I am 99% sure that I was in attendance at this Big Black show at CBGB’s on July 13, 1986.
I saw them play around this time at CB’s and this must be that very same gig. I recall it being hot as fuck that night and that the set was a scorcher, too.
1. Clear Out!
2. Fists of Love
3. Big Money
4. Passing Complexion
6. Pigeon Kill
7. The Ugly American
8. Kerosene (stopped)
9. Kerosene (with Mission of Burma/Volcano Suns’ Peter Prescott on drums)
10 Rema-Rema (with Peter Prescott)
There have been versions of this video on YouTube before, but this one, uploaded by Greg Fasolino, the guy who shot it is the best quality, by far. You can practically smell the stale beer and the BO.
Everything about this video sucks so wonderfully that it kind of made my day. Former roller blade hotshots, London Boys perform “I’m Gonna Give My Heart” as though they’re in a Eurobeat production of Li’l Abner choreographed by Twyla Tharp. And the dazed and confused keytar player looks like he just went jogging with Sid and Marty Krofft after a long hard night night of pufnstufin’.
Some of my enjoyment of the video was muted in discovering that the two members of London Boys, Eden Ephraim and Dennis Fuller, were killed in a horrible car accident in the Austrian Alps in 1996. But they will be immortalized in this video as two very happy campers dancing in their own radiant universe.
I hope this sends you into your weekend with a big fat grin on your face.
This 1983 interview with Bryan Ferry from Japanese TV is rather beguiling, in a weird way, for several reasons: the placid cluelessness of the interviewer (Tokyo’s Andy Warhol?), Ferry’s ability to keep the conversation moving, despite talking to a blank stare, and his ultra-cool movie star style. Ferry would have made a terrific James Bond.
The low-fi black & white video quality of this 1980 Clash concert doesn’t detract from the enjoyment and in fact may even enhance it (the soundboard audio is top notch).
Complete Clash shows are rare enough, but this also happens to be an especially great (and super energetic) Clash gig with one of the best set lists of any of their tours. Plus Blockhead Mick Gallagher on keyboards. PLUS dub legend Mikey Dread (how much footage exists of The Clash together with Michael Campbell?) and two encores. What more could you ask for?Listen LOUD.
Shot (with at least three cameras) at the legendary Capitol Theater in Passaic, NJ on March 8th, 1980.
Clash City Rockers
Brand New Cadillac
Safe European Home
Guns of Brixton
Train in Vain
White Man in Hammersmith Palais
I Fought The Law
Police and Thieves
Julie’s Been Working on the Drug Squad
Complete Control ————————————-
Armagideon Time (ft. Mikey Dread)
English Civil War
Bankrobber (ft. Mikey Dread)
Between Marc and Richard’s recent posts on old skool local New York TV, I’ve been combing the mulch pile of my memories from back in the day and what popped to mind was Howard Stern interviewing Iggy Pop on his old Channel 9 (“superstation” WWOR) show.
It is… amusing, of course, but what’s particularly interesting is how Iggy just cringes at the mention of Angela Bowie, who in turn shows up with (interestingly enough) David Bowie’s longtime producer Tony Visconti and his wife May Pang, one-time mistress of John Lennon. Iggy plays “I Wanna Be Your Dog” but at the prospect of being “face to face” with Angie, he makes like a banana and splits!
Here ya’ go:
Also from that very same episode, the regular feature, “Homeless Howiewood Squares,” featuring Underdog Lady, “KKK Guy” (who had a name, but no one really cared) and longtime Match Game host Gene Rayburn, who must’ve been really hard up for work by then… Note how fascinated even the contestants are at hearing KKK Guy’s nearly incomprehensible theories about racial superiority.
If you’re not familiar with Howard’s work, it’s easy to just write him off as a “shock jock.” Hell, you’d be right to do so (obviously this is trying to be offensive and succeeding in a big way. Regular segments like “Guess the Jew” and “Lesbian Dating Game” weren’t subtle either.). BUT, there has always been an almost surreal element to Howard Stern’s shtick and, more importantly, a very “New York” context that caused such bizarre television to follow a sort of odd calculus of humor.