New Fountains Of Wayne video

Power poppers Fountains of Wayne have released a video for their single ‘The Summer Place’, taken from their 2011 album ‘Sky Full of Holes’.

You can watch the video below.  Also featured below is a clip of the band playing the track live in the studio for WFUV.

Read a review of ‘Sky Full of Holes’ here.

ARENA: ‘Heavy Metal’ (BBC documentary, 1989)

I don’t normally write blog style entries for REAL GONE, but this week, I saw a piece of TV from the past which has captured my interest enough to write something a little more personal. I hope you’ll forgive me this indulgence…and I hope in some way there’s a shared memory in here somewhere for you too.

I’ve loved music my whole life. Some of my earliest memories involve music. At a pre-school age, my dad played me Led Zeppelin albums. There’s a slither of a memory where I’m listening to ‘Heartbreaker’ and ‘Livin’ Lovin’ Maid’ and spending quality time with a colouring book. I may or may not have the measles (that might be another memory closely linked with ‘Led Zeppelin II’). Bits of Led Zep’s ‘II’, ‘III’ and ‘IV’ were heard fairly regularly in our house during the late 70s, yet somehow at that time, my dad never got around to following their career any farther. Even so, those albums were special. I even remember my dad telling me a short while later – in September 1980, I assume – that their drummer had died. He didn’t elaborate on the details, of course, telling me instead that “he died in his bed”. This was the first time I remember being told someone famous had died, but nobody else my age knew or cared about John Bonham. No reason why they would at six years old, I suppose.

I have vivid memories of my dad coming back from the shops in the late seventies with the first Dire Straits album, even though he’d only intended to buy ‘Sultans of Swing’ on 7” single. That album was a family favourite then, and I still spin it regularly some decades later… We also had a copies of Status Quo’s ‘On The Level’ and Rainbow’s ‘Down To Earth’, both of which I liked very much, but, the big breakthrough came in the new decade when my dad bought me a compilation LP called ‘Axe Attack’. There was a whole world of new music in those vinyl grooves: Iron Maiden, Judas Priest, Motorhead – all destined to become favourites. Aerosmith, Whitesnake, AC/DC, UFO and Black Sabbath would enter my listening spectrum later, but as a kid, I had no time for their less in-your-face, slower styles [especially true of Whitesnake – and I certainly wouldn’t have understood any of David Coverdale’s single entendres]. At seven years old, I was a metal kid, and at my school, I was the only metal kid. Other kids barely even knew what music was, let alone capable of finding niche music they liked so much.

And so, my love of metal followed me through the first half of the eighties, as I purchased Iron Maiden albums religiously, while maintaining a keen interest in Judas Priest and Saxon (a band I discovered after my dad bought home their live LP from ’82; he let me listen to it even though there was “swearing on it and all sorts”). As the eighties progressed, my tastes began to spread further as I spent time listening to Madness and UB40, discovered Clapton and Cream (and the vast back catalogue therein), Pet Shop Boys and The Housemartins. Eventually, by a weird twist of fate, I reconnected with Led Zeppelin, a band that – by this point – I’d not heard for about six years, my dad’s worn out vinyl LPs having departed.

Between 1987-89 I re-bought Led Zeppelin ‘II’, ‘III’, ‘IV’ on cassette. The childhood memories of why I loved bits of those albums were still there, but my more grown up ears appreciated the band’s blues tracks and acoustic workouts, as opposed to just their more proto-metal tendencies. Unlike my dad, I took the plunge and bought the rest of their albums too – it’s still amazing how many different styles Zeppelin incorporated into their sound as their career gained momentum. By the beginning of 1989, aside from Led Zep and Def Leppard, I wasn’t really listening to anywhere near as much hard rock or metal as I had been a few years earlier, and then…

Something happened.

The BBC showed a week of programmes dedicated to metal. ‘Heavy Metal Heaven’, they called it. They even got Elvira to do some cheesy intros, thus reinforcing some silly stereotype that metal is all about gothic castles and vampires and graveyards and all that shit. Okay, so regarding old school metal, some of it is – you’ve got me there – but the programmes didn’t especially need Elvira to make them work, nor did she actually make them any better with her limited presenting skills. But kudos to the BBC for showing an entire run of programmes dedicated to hard rock and metal of a night time. [By 2011, you could barely count on them giving up their precious airtime on terrestrial channels to anything music related at all, let alone anything considered out of the musical mainstream, as metal largely was back then].

Guns n’ Roses had started to have hits in the UK by ’88 and had videos on ‘Top of the Pops’, but the Beeb went an extra mile during their metal season and showed a whole live show (‘Live at The Ritz’). Viewers witnessed Axl and the “proper” line up of G N’R, as they played a selection of tunes from ‘Appetite For Destruction’(which I purchased soon after – it’s still the best). The show has never been released to buy officially, so I assume they hated their raggedy performance. They showed part a Metallica live show too (possibly Hammersmith Odeon ’88) and an absolutely top-notch documentary detailing the history of Def Leppard. The most magical of all was an old black and white film of the mighty Led Zeppelin live in Scandinavia. This may have even been the first time it had been seen in the two decades since it had been filmed; it was certainly a UK first.

One of the other shows broadcast as part of ‘Heavy Metal Heaven’ was ‘Heavy Metal’ – an Arena documentary about the history of metal. This programme was the first time – as a fifteen year old – I was introduced to Megadeth. It was also the very first time I witnessed Slayer. Such power. Such energy. Such speed. Such shit-your-pants intensity. Okay, so I admit thrash metal scared me a bit back then, but by the time Slayer’s ‘Decade of Aggression’ double live LP was released a couple of years down the line, I was a huge fan. By that time, I’d bought as many albums as I could muster and immersed myself in most of the works of “The Big Four” thrash bands. This BBC documentary also introduced me to Napalm Death. Their inclusion was a little odd, looking back. Not in the way their style seemed so marginal in 1989 – even by metal’s standards – but in that the Beeb’s soundtrack of their live recording doesn’t always appear to be the same song they’re playing on screen. I assume they just used the best footage they were able to capture at such a small club show. I didn’t like Napalm Death too much then and don’t much care for them now. Credit where it’s due though, for such an extreme band, even they slowed down eventually and found a sense of maturity.

Over the passing decades, metal has gathered even more history behind it. Fashions have changed and the music itself continues to find new avenues of expression. Many more up to date documentaries have been produced (including a couple by the BBC). Somehow, though, despite Judas Priest and a couple of other important bands being notable by their absence, the Arena documentary from 1989 is still one of the best – maybe even the best. On the negative side, the omnipresent Malcolm Dome (then part of the RAW magazine team) is on hand to give his opinion, which he’s sure we’ll all want to hear. We don’t necessarily, but at least this allows us an opportunity to laugh heartily at his ridiculous, particularly “un-metal” comb-over, captured on film forever [also, check out his workmate in the background – he has clearly been bored to tears by Malc on a daily basis]. The live clips are often great, but ‘Heavy Metal’s real treasures are the band interviews. Here, captured for posterity by the BBC, are major stars in more formative years: Ozzy Osbourne appears somewhat like Nigel Tufnel in many of his facial mannerisms; there are clips of a very young Axl Rose and almost equally young Tom Araya, and – perhaps best of all – the always charismatic Bruce Dickinson talks the viewer through a few rock star wardrobes.

Sadly, I never kept a copy of this immensely enjoyable documentary. For some bizarre reason, BBC2 was running a little early on the night in question, so my VHS timer missed the first ten minutes or so. [An upload which surfaced online many years later was also missing a chunk at the start, so I’m guessing lots of metal fans missed the beginning of the show that night.]

Presented below is ‘Heavy Metal’ – the Arena programme in complete form – as shown on BBC2 one night in April 1989. Turn down the lights, turn up the volume and enjoy this trip back into the past.

September 2011

If you enjoyed this, check out some of the soundtrack!

Andrew Belle releases official video for ‘The Ladder’

Singer-songwriter Andrew Belle has released a new video for his song ‘The Ladder’.  The lavish clip, directed by Emily Wormley, captures Andrew in cartoon form.  See it for yourselves below.

Andrew is currently touring the US and you can see him at the following venues this autumn:

w/Ten out of Tenn

SEPTEMBER
14th Knoxville, TN The Square Room
15th Charlottesville, VA The Southern
16th Arlington, VA Iota
17th New York, NY Highline Ballroom
18th Boston, MA Brighton Music Hall
20th Philadelphia, PA World Cafe Live
21st Baltimore, MD Rams Head Live
22nd Louisville, KY Headliners Music Hall
23rd Chicago, IL Park West
25th St. Louis, MO Old Rock House
26th Oxford, MS Proud Larry’s
27th Jackson, MS Hal and Mal’s
28th Birmingham, AL WorkPlay Theatre
29th Nashville, TN Live on the Green
30th Charlotte, NC Neighborhood Theatre

OCTOBER
1st Atlanta, GA Variety Playhouse

Supporting Ben Rector

OCTOBER
19th Houston, TX House of Blues
20th Austin, TX The Parish
21st Dallas, TX House of Blues
23rd Norman, OK Sooner Theatre
25th Tulsa, OK Cain’s Ballroom
26th Little Rock, AR Juanita’s
27th Nashville, TN Exit/In

POWERMAN 5000 – Copies, Clones & Replicants

There must have been something in the water during the summer of 2011.  Both Puddle of Mudd and Scott Weiland released covers albums during the same week, and then a third one dropped from nu-metal’s often unsung heroes Powerman 5000.  Obviously covers albums are easy to knock out since bands don’t need to endure a laborious writing process, but aside from that, is there any real point?  They’re rarely releases which bring huge amounts of credibility.

Puddle of Mudd’s covers album saw Wes Scantlin and his foolhardy chums bravely tackle tunes which more sensible musicians would have never dared attempt covering.  Naturally, for the most part, they failed…but they went down fighting.  Luckily, using a bit of savvy, on ‘Copies, Clones & Replicants’, Spider One and his band of cohorts (now a completely different band to that of their ‘Tonight The Stars Revolt!’ heyday) have chosen songs which (mostly) don’t sound too contrived when melded into their own image.

It doesn’t take a great leap of imagination to realise that with a small amount of tweaking and some metallic guitar work, Devo’s ‘Whip It’ is almost an ideal choice of cover for Powerman. Those chuggy guitars which run through the core of the version featured here are superb, especially when pitched against some retro synths.  In terms of direct comparison to the Devo cut, it’s a little faster.  More importantly, the added guitars give an extra sense of urgency, without losing any of the spikiness of Mark Mothersbaugh’s original vision.  Despite how much it still resembles Devo’s well known hit, it’s a safe bet to say that Devo’s over-protective fans would not especially be happy with the end result.  Still, that’s probably nothing compared to how Van Halen fans are likely to respond to a cover of ‘Jump’, which here, gets a complete dressing down and reimagining.  There are synths throughout, but they’re of the bleepy kind and make no attempt at reproducing VH’s original keyboard line, at least to begin with.  The main riff becomes a bouncy, danceable, slab of metal which is essentially classic Powerman.  Spider One’s gruff vocal does its usual sneering thing and it’s surprising how well the whole package works.  There’s a fine line between sacrilege and genius, it seems.  Even better is a slightly aggressive version of INXS’s ‘Devil Inside’, which retains most of the original tune structure.  The keyboard sounds can be slightly intrusive, but the great riff makes up for that.   There’s little else to add, except to say this always was a superb number and this slightly more metallic rendition is really no exception.  It’s surprising that it’s not been covered more often.

M’s 80’s hit ‘Pop Musik’ gets a reasonable rendition, which is greatly improved without the cheesy female backing.  The required amount of handclaps and analogue synths (clearly on lend from Grandmaster Flash) really capture the spirit of a bygone musical age.  Against those sounds, choppy rhythm guitars are on hand to remind those listening that Powerman 5000 is a full band and not just Rob Zombie’s little bro and some synths, as it often sounds on this particular track.  Since the guitars are still a little underused, those approaching this number expecting a metalfest are going to be sorely disappointed.  Thinking about it, maybe Spider should have called on his big brother to shout his trademark ‘Yeah, yeah, motherfucker!’ a few times – it could have added to the fun, and it definitely would have given things a new slant.   The Cars‘ ‘Candy O’ is somewhat ordinary in translation, with only a few guitars added for extra chunkiness.  Even though it’s not this collection’s most inspiring cover, it’s clearly important to Spider; after all, it’s not the first time a Cars song has made its way onto a Powerman 5000 disc.

T Rex’s ‘20th Century Boy’ has it’s guts torn out and played at twice its normal speed in what is possibly the most typically “classic” sounding Powerman 5000 performance here.  Oddly, it kind of suits being trashed up in this fashion, especially when it allows Velkro and Evan 9 chance to really cut loose on their guitars (thus balancing out a few of the other synth heavy tunes).  ‘Electric Avenue’ by Eddy Grant is tailor made for the darkwave/synth metal treatment and the band hit a great groove throughout.  It’s a great track, but despite best efforts, it doesn’t match the brilliance of Skindred’s cover from their ‘Sharkbites and Dogfights’ LP.

The award for “almost unrecognisable” goes to a treatment of The Clash’s ‘Should I Stay or Should I Go’, which strips the anger and replaces the well known guitar riff with dreary darkwave synths and a somewhat maudlin pace.  It shouldn’t work, yet somehow it’s very cool in its own right – like the cover tune Marilyn Manson never got around to recording.  The Church’s ‘Under The Milky Way’ is less fortunate, at least in part, as the band take a once dreamy tune and reduce it to a mechanical mess.  It’s only when semi-acoustic guitars and some tuneful keyboards appear during the chorus section that it gains any kind of redemption.

Naturally, not everything here works completely (The Church number is a bit scrappy and a take on David Bowie’s ‘Space Oddity’ is hugely uninspired), but Spider One and his gang sound like they had a good time recording these tunes.  Likewise, they’re often fun to listen to.  Covers albums are rarely “must have” items, but ‘Covers, Clones & Replicants’ comes pretty damn close.  Through some good musical tastes and a bit of good fortune, Spider and his crew survive the covers album “experience” with more dignity than most.

September 2011