This is a film about Austin Osman Spare, perhaps the greatest artist ever to be ignored / overlooked / considered too weird by mainstream art history. Spare’s work embraced religion, the occult, sex, magic, atavisms, ghosts and cockneys in ways never fully understood, or adequately appreciated.
It doesn’t have a title, yet.
What it does have, and is gaining more of (perhaps as you read this) is footage of Spare’s extraordinary artistic works along with the South East London urban sprawl that he made his home, plus interviews with foremost authorities / experts / fanatics.
Discovering Spare is one of the most rewarding art appreciation experiences there is. When completed this film will stand as a pretty good first step on that journey.
The not so magical powers anti-tax activist Grover Norquist wields—or at least did wield—over the Republican Party gets satirized by painter Michael D’Antuono who depicted Norquist as a Wizard of Oz-like charlatan:
“He is the lobbyist whose Svengali-like control over the GOP has forbidden them to end the Bush tax cuts for the rich, creating unprecedented gridlock and putting them in a very ‘uncompromising position’ negotiating the fiscal cliff.”
Why do (did?) the Republicans all fear crossing this asshole, anyway? He’s not even rich!
If you don’t know who this guy is, watch this infuriating 60 Minutes story about Norquist and his stranglehold on the GOP from last year.
Okay, so it’s “Cyber Monday” and also ‘tis the season for all the record companies to start releasing those deluxe, super deluxe, ultra deluxe, etc, box sets of classic rock albums. These can range from essential to silly, often within the same box (what was on the discs of the Pink Floyd Immersion box sets last year was truly excellent, but the stupid Pink Floyd drink coasters and Dark Side of the Moon marbles (marbles???) were, perhaps, uh, less essential). When box sets seem more like they were put together by marketeers, rather than by actual fanatical fans, it really shows.
The “Heroic Overkill in a Classic Rock Box Set” award—not that there is anything wrong with giving the folks who actually pay for their music more, rather than less—this year probably deserves to go to the 15 disc box set of the 1973 King Crimson classic Larks’ Tongues in Aspic. (Overkill it may be, though I’ve heard few King Crimson fanatics complaining about getting their money’s worth from this monster).
Another release this year that (almost) gets it perfect, is UMe’s new 45th Anniversary Super Deluxe Edition of The Velvet Underground & Nico. I can’t imagine this one not being nominated—and winning—a Grammy for best archival reissue, or box set, but it could be in a number of categories, including best design and best liner notes for VU expert Richie Unterberger’s exhaustively detailed extended essay about the recording of the album and its bad-luck plagued initial release in 1966.
I always approach these things with skepticism. Do I really need to buy an album, AGAIN, that I’ve owned on LP, CD, as part of the Peel Slowly and See box set and that I passed up when it came out again in 2002, in an edition supposedly better than the version on the box and blah, blah, blah? Is it worth the money is how I try to approach “reviewing” something like this (who gives a fuck what I or anybody else thinks about this music, it’s beyond having an opinion on). Actually, since I don’t even have to pay for music and DVDs anyway, I get review copies of pretty much everything I want, I think that makes me slightly more difficult to impress.
Additionally, I bought my first copy of The Velvet Underground & Nico—actually my grandmother bought it for me—in 1976, when I was ten. I’d read about the Velvet Underground in CREEM and I pretty much graduated from James Bond soundtracks to Ziggy, Iggy, the VU and Never Mind The Bollocks in one fell swoop. Obviously I was a child, and like most children, I didn’t have all that many records, so at the time I was initially exposed to The Velvet Underground & Nico, it was one of maybe a dozen or so records I owned. I’m not trying to convey how hip of a little kid I was, it’s just that this an album that I have listened to over and over and over again, so many damned times that I didn’t think it was something I’d ever want to listen to for pleasure again. I’ve pulled out this album very few times in the past 25 years. It’s never the one I grab when I want to listen to the Velvet Underground (that would be the VU collection, for me).
So why is this box set so great, you’re wondering? Well, for one, it’s pretty definitive. I think it can be predicted, with confidence, that this is probably the very, very last time that The Velvet Underground & Nico will ever be re-issued on a disc of any sort (maybe there will be a Blu-ray in the future, but what would be the point of that?). Truly, longtime Velvets A&R man Bill Levenson and Sterling Sounds’ Kevin Reeves have been able to tease out sonic nuances from the master tapes of both the stereo and mono releases of the album and there are slight variations and single edits and things like that, included, some more commonly heard than others. The selling points of this set have little to do with the album as we know it, however, and everything to do with it being the first official release of the now legendary Scepter Studios sessions as discovered on the “Norman Dolph acetate” found at the Sixth Ave Flea market in New York in 2002.
The acetate (a glass test record) was cut of the original five day VU recording sessions at the near derelict studios belonging to the Scepter Records label in 1966. These sessions were paid for by a Columbia Records sales executive named Norman Dolph (who I’ve met—we both collect Paul Laffoley’s art—he’s a fascinating guy) and Andy Warhol. As heard on disc four of this new box set—in the cleanest version you’ll ever hear—the Scepter Studios sessions is a true revelation—white light, white heat, even!—for any aficionado of the Velvet Underground, even the most jaded ones, like me.
It’s a show stopper. Some reviewers call the differences minor, but I don’t think so…
Truly, I’d have never thought that I could get into this album again with fresh ears, but that really has happened, via the Scepter sessions. I’ve been listening to it obsessively for about a week and just digging the fuck out of it.
Five tracks are the same, although there are different mixes, three entirely different takes and several vocal changes. Since it’s likely that when these same multi-tracked tapes were taken back into the studio at TTG in Los Angeles for finishing, the original performances were probably recorded over: Lou Reed’s falsetto backing vocals on “Femme Fatale” for instance (in the version we know he sings low and flat). “Heroin” features a far more frantic, crazed viola from Cale and even starts off with a much different opening line, giving new meaning to the lyrics (John Cale wrote of being infuriated at the change in his autobiography, now we can hear what he was so pissed off about.) “European Son” is two minutes longer and although the take is different enough from the final version known on the album, it’s pretty amazing to hear just how well-rehearsed that ear-splitting cacophony actually was! That this was “lost” for so many years, and now can be heard like this, well, it’s pretty extraordinary, it really is.
The set also included a loose 1966 rehearsal tape recorded at Warhol’s Factory on January 3, 1966 and a nicely cleaned up version of the only decently recorded performance of the band with Nico known to exist, live at the Valleydale Ballroom in Columbus, Ohio on November 4, 1966. Part of this recording, the menacing, amorphous jam “Melody Laughter” was previously excerpted on the Peel Slowly and See box set. It’s much (much) better than The Quine Tapes if you are wondering.
Additionally, there is a remastered version of Nico’s Chelsea Girl album, which seems appropriate to include here. The odds of that one seeing a sonic upgrade its own were kinda slim, so I’m OK with that.
The only place where I feel the 45th Anniversary Super Deluxe Edition of The Velvet Underground & Nico falters in any way is the failure to include the FINAL piece of media that would have made it a totally perfect box set of the 66-67 Nico arc of the band’s career, and this is the sole sync-sound audio-visual document made of the Velvet Underground and Nico, the Warhol (or Paul Morrissey) shot 16mm film Symphony in Sound.
The film, made to be screened behind the band onstage during their Exploding Plastic Inevitable “happenings” is honestly pretty dull. It goes on for a LONG time with not much happening besides a drony primitive jam and a frenetic camera zooming in and out. Nico is there (with her young son Ari) but she’s not singing, just hitting a tambourine. Lou doesn’t sing either. At one point the camera droops on its tripod and no one readjusts it for quite a while. So it’s boring, most Warhol films were boring—Warhol himself always said his movies were better discussed than actually seen—but it is the freaking Velvet Underground playing live on camera for what is probably the ONLY time during their original incarnation, so it would have been worth including here for that reason alone.
You can watch Symphony in Sound below. If you can get over how dull it is, it’s actually pretty fucking cool. In the later moments, when the cops show up due to a noise complaint, Warhol has to deal with them himself.
So, what more can I say about this 45th Anniversary Super Deluxe Edition of The Velvet Underground & Nico It truly is the killer diller item that you want it to be (it also is a no-brainer Christmas gift for that middle-aged rock snob on your shopping list). Worth the cost? I admitted above that I didn’t pay for mine, but if I had, I would feel, for sure, to have gotten my money’s worth (there’s also a 2 CD merely “deluxe” edition that has the Dolph acetate and the Factory rehearsals on the second disc). I mean, this is it, this is THE final version that will probably ever be released of this album. If it’s important to you to have an item like this particular classic rock trophy on your shelf, you will most assuredly not be disappointed by the 45th Anniversary Super Deluxe Edition of The Velvet Underground & Nico.
“The Black Angel’s Death Song” live at the Valleydale Ballroom in Columbus, Ohio on November 4, 1966:
Packaged highlights of Roxy Music in concert at Konserthuset, Stockholm, as recorded by Swedish Television on January 27th, 1976.
01. “The Thrill Of It All”
02 “Mother Of Pearl”
04. “Out Of The Blue”
05. “Street Life”
06. “Diamond Head”
07. “Wild Weekend”
08. Band Introduction
09. “The In Crowd”
10. “Virginia Plain”
11. “A Hard Rain’s A-Gonna Fall”
This concert was available as a bootleg within days of its performance, and has been a staple of the unauthorized Roxy catalog ever since. The concert was considered solid and workman-like at the time, but now it looks bloody marvelous.
Bonus…Bryan Ferry on his latest album ‘The Jazz Age’, after the jump…
One of the great things about djing “oldies” music sets is being able to dig out obscure gems like this, a 1968 non-hit for the girl group The Flirtations, that has gone on to be regarded as one of the touchstone records of the Northern Soul movement.
Northern Soul is/was a revival of obscure and forgotten 60s soul music that happened in the North of England in the mid-1970s. What sets Northern Soul apart from other kinds of soul (Southern Soul anyone?!) is the dance-ability of the tracks, which are usually up tempo and with prominent drums (expect lots hand clapping, which the audience can partake in.) All night dancing was the major motivation behind Northern Soul, and key to the success of renowned clubs like the Blackpool Mecca and the Twisted Wheel in Manchester.
The Flirtations were three women from South Carolina who moved to the UK in the late 60s to record for the Deram label. Unfortunately, none of their records were major hits, even though history has looked on some of them very kindly indeed. Like many from the Northern Soul scene, they moved into making Hi-NRG in the early 80s, cementing the connection between the Northern Soul dance floor of the 70s and the burgeoning gay scene of the next decade. “Nothing But A Heartache” is perhaps their “signature” tune, and is crying out for use in a Quentin Tarantino or Spike Lee film. It simply oozes DRAMA.
I never knew this video existed until very recently, and it’s a beauty. SImple and elegant, and set in a ruined abbey, be prepared for multiple replays of this wonderful track:
Just in time for the Aztec calendar to run out (and let’s not forget Christmas, of course) comes Elvis Died For Somebody’s Sins But Not Mine, a collection of Mick Farren’s primal ‘up against the wall, motherfucker’ style of rock and roll polemics. One man’s literary life spent railing against the machine lives between these covers. The hidden history of the twentieth century and beyond. He was there and you weren’t. Listen up, children!
Within these pages you’ll meet the likes of Frank Zappa, Johnny Cash, Chuck Berry and Gore Vidal, and steam open correspondence between the author and Pete Townshend. And, much more importantly, you’re about to go one-on-one with a world-class raconteur… If this kind of mess-around seems like your cup of meat, then prepare your relaxant of choice, kick back and dig in. The greasy ’oodlums are at your door.”
—Charles Shaar Murray (from his foreword)
About the Author:
Mick Farren was born on a wet night at the end of World War II. During his long, occasionally hallucinatory, and sometimes hell-raising career, he has published twenty-two novels (including The DNA Cowboys Trilogy). He has also published more than a dozen non-fiction works on topics that range from music to drugs to conspiracy theory (including Give The Anarchist A Cigarette). An unreconstructed rock & roller, he continues to function as a recording artist and songwriter. He has also made detours into anarcho-agitprop like editing the underground newspaper IT, and defending both his liberty and the comic book Nasty Tales through a protracted obscenity trail at the Old Bailey.
He was part of what is now called (by some) the NME golden age, during which time he helped explain punk to people who still thought Rick Wakeman had merit. As a lyricist, Mick’s words have been sung by Metallica, Motorhead, Hawkwind, Brother Wayne Kramer, the Royal Crown Revue, and the Pink Fairies.
Publisher Headpress are offering a very limited stamped, numbered and signed deluxe edition hardback of Elvis Died For Somebody’s Sins But Not Mine, only available from their website, and for the special price of £28 until December 3. There’s also an unsigned hardback edition selling £20, but I sez get yours autographed. Why regret not getting it signed?
And just in case you were wondering, here is a list of the drugs found in Elvis’‘s body when he died, included in the book as a piece of found poetry:
Codeine—at a concentration ten times higher than the toxic level
Morphine—possible metabolite of codeine
Methaqualone—Quaalude, above toxic level
Phenyltoloxamine—Sinutab (a decongestant)
Below, Mick Farren talks about the underground press in London with John Peel in 1967.