Chic Cheer

I've been listening to Chic all weekend, I don't have very much of their stuff, so You Tube has proven to be a goldmine. One of the real finds was this live recording from 1996 of "I Want Your Love". It was a historic night for the group because they were performing to celebrate the awarding of producer of the year for Nile Rodgers (Guitar). It turned out to be even more important for less jubilant reasons. Bernard Edwards (Bass) had fallen ill that day but insisted on playing, likely because of the trouble the group had gone to travelling to Japan with special guests. He clearly did not want to appear to be letting everyone down. Sadly he died that night from Pneumonia. His death makes this performance the last of its kind as he was co-producer, co-songwriter and co-founder of the group with Rodgers. Few had such a distinctive bass style, that's not to say the group do not continue to this day as a successful live act.

With that in mind one can't help but notice how subdued Edwards looks, but it isn't worth reading in to it too much, especially since he grooves with Rodgers so well in the breakdown. This live take on the song really builds to an intense climax. The horn section and Tony Thompson's drumming deserve to be singled out for credit. Look out for Prince-protege Jill Jones on secondary vocals. So, enjoy this performance live from Budokan.

The Mighty George Carlin

George Carlin was a great comedian. I didn't know him for stand up as I don't think he was really that well known for it in the UK. He'll always be Rufus from Bill and Ted's Excellent Adventure for me I suppose. Actually, you soon forget that admittedly brilliant film when you watch some of his stand up. Besides, as good as it is, his famous routine Seven Words You Can't Say on TV doesn't really play in the UK since you can hear them all occasionally. I don't think they have a watershed period on US TV, no wonder then that their top sitcoms can inoffensively run on UK TV at 7am in the morning.

Anyway, George Carlin died in Autumn 2008 at the age of 71, but it's never too late to try out his wonderful comedy, that mixes an anti-authority stance with terrific word play and speaking rhythms. While it is sad in hindsight, Carlin agreed in late 2007 to an extensive interview of his career. This remarkable interview is on You Tube in about 7 parts, and runs nearly three hours, it really is a mammoth trawl through his life. So here it is.

ONE


TWO and THREE


FOUR


FIVE


SIX


SEVEN

Amazon Is My Friend

Again I've slipped into nothing-ness, I can't think of a bladdy (to adopt an Alan Sugar voice) thing to write. This post will read more like a twitter update (which I'm not on anyway) or a Facebook update. I've been watching the new series of The Apprentice (UK) which is sadly coming to an end, I've watched most of series 2 of Mad Men and begun watching The Wire - which I decided I wouldn't get into last year - but I'll be damned if it isn't seductive. For me The Wire only kicked-in when series two began, although my friend described that series as being like Cheers, which I don't think is that far off the mark.


As for films there are only a few of note, two of which are Japanese. These are Hana-Bi (1997) by Kitano Takashi and Lupin III: The Secret of Mamo (1978) (that's what it says on my DVD, but there's about 3-10 different titles). I didn't expect much from the Lupin film as it wasn't directed by Miyazaki-san, but I was a little disappointed with Hani-Bi. I just don't think it measures up to his first 3 or 4 films.

This article here (at senses of cinema) says everything there really is to say about Kitano.

The jist of the article is that the more sophisticated his work became, the more mundane and ordinarily arty it is. Then again, directors shouldn't stand still, and one shouldn't condemn him for developing. Yet I couldn't help but think - as I believe the article says - that the use of a crane shot is completely wrong for Kitano. Ah well.

The other film of note that I watched was the new version Star Trek (2008) which I was reluctant to see. For one how good could it actually be? and I didn't think J.J. Abrahams was any cop, also I've sort-of decided to avoid most blockbusters in recent years. I would say 'against the odds' but the reviews were overwhelmingly positive, but against the odds Star Trek was a great movie, I enjoyed it from start to finish, so much so that it made me think about bothering to watch Star Trek 2, 3 and 4 (I've not seen 2 and 3). I could hardly believe myself as I laughed at a string of gags involving a Russian accent and a little-green-dude. Superb, really superb fun.

The only reason I wrote this post was to bung a couple of links up of Amazon.co.uk reviews I wrote. Even though I wrote them I believe that Amazon has copyright, so I probably can't post them here. The two reviews are for the French duo; Les Rita Mitsouko. They are a band I really adore, and while I gave both albums critical comments I still enjoy both albums, and besides that's what criticism and discussion is about. So here they are (dull as they may be):

Re (1990) written today
&
Marc and Robert (1988) written a couple of weeks back

Below is one of my favourite songs and videos of theirs, lets just say that they're not for everyone.



Furthermore to overload on links. Here are my two posts that collect nearly all of Les Rita Mitsouko's usually fantastic videos: Part One and Part Two

Urusei Yatsura TV Theme Music

I have a love/hate relationship with Japanese anime theme music. In the UK it has been customary to produce short TV introductions. Aside from The Prisoner i can't think of one that is longer than 60 seconds. But its de-rigour for a lot of anime shows to have long TV introductions, for two reasons 1) it means 90 seconds less animation to produce (actually 3 minutes when you factor in the ending credits). 2) the lucrative music market and cross promotion.

I couldn't understand why I liked the Urusei Yatsura themes so much, as a lot of anime music is often tuneless or insipid. it was only later that i read that Kitty Animation - who co-produced Urusei Yatsura - specialise in theme music. Then it all fitted into to place.

These 6 themes vary in quality - music and animation - but they display a development in style and technology. You can chart the progression of 80s musical trends, this is best represented by the metal edge of 'Rock the Planet' (my least favourite), or the slamming drums of 'Pajama Jama Da'.

For those who don't know: Urusei Yatsura is the name of a Scottish indie band of the nineties. They took their name from Rumiko Takahashi's manga. This has lead to some confusion in the UK.

The plot of the show is relatively difficult to summarise. It is about an unlucky and lecherous 17 year old boy called Ataru who by chance is married to an humanoid Oni alien; Lum. Some accounts say she is a princess, but I don't agree. Anyway, an Oni is a demon in Japanese folklore, so Lum is pretty much a curse on Ataru. Her means of punishment usually takes the form of electric shocks that she gives him and her ability to fly - means she's pretty omnipotent - and therefore can catch his unfaithful behaviour. But since he has the ability to be a despicable and immature teenager he deserves it most of the time. Also Lum is a super-sexy green haired beauty who wears a tiger skin bikini and matching jump boots. From that starting point, the couples numerous acquaintances who are school friends, family, enemies, aliens, demons etc expand the scenario, the push and pull of the other characters are ones who either love or hate Ataru or Lum. In the end the show is concerned with a new and ridiculous events fuelled by the pursuit of love - that is love in its best and worst descriptions.

Anyway, that's enough plot. The whole series is on youtube. While it is not completely consistent, and dated - one has to take some of the humour and nudity with a pinch of salt - it is a really funny show.

"Lum No Love Song" by Yuko Matsutani (1981)

(the first and best, but not the one I listen to most)

"Dancing Star" by Izumi Kobayashi (1983)


"Pajama Jama Da" by Kanako Narikiyo (1984)

(this one is by far the most addictive)

"Chance On Love" by Cindy (1984)

(This has the most amazing synth-bass, but what have they done to Lums face? She looks like a pony)

"Rock The Planet" by Steffanie (1985)


"Tonogata Gomen Asobase" by Shoko Minami (1985)


(This post is from my last.fm blog, but it is a good introduction to the series, as I plan to write about it)