One of the greatest ever pop bands, never given their just critical due thanks to the lazy macho rockism of the ‘80s inkies.
They were sonic and political revolutionaries, as acidic as Gang Of Four but, you know, with proper singalong choruses. ???
Here’s a vid I made of the Mooer Ocean Machine.
Very highly recommended, whether you’re a guitarist or keyboardist!
Forgot to say…
When I did a promo tour for EMI Germany, I asked them if it was possible for them to introduce me to any of Kraftwerk, my fave ever band (they were on EMI too).
Well, I ended up having a lovely dinner with the EMI Germany peeps and Mr. Wolfgang Flür (seen drumming on the right here).
He was totally lovely, didn’t mind my outrageous fanboying at all. We talked about synths and electronic music, Stockhausen and Bauhaus.
One of the best nights of my life. <3
I just watched the long doc on the Eagles which was fascinating, in the way that all rock docs are.
You have the origin story, some kids sparking off each other, loving the music. Then they get success and become addled by the drugs and the sex and then, inevitably, along comes Mr. Creative Differences. Which, in the Eagles’ case includes hilarious recordings of them about to have a punch up on stage, in the middle of a bloody gig!
I’m glad they had Linda Ronstadt in there and gave her due credit. Too often, female artists get whitewashed out of rock history or relegated to the role of muse. I wonder if the Eagles would even had formed if Frey and Henley hadn’t toured in her band?
What made me a little sad is zero mention of Michael Nesmith. I hate the way that no-one talks about Nez as one of the originators of country rock. Ronstadt covered Nez’ ‘Different Drum’ way back in ‘67, with the Stone Poneys. If the doc could mention Gram Parsons, it really should have mentioned how important Nesmith was on that early scene. ‘Sweetheart Of The Rodeo’ was released in 1968, Nesmith wrote ‘Different Drum’ in 1965! There’s no way Henley and Frey were unaware of Nez’ post-Monkee solo country albums.
Otherwsie, how could you have ‘Midnight Flyer’ which is basically the Eagles ripping-off Nez’ ‘Nevada Fighter’ three years after it was released?
Reminds me of ‘Moi Lolita’ by Alizee and a certain ‘90s one-hit wonder…
I’m so happy to announce the you can now buy my new single, ‘Oh, David’ from this link at iTunes:
It’s also available on Amazon, Spotify and every other kind of digital doobrie.
I hope you like it, buy it and finance me finally getting that yacht! 😛
So, I finally had time to take some pics of the fanzines I have left from the earliest days of White Town and indiepopness around then. Possibly a couple are from ’89 but the rest are def early ’90s.
They’re amazing. The hard work and love popkids used to pour into making these is overwhelming now. No DTP, word processors, it was all Pritt Stick and Letraset!
Have a look at the gallery on Flickr:
As I was driving home from visiting my Mum (still feels weird that it’s just her, that my Dad isn’t there), Japan’s ‘Quiet Life’ came on in my car.
It was the long, 4.52 version, not the single edit. It’s a perfect pop single. The introductory arpeggiator over the drone note is lovely and spooky. Then the drums come in and they move and groove along with the bass and guitar chord strums.
Yes, the bass. Mick Karn’s fantastically ornate bass playing is the foundation of Japan. They’re all brilliant musicans and Sylvian was (and is) a truly gifted singer but as soon as you hear Karn, sliding all over the shop, then you know Japan is here. I can’t believe it’s already five years since he died.
Maybe I connected with this track tonight driving home because of my Dad’s death in April. I’ve been going back to a lot of music I loved as a kid, trying, I guess, to work out who I am as much as how I am.
Then, in the middle drop down, the bass goes. It’s just drums, synths and Sylvian. The sense of space here is enormous and when the bass comes back in, it’s such a rush, we’ve been in withdrawal.
The song ends as it starts, stark drums and synths with a sense of something fading into the distance. Like when you’re on a train and, for a while, a car matches speed alongside before a turn of the road takes it away from you and you’ll never see it again.
I’m enormously lucky in that I’ve had one hit record. 99.999% of musicians work their entire lives for zero reward or recognition. Then we have the bands that come and go and are then marginalised in the re-written histories of decades. Bands like Japan.
In our social media version of the ‘80s, mostly promoted by people who weren’t born until the ‘90s, I feel that Japan are unjustly forgotten. When I first saw ‘Quiet Life’ on TOTP, it was shocking, I was absolutely riveted to the telly. Obviously, I was only a kid so I was so in awe of these men, so elegant, so effortlessly fucking cool. The opposite of teenage me, so blubberous and unfuckingcool. As I grew older and delved into their catalogue, I found so much more than yet-another throwaway New Romantic band.
If you’re unaware of Japan, please take the time to check out all their albums, to see how they progressed from their punk roots into something wildly experimental, unafraid to lose any fanbase they’d built up in previous incarnations. Yes, that’s hard to believe now when every band’s “new” album is carefully vetted to be not too challenging, not too different to the previous ones. Let’s give the punters more of the same!
Japan didn’t do that. They carved their own giddy, joyous path through pop music, going where they wanted stealing and inventing what they needed as and when they needed it.
A great band, in any era.
I haven’t posted any Voix Bulgares for a while. And I do love them so! Their harmonies, their crazy interval leaping. The way the major sections break out like sunshine through clouds.
My parents always say they sound Indian but the truth is they sound Indo-European, which is hardly surprising considering they way language and culture ebbs and flows across Asia and Europe (or, as I call it, West Asia). The rhythmic bit at the end sounds so Indian my Dad always starts clapping along, bless him.
This next track is probably my favourite ever female lead vocal:
If I ever find a woman who loves this music as much as I do, I will propose. If they get it. If it makes their soul ache like mine does.
And now, I can’t leave this without the closest Brit equivalent I’ve ever heard:
4AD label-mates to Voix Bulgares, This Mortal Coil (which was basically a 4AD supergroup). Of course, SCOTTISH.
And now we’re back to TMC, we’re in firm goth territory and possible soundtrack music for your upcoming spoopy Halloween.
And I thought I’d be okay, that it’d be a standard-issue ‘origin/clip/weren’t they great’ cheesy doc. In some ways it is. But the last part of the show, where they show the post-Monkees careers and then talk about Davy passing away… man, that killed me.
I think it’s because I don’t remember a time not knowing The Monkees. I was a little kid when I first saw re-runs and I didn’t actually realise it wasn’t real. I thought that they were just a band!
Then, when I was a teen, I was embarrassed for liking them because they were officially uncool. It was only when I’d grown out of teenage conformity that I went mental on Nesmith and tracked down everything of his on original vinyl.
So many of my songs are Monkees / Nesmith rip-offs it’s incredible people haven’t said it before. I mostly get ‘sounds like Depeche Mode’ which is fair enough as I rip them off too. But, c’mon, I nicked the descending chord intro lick from Listen To Band exactly. And the melody line from As We Go Alongwas a… heavy inspiration *cough* to the first White Town song. And I nicked the bassline from Circle Sky pretty much note for note.
If you’re into music, I think everyone has an artist or band who they’ve grown up with, who will always be there and has become something more than art in their lives, they’re more like family.
For me, that’s what The Monkees are. Yeah, I love a lot of other ‘60s bands as well, Beatles, Stones, loads of Merseybeat and Stax and Motown. But because of that wild TV show, I kind of felt like I had four crazy older brothers who were immeasurably cool and handsome and talented.
I wish I’d seen them play live.
Yet another clip from Head and also some groundbreaking visuals for 1968. I particularly love the solarised and coloured sequences where they freeze-frame it on beat with the guitar break. I have tried so many times to rip-off the style of this sequence and never managed it yet: the editing is exquisite.
It’s also a wonderful history of how people danced back then. There are obviously professional dancers heavily featured but some of the party crowd look more casual and are just going for it. I love the bit where Davy shimmys across to the cute girl doing classic ‘60s arm moves / fingerclicks.
Finally, it’s another beautiful Monkees song that I can’t find anything to dislike about. The arrangement, the production, the lyrics ~ it’s perfect. Listen to that bassline from Lance Wakely … the way it interweaves with the electric guitar countermelody / lead break and the chunky, overdriven guitar chords is sublime. And the breaks where it shifts into ¾ but never loses pace: amazing. I always play this song to anyone I hear saying the Monkees didn’t write their songs, particularly as it’s a Tork song and he’s so often overlooked. As far as I can research, Tork plays all the guitar on this track. Can you imagine anyone from a current boyband doing something similar?
I need to watch Head again.
Actually, who are we kidding, I need to watch Head every day.