Sunday, 31 August 2014

At home with the Lennons, 1967





















Another picture of domesticity, but one that was to come to an end soon afterwards. It is the Spring of 1967 and John Lennon is putting his feet up at the family home he shared with first wife Cynthia and their son Julian in Weybridge, Surrey.  

Surrounded by the traditional framed pictures and ornaments are the tell-tale signs of someone who has turned on to a new way of life, but has not quite let go of the old one. He's reading a copy of the counter-culture newspaper International Times and the cabinets are festooned with promotional stickers for Captain Beefheart's first album.

John's mind was clearly miles away from here. But while Paul McCartney was living in the heart of London, close to Abbey Road studios, John was cut off from all that and was going through what Cynthia described as his 'neurotic phase'. 

She said, "He didn't know where his life was going and he was fed up with being a Beatle. He'd spend a lot of his time in bed with a notepad. When he woke up he'd write a few words down and then maybe go over to the piano. He was basically dropping out. Everything he was doing outside the home was pretty high-powered."

As Derek Taylor attested, John also seemed to spend a lot of time taking acid, even once remarking one morning, as he was driving Taylor in his psychedelic Rolls Royce, that he had it for breakfast. 

1967 marked a real turning point for The Beatles. Having unveiled their crowning achievement as a band, Sgt Pepper, in June, they had shed the final layers of their moptop image and were in full experimental mode musically. 

Though they were forced to keep the whole Beatle gravy train on the rails, they had become disillusioned with it all. They had stopped touring, so it was only in the studio where they were still in any sense a band. 

As it was, they "battled on against overwhelming oddities" through 1967 and 68 with Magical Mystery Tour and the White Album. John's pursuit of something to make sense of his life brought about his fateful meeting with Yoko, the encounter that would lead him to, as he said, "break up a happily married state of boredom".

with son Julian, 1967

As Philip Norman writes in his biography of Lennon: "All four Beatles, kaftaned and beaded, sat at the yogi's feet to listen to his Buddhist wisdom. This was mysticism in an easily digested, tabloid form, instantly appealing to young earthly gods for whom real self-denial was unthinkable. 

"His route to spiritual regeneration involved no special training, no memorising of complex prayers or incantations, and next to no personal inconvenience. It was bliss without the effort. "

John wanted to take Yoko, but since the pilgrimage included wives, he had no choice but to take Cynthia. They stayed in a village on the banks of the River Ganges (Rishikesh) looking towards the snow-flecked Himalayas, though their living conditions were far from spartan. Their bungalows had hot water and western plumbing, and a handful of two-rupee notes bought extra home comforts, from chocolate bars to booze and hash. 

For all the Beatles, it was an enforced slowdown from the lunatic pace that had not let up for seven years, since they left Liverpool for Hamburg and their careers suddenly took off. Day after day, there was nothing to do but sit and think.

"John seemed happy, strumming guitars with Paul and George in the balmy sunshine and even holding hands with Cynthia. She was convinced their difficult marriage was entering a new phase of companionship and mutual tolerance. What she didn't know was that John was all the time receiving postcards from Yoko, which his minders had strict orders to forward to him in plain brown envelopes so she would suspect nothing. Often they consisted of a single thought, in Yoko's tiny, arty script: 'Watch for me - I'm a cloud in the sky."

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Also on the blog:

The Beatles retreat from the madness of the road to create Revolver

My Visit To Abbey Road Studios

Laserium - cosmic laser concerts at the Planetarium
























In a galaxy far, far away, there existed a time when UK rock music fans could treat themselves to an evening at The London Planetarium for what was described as 'The new cosmic laser rock concert'.

It was a fairly simple concept - take a bunch of rock and classical tracks and set them to entertaining laser visuals. Sit everyone down in a darkened room and project the images on the Planetarium dome. It was, of course, tailor-made for anyone who happened to have smoked a jazz woodbine before the show. The visual effects were probably a bit primitive by modern standards, but it was a novel idea at the time. It was a real treat to hear the music played through a good sound system too.

The music was a mix of American rock (Joe Walsh, the Doobie Brothers), popular classical music (The Planets, the Blue Danube) and generous helpings of prog rock (Yes, ELP, Utopia, Genesis). I went to the London show on two or three occasions in the late 70s and also went to one in New York around the same time (he 'Eye See The Light Show').

The Laserium idea was actually developed in 1973 by an American filmmaker, Ivan Dryer. The Laserium shows played in 46 cities worldwide and were viewed by over 20 million people. The Los Angeles show continued until 2002, a run of 28 years. 

I have managed to find some footage from the original shows, including this one, the opening number of the 'Laserock' show, Automation Horroscope, by Nektar.

 

Although the original shows at the London Planetarium only lasted for a while, from about 1977, the Laserium franchise is still going, though they tend to be held in larger theatres nowadays in special events. Here's some vintage footage of those early Laserium shows and how they were put together.

And here is a radio advert for the London Planetarium show: https://www.youtube.com/watch?v=N51Y1UVvpy8

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Sunday, 17 August 2014

At home with the Bolans, 1971

For a time in 1971 and 1972, before he was overshadowed by Bowie and the other Glam Rock bandwagon jumpers, Marc Bolan was unquestionably Britain's biggest pop star. In my archive I found these black and white photos which capture Bolan and his T. Rex band mates Mickey Finn, Steve Currie and Bill Legend as they are about to release the album Electric Warrior.
A version of this photo was given as a poster with copies of Electric Warrior
The photos were taken by Kieron 'Spud' Murphy, who was also responsible for the original photo used as the image for the cover of Electric Warrior.

That photo, taken at the Albert Hall, Nottingham on 14 May 1971, can be seen on the wall behind Mickey Finn in the lounge photo shown here.

These interior photos and the colour photo below were all taken at the flat in Clarendon Gardens, Maida Vale, London, where Marc lived with his wife June Child.

The band photo with Marc in the foreground was given away as a poster with early copies of the Electric Warrior vinyl LP.

Following on from the success of Hot Love, the Electric Warrior album contained the hits Get It On (Elton John plays piano on this clip from Top Of The Pops) and Jeepster, which cemented Bolan's new rock style and created the greatest teen music craze since Beatlemania.

The album was produced by Tony Visconti and benefits from the background vocal talents of Howard Kaylan and Mark Volman, otherwise known as Flo & Eddie, fresh from their exploits with Frank Zappa. The template for the T. Rex sound, with the characteristic raw crunch of Bolan's guitar and the band's behind-the-beat groove, was set on this record.
My vintage copy of Electric Warrior
But not everyone was taken in by Bolan's new direction. DJ John Peel said his close friendship with Marc and June effectively ended because Peel was reluctant to play the new T. Rex single when it arrived at Radio One.
Marc and June Child

Peel didn't specify which single it was, but having been such a strong supporter of the band in its previous form, Tyrannosaurus Rex, he had to ask himself whether he would have played the record if he and Marc were not friends. He concluded that he wouldn't have. Bolan froze him out from then on.

Peel obviously felt that Bolan had sold his soul to the screaming teens. I'm sure a lot of other fans from the Tyrannosaurus Rex period felt the same.

Whatever the merits of Bolan's new direction, it was a hugely successful one and in 1972 the run of hits continued with Telegram Sam, Metal Guru, Children of the Revolution, Solid Gold Easy Action and 20th Century Boy.

But as the photographer in the colour shot here (not credited so I can't name them) says, Marc was extremely vain and convinced of his own genius. 

As his fame increased, so did his cocaine usage. Tony Visconti is adamant that his music suffered as a result.

Clarendon Gardens, Maida Vale
Visconti noted that while Bolan was still able to write hit songs, he didn't have the musical vocabulary to break beyond the singles market and was incapable of taking direction from those around him. It was only a matter of time before his star burnt out.

As their careers progressed, Bolan was compared with David Bowie, who had his own ideas about how to carve out an identity with glam rock imagery.

By 1973, Bowie soon overtook Bolan, through the sheer breadth and brilliance of his music, whereas Marc wasn't able to maintain the quality and the momentum. His run of Top10 hits came to an end in 1974.

In that initial burst of Glam Rock in 1971 and 72, though, Bolan vied with Slade as the UK's most popular chart act. Electric Warrior stands as a still vibrant and vivid snapshot of the time.

Here is a live studio version of Jeepster which I think captures the spirit of the T. Rex sound. There's some contemporary footage included at the end of the video too.

The poster from Electric Warrior
Here's Cilla Black duetting with Marc on Life's A Gas from the Electric Warrior album



And while we're celebrating this music, let's have some more. Probably my favourite of the 1972 singles. Children Of The Revolution. Mickey Finn is a riot on this.

Here's an article from the Daily Telegraph that summarises Marc's life and career, warts and all:
http://www.telegraph.co.uk/culture/4728611/Behind-the-glitter.html

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Also on this blog:

The Day David Bowie Died

Alice Cooper - Back when he was genuinely scary

Slade - Glam rockers back at No.1 

1974 - Sparks and 'Kimono My House'






Sunday, 15 June 2014

1971 - Led Zeppelin 'go soft'



With all the publicity and comment about the latest remastering by Jimmy Page of the first three Led Zeppelin albums, it’s as well to remember that in 1970/71, their new folkier direction didn’t go down well with many of their fans.

The faintly exotic and more reflective material on Led Zeppelin III has actually stood the test of time very well. It was the jumping off point for the various musical explorations that peaked with Physical Graffiti. Tracks from LZ III like 'Friends' and 'Gallows Pole' formed the core of the Page and Plant Unplugged release in the 1990s and those same tracks are still featured in Robert Plant’s solo concerts. 

But at the time, many fans felt let down that Led Zep III didn’t contain another Whole Lotta Love or Heartbreaker. The new material to be released on Led Zeppelin IV, and being aired on BBC sessions in April 1971, suggested there would be no return to the lemon-squeezing days of yore. A letter to the Melody Maker in May 1971, under the headline ‘Don’t go soft Zeppelin!’ sums up the mood:

“Zep sound great on Whole Lotta Love and their many earlier songs, but please leave the gentle songs to people like The Strawbs, who have grown up with their music and can do it justice. It’s obvious from Zeppelin’s performance on the radio last week, that they just don’t make it without the volume.”

The session to which J. Miller from Chester was referring contains this lovely coupling of Going To Cailfornia and That's The Way. Judge for yourself whether Led Zeppelin were out of their depth.

Other letters in this week’s mail bag included a fan of King Crimson suggesting since their reformation (after the break up of the Court of the Crimson King band)  “there seems to be no hope for any other group”.  No other musicians could compare, apparently. Robert Fripp would probably have agreed. 

And Roger B Bartley of London E12 describes Stevie Wonder as an “abominable popcorn merchant”. Wow, so he’s just produced Music of My Mind and was about to release Talking Book,  Innervisions and Fullfillingness’ First Finale. Mr Bartley, you jest. 
 
Also On This Blog: What is Led Zeppelin's best acoustic song?
https://bangnzdrum.blogspot.com/2021/07/what-is-led-zeppelins-best-acoustic-song.html

Sunday, 8 September 2013

Bob Dylan live in 1976 - A spirited 'Idiot Wind'

From the second leg of the Rolling Thunder Revue tour - the stadium tour rather than the small club tour featured in Scorsese's movie - this clip, while not of the greatest visual quality, packs a punch on the musical front.

The recording is from a TV special aired in September 1976 but dating from May 23 in Fort Collins, Colorado. It was the penultimate show of the Rolling Thunder tour. Reviews at the time noted how the initial charm of Dylan's travelling show had largely worn off. But this performance is a spirited delivery of the song, that captures the anger of the recorded version very well. It's great to see Dylan relishing the chance to deliver the song and really investing the lyrics with the requisite bite.

Idiot Wind is the centrepiece from side one on Bob's 1975 album 'Blood On The Tracks'; a tale of a man misunderstood, interwoven with bitterness and personal attacks on a former lover. With typical obtuseness, Dylan denies the lyrics are in any way autobiographical, but it is very hard to believe that, given the proximity to his first break up with wife Sara, and the sheer bile he invests in the lyrics.

This performance was also released as part of the Hard Rain live album. Apart from bassist and band leader Rob Stoner, the band at this late stage of the tour consisted of T-Bone Burnett, Steven Soles and David Mansfield on guitar, Scarlet Rivera on violin and Gary Burke on drums.



Someone's got it in for me
They're planting stories in the press
Whoever it is I wish they'd cut it out quick
But when they will I can only guess
They say I shot a man named Gray
And took his wife to Italy
She inherited a million bucks
And when she died it came to me
I can't help it if I'm lucky

People see me all the time
And they just can't remember how to act
Their minds are filled with big ideas
Images and distorted facts
Even you, yesterday
You had to ask me where it was at
I couldn't believe after all these years
You didn't know me better than that
Sweet lady

Idiot wind
Blowing every time you move your mouth
Blowing down the back roads headin' south
Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I ran into the fortune-teller
Who said, "beware of lightning that might strike"
I haven't known peace and quiet
For so long I can't remember what it's like
There's a lone soldier on the cross
Smoke pourin' out of a boxcar door
You didn't know it, you didn't think it could be done
In the final end he won the wars
After losin' every battle

I woke up on the roadside
Daydreamin' 'bout the way things sometimes are
Visions of your chestnut mare
Shoot through my head and are makin' me see stars
You hurt the ones that I love best
And cover up the truth with lies
One day you'll be in the ditch
Flies buzzin' around your eyes
Blood on your saddle


Idiot wind
Blowing through the flowers on your tomb
Blowing through the curtains in your room
Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe


It was gravity which pulled us down
And destiny which broke us apart
You tamed the lion in my cage
But it just wasn't enough to change my heart
Now everything's a little upside down
As a matter of fact the wheels have stopped
What's good is bad, what's bad is good
You'll find out when you reach the top
You're on the bottom

I noticed at the ceremony
Your corrupt ways had finally made you blind
I can't remember your face anymore
Your mouth has changed
Your eyes don't look into mine
The priest wore black on the seventh day
And sat stone-faced while the building burned
I waited for you on the running boards
Near the cypress trees, while the springtime turned
Slowly into autumn

Idiot wind
Blowing like a circle around my skull
From the Grand Coulee Dam to the Capitol
Idiot wind
Blowing every time you move your teeth
You're an idiot, babe
It's a wonder that you still know how to breathe

I can't feel you anymore
I can't even touch the books you've read
Every time I crawl past your door
I been wishin' I was somebody else instead
Down the highway, down the tracks
Down the road to ecstasy
I followed you beneath the stars
Hounded by your memory
And all your ragin' glory

I been double-crossed now
For the very last time and now I'm finally free
I kissed goodbye the howling beast
On the borderline which separated you from me
You'll never know the hurt I suffered
Nor the pain I rise above
And I'll never know the same about you
Your holiness or your kind of love
And it makes me feel so sorry

Idiot wind
Blowing through the buttons of our coats
Blowing through the letters that we wrote
Idiot wind
Blowing through the dust upon our shelves
We're idiots, babe
It's a wonder we can even feed ourselves


- Bob Dylan

Sunday, 4 August 2013

Ferry and Eno - 40 years on....

Far removed from the leopardskin and bacofoil beginnings of Roxy Music in 1972, Bryan Ferry and Brian Eno are now advertising luxury brands. It seems their rivalry stretches down the years in mysterious ways.

Viewed from a passing taxi in the Central district of Hong Kong this week, there, on giant billboards are the two Roxy rivals vying for our attention - as they have done ever since Roxy's breakthrough. 

Across the road from the hotel itself, Ferry is one of the featured 'fans' in a billboard ad for the Mandarin Oriental, while a matter of yards further along, Eno is seen beseeching us to consume Dunhill's wares.

Bryan Ferry is a fan of the Mandarin Oriental, Hong Kong
In 1972, Roxy were a publicist's dream, with their exotic costumes, slicked-back hair and distinctive musical hybrid. 

They played up to that other-worldliness to the extent I can vividly recall a Radio 1 'Newsbeat' report that the band's synth wizard Eno was actually from Mars.

Although by his own admission he was only semi-literate in a musical sense, Eno's flamboyant costumes were the focal point for the band. 

Look at any photo of them in their early days and Eno is at the forefront. The picture here of them on stage in 1972 shows how the audience's attention was drawn towards Eno.
And a few yards along the road, Brian Eno endorses Dunhill




It worked to their advantage when they were trying to establish themselves, but ultimately, it threatened to steal the spotlight away from Ferry, the band's undeniable leader since he wrote and sang all the songs.

In retrospect, given their phenomenal output, Eno's departure from Roxy was inevitable. It is arguable which of them has had the more lasting influence, and frankly it doesn't matter, they have both produced great work over a long and, certainly in Eno's case, varied career.

Roxy Music couldn't hope to contain two such big musical egos, and over the years we have been fortunate to hear what each of them, unfettered by the other, has been able to produce.

In spite of his musical limitations, Eno must have added something to the Roxy sound, because those first two albums on which he appears have a distinctive vibe.

And he proved his worth in his subsequent solo career, right from the off with his first album Here Come The Warm Jets and the hit single Seven Deadly Fins.
His early ambient records, the Berlin albums with David Bowie, the collaborations with Robert Fripp, David Byrne, Daniel Lanois and others are all major landmarks in recorded music. Ferry has the edge in terms of being a traditional songwriter and live performer, as well as being the pioneer of a distinctive style with Roxy that was quite unique.

He still tour
Everyone is looking at Eno
s and although I haven't seen him live since 2005, at that time he delivered a surprisingly rocking show, driven on by the ever-dependable Paul Thompson on drums (announced by Ferry in time-honoured fashion as 'the Great Paul Thompson') with a twin guitar line-up of Chris Spedding and Mick Green, Lucy Wilkins on violin playing the Eddie Jobson solo from Out Of The Blue note for note. 

It was a fantastic gig, but the most remarkable thing about it was that Mick Green, the veteran guitarist from The Pirates, having just played a blistering solo, collapsed, just fell over, like a tall tree, guitar still strapped to him. At first we thought it must be a joke, but after a few moments road crew appeared and a couple of doctors from the audience ran down to the front. 

Green had suffered a heart attack, from which he recovered (he's since died). Green was dragged off-stage and Ferry gave the scene a quick glance but the show carried on without missing a beat. No mention was made of it. On with the show, eh?

So cast your mind back to that wonderful period in 1972 when Glam was the new sensation and Roxy appeared on Top Of The Pops. One of the most exciting TV music moments ever.

Virginia Plain - Top Of The Pops, 1972
http://www.youtube.com/watch?v=-gJIH6cOMPs

Re-Make Re-Model - Royal College of Art, 1972
http://www.youtube.com/watch?v=kWhzG9cQGgc

Ladytron - Old Grey Whistle Test, 1972
http://www.youtube.com/watch?v=44VEfWgbLSE&list=PL6C0142F66F552D65

Do The Strand - OGWT, 1972
http://www.youtube.com/watch?v=0YzB70L5g-4

Editions of You - Montreux, 1973
http://www.youtube.com/watch?v=sgHv9NCgyy0&list=PL6C0142F66F552D65