By Danny R. Phillips
The series America’s Music Legacy, with installments on Dixieland Jazz, Folk, Country, Soul, and others has the goal of documenting the foundations of America music. And with this chapter, “Blues,” they do a fine job.
Though it can seem slightly hokey and the performances painfully staged (the performances are set in “clubs” with “customers” in the audience; when the audience does get movin’, it still seems like they’re just playing a role), the real saving grace is the fact that this DVD focuses on the music. Despite the lack of energy and wildness that the blues should inspire and a spontaneous feeling of excitement that the genre can sometimes generate, there are some great performances by great players to be found.
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By Emily Carney
Don Letts, the director of the 2005 documentary Punk: Attitude, was the man who was most instrumental in bridging the gap between punk rock and dub reggae; without his influence, albums such as Public Image Ltd.’s Metal Box/Second Edition probably wouldn’t have existed, or have been as seminal. Letts made his first rock film, The Punk Rock Movie, in 1978; this effort, captured on a very of-its-time Super 8 camera, was quite murky and grainy, and even had a limited VHS tape release.
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By Jemiah Jefferson
“No obscure cheeses.”
—John Taylor, giving directions of what the band wants on its tour rider
The film opens on a very dry, very droll Nick Rhodes rejecting most of a series of recent photos of the band. We see that he’s joined with Simon Le Bon, just as dubious about most of the pictures, but he does helpfully supply, “I like the shape in the middle.” The empty space might have once been occupied by their departed band mates, Andy Taylor and Roger Taylor. Without even meaning to, this signals a new Duran Duran than expected by the legions of loyal global fans seduced by their mixture of surrealism, style, and raw sensuality, but accustomed to the five faces and iconic mops of expertly teased hair.
This is Three to Get Ready, the 1986 documentary depicting a band all too aware of their market share, refusing to be fractured, and yet straining towards expressing the creativity embodied in the core members of Le Bon, Rhodes, and the remaining Taylor: John, a former art student, lover of punk rock and disco, and at this time, in the grips of raging cocaine and hashish addiction yet no less tenderly gorgeous as he manifested in the earliest days of Duran Duran (and was barely out of his teens).
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By Christian Lipski
Each new documentary about Brian Wilson or the Beach Boys adds another drop to the ocean of product already available. Many of them are the same old story, with poorly-researched information and no original music. This is most certainly not the case with Brian Wilson: Songwriter 1962-1969. At three hours of interview and analysis spanning two discs, the new release from Sexy Intellectual stands head and shoulders above its peers.
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By Danny R. Phillips
It would’ve been easy to make a documentary about The Rolling Stones’ golden age (Let It Bleed, Sticky Fingers, and Exile on Main Street) completely flattering and slanted. That is not what the makers of this DVD did.
They recognize glaring mistakes (the two or three albums past Exile) as well as acknowledge The Stones’ experimentation and expansion into country, due in no small part to the presence of guitarist Mick Taylor (who had just left The Bluesbreakers) and Gram Parsons (The Byrds and The Flying Burrito Brothers) and his own fast friendship with Keith Richards as both drug buddy and musical touchstone.
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By Less Lee Moore
I Need That Record! purports to be a “documentary feature examining why over 3,000 independent record stores have closed across the US in the past decade.” But it’s much more than that. In truth, the film does a splendid job of not only showing the causal links that led to this somewhat alarming situation, but also asking, answering, and ultimately, allowing its viewers to weigh in on what this really means.
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By Adam McIntyre
“Why music?”
The Heart Is A Drum Machine attempts to answer that question in several ways with testimonials from musicians, actors, scientists, and doctors. Bookending the film are two little pieces with Ann Druyan, producer of the Cosmos television series (starring her husband, the late astrophysicist Carl Sagan) and the human responsible for choosing the music on the Golden Record included during the deep space probe of Voyager. Even if you don’t believe in life on other planets, including this record on Voyager is a gesture of poignant optimism; it’s entirely likely that the record would be damaged or misunderstood in purpose when discovered.
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By Christian Lipski
Muse: Under Review is a retrospective of the British rock band’s career since its start in Teignmouth, UK (and thank you for showing me how that is pronounced).
It’s an unauthorized biography, meaning the members of Muse did not contribute or endorse the material. Immediately, I’m assuming this means no music, no photos, and no new information, which was the main problem with earlier documentaries like Muse: Manic Depression.
Happily, I was well mistaken here. The DVD is filled to the brim with clips from videos and live performances, behind-the-scenes photos, and interviews with music journalists and key participants in the band’s rise. It’s two hours of in-depth study which should make the band’s fans glow with satisfaction.
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By Noreen Sobczyk
File under “seemed like a really good idea.” This film, which played Sundance in 2005, was essentially promoted as a tale of awkward high school students and their escapades of embarrassment. But it came off more like indie hipsters trying hard to act like awkward geeks in situations the director/writer (Ben Wolfinsohn) thought were terribly clever. As it happens, the film features members of No Age, Mika Miko, and Lavender Diamond. There was also a short cameo by Mike Watt (Minutemen).
It’s a bare bones budget film inspired by a short which is included in the DVD bonus features. Unfortunately one of the most clever moments of the film was extremely similar. Also unfortunate: the film is cast with actors who seemingly never bothered to learn to act. And the viewer is therefore never drawn in enough to forget they are watching a film. Perhaps the director is a fan of the punk rock film Suburbia (cast with local punks), and was emulating the same vibe achieved there by Penelope Spheeris. Or he might have been aiming for the kitschiness of Dave Markey’s Desperate Teenage Lovedolls. Odds are it was a riff on Napoleon Dynamite and Freaks and Geeks. High School Record falls short on all accounts.
This mockumentary opens with a performance by a male/female guitar/drums duo who made me curse the existence of The White Stripes. This band decides to film their art school classmates for a documentary which focuses chiefly on four high school seniors and their clumsy attempts at popularity and sex. The strongest component of the film is the short lived relationship between Sabrina and Caleb. Their dynamic is unique, engaging, and simultaneously painful to watch. Sabrina isn’t interested in Caleb’s attempts to make a space age cooking show for kids, and is embarrassed when he sports tinfoil shorts to school. That moment might have been brilliant if its intended effect weren’t already perfectly achieved by the donning of an infamously ridiculous polyester jumpsuit by Sam on an episode of Freaks and Geeks.
Overall, the film had several eclectic and funny moments. The trouble is that they were stretched out over 89 minutes chock full of unsuccessful gags and slow periods. Had the film been limited to 60 minutes, and the participants been a bit less precious, it may have been more successful.
You may order High School Record directly from the Factory Twenty Five website. You can also check out images and a clip from the film there or watch a trailer on YouTube.
By Less Lee Moore
For a discussion of the music on Limb, please read my review here.
JG Thirlwell has been making music since 1978. . .
He is a singer, a producer, a musician, a composer and a graphic artist.
From the intro to NYC Foetus, directed by Clément Tuffreau
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