Music Review : Big Star - Keep An Eye On The Sky

Undoubtedly an influential band, but if they had been able to turn that kudos into cash in the form of record sales when they were in their heyday, how would history be rewritten? Perhaps no need for Tom Petty. Certainly, no room for Teenage Fanclub either. And Cheap Trick might never have got out of Rockford, never mind travelled to the Budokan in Japan.

More crucially, would Chris Bell have risen above his troubles, and been able to avoid his fateful path to an early grave? Would Alex Chilton have been able to remain fully focused and avoided becoming the erratic maverick that he has become?

So many questions, and no answers that can be given with any certainty as we aren't granted the gift of knowing our alternative futures when we turn left instead of veering to the right. What is certain is that this much loved band couldn't sell shit when they were around, although their reputation was still quite high at that time.

I can't even claim myself to be one of the few who were into the band when they were nothing! My first encounter with Big Star was buying a 2-for-1 set which featured their first two albums - that must have been around 1978.

This boxset covers almost everything you might need from Big Star. All of the songs from their three albums from the 1970's are included, alongside other unreleased or hard to find songs from predecessor bands and solo activities. Most notable in the latter category are the tracks from Chris Bell's posthumous album. To cap this all of, the fourth disc features the three piece band in concert which, despite being a guitar down, still captures the verve of the songs perfectly as well as featuring a bunch of interesting covers.

I do say almost everything - whilst all of the songs are present in the case of #1 Record and Radio City some of the versions are alternative mixes or versions to that which appeared on the original album. Needless to say, the original albums have also been reissued so if you're feeling completist then these are needed purchases as well.

The music sounds terrific with the electric material having a bite and attack missing from previous versions, with the acoustic songs having a brightness and depth which makes them sound extremely contemporary.

The third album still has the ability to generate opposing views. In one sense, it's very different from the band that recorded the first two albums but, on the other, it remains a compulsive listen. Certainly, over the years Alex Chilton has struggled to even hint at the quality contained here. Poor Chris Bell didn't have the chance of a tilt at failure.

What's not included are the recent reunion album, In Space, or the previously released live material. This may offend the completist, but I think the golden era of the band is best served by keeping a little distance from material that, however enjoyable, doesn't compare in quality to their 1970's work.

Listening to the albums now, it does seem apparent that there was always an edge to the band which would always just knock the edge off mainstream appeal. That's probably where the longevity in these albums is sourced, and which made it less likely that there was much hope in them scaling the heights when the albums were first issued.

Film Review : The Soloist

There are some things outside of the tale itself that you can take from this film.

Firstly, that three films into his career on the big screen suggests that Joe Wright is a seriously major talent that we can look forward to delivering terrific movies over many years to come.

Secondly, that sobriety suits Robert Downey Jr who continues a fine run of great performances in this movie as journalist Steve Lopez.

And finally, that Jamie Foxx is an astonishing actor who has the gift of inhabiting the characters that he plays. In a role where cliche and stereotype might hover uneasily in the background, he creates a powerful and affecting portrayal of a man of great talents who is also blighted by mental illness.

The story itself revolves around the relationship between journalist Lopez and his chance meeting with Nathaniel Ayers, played by Jamie Foxx. Lopez' attention is grabbed by Ayers playing some repetitive but haunting music on a two string violin, and subsequently includes him in his regular column in the LA Times.

As Lopez finds out more about Ayers past, the story moves into the ambiguity about the growing relationship - with growing interest in his abilities via the reports, where is the line that crosses over into exploitation? And are the efforts to help him going to help Nathaniel, or does he even welcome them?

The positive response to the stories in Lopez column generate additional interest in Ayers, and Lopez seeks to assist him in pursuing his undoubted talent for music - he dropped out of Julliard when his mental illness overtook during his second year of study, retreating from his family and living a life on the streets with his possessions (and his life) contained in a shopping basket.

The developing relationship between the two characters is the fulcrum around which the story relates. It has the potential to be too maudlin or sentimental but it avoids this by avoiding any suggestion that there are easy answers to dealing with Ayers condition, and by making clear the many frustrations faced by Lopez as he attempts to do what he sees as the best thing for his welfare.

This film has not done well in America but it's easy to see why. There are no nice and comfortable happy endings (although the film does resolve itself but in a less overt manner) and it shines an uncomfortable light on the plight of the homeless and disadvantaged in American society, although this is a point that's not overly laboured (and more powerful for that).

This picture is based on a real life and Ayers sister has established the Nathaniel Anthony Ayers Foundation For The Gifted Mentally Ill. As you will see from the site, the story is a relatively recent one but no less powerful for that. I think the book on which the film is based beckons now.

Film Review : Surrogates

Occasionally you see a film where a couple of days contemplation allows you to consider the hidden depths in the ideas expressed, and to perhaps feel that a second viewing might be necessary to understand the complexities of the gripping story line. Surrogates isn't one of those films.

Which is not to say that it's not a perfectly servicable popcorn movie - but it's one that you can safely disengage the more distant parts of your brain when watching.

Bruce Willis plays.........well, he plays Bruce Willis as a police detective in a world where real life has been replaced by a virtual reality played through robots...or surrogates....which allow people to live their lives and do just what they want to do in a society that is almost crime-free.

Needless to say (and you can see this coming, can't you) things are not quite so straight-forward and real humans find themselves being killed via their surrogates, which had not been thought possible. Of course, Bruce is required to solve the mystery in typical Bruce fashion.

As seems to be a contractual obligation, Bruce's marriage is a little shaky and this (along with the protaginists reasons for his actions) form the human element of the story. However, what the film doesn't really attempt to do (and which might have run the risk of making it a bit too cerebral) was to consider the impact on the individual of living your life as what amounts to no more and no less than a fantasy. The human element revolves around two family deaths but which in themselves are no different from the tragedies we need to deal with in our own reality.

Having said that, the film was a perfectly enjoyable hour and a half of my life that I can't feel too bitter at having lost but it simply doesn't wrestle with enough challenging (or even unchallenging) ideas to raise it above that.

Film Review : Creation

There has been a considerable profile to commemorate the 200th anniversary of Charles Darwin's birth, and the 150th of his landmark book "On The Origin Of Species". Being the modern world that we live in, these events could not possibly be allowed to pass without a film being made. And so it has come to pass.....

Creation is a film less about the theories expounded in Darwin's book or the longer progression of his studies to reach the conclusion that he ultimately reached. It concentrates more on his family life and, in particular, the death of his daughter at ten years of age. This all happened when his studies were at an advanced stage, and seemingly played a large part in his reluctance to publish the book at all.

Whilst it is a very human tale - Darwin drowning his grief by retreating into science, whilst his wife does so by retreating into religion. It doesn't any kind of genius to see the familial tensions to be built up against the backdrop of Darwin's then controversial conclusions.

The Darwins are played by real life couple Paul Bettany and Jennifer Connolly and they play their parts well, with Bettany in particular excelling at communicating the torment that he feels. The real crux lies in the fact that they were cousins, and Darwin believes that this is a contributory factor to their daughters early death.

There's an engrossing tale to be told here but I'm afraid that this movie, whilst enjoyable enough, really doesn't engage sufficiently to really grab. There's insufficient backstory of Darwin's progression to this point, so at times the movie degrades into a science v religion tale which serves an injustice to the characters portrayed.

Music Review : Small Faces, Big Footprints

Of all the classic British bands from the 1960's perhaps the band who have been dealt the most unfair deck has been the Small Faces. Rather unjustly viewed as a mere forerunner for Humble Pie and The Faces by many, or just a vehicle of convenience for two of the finest singers to have been produced in these isles in Rod Stewart and Steve Marriott, their own more than ample achievements seem to lie unrecognised.

Although there has been ample footage of the band from their prime, it is only now that we are able to see a quality DVD which brings all of these together. (Of course, YouTube has made much of this familiar along with DVD-R's shared amongst fans). My point about their status as part of the bigger picture is rather confirmed by the fact that this appears as part of a series under the heading of "British Invasion" (alongside acts like Dusty Springfield, Herman's Hermits and Gerry And The Pacemakers - you see what I mean?). Nevertheless, beggars can't be choosers and this is a superb and long anticipated addition to my collection.

Made up of TV appearances (both live and mimed) including their now legendary appearance on Colour Me Pop playing the thematically linked songs from Ogden's Nut Gone Flake, it's a thrilling reminder of just how innovative and experimental the band were and just how many excellent songs they have committed to eternal memory.

The quality of the songs simply reminds you that the records (and primarily those recorded for Immediate Records) deserve to be recognised as amongst the best of the era. And sonically, they have aged extremely well - certainly better than much of the early Stones as well as The Kinks (who always did suffer from sub-standard production in their 60's pomp).

Regarded by some as perhaps a little insubstantial owing to songs like Itchycoo Park and Lazy Sunday, their case is much strengthened by songs like Tin Soldier, Song Of A Baker and Afterglow. All great slices of psychedelia at its' peak.

The great tragedy of the band is that in an era where older bands can tread the boards with dignity and respect that we won't get to see them again. Steve Marriott was killed in a house fire in 1991, whilst Ronnie Lane died of pneumonia in 1997 following many years fighting multiple sclerocis. They would both just have been in their early sixties had they lived.

Nevertheless, their bandmates Ian McLagan and Kenny Jones continue to wave the flag and talk both movingly and passionately about their departed colleagues. (I did get to see McLagan perform last year with his Bump Band at King Tut's in Glasgow. A superb evening including more than a few Ronnie Lane songs, and ending with my meeting the man to scribble his name on his most recent album. Ian's had his share of tragedy in the last few years having lost his wife Kim to a needless road accident).

The Small Faces matter. Get this DVD, and then get the albums. You won't regret it.

Read Even More About It...

I mentioned in my previous review of Sci-Fi/Fantasy magazines that DeathRay had encourgaed my interest in checking out its' sister publication Filmstar. (How do you tell if another publication is a sister or brother of its' companion? Answers on a postcard, please).

I had been well impressed with the approach and style of DeathRay and it looked as if many of the same, positive features were shared by Filmstar. Having bought and read most of the latest edition, I am pleased to confirm that it's every bit as good. I think the review and articles are fuller and more substantial than Empire (and that puts it miles beyond Total Film) and whilst it needs to maintain that quality has the potential to stand proudly alongside Empire with every possibility of overtaking it.

I'm not yet ready to drop Empire so this will be yet another magazine to add to the monthly haul, but it is a welcome addition.

Film Review : Dorian Gray

Oscar Wildes' tale of the perpetually young, handsome and charismatic Dorian Gray is well know to many people, and has been subject to many interpretations over the years. In an era of remakes and reimaginings it's no real surprise that another attempt to tell this tale is now showing in our local movie theatres.

Gray is played by the disgustingly handsome Ben Barnes who came to prominence as Prince Caspian in the second of the Narnia films. He starts the film as the young, impressionable man who inherits his family's wealth and who is introduced into society by the devilish Lord Henry Wotton played excellently by Colin Firth who delights in talking a good game but who clearly prefers setting up his young protege to walk the talk. Ably supported by Ben Chaplin as Basil Hallward who paints the legendary picture which will carry the fate resulting from Gray's life of debauchery.

The film is beautifully shot, and Barnes plays the lead character well from the impressionable young man through to the older (but identical) 45 year old who realises just how empty his life is despite the apparent benefits of eternal youth. Barnes is excellent in the later part of the film and he does generate the sheer emptiness of the life that he has lived and an appreciation of the damage he has done.

The whole story pivots around the relationship between the returning Gray and Wotton's daughter (played by the excellent Rebecca Hall). The one weakness in the film, and I believe this is in part to ensure that it retained an appropriate rating, is that Gray's debauchery is largely depicted as someone having a damned, good time. Indeed, you might imagine that these are the type of things that someone like Jack Nicholson is still getting up to although he looks every inch of his seventy-plus years.

Admittedly, murdering your fiance because she wasn't to keen on you playing away from home might be considered extreme, but it's not really an indication of the debauchery you'd expect in return for committing your soul to the devil. The murder of Gray's friend might venture nearer to this territory but there's any number of films that have characters murdered by friend in the interest of self-preservation that don't involve any paintings in the attic.

Nevertheless, despite this the film remains an enjoyable one that is carried by the excellent look of the film and series of performances which maintained this viewers interest for its' duration.

And my attic is way too full with CD's and DVD's to have room for a painting. So that explains why I look the way I do!

Music Review : The Beatles Remasters - Everything You Might Ever Need.....

Its now been a week since I've posted something on here. Whilst I appreciate that it's not necessary to get a note from a responsible adult to explain this absence, it is certainly appropriate in the context of this post to attempt to share with you the event that's been consuming much of my spare time (both in anticipation and participation)

Last week, almost unnoticed to the mass media, The Beatles back catalogue was reissued (along with a version of RockBand about which I confess to being absolutely unable to pass comment on) on CD. The albums were made available on CD in 1987 and, apart from some specific projects since then (Yellow Submarine Songtrack, 1, Let It Be...Naked, and Love) their canon has been allowed to wither on the vine somewhat as technology has progressed and allowed older recordings to shine in the new digital era.

However, it would be unfair to describe these new editions as something that allows the recordings to simply shine. What they do is completely reinforce the towering achievement of the band during their relatively brief recorded lifetime from 1962 through to 1970. They are that good, and anyone who is wondering whether purchasing something that you may already have is worthwhile, then think no more - it absolutely is, and may be the best purchase you make this year. Or any year, for that matter.

Those of you who are familiar with the original stereo mixes on vinyl will be well aware of the extreme panning that was present with it sounding like the singers and musicians were separated by the musical equivalent of the Atlantic Ocean. We were thankfully spared these on the 1987 CD's where the early albums were issued in mono. The new stereo versions do manage to fill out that chasm although the vocals are still noticeably off to one side (whether that's to the left or right probably depends on how your speakers are connected) but they do provide a vibrant and involving soundstage which was utterly absent on the vinyl.

The later stereo albums are simply superb with the White Album and Abbey Road revealing many hidden features that wasn't apparent on previous releases. None of this is to the detriment of the music, or your memories of it. Quite the opposite, and the White Album will almost certainly be the beneficiary of some revisionist thinking about its place in the Beatles canon.

The mono versions of the album - yes, I am one of those who indulged in both the stereo and mono box sets - are much punchier and provide a different listening experience. Not better or worse, just different. As such, I can just about justify the purchase of both boxes.

An additional bonus for the mono box is the delightful covers which are facsimiles of the original album covers. And not just that, there is also an appropriate dust sleeve (including the black sleeves for the White Album), inserts (yup, you've got the Sgt Pepper cut-out sheet and the White Albums poster and photograph) but perhaps the icing on the cake is the cover of Magical Mystery Tour with the booklet present and correct on the centrefold.

There's been considerable debate about the way in which the albums have been presented, not least about the availability of the mono versions only being by purchase of a boxset - the stereo versions are available individually. That will make things frustrating for those who can't afford such an expense and who would have preferred to be able to build up their Beatles collection more slowly. That was never an issue for me, though, and I was always committed to buying both boxes from the moment that the releases were confirmed.

Having spent most of my life with the work of The Beatles stamped on my DNA it would be fair to suggest that there are times when the sheer quality and consistency of their work has been taken for granted. These new editions mean, if nothing else, that they take their rightful place at the top of the tree. I, for one, will be spending many a happy hour reacquainting myself with the delights on these albums. And perhaps, despite my prodigious purchasing habits over the years, there really isn't any need for anything else to let you know all about what matters in music.

Film Review : District 9

This film comes with the legend "Peter Jackson Presents...." and as a lover of what he did with the Lord Of The Rings that was more than enough to guarantee my presence to see this at the earliest opportunity.

The premise of the film is that an alien ship comes to Earth and comes to a halt hovering over Johannesburg in South Africa. The occupants do come down but are herded into what ends up as a ghetto. After a couple of years, a decision is made to move the aliens to another site to take them away from the urban sprawl and the story tells the tale of the man appointed to lead the team after he has become infected by exposure to an alien liquid discovered during the team's searches.

One of the great strengths of the movie is that the theme of apartheid is ever-present but without being explicitly made. The parallels between the townships and the alien ghetto, together with the prejudice shown towards South Africa's majority population and the aliens (referred to as "prawns") are obvious and any overplaying of this would have been to the movie's detriment.

The film is presented with news and commentary throughout to place what happens in its wider perspective and works very effectively. The opening scene uses this to cover the appearance of the alien mothership and the history behind the creation of District 9 which takes you straight into the narrative having effectively filled out the required back story.

Sharlito Copley is excellent in the lead role of Wikus van de Merwe who is selected to manage the migration. He is a family man, but his position is complicated by his family connections as his father in law is a senior employee of the company responsible for the move. This inevitably plays out as the film progresses.

He tries to deal with the "prawns" in a manner which must have been reminiscent of earlier times in South Africa - a patronising approach but with the certainty that there is no option but to move, with the inevitable consequences that a refusal will bring.

The aliens are well-represented and integrate well into the surroundings - there's none of the usual sniggering that can take place when the humans and aliens share screen time. And as the film progresses, when Wikus has to fight alongside the aliens to protect himself, the emotional connection gets stronger as well.

This is a gripping tale and one that leaves room for a follow up should it be successful. I think that latter point is already taken as having been proven. The interesting thing is that there are a number of avenues that a sequel could take.

What is also clear is that director Neill Blomkamp (who also co-wrote the screenplay) is a man of considerable talent and on the basis of this film will be worth watching for in the future.

Film Review : (500) Days Of Summer

Interviewing Quentin Tarantino a few weeks ago Jonathan Ross asked him if he was a fan of romantic comedies - or rom-com's to use the preferred bastardisation of the language. To his surprise, Tarantino said that there were many films like this that he did like. However, he pinpointed quite accrurately the downside of all of these movies which is the inevitable final fifteen minutes.

The good news is that (500) Days of Summer is just such a beast but entirely lacking that inevitable final fifteen minutes. It's promoted as not being a love story, but a story about love and that just about hits the nail on the head. It could also be described as a rom-com for people who don't like rom-com's!

It's an utterly delightful movie with two characters (played by Joseph Gordon-Levitt and Zooey Deschanel) that you can really empathise with and a witty and sharp script with a number of twists and turns as it goes back and forth to view the characters at different points during the titular 500 days.

Gordon-Levitt has more than a touch of the late Heath Ledger about him, and there is a very apparent chemistry between him and Zooey Deschanel which further cements your belief in these characters.

The films goes through the highs and lows of a relationship and takes the audience on the ride as well. The audience at Cineworld tonight were certainly going all the way with the characters and as well as chuckles at all the right points, they clearly shared the disappointments along the way.

It would be difficult to provide much more information about the film without revealing more of the plot, and I think this is a film best seen without too much other than an understanding of the basic premise. But what I would stress is that this is a film that you should make the opportunity to see - it's warm, witty, sad, mournful and utterly life-affirming. And all with an indie-centric soundtrack (where The Smiths and Belle And Sebastian loom large).

Whatever you do, though, don't let any prejudice against romantic comedy stand in your way of catching this.

And I've got through this without making any salacious remarks about Zooey Deschanel!

Concert Review : Brian's Back!

It was little sort of astonishing to long-time followers of Brian Wilson when he started to tour again in the late 1990's. His retreat from the road in the 1960's as leader of The Beach Boys was a major part of his legend. As was the virtually abusive treatment by those close to him who frankly should have put their concerns for their wallets on the back burner rather than all but force a reluctant Brian back to the helm of the Beach Boys in the mid-1970's.

His return didn't appear to be lacking ambition - it was not long before he was touring concerts halls with an orchestra and performing Pet Sounds in all its' glory. Even then, the idea of him venturing outside of the USA seemed a little remote.

Times have indeed changed, and last night I saw Brian perform for what must be about the fifteenth time I have seen him lead his truly excellent band through their paces. That's encompassed seeing the aforementioned performance of Pet Sounds (albeit without the orchestra), watching him debut SMiLE after so many years and, most astonishingly, present a new album in the form of a concept album on Southern California which not only recalls some of his previous acheivements but manages to stand more than proudly beside them in the Wilson canon. Besides them a number of shows that merely claim to present his greatest hits seem almost routine.

His troubles with mental illness over the years are as well documented as his music. Indeed, it's unusual to see too many articles on the man that don't mention both. Over the years, Brian has given the impression of being an awkward performer leading some to speculate wildly that he's being badly advised in some way in performing as he has been doing. However, on the contrary, what I've seen over the last decade seems to be almost Brian taking steps in his own reconstruction by facing his musical past head-on and then moving beyond that to create new music of equal value to his consderable legacy. The change in the man has been palpable, but even now he does still come across as the adult child of yore, still full of enthusiasm about music and the impact it has on him. All the while as we marvel at the impact that his music has on us.

All of which acts as a long introduction to the fact that Brian presented himself to a loving audience at the Royal Concert Hall in Glasgow last night. After the artistic peak of the Lucky Old Sun tour (where I caught three shows one of which - in Edinburgh - was one of the best shows I've seen Brian give; by definition, that means it was the best concert I've ever attended) the idea of a greatest hits tour as this was advertised almost seemed like a let down but given that Brian is largely playing festivals whilst fitting some more regular concerts in between, we should consider ourselves lucky that he chose to bless Glasgow with his presence.

Starting off with California Girls, after an introductory blast of Lucky Old Sun, two things quickly became apparent. The band sounded as awe-inspiring as ever and when the first blast of harmonies from the chorus hit the soul soured with sheer joy. But Brian was very low in the mix and his vocals were difficult to make out.

This continued throughout the first half despite some shouts from the audience to turn Brian up. However, what was also noticable was how tired Brian was and, presumably as a consequence, he seemed more prone to switching off when he wasn't singing. It seemed like he was struggling to get himself "up" for some of the songs.

I had come to the conclusion that one of the issues with the volume of the vocals was that the mike was slightly too high for Brian's singing position. I did realise later that the mike was perfectly positioned - when Brian did, as he usually does, sit up his mouth was at the right position. However, he was slouching back in his seat for much of the time and this was at least a contributory factor. I have seen it recorded that an enquiry was made with the sound engineer at the interval and they were informed that he'd been asked to keep Brian down in the mix.

All in all, there were points in the evening where Brian simply looked uncomfortable. His long term friend and colleaue Jeff Foskett was more than usually attentive to Brian during the show. (During the past decade, a sign of Brian's increasing confidence has been his decreasing need to rely on Jeff's musical and physical presence, with the exception of those falsetto vocals that Brian can no longer reach).

All in all, this was the most inattentive I've seen Brian. I'm not going to speculate on the cause of this, but he did look very tired and prone to more errors than we've been used to - indeed, he had to stop Please Let Me Wonder and restart the band on the second verse. He also introduced a song out of its' planned sequence at the start of the second half.

Now did this ruin my enjoyment of the concert. To be honest, not too much. Given Brian's life and the sheer wonder of seeing him perform at 67 years of age I'm prepared to forgive him what was an off night for him.

In any event, his band quite noticably upped their game for the evening as did the audience who were noisy and exuberant. By the second half, Brian was responding positively and his own performance level was raised by a good few notches. The performance of Midnight's Another Day (from the Lucky Old Sun album) was a spine chilling moment with Brian's vocals pitched to perfection and aiming the song straight for the heart.

If I had any complaints about the song selection then it would be that there were too many of the early songs - Custom Machine, 409, Shut Down - when I'd have preferred some of the later Wilson classics. As ever with Wilson's immense back catalogue, that is simply churlish on my part.

Tonight, Brian and the band are performing in Liverpool. I rather suspect the current schedule might be a bit much for Brian and a schedule with at least a day between gigs might be more appropriate. He is, after all, 67 years of age and still has to fight a natural shyness and awkwardness that he's always exhibited on stage.

There's nothing left to prove for Brian Wilson. I know with a sense of certainty that when my son is regaling his grandchildren of the concerts he's seen that the fact that he's seen Brian Wilson many times (and at my expense!!) will mean something significant.