I’ve managed to stop howling at GQ Style’s Brad Pitt feature long enough to post these things that amused/interested me in the last couple of weeks, thus making it Eight Things…

This week’s Eight Things is sponsored by the letter “F” and features rather a lot of videos…

ONE STOCK FOOTAGE

It’s so hard to find new ways to put images together. This absolutely rocks – beautiful split-screen use of stock footage (apart from the cheap sensationalism of a couple of splices. And the song, a rather pale “Get Lucky” a-like, by Cassius feat. Cat Power & Pharell). Just how much stock footage did director Alex Courtès (or his researchers) actually have to look through?

TWO SELF-FLAGELLATING
Born to Run. It seems an unimaginative title for Bruce Springsteen’s autobiography – but, as it pans out – becomes the only title that could possibly fit. It’s actually exhausting following Bruce’s downbeat road-movie retelling of his life. He’s excellent on the awkwardnesses inherent in the whole friend/bandmate/employee thing, and brilliant on the hard craft that went into maximising what he saw as an everyday set of talents, but I always end up wanting more about the construction of the music and how it feels to play it. Publishers, I guess, want more details of angst and love and sex – which they think is relatable stuff for a general audience. However, it’s precisely because you can’t relate your life to his that makes his so interesting…
nb. I also zoomed through Clinton Heylin’s book on the E Street Band years (it was cheap at Fopp). Pretty good, although, as always with Clinton, his habit of telling the artist what they should have done with their life, and which songs “should have been recorded/should have been binned” is typically tedious. It’s a shame, as he’s a really thorough and engaging writer.

THREE “I’M HAVING THE SAME REACTION THAT YOU’RE HAVING, WHICH IS FREAKING OUT…”
Paul F Tomkins unboxing Aimee Mann’s new release, “Mental Illness”.

FOUR OLD FAVOURITES: YOU SAY YOU WANT A REVOLUTION?
In Classic Rock World™ news recently, Wendy and Lisa get the band back together…
Wendy Melvoin [talking to David Browne of Rolling Stone]: All this is fluid right now. But the plan today – and it’s changeable – is we only perform songs that don’t distance us as the band. So in other words, if we perform “Darling Nikki,” none of us are going to sing it. We’re going to have someone come out and do it. Wherever we go, there’s going to be an artist who loved him deeply and they can come up and sing that song.

But the other tracks that were specifically geared around a band – say, “Let’s Go Crazy” or “Controversy” – we’re going to [sing them]. We’re also going to do some of the songs that didn’t call for a lot of his calisthenics or his screaming. There’s no one who could do that. No one. You’re going to see us doing things more like “Girls and Boys”, “Love or $” [the B-side of “Kiss”]. There’s a massive catalog of what we can perform. Most of it is the big hits… and people who are saying, Who’s going sing “Purple Rain”? Fuck, we just… Once again, let’s break this down. Why doesn’t everybody in the audience sing it? We’ll play it, we’ll put a couple microphones out there, and you sing it! That song is bigger than any of us now. It’s a group vocal. Everybody sing it.

In your mind, how different were the Revolution from his later bands? “We’re not the most thrashy musicians he had. After we broke up, he had guys that were, like, notating their parts. We’re just not that. We’re scrappy. We were a band. Bobby says it all the time: We were the last band Prince was ever in.”
 
Also, here’s Don Was on playing The Band’s songs [for The Last Waltz 40 Tour], talking to Bob Ruggiero of the Houston Press: Was knows he has big shoes to fill in playing Rick Danko’s parts, though he’s not interested in doing a “karaoke” take on them. “If you listen to the live recordings, the thing about Rick is that he never played the same way twice. It’s not like if you play “Something” by the Beatles, you have to play that bass exactly right! My thing is to try to get into [Rick’s] head and conjure up the spirit of what he was doing. The thing that I can relate to is at the core, he’s an R&B bass player. And me growing up in Detroit with soul and Motown music, there’s a relation.”

And finally in CRW™… The Classic is the name given to a new series of two-day concerts in the US that bring back the rock stars of yesteryear – Fleetwood Mac, Eagles, Steely Dan, Journey, Earth, Wind & Fire and The Doobie Brothers. They will perform at the Classic East and Classic West two-day festivals in July. The first event will be held on July 15-16 at Los Angeles’ Dodgers Stadium, followed by Classic East from July 29-30 at Citi Field in New York City. Yesteryear. Don’t you love that word?

FIVE FOURTEEN?
This is the songwriters’ credit list for Jidenna’s “Classic Man”, as used on the soundtrack of Moonlight. 14 people! It’s on Wondaland Records, Janelle Monae’s label (whose fine acting graces both Moonlight and Hidden Figures.) My favourite name on the list is Roman GianArthur Irvin, although Amethyst Amelia Kelly runs him close.

SIX “THAT’S HOW YOU F****ING DO IT!”
Haim come back with a live-in-the-studio-in-real-time video of a new song. I’m not sure the song’s all that great, but it’s a pretty cool video, directed by Paul Thomas Anderson. Este Haim: “My mom was studying to be a teacher and to get your credentials you have to shadow another teacher. My mom gets a gig at a school in the Valley, shadowing the art teacher. First week, the teacher has a heart attack in the parking lot and my mom becomes the sole art teacher. My mom was younger than me, like 22/23, and she now has 5 or 6 classes of kids. She would always talk about this one kid named Paul, that she loved – he was very energetic, artistic, vivacious. We’d turn the TV on and Boogie Nights would come on or Magnolia and our mom was like, ‘oh that’s Paul’s movie.’ That being Paul Thomas Anderson. We were like, Mom are you talking about Paul Thomas Anderson? And she was like, ‘Yes that is Paul, I taught Paul.’”

SEVEN FONDA & FRISELL’S INSPIRATION
Rest In Peace, Bruce Langhorne. The real Mr Tambourine Man has sadly passed away, so I listen to Peter Fonda say goodbye on Last Word (Radio 4): “Universal said, Fonda – you just can’t go hiring your friends to play on the soundtrack [of The Hired Hand], and I said, Listen, this cat’s a virtuoso on forty-two stringed instruments – he can play an entire symphony orchestra sound!” Writing an article for Pulp magazine about Taschen’s enormous book of Daniel Kramer’s great photographs, Bob Dylan, A Year and a Day, I discover an image that I’ve not seen before, of Bob ’n’ Bruce playing on the Les Crane TV show. They’re both playing parlour guitars [Langhorne’s a 1920 Martin 1-21] and Bruce is a few steps behind Bob in half-shadow. Then I put on The Hired Hand, Langhorne’s soundtrack to Fonda’s movie, twenty-four minutes of beautifully hand-stitched music, and undoubtably an imfluence on the soundtrack work of Ry Cooder.

The programme said that he did the soundtracks to Silence of the Lambs and Philadelphia, which wasn’t the case, although he had worked with Jonathan Demme on Melvin and Howard and Swing Shift. Jonathan Demme: “Just occasionally, you come across these geniuses. Bruce Langhorne was one. These people all tend to work in the same way: they respond instinctively to the visual image. I still remember the insane thrill of being with Bruce in his apartment, with his guitar and other instruments, and looking at scenes from Melvin and Howard. He was playing things and I was just saying, ‘Oh my God, that’s amazing.’ Bruce Langhorne has done some of the most beautiful scoring that I have ever been involved with, or ever known.”

Bill Frisell talking to Michael Ross on premierguitar.com: “I didn’t realise how big an influence he was until many years later. It was almost subliminal, but that is too soft a word. He had this gigantic effect… I used to listen to the early Bob Dylan records he was on when I was a kid, lying on the floor with the speakers next to my head, playing them over and over. I just heard him as part of the total sound. Years later I realized his playing was this line between accompanying and having a conversation, being spontaneous and completely integrated into the music from the inside out, playing a part but not a part, unpredictable… that was the way I have been trying to play my whole life.”
 
EIGHT WTF…
“A $30 bag of Doritos chips that plays the entire soundtrack of Guardians Of The Galaxy Vol 2 has sold out instantly. The controls on the packet fit around the image of a cassette deck. The crisp bag is rechargeable so you can listen to the soundtrack more than once.  The follow-up soundtrack to the first Guardians flick, which went on to become one of the best-selling vinyl records of recent years, features a huge range of stone-cold ’70s hits.”

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