left rather bemused and unimpressed, and it took a while for the Can "bug" to genuinely bite, once I had explored their more accessible material, such as that from Ege Bamyasi, and their 1971 magnum opus Tago Mago.

I suspect that Can are one of those bands who might take a while to impress themselves fully on some listeners, but when that invisible threshold is crossed, the wonders and infectiousness of their work are acutely felt. This was definitely the case with me, and Future Days suddenly made a lot more sense in that context.

With the exception of the punchy and relentless "Moonshake", this record is more ethereal and soothing in tone than either of the works which immediately preceded it. "Chill-out" music might be an appropriate phrase to describe the epic closer "Bel Air", certainly, although it does have its livelier and pugnacious moments.

The drumming of Jaki Leibezeit is less dominant in these tracks, based as they are on relaxing soundscapes, with more emphasis on melody, mood and texture than on rhythm. There is some stylistic and sensual continuity between the title track, "Spray" and the aforementioned "Bel Air".  I don't see "Moonshake" as a fly in the ointment;it serves a purpose in providing backbone.

With its habitually hypnotic and laid-back flavour, this LP doesn't jump out and grab you like some of their other work, and as my experience perhaps illustrates, it needs more work, concentration and patience.

My advice would be to listen to the two previous albums, and then this one will be more palatable and welcoming than otherwise might have been the case.  This record, in rounding off Can's classic early Seventies trilogy, as well as being the last one to feature vocalist Damo Suzuki, is a delight in its own right.  Just immerse yourself in the early passages of "Bel Air", and float away....

Vive La Trance - Amon Duul II - album review

It is the early albums made by the German rock group Amon Duul II which tend to define their influence, their legacy and their popularity, but my listening allegiance has lately shifted decisively towards their subsequent output.

Later releases, those released between 1972-1974, exhibit more melody, additional flair, and greater variety.  They also sound less forbidding - an easier and more pleasant listen, to be honest. Their level of invention, musical intricacy and elusive mystique has proved a revelation to me in recent times. Prominent among this batch of LPs is Vive La Trance, issued in 1973.

Much of this record is eminently accessible to mainstream listeners, but the adventurous impulses remain. It surprises and disappoints me that Vive La Trance is not singled out for greater attention when their discography is being appraised. Unless I have misjudged things completely?

The production on Vive La Trance has a fluency and freshness which permits the music to breathe and sparkle. The greater utilization of keyboards and other instruments (saxophone, violin, cello and so forth) supplements and enriches what might otherwise have been a stodgy recipe of guitars, bass and drums.

As the opening song, "A Morning Excuse" very much establishes the tone, with its bright and rhythmic foundation. I would have to say, though, that the highlights of the album are the tracks "Fly United" and "Jalousie".  The former is a very diverting piece with several haunting melodic touches, and a highly effective vocal arrangement. Indeed, the satisfying mixture of female and male voices is a hallmark of this record. "Fly United" has an enigmatic beauty which is hard not to find captivating. "Jalousie" is a highly tuneful and seductive affair, driven primarily by a confidently expressive Renate Knaup lead vocal.

"Mozambique" is a politically charged piece, which is hardly surprising for a German "progressive" act of that period, but the lyrics are perhaps more strident and blunt than one had grown to expect from Amon Duul II. "Trap" is another one of those numbers which make Amon Duul II sound uncannily like a New Wave act of the early 1980s, with its energetic, uncluttered flavour. Those looking for more experimental fare will be catered for by "Im Krater Bluhn Wieder Die Baume" and "Apocalyptic Bore".

Another thing to mention about this album is the largely sparing and tasteful use of guitars. The laboured and heavy riffs are few and far between, and there is considerable emphasis on melodic, dynamic and intertwining guitar parts which have an earthiness, but also a delicacy.

Vive La Trance has an enchanting and beguiling air of mystery and freedom which is difficult to resist. It still sounds vibrant after all these years. Give it a listen, and you will be impressed and entertained, believe me.

Genesis - Selling England By The Pound - album review

In assessing the progressive rock music of the 1970s, certain albums can be seen as important or meritorious examples of the genre. One of these is Selling England By The Pound, released by Genesis in 1973.

The title of the record could easily be construed as a commentary on the "state of the nation" at the time when the album was made. England was enduring a period of industrial strife, economic stagnation and generally diminished influence. It seems, however, that the the moniker signifies the plight of indigenous English folk-culture amid a tide of "Americanization". There are overt English references among the lyrics of one or two songs, and even flashes of folk-tinged music are discernible. Did this very "Englishness" cost Genesis commercial mileage in some territories, such as the US?

Proceedings open with "Dancing With The Moonlit Knight", which contains an eerie motif later reprised in "Aisle of Plenty".  The song has its moments, but to me it feels like they were trying a little too hard, and it almost becomes a case of "Genesis-by-numbers". It does resemble "Supper's Ready", in fact. The lyrics do actually have something to say, and they are not just there to create an aura of erudition or "cleverness".  The instrumental passages ramble unconvincingly on this opener, however.

"I Know What I Like (In Your Wardrobe)" is one of the group's better known songs, because it is concise and whimsical, and also because it was a hit single in Britain.  It is unclear to me whether the track is in keeping with the train of thought suggested by the album's title. I find it difficult to dislike, although I can see why others might be hostile to it. There is a healthy slice of English eccentricity, in a semi-surreal form, and the melodic patterns are sharply executed.

I would contend that "Firth of Fifth" is Genesis's finest recorded achievement, in part because the playing and the arrangement have real conviction and verve, and also because the individual talents of the musicians are permitted full expression. The exciting piano opening may not be as technically demanding as it seems, but it sounds wonderful! The later instrumental passages are exhilarating and dramatic, with special praise due to Steve Hackett's exquisite "slide" guitar solo. Just when it seems to have run its course, it goes somewhere else.  Another ingredient in the song's magnetism is the strident imagery in the lyrics.

"More Fool Me", with Phil Collins on lead vocals, is a ballad, but subjected to the Genesis 1973 treatment, it works very well, sandwiched in between more complicated pieces. It also points the way forward to some of the material recorded by the band in the post-Peter Gabriel era.

The next number, "The Battle Of Epping Forest" is an intriguing song from a lyrical standpoint, but the complex "prog" arrangement is incongruous. The keyboard sounds are nice, but in all honesty the track never truly "happens" for me.

As an instrumental, "After The Ordeal" serves its purpose in helping to break up the rich diet of more "epic" offerings with something more simple, but still pleasing to the ear. Like the whole of this album, it sounds fresh, uncluttered and organic.

The introduction to "The Cinema Show" is almost as glittering and diverting as the one to "Firth of Fifth". The twelve-string guitars underpin the early portion of the song most agreeably.  Another brilliant instrumental sequence follows, as energetic as it is elegant, with Collins in fine form.

It is customarily asserted that British progressive rock reached a tipping point during 1973, and that the genre's decline thus commenced. The music released around that time is assailed and derided as excessive and bloated, having crossed some invisible line. Selling England By The Pound to some degree bucks that trend, as the music is relatively restrained. Genesis still appeared to be flourishing, radiating ideas and creativity, although of course the harmonious state of affairs would not last for long.

The record does not necessarily scream "classic!", but it contains some thoughtful songs and much accomplished playing. Saying that parts of it have not "aged well" may be more a negative reflection of our times than of 1973's musical landscape.  It is a very listenable album, if one approaches it with an open and receptive mind.

Judee Sill

Over the decades, much ink and electricity has been devoted to the question of "lost talents" in many spheres of endeavour, including music. One whose claim to this status has greater validity than most is the remarkable American singer-songwriter Judee Sill.

I had known the name Judee Sill for some years, largely as a by-product of my interest in the Californian music scene of the Seventies. However, it was only about four or five years ago that I discovered her compelling music, and the extraordinary and turbulent story of her life. The music instantly spoke to me, both because of its melodic inventiveness and its unusual and challenging themes. Her blend of influences was also untypical for musicians of her time.

Judee Sill was the first artist to be signed to Asylum Records, which was also the home for artists such as Jackson Browne, the Eagles, Joni Mitchell and Tom Waits. She released two albums in the early Seventies, both of which displayed enormous promise and potential. However, various factors led to her disappearance from the scene, and she passed away in 1979, aged just 35.

Her music occasionally exhibits superficial similarities with her contemporaries in the singer-songwriter milieu, such as Browne and Mitchell, but such comparisons grossly over-simplify matters. The lyrics were unlike most of what was around, in their tendency to address spiritual and religious topics, and to employ these things as metaphors. The scope of  her philosophical interests and her musical eclecticism helped to render her work unique and intriguing, and made a pleasant change from the ubiquitous standard navel-gazing of the era.

Her musical legacy may be relatively small in terms of volume of "product" released, but it is far from meagre in its sweep and emotional vibrancy. Apart from the two original studio albums, an album of later demos and other unreleased material ("Dreams Come True...") surfaced in 2005, and a collection of her BBC performances is also out there. Such is the depth and immersive vigour of her work that this canon more than satisfies.

The debut record "Judee Sill" (1971) contains some impressive and likeable songs, and there is an obvious confidence in both her vocal performances and the arrangements, when considering that this is a first attempt. Standout tracks include "Crayon Angels", "The Archetypal Man", "The Lamb Ran Away With The Crown", "Jesus Was A Cross Maker", "Lady-O" (also recorded by The Turtles), "My Man On Love" and "Lopin' Along Thru The Cosmos".

Occasionally hints of the "baroque" pop of The Beach Boys and others come to the fore, but these impulses are more likely attributable to her own varied musical background. Above all, this music is more dynamic and interesting than much of the earnest and stodgy "confessional" fare being produced by "troubadours" at that time.  In approach and ethos I also sense echoes of Laura Nyro's work, namely a self-sufficiency and a distinct and mature artistic vision. If anything, Judee's music is more "compact" and restrained than Laura's, but no less inspiring.

This first release is pleasing to the ear, the vocals are soothing and sometimes ethereal and the arrangements understated.  Strings appear here and there, and some horns are audible on "Enchanted Sky Machines".  By any standards, an assured, credible and enjoyable debut.

Judee Sill spread her wings somewhat on her sophomore offering, "Heart Food" (1973). The selection of songs is more diverse and experimental, and the "folk" element in the music has arguably decreased. Again, a horses-for-courses approach to instrumentation, with violin appearing on the country-tinged opener "There's A Rugged Road", and some pedal steel guitar here and there.

"The Kiss" is one of her best remembered compositions, although I personally prefer the live renditions which she performed at the BBC to this album version. Either way, it is a stirring and absorbing song, addressing weighty philosophical and mystical questions in a most poetic and diverting way.  Not a "pop song" as such, but "The Kiss" does contain some great "hooks".

Other notable songs on "Heart Food" are "Down Where The Valleys Are Low", with its infectious and sprightly melodies, and "Soldier Of The Heart", which possesses a confident and endearing vocal, and which swings noticeably.

"The Phoenix" is another quietly impressive number, its words seemingly examining a restless personal quest for contentment and equilibrium. The penultimate track, "The Donor" is unquestionably the most ambitious track on this record, clocking in at over eight minutes. A mood piece in some ways, and that word "baroque" must rear its head again. To me, it feels ascetic and measured rather than grandiose.

Despite the message being spread through the internet,and through the efforts of fans, my feeling is that Judee Sill has not quite reached the influence of certain other cult singer-songwriters, but it could still happen. Perhaps her music was too esoteric and ambitious to attain mainstream commercial success, but that in no way diminishes its value. She deserves to be recognized as an original and important talent, whose work still sounds fresh, vibrant and distinctive.

Listen to Judee Sill's music.  You'll be glad that you made the effort.

Houses Of The Holy - Led Zeppelin - album review

Of the records released by Led Zeppelin, perhaps none is more enigmatic than Houses Of The Holy, released in 1973.

The reasons for this status are varied.  This album is sandwiched between the first four, issued in quick succession, and Physical Graffiti, seen by many as their magnum opus. In addition, Houses Of The Holy has a curious flavour to it, containing more "progressive rock" than other Zeppelin efforts, and also a couple of "pastiches" which did not find universal approval. However, closer scrutiny reveals a fine record.

By 1972/73, the "wow" factor induced by the band's early efforts had begun to wear off, and many will see this album as lacking in the raw energy and power of the previous ones. For the reasons touched on above, it is often perceived I think as something of a stop-gap work, but that assessment does not do justice to some of the music within. Included are a few songs which have endured for longer than more "famous" Zeppelin counterparts...

This record has been seen as a departure of sorts for the group, in that it is more layered and less spontaneous than their earlier work, but hints of the direction in which things were moving can perhaps be discerned on the fourth album. Some might opine that they went too far on this one, and that some kind of happy medium or equilibrium, between "classic" bluesy, rootsy Zeppelin and more experimental impulses was only established on Physical Graffiti, with the space permitted by its four sides. That again pleads the case for "Graffiti" being the definitive Led Zep work, as it encompassed all facets of their output.

The new complexity is showcased on the opening number, "The Song Remains The Same", from which the title of the band's later concert movie was derived. Some pleasing tempo shifts hold the interest, and parts of the track have that distinctively hypnotic flavour which characterizes many Zeppelin songs.

"The Rain Song" is one of the group's most atmospheric and affecting tracks, with its elaborate, intertwining guitars, and an understated but expressive vocal by Robert Plant. The production's separation allows the various melodic nuances to be appreciated, and of course John Paul Jones's keyboards are an integral part of the picture.

For reasons which I find difficult to fully elucidate, "Over The Hills And Far Away" has never quite grabbed me or captured my imagination in the way which it has evidently done for countless other people. The folky, acoustic feel is endearing, but somehow it does not fully realize that early potential. As a basic, uncomplicated rocker, "Dancing Days" serves its purpose, with the augmentation of the guitar textures, and a meaty rhythm section constitutes a solid base.

"No Quarter" is another tour-de-force by John Paul Jones. The electric piano (?) sound is quirky but intoxicating, and the Jimmy Page guitar riff instills some real steel. This is the kind of track which demands an attentive listen, as it can easily wash over you. The "treated", eerie vocal from Plant completes the imagery, and is another case of the band's experimental zeal.

As the closing track, the simplicity and basic riffery of "The Ocean" serves partially as light relief, and the thundering clarity of John Bonham's drumming is a joy after the outlandish fare which preceded it. It was almost as if, by signing off with this song, Zeppelin were reminding everybody that they could still rock with the best of them, and the "nostalgic" feel of the coda was also in keeping with these sentiments.

Which leaves the two "genre exercises", which in large part cause the slightly ambivalent attitude which this album has inspired. "The Crunge" sounds OK, the drums, bass and scratchy guitar evoking a "funk" sensation, and it is not quite the "fly in the ointment" which I remembered from my earlier exposure to it. In fact, it is arguably superior to similar excursions by certain other rock bands.

I am less sure about "D'yer Mak'er".  The drums are obtrusive and heavy-handed, and the whole thing kind meanders to no great effect.  Again, my present-day mellower and more tolerant self is more willing to forgive than my more pedantic persona of twenty years ago. These two songs are on reflection not real pastiches, but they are more classifiable as "tributes", although this also leaves them sounding somewhat bland and indeterminate.  They are among the weakest items in the Led Zeppelin canon.

It is not fully accurate to assert that this was the transitional stage in Led Zeppelin's career, as "III" and "IV" exhibited the guys spreading their wings and going off on various tangents. It was just another part of their journey and evolution. It was not as visceral as the first two records, a "thinking man's" Zeppelin in many respects, and well worth a listen.

Led Zeppelin - The Song Remains The Same - movie review

Led Zeppelin's "concert movie", The Song Remains The Same, has not met with wholehearted approval over the years, often being labelled either lacklustre or self-indulgent, or both. Having not watched the film for quite some time, I recently gave it another viewing, and thought that I would commit my impressions to blog form.

Although the concert footage was recorded in 1973, at Madison Square Garden in New York, the finished product was not released until 1976. The musical content is interspersed and overlaid with behind-the-scenes documentary clips as well as "fantasy" sequences and other assorted visuals.

The first thing to say is that the concert sequences are visually excellent, easy on the eye and technically well executed. The stage lighting is beautifully captured too, in the form of various reds, oranges and greens, giving the images an agreeable warmth and luxury, particularly in the close-up shots. The relatively small size of Zeppelin's stage set also gives the performance an intimacy and a compactness often absent from films set in large venues.

In some quarters I have seen the musical content of The Song Remains The Same uniformly dismissed. I think that this is slightly unjust. To me the quality of the performance is uneven more than anything else. It is true that the band was possibly at its peak as a live act in 1972, a year before this footage was shot, but there is still much to admire here. Even inconsistent and marginally below-par Zeppelin is well worth watching and/or listening to...

The version of "No Quarter" here is perhaps the stand-out piece in the movie. It is more aggressive than the studio version, with a great Jimmy Page guitar solo. Some memorable visuals are super-imposed on the music, including owls and sinister men on horseback. All "very Seventies", but quite effective and diverting, the cliches notwithstanding.

The longer, more "prog"-orientated tracks, especially those from the "Houses of the Holy" album, lend themselves more readily to outlandish visuals and story-telling, possessing a more "cinematic" quality. "The Song Remains The Same" (the song) is another example of this trend, as is "The Rain Song". This portion of the concert set is well suited to the "Arthurian" imagery which accompanies much of it. Actually, watching some of the "videos" produced for the film makes me wonder why Led Zeppelin did not explore these avenues more thoroughly in subsequent years.

The non-musical portions of the film are very much "of their time", but to my eyes they also have a period charm which is rather endearing. The sight of John Bonham driving a tractor is one of the highlights of the whole thing!  The backstage and documentary-style clips very much convey the extravagance, excess and egotism of Seventies rock, which may go some way towards explaining why some "critics" have traditionally found fault with this film.

The sound is pretty good, although some may contend that John Bonham's inimitable drumming is not captured as prominently as it might be. The separation allows the immaculate bass-playing of John Paul Jones to be properly appreciated, and Jimmy Page's Gibson Les Paul and double-neck guitars sound terrific throughout, organic and earthy, sometimes ethereal.  Admittedly,  Robert Plant was perhaps not on peak form vocally here. Was this the period when he was beginning to experience some voice problems?

Some of the performances towards the conclusion of the movie are very strong. "Dazed And Confused" is loose but incisive.  "Stairway to Heaven" is interpreted in an understated but affecting way, with an excellent solo by Page. "Whole Lotta Love" is performed in its familiar format, with more improvisation and ad-libbing in the middle section, although not as much an extended "medley" as on other live renditions.

In spite of this film's reputation and its flaws, I find it quite entertaining and slickly put together, especially when taking into account the various difficulties which were encountered in its production. It is a pretty evocative document of its era.

Mean Streets - movie review

"Mean Streets", the 1973 movie directed by Martin Scorsese, and starring Harvey Keitel and Robert De Niro, is one of those films which I think for many people is strangely elusive in its nature. Not a cult movie as such, but equally not one which would be easily described as a mainstream blockbuster. It has a charm all of its own.

The great use of music, a feature of several Scorsese films, is evident from the outset, even in the opening titles. This is just one of those elements which lifts "Mean Streets" well above the mundane. Throughout we are treated to assorted 50s and 60s classics (The Ronettes, The Rolling Stones etc) as well as opera and Italian songs.

The plot centres on mobster Charlie (Harvey Keitel), and his efforts to protect his wayward friend Johnny Boy (Robert De Niro), mostly from loan sharks and their depredations. This task becomes more fraught as Johnny Boy's behaviour grows increasingly abrasive and confrontational. There is some suggestion that Charlie, in pursuing this course, is striving for the redemption which he cannot attain through his religious faith.

De Niro's performance is outstanding, combining impishness and self-confidence with a certain vulnerability. He never allows the character of Johnny Boy to lapse too far into caricature.

"Mean Streets" succeeds in part because it is not weighed down by heavy and momentous themes. The screenplay and the quality of the acting carry any moral messages along with them. To my mind there is a heavy emphasis on telling a story, rather than constantly dwelling on profound issues. This way, the themes themselves are allowed to breathe naturally.

The aesthetic of "Mean Streets" has similarities to previous films;"The French Connection" springs to mind, but the atmosphere is nowhere near as gloomy and austere as other pictures of the genre. The music certainly helps, as does the variety in the locations and the visuals;there is even a scene at the beach. The scenes in assorted sleazy bars and clubs are each given a personality of their own, by the good use of lighting, music and so forth. Yes, it is still a gritty movie, but it also possesses a certain warmth. The dialogue contains some humour amidst the menace.

Due to the format of the film, and the mood which is built up, the viewer develops an empathy for, and an interest in, the destiny of the individual characters on a human level. The emotions are engaged, and this has more to it than merely a tale about mobsters. More depth, even allowing for the sobering and gruesome ending.

"Mean Streets" has been cited as highly influential by many people, both in its visual and narrative feel, and in areas technical such as camerawork and editing. However, it should be judged as an engaging film in its own right, with a distinctive tone stemming from a combination of potent but subtly employed ingredients. The movie may be overshadowed to a degree by the films which later came to define the Seventies in cultural terms, but it is absorbing, powerful and imaginative.

Made In Japan - Deep Purple - album review

Recently, I rediscovered Deep Purple's 1972/1973 live album "Made In Japan", and it was a revelation. For me, it remains the band's greatest single achievement, capturing their strengths with greater clarity and purpose than even their classic studio albums of the early Seventies. Which other acts have a live record as their "magnum opus"?  The one which springs to mind is The Allman Brothers Band, with "At Fillmore East".

The energy and commitment in these performances has to be heard to be believed, comfortably eclipsing that on the equivalent studio recordings. The feel is looser, more urgent and intense, and the effect is heightened by the scope for jamming and improvisation, with a healthy does of general 1970s excess and extravagance.

One of the things which one notices straight away is that Jon Lord's keyboards are allowed freer rein. The organ sounds like an organ more frequently, and it is extremely pleasing to the ear. There is less emphasis on trying to make the organ sound like a guitar.

Ian Gillan is in fine voice and in ebullient form. Those famous screams are much in evidence, adding considerably to the excitement of the set. As ever, Ian Paice is imperious, his drums almost a lead instrument alongside the guitar and keyboards. It still baffles me that he is rarely mentioned when lists of the great rock drummers are compiled. The interplay (possibly stemming from personal rivalry) between Ritchie Blackmore, Jon Lord and Paice is exhilarating here, and importantly they seem to know where and when to draw the line.

"Highway Star" is a perfect opener, as it encapsulates what would make the whole album so enthralling. This version has a rawness which is absent even from the brilliant "Machine Head" cut. Yes, it lacks a bit of "polish", but is "polish" really all that important in this context? As many have contended, this really is the ultimate Deep Purple song, outstripping the claims of more "obvious" candidates for that accolade...

Every number on "Made In Japan" positively drips with self-confidence and authority. Jon Lord once said that this record was a wonderful snapshot of the Mk II Deep Purple in all its glory, and you can see what he meant.  All too often live albums capture bands who are either off-form or fatigued.  This is a glorious exception. There are glimpses too of what made Ritchie Blackmore so influential to later rock guitarists; some flourishes and motifs which were seldom heard on the studio works.

"Child In Time" is probably not my favourite Purple number, but the one here is a very nice rendition. Again, the organ sound is lovely, and it substitutes for the guitar in what on record was the first part of the Blackmore solo. Roger Glover's bass-playing is more clearly audible than is sometimes the case on the group's songs. The same is the case on other tracks on this album. There is more life and zest here than on the version of the song on "In Rock". This is down to the contributions of all concerned.

It has often been remarked that the iconic status of "Smoke On The Water" owes much to the popularity and impact of the version of the song included on this live LP.  Again, the interpretation contains more melody and spontaneity than the one which featured on "Machine Head". The musicians sound like they are taking the initiative, forcing the pace, rather than being carried along by it. The guitar solo is very off-the-cuff, and we hear some fine vocal ad-libbing from Gillan. The absence of a fade-out means that we get a great ending, characterized by some sparring between Messrs Blackmore and Lord.

"Strange Kind Of Woman" assumes something approaching a whole new lease of life. The "Fireball" recording is a touch dry. As on other tracks on this album, Purple sound motivated, eager and uninhibited, and Blackmore's guitar solo is quite effervescent. The "call and response" section involving Gillan and Blackmore was a regular Purple tactic. Always good fun, and intriguing when one bears in mind the antagonisms and friction which supposedly plagued this line-up of the band. One upmanship may have been a motivating factor...

In many respects the highlight of the album, "Lazy" acts as a showcase for the instrumentalists to exhibit their individual prowess and ensemble playing skills. Ritchie displays his eclecticism here too, the group members feeding off each other with considerable aplomb. An exciting ride.

The final track on the original album, "Space Truckin'" is given the full treatment, Ian Paice supplying much of the extra punch and agility, and the famous riff sounds even more menacing in this environment. Another case of a song being extended to facilitate all sorts of extras, including what sounds to these ears like an attempt at a "freak out" sequence in the middle.

"Made In Japan" is a reminder of what a formidable and potent act the Mk II Deep Purple were, and also of what happened in the days when rock bands were let off the leash and permitted to perform like this.

Queen - the debut album - review

Judgement of debut albums is fraught with distortions and wishful thinking, particularly those by artists who subsequently go on to achieve great things. There is a tendency to retrospectively attribute to them merit and qualities which they do not really possess.

I often think of Queen's debut album in these terms. A few pundits have hailed it as a minor classic, but their arguments rarely hold up to scrutiny. Yes, there is some promise there, but it is hardly the masterpiece which some maintain that it is. There is very much a sense of a work in progress, of a sound and style taking shape and not yet crystallized, and of a group still fumbling for a firm direction.

A distinct sound would not truly emerge until the third or fourth record, and this was in part due to the circumstances under which the guys were forced to record their music.  It was put together in fits and starts, with the four musicians apparently grateful just to be in the studio at all, but the situation was scarcely ideal if one was seeking to develop something genuinely coherent and well-crafted.

The spasmodic and rushed nature of the sessions is perhaps reflected in the relative lack of polish in some of the tracks, certainly when compared with their later work. The sound sometimes feels "half-baked", scrappy rather than genuinely raw. Only fleetingly does the trademark Queen sound, or indeed the hallmark of star quality, shine through brightly. "Keep Yourself Alive" remains impressively vigorous and fresh, but one or two other songs sound perfunctory and uninspired, and "Son And Daughter" and "Jesus" have not aged too well...

I have heard it suggested in the past that one of the deficiencies of this album is a failure to adequately project the talent and personality of Freddie Mercury. I am not sure that this criticism is fully justified. Upon closer inspection, his vocal range is quite well captured. The problem for me is the slightly nebulous and tentative feel of the album overall.

At this early stage, we can discern the beginnings of the complexity of "Bohemian Rhapsody", mostly in the structure and lyrical content of "My Fairy King" and "Liar". Brian May's ethereal and reflective songs, an often overlooked and important facet of Queen's 1970s albums, are strongly represented by "Doing All Right" and "The Night Comes Down".  These numbers help to provide texture and balance, and are probably the most pleasing to the ear for this listener in the 21st century.

It is also clear that the various members were still very much learning the art of songwriting, a process which began to bear real fruit on "Sheer Heart Attack".  The occasional rambling instrumental section betrays a lack of focus, and they would eventually learn how to achieve a more tasteful balance between grandeur and tightness, reducing the tendency towards self-indulgence whilst still allowing the band's talent and inventiveness to flourish and display itself.

It is often said that Queen were aiming for a "layered" sound, but they do not achieve that here, probably due to a combination of the circumstances under which the record was made and their own lack of experience and confidence. This may explain why on their second album, they went to extremes in terms of multi-tracking and overdubbing! The follow-up does have an identity, a sweep and a sense of drama which "Queen" lacks, even if the band in early 1974 was again still not the finished article.

This album does have a certain period charm, and of course historical curiosity and significance. It would be dishonest and foolish, however, to pretend that Queen's first record was of the same quality as the debut efforts by the likes of Led Zeppelin, Van Halen and Boston, and I say this as a Queen fan of 35 years standing!. It is not a bad album, but they did not arrive fully developed like some of their contemporaries.

The Seventies

My first clear memories of watching news, or being aware of what was going on in the world, stem from around 40 years ago. This was from vaguely, selectively, almost subliminally absorbing images and words from television news, and occasionally the radio. I don't remember seeing many newspapers in our household in those times, other than the painfully parochial local publications.

It is a time popularly associated with economic stagnation, industrial strife, terrorist outrages, global instability and general misery. But did the reality match the retrospective perception?  There is plenty of "retro" newscast footage online, from several countries, and I have been studying some of it from that period, to try to obtain a genuine flavour of what was "going on", divorced from what we see through the opposite of rose-tinted spectacles.

If those old news bulletins are to be viewed as representative, then Europe circa 1973/74 was indeed a depressed and insecure place. It was as if somebody somewhere had decreed that the Sixties would indeed be primarily swinging, and that all the anger and unrest would be bottled up and then compressed into the early-to-mid 70s. One of the clear recollections of my early years is of one or two candle-lit evenings in '74, prompted by power cuts...

Matters economic appear to have been very corporatist and nationalistic in Europe back then. The impression is of more talking and posturing than genuine activity. It is little wonder that while the parties were sitting around tables in smoke-filled rooms, people in other parts of the globe were just getting on with the job, making things and influencing people. There were also signs of an obsession with inflation and the cost of living generally.

It is amusing, in the light of its subsequent development and expansion, to see an EU (EEC in those days) with membership still in single figures. The leaders seemed to have summits or get-togethers every couple of weeks!  Easier to arrange things more informally with a small roll-call, clearly. And of course, the range of topics deemed worthy of discussion was very limited, mostly to do with agricultural quotas and the like. Compared to today's behemoth, it was all very quaint, and that is not meant as a criticism.

It is fashionable to assert that the 1970s was a decade which most who experienced it would like to forget. It lacked the conventional "dynamism" of the decades either side of it, but its grimness and its traumas imbued it with a vitality and rawness which is still compelling and intriguing, particularly for those who see the 60s as too-good-to-be-true, and the 80s as soulless and synthetic.

A truly enigmatic decade, the 70s, and endlessly fascinating. In spite of the shrill and gloom-ridden headlines, people who lived through those years simply got on with life, and felt that they were living in the best of times, which many felt were simpler and more caring than what we have today. Another reason why I sometimes feel that I was born twenty years too late....

Eddy Merckx - La Course En Tete

In recent months, I have become increasingly interested in the career and life of the legendary Belgian cyclist Eddy Merckx.  I have been delighted to discover that there is an abundance of material and literature available concerning the great man.  One of the most effective and cohesive documents is the film La Course En Tete, which was released circa 1974, when Merckx was at, or around, the height of his considerable powers.

I found the film to be quite riveting, and there were several reasons for its effectiveness.  Narration in the conventional sense is virtually non-existent, save for the occasional caption or subtitle.  The pictures, sounds and music are allowed to drive the story and convey the points which need to be made.

La Course En Tete is quite an intimate piece, and it seemed almost cinema verite or "fly on the wall" at times.  Some of the footage is quite raw and spontaneous, offering an often unflinching portrayal of the life of Merckx, and the workings of professional cycling in the early 1970s.

We are afforded a close-up view, behind the glossy facade,  capturing some of the anguish, suffering and self-doubt prevalent in this sport, then and now. Another thing which jumped out of the screen to me was the contradiction of the claustrophobic atmosphere created by the intensity of competition and public adulation, working hand-in-hand with the sometimes lonely and empty existence of the professional athlete.  Merckx often seemed to be in the eye of the hurricane himself....

 

 

This documentary also epitomised for me the essence of 1970s sport and "popular culture".  Organic, a state of flux, the new commercial and media age co-existing uneasily with older values and practices.  It also offers a great snapshot of Continental Europe in 1973/74, and the passion which cycling, and other sports, evoke in some countries, especially Italy.

The accompanying music, almost Elizabethan in style and tone, is an inspired touch, and serves as a backbone to the entire film.  Much of the footage appears to emphasise the relentless nature of Merckx's riding style and approach, and the music perfectly complements and accentuates this.

Most facets of the life of Merckx are covered in La Course En Tete, including training and preparation, competitions, home life and media and public relations commitments.  Plenty of blood sweat and tears are evident.  The cultural and social impact of Merckx is also touched upon. 

I detected little in the way of airbrushing or sugar-coating.  Some of the less savoury episodes in the cyclist's career are looked at, as are his frailties, insecurities and flaws.

Another theme which emerged was the sacrifice which he was required to make to get to the top, and stay here. Family life was one thing to be affected, and we go behind the glamour to witness the pain, the rigours and the perils of his chosen profession.

In terms of character, Merckx comes across in the film as taciturn and self-contained, ill-at-ease in some settings and company.  This would be consistent with quotes attributed to him, to the effect that he was only truly at home on his bike, as if he was born to it.

I can highly recommend watching this documentary, not just as a portrayal of cycling and one of its greatest exponents, but as an examination of an era.

The Day Of The Jackal (film)

Quite often, movie adaptations of novels turn out to be a disappointment, particularly if one has already read, and become fond of, the book. I find that the celluloid recreation usually fails to summon up the same mental images which seep from the pages into the mind.

Happily, The Day of The Jackal, the 1973 film, does full justice to Frederick Forsyth's novel, and is a worthy and gripping piece of work in its own right. It is somewhat surprising to read that it was not a massive success at the box office.

The storyline centres on a plot to assassinate President de Gaulle of France, and the hiring of a contract killer to accomplish this task. The then largely unknown Edward Fox played the part of the would-be assassin, the Jackal.

From the outset, the "Jackal" character fascinates. A dapper and cultured English gentleman, but also a clinical, ruthless and cold-blooded killer. The charm and patter are constantly employed as a means to an end, and emotion is really seen as an impediment....

The bulk of the film is reserved for a portrayal of the parallel campaigns of the Jackal and the French police, the prospective assassin making his preparations, and the authorities striving to foil the plot. Cleverly, we are constantly switched between the two, and are able to contrast the methodical and measured approach of the Jackal with the desperation and improvisation of the security services, who are always a step or two behind.

Probably the most absorbing sequences in the movie are those during which the Jackal procures weapons and false documentation, emphasising the elaborate precautions essential for operations of such gravity. Other crime stories tend to gloss over such things, but in this case the attention to detail adds appreciably to the sense of authenticity. The "water melon" scene is particularly chilling...

The film lasts nearly two and a half hours, but this amount of time is necessary to cram in the bewildering amount of detail, and also for the tension to build remorselessly. The Jackal exhibits his single-minded nature, by eliminating several people who either threatened to compromise his plans, or whose presence represented a hindrance. In the end, of course, he is narrowly thwarted.

A very pleasing 1960s-meets-1970s aesthetic permeates The Day of The Jackal, in particular the fashions and the tasteful motor vehicles on view! A cosmopolitan feel also prevails, with the action moving between London, France and Italy. There are some fine performances in the more minor roles, including a young Derek Jacobi, adding to the depth of quality.

This is probably one of the better movies of its type. My advice would be to read the novel first, and then watch the film!