Films and TV of the month: August




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Fletch (1985) (Michael Ritchie)
Watched as I read Stranger Things Season 3 will be inspired by 1985’s Fletch.
I couldn’t help noticing a Beverly Hills Cop (1984) vibe, the soundtrack by Harold Faltermeyer, the story of an undercover investigator fooling others to get ahead, the humour and sarcasm. But even with these similarities, Chevy Chase is very witty. Far more quotable than today’s movies. While it isn’t laugh out loud funny there are still many mildly amusing moments. I could see myself rewatching this one a bunch of times.






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Enemy Mine (1985) (Wolfgang Petersen)
Rewatch. It is implausible both human and alien can learn each other’s language so quickly (I assume the book does a better job of this aspect), but I like how the friendship gradually unfolds and easy to get pulled into the story. The practical sets are beautiful and believable. You could argue it’s simply rehashing 1968’s Hell in the Pacific in space but is quite moving and I have fond memories of connecting with the characters and setting on a lazy Sunday morning in my teens. The sort of comforting fantasy/sci-fi that makes you forget everything around you, pure escapism. I felt I was a third character on the planet with Dennis Quaid and Louis Gossett Jr. The naysayers will probably bring up Jerry’s almost comical gargling voice and I could see why that would put off some folks taking it seriously. Mostly avoids mawkishness and there’s enough warmth that I cared about their journey. The second half of the movie isn’t as strong although I’d still recommend checking it out if you like sci-fi and warm-hearted stories. Stays with you, especially Louis Gossett Jr’s likeable alien. Wolfgang Peterson’s previously directed Das Boot (1981) and The Neverending Story (1984).







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Peggy Sue Got Married (1986) (Francis Ford Coppola)

A poor man’s Back to the Future, this time from the perspective of a female protagonist. I felt the story is unambitious, devoting most of the running time to the romances when there was an opportunity to widen the scope. I will say the tagline on the poster “Knowing what you know now, what would you do differently?” is effective and while watching I did think back to my earlier years.
Odd that Kathleen Turner looks older than the other characters and they don’t question her appearance? Nicolas Cage changes his voice to sound younger but it’s annoying to listen to. I like the confrontational sequence when they talk and the light comes through the basement window but overall the movie is too sentimental for my taste. Despite its three Oscar nominations, I would rank Peggy Sue Got Married among Coppola’s weaker efforts.






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Local Hero (1983) (Bill Forsyth)

The phone box clip with the coins is hilarious but a little dated now. The therapist-Burt Lancaster scenes are pretty funny too. The baby question is another inspired, subtle moment of comedy. Unfortunately Peter Riegert is rather bland as the fish out of water lead. Mark Knopfler’s soundtrack is probably better than the movie. The story hasn’t aged particularly well. As another reviewer noted: “certainly wouldn’t make as much of an impact now (if released today). The world’s a different place — much smaller — and, the fact that the residents know the tremendous value of their property wouldn’t be such a revelation today”
A great ad for visiting scenic Scotland, but maybe the movie is slightly overrated. Yet it is the kind of powerful movie ending that could potentially change your life, so that counts for something. Apparently, a Local Hero musical will have its world premiere in Edinburgh in 2019.






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Cathy Come Home (1966) (Ken Loach)
Recommended by Alyson, who wrote about the film here. The difficulty and expense of finding a place to live in the UK for a young family in the 1960s certainly is still relevant, even today many adults have to live at home with their parents.
A sad situation for Cathy and Reg. Not enough homes and long waiting lists. Getting pregnant despite not being able to afford another kid. An affecting drama by Ken Loach, calling attention to important issues.






Filmworker (2017) (documentary) (Tony Zierra)
It isn’t an essential watch, unless you are interested in the life and filmography of Stanley Kubrick . Not sure needed to be 94 minutes, but the relationship between Leon Vitali and Kubrick is intriguing. You hear about Vitali’s volatile father which made him understand how to be friends with the at times difficult Kubrick. Being his assistant was a dream which was sometimes very demanding as the director would give him endless tasks. Vitali certainly is an unsung hero for his dedication to helping Kubrick for 30 years. He admits he wanted the job even though it meant sacrificing his freedom by working insane hours, trying to please the director’s obsessive perfectionism. The behind-the-scenes anecdotes from the film sets are pretty forgettable although I didn’t know he was an actor on Barry Lyndon and Eyes Wide Shut, as well as so many other technical responsibilities such as print restorations, trailers, finding actors for Kubrick’s films, scouting locations, etc. Nice to see this hard working guy finally get his due, yet admittedly a minor documentary in comparison to Stanley Kubrick. A Life in Pictures (2001), which was more in-depth. Filmworker is really a  film about Leon Vitali.






Oranges and Sunshine (2010)
Oranges and Sunshine (2010) (Jim Loach)

An important yet predictable film. Only showing the families who wanted to be reunited isn’t the whole picture, there are going to be those who can’t handle it or don’t want it. Stories of suffering that we can agree on is tragic for those involved. Emily Watson is given a great role to play which she handles well.







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You Were Never Really Here (2017) (Lynne Ramsay)
Lynne Ramsay impressed me with the powerful We Need To Talk About Kevin and Morvern Callar. Why so much praise for her latest?! A lifeless, non-story, lacking plot. It’s sad Joe is wrestling with PTSD and inner demons, and even sadder the predicament the girl is in, but I didn’t connect emotionally to the characters or unpleasant situations. Go watch Scorsese’s Taxi Driver instead, as You Were Never Really Here is an unnecessary and forgettable homage to Travis Bickle’s likewise unreliable narrator.



Mission Impossible Fallout
Mission: Impossible – Fallout (2018) (Christopher McQuarrie)
Better than Rogue Nation which I barely remember except the plane and underwater sequences. A great thrill ride with non-stop suspense for 2½ hours, the most exciting action movie I’ve seen in a cinema since Mad Max Fury Road. It won’t change your life but very entertaining and cinematic. I’m a fan of practical stunts and less CGI , this adds to the realism. The only aspect I disliked is the opening credits sequence which is a mini-trailer for what is to come.
Now that Danny Boyle has dropped out of the next 007 project, director McQuarrie is rumoured to be joining the 25th Bond film, which makes perfect sense as the action in Fallout is Bond-like.






What do you think? As always, comments are welcome


Albums of the month: August





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Young Americans by David Bowie (1975)
*1001 Albums You Must Hear Before You Die*
I haven’t listened to nearly enough soul music to properly assess the album’s merits. In order to create a more authentically soulful sound, Bowie brought in musicians from the funk and soul community, including an early-career Luther Vandross and Andy Newmark, drummer of Sly and the Family Stone.
Many of the compositions feature backing singers and saxophone. The opening title track Young Americans is a Bowie classic and the “All right, she wants the young American” chorus is unforgettable. Win features a seductive vocal in the vein of his Let’s Dance phase. Fascination and the John Lennon contribution Fame are both pretty funky. The cover of Across the Universe is the weakest moment here. I like some of the saxophone sections across this album but maybe the instrument was overused. The lyrics seem to be of lesser importance.








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Station to Station by David Bowie (1976)
*1001 Albums You Must Hear Before You Die*
Blending funk, krautrock, balladry. A transitional album, developing the funk and soul music of Young Americans, while presenting a new direction towards synthesizers and influenced by German electronic bands such as Neu! and Kraftwerk.
The consensus seems to be that the album is experimental, technically brilliant and enigmatic.
A showcase for his new alterego The Thin White Duke, an impeccably dressed hollow man who sang songs of romance with an agonised intensity, yet felt nothing.
The title track Station to Station starts with the rhyme of a train and could be about the tension between the desire to experience deep feelings while also wanting to protect yourself and attain an aloofness.
Golden Years was originally written with Elvis in mind and has been described as carrying with it “an air of regret for missed opportunities and past pleasures”.
Word on a Wing, suggests a connection to God, and a blurring of reality and “grand delusion”, Bowie described the lyrics in a 1980 interview: “It did come as a complete revolt against elements that I found in the film…Something I needed to produce from within myself to safeguard myself against some of the situations I felt were happening on the film set” (as an actor in 1976’s The Man Who Fell to Earth in which he plays an alien visiting earth)
TVC15 has a catchy second half, and lyrics apparently about hallucinating a girlfriend is swallowed by a TV set, and the narrator going to look for her.
Stay features inspired guitar work, and lyrics about drug addiction and asking a woman to stay.
Wild Is the Wind is a romantic and tender Nina Simone cover, and has been praised as one of the finest vocal performances of Bowie’s career.









Low by David Bowie (1977)
Low by David Bowie (1977)
*1001 Albums You Must Hear Before You Die*
An experimental, atmospheric album with the b-side including instrumentals, and several of the A-sides very cinematic. The writing is quite sparse and open to interpretation. Musician Brian Eno was moving towards his ambient phase at this point in the mid 70s, he was a collaborator on various tracks. The photographic image, under the album’s title, formed a deliberate pun on the phrase “low profile”. Low has also been regarded by music analysts as being a crucial influence on the post-rock genre, which would come to prominence among underground musicians nearly two decades after the album’s release.
Be My Wife has been talked of as an influential track on the 90s britpop sound.
Warszawa is on the verge of a horror soundtrack, an unsettling mood piece, which takes you to a different head space and taps into feelings of isolation and melancholy, whether this is a reflection of Bowie’s own inner turmoil following his drug-taking years in America or a result of his new surroundings in Europe is uncertain. Perhaps both? He has said in interviews he was no longer playing a character. Joy Division took inspiration from the instrumental, as they were originally called Warsaw.
The life-affirming instrumental Speed of Life is the polar opposite to the darkness of Warszawa. These mood swings also feature on his next album “Heroes”.
The track Sound and Vision is probably about artistic inspiration and how you sometimes have to wait for it.
Always Crashing In The Same Car might suggest drug addiction, making the same mistake over and over.
Bowie said in 1977 that the song Weeping Wall is “about the Berlin Wall, the misery of it.” Others, however, have suggested that it was originally developed for use in the film The Man Who Fell to Earth. Bowie’s (never completed) work on the soundtrack became the inspiration behind his experiments on Low and “Heroes”.










Heroes by David Bowie  (1977)
“Heroes” by David Bowie  (1977)
*1001 Albums You Must Hear Before You Die*
The second chapter of the Berlin trilogy continues what 1976’s Low started, with mostly instrumentals on the B-side. Bowie said that the quotation marks in the title “indicate a dimension of irony about the word ‘heroes’ or about the whole concept of heroism”.
The uplifting title track likely was influenced by Neu 75, an album Bowie mentioned in interviews he was a fan of. The famous title track was inspired by producer Tony Visconti’s brief love affair with one of the backing singers. Visconti was married, so the affair was doomed from the start.
Sons of the Silent Age could be about frustration with passivity.
Blackout suggests the narrator is unwell and having blackouts. Roy Carr and Charles Shaar Murray stated that the song is about the collapses that Bowie suffered in Berlin.
Side B:
Sense of Doubt evokes an ominous mood.
Moss Garden has a tranquil atmosphere and is meant to invoke the feeling of being in the Saiho-ji moss gardens of Kyoto, Japan.
Neuköln reflects Bowie absorbing his surroundings. Perhaps a sense of the lonely voices on each side of the Berlin wall. Neukölln was home to many Turkish immigrants.
While the LP is still top-tier Bowie at times, the album overall is less memorable and not as groundbreaking as Low and Station to Station.










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Lodger by David Bowie (1979)

Lodger is my least liked of the Berlin trilogy. Granted, Bowie wanted to keep changing and experimented with world music, but…it just isn’t as strong as the two Bowie albums from 1977.
Lodger has been interpreted as divided roughly into two major themes, that of travel (primarily side one) and critiques of Western civilization (primarily side two). It is also noteworthy for foreshadowing David Byrne’s and Brian Eno’s album My Life in the Bush of Ghosts (1981).
Tracks 6-8 are the most accessible but I’m not a big admirer of the singles D.J. and Boys Keep Swinging.
On Repetition, he was quoted: “I decided to write something on the deeply disturbing subject of wife abuse in the manner of a short-form drama”
The extended 1988 version of Look Back in Anger (provided as a bonus track on the reissue) might be my favorite track.
Despite not loving Lodger, it’s still innovative and superior to most albums produced in the 2010s.









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Let’s Dance by David Bowie (1983)

Bowie was already starting to go Pop/New Wave on his 1980 album Scary Monsters and Let’s Dance is a continuation of that direction into Dance-Pop. The lyrics are safer and less interesting than his 70s work.
As with the 1980 album, there’s a run on the A-side of three great tracks in a row: Modern Love, China Girl, and Let’s Dance. Cat People (Putting Out Fire) is also essential Bowie and has been used for various soundtracks. Criminal World has a nice guitar intro while closer Shake It is basically an inferior version of the title track. Without You is the best of the lesser known tunes here.










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Tidal by Fiona Apple (1996)
*1001 Albums You Must Hear Before You Die*
A 90s classic which won several awards. I don’t know if I’m right, but to me it feels like the most personal and sincere record she ever wrote. I hadn’t listened to Tidal in a decade, holds up really well. Similar to Kate Bush, Apple was very mature as a writer at a young age. Besides the introspective songwriting these tunes also have a nice instrumental variation, while also being quite piano heavy. She plays the piano herself. Rare that I like every track on an album.
The opening lyric might be the most striking:
“I tell you how I feel, but you don’t care
I say tell me the truth, but you don’t dare”











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When the Pawn… by Fiona Apple (1999)
Apple is angrier and louder here. Perhaps she got inspired by Alanis Morissette? There are very few weak tracks and lots of memorable moments. The music doesn’t hit me as hard on an emotional level as the 1996 debut did, although the songwriting is still excellent. Notable for breaking the world record for the album with the longest title, often abbreviated.






What do you think? As always, comments are welcome

Films and TV of the month: July




Smokey and the Bandit (1977)
Smokey and the Bandit (1977) (Hal Needham)

Light-hearted action-comedy road movie which is actually pretty funny. Good chemistry between Burt Reynolds and Sally Field. Jackie Gleason is hilarious and steals the movie as the sheriff in pursuit. A memorable country music soundtrack.






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Rumble Fish (1983) (Francis Ford Coppola)
An arthouse, black and white coming of age drama with its own distinct mood. I liked the philosophical musings sprinkled in. Powerful performances by young talents Matt Dillon, Diane Lane and Mickey Rourke. Features an interesting experimental score by Stewart Copeland, drummer of the musical group The Police, who used a Musync, a new device at the time. A box office disappointment but the film has aged well. Definitely rewatchable. An underappreciated Coppola gem.







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Midnight Express (1978) (Alan Parker)
I’ve always been a fan of the prison genre. I’m fascinated by the isolation and psychology of being locked up. I’d never watched this one, based on a true story, in which an American is imprisoned in a foreign country. Haven’t seen Brad Davis in other films, he’s believable as an American college student who experiences a life-changing sentence, I cared about his journey. Randy Quaid and John Hurt offer strong supporting work. Oliver Stone’s oscar-winning screenplay was criticized for having no sympathetic Turkish characters. Turkey was understandably mad at the filmmakers since tourism dropped significantly after the release of the movie. Giorgio Moroder’s original synth-based score also won an Oscar.




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My Cousin Vinny (1992) (Jonathan Lynn)
I pretty much guessed how the film would end, but a lot of fun getting to that point.  Joe Pesci is on top form and really funny, especially in the scenes when he wears a red suit in court and is disturbed by noise at the hotel. I laughed out loud. An enjoyable comedy.







MLK (2018)
I Am MLK Jr. (2018) (John Barbisan & Michael Hamilton)

In remembrance on the 50th anniversary of his murder in Memphis, Martin Luther King is deservedly hailed as an important figure in 20th Century American history. The documentary not only goes over his triumphs, but also shines a light on his failures and sometimes fragile mental state. He achieved a great deal at a young age, took risks, and paid the ultimate price. His non-violent protest is still inspiring and relevant today.
At 90 minutes,  it feels a little long. There’s a bit too much padding, unnecessary gospel segments, and repetitive praise. Worth a watch but if you are familiar with the civil rights leader you probably know most of what is presented.
For a man who dedicated himself to bringing whites and blacks closer together, it was rather biased that almost all of those interviewed are black. Granted, some of them knew the guy personally and have interesting anecdotes to contribute, but surely non-blacks have something to say on the matter too? I can’t be the only viewer who noticed this imbalance.




What do you think? As always, comments are welcome

Albums of the month: July



Looks like I’ve found somewhere to rent though I still have a lot to do in terms of moving, so blog posts will remain at a minimum, 1-2 posts a month for the foreseeable future. I’ve been dealing with sciatic nerve pain running down my leg, not fun, forced to change my workstation habits, less sitting, more exercise and standing up. Unfortunately I’ve read the injury takes quite a while to heal but I still managed a few albums and finally got around to Bowie, or the first stage of his discography at least, from 1969-1974. (I skipped his 1967 LP which I don’t consider a proper Bowie album)



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David Bowie / Space Oddity by David Bowie (1969)

The opener Space Oddity is a Bowie classic, inspired by Stanley Kubrick’s 2001: A Space Odyssey and the space race at the time. A song that also could be interpreted as a drug trip or about facing your fear. The album highlight for its lyrics, vocal performance and production values. The rest of the A-side is quite underrated. Unwashed and Somewhat Slightly Dazed is a good blues rock track especially for the backing band. The lyrically ambitious 9 minute Cygnet Committee is empowering by insisting “I want to live”, apparently the song is about the faults of the hippy movement, although maybe the same could have been said with less words. Letter to Hermione is a farewell ballad to his former girlfriend, Hermione Farthingale, who was also the subject of An Occasional Dream.
The b-side of the album is a look at where Bowie was at during this time, the strongest of them are Janine and An Occasional Dream. Wild Eyed Boy From Freecloud feels a bit pompous. The only song I skip over is God Knows I’m Good with its annoying chorus. Memory of a Free Festival has a dull intro and builds to an ending which is kind of Bowie’s answer to the outro of Hey Jude. I’ve listened to the LP 2-3 times and it grows on you.




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The Man Who Sold the World by David Bowie (1970)

Rockier than the previous 1969 album. The guitar work on The Width of a Circle stands out, with lyrics about identity and meeting a monster by a tree who is himself. Perhaps a song about confronting your vices. Others have interpreted it as a sexual encounter with God, the Devil or some other supernatural being.
All the Madmen is about the perception of sanity and insanity. If everyone was insane, the one sane person would be perceived as crazy. Autobiographical as his brother was in a mental institution. Bowie voices his belief that we’re all insane in our own ways.
After All is probably the strangest song here.
Running Gun Blues returns to the heavier rock sound, about the Vietnam War and seems to be an anti-violence message.
Saviour Machine envisions a society where a machine solves all problems but then becomes obsolete itself.
She Shook Me Cold is memorable for the giant guitar riff. There are some truly inspired riffs on this album, the intro to The Man Who Sold the World is another, a song famously covered by Kurt Cobain in the 90s. Bowie is quoted as saying “I wrote it because there was a part of myself that I was looking for”.
Supermen was partly influenced by Friedrich Nietzsche and H. P. Lovecraft, lyrics about supermen who live “tragic endless lives”.
It has been claimed that glam rock began with the release of this album, though is also attributed to Marc Bolan wearing glitter on a Top of the Pops appearance, December 1970.





Hunky Dory by David Bowie (1971)
Hunky Dory by David Bowie (1971)
Although only a moderate commercial success, the album was very well-received by critics, with unforgettable pop singles such as Changes and Life on Mars? The playful artwork hints at the confusion over the artist’s sexuality and the singer would use this (at the time) controversial aspect to promote himself. In fact his wife Angie encouraged him to experiment with his appearance.
Bowie pays tribute to his influences with the tracks “Song for Bob Dylan” (Dylan’s reinventions paved the way for Bowie), “Andy Warhol” and the Velvet Underground inspired “Queen Bitch”. There’s also a fascination of parenthood, fame and consumerism, themes which run through the record. Musically moving away from hard rock to mostly piano-heavy arrangements. A greater attention to accessible and pop friendly melodies.
Changes is about being young and searching for an identity, while also tapping into the reinvention of Bowie’s career.
Oh! You Pretty Things, one of the stronger non-singles for its melody, is allegedly a reaction to his wife’s pregnancy, while giving the words multiple meanings and referencing bands and predicting the arrival of Nietzschean supermen on earth.
Eight Line Poem is about the division between countryside and urban landscape, and goes in a country music direction in the vocal and instrumentation. It’s not a bad song but feels somewhat like a missed opportunity.
Life on Mars, among Bowie’s most recognizable 70s hits, described by the singer as “a sensitive young girl’s reaction to the media” as she goes to the cinema. The title is a call for something beyond that which the mousy girl knows, beyond her dull life, maybe even beyond entertainment. A universal longing most can identify with. The second half of the song suggests the artist’s point of view, and a struggle with repetition in their work, yet also a look at commercialism.
Bowie wrote the song Kooks to his newborn son Duncan “Zowie” Jones, continuing the parent theme of Oh! You Pretty Things.
Quicksand could be the most philosophical album track, Bowie pondering the unknown and unanswerable questions.
Fill Your Heart is a response to Quicksand with a message of love and forgetting your mind, I’m not a fan of the vocal performance.
Queen Bitch is a rockier tune, borrowing its memorable riff from Eddie Cochran’s 1960 single “Three Steps to Heaven”. A strange story, yet relatable lyrics of missing out and what could have been.
The closer revisits the mental illness theme of the track All the Madmen (on 1970’s The Man Who Sold the World). The Bewlay Brothers is about Bowie’s older half-brother, who was hospitalized with schizophrenia and would eventually commit suicide in 1985.



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The Rise and Fall of Ziggy Stardust and the Spiders From Mars by David Bowie (1972)

Considered Bowie’s breakthrough album and sometimes referred to as his magnum opus. A loose concept album about Bowie’s titular alter ego Ziggy Stardust, a fictional androgynous bisexual rock star who acts as a messenger for extraterrestrial beings. Among other things, the lyrics discuss the artificiality of rock music, political issues, drug use, sexual orientation, social taboos and stardom. Received widespread critical acclaim and recognized as one of the most important glam rock albums. His backing band realized that most of the songs on Hunky Dory were not suitable live material, so they needed a follow-up that could be toured with.

Five Years, probably the most straight-forward on the album in terms of story, details the panic over the announcement of the end of the world due to a lack of natural resources. I especially like the melody in the first half of the song. The second half is a little too on-the-nose. A sad song which can bring a tear to your eye.

Moontage Daydream contains heavy metal elements and introduces the alien messiah that will rescue the earth from disaster. Often cited as an album favorite by members of the band. Featuring use of the cut-up technique in which Bowie would re-arrange random words such as the famous opening lyric: ”I’m an alligator. I’m a mama-papa”.

Starman, a catchy, decade defining pop single. A great song which I’m a bit weary of.

Star concerns itself with Ziggy and his realization that being a rock n roll star is the way to save the world.

Hang On To Yourself is one of the earliest examples of Punk Rock/Proto Punk

Ziggy Stardust, another iconic 70s classic, with an instantly recognizable opening guitar riff. About the animosity that arises between Ziggy and the group, as Ziggy grows more and more popular, pushing The Spiders from Mars to the shadows as he gets the spotlight. Ziggy was killed by his fans when they turned on him for neglecting them, and the band broke up, having lost their frontman.

Rock ‘n’ Roll Suicide is about Ziggy’s death and Bowie’s heightened vocal performance adds emotion to the situation.

Musically the 1972 album is top-tier Bowie, a big sound with lots of pop hooks. Although there isn’t much depth. He is hiding behind a character and not willing to share personal anecdotes. Taking space-themed and fame aspects from previous albums and expanding or reusing ideas. Fun pop to listen to but the Ziggy character is very sketchy and to me the music becomes style over substance. The argument could be made there are enough blank spaces so the audience can reach their own conclusions about Ziggy. Bowie admitted in a 1977 interview that people “contributed more information into Ziggy than I put into him”. The shifting points of view is inventive yet confusing. In the Hang On To Yourself documentary the singer is quoted as saying: “If you’d asked me at the time what it was I was trying to do I had simply no idea. This otherness, this alternative realty I wanted to embrace, I wanted anything than the place I came from”
Bowie’s vocal performances are definitely praiseworthy as he brings plenty of variation vocally from track to track. I respect the album but prefer his 1970 and 1971 LPs.






Aladdin Sane by David Bowie (1973) .jpg
Aladdin Sane by David Bowie (1973)
There’s an attempt to reach the American audience, lyrics written in (and about) the US. The album sleeve (along with 1977’s Heroes) is arguably the most striking of his career, depicting a lightning bolt on his face.

Watch That Man: About hanging out with The New York Dolls. Didn’t like the harsh production.

Aladdin Sane: There’s a chaotic use of piano on the title track, fun and over the top. An anti-war song in how young men are enticed into enlisting in the armed forces. Introduces the “American cousin” of Ziggy Stardust.

Drive-In Saturday: A strong single with a brilliant chorus. Bowie: “it’s about a future where people have forgotten how to make love, so they go back to video-films that they have kept from this century”

Panic in Detroit: Excellent guitar riff that had me tapping my foot. The lyrics were inspired by late-night stories about the Detroit 1967 riots told to Bowie by Iggy Pop. The 5-day riot was one of the worst in American history.

Cracked Actor: Daring lyrics for the time it was written. About an aging movie star’s sexual encounter with a prostitute. Cracked Actor is also the title of a 1975 television documentary about Bowie.

Time: The lyrics seem to be semi-autobiographical and personal, about his faltering marriage to Angie Bowie:
“Breaking up is hard, but keeping dark is hateful
I had so many dreams
I had so many breakthroughs
But you, my love, were kind
But love has left you dreamless
The door to dreams was closed
Your park was real and dreamless
Perhaps you’re smiling now
Smiling through this darkness
But all I had to give was guilt for dreaming”

The Prettiest Star: Another tune about David’s and Angela’s marriage. Written in 1970, a romantic song, in contrast to the conflict and bitterness which ‘Time’ suggested. A second interpretation is the song is about falling in love with a movie star.

The Jean Genie: The most instantly recognizable track from the album though I never really enjoyed it. Bowie might be using his cut-up technique here as the lyrics are strange and surrealistic. Perhaps written in a drug haze? It’s been said the song was influenced by the outrageous behavior of Iggy Pop.

Lady Grinning Soul: The most beautiful and romantic song on the album. Pianist Mike Garson’s contributions add a lot to the album as a whole.






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Diamond Dogs by David Bowie (1974)
This 1974 concept album was Bowie’s glam swan song. He decided to play all the instruments himself, except drums (Aynsley Dunbar), bass (Herbie Flowers) and keyboards (Mike Garson). Since he was a teenager, the singer had been fascinated about malformations and he decided to put some references in, while also giving the album a post-apocalyptic atmosphere in the vein of Orwell’s 1984. The eye-catching cover artwork features Bowie as a half-man, half-dog, painted by Belgian artist Guy Peellaert. The album is credited with anticipating the punk revolution that would take place in the late 70s.
The A-side is full of energy while the B-side (tracks 7-11) I found pretty boring. Rebel Rebel is the single everyone is familiar with its classic lyrics and memorable guitar riff. Overall, the album has its moments but feels rather shallow and top-heavy.






High as Hope (2018) by Florence + The Machine 
High as Hope by Florence + The Machine 
One of my favorite albums of 2018 so far. I was moved by the lyrics of South London Forever while the orchestral production on Patricia (apparently a Patti Smith tribute) stands out. The epic Big God and 100 Years are both quite powerful. Her vocal delivery is a bit samey during the course of the album but you could argue it’s cohesive. June, Hunger, Sky Full of Song, Grace and The End of Love are decent but maybe at times a bit repetitive. I haven’t followed the career of Florence + The Machine so don’t know how High as Hope compares to the other releases.






Seasons, Pt. 1 (2018) by Jan Hammer
Seasons, Pt. 1  by Jan Hammer 
A pleasant, 46 minute summer-tinged album with enough instrumental variation to keep it interesting. Not as iconic as his Miami Vice work and I wasn’t expecting it to be. The opener is a little lazy with the Phil Collins-esque drumming but some of the tracks, “April”, “Winter Solstice”, “New World II” and “Causeway Bridge”, certainly are good enough to be represented in a potential reboot of the TV show. I can imagine would be nice to chill out to on a long car journey. The weaker parts of the record go in a slightly bland new-age direction, such as 68 Reasons, Suite European and Seasons. The guitar and keyboard playing sometimes saves the lesser songs. Sounds like he’s still using the same production techniques as in the 1980s and you could be tricked into thinking was recorded many years ago. Pitchfork didn’t even mention Seasons, Pt. 1 for the week’s new album releases which is a travesty since it’s Jan Hammer’s first new album in close to a decade. I enjoyed the album even though several cuts feel like jingles rather than songs. But I suppose you’d expect that from a musician who is known for TV themes, commercials etc.





Janelle Monae  Dirty Computer album cover
Dirty Computer by Janelle Monáe
Don’t like the vocal distortion on the title track. Crazy Classic Life is a highlight with its catchy chorus and empowering lyrics.
The instrumental intro of Take A Byte is fantastic and the track is among the better deep cuts on the LP, even if I’m not convinced by the vocal. Screwed (surprisingly not a single) starts with a wonderful guitar riff and is a fun pop song with daring lyrics ala Prince (who collaborated on the album before his untimely death).
A top heavy album. There’s some filler on the second half. The single Make Me Feel (which I find overhyped) is getting attention and is reminiscent of Kiss by Prince. The spoken word parts of the political closer Americans are passionate, though it feels like a homage to The Purple One and especially Let’s Go Crazy. To sum up, four songs I liked, the rest of the material I’m iffy about.






Wide Awake by Parquet Courts (2018) 
Wide Awake! by Parquet Courts 
I expected more based on the 3.64 score on RYM. I was pretty bored and could hardly finish most of the tracks! Not a fan of shouty vocals so maybe it just wasn’t my taste in the first place. The title track is a fun single with an infectious guitar riff. I like the piano on the closer Tenderness. The melody for Total Football is memorable too.




Oil of Every Pearl's Un-Insides (2018) by Sophie.jpg
Oil of E
very Pearl’s Un-Insides by Sophie (2018) 
Currently ranked as the 17th best album of 2018 on RYM’s chart. Healthy to try new things and this is my first bubblegum bass album. It’s Okay to Cry is a moving opener, a ballad with a nice synth intro. The next two tracks go for a Skrillex-esque production which is a complete change of pace and isn’t for me. There’s a beautiful 50 second section in the middle of the song Faceshopping which reminded me of Kate Bush, and so does the impressive vocal performance on Is It Cold In The Water? which contains a memorable chorus. I’m sure the transgender community have got a lot to relate to in the lyrics but since I’m not of that persuasion, I was simply interested in the tunes. Not Okay and Ponyboy are the worst tracks. The instrumental Pretending wouldn’t have been out of place on Anna von Hausswolff’s 2018 LP Dead Magic. RYM users are raving about Immaterial (I disliked it) which sounds like a modern pop song from the Billboard Hot 100. The final track Whole New World is again for Skrillex fans. While the album has its strong pop moments, the tonal shifts are just too jarring and abrasive. Skrillex combined with Kate Bush is a bold yet extremely odd combination. I liked and loathed different parts of the album, making it difficult to reach an opinion.





What do you think? As always, comments are welcome



Films and TV of the month: June




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The Lavender Hill Mob (1951) (Charles Crichton)
Very entertaining UK classic with unpredictable developments. Not really a comedy as advertised but very good storytelling in the vein of a thriller which kept me glued to the screen until the end. It’s not a spoiler to say I kind of wanted the criminals to succeed.





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The Ladykillers (1955) (Alexander Mackendrick)
My second Ealing Studios film this month. A British farce comedy which is funnier than The Lavender Hill Mob. The story is pretty silly and cartoonish, especially the ending. The aspect of wanting to kill an old lady reminded me of 1988’s A Fish Called Wanda







Star Trek II The Wrath of Khan (1982)
Star Trek II: The Wrath of Khan (1982) (Nicholas Meyer)

Considered the best of the 80s Star Trek movies and the closest in spirit to the 1966-69 TV series. In the key moments, there’s a threat of danger for the crew. Controlling minds with the ear worms makes no sense though. The Genesis project and the aspect of playing God is an interesting idea, and Khan is a memorable villain. The ending involving Spock in a radiation chamber is iconic.







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Star Trek III: The Search for Spock (1984) (Leonard Nimoy)
A sequel to Wrath of Khan (1982), with a weaker story. You know the crew will reach Spock eventually so the destination feels inevitable. I found it quite distracting that Christopher Lloyd is in full Klingon makeup, his character is evil yet without depth. The best action scene involves a rival spacecraft getting tricked which is a bit similar to the previous film. Bones in the restaurant reminded me of the cantina scene in Star Wars. I wasn’t sold on the logic of the ending, wouldn’t he keep aging rapidly because of his condition? Anyway, a movie which was okay but I doubt I’d watch again.







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Star Trek IV: The Voyage Home (1986) (Christian Tafdrup)

Rewatch. The film with the most humor in the trilogy. Just as entertaining as Wrath of Khan. A tad overlong and could have been trimmed in the weaker opening 30 minutes. Refreshingly, the supporting cast are given a bit more to do, and not just the usual operations on the space ship. I like the humpback whale story and it’s interestingly not a human but an alien object that is the main villain. Though it is a far-fetched story and there isn’t an explanation as to the intentions of the probe. The story, which involves time travel, satirizes 20th Century behavior ”Nobody pays any attention to you unless you swear every other word” ”To hunt a species to extinction is not logical”.






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Parents (2016) (Christian Tafdrup)
By the director of A Horrible Woman(arguably the best Danish film of 2017). Taftrup’s debut feature from 2016 is a weirder and less assured drama, as there is a massive tonal shift in the second half that could prove divisive to audiences. As the title suggests, about parents, and in this case how they deal with a son moving away from home. It causes them to reevaluate their own life. An interesting, original concept. The parents want to recapture their youth, but I felt the filmmakers didn’t have enough material for a film so added the fantasy elements to spice it up. If you are middle aged parents and have grown-up kids (or vice versa) you’ll likely identify. Worth a rent.






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Hereditary (2018) (Ari Aster)

I saw a sneak preview. Gripping horror that held my attention throughout. The weakness is it feels a bit derivative, sort of a patchwork of other films from the genre. I heard audience members say on their way out that it wasn’t scary enough and they kind of had a point. The music score by Colin Stetson is the best thing about Hereditary and adds to the sense of unease. You don’t want to read anything beforehand as plot points can be easily spoiled. Based on the zoom-in during the opening scene, I’m wondering what was real. Toni Collette is a contender for awards recognition for her impressive lead performance.






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The Guilty (2018) (Gustav Möller)
A new Danish thriller that won the Audience Award at the 2018 Sundance Film Festival. Takes place in a single location, at a police call center. Manages to build suspense, and captures the stress the alarm dispatch duty can involve. My only gripe is would a police officer under suspicion of misconduct still be on duty? I guess assigning him a different job (not on the streets) was deemed an appropriate move, but I don’t buy him still at work given the nature of his wrongdoing. A good movie despite this issue I had.




What do you think? As always, comments are welcome