Saturday, 31 May 2008
Johansson, Illinois
If that wasn't enough, I also have an innate problem with Hollywood A-Listers who want to sing songs. This is a generational thing, I know: for my parents, it was de rigeur for the Hollywood elite to have the innate capacity to act, sing, dance and possibly shit through hoops at twenty paces. I, however, have always been hampered with post-Method school expectations: actors should act, rock stars should rock and never the 'twain should meet. Unless it's Bowie in The Man Who Fell To Earth, or possibly William Shatner's Rocket Man.
The prospect of a contemporary Bright Young Thing - talented though she may be - tackling the oeuvre of my all-time favourite recording artist bar-none did not fill my heart with giddy anticipation. "What next?" I wondered aloud, and possibly a bit too aloudly. "Keira Knightly releasing an album of Captain Beefheart covers? Jessica Alba Singing the Best of Billy Bragg? Gwyneth Paltrow doing Coldplay?"
Well, I needn't have worried. Ms Johansson's album is an absolutely marvellous thing of beauty that radically reinterprets and almost reinvents songs that have been hard-wired into my frontal lobes. Produced by the mighty TV on the Radio's Dave Sitek - and featuring guest vocals from none other than Mr David Bowie of Brixton, London - it's one of the best dedicated covers albums I've heard since, oh, Jeffrey Lewis's 12 Crass Songs and has been on heavy rotation on my tinny but temperamental car stereo for most of this week.
Like all good covers albums it reinvents and sometime reinvigorates the source material. The wistful, heartbreaking Small Change track I Wish I Was In New Orleans is turned into a musical box accompanied lullaby, whilst Bone Machine's swaggering singalong I Don't Wanna Grow Up is transformed into the bastard offspring of New Order and the Pet Shop Boys. It shouldn't work and I shouldn't like it, but it does and I do.
Clare's favourite is the title track (as she said literally moments ago: "Listened to it, picked my favourite, stuck with it"), but I'm torn between I Wish I Was In New Orleans and I Don't Wanna Grow Up.
Says it all, really.
Wednesday, 28 May 2008
Tuesday, 27 May 2008
This is why I like Tom Waits
He'll be touring soon, which is good news for me. Assuming I get a ticket, that is. Getting hold of a ticket for a Tom Waits concert is a fiendishly difficult business. The last time he played in the UK was four years ago and I booked a day of work for the day the tickets went on sale and still failed to get hold of one.
Anyhow, he's touring again and here's a clip of the "press conference" he held to announce it. Like his music, you'll either get it or you won't.
Thursday, 22 May 2008
Jaws 5: The Pool Shark
I’ve been thinking a lot about the film Jaws recently, particularly since Roy Scheider’s recent death one hundred and one days ago.
Brother Younger is an even bigger Jaws fan than me. I once bought him a meticulous and ridiculously detailed model-slash-diorama depicting that unforgettable scene from the film where Gran Blanco Sharko attacks our heroes’ boat - The Orca - and chomps down the southern hemisphere of Robert Shaw. The model currently resides in his otherwise tastefully decorated bathroom, perched on top of the low-level cistern of his eau de khazi. It truly is a thing of ferocious and atavistic beauty that evokes a primal sense of awe and terror amongst all those who behold it. This, of course, can be a somewhat off-putting sight when you’re trying to take a piss.
Impressive though it may be, this cistern-mounted scene of savagery pales into insignificance when compared to Rob’s other major item of Jaws-related memorabilia. My brother, you see, owns a three-and-a-half foot long, replica rubber shark. Or, to be more precise, a three-and-a-half foot long, inflatable Official Jaws’ Merchandise replica rubber shark that contains within its latex guts a most foul and terrible secret…
For thirteen long years it has lived in the garage of our family home, fully-inflated and hanging from the rafters by a piece of string. Along the side of its Great White rubber body is a grisly inscription etched in blood red ink:
WISH ME A HAPPY BIRTHDAY!
I still don’t know where Rob got it from. I assume it was some merchandising gimmick from some shop promoting some long-forgotten VHS re-release of the film. Where he got it from is of little concern. How he managed to get it from wherever the Hell he got it from is of little concern. How it ended up full of air and hanging from the rafters of my parents’ garage is what really matters.
In 1995 there was a pool table in my parents’ garage and the place had become a popular late-night, après pub-slash-club rendezvous for Los Bros Lennon and our slender entourage of friends. On one such night my brother and our mutual pal, Phil Walsh, were somewhat the worse for wear. They’d spent most of the day stumbling from one salubrious venue to another whilst guzzling down copious amounts of industrial-strength booze and annoying civilians.
After returning home on a bus that conveniently went via an off-licence and an Indian Takeaway, they retired to Le Garage and were drinking some beer, eating some curry and about to play some pool when they noticed that something was wrong. Something wasn’t right. Something was missing.
There was no billiard lamp above the pool table.
This shouldn’t have been a problem, of course. There had never been a billiard lamp above the pool table, below the pool table or anywhere else in the garage, for that matter. To a pair of booze-soaked, curry-addled minds, however, a minor irrelevancy like this can take on a magnitude all of its own. Things rapidly escalated. In the time it takes to eat a chicken pakora and wash it down with a mouthful of Tenants Super, the Billiard Lamp issue evolved from a minor hindrance to a major crisis. Something had to be done.
Unfortunately, they soon discovered that billiard lamp manufacturers don’t offer a late-night delivery service or even answer the phone. A compromise solution had to be found. It was now an article of faith: without something – anything - hanging over the pool table then their evening would become an unmitigated disaster.
And that’s when they remembered the three-and-a-half foot long, inflatable, Official Jaws’ Merchandise, replica rubber shark.
Under the circumstances it made perfect sense. Who needs a billiard lamp when you’ve got - quite literally - a Pool Shark? They soon set to work on what, under the circumstances, must have seemed like a major feat of civil engineering. The two of them promptly divided up the necessary tasks: Rob dealt with string acquisition, placement logistics and rafter climbing, while the job of inflating the shark was left to Phil, possibly for phonetic reasons.
Anyhow, the work was completed, games of pool were played and eventually the night came to an end. The next day Rob & Phil nursed a pair of gargantuan hangovers and proudly inspected their handiwork. As the rubber shark hung from the garage rafters, they must have laughed and joked about how Phil’s booze-soaked and vindaloo-addled breath had been encased in rubber like a noxious Blue Peter time capsule.
Sunday, 18 May 2008
The Howling
For some reason - God only knows why - we moved onto the topic of John Hughes' films. Rob was a bit confused by the term, so I endeavoured to clarify matters: "Y'know - those classic Teen comedies from the 1980s. The stuff we grew up with. Ferris Bueller's Day Off, The Breakfast Club, um, St Elmo's Fire..."
"Pretty in Pink," added Clare, helpfully.
"Oh yeah," said Rob. "All that Brat Pack shit."
"That's right," I said defensively but somewhat inaccurately. "Y'know, Emilio Estevez, Rob Lowe, Ally Sheedy, Molly Ringwald..."
"That guy from The Hitcher. Who was the guy from The Hitcher?" asked Rob, instinctively launching into a new tangent spiral.
"The one who wasn't Rutger Hauer?"
"That's right," said Rob. "Or Sean Bean."
"That's what's his name," I said, unhelpfully. "Y'know, thingie. He was in The Outsiders..."
"They were all in The fuckin' Outsiders," said Rob.
"It's on the tip of my tongue," I said. His first name is an initial..."
"F. Scott Fitzgerald? J. Edgar Hoover? J. Jonah Jameson?"
"No," I snarled, "and it's not L. Ron Fuckin' Hubbard?, either! It's C. Thomas Howell!"
And that's when Clare sharply jammed a finger knuckle between two of my ribs and I made a somewhat undignified noise. I shot her a perplexed look.
"I just wanted to see Thomas howl," she said.
Wednesday, 14 May 2008
No, I'm Iron Man...
Finally we have the world's undisputed Greatest Living Actor in the role of Stark's backstabbing father figure, Obadiah Stane. I couldn't have been more excited when I heard they'd cast The Dude himself in this role, though I was also a little concerned that they'd try to make him too much of a cartoon baddy. Not the case - though only given a few crucial scenes to work with, Jeff Bridges alternates between sympathetic and chilling throughout. And it's refreshing to see a villain in a comic book movie totally devoid of the OTT histrionics that usually come hand-in-hand with the part...
Oh, and look at how he holds that whisky glass... just like The Dude with his White Russian. I was just dying to hear him say, "Hey, Tony - there's a beverage here!"
Damn, wish I'd noticed that...
Monday, 12 May 2008
Nyman
I do like Michael Nyman. It's not so much because of his score for The Piano, which I didn't care too much for as a film, to be honest. (For one thing, the protagonist is a scotswoman who, from an early age, consciously decides that she'll never speak to anyone ever at all. What's going on there, then?). No, the reason why I like Michael Nyman so much is because of his work with the British filmmaker Peter Greenaway. As I've said elsewhere:
I was a bit of a Peter Greenaway nut in my teens. For a certain type of subversive but sensitive teenager in the 80s, Peter Greenaway films were a staple of the late-night Channel 4 schedules. They were arthouse films that featured an abundance of nudity, so I suppose you could say they provided a valid, intellectually legitimate excuse to watch dodgy softcore smut while your parents were out.
Well, Michael Nyman's music forms an integral part of Peter Greenaway's films - you can't like one without liking the other. That'd be like saying you're a big fan of Sergio Leone's Spaghetti Westerns, but all that Ennio Morricone music really gets on your tits.
Thinking about Michael Nyman has got me thinking about the satirist Victor Lewis-Smith. Here's what Radiohaha, the online radio comedy encyclopaedia has to say about him:
"Victor Lewis-Smith is a talented comedian from the 'dangerous' end of the spectrum whose career has, alas, been almost entirely eclipsed by the rise of Chris Morris,who tends to occupy similar ground."
That saves me having to say it. Years ago (it must have been 1990 or thereabouts), he had a Sony Award-winning show on Radio One that was fiendishly clever and very, very funny. It consisted of comedy sketches and crank phone calls interwoven with Zappa-esque musical interludes. I still have episodes on some TDK C90 cassettes somewhere. I must dig 'em out at the weekend.
He also indulged in painstakingly crafted musical parodies, including one called "Process Music" which satirised the repetitive Baroque stylings of Michael Nyman and Philip Glass. I've been scouring the interwebs to find it but to no avail. Shame, really. I'll probably have to resort to an old TDK C90 cassette, instead.
Here's some other stuff by him:
More Julian Cope...
The Birmingham Town Hall website says this about it:
Cope will present one of his infamous lectures, based on his years of study of the occult, mythology and Britain’s pre-history. Followed by a screening of cult film Haxan (1922 dir: Benjamin Christensen)-an other worldly vision of grave robbing, torture, possessed nuns, baby sacrifices and satanic Sabbath, with a live soundtrack by art house electronix outfit Bronnt Industries Kapital.
Which sounds reassuringly mental. To me, at least. If only History lectures at Uni were more like that then I might have turned up to more of 'em.
I've been trying to talk Brother Younger into going along with me. This sort of thing is right up his street.
Friday, 9 May 2008
Nick Cave and the Bad Seeds, Birmingham Carling Academy, 5th May 2008
He certainly looked the part. Dressed in a black, open-top silk shirt and sporting a horseshoe moustache, he put one in mind of a Latin American Revolutionary Hero with Goth-inclinations. For over two hours' he had the audience eating out of his hand. Granted, this may have something to do with the fact that few rock stars have fans who are quite as obsessive as Cave's (although, unlike the last time I saw him, I didn't spot any obvious 'Nick Clones' in the audience), but then again, few rock stars can match his charisma as a live performer.
With a two hour-plus set comprising of tracks from his new album Dig, Lazarus, Dig!!! and some generous portions of from his not inconsiderable back catalogue, Cave and his long-time cohorts The Bad Seeds kept both new fans and decrepit old farts (like me) more than happy for more than two hours. This welcome trawl through the archives went as far back as 1986's deliciously-titled Your Funeral, My Trial (surely a contender for the quintessential murder ballad title) and included the perennial crowd-pleaser and movie soundtrack tart Red Right Hand. Other highlights of the evening included a stunning rendition of one of my favourite Cave tracks, Tupelo, from 1985's The Firstborn is Dead. It sounded every bit as menacing and magnificent as when I first heard it as a teenager.
I'll be seeing him again at the Latitude Festival this year in his incarnation as lead singer of Grinderman. That makes me an exceptionally lucky bastard.
Thanks to DinosauriaWe on YouTube for the following:
Thursday, 8 May 2008
O Brother, Why Art Thou?
ME: Julian Cope is playing at Latitude... :)
ROB: Great! Who's Julian Cope?
ME: Philistine!
ROB: I'm not sure who they are, either
ME: You're saying you haven't heard of Phil S. Stein?
ROB: Any relation to Phyllis Stein?
That's how things are between Rob and me.
Saturday, 3 May 2008
Invincible
So, having said all that, I'd just like to take this opportunity and say that Jon Favreau's Iron Man was the most fun I've had at the cinema in bloody ages.
As summer blockbuster fare goes, I found it hard to fault. Smart direction, excellent performances and more substance and subtext than you'd normally expect from that kind of budget at this time of year. As a superhero movie - that increasingly ubiquitous if not always respectable of genres - it was one of the best. Up there, in my humble opinion, with long-underwear benchmarks like Superman: The Movie, X-Men 2 and Batman Begins.
As a comics fan with a more than passing familiarity with the source material (the first superhero comic I read as a 7 year-old featured "Shellhead"), I was quite taken aback at the extent to which Favreau and his team successfully condensed forty years' worth of fictional history whilst remaining true to the spirit of the comics. Sure, the same has been said for other successful comic2films adaptations, but none have gone as far as Iron Man to strive for authenticity. I kept waiting for that one duff artistic choice that would spoil it for me - like Sam Raimi dropping Spider-Man's character defining wisecracks because they didn't fit his vision- but it didn't happen. It was a note-for-note perfect adaptation.
And what can I say about the casting of Robert Downey Jr as the eponymous armour-clad person of mass destruction? It was a bloody stroke of genius: RDJ is Tony Stark. He absolutely nailed the role. I've been a big fan of Downey Jr since 2005's Kiss Kiss Bang Bang, going out of my way to watch pretty much anything he's appeared in ever since and never being let down. I think he's one of the most charismatic actors of his generation, and its great to see him getting top-billing on a big summer blockbuster. And his well-documented bad boy shenanigans of the past actually helped Iron Man: his personal baggage was actually an asset to the role, giving Tony Stark the kind of implied background a 12A certificate can't make explicit.
For fans of Iron Man - and Marvel Comics in general - the film was packed with treats and hints of things to come (and, if there's any justice in the world, there will be more to come - I haven't left the cinema that hungry for a sequel since Batman Begins).
And as for the obligatory Stan Lee cameo - it's a gem.


