Monday, July 08, 2013

Face '83: Gwen Guthrie

So time to take another quick dip into The Face's best recordings of 1983, in a bid to decide if The Face, or the cruel hand of history, is a better judge of music.

It seemed like a good idea at the time.

The Face is 11-7 up on its calls so far, as we pick up Gwen Guthrie's Portrait album.

This was three years before Guthrie's statuesque Ain't Nothing Going On But The Rent, so it was a strong early call from The Face.



Guthrie died in 1999, and surely is due some sort of critical revival by now.

Face 12; history 7.

[Part of The Face's best recordings of 1983]


Katy Perry settles her bad hair deal

Katy Perry has come to an agreement with GHD after she was convinced they'd "verbally extended" her contract as face of their hair products (spokescalp?), and they were equally convinced they hadn't.

Perry had been looking for two million dollars; it's not clear if she's getting any cash, but GHD would probably view that anything they have to pay out is worth the ability to issue perhaps the cattiest statement in legal history:

But the company disputed the agreement ever took place and insisted it wanted to cut ties with Perry as soon as its original deal expired because its research suggested she is no longer as popular in Europe as she once was.
Don't you think she looks tired


Gordon in the morning: Gallagher rumbles on

Good news for Gordon - so far, it looks like Dan Wootton hasn't been given any more days of the week to be in charge of showbiz.

This means Gordon can turn again to that battle of wits, or portions thereof, between Liam Gallagher and Robbie Williams.

About six years after Williams had the last word, Liam has come up with a response.

You might recall Williams suggested that Liam think about adding choruses to his song. Sadly, Liam's not going to take that lying down:

“We didn’t make a record to satisfy some requirements, this was our project. Robbie Williams said the record’s good but the songs have no chorus. I’d rather shoot myself in the balls than follow his advice."
Just the balls, mind.

The idea that Beady Eye sprang from some sort of project, almost deconstructionist in its scope, to satisfy no requirements is a surprise. You'd have expected something a little more astonishing if that really was the case, but maybe it's like when you first let rescue birds out a cage, and they just hang around where they know because they don't know how to roam free.

Sorry, Liam, you were saying?
“I do not listen to other music, so I don’t get my inspiration from anybody else, but maybe I should buy an iPod.”
An iPod. Bless. Maybe he'll look into buying a fax machine and getting Ceefax too.

But Liam, your claim that you don't listen to other music is a lie, and not even an interesting one, given how you were praising Emeli Sande the other day.
Meanwhile, Beady Eye have been asked to change the cover of their record because it has nipples on it.

Liam pretends to be anything other than delighted that anyone has even noticed he's got a record out:
Liam said: “Everyone has nipples, they could have put tape on it if they had to.”
... after all, it's not like any shop is going to have many copies; it'd only take a minute or so, right?

I think the real tragedy for Liam is that, if there has been an angry battle being fought over the oh-so-obvious 'put a tit on the sleeve, generate some publicity' move, nobody seems to have noticed that, either.

Gordon concludes this dash through the mind of Mr G by capturing his reaction to the cool response to the album from people who got past the sleeve:
He’s also not been best pleased by some of the reviews it’s had.

He added: “Ultimately the only thing I care about is how people react to the live shows.”

Good mantra to live by.
It's not really a good mantra to live by, though, is it? I suppose many bands past their prime do continue to make a decent living from touring, but given that Gallagher is already edging into "and do you have a smaller auditorium available" booking territory, "making a record which sells some copies" might be a better mantra to live by.

Still: Liam doesn't care what people say about the record.

Which is surprising news, since about four paragraphs back he was preparing to shoot his own balls off in response to, erm, Robbie William's capsule review.


Sunday, July 07, 2013

Face '83: Evelyn "Champagne" King

There was a lot of this sort of thing around in 1983. There was a lot of this sort of thing on offer in The Face's list of best records.

It's not bad, it's just, when you look at what it is a very long list of records, and start wondering why nobody thought a spot of editing was called for, you can see this being struck through in front of your very eyes.

Still, here's Evelyn doing her thing on Soul Train. It's worth remembering that this song, Get Loose, was not set in space, or the future, or a nuclear facility. Pity Eve didn't remember that when picking her outfit.



[Part of The Face's best recordings of 1983]

We'll be rejoining the project tomorrow, with The Face's judgement scoring 11 against the judgement of history's 7.


Face '83: Rufus & Chaka Khan

Somewhat missing the point, the Rocklist list for this credits Rufus but makes no mention of Chaka Khan, which you've got to hope is an error in translation rather than a mistake in the Face's original.

This is unquestionably great. Apparently it nearly ended up as a track on Thriller, but Quincy Jones was too slow and by the time he asked, it had been promised to Russ Titelman. You wonder which of the makeweight tracks on Thriller would have been tossed overboard to make room for Aint Nobody if Jones had been quicker - one suspects Paul McCartney could have safely saved a journey to the recording studio.



The Face's judgement 11; the judgement of history 6

[Part of The Face's best recordings of 1983]


Face '83: Was (Not Was)

1983's version of Out Come The Freaks was the second of a none-more-Douglas-Adams four-part trilogy. It came two years after the original, but was the first of the sequence to reach the UK chart. Although only 41.

Whether you think this was a wise choice for The Face or not depends entirely on how you feel about Was (Not Was). Personally, I think they tended to produce work that you'd expect would be better for all that over-thinking, but I guess that that is why I'd probably never be invited to write for i-D or Blitz. A narrow victory to The Face, I think.

10 - 6.



[Part of The Face's best recordings 1983]


Woot-ton: Dan returns to News Of The World, replaces Gordon Smart

Not that The Sun On Sunday is really the News Of The World or anything, but the title The Sun supposedly isn't keeps breaking through the carapace.

Dan Wooton's useless News Of The World showbiz column is returning to its old home.

Up until now, Gordon Smart had been offering up a seventh slice of Bizarre in the Sun Of The World; but it seems David Dinsmore has decided that Sunday readers deserved something a bit more meaty.

Dan Wootton had been showbiz editor of the News Of The World when it pretended to close following revelations of just how vague its grip of ethics was.


Face '83: Kashif

I Just Gotta have You. Is Kashif's song, with thirty years of hindsight, still able to hold its head up high?



Oh, yes. That's still pretty damn proud.

The Face 9; History 6, as we take another break from the proceedings. We'll be back to 1983 later.

[Part of The Face's best recordings of 1983]


Face '83: Fonzi Thornton

We hit here a slightly fallow patch - given that it's virtually impossible for find Ruby Turner's Every Soul, or June Pointer's Don't Mess With Bill, online (there's a shit remix of one of the latter), let's give The Face the benefit of the doubt, and assume the originals were so glorious they ascended to heaven. 7-5.

Then there's David Bowie's Let's Dance. Not the greatest piece of Bowie's work - though, clearly, not the worst by quite a distance. Erring on the side of generosity, let's applaud The Face for supporting Bowie when a lot of popular opinion had written him off, shall we? 8-5.

Which brings us to Fonzi Thornton. A man whose Wikipedia entry kicks off with a great list of the people for whom he has provided backing vocals, while pushing the times he was at the front of the stage to the bottom of the page.

Mind you, all that work helping out others paid off when he came to make The Leader (the whole album is the Face's choice); he pulled in a bunch of favours and wound up with Luther Vandross, Nile Rodgers and Bernard Edwards, Jocelyn Brown and Kashif fleeting across the surface of the record.

It's possible that the starry cast blinded The Face to the shortcomings of the record. Thornton has gone on to appear on more than 120 further albums; only on one other occasion did he get top billing.

The Face 8; History 6.



[Part of The Face's best recordings of 1983]


Face '83: The Clark Sisters

Ten years into their career, You Brought The Sunshine was the Clark Sister's biggest crossover hit; it came at a tough time as their decision to consort with mammon by playing the Grammy awards left the group detached from their church, and their mother.

Gospel experts insist that there's a distinct "Clark Sound", which might be the case if you listen to a lot of gospel music, but I'm not convinced.

Still, a song which caused a mini-Reformation style spasm in a church has to be treated with respect.

Face 6; History 5.



[Part of The Face's best recordings of 1983]


Face '83: Tina Turner

If you're just joining us, this is a rather long-haul project which is pitting the judgement of The Face magazine against the judgement of history. It's all about trying to establish if the Face was able to spot style in 1983 or not. Or something.

We left off with the score at four-all.

Let's leave unembedded Kiss FM Mastermixes Vol. II - because if you're a style guide, no matter how good a compilation album is, it's like opening a pop-up restaurant to host somebody else's tasting menu. 4-5.

Which brings us to Let's Stay Together. Tina Turner.



Back in 1983, Tina Turner was quite something. She'd skilfully executed a come-back in the face of quite some serious "squawking granny" hostility (people who think the gentle-joshing the Stones get is real agism should dig out some of the cuttings) and two enormous flop albums; and there was this - a perfect rereading of an Al Green song.

Sure, it was about to go to shit. A couple of years down the line, and the empty bombast of Simply The Best would see her extract maximum rewards from a lazily-adopted tune beloved of every shitarse furniture store and struggling sports team, while burning through goodwill as every repetition chipped away at the hard-won respect.

In 1983, though? This looked like an example of how to rebuild sales and status.

The Face 5; History 5.

[Part of The Face's best recordings of 1983]


Face '83: Animal Nightlife

Oh, god. This is what people tend to forget about The Face - it had a sharp eye for dance music, and could run a wry ruler over pop with the best of them, but it had a fatal attraction for lumpy British soul. Any band turning up in Carnaby Street with a roll-neck sweater and a saxophonist on the payroll was treated with such awed reverence you can only assume The Face's working title was "shh... they might be able to introduce us to Paul Weller."



The Face's judgement 4; judgement of history 4.

[Part of The Face's best recordings of 1983]

We'll be picking this up later...


Face '83: Malcolm McLaren

Well, as we seem to be keeping some sort of arbitrary score on the grounds of whether The Face should be blushing red for its 1983 choices, we better factor in the over-familiar tracks we've skipped so far into the reckoning.

So Michael Jackson was such an obvious choice, it counts against the idea of being taste-forming. 2-2. Blue Monday, on the other hand, might be over-familiar but still sounds fresh, they can have that. 3-2.

And Prince's 1999 could have been viewed either way by the future, so it was a brave choice, so it works as a choice. 4-2.

This brings us to Duck Rock.

I guess if you viewed Buffalo Gals, or even Double Dutch, you might consider that Trevor Horn just about saved Malc from himself. But The Face recommends the whole album.

Which means this is part of a recording they would point to and say "1983! This was the year!"



Duck For The Oyster. They don't usually mention that when they get misty-eyed about Malcolm's influence, do they?

4-3, The Face.

[Part of The Face's best recordings of 1983]


Face '83: Herbie Hancock

Herbie Hancock attempts to pull "if I keep out the video, MTV won't spot this is the sort of record they don't play" trick for second time. Fails to achieve Rock-It levels of success.

I wasn't impressed in 1983. I'm even less impressed now. A strike against The Face, 2-1.



[Part of The Face's best recordings 1983]


Face '83: MTume

MTume's Juicy Fruit. Coyly changing "you can lick me anywhere" to "candy kisses everywhere" in order to calm jittery broadcasters, they managed to scrape a minor UK hit and a Billboard R&B number one.

More significantly, the song has been so sampled it's impossible to imagine music without it.

Okay, The Face. You're 2-0 up.



[Part of The Face's 1983 best tracks]


The Face's Best Recordings 1983

The Face. It was soooo stylish, wasn't it? It was like, made entirely from style held together by cool. It was so ahead of the curve, it would appear through your letterbox before the paper lad had opened your front gate.

Or was it?

In a totally non-scientific survey, we're going to go back thirty years in time. Come with us to 1983, a time when the bands who appear on NME's cover today would only have been 20 to 25 years into their careers. What did The Face consider to be the very best music created in that year? Rocklistmusic.co.uk has got the list in full. We're going to dip into it...

I've been struggling a bit with the entry "Pacman by The Pacman", as it's a bugger to track this down. Is it something to do with Richard James' 1982 Pacman theme cover versions? (Presumably not, as that was under the name Power-Pill?

While that one's up for pondering, here's Christian Bale advertising a Pac-Man themed breakfast cereal:

I wonder how much he swore at the crew on that one?

Here's the list in full:

Billie Jean – Michael jackson
Blue Monday – New Order
Pills And Soap – Elvis Costello
Juicy Fruit – Mtume
1999 (LP) – Prince
Autodrive – Herbie Hancock
Duck Rock (LP) – Malcolm McLaren
Native Boy – Animal Nightlife
Kiss FM Mastermixes Vol. II (LP) – Various
Let’s Stay Together – Tina Turner
You Brought The Sunshine – Clark Sisters
Every Soul – Ruby Turner Band
Don’t Mess With Bill – Ruth Pointer
Lert’s Dance – David Bowie
The Leader (LP) – Fonzi Thornton
I Just Gotta Have You – Kashif
Out Come The Freaks (II) – Was Not Was
Ain’t Nobody – Rufus
Get Loose – Evelyn King
Portrait (LP) – Gwen Guthrie
Soweto/Zulu’s On A Time Bomb – Malcolm McLaren
Long Hot Summer – Style Council
Look At Granny Run (reissue) – Howard Tate
Little Red Corvette – Prince
Let The Music Play – Shannon
Swordfishtrombone (LP) – Tom Waits
The Land Of The Good Groove (LP) – Nile Rodgers
Jam On Revenge – Newcleus
Hip Hop Don’t Stop – Mann Parrish
Coup – 23 Skidoo
Get Wet – C Bank
Rockin Radio – Tom Browne
The Roxy – Phase Two
Power, Corruption And Lies (LP) – New Order
Soul Mining (LP) – Matt Johnson
Love Town – Booker Newbury III
Labour Of Love (LP) – UB40
Just Fascination – Cabaret Voltaire
Daddy Rollin’ Stone (reissue) – Derek Martin
Last Night A DJ Saved My life – Indeep
Une Sale Histoire – Fab Five Freddy
A Fool In Love (reissue) – Ike & Tina Turner
Thriller (LP) – Micahel Jackson
Pacman – The Pacman
Candy Girl – New Edition
Just Be Good To Me – SOS Band
Go Deh Yaka – Monyaka
I (LP) – Steve Arrington
Outstanding – The Gap Band
White Lines (Don’t Do It) – Grand Master & Melle Mel

Some of these I think we can take as so familiar as to not be worth spending time on, so let's start with Costello, shall we?



Except wasn't this released under the name The Imposter? Did The Face struggle with names?

Elvis's 1983 election-campaign counterpoint. (And, incidentally, one of the two thousand songs which might have been a better use of download-effort during the week of the Thatcher entombening.) Yeah, you can have that one, The Face.


Promotional lag: A jab at the Hutt

The music industry has a leak problem. Sure, it's not quite as bad as the fracking industry's leakage problems, as it's only music you can't buy yet leaking out, but it's still a problem.

Here's what happens: the music is finished. In order to "build buzz", the tracks are released to DJs and bloggers and other people whose mothers believe they don't quite have proper jobs. Sometimes, this can be getting on for two months ahead of when the record is actually in the shops.

In the industry's minds, this is supposed to create a vast army of people waiting outside the record shop on the Monday when the song is finally available, cramming money into the tills.

Instead, what happens is that a person hears a song they like, tries to buy it, fails, so snaffles an unlicensed version instead.

Most people looking at this problem would suggest that maybe the record business should start to sell music to people when it is available, rather than waiting a month.

The music industry doesn't see that as the solution, though, and instead has created a solution called the Promo Hutt.

The idea is that instead of waiting six weeks, now people will pay a subscription in order to get access to music six weeks before they could otherwise buy it.

Yes, the labels are trying to monetise their broken distribution system.

The obvious outcome of this - that there will be far, far more ripped copies of records you can't buy circling the internet - seems to have been missed.

Memo to the RIAA: Pop music isn't like stilton. You gain nothing by keeping it in a room for a few weeks while it develops a smell.


This week just gone


The stores from July 2003 which have been most-read over the last decade:

1. Pop papers: Paul Weller in Word, while Boy George files the New Statesman diary
2. Channel 4's The Madness of Prince Charming: Justine Frischmann narrates a life of Adam Ant
3. Pop papers: NME launches pop video chart on MTV2 while Gareth Gates overshares
4. 2003 Mercury shortlist pitches Darkness against Floetry
5. Pop papers: Jello Biafra interviews Greg Palast for Punk Planet. Hard to imagine it went out of business, isn't it?
6. "People are calling Beyonce the new Madonna" reveals Cat Deeley
7. Pop papers: In which Kelly Osborne is used to promote the Edinburgh Festival
8. Karl T watches Tin Tin Duffy in Borders
9. Pop papers: The drummer from the Coral is on the cover of the NME
10 Looking even further back, to Record Mirror's final best singles list

These were the interesting releases:


Deap Valley - Sistrionix


Download Sistrionix



Editors - The Weight Of Your Love


Download The Weight Of Your Love



The Duckworth-Lewis Method - Sticky Wickets


Download Sticky Wickets


Saturday, July 06, 2013

The Black Keys step up to the plate*

* - Yes, I know it's a cliche, but I'm hoping it's refreshed by being in context.

Here's a sweet story. Even more astonishingly, it's a sweet story from TMZ. Dan Auerbach has sponsored a Little League baseball team in West Akron.

TMZ don't bother to mention the name of the team, but then it's not like it's anything to do with Kim Kardashian so they probably couldn't process that detail.

So the kids take to the field with the Black Keys across their backs.

For some reason, Fuck Buttons have been barred from following the Keys' lead.


Friday, July 05, 2013

Bluesobit: Steve Hay

Steve Hay, Scottish blues singer and leader of Steve Hay's Shades Of Blue, has died.

Hay was in the original line-up of The Exploited (back then, going by Hayboy), but after a calendar year as a punk Hay gravitated towards the blues. He landed a tour with Charlie Musselwhite, which he recalled for The Herald last year:

"I thought I was going to be playing the guitar in his band. But it turned out I was the band. It was just the two of us, and he didn't tell me anything. No song title, no keys. All he said was 'when I put my foot down, we start; and when I put my foot down again, we stop'."
Hay balanced a musical life with a bread-and-butter career; he described the day he got made redundant from his last day job, coinciding with a 50th birthday gift of a Stratocaster, as a sign which gave him his "fifteenth wind".

Hay had been due to co-headline the Edinburgh Jazz And Blues Festival. He died on Wednesday 3rd July from a heart attack.


Thursday, July 04, 2013

Songs about facilitating successful meetings

Remember Groupon? The boss the company deposed when it turned out that selling money-off vouchers actually wasn't a business at all, Andrew Mason has been busy. Presumably having worked through the nineteen vouchers for one-hour massage sessions that he got as a payout, Andrew has recorded a motivational business album:

Before I leave you to your speaker system or headphones, one word of advice for managers thinking about how to make best use of the album: Context is king. Sure, you can just leave copies of Hardly Workin' on your employees' desks and achieve an incremental increase in productivity and morale (productivity is a function of morale, people!), but I wrote this album as someone someone who believes that messages mean different things depending on the time and place they're delivered. Try ending your next all-hands meeting with "It's Up to Us," for example. Or, having trouble communicating with a low-per/hi-po employee? A "Thinkin' of You" note attached to a flash drive preloaded with "My Door is Always Open" might be the catalyst you need for that transformational breakthrough.
Here's my own management tip - if you go round leaving stuff like that on people's desks, that's going to attract lawsuits.

And if you do plan to end a meeting with a rousing song, I'd suggest you get IT to block access to LinkedIn first because if anything ever said "update your CV and contact employment agencies", it's that.

Interestingly, Steve Albini also has a view on the record. Go on, Steve, get all Big Black-y on this one:
“I think it sits in a tradition of absurd but sincere gestures,” Albini said when reached by phone at his studio. “I think it’s one of the most amazingly realized great ideas I’ve stumbled across in a long time.”
That seems... surprisingly warm. But mostly surprising.

Still, Steve Albini is an independent voice, and if he says there's something in this... oh, hang on, what's this?
Mason holds a degree in music from Northwestern, once played keyboard in a punk rock band and interned for legendary producer Steve Albini, who also counts him as a personal friend.
Let's just pause before going 'oh' and imagine what it might be like being an intern for Steve Albini.



Okay, and now lets go 'oh, he's a pal.'

But could Albini be right, rather than just doing a mate a favour?

Paste supplies a sample of lyrics from Hardly Workin:
Don’t make me cut through no thistles / You can keep all your fancy bells and whistles and shove them / Where the sun don’t shine.
You've got to say: by endorsing that, Steve Albini shows he really sticks by his friends.


Sky falls in as US digital sales drop for first time in recorded history

Every on the deck! Nielsen are reporting that the number of digital downloads sold in the US are falling:

For the year to date as of June 30, digital track sales have declined 2.3% to 682.2 million units from the 698 million units that tracks scanned in the first half of 2012, according to Nielsen SoundScan.

In the first quarter, track sales declined 1.34% to 356.5 million from the 361.3 million. In the second quarter the decline more than doubled to 3.3%, with track sales totaling 325.7 million units this year versus 336.7 million in the second quarter of 2012.
Hang about, hang about, put away your Lars Ulrich Was Right t-shirts, and take a breath.

First of, downloads are now competing for attention with streaming, which is going to have an impact.

But there's more than simply a drift to Spotify here - as Billboard explains:
Getting back to the softness in tracks, the decline can be attributed to a 20 million unit decrease in catalog sales, which at the mid-year point fell to 366.7 million units from the 386.9 million units that were scanned at the mid-year 2012. Meanwhile, current track sales grew slightly to 315.5 million from 311 million units.
So, as we saw with CDs, there comes a point when the mass rush to buy music already owned on a different format starts to fall away. That new songs are still selling well is pretty good news.

And there's... something else:
But with the decline in catalog sales, it’s more likely that the decline is due to the growing popularity of complete my album features at download stores, and the possible repricing of catalog sales up to 99 cents and $1.29 price points from the 69 cent tracks that was rolled out to catalog song titles when iTunes first embraced variable pricing in 2009.
Shock! Digital music tracks respond to pricing changes according to very basic laws of supply and demand!

You may now put on your Alfred Marshall Was Right t-shirts, and go about your business.


Gordon in the morning: Remember Madonna?

Gordon has a teaser question:

Chain reaction: Who’s the face behind mask?
POP star courts controversy by wearing religious-style get-up and a sword in mouth
It's going to be Madonna, isn't it?

Yes, of course it is.

Madonna courting controversy by a waving a lazy paw at a religion?

No, no, come back - because this time it isn't linked to a Pepsi ad.

What's she done, Gordon?
The Queen of Pop has upset religious fanatics – again – by dressing up in this Muslim niqab-style chainmail mask.

She posted the snap with the message: “The Revolution of Love is on... Inshallah”.

It’s no doubt a comment on female oppression.
Really? This has upset people? I suppose people are touchy.

Well, Gordon, tell us who's upset.





Gordon?



Who are these "upset religious fanatics?"

It turns out there aren't any, and so Gordon falls back on a "friend" insisting that it's all very edgy:
But a pal of the singer, who also shared a photo of herself biting a sword warned: “Stirring up controversy about Muslim practices is something Madonna knows could be putting her life at risk.”
That sound you can hear? It's Salman Rushdie's eyes opening so wide in disbelief his forehead is at risk of ripping clean off.


Tuesday, July 02, 2013

Gordon in the morning: A second look at Ed Sheeran

This morning, Ed Sheeran reveals his looks nearly cost him his job:

The Suffolk lad, who’s gone on to sell millions after initially being knocked back, said: “Every single label I had gone to at the time had told me this song wasn’t a hit. They said this song wouldn’t work.

“And the fact that I was slightly chubby and ginger was not a good ‘marketing tool’ for them.”
That just seems unfairly rude - sure, going 'your record isn't very good' is fair enough, but to then go 'and you look all wrong too' isn't particularly kind.

Very much "Mr Jones, your pies are full of gristle and bone. They are quite inedible. We couldn't possibly put them in our shop.

Also, the font you're using on the box is unpleasant."


Monday, July 01, 2013

Glastonbury 2013: Suzanne Moore goes to Pilton

There's a "ooh, I've gone to Glastonbury I could have stayed at home IN MY GARDEN" bit from Suzanne Moore in today's Guardian.

The tale of hardship...:

What I couldn't get to grips with was the rubbish. Cans are strewn through every field. Lager carnage. Meanwhile there are the banners for Greenpeace and WaterAid everywhere. I imagine the average Ayia Napa crowd is more environmentally aware.
... is a little bit undermined:
Thanks to Yurtel for Suzanne's accommodation.
Yes, she was staying in the luxury area. They even fetch her a television. It's akin to filing a piece from Oxford, but basing your impressions on staying in the Holiday Inn on the by-pass.

Would Suzanne eventually embrace the true festival spirit?
"What about the Stones?" people keep saying when I whinge. "You have to see them." I did. In the 60s.
Arbitrary rank-pulling over having seen a headline band somewhere cooler? Oh, Suzanne, you might rail against the event, but you are so Glastonbury.


Glastonbury 2013: Late breaking news

I have no idea how accurate the description in the tweet is, but... it's believable, isn't it?


Glastonbury 2013: It's all over bar the abandoned tents making a mockery of the festival's attempts to be green

From a long, long way away, that looked like the best Glastonbury in quite a while - especially if you put a hand over one eye and ignore the over-freighted Rolling Stones bit.

Sure, it edged ever closer into the belly of the establishment:

Delivering his regular Sunday morning press conference at 11am today (June 30), Glastonbury founder Michael Eavis confirmed that Prince Harry attended the festival on Saturday.

The 77-year-old farmer and festival organiser revealed that he told the royal he should stay up all night to get the best of the event: "I recommended that he should go through the night, because the nightlife is really what Glastonbury is all about," said Eavis.
Well, no, Michael; visits from heirs to the throne seem to be closer to what Glastonbury is all about these days.

Mind you, you've got love Eavis' apparent unawareness about Harry's reputation:
"At three in the afternoon, you won’t get it, will you? So I told him to get his taxi driver to come back at five in the morning and, you know what, he lasted until four in the morning, so he saw all the best stuff," he said.
Michael Eavis is the only person left alive who'd be surprised that Harry held his end up until the small hours of the morning.

Harry left eventually, though, mumbling that he didn't want to be around when Mumford And Sons turned up as "they make me feel common."

I'm not sure that Uli Jon Roth out the Scorpions coming on stage during the Smashing Pumpkins set made anything better, but it was probably the most inspired collaboration of the weekend. Except for that bit when it wasn't entirely clear if Kenny Rogers had just hallucinated having Sheena Easton on stage.

But I think we can agree that The XX won Glastonbury this year, yes?


Sunday, June 30, 2013

Glastonbury 2013: The Stones rolled on

The Rolling Stones at Glastonbury was, you'll have spotted, hugely overhyped, like some sort of crossover episode, or the completion of a set of Pokemon collections.

Given that it had been given the full moon-landing-status before, it's going to take something special for Michael Eavis to rise the occasion for his traditional complete overstatement. It's a challenge... but he'll do his best:

The Rolling Stones' hit-packed Glastonbury debut has been hailed as "the high spot of 43 years" of the festival by organiser Michael Eavis.
And I think we can confirm that, yes, this is the most overblown statement of 43 years of statements on Glastonbury from Michael Eavis.

Most people seemed to enjoy it in their own way - people whose musical tastes ossified somewhere around the time they started shooting Crossroads in colour had a great time; everyone else made their own entertainment before turning over to watch Public Enemy.

What's strange, though, is that the existence of people refusing to pretend this was anything other than an adequate performance by a band who've been trotting their retirement-fund greatest hits set round the globe for three decades now seemed to outrage the believers. Suddenly, people who you thought would know better were fuming at the very idea that there was snickering at the back.

Andy Kershaw pulled a grim face:
Meanwhile, a depressing amount of bitter, mean-spirited, cynical comment was posted about the Stones on my Facebook page last night.
Imagine that, eh, cynical comment about a band who arrange their world tours to minimise their tax liability. What a world, eh?
Almost all of that hostility was based on the band members being old.
Here's a funny thing, though - obviously, I can't speak for the people who were throwing things in Andy Kershaw's direction, but that isn't true.

Sure, there were a lot of jokes about how old they are - although that was more than balanced by the (surely more patronising) posts about 'goodness, they're moving around, at their age, aren't they marvellous'. But there were also snarks about the songs the Stones have flogged to advertisers; Jagger's strange costume choices; the bizarre film effect that had been slapped all over the footage; the way they only let one chunk of the set go out on TV; the audience being a mix between the bored and the bad dancers.

Now, perhaps Kershaw would dismiss all this as being bitter, mean-spirited and cynical - but given we've just sat through two solid weeks of reverential whispering that 'The Stones are honouring the world with a gig at a music festival', culminating yesterday in John Humphrys being sent off to a yurt for a meeting with Jagger hi'self - I'd suggest it was just the realistic sound of a crowd objecting to being told what to think. The sort of thing you'd have thought Andy Kershaw would welcome.

But what of the 'old' jokes? Even Danny Baker - jesus, DANNY BAKER - pulled an 'Oprah looking stern' face at them:

It's like seeing Hetson Blumenthal saying he doesn't understand why putting an egg into a saucepan makes it go hard, isn't it?

First of all, 'Rolling Stones being old' as the point of a joke have been around for almost as long as they have - I can remember cartoons depicting Mick Jagger with a Zimmer Frame in the 1980s.

At that point, it wasn't so much about them being old, as having been around a long time. Remember that their main rivals, The Beatles, barely scraped into the 1970s. In the 1980s, the very idea of a rock band still going after a couple of decades was, in itself hilarious - they were in middle age, pursuing a career which had only ever been followed by youngsters. It wasn't old, it was just older.

Cliff Richard, who also endured, endured much the same thing even when he wasn't actually, or actuarially, really past it.

And now, in 2013? There's still a lot of that at the heart of the jokes - a general perception that they've got stuck in a job which is really intended for people to do at a younger age. Mick himself admitted more-or-less this in his interview with Humphrys:
“[A]ll these things that you think of when you’re a teenager you could think, well I would have liked to have done that, but that’s completely pointless. I’m very pleased with what I’ve done.

“Everyone wants to have done more things in their lives. But it’s a slightly intellectually, undemanding being a rock singer but you know you make the best of it.”
Doubtless Baker and Kershaw will be giving him a dressing-down for that refusal to treat his work with the due respect.

Danny's comparison with Al Green and Aretha Franklin? I'm not sure it's a fair comparison, given that neither of them are rock stars. Their chosen field has always cut across the generations; soul music never built upon a lyrical groundrock on simply being young in the way much of rock music did. The same is true of Country, for example. Or the blues. If The Stones had just stuck closer to the source material, the 'old' jokes wouldn't work; they would just be coming to the end of taking fifty years worth of cracks at how they're quite young to be doing this. ("You woke up this morning, did you, Mick? Yeah, and you were born yesterday.")

Added to that, there's also the unavoidable, extraordinary durability of the Stones. They've been going longer than the venerable event at which they were playing, and much (oh, so much) had been made of that in the run-up. If you spend weeks pointing out how long these cultural touchstones have been rolling, can you really be surprised if that gets reflected back by those who are less than impressed?

But, I think, the main reason why people make jokes about the Stones being old - in a way you tend not to hear about Paul McCartney, for example - is more familiar. It's the same reason why people make jokes about David Cameron's posh background, or Donald Trump's hair.

Calculate how long Jagger must spend prancing on a running machine. Add up the number of times Keith Richards mentions all the drugs he takes.

The Rolling Stones cling desperately, visibly, to their youth. There's something awkward about a bunch of men who seek praise for a fifty-year career while trying to pretend they're not pushing seventy. It's a like a man who was in the Bullingdon Club trying to hide his kitchen suppers.

Of course people are going to find that funny. Of course that's going to be the fault line where a nation, force-fed the idea that these tax-exiles offering to be paid for doing a couple of hours work in Somerset on a Saturday night is an epochal moment, will gather to snigger.


Glastonbury 2013: Rob DaBank: It wasn't me

I've updated the iDiot with an iPad story to reflect this, but just to clarify - Rob DaBank wasn't the bloke who was using an iPad to video from the Chic stage on Friday; indeed, the video he shot from the stage captures the bloke using the iPad.

Apologies to Rob for the misidentification, both of him and his video technology.


This week just gone

These are the most-read June stories:

1. Liam Gallagher prefers something quieter these days
2. 6Music asked for requests for Liam Gallagher. The responses restore your faith in people.
3. ... and the Beaky Eye albums weren't exactly jumping off the shelves
4. Who does Bono help? Mostly Bono
5. Glastonbury 2013: It wasn't Rob Da Bank after all
6. Robin Thicke: 'Those aren't exploited women, they're just in their natural state'
7. Kim Deal quits the Pixies... again
8. 'How about if we did some Oasis songs?' Beady Eye plead
9. Liam Gallagher wants Smiths to reform
10. MySpace try to tempt you back by wiping out anything you might have given it for safe keeping

These were the interesting releases:


Various - Scared To Get Happy




Various - Sing Me The Songs


Download Sing Me The Songs



Empire Of The Sun - Ice On The Dune


Download Ice On The Dune



Bent - From The Vaults


Download From The Vaults