Posts from September 2019

15
Sep 19

In These Old Familiar Rooms (THE EAGLES – “Hotel California”)

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(Reached #8 in May 1977)

A byword for monolithic biggitude in their homeland, The Eagles never came close to a Number One in Britain. They did a solid trade in LPs, but they’re one of those groups who kept finding a ready British audience for “Greatest Hits” albums which – technically – are nothing of the sort. Their size and fame was more rumour and maybe wish, men buying CDs in service stations and dreaming of a denim-draped land far away where soft rock ruled the desert night.

Like most big album acts, The Eagles did have a signature song, and like many signature songs, it was long and ponderous and vaguely allusive, a rebuke to the idea that pop worked best as sharp jabs of feeling. I admit it, there’s a base appeal for me in the idea of the Prestige Rock epic as a grand statement, one I’ve protested too much against sometimes. It took years – decades! – for me to admit that while “Stairway To Heaven” is stupid in a dozen different ways, none of them actually stop it being great. “Shine On You Crazy Diamond” is distended and lumbering, mercury mourned by lead, but maybe more poignant because of that. Could you say something similar about “Hotel California”?

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8
Sep 19

3 and 9 could show you any fantasy

FT + Hidden Landscapes4 comments • 147 views

[This post originally went up at my PATREON: subscribers get to read posts and hear podcasts early — and help offset costs and time and help me do more of this kind of thing. Please share widely and encourage participation in the comments!]

Sometimes I wonder if it all ended on 2 November 1982, the night Channel 4 began. Silver Screen, the NME film and TV section, was edited by Monty Smith then – and almost everything about C4 in its first instance seemed perfectly pre-designed to suit the Silver Screen worldview. Except of course Silver Screen’s internal logic and tone demanded a response at once slantwise and happily disrespectful. This tone was largely set by ‘On the Box’, a what-to-watch-out-for summary of coming TV schedules, which was a tiny ruled-off square of page adjusted weekly to fit available space, full of two-sentence film squibs written at speed, a dozen at most, more likely half that. As a workaround for extreme space limitation, it had begun to evolve into a kind of script, a long-running skit full of intra-office chitchat about specific personal tastes (who liked Herzog, who preferred Hitchcock), its sense of humour derived from deep expertise lightly worn. It was reacting, as often as not, against assumptions made and attitudes struck in other film publications, with authority treated more as a pratfall than a value – and its tone, smart and playful, judgmental and unfooled, helped entice you the reader into discovering more. You sensed that if you paid attention week-on-week, you got a lot more joy from it, and knowledge too [Footnote 1].

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7
Sep 19

CHRISTINA AGUILERA ft REDMAN – “Dirrty”

Popular12 comments • 1,176 views

#942, 23rd November 2002

Christina Aguilera’s album title, Stripped, has an obvious double-meaning, one she’s been keen to point out to interviewers. Stripping off, yes, clearly, but also stripping back, removing the layers of industry wrapping to reveal the individual underneath. Raw or in the raw, she’s saying, this is the real thing. Or at least, realer than the last one.

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